Made in New Zealand: place and enchantment in Margaret Mahy's picture books

Margaret Mahy published over a hundred picture books from A Lion in the Meadow in 1969 to a cluster of posthumous texts. This article considers the extent to which Mahy’s picture books can be said to have been “made in New Zealand,” given that most have been illustrated by artists from other countries, particularly Britain. Mahy’s picture book narratives are, I argue, informed by values, assumptions and orientations toward the natural world which subtly but unmistakably locate protagonists in New Zealand, even when the books’ illustrations reflect British, American or Canadian geographic and cultural settings. In this sense Mahy’s picture books are transnational products, traversing national and cultural boundaries.

Two trees: Australian artists' books to Afghanistan and back

Two Trees documents an artists' books collaboration between 14 Australian women artists and women in Afghanistan who were learning literacy. The collaboration resulted in 36 concertina books of images, withDari and Pashto hand written texts.The books are held in the State Library of Queensland's artists' books collection. Two Trees includes includes an introduction by Barbara Kameniar, and texts by Malalai Joya, Gali Weiss, Matthias Thomczak and Latifa Ahmady.

Unfolding projects: Afghan and Australian artist’s books collaborations

In August 2009 an email was circulated to a number of Australian women artists with an offer to participate in a project of dialogue with women in Afghanistan. The project grew as a response to the dire situation of many women in Afghanistan, particularly in relation to education; many women are illiterate because they were and often still are, forbidden, restricted, or discouraged from attending school. By April 2010, 53 artists’ books by 14 women artists from various parts of Australia were delivered to Afghanistan, thereby beginning a process of creative collaboration between women situated in different places, cultures, and languages, attempting a productive connection through image and text. Each artist had created a small series of concertinas of imagery consistent with her current studio practice, which were then delivered to Afghanistan and distributed amongst women participating in literacy education. The women were asked to relate to the images by writing their own words directly within. The general intent was for the concertinas to be sent back to Australia, then bound and exhibited to raise public awareness, and possibly sold to raise funds. The artistic intent, however, was not the fundraising aspect as much as to take part in a process of support and dialogue with women in Afghanistan. It was a manoeuvre that said 'you are not alone'. The aim was to mobilise a conversation of sorts through the visuality and materiality of the artist’s book, despite the limitations of cultural, experiential, and physical distance. Just over six months from their delivery to Afghanistan, 36 of the 53 books returned to Australia, each marked with handwritten stories and poems in Dari and Pashto. This paper discusses the processes and considerations involved in the project, and the partnership formed with SAWA-Australia (Support Association for the Women of Afghanistan).

Nudity in kids' books is nothing to worry about

Explores the role of cultural gatekeepers in policing children's sexuality, particularly the issue of nudity in children's books

Tales of mystery and the mundane: children’s books in 2013

Part of a commissioned series reviewing notable cultural productions of 2013

Parent, child and state in Chinese children’s books

The representation of the relationship between parent and child, the moral cornerstone of Chinese society, is uniquely influential in Chinese children’s literature. After an extended period of almost two thousand years during which depictions of this relationship were static and unchanging, the beginning of the twentieth century ushered in a dynamic series of changes which responded to political needs. In this study we focus on these changes, examining four distinctive periods: the pre-modern dynastic period until 1911; the Republican and Nationalist phase from 1911 to 1949; the phase of Mao’s socialism from 1949 to 1976; and the post-Mao phase from 1976 to 2000.

Burning books and burying scholars: on the policies of the short-lived Qin Dynasty in ancient China (221-207 BC)

In 221 BC, the battle-hardened warriors of the Qin state, the western frontier state and the most aggressive of the Warring States, subjugated the last of its rival states, thus establishing the Qin dynasty, with itscapital in Xianyang, near the modern Xi’an. The Qin dynasty is customarily regarded by Chinese and Western scholars as the beginning of a new age – the Chinese empire – that lasted until 1911 AD. The dynasty lasted only fifteen years. This study examines the main policies of the Qin dynasty and seeks to address the question what brought the quick downfall of the Qin rule. This paper takes the cultural and political contexts carefully into consideration, and argues that the Qin annexation of its rival states might be better understood as an end of an old era as much as a beginning of a new epoch.