Book Review Corner #1: Two for the price of one with Gideon the Ninth and Harrow the Ninth, by Tamsyn Muir

Tuesday, September 28th, 2021 | Hocken Collections | No Comments

Post written by General Assistant, Gini Jory

Welcome to a new segment for the Hocken blog, where our staff review books we hold in our collections. Whether these be novels, poetry, non-fiction, books helpful for research or genealogy- hopefully we will cover it all in our new Book Review Corner!

Today we start with a series fairly new to the collection- the first two books of the Locked Tomb series by New Zealand author Tamsyn Muir. Gideon the Ninth (2019) and Harrow the Ninth (2020) are Muir’s first novels, and have both been met with critical acclaim- Gideon having won the 2020 Locus award for best first novel and the 2020 Crawford award, as well as being nominated for the Nebula award for best novel and the Hugo award for best novel. Harrow is a finalist for the 2021 Hugo award this year.

 

I read these two books over the most recent lockdown, and they have quickly become some of my favourites. I had read Gideon the Ninth previously- as soon as I saw the review tagged on the front cover in the bookstore “Lesbian necromancers explore a haunted gothic palace in space!” I had to buy it- and I was super excited to read the sequel. If you enjoy science fiction, fantasy, horror, queer fiction, and elegant prose peppered with ancient memes, then these might be next on your TBR list.

So, what is it all about?

 

 

“Teacher said the facility was chocka with ghosts and you might die?”

“Correct.”

“Surprise, my tenebrous overlord!” said Gideon. “Ghosts and you might die is my middle name.”

 

 

 

 

Gideon the Ninth takes place in a far off (and possibly our dark future) universe ruled with the magical energy of necromancy. Thousands of years ago the new God (the King Undying, the Prince of Death!) resurrected the universe, which now consists of nine houses, each with different necromantic specialties. Here we find Gideon Nav of the Ninth House (is it Pluto? I like to think so), who is planning her escape- again. The Ninth House is different from the others, as its sole purpose is to protect the locked tomb that lies at its centre, housing an ancient and powerful enemy of God. But around this tomb has grown a sort of cult of worship, and the Ninth House is one of nuns and servants devoted to the locked tomb. There are hardly any actual people left on the Ninth, with the majority of their population being made from necromantic skeletons- of those passed and the newly regenerated. It is from this dark underground society Gideon hopes to escape to join the Cohort, the deep space army of this galaxy. But her plans are foiled by the Reverend Daughter Harrowhark Nonagesimus, the best necromancer of the Ninth, with the ability to grow entire skeletons out of the smallest bone fragments.

It turns out that God has put out the call for all the houses to send their best necromancers, along with their cavaliers (a champion fighter) to undertake the mission of becoming new Lyctors, who are basically undying warrior saints, the right hand men and women of god. It’s a pretty big deal- there haven’t been new Lyctors since the original eight created when the universe was first resurrected. Harrowhark is set on going (for mysterious reasons I won’t spoil here) but she needs a cavalier and unfortunately, Gideon is the best swordsman she has. It’s unfortunate, because these girls have basically sworn to hate each other for all eternity and have been fighting since their infancy. Nevertheless, Harrowhark is all set to offer Gideon the one thing she wants- freedom- if she will answer the call and go to the First House with her to undertake this challenge. And if you didn’t know yet, that’s not how this story is going to turn out.

When they arrive at Canaan House they are plunged into a series of tests, mysteries, and monsters. With an ensemble of untrustworthy characters, Harrowhark and Gideon must learn to trust each other and work together to uncover the secret to Lyctorhood, and to survive whatever is murdering their fellow necromancers in the ancient laboratories below Canaan House. There’s sword fighting, goth skull makeup, lots of bones, a fair amount of sass and sarcasm and an extremely good murder-mystery all wrapped up in one spooky and very cool magic system.

