A lost book recovered: Original Poetry, by Mrs C. Fulton; to which are added a few Poems by her Father, Mr James Dods

Wednesday, October 19th, 2022 | Hocken Collections | No Comments

Post researched and written by Christopher Meech, Head Curator Publications, Hocken Collections

Every now and then a find quite unexpected and novel comes through the doors at Hocken. A small book titled Original Poetry, by Mrs C. Fulton, to which are added a few Poems by her Father Mr James Dods[1], is such a remarkable find. This modest publication has been largely forgotten by history and has a unique and special tale behind it.

Title page Original Poetry, by Mrs C. Fulton, to which are added a few Poems by her Father Mr James Dods

Written in 1867 and published and printed in the goldfields frontier town of Lawrence, Otago, this wee gem of a volume has evaded public collections for more than 150 years. Original Poetry, by Mrs C. Fulton is not recorded in the Bagnall’s monumental New Zealand National Bibliography to the year 1960[2], nor is it mentioned in any subsequent print or electronic bibliographies. It is a lost book recovered.

Original Poetry is the first poetic offering by colonial settler poet Christina Fulton and was greeted with favorable reviews in national newspapers when it was published[3]. It includes poems inspired by the local environment such as Dunedin in the early part of 1863; Collision at Port Chalmers, 1863; The Clutha and Tuapeka. Fulton’s poems record her thought and experience as a woman in settler society. Some poems celebrate the natural environment and domestic life, others speak to a sense of separation from family, others still to exotic lands and people. The book is dedicated to Christina’s father, John Dods, and also includes a selection of his poetry. The following year, in 1868, Fulton published a second poetic offering Lella: a poem. It was the last book she would write.

‘Dunedin’ by Christina Fulton

The Dunedin character, pamphleteer, and politician J.G.S. Grant recounts in his Dunedin newspaper the Saturday Review the tale of how Christina Fulton’s Original poetry came to be published:

“The history of this little volume of 131 pages is a romantic episode in literature. About seven months ago we made a tour of Otago, and among other places, we paid a visit to Blue Spur. It was a very wet morning when, in company with Mr. Greig, Tuapeka ‘Press,’ we started from Lawrence, and proceeded, via Wetherstone’s village, along the ranges of the Blue Spur. After inspecting the sluicing operations at the head of Gabriel’s Gully …we entered a pretty little cottage, and being perfectly saturated with wet, warmed and dried ourselves over against a roaring fire, and partook of an elegant repast, hospitably spread out before us by the polite lady of the cottage. She — having learned our name from the gentlemen accompanying us — brought out from her desk a beautiful album, and modestly requested us to favour her with our opinion of the merits of sundry poems therein elegantly engrossed. On opening the album before the cheerful fire, after having refreshed our languishing frame with the good things of this life, our spirits began to revive, and we forgot that we were in the midst of a waste howling desert, and began to scan the verses of the manuscript. After a pause of meditation, we closed the book, gave it to the lady, and inly exclaiming “Eureka ! Eureka !” like the ancient sage, importuned our fair hostess to hand it over to Mr. Greig for publication. Reluctantly, on the strength of our commendation she assented, and so we, accompanied by Mr. Greig, retraced our steps to Lawrence…”[4]

Christina Dods was born in Edinburgh in 1838 to James Dods and Helen Sinclair. She and the family migrated to Melbourne in 1853 and soon moved to the goldfields of Bendigo. In 1856 Christina married Robert Gammell Fulton. Christina and Robert were lured to Otago by the promise of gold and settled at Blur Spur, Otago. By 1868 the Fulton’s cottage at Blue Spur had been virtually sluiced out from under them. This, coupled with the bitter southern winters led to the Fultons move to Fiji that year. The Fultons sailed on the ‘Banshee’ on 20 September 1868 and established a plantation at Valaga in Savu Bay on Vanua Levu, together with Christina’s father, mother and brothers. Christina was only to live another six years, by 1874 she had passed away, a victim of the insalubrious Fijian climate. Christina and Robert had no children together.

Original Poetry, by Mrs C. Fulton, to which are added a few Poems by her Father Mr James Dods was generously donated to the Hocken Collections by the great-great-grandson of Mrs Catherine McNab, the Rev. Michael Wallace, in April 2021. It is the only known extant copy and bears a dedication on the title page to Mrs McNab from Mrs Fulton. Flowers and leaves have been pressed between the book’s pages. Thanks to Rowan Gibbs for his excellent research and article ‘Christina Fulton, 1838-1874’[5].

Original Poetry, by Mrs C. Fulton is available to be viewed at Hocken Collections.

