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Charles Brasch
"This third and final volume of Charles Braschs compelling private journals covers the years from when he was 48 to his death at 64. By the 1960s, Brasch, though very private by temperament, was a reluctant public figure, especially as editor of Landfall indisputably New Zealands leading cultural quarterly (he eventually quit as editor after 20 years). He was also becoming a highly regarded poet, who eventually had six books (one posthumous) to his name. Behind the scenes Brasch was increasingly important as an art collector and as patron and benefactor; the Burns, Hodgkins and Mozart Fellowships for writers, artists and composers respectively which he helped anonymously to found and fund, a...
Charles Brasch
For most of his adult life, Charles Brasch's most intimate companion was his diary. In these journals, written in London during the Second World War, he is a young man searching for answers. Is he a pacifist? Should he join the army? Is he homosexual? Should he marry? Should he return home to New Zealand when the war ends? Are his poems any good? Some questions are resolved in the course of the journals, others not, but it all makes compelling reading. So, too, do the people we meet in these pages: kith and kin, conscientious objectors, civil servants working at Bletchley Park (as Brasch was to), members of the Adelphi Players, fellow fire wardens, refugees from Europe, and artists and writers both English and Kiwi. As Rachel Barrowman writes in her introductory essay, on his return home Brasch was to hold "a central place in New Zealand literary life for two decades," as founder of Landfall, and as patron, mentor and writer. In these splendid journals, he prepares for that role.
Charles Brasch
None
Enduring Legacy
A companion, not a catalogue, to an exhibition of Brasch's (1909-73) collection of manuscripts, photographs, paintings, and books at the University of Otago Library. He was a literary editor best known for founding the New Zealand literary journal "Landfall". Writers, critics, academics, and librarians celebrate his life and work. Several paintings are reproduced in colour.
Charles Brasch
"This second of three volumes of Charles Brasch's journals covers 1945 to 1957, beginning with his return to New Zealand after World War II to establish a literary quarterly. The journals cover the discussions that preceded Landfall and the first decade of his distinguished editorship, a role that brought Brasch into contact with New Zealand's leading artists and intelligentsia. His frank and often detailed descriptions of these people - including Frank Sargeson, A.R.D. Fairburn, Keith Sinclair, Eric McCormick, James Bertram, John Beaglehole, Fred and Evelyn Page, Alistair Campbell, Toss and Edith Woollaston, Denis Glover, Allen Curnow, Leo Bensemann, Ngaio Marsh, Colin McCahon, James K. Bax...
Charles Brasch in Egypt
Tell el Amarna ... boyhood home of Tutankhamen; captial of heretic pharaoh Akhenaten and his wife Nefertiti ... site of momentous events in ancient Egypt. Published here for the first time is Charles Brasch's vivid and engrossing account of his time on the renowned 1930s archaeological dig at Tell el Amarna, and his travels in Greece, Crete, and Palestine.
Making Ends Meet
Passionate, witty, and erudite, these essays by a radical curator describe how museums approach their sometimes conflicting missions to sponsor scholarship, generate popular appeal, and claim social significance. This analysis includes discussions of art and ethnology, the failure of late-Modernist art history, the construction of official culture, the intellectual history of European exploration in the Pacific, problems with cultural studies of the Pakeha Maori, and the conservation of archives and narratives.
Picking Up the Traces
The story of the generation of New Zealand writers who came of age in the 1930s and who deliberately and decisively changed the course of literature is told in this book, shedding important new light on the key participants, including Allen Curnow, Denis Glover, and Robin Hyde. The movement is traced through small circulation magazines and small press publications from 1932 to 1941. The repudiations and loyalties by which the movement defined itself are explored, including its opposition to the literary establishment and to late Georgian verse, its naming of its precursors and allies from the 1920s, and its choice of overseas models such as the British Moderns and the new American short-story writers for the creation of a new literature. oppose the cultural myths supported by the literary establishment and the writers' responses to the world-wide social upheavals of the period -- the Depression, the international crises of 1935 to 1939, and World War II.
Dear Charles, Dear Janet
Devonport is the first in THE SIGNALMAN'S HOUSE Series in which The Holloway Press, in association with the University of Auckland and the Michael King Centre, plans to publish a work by each of the annual fellows who occupy the Signalman's House on Mount Victoria in Devonport, the home of the Michael King Centre. Devonport: A Diary (which is accompanied by Esplanade, a brief related fiction) is a lively, thoughtful and idiosyncratic collocation of observations on landscape and culture, reflections on writing and a spirited record of daily living in a rich marine, domestic and urban environment new to the returning New Zealander.
Whole Men
Kai Jensen takes a provocative look at masculinity in New Zealand literature. He argues that New Zealand writing around the Second World War was shaped by excitement about masculinity as a way of challenging society. Inspired partly by Marxism, writers such as A.R.D. Fairburn, Denis Glover, John Mulgan and Frank Sargeson linked national identity to the ordinary working man or soldier, and attempted to merge artistic activity and manliness in a new ideal, the whole man. This masculine excitement forged a literary and intellectual culture which was powerful for thirty years, and which discouraged women writers. Jensen suggests that the aftermath of masculinism still influences the way New Zeal...
