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    On duration
    (Taylor & Francis (Routledge), 29/10/2018) Preston J; O'Hara W
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    Introduction (Vol. 17 No. 2)
    (Equinox Publishing, 7/03/2017) Wilson OR
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    Technostalgia in new recording projects by the 1980s ‘Dunedin Sound’ band The Chills
    (Association for the Study of the Art of Record Production, 1/04/2016) Wilson OR; Holland M
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    Monster
    (Overland, 1/06/2015) Makereti TRM; Gracewood, J
    Why look to fiction to take the temperature of a country? You might as well ask the canary to issue a detailed report into working conditions in the coalmine. The task of the writer is to sing her own song, which may be entirely at odds with the atmosphere in which she finds herself. And yet: these three stories alert us to something in the air in Aotearoa New Zealand. The barometer swings, conditions change, and people are buffeted by circumstance, challenged by fresh strangeness. The location of each story is absolutely local – we know where we are – but the threat is diffuse, worldly, universal. As always, it’s an interesting time to be a writer in New Zealand. We are all luminaries now, writing not in the shadow but by the light of Eleanor Catton’s brilliant success, which blazes like a signal fire on the beach. Not a problem, to use the vernacular. We’ve been here before, with Katherine Mansfield’s ‘little lamp’, and we’ll be here again. Engaging the world beyond our shores, tangling with its cultural economies, and then plunging back into the hinterland, the harbour, the bare cupboard, mining our own dark past – and present and future – for literary gold.
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    Introduction (Vol. 17 No. 1)
    (Equinox Publishing, 1/03/2016) Wilson OR; Bendrups D; Weston D
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    ‘Like a Japanese Christmas Card’: Line in Poetry and Art
    (University of Canberra: Centre for Creative & Cultural Research, 12/06/2018) Ross J; Bullock, O
    A line can be seen in two ways: as a break or a harmony. In poetry, this manifests as the contrast between a stop and an invitation to continuance: a heroic couplet or the enjambments of blank verse. A series of analogies are made here between the aural and visual arts – from sources such as a 1998 interview with New Zealand poet Graham Lindsay, William Hogarth’s 1753 treatise The Analysis of Beauty, and Louise Bourgeois’s ‘Arch of Hysteria’ (1993), as well as my own novel Nights with Giordano Bruno (2000) – to understand better the implications of these two ways of characterising a line. On the one hand, there is the static predictability of a safe tradition, on the other, the danger of the ‘flame of fire’ which Hogarth maintains to be the best way to imagine his own serpentine ‘line of beauty.’ While both aspects are undoubtedly necessary, it is argued that the preference must always be given – for all its dangers and the certainty of pain it brings with us – to (in Freudian terms) the Pleasure Principle over the obsessive-compulsive stasis of his Death Principle.