Pressed flowers associated with the Hocken copy of Original Poetry

[1] https://otago.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma9925830048201891&context=U&vid=64OTAGO_INST:DUNEDIN&lang=en

[2] Bagnall, A.G. (Eds) New Zealand national bibliography to the year 1960

[3] Bruce Herald, Volume IV, Issue 168, 10 July 1867, p.6 https://paperspast.natlib.govt.nz/newspapers/BH18670710.2.26

[4] Saturday Review, 25 May 1867 pp.543-4

[5] Poetry notes, Win 2017; v.8 n.2:p.1-7 https://poetryarchivenz.files.wordpress.com/2010/05/poetry-notes-winter-2017.pdf

 

Alternative sources for alternative voices

Monday, June 28th, 2021 | Hocken Collections | No Comments

Post researched and written by General Assistant Gini Jory

Radical writers are often thought of as a cornerstone of New Zealand literature. Whether it be poetry, short stories, novels, commentaries or screenplays, these writers have cried out against the status quo, speaking out on issues such as racism, social injustice and numerous other political concerns. These thoughts have shaped New Zealand literature and in turn have produced a wealth of writers armed with radical prose and ideas.

James K. Baxter, c.1965-1972. Michael de Hamel photograph, Box-005-002, Te Uare Taoka o Hākena – Hocken Collections, University of Otago.

One of the most prominent of these writers is James Keir Baxter (1926-1972) who was born into a family with established radical leanings. His father was Archibald Baxter (1881-1970), a socialist, pacifist, conscientious objector during WWI and the author of We will not cease, the memoir of his brutal experiences of forced conscription and imprisonment. The Hocken holds papers for both James K. Baxter (ARC-0027) and the Baxter family (ARC-0351) in the archives collection. Born in Dunedin, Baxter spent his formative years here, attending the University of Otago and returning later as a Robert Burns fellow in 1966. His published works cover a huge range with poetry, literary criticism and social commentaries at the forefront. He was also well known for his radical lifestyle; most notably the period in later life when he moved to Jerusalem/Hiruhārama, a Māori settlement on the Whanganui River, leaving behind his University position and job.

When thinking about potential information the Hocken might have on Baxter, you would be safe in the assumption we carry a large amount of his published works, along with the previously mentioned archival collections. However, given the radical and alternative nature of Baxter’s life and writing, this post will cover some of the more alternative, and perhaps less obvious items we carry in our collections that are equally as useful for research.

If you’re interested in taking a more active (literally!) research approach, a great place to start would be with Writers Dunedin: Three Literary Walks. Along with short biographies of many Dunedin writers, this item provides a map of three walks you can take around Dunedin, highlighting places of significance in the literary history of Dunedin and in the lives of these writers. This includes places like the Robert Burns statue in the Octagon, the Globe Theatre, the University clock tower building, as well as lesser-known places including pubs frequented by writers, schools, houses, bookshops and publishing firms. All three walks include places of significance in the life of Baxter.

Map kindly provided with permission from Southern Heritage Trust. Map design by Allan Kynaston. Barsby, John & Frame, Barbara Joan. Writer’s Dunedin: Three Literary Walks. Dunedin: Southern Heritage Trust. 2012

This publication is a companion to another item, found in our AV collection: Hear our Writers: an audio compilation of eleven Dunedin Writers. This sound recording comprises writers reading aloud their own poetry, as well as having it read by others. James K. Baxter is among these authors, and you can listen to him read his poem The Fallen House, a reflection of his early life in Brighton which he has referred to as his “lost Eden”. It is a very immersive experience to hear a poem spoken by the person who wrote it over 50 years ago, and to understand how he meant it to be heard with his own specific inflection and voice, rather than how we as readers may imagine it in our heads. This item also goes to show just how many alternative mediums there can be, and something written will not only appear in our collection as a published book or collection. We hold several other recordings relating to Baxter, further proving you can find information in the most unexpected places.

Baxter, James Keir. ‘A small ode to mixed flatting.’ Published in Falus: the official organ of the Beardies and Weirdies Industrial Union of Workers. Dunedin. 1967. (The poem continues over page.)

Another slightly different item we hold is an alternative student publication from Otago University, entitled Falus: the official organ of the Beardies and Weirdies Industrial Union of Workers. It was in this that A small ode to mixed flatting was originally published in 1967. This was in response to a decision made by the University to forbid mixed flatting, something that these days is seen as completely normal and out of scope of the University’s control.  Critic was not interested in the story of the student expelled over this issue, so he took it to Falus instead. They approached Baxter and he agreed on the spot, providing them with A small ode to mixed flatting. This piece is an excellent example of Baxter’s alternative outlook and the importance of social activism and criticism in his life. As the Burns fellow at the time of this event, he was not a student directly affected by this decision (he was technically an employee of the University) however, he still took this opportunity to criticise the University over what many students saw as an infringement on their rights.

We have several issues of Falus, ranging from 1965-1968, featuring many poems and political letters, with a lot of satirical content (though not all stand the test of time!). Baxter has also made other contributions to this publication, including a letter about the capping show of 1967. If you are interested in student activism or political poetry, this magazine is a wealth of information and entertainment.

We hold other items related to this mixed flatting event, including this neat pamphlet advertising an organised sleep in, which can be found in our Ephemera collection. ​

Live-in. [1960s] From the Ephemera Collection, Te Uare Taoka o Hākena – Hocken Collections, University of Otago.