Gideon the Ninth is unlike anything I’ve read before- it’s dark, funny, high fantasy prose, low brow culture, all at the same time. The necromantic magic system is mildly gruesome and extremely intriguing, and is explained throughout the different tests that take place through the book- Gideon is a big beefcake with only a basic understanding of necromancy, so we learn as Harrow painstakingly explains it to her. Gideon and Harrow are excellent complex characters, extremely relatable in their own ways. They explore their own trauma and grief, and I found the way they handled these, while very different, extremely realistic and uncomfortably relatable. This isn’t a happy queer romance, and the way Muir writes this tragedy wrenches your heartstrings all the way through. She somehow perfectly balances the dark gothic themes with Gideon’s sassy over-it jokes-a-plenty thoughts and narration, making for an altogether different style that I think will sit well with anyone that enjoys a blending of the modern and the classic (in reference and in humour).

 

“I could protect you, if you’d only ask me to,” said Ianthe the First.

A tepid trickle of sweat ran down your ribs.

“I would rather have my tendons peeled from my body, one by one, and flossed to shreds over my broken bones,” you said.

“I would rather be flayed alive and wrapped in salt. I would rather have my own digestive acid dripped into my eyes.”

“So what I’m hearing is … maybe,” said Ianthe. “Help me out here. Don’t be coy.”

 

 

 

Harrow the Ninth is a completely different beast all together. Taking place not long after Gideon finishes, we have a Harrow-centric story as she starts her journey to lyctordom. But something is wrong. This is not the Harrowhark we know- she is, as she freely admits, insane. Something went wrong when she completed her transition to lyctor, and Harrow the first (as all Lyctors are of the first house) is not complete. But she must still train and travel with God himself and the few remaining original Lyctors because the universe is at stake. A resurrection beast (the soul of a dead planet) is coming to seek revenge on those who killed it (God) and it will consume any planet in its wake to absorb its energy and make itself more powerful. If they do not stop it, it will eventually consume all nine houses. Harrow is absolutely not up to this task. Not only can she not magically heal as other lyctors can, she has retained no knowledge of the fighting skills of her cavalier. And more concerning for us, dear readers, is this: Harrow has no memory of Gideon, and believes her cavalier was another ninth named Ortus Nigenad. Confused yet? So was I! But don’t worry, it all makes sense at the end.

This book was definitely a bit more jarring of a read for me. Half of it is told in second person, which I always find more difficult to get into. I think this is definitely done with intent though- it seems to be either a Harrow who is so traumatised and disassociated after her lyctorial transformation that she cannot relate to herself so personally, or an absent Gideon narrating Harrow’s actions for her (I’ve seen solid arguments for both, though I originally read it as Gideon narrating to Harrow). The other half of the book is a third person alternative-universe retelling of the events of Gideon at Canaan House, with Ortus as an insane Harrow’s cavalier, a different kind of monster hunting them that they are told about from the get-go, and characters dying in the opposite order to the actual events of the first book. These two styles and two timelines- the current and the AU past- are interfiled throughout the book, leading to a culmination and explanation of the alternative timelines existence during the final confrontation with the resurrection beast.

This book has a very different tone to the first as well- without Gideon’s sarcastic inner-monologue and cringey jokes, everything is a bit more solemn. While Harrow can be funny, its more because she’s being rude than actually cracking a joke. To alleviate what at times could otherwise be a depressing story with its heavy themes of trauma, grief, and mental illness, Muir has brought in a lot more cultural references made by other characters- especially the other lyctors who have ~ancient cultural knowledge~. That’s right, it’s meme time. These references have convinced me that this is a future universe of our own timeline, and this is what has survived of our pre-resurrection culture. Like quoting Latin or traditional proverbs today, in the future let them quote memes.

She references Shakespeare as well though, but if you were on the internet in the late 2000s/early 2010s (2012 tumblr, anyone?) then this specific humour might just tickle you. I absolutely hated myself for knowing some of these references. I did start to tally how many I got as I came across them but I definitely missed some; here is a handy summary  for those interested (spoilers abound!)- it counts around 40, which is a meme or other reference approximately every 12 pages. Beautiful.

