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Notes On Contributors, Index, Anna Rutherford, Anne Collett
Notes On Contributors, Index, Anna Rutherford, Anne Collett
Kunapipi
NOTES ON CONTRIBUTORS, Index
Palaver Sauce: A Thematic Selection Of Some West African Proverbs, Martin Bennett
Palaver Sauce: A Thematic Selection Of Some West African Proverbs, Martin Bennett
Kunapipi
If you never offer your uncle palmwine, you'll not learn many proverbs, prompts a Ghanaian saying. The advice seems to have been well-heeded. Whether painted across the fronts of speeding mammy-wagons or issuing from the mouth of a roadside mechanic or a paramount chief, proverbs throughout West Africa are in plentiful supply. Naming ceremonies, marriages, funerals; conversations in urban beer-parlours or by the palm-winetapper's fire; traditional folk-tales, some modem West African novels, highlife lyrics: These are just a few possible sources. Sierra Leoneans say: Proverbs are the daughters of experience. Or to put it another way. When the occasion comes, …
Mystery Of The Ocean Baths, Zeny Giles
Mystery Of The Ocean Baths, Zeny Giles
Kunapipi
E\ en- time the two of them go for a ride in the car. there is an argument. "I don't want it on. It's too tight.' "It's got to be tight to keep you safe.' She pulls against the strap. "Look I'll hold it.' she says, gripping the silver tab. 'You mustn't hold it. We could have an accident. A policeman might stop us.' 'No-one's going to see me." and she continues to strain against the belt. 'Mum, if you want a ride in this car. you've got to wear a seat belt." The old woman allows the belt to …
Conspiracy Of Delight, Zeny Giles
Conspiracy Of Delight, Zeny Giles
Kunapipi
It is something of a miracle to me that at the age of fifty, I should take up all-year- round swimming and grow addicted to the Newcastle Ocean Baths. I've learned to know the Baths through limpid blue and the turbulence of king tides. I've learned to differentiate between 19 degrees and 15 degrees and have, like my fellow regulars, become disdainful of the fickle summer crowds and secretly long for the water temperature to drop so that we, the true believers, can have the Baths back to ourselves.
Binlids At The Boundaries Of Being: A West Belfast Community Stages An Authentic Self, Tom Maguire
Binlids At The Boundaries Of Being: A West Belfast Community Stages An Authentic Self, Tom Maguire
Kunapipi
Much work has been attempted to forge identities beyond the dominant topographies of the political divisions within Northern Ireland; divisions which are expressed most visibly in the so-called 'peace line', a fortified wall that separates communities in West Belfast. The dominant ideologies within the state of Northern Ireland, Britain and internationally, seek to emphasise commonality between communities as a means of diverting attention from the gulfs between them that have been and remain unresolved politically and structurally. In the face of such strategies, the staging of a play in 1997 devised within a Republican community in West Belfast might appear …
Poems, Jennifer Strauss
Early Days On Point Pearce, Clem O'Loughlin
Early Days On Point Pearce, Clem O'Loughlin
Kunapipi
Anyway, I was born in Wallaroo in 1934. Those years, on Point Pearce, for some reason they didn't take the women into Maitland Hospital to have their baby. They had to go to Wallaroo, being a government hospital, I suppose. I was born there in 1934 and brought up on Point Pearce. I remember going to school at Point Pearce. You had to do lower one, I think that started at age five, and then grade one. I was pretty bright, too. They used to bring the bigger kids into my class and give me sums. I'd add up sums …
'It's Not A Story. It's History', Sue Hosking
'It's Not A Story. It's History', Sue Hosking
Kunapipi
In 1844 George Fyfe Angas promoted South Australia as a 'model colony', possessing 'a more highly moral, religious and intelligent population with Christian privileges than any other of our colonies' (Pike 138). Our model settlement was supposed to be ardent in its concern for Aborigines. In South Australia, we are now beginning to face up to that promotion as myth.