We have a few items relating to Baxter on display in our current exhibition, Drift– a new exhibition featuring recent Hocken art acquisitions and selected collection items. These include a photograph of Baxter rolling a cigarette taken by New Zealand art historian, writer and photographer Gordon Brown (b.1931), and a papier mâché ‘Head in a bottle’ made by Baxter in 1951/52 and deposited by his son John Baxter in 2018.  Upon depositing, John wrote:

Please find enclosed the papier mâché head made by James K. Baxter as a young student at Wellington Teachers’ College. It was then a part of his desk furniture for many years, becoming a part of the internal landscape of my mother’s house after his death.

The head was much admired by my mother’s close friend the writer Janet Frame and was left to her in my mother’s will.

Sadly Janet predeceased Jacquie so the piece has come down to me as the remaining child.

I worry about its condition and would be happier if it were in a place where it could be preserved, […]

Drift is open until Saturday 17 July (Monday – Saturday 10am-5pm), so please come visit if you are interested in viewing these items in the exhibition.

When researching a famous local writer, there are plenty of obvious places to look and sources to use. Hopefully this post has highlighted some alternative sources on this topic, as well as demonstrating how the many different collections we house can be of use for all kinds of research- you might find the perfect resource in the most unexpected place!

 

References

James K. Baxter, c.1965-1972.  Michael de Hamel photograph, Box-005-002, Te Uare Taoka o Hākena – Hocken Collections, University of Otago.

Live-in. [1960s] From the Ephemera Collection, Te Uare Taoka o Hākena – Hocken Collections, University of Otago.

Baxter, James Keir. Literary Papers. ARC-0027. Hocken Collections, Dunedin.

Baxter Family Papers. ARC-0351. Hocken Collections, Dunedin.

Baxter, Archibald. We will not cease. London: Gollancz. 1939.

Barsby, John & Frame, Barbara Joan. Writer’s Dunedin: Three Literary Walks. Dunedin: Southern Heritage Trust. 2012.

Southern Heritage Trust. Hear our Writers: an audio compilation of eleven Dunedin Writers. (Sound recording) Dunedin: Southern Heritage Trust. 2009.

Baxter, James Keir. ‘A small ode to mixed flatting.’ Published in Falus: the official organ of the Beardies and Weirdies Industrial Union of Workers. Dunedin. 1967.

Baxter, James Keir. Head in a bottle, 1951 or 1952. Papier mâché, paint, repurposed bottle. Wellington, New Zealand. Deposited by John Baxter, 2018.

 

Dunedin’s Hermit of Flagstaff

Monday, May 4th, 2020 | Anna Blackman | 2 Comments

Ben Rudd, Flagstaff (1924). Rudd outside his stone cottage. Hocken Collections Uare Taoka o Hākena, P1997-155/04-0738-001.

Post researched and written by Jennie Henderson, Hocken Collections Assistant.

Many of us may be feeling a bit hermit-like during New Zealand’s Covid-19 lockdown, but we are not Dunedin’s first hermits!  100 years ago, Dunedin resident Ben Rudd earned the nickname ‘The Hermit of Flagstaff’ with his reclusive habits.

Benjamin Rudd (1854-1930) was born in England, and came to Dunedin after completing a gardening apprenticeship. He worked in Dunedin as a gardener for many years, and lived on two farm properties on the slopes of Flagstaff. When he wasn’t working in town, and after his retirement from gardening, Rudd poured all his efforts into his farm – laboriously building stone fences and his hut by hand, developing extensive gardens, and lovingly caring for his animals.[1]

In this section of W.T. Neill’s 1922 map, Ben Rudd’s first farm, Woodside, can be seen. Rudd sold this farm and moved back into Dunedin to work as a gardener for Peter Dawson in 1919, but returned to a new property on the northern slopes of Flagstaff after 18 months. Topographical map showing Dunedin and vicinity / from surveys by W.T. Neill, district surveyor, [Wellington]: N Z Lands and Survey. Sourced from LINZ. Crown Copyright reserved.

Rudd and his property were often a target of vandals, thieves and larrikins, presumably due to their isolation, and perhaps also due to Rudd’s short stature and fierce responses to any threats. In the face of damage to his buildings and crops he became increasingly reclusive, suspicious of strangers, and aggressive to trespassers.

