In his five-volume anthology of Maori literature, Te Ao Marama,Witi Ihimaera calls the 1990s the flowering of literature written by Maori people. "We may have come to a crossroads," he writes, “of a literature of a past and a literature of a present and future.” MANOA is pleased to showcase some of the work from this new flowering in Homeland. The writing published here was gathered by guest editors Reina Whaitiri and Robert Sullivan, and includes some of New Zealand's best-known Maori authors Patricia Grace, Hone Tuwhare, Alan Duff, and Ihimaera—as well as emerging and less well known writers. Each of the pieces is an energetic exploration of homeland. Perceptions of home are also explored in essays by Susan Vreeland and David Tager, and in a symposium titled “Intimate Dwellings.” Other works in this collection include two previously untranslated stories by Nobel Prize author Yasunari Kawabata; an interview with Hugh Moorhead on his fifty-year search for the meaning of life; and, as always, outstanding North American fiction, poetry, and reviews. The art portfolio consists of photography by Hawai‘i artists Anne Kapulani Landgraf and Mark Hamasaki, known collectively as Piliamo‘o. Their work documents the restoration of the streams in Waiahole Valley on the island of O‘ahu. This too is an expression of homeland.

HOMELAND
Summer 1997 (vol. 9, no. 1)
232 pages

“Rona had never married, not having found the right man, as they say. People had talked all right, the murmurings only dying down when she came to that age people thought sexless. ‘As if passion died,’ she scoffed. It died because the objects of beauty, the triggers of a woman's lust disappeared.”

—from “A Song for a Tattooed Man”
by Marewa Glover

“she was bones scattered like runes
     across the embers
of an ancient hearth and, a hundred years
     after falling
they sifted her mysteries (the Police were
     called of course
but quickly deduced hers was an older
     homicide).”

—from “Skulls & Cannibals”
by Witi Ihimaera

“We were all ashamed of our mother. Our mother always did things to shame us. Like putting red darns in our clothes, and cutting up old swimming togs to make two—girls’ togs from the top half for my sister, and boys’ togs from the bottom half for my brother. Peti and Raana both cried when Mum made them take the togs to school. Peti sat down on the road by our gate and yelled out she wasn’t going to school. She wasn’t going swimming. I didn't blame my sister because the togs were size 38 chest and Peti was only ten years old.”

—from “It Used to Be Green Once”
by Patricia Grace

“bone :  resting lizard stretched
along the grain :  bone
that once lamented and rejoiced
that once sensed the blood’s
currents and rhythm :  bone”

—from “For lms 145, a bone flute
at the British Museum” by
Ngahuia Te Awekotuku

 

Photograph by Piliamo‘o

 

About the guest editors: Reina Whaitiri was born in 1943 to a Pakeha mother and Maori father. With Linda Tuhiwai Te Rina Smith, she coedits a journal of Maori women's writing, Te Pua. She is a member of the council of the Academy for the Humanities, Humanz,and is a tireless supporter of Pacific and Maori literature. She also has full-time care of her three mokopuna (grandchildren), aged three, four, and six.

Robert Sullivan is Ngapuhi and Irish. Born in 1967 in Auckland, he has authored two critically acclaimed books of poetry, Jazz Waiata (1990) and Piki ake! (1993), won the 1988 PEN award for young writer of the year for his poetry and prose, and been widely anthologized. With illustrator Chris Slone, he has written a graphic novel, Maui: Legends of the Outcast (1995).