Poems, Charlene Rajendran
St Francis Church, Cochin [1503 Portuguese, 1776 Dutch, 1795 British, 1949 Church Of South India], Paul Sharrad
St Francis Church, Cochin [1503 Portuguese, 1776 Dutch, 1795 British, 1949 Church Of South India], Paul Sharrad
Kunapipi
Dropping free of the blue tinted cool onto hot sand, they trust to collective carapace, elbow through the call, dart, tug of predatory gulls to sanctuary
Making The Sign Of The Cross: Interdisciplinary Intersections In Theology, Australian Studies And Postcolonial Studies, Rebecca Pannell
Making The Sign Of The Cross: Interdisciplinary Intersections In Theology, Australian Studies And Postcolonial Studies, Rebecca Pannell
Kunapipi
This paper posits that there is a meeting place between Theology, Australian Studies and Postcolonial studies and that it lies in the intersections of culture, the crossroads which determine spaces of otherness, identity politics and hybridity. These notions of hybridity and transformation can be found in the symbol of the cross which is constantly being transformed, mutated, corrupted and resurrected in not only visual art, but also in performance texts. These texts reflect diverse responses to organised religion(s) in Australia and its (their) association across a range of interests, from the public arena, such as government policy and social welfare, …
Interview With Patricia Grace, Michelle Keown
Interview With Patricia Grace, Michelle Keown
Kunapipi
Patricia Grace, one of New Zealand's most prolific and influential Maori writers, was bom in Wellington (New Zealand) in 1937, of Ngati Raukawa, Ngati Toa and Te Ati Awa tribal descent. Grace began to write while working as a primary school teacher, and her first collection of short stories, Waiariki, was published in 1975, making her the first Maori woman creative writer to publish a book in English. Her first novel, Mutuwhenua, was published in 1978, followed by a second collection of short stories. The Dream Sleepers, in 1980. Other publications include four short story collections: The Electric City and …
The Ashram At Akaroa: Blanche Edith Baughan, Lidia And The Literature Of Maoriland, Jane Stafford
The Ashram At Akaroa: Blanche Edith Baughan, Lidia And The Literature Of Maoriland, Jane Stafford
Kunapipi
On April 13th, 1905, at eight o'clock in the morning, a young English woman, Blanche Edith Baughan, was standing among the pine trees of Long Look-out, a hill on Banks Peninsula, New Zealand. She was looking up at the sky, when suddenly 'the heavens opened'. As she recalled later, I was swept up and out of myself altogether into a flood of White Glory. I had no sense of time or place. The ecstasy was terrifying while it lasted. It could have lasted only a minute or two. It went as suddenly as it came. I found myself bathed with …
Aunt Yogi, Thiagarajah Arasanayagam
Aunt Yogi, Thiagarajah Arasanayagam
Kunapipi
'Children, children, call your father.' That was mother calling from the ulmuththam. There was a tone of urgency, as though the end of the world was at hand; and in mother's case she believed that since father was the head of the house, only he could save it. In spite of the repeated calls we dared not disturb father. With all the excitement that was being generated, nothing could spoil the tranquility that a good cigar gave him. He sat on the front thinnai puffing away at a cigar he had rolled himself. He wouldn't even deem to inquire what …
Raghupathi Bhatta: Reviving A Dying Art, June Gaur
Raghupathi Bhatta: Reviving A Dying Art, June Gaur
Kunapipi