Rudd’s disputes with his tormentors often made it to court, and a colourful picture of these surprisingly violent encounters can be drawn from the newspaper reports. In 1886, Rudd was committed for trial for shooting at John Waldie with intent to kill.[2] It was reported that Waldie and a friend had ridden past Rudd’s property, and said to him “Good morning, Uncle Ben. You’re working hard”. Rudd’s response was to throw stones at them, and then to shoot at them, hitting Waldie and his horse. Rudd’s lawyer argued that the men had teased Rudd many times, and that he had only intended to scare them with the gun. At his trial, the jury found Rudd not guilty.[3]

In 1889, Rudd was found to have assaulted Susan Hornsby. When Rudd found Hornsby and her sister out walking on his land, unknowingly trespassing, he hit her on the face, grabbed her hair, and kicked her. Rudd maintained that he did not touch her, but only waved his hand near Hornsby to shoo her off his land. The court considered the charge to be proven, and Rudd was fined.[4]

In 1894, Rudd was in court again for assaulting a trespasser with a hay-fork. The attending doctor reported that Edward Thomas’s skull was fractured by Rudd’s blow. He was fined £22 and costs.[5]

In 1902, during another assault trial, Rudd’s defence counsel commented on the extent of the trespassing which so infuriated Rudd:

“…practically speaking the whole of the top of Flagstaff was Rudd’s property, part of it freehold and part leased. On holidays, Saturdays, Sundays, and Wednesdays a number of persons were frequently walking through and trespassing on his ground… Considerable damage was often done to his fence and any crop he might have.”[6]

This frustrated a local, who wrote to the newspaper in reply:

“… I have heard of Rudd and his propensities, and have always carefully avoided the enclosed selection on which he lives. Outside it there are no fences; there is nothing whatever between high roads and mountain top to suggest that the land is other than common. Am I, nevertheless, liable to Rudd’s pleasant attentions? … It would seem…so long as Ben doesn’t kick us, he may knock us about as he pleases… perhaps, he’ll strike a snag next time.”[7]

The judge presiding over the case acknowledged the problem of Rudd’s behaviour: “… it was a difficult thing to know what to do with this man, whether he should not be punished or sent to some place where he could be controlled”.[8]

It was a challenging situation for all involved.  Rudd, hugely sensitive to trespass (and violent towards the trespassers) but also the target of abuse, faced frequent incursions onto his property. One such walker actually posted an apology in the paper in 1904.[9] Inspired by this apology, a member of the public, Mr Baylie (actually Rudd’s uncle), wrote to the editor describing some of the offences against Rudd and his property, including garden implements and firewood being stolen, and on one occasion, a large stone being loosed and rolled down the hill, breaking his fences.[10] In 1907, Rudd brought trespass and assault charges against a picnicker. At the trial, Rudd’s lawyer spoke of the magnitude of the issue: “The number of trespassers averaged 100 a week. In the course of one year he had counted 16,000 trespassers on his property. He had intended to rear native birds, native trees, and game on his property, but trespassers had defeated his objects”.[11] Conversely, the lawyer for the defendant stated that Rudd “…had been a source of terror for many years to people who desired to visit Flagstaff. He had really become a menace to the safety of the public”.[12] The newspaper reports on Rudd reveal that his situation somewhat polarised the town. Many seemed to empathise with the old man who just wanted to be left alone, and others found his actions, and his desire to limit access to Flagstaff, reprehensible.[13]

While Rudd clearly had faith in the court system, he also spoke for himself by composing poems. In 1904, a photo of Rudd and his horse Kit was published with the title ‘A well-known local celebrity’. It was accompanied by a poem, by Rudd, about Kit.[14] In this poem, Rudd refers to himself as ‘a jovial soul’ who defies trouble.  He mentions ‘The folk [who] kindly greet us’ as he and Kit headed into town for supplies; this was a vastly different picture of his experiences than that painted by his appearances in the court news!  Rudd was also concerned about the ability of the working man to earn an honest living on the land, as expressed in this poem to local representative Donald Reid, and in this poem about taxes republished after his death.[15]  Rudd clearly felt the pressure of changing times encroaching on his desire for a simple farmer’s life.

Perhaps surprisingly, one group of walkers found favour with Rudd and became friends with the old man. In 1923, members of the newly formed Otago Tramping Club (now the Otago Tramping and Mountaineering Club) encountered Rudd while walking in the area. This initial meeting is recounted in the first issue of the Club’s journal, Outdoors, in 1934.[16] In spite of Rudd’s reputation, he and the Club came to an agreement that he would cut a track through the scrub for the club members to access Whare Flat, for which he was paid £5.[17] Club members regularly visited Rudd on their walks through the area.[18]

Ben Rudd with visitors (1923-1925). A photo of Rudd, possibly with members of the Otago Tramping Club. Hocken Collections Uare Taoka o Hākena, P1998-103.

O. Balk, Ben Rudd and Mrs Lessing (1924). Balk was the first president of the Otago Tramping Club. Hocken Collections Uare Taoka o Hākena, P1997-155/04-0738-002.

In February 1930, two of Rudd’s visitors found him ill in his hut.[19] It seemed that he may have been ill for some time, but was unable to go for help.  He was taken to hospital, but died there on March 2. Obituaries and reminiscences were published in the paper for some time after his death.[20]

Ben Rudd (c.1920s). Ben Rudd in his garden. Hocken Collections Uare Taoka o Hākena, P2002-045-001.

