After fleeing a disastrous teaching job (and a bad gambling habit) in Boston, Lindsey starts teaching English in Hime, a small fishing town in Japan. One morning, while trying to snap the perfect ocean sunrise photo for her mother, she slips off a rock at the edge of Toyama Bay, hits her head, and plunges into the sea—and in doing so, sets off an unexpected chain of events.
This is Rapatahana’s seventh collection of poetry. He writes in both of his main languages te reo Māori and English. Divided into five sections, these poems reflect Rapatahana’s strongly visceral style, whereby he confronts all manner of demons, ranging from intensely personal through to strongly political. His locales are international, with poems describing issues across the globe, although based primarily in Asia and Oceania.
Collecting objects gives enormous pleasure to approximately one third of the population, providing such benefits as intellectual stimulation, the thrill of the chase, and leaving a legacy. On the other hand, the same pursuit can engender pain; for example, paying too much for an object, unknowingly buying a fake, or dealing with the frustrations of collection dispersal.
This is the story of the Reeves Collection of botanical paintings, the result of one man’s single-minded dedication to commissioning pictures and gathering plants for the Horticultural Society of London.
Drawing on examples from Myanmar, Thailand, Malaysia, Indonesia and the Philippines, the authors discuss some aspects of sound in relation to their ethnographic context.
Mouse, Fox, Spider, and Snake all want to scare Bear. But Bear is the bravest animal in the forest—nothing scares Bear.
A fascinating and innovative study of the Malay performing arts of Kepri, Performing the Arts of Indonesia is the first of its kind. The volume, written by fifteen contributors, adds greatly to our knowledge of the cultures of a region previously receiving little attention and brings to light previously unknown material.