Overall, Harrow the Ninth was definitely a much more confusing read than Gideon. It’s the kind of book that sucks you in while you’re reading, but when you take a break you have to ask yourself if you actually know what is happening. The ending is still confusing me. It’s great getting to see a more vulnerable and even naïve side to Harrow in this one, and to get an exploration of mental illness in science fiction/fantasy feels pretty fresh. If you’re not a fan of second person narration, this might not be the book for you, but if you enjoy solving a mystery with very little to go on in the way of clues, you’ll probably love it. And not to worry, there’s still plenty of bones, sword fighting, and flirting.

Even though Harrow the Ninth was a bit of a confusing read, I still loved both of these books and would absolutely recommend them to anyone who enjoys science fiction and fantasy. I’m really looking forward to the rest of this series- it was originally a trilogy but will now have a fourth book, announced earlier this year. Nona the Ninth will precede the previously announced final volume Alecto the Ninth, and is set to be published in 2022- not too long a wait if you start reading soon! I can’t wait to see what happens next for Harrow and Gideon, and I hope you enjoy their story too, if you come along for the ride.

References:

Muir, Tamsyn. 2019. Gideon the Ninth. New York: Tom Doherty Associates.

Muir, Tamsyn. 2020. Harrow the Ninth. New York: Tom Doherty Associates.

The women of the D.I.C. – Part one: The knit & purl girls

Thursday, August 19th, 2021 | Hocken Collections | 1 Comment

Post researched and written by HUMS intern, Ceri Spivey

Amongst the business records held here at the Hocken Collections Uare Taoka o Hākena, are those from the eminent local and national department store chain, the Drapery and General Importing Company of New Zealand (lovingly known as the D.I.C.). Established in 1884 by prominent businessman Bendix Hallenstein as a ‘wholesale family warehouse’, the D.I.C. quickly flourished with multiple locations nationwide, until the business eventually closed its doors in 1991, after over a hundred years of successful trading. While much has been written about the store’s revolutionary retail practices, economic successes and male leadership, little attention has been paid to women’s involvement. These hundreds of women worked the shop floor, ran departments, hired staff, dominated shareholding, and breathed life into the company from the moment its doors opened.

A Guy Morris photo of the Dunedin D.I.C. staff, pre-WWI. MS-5063/060, Hocken Collections, Uare Taoka o Hākena, University of Otago.

Department stores revolutionised women’s lives at the turn of the twentieth century beyond retail alone, being female designated and dominated spaces. Women would shop aided by other women for household goods, intimate apparel, clothing and more, in a progressive female-orientated environment. Our own D.I.C. was one such example, having female facilities and toilet amenities, an important shift in the Victorian era, as public toilets were not available to the women of Dunedin until 1910[i]. Alongside amenities, the female staff of the D.I.C. were an integral part of the department store from the outset, becoming well-known personalities, celebrated, and showcased, as early advertisements highlight.

‘Our Miss Button’ advertisement, Otago Witness, 19 October 1910, p.5. [image from microfilm]

D.I.C. company picnic running race, c.1900. MS-5063/012/002, Hocken Collections, Uare Taoka o Hākena, University of Otago.

As imagery found in the D.I.C. archives illustrates, staff social activities were tied to the store, with women participating in company sports events, picnic races and clubs, alongside philanthropic groups like the D.I.C. Girls’ Patriotic Club. The staff of the D.I.C., like thousands of women nationwide, heeded the call of Lady Annette Louise Foljambe Liverpool, wife of New Zealand’s Governor-General, for the women of New Zealand to band together to provide care parcels packed with ‘necessaries’ for soldiers serving in the Great War.

D.I.C. Girls’ Patriotic Club postcard, 1917. MS-5063/023, Hocken Collections, Uare Taoka o Hākena, University of Otago.

Headed by crockery manager and buyer Miss Frances Alice Button, over seventy ‘girls’ under the age of twenty from the D.I.C. became members, meeting regularly in the nearby Savoy Lounge. Using Lady Liverpool’s Her Excellency’s Knitting Book as a guide, held within our publications collection, the women of the D.I.C. would parcel necessaries- cigarettes, letters, and knitting, for brothers, colleagues, and troops at home and abroad.

Her Excellency’s knitting book (1915), by Annette Foljambe, Countess of Liverpool. Ferguson and Osborn Printers, Wellington. Hocken Collections, Uare Taoka o Hākena, University of