Rudd lived on in the common memory of Dunedin residents, and in landmarks. Rudd Rd ran (and runs today) off Wakari Rd and up towards to site of Ben’s first farm, Woodside.  In 1934, a correspondent to the Evening Star suggested renaming Flagstaff ‘Rudd Hill’.[21]  In 1946, the OTC purchased Rudd’s second farm on the northern slopes of Flagstaff, and runs it as a trust to this day.  They organise regular expeditions for weed control and native tree planting, and there is a shelter built near the former site of Ben’s hut.  Much of the information available about Ben Rudd has been gathered together by the OTMC in relation to the Ben Rudd Management Trust, and is published on the OTMC website.

Hocken holds archives (ARC-0338), publications, and ephemera relating to the OTMC, with special reference to Ben Rudd’s property, including:​ Friends of Ben Rudd’s newsletter, programmes of the OTMC which include details of working bees on the property, the OTMC journal Outdoors, Friends of Ben Rudd membership certificate, Annual reports of the OTMC (including the report from 1947 which first refers to the purchase of Ben Rudd’s land), and plans for a shelter to replace Ben Rudd’s hut.

This Otago Tramping Club annual report (1947) mentions the purchase of Ben Rudd’s former farm and the erection of a hut.

The Hocken Photographs collection holds a number of photographs of Rudd, such as the examples below.

Ben Rudd with Maggie Watt (c.1900). Hocken Collections Uare Taoka o Hākena, Box-027 PORT 1303.

Hermit of Flagstaff, Ben Rudd (c.1920s). Hocken Collections Uare Taoka o Hākena, P1999-033-001.

As well as writing poems himself, Ben Rudd provided inspiration for others. Charles Brasch, the famous Dunedin poet, wrote a poem ‘Ben Rudd’. It was first published in Landfall in 1957, and revised for Ambulando (1964).  The Aotearoa NZ Poetry Sound Archive has a recording of Brasch reading this poem on New Zealand poets read their work (1974). Hocken also holds a copy on LP.​ You can listen here at the poetryarchive.org.

… No one crossed his door,

No one crossed his path

For fear

Of sudden threat or oath.

 

And yet his single care

Was to keep at bay

All who might interfere

Coming to pry – …[22]

 

Dunedin author Geoff Weston also wrote a poem about Rudd, published more recently in 2005.

 

…“I’ve been once to town!” He’d’ scowl; “And that’s enough-for me.”

“I found these boots; these bloody boots;

And they’ve never been right.

They make me itch; and they make me scratch; and they make me pee;

And they’re always bloody tight!”…[23]

 

Rudd was buried in Anderson’s Bay cemetery with his uncle John Wycliffe Baylie.  He is remembered for his eccentricity, his volatile temper, his passion for nature and animals, and through his land, managed in his name to this day.

Ben Rudd’s headstone in Anderson’s Bay cemetery, Dunedin.

[1] For a wonderful image of Rudd standing by his stone walls, see Otago Witness, 3 May 1911, Page 46 (Supplement). Jane Thomson, ed., Southern People: a dictionary of Otago Southland biography, Longacre Press, Dunedin, New Zealand, 1984 describes Rudd’s method of levering individual stones into place from a sack tied around his waist like an apron.

[2] Tuapeka Times, 9 January 1886, Page 2.

[3] Evening Star, 12 April 1886, Page 2.

[4] Evening Star, 5 April 1889, Page 2.

[5] Evening Star, 23 June 1894, Page 1 (Supplement).

[6] Evening Star, 14 February 1902, Page 3.

[7] Otago Daily Times, 15 February 1902, Page 11.

[8] Evening Star, 14 February 1902, Page 3.

[9] Evening Star, 2 November 1904, Page 5.

[10] Evening Star, 7 December 1904, Page 8.

[11] Evening Star, 9 December 1907, Page 4. There is a full description of the trial, including the injuries to Rudd and the defendant, Edward Fountain, here.

[12] Evening Star, 9 December 1907, Page 4.

[13] In Evening Star, 24 June 1905, Page 9, there is a long and touching interview with ‘the strange man of the hill’ which illustrates how many Dunedin locals felt a connection to Rudd. Compare this to the unfavourable remarks in ‘Dunedin letter’, Tuapeka Times, 18 December 1907, Page 3.

[14] Otago Witness, 30 November 1904, Page 74.

[15] The editorial piece which includes to poem to Reid also mentions the death of Rudd’s horse, at his own hand, when she collapsed with old age, Evening Star, 17 March 1906, Page 2. ‘Taxes’, Evening Star, 4 March 1930, Page 7.

[16] Held at Hocken Collections.

[17] Evening Star, 12 October 1923, Page 6.

[18] For example, see Otago Daily Times, 7 October 1926, Page 4.

[19] Otago Daily Times, 24 February 1930, Page 7.

[20] ‘Obituary’, Evening Star, 3 March 1930, Page 9. For some heartfelt reminiscences, see ‘From a suburban balcony’, Evening Star, 22 March 1930, Page 2; ‘Ben Rudd, the Flagstaff Hermit’,
Otago Daily Times, 29 March 1930, Page 19.

[21] Evening Star, 27 October 1934, Page 2.

