Anger, deceit, snobbery, sex, madness: Tennessee Williams’ 1947 play about two sisters in a small flat in the French Quarter of New Orleans has it all.
The flat belongs to the younger sister, Stella, and her husband, Stanley (that Louisiana observes ‘Napoleonic law, whereby the property of the husband is the property of the wife, and vice-versa’ is a plot point), who are poor, passionate, and apparently happy – until older sister, Blanche, turns up, broke and needing a place to stay.
Early last year I wrote a two-part series on the evolution of the King James Bible. For over three hundred years, from its publication in 1611 until the mid-twentieth century, the King James Bible, or Authorised Version, was the most widely-read bible among English-speaking Protestants.
Mid-twentieth century poet James K. Baxter was a complicated man with a certain prophetic bent. A number of his poems, like this one, challenged contemporary social assumptions. In ‘The Maori Jesus’, the Christ is depicted as a somewhat down-and-out member of New Zealand’s indigenous people who pays a heavy price for living outside comfortable White social norms. For me as a Christian, Baxter captures something in this poem which is too easily forgotten in our ‘nice’ White, middle class religion.
This short piece was the theme music for the BBC’s ‘Chronicles of Narnia’ back in the 1980s. I loved the series, and consider it to be superior to the more recent movies because it was far truer to the books and therefore did a far better job of conveying the deeper meaning of Lewis’ works, rather than focussing on the visual appeal of special effects.
Geoffrey Burgon (1941-2010) was a composer of television and film scores whose best-known works include the scores for Monty Python’s ‘Life of Brian’ and ITVs ‘Brideshead Revisited’. He won BAFTAs for his themes for ‘Longitude’ and the remake of ‘The Forsyte Saga’. He was also a jazz trumpeter, and this was his original intended career. He eschewed the various musical trends of the 20th century in favour of more traditional styles and medieval influences. As a result he was dismissed by critics as ‘commercial’ – and popular with mainstream audiences like eight-year-old me who understood nothing of classical music but liked the pretty, hummable tune which heralded the latest instalment of a favourite show.
The 20th century was a time of tremendous social change as people began to question, and then challenge, the hierarchical concepts which had previously shaped the social order. From the suffragettes of the early 20th century to the mid-century Civil and Women’s Rights movements to the LGBT activism of the late 20th century ideas about who should have power, and why, have changed in ways that our great-grandparents would probably have struggled to imagine. Continue reading “Poems You Should Know: Still I Rise”→
Dystopian fiction tells the story of a world gone bad. Exactly how and why it’s gone bad can vary: there’s usually a totalitarian government of some form, but whether they caused the bad or rose to power because of the bad isn’t always clear. What is clear is that now, everything sucks. In this post I’ll be looking at a few of the most famous works of classic dystopian fiction.
First produced in 1957, New Zealand play The Pohutukawa Tree by Bruce Mason, tells a similar story to that of Patricia Grace’s Potiki. It’s the story of a proud matriarch, Aroha Mataira, the widowed heir to the chieftainship of the Ngati Raukura tribe and the mother of the last Maori family living on their traditional lands at the small township of Te Parenga. The rest of the tribe have long since sold their land to the Atkinsons, the Pakeha (White) landholding family who have dominated the area for three generations, and Mrs. Mataira and her two children, Johnny (18) and Queenie (17) work for the Atkinsons. Continue reading “Local Culture: The Pohutukawa Tree”→
“Keep the secret of whodunit locked in your heart.”
The longest-running West End show ever (it opened in 1952 and has just kind of kept going) is actually quite hard to track down online, especially if you’d like to be able to hear what the actors are saying and not get seasick from shaky camera action. The version I eventually settled on was pretty good apart from the person who coughed all the way through. And the rather hit-and-miss efforts of the American actors to affect British accents, but then I am British so I know the difference. Continue reading “Playtime: The Mousetrap by Agatha Christie”→
Thus far in this project I’ve rather neglected New Zealand literature, so I thought I should pay it some attention. Doubly rooted in the rich oral tradition of the indigenous Maori people and the equally rich literary tradition of Britain and Europe, New Zealand offers a great deal that is worth paying attention to. The following is little more than a taster of works by some of our most celebrated writers, arranged in chronological order. Continue reading “New Zealand Literature”→