Raghupathi Bhatta of Mysore, one of India's most promising traditional artists, hails from a family of South-Indian Pandits (Brahamin priests). It was in the ancient town of Nagamangala, seventy kilometers from Mysore, that his artistic imagination was fired. First, by the exquisite details of Hoysala craftsmanship in the temples there, and then, by the beautiful nineteenth-century playing cards of the Mysore Maharaja, Krishnaraja Wodeyar IV. He began his artistic career by learning Ganjifa, the delicate art on these tiny playing cards. But there were no gurus in the family from whom he could learn this centuries-old craft which had fascinated …
Raghupathi Bhatta, Raghupathi Bhatta
Raghupathi Bhatta, Raghupathi Bhatta
Kunapipi
Raghupathi Bhatta, whose work features on the cover of this issue, is an artist of Mysore, Southern India. His art draws upon themes and images of the Ramayana, Mahabharata, Bhagavad-Gita and the Dhammapadha. Bhatta's miniature paintings and Ganjifa (traditional playing cards introduced to India in the early sixteenth century) have been exhibited overseas in England, USA, Tunisia, Germany and Japan. Of the four paintings that follow, the first is of Lakshmi, Hindu goddess of wealth and good fortune and wife of Vishnu. Accounts of her birth say that she rose from the churning of the milky ocean, seated on a …
Indian Plantation ('Coolie') Experiences Overseas., Charles Sarvan
Indian Plantation ('Coolie') Experiences Overseas., Charles Sarvan
Kunapipi
The slave trade in Africans is perhaps the worst blot on recorded human history, given the trade's duration, the numbers involved and, above all, its appallingly cruel nature. The effects of the trade persist in various forms into the present, not least in the presence and experiences of Africans now native to the United States and the Caribbean. Ironically, the trade has been enabling in that it has generated numerous studies, autobiographies, memoirs and fictional works, the last not only by Africans (Toni Morrison, Caryl Phillips and others) but also by non-Africans, for example, Barry Unsworth {SacredHunger), Graeme Rigby {The …
Kanyakumari, Paul Sharrad
Kanyakumari, Paul Sharrad
Kunapipi
Forget the bird's-eye view; from a bus window you can touch gutters on both sides of the street.
The Rape Of Parwana: Mukul Kesavan's Inscription Of History And Agency, Tabish Khair
The Rape Of Parwana: Mukul Kesavan's Inscription Of History And Agency, Tabish Khair
Kunapipi
It would not be too much of an exaggeration to claim that, with the odd and honourable exception (such as Amitav Ghosh's The Calcutta Chromosome), the current Indian English fiction boom-boom depends heavily on two distinctive 'narrative styles' — a kind of domestic realism and a kind of magic realism. Rohinton Mistry, Kiran Desai, Vikram Seth (in A Suitable Boy), Arundhati Roy (to an extent) and so many others usually paint in a more or less 'realistic' idiom on a middle class domestic canvas. On the other hand, Salman Rushdie, Vikram Chandra, Rukun Advani and a few others take recourse …
Kunapipi 22(2) 2000 Editorial, Contents, Anna Rutherford, Anne Collett
Kunapipi 22(2) 2000 Editorial, Contents, Anna Rutherford, Anne Collett
Kunapipi
Editorial, Contents
Notes On Contributors, Index, Anna Rutherford
The Goddess Of Perilous Passage (Chapter One Of A Novel In Progress), Meira Chand
The Goddess Of Perilous Passage (Chapter One Of A Novel In Progress), Meira Chand
Kunapipi
The evening was already upon Calcutta, light sucked from the sky at an alarming rate. The first bats left their trees and flitted about in a purposeless way. Moths blundered into candles. In the fading wastes above the town the Pole Star hung, gripped invisibly by God's fingers, incandescent with strange light. A full moon appeared beside it. In the house there was bustle and a heightened sense of expectation not normally to be found.