[22] Charles Brasch, ‘Ben Rudd’ from Alan Roddick, ed., Collected poems, Oxford University Press, New Zealand, 1984.

[23] Geoff Weston, ‘I knew Ben Rudd’ in Knight, et al., Glowing embers, Dunedin, 2005.

Cataloguing Charles – interning at the Hocken

Tuesday, September 26th, 2017 | Anna Blackman | No Comments

Blog post researched and written by Lakin Wilton, HUMS 301 Intern

I have had the fantastic opportunity of interning at the Hocken through the University of Otago’s Humanities Internship, which offers students the chance to be placed in an organisation in Dunedin and undertake a project in place of a paper. The internship counts towards your degree, which is absolutely fantastic and I strongly encourage any student of Humanities to sign up.

Charles Brasch, MS-0996-012/094/010

Before starting my internship, Charles Brasch was a name I had heard, but not a name I knew anything about. I started at the Hocken at the beginning of August, and though I have only spent a short time here, I feel as though Charles Brasch and I have become great friends.

My project was a continuation of the project started by last semester’s intern, which allowed me to jump right in and get started. I worked with the Charles Brasch Literary and Personal Papers Collection, cataloguing photographs that he donated to the Hocken when he died in 1973. The background to the collection and how it has been catalogued is interesting, and it is amazing how archives can evolve over time when new developments come about.

The photographs in this collection were originally repackaged and catalogued in 2003. While they were listed on the Hocken database, not all of them were able to be identified. Now, there are more resources available to help with identification, such as Charles’ published journals, which have comprehensive biographical notes on many of Charles’ friends, family, and people he met during his life. The power of Google is another useful tool that can be used to identify people and places.

Some of the photographs in the collection are used frequently for publication, which is one of the reasons why the curator of the collection decided to add more detail to the catalogue. Having a more detailed catalogue improves findability, which for such a vast collection is extremely helpful. For example, I found a photo of Charles with authors C.K. Stead and Janet Frame looking more relaxed than the commonly published version of the photo.

Charles Brasch, Carl Stead, and Janet Frame MS-0996-012/159/001

Further, some of the photographs are already digitised, and having a more detailed listing will allow online access to those photographs. There is also potential for the further digitisation of images.

In terms of my project. I quickly learnt that cataloguing is not a matter of simply entering data into a spreadsheet…

Charles Brasch was an avid photographer and was something of an archivist himself. Charles’s photographs span decades, and the collection consists not only of his personal photographs, but also of family photographs handed down to Charles. Cataloguing such a mammoth collection is no small task, but it is an enjoyable one.

I quickly found that the most frustrating aspect of cataloguing photographs in this collection was trying to figure out who the people in the photos were. Charles did not inscribe all of his photos; in fact, finding one with an inscription that I could actually read was a feat in itself!

Thankfully, Charles kept personal journals, which the Hocken also has in its Collections, and some of these have been transcribed and published by the Otago University Press.  These have been essential in my quest to put names to faces. Charles was very detailed in his journal entries, and it was rare that I could not name someone. However, when I couldn’t name someone it was quite frustrating! On one particular occasion there was a woman who I could not identify, but later in my cataloguing journey she showed up again and Charles had inscribed that later photo so I could go back and name her in the photos I had previously seen. Being able to do so was extremely satisfying.

The woman who was hard to identify was Aunt Loulu (Louisa Hart, Charles’ Great Aunt). MS-0996-012/175/002

Tangible photographs are something we sadly rarely see anymore, so working with ‘proper’ photographs has been fantastic. Charles travelled often, and documented both the big and the small things. For someone such as myself, who has never travelled either the South Island nor ventured over the Pacific, these photographs allowed me to travel alongside Charles, and see things as he saw them.

I feel very lucky to have been given the opportunity to work with the Charles Brasch photographs. Having never done any archiving before, my eyes have been opened to a whole new world, and I am genuinely amazed at how much work goes into archiving. I have a whole new appreciation for archives, and I strongly encourage everyone to utilise them where they can. I am extremely grateful to both the University of Otago and the Hocken Library for allowing me to work with such an amazing collection.

Picture/Poem – The Hocken Gallery 18 April – 25 July 2015

Monday, April 20th, 2015 | Anna Blackman | 1 Comment

Post prepared by Natalie Poland, Curator of Pictorial Collections

10_Paul_L278_low

Joanna Margaret Paul, Untitled [self-portrait], ink drawing, 299 x 229mm, acc.: L278. On deposit from the Estate of Joanna Margaret Paul. Hocken Collections Uare Taoka o Hakena, University of Otago, Dunedin, New Zealand

The exhibition Picture/Poem: the imagery of Cilla McQueen and Joanna Margaret Paul that has just opened in the Hocken Library’s gallery brings together the creative works of award-winning poet Cilla McQueen and respected painter Joanna Margaret Paul. The pair met in Dunedin in the late 1970s and during the following decade their lives continued to intersect.

