Seminar paper from the year 2012 in the subject English Language and Literature Studies - Literature, grade: 2,7, University of Potsdam (Institut fuer Anglistik), course: Historiography and Trauma in Recent Maori Literature, language: English, abstract: This essay explores the representation of Maori women in two novels written by Maori authors. One book is the highly controversial and bestselling novel of Alan Duff “Once Were Warriors”, which was first published in 1990 and later turned into a movie adaption by Lee Tamahori. The other book I will focus on is written by the famous author Patricia Grace, who is known for creating stories with powerful women characters. The title of the book is “Baby Noeyes” and it was first published in 1998. Both novels deal with resistance and social change and we can find representations of strong Maori having a positive influence on their family and their environment. The main struggles with effects of colonialism and imperialism after the English settlers arrived are topics in both books. The main characters Te Paania and Beth Heke seem to be very different at the beginning, but both represent the ideal of a Maori women, being a leader and a warrior. In the next chapters I want to give a short introduction to the social status of Maori women in New Zealand before the colonization and after the English settlers arrived. Then I will compare the characters of Beth Heke from the novel “Once were Warriors” and Te Paania from the novel “Baby Noeyes”. I want to focus mainly on their struggles and the finding of solutions for their own wellbeing and the wellbeing of their family. Finally, in the last chapters I want to draw a conclusion and find out, in how far the representation of the Maori women serve each novel’s wider political project.

This classic has been released in the Popular Penguin format to mark 50 years of publishing in New Zealand. The format reaches further back to 1935, when Allen Lane founded Penguin Books with a clear vision- 'We believed in the existence of a vast reading public for intelligent books at a low price, and staked everything on it.' Ground-breaking. Original. Heart-rending. Most talked about book in New Zealand, ever. Adapted into a blockbuster movie. Still in print three decades later.

Elizabeth DeLoughrey invokes the cyclical model of the continual movement and rhythm of the ocean (‘tidalectics’) to destabilize the national, ethnic, and even regional frameworks that have been the mainstays of literary study. The result is a privileging of alter/native epistemologies whereby island cultures are positioned where they should have been all along—at the forefront of the world historical process of transoceanic migration and landfall. The research, determination, and intellectual dexterity that infuse this nuanced and meticulous reading of Pacific and Caribbean literature invigorate and deepen our interest in and appreciation of island literature. —Vilsoni Hereniko, University of Hawai‘i "Elizabeth DeLoughrey brings contemporary hybridity, diaspora, and globalization theory to bear on ideas of indigeneity to show the complexities of ‘native’ identities and rights and their grounded opposition as ‘indigenous regionalism’ to free-floating globalized cosmopolitanism. Her models are instructive for all postcolonial readers in an age of transnational migrations." —Paul Sharrad, University of Wollongong, Australia Routes and Roots is the first comparative study of Caribbean and Pacific Island literatures and the first work to bring indigenous and diaspora literary studies together in a sustained dialogue. Taking the "tidalectic" between land and sea as a dynamic starting point, Elizabeth DeLoughrey foregrounds geography and history in her exploration of how island writers inscribe the complex relation between routes and roots. The first section looks at the sea as history in literatures of the Atlantic middle passage and Pacific Island voyaging, theorizing the transoceanic imaginary. The second section turns to the land to examine indigenous epistemologies in nation-building literatures. Both sections are particularly attentive to the ways in which the metaphors of routes and roots are gendered, exploring how masculine travelers are naturalized through their voyages across feminized lands and seas. This methodology of charting transoceanic migration and landfall helps elucidate how theories and people travel, positioning island cultures in the world historical process. In fact, DeLoughrey demonstrates how these tropical island cultures helped constitute the very metropoles that deemed them peripheral to modernity. Fresh in its ideas, original in its approach, Routes and Roots engages broadly with history, anthropology, and feminist, postcolonial, Caribbean, and Pacific literary and cultural studies. It productively traverses diaspora and indigenous studies in a way that will facilitate broader discussion between these often segregated disciplines.

Striding Both Worlds illuminates European influences in the fiction of Witi Ihimaera, Aotearoa New Zealand’s foremost Māori writer, in order to question the common interpretation of Māori writing as displaying a distinctive Māori world-view and literary style. Far from being discrete endogenous units, all cultures and literatures arise out of constant interaction, engagement, and even friction. Thus, Māori culture since the 1970s has been shaped by a long history of interaction with colonial British, Pakeha, and other postcolonial and indigenous cultures. Māori sovereignty and renaissance movements have harnessed the structures of European modernity, nation-building, and, more recently, Western global capitalism, transculturation, and diaspora – contexts which contest New Zealand bicultural identity, encouraging Māori to express their difference and self-sufficiency. Ihimaera’s fiction has been largely viewed as embodying the specific values of Māori renaissance and biculturalism. However, Ihimaera, in his techniques, modes, and themes, is indebted to a wider range of literary influences than national literary critique accounts for. In taking an international literary perspective, this book draws critical attention to little-known or disregarded aspects such as Ihimaera’s love of opera, the extravagance of his baroque lyricism, his exploration of fantasy, and his increasing interest in taking Māori into the global arena. In revealing a broad range of cultural and aesthetic influences and inter-references commonly seen as irrelevant to contemporary Māori literature, Striding Both Worlds argues for a hitherto frequently overlooked and undervalued depth and complexity to Ihimaera’s imaginary. The present study argues that an emphasis on difference tends to lose sight of fiction’s capacity to appreciate originality and individuality in the polyphony of its very form and function. In effect, literary negotiation of Māori sovereign space takes place in its forms rather than in its content: the uniqueness of Māori literature is found in the way it uses the common tools of literary fiction, including language, imagery, the text’s relationship to reality, and the function of characterization. By interpeting aspects of Ihimaera’s oeuvre for what they share with other literatures in English, Striding Both Worlds aims to present an additional, complementary approach to Māori, New Zealand, and postcolonial literary analysis.

The articles investigate representations in literature, both by the colonizers and colonized. Many deal with the effect the dominant culture had on the self image of native inhabitants. They cover areas on all continents that were colonized by European countries.

This is a stunning novel about tradition and change, about whanau and its struggle to survive, about the place of women in a shifting world. Makareta is the chosen one - carrying her family's hopes. Missy is the observer - the one who accepts but has her dreams. Mata is always waiting - for life to happen as it stealthily passes by. Moving from the forties to the present, from the country to the protests of the cities, Cousins is the story of these three cousins. Thrown together as children, they have subsequently grown apart, yet they share a connection that can never be broken.