The Parody Of Conquest In The Rainforest Of Borneo: A Tale Of Two Explorers, Agnes Yeow
The Parody Of Conquest In The Rainforest Of Borneo: A Tale Of Two Explorers, Agnes Yeow
Kunapipi
Darwin once said that entering the tropics was akin to entering a whole new planet and many adventurous travellers to Southeast Asia echoed that sentiment: Isabella Bird in the nineteenth century and Eric Hansen and Redmond O'Hanlon in the late twentieth. Nevertheless, it is an indisputable fact that the concept of terra incognita is never more forcefully manifested than in that other planet within the planet: that ecological marvel known as the rainforest. Borneo, third largest island in the world, is the site of one of the world's remaining primary jungle, eighty percent covered in 'steaming tropical rainforest' as Hansen …
A Sense Of Home (Opening Sequence Of A Novel In Progress), Kee Thuan Chye
A Sense Of Home (Opening Sequence Of A Novel In Progress), Kee Thuan Chye
Kunapipi
Mama died two nights ago. Very quietly. No one expected. We were surprises because she's awways so ... noisy. Dono wy but I diden cry much. In fac, I tink I feel ... diffren ... maybe like more free. Anyway, she never love me much la. I know because she even tole somebody, in fron of me. "I only love der boys," she said. "Der girl I hate"
Tommy Atkins In India: Class Conflict And The British Raj, Teresa Hubel
Tommy Atkins In India: Class Conflict And The British Raj, Teresa Hubel
Kunapipi
In the May 27th, 1784 edition of the Calcutta Gazette, one of the earliest and most widely read of all British India's newspapers, the following notice appeared: A subscription is opened at the Bengal Bank, for the relief of the Non-Commissioned and private Europeans, of the King's and Company's Troops in the Carnatic, who were unfortunately captured during the war with the Nabob Tippoo Sultan, and have lately been released from their confinement, and the same is to extend to all other Europeans of the lower class in the same predicament
A Home Somewhere, Shirley Geok-Lin Lim
A Home Somewhere, Shirley Geok-Lin Lim
Kunapipi
Chester had expected a little girl, but Suyin is already taller than her mother Li Ann. Perhaps that isn't surprising, as his parents are tall, and he had been one of the tallest boys in his high school. He had thought she would have been immediately recognizable, like his sister would have been had she survived her infancy. Fair and pink, gold-red hair, straight high nose, and finely etched lips. 'A rosebud,' Mother had said to a visiting neighbour a long time ago, when he was about five. He had never forgotten the word, because Mother hardly ever spoke about …
Complicity And Resistance: English Studies And Cultural Capital In Colonial Singapore, Philip Holden
Complicity And Resistance: English Studies And Cultural Capital In Colonial Singapore, Philip Holden
Kunapipi
In his recent memoirs, former Singapore Primer Minister Lee Kuan Yew notes a surprising connection between himself and other leaders of newly independent Commonwealth states in the 1960s. Recalling his studies at Raffles Institution, the colony's premier Anglophone secondary school, and his sitting for the Junior Cambridge and Senior Cambridge School Certificates, Lee notes that he was following a syllabus taught throughout the Empire. 'Many years later, whenever I met Commonwealth leaders from far-flung islands in the Caribbean or the Pacific. I discovered that they had gone through the same drill with the same textbooks and could quote the same …
So Mush Of Me, Charlene Rajendran
So Mush Of Me, Charlene Rajendran
Kunapipi
So mush of me is English. My dreaded colonial heritage. From Enid Blyton to Beatrix Potter my idylls lie distant in Yorkshire.
The Filmic Representation Of Malayan Women: An Analysis Of Malayan Films From The 1950s And 1960s, Adeline Siaw-Hui Kueh
The Filmic Representation Of Malayan Women: An Analysis Of Malayan Films From The 1950s And 1960s, Adeline Siaw-Hui Kueh
Kunapipi
This paper began with my interest in the roles of women in the black and white films of Malaya, spurred on by my own early childhood memories of these films. The female characters left a profound impact on me (regardless of whether they were good or evil) and have remained a source of curiosity. No longer happy with having them function merely as part of my memory, I began watching many of these films again and found remarkably intriguing portrayals of femininity that continue into present-day Malaysian society. With these concerns in mind, my paper will specifically focus on six …
A Distracting Glow, K S. Maniam
A Distracting Glow, K S. Maniam
Kunapipi
They really began going to the coffee shop after their neighbours stopped visiting them, and then more desperately just after that last appearance Poh Sim's mother made. They went when the house became silent because there was no child to run around overturning chairs or knocking into doorknobs and the sharp edges of the kitchen cabinets. When the worry about the child being there when she turned round with a pot of hot water, from the stove, or of having the skin peeled off by the exhaust pipe just after he had parked the motorbike, was never going to come.