Both artists have strong ties with the University being past University of Otago Arts Fellows. Paul was a recipient of the Frances Hodgkins Fellowship in 1983 and McQueen was Burns Fellow 1985 and 1986. McQueen’s first poetry collection Homing In (John McIndoe Ltd: 1982), included a poem Paul titled “Joanna”. She penned a second poem dedicated to her friend after Paul’s untimely death in 2003. McQueen credits Paul, who was also an accomplished poet, with showing her that McQueen herself was a visual artist.

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Cilla McQueen, Self Portrait, 1991, ink drawing, acc 92/1462, pen & ink on paper, 298 x 210mm. Gifted by Cilla McQueen, Dunedin, 1992. Hocken Collections Uare Taoka o Hakena, University of Otago, Dunedin, New Zealand

 

 

 

 

 

The Hocken is home to hundreds of artworks by both Paul and McQueen, many of which have been gifted by them or in the case of Paul, her estate, who generously donated nearly 200 of her sketchbooks in 2008.

The exhibition focuses on works from the 1970s and 1980s, created while these artists were living in Dunedin. It includes twenty-eight artworks (predominantly works on paper), published work, musical scores, artist’s books and ephemera relating to the life and work of these two creative women.

Many of Paul’s works in this show have not been exhibited before. Most of the works are drawn from the Hocken’s extensive art collection but a small group of works have been borrowed from her Estate.

A double portrait by Paul (c.1970) recently gifted to the Hocken came from the collection of the late Michael Hitchings. The painting features Michael and his former wife, Maureen Hitchings. This couple, like Paul and McQueen, contributed to the shaping of Dunedin’s cultural outlook during this period. Michael was Hocken Librarian from 1965 to 1984 and Maureen ran the Dawsons Gallery where Paul exhibited in the 1970s.

The Hocken has a wealth of other material relating to both Paul and McQueen. The archives collection houses the literary papers of Cilla McQueen and the business records of Dunedin’s John McIndoe Ltd, the publisher of McQueen’s early poetry collections. There are letters from Joanna Paul to Deidre Airey, Ruth Dallas, Charles Brasch, Hone Tuwhare, Heather Murray and others, including to Cilla McQueen.

Despite working predominantly in different artistic fields their approaches have common features including an interest in juxtaposing pictures and poems and the visual arrangement of words on the page. In the 1980s it was not as common as it is now to create interdisciplinary work. In correspondence with the exhibition’s curator Natalie Poland, McQueen writes: “The works on display date primarily from the 1980s and show that both women were informed by experimental approaches that blurred the conventional boundaries between art, literature and music. Their pictures and poems celebrate the richness of the everyday experience and the local environment. The freshness of their drawings, use of collage and surprising combinations of images and text enliven ordinary language and convey a sense of living intensely in the present moment.” [Source: Unpublished memoirs, email to Natalie Poland May 2011, now in Hocken’s artist’s files.]

An artwork by McQueen called Sequestered (2009) was purchased by the Hocken in 2010. McQueen made it by scratching text onto a series of six outmoded computer floppy discs that contained a late twentieth century manuscript by McQueen. The texts, etched into the surface of the black circles, are partly occluded with red seal wax, an evocation of other modes of communication that are facing obsolescence – the tradition of handwritten letters.

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Joanna Margaret Paul, Untitled [The Stillness of the Rose] (detail), 1974, watercolour and pencil on paper, Hocken Collections, Uare Taoka o Hakena, University of Otago. Dunedin

One series by Paul makes its debut in Picture/Poem – Untitled (The Stillness of the Rose . . .), 1974-1980, comprises seven water-colour and pencil works conceived to be viewed as a single creative work. Curiously each separate piece of this work was created on the same day over a period of seven years. Each part contains a fragment from the poem ‘The Rose’ by American writer William Carlos Williams. This work was purchased by the Hocken just this year.

Inscription on UNESCO Memory of the World Register

Thursday, November 28th, 2013 | Anna Blackman | No Comments

We are delighted to announce that the papers of Charles Brasch have been inscribed on the New Zealand Memory of the World Register.

At a national function at the Hocken on Thursday (November 28), the Charles Brasch papers were announced as a significant new addition to the UNESCO register, along with the Sir Edmund Hillary Archive at Auckland Museum and the original score and lyrics of God Defend New Zealand held at Auckland Libraries.

UNESCO launched the Memory of the World Programme, which promotes the nation’s heritage stories to the wider community, in 1992. It sits alongside UNESCO’s better-known World Heritage List and Register of Intangible Cultural Heritage. The New Zealand Programme was established in 2010.

“The Memory of the World Trust is truly delighted to welcome these three inscriptions of such distinguished documentary heritage items onto the register. All three greatly contribute to the story of our nation’s heritage and are significant to the identity of New Zealanders today,” the Memory of the World New Zealand Trust Chair Dianne Macaskill says.

Professor of History Tony Ballantyne, UNESCO Senior Advisor Susan Isaacs, Auckland Museum Team Leader - Library Collections Theresa Graham, Chair of NZ Memory of the World Committee, Dianne MacCaskill, Hocken Librarian Sharon Dell and Auckland Public Libraries Manuscript Librarian Iain Sharpe

Hocken Librarian Sharon Dell says the Inscription of the Brasch papers onto the Register is also recognition of the national importance of the Hocken as a research archive.

“This is a huge advantage for University staff and students to have a resource like the Charles Brasch papers in their midst. As well as conferring a higher level of protection on this archive resource, this inscription from UNESCO also enhances the Hocken’s international profile,” she says.

Hocken Curator of Archives and Manuscripts Anna Blackman says after Brasch’s literary and personal archive was opened at the Hocken in 2003 (30 years after his death), the significance of his legacy began to be appreciated.

“We are very fortunate that the Hocken holds such a substantial collection – 25 linear metres of his personal letters and archives. The work, papers and journals of Brasch are now a significant resource for researchers focusing on New Zealand’s rich cultural and literary development during his life-time,” she says.

Charles Orwell Brasch (1909-1973) corresponded with over 600 individual people and this correspondence forms the bulk of the collection. People represented include Janet Frame, James. K Baxter, Colin McCahon, Frank Sargeson, James Courage, James Bertram, Rita Angus, Toss Woollaston, Alistair Campbell, Fred and Eve Page, Douglas Lilburn, Louis Johnson, Denis Glover, Ruth Dallas, Carl Stead and many more.

Brasch’s editorial activities and contribution to the literary scene, as well as the thoughts and opinions of his correspondents are documented through the correspondence.

A letter from James K. Baxter to Brasch (MS-0996-002/026)

“It is a unique insight into the opinions and activities of this group who created so much of New Zealand’s cultural life,” says Anna Blackman.

From 1938 to just prior to his death Brasch wrote a personal journal. These journals document both his inner life of thought as well as his opinion on many topics and his everyday activities.

Pages from Brasch's journal

“Brasch was an acute observer of the world around him and the journals include commentary on not just the arts and literature but also people, politics and contemporary events.”
Further information about Memory of the World and the inscriptions on the register can be viewed on www.unescomow.org.nz.

 

Ore Struck – celebrating the sesquicentennial of the discovery of gold in Otago

Friday, May 20th, 2011 | Anna Blackman | No Comments

20 May 2011 marks 150 years since Gabriel Read discovered the payable gold that led to the Otago gold rush in an area now known as Gabriel’s Gully near the Otago town of Lawrence. This momentous discovery and the gold rush that followed rapidly transformed the face of Victorian Dunedin. This exhibition, which explores the use of gold in contemporary art and photography, has been mounted to commemorate this sesquicentennial. Artisans and artists have been awe struck by this highly malleable and alluring precious metal for thousands of years.

At a time of economic hardship when the price of gold is soaring, the contemporary art and photography included in this show encourages us to look beyond the monetary worth of this precious metal and to value gold for its physical properties and symbolic associations.

The show includes more than forty artworks and photographs that either employ gold as a material or colouring, or take gold mining as their subject. There is a focus on work by artists with strong associations to Otago such as Cilla McQueen, Ralph Hotere, Mary McFarlane and Russell Moses. Other artists that feature in the show, and well known for their use of gold in their work, are Tony Lane and Max Gimblett. Photographers with work on display include Ben Cauchi and Marti Friedlander, who use the early photographic process of gold toning as well as Peter Peryer and Peter Evans who have both captured the open cast gold mine near Macraes Flat in East Otago.A small number of historical items including a fifteenth century Book of Hours from, an 18th century Russian ikon, late nineteenth century gold-toned photographs by Rev John Kinder and an album of photographs of Chinese miners who worked in various Otago goldfields, provide a historical context for the contemporary works.

‘Homing in’ on Poet Laureate Cilla McQueen’s literary archive

Tuesday, February 15th, 2011 | Anna Blackman | No Comments

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Cilla McQueen is one of New Zealand’s major and much lauded poets. Her first volume of poetry, ‘Homing In’, was published in 1982 and since this time she has published eleven volumes of poetry, several of them award winners. Themes including landscape, loss, homeland, displacement and colonisation infuse her evocative writing.

In 2009 she was appointed Poet Laureate for 2009-2011 and in 2010 her most recent volume of poetry ‘The Radio Room’ was published.
McQueen has held the University of Otago’s Burns Fellowship for 1985 and 1986, a Fulbright Visiting Writers’ Fellowship to Stanford University in 1985 and a Goethe Institut Scholarship to Berlin, in 1991 she was awarded the QEII Arts Council Scholarship in Letters. She has also won the New Zealand Book Award three times. McQueen received an honorary doctorate in literature from the University of Otago in 2009. In 2012 she received a Prime Minister’s Award for Literary Achievement (Poetry).
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McQueen is also an accomplished and popular performer of her poetry.
MS-2400/058, MS-3247/220, MS-3247/275

McQueen’s archives, held at the Hocken Collections, contain a rich variety of papers including manuscript poetry and plays, correspondence, sound recordings and photographs

Blog post prepared by Debbie Gale, Arrangement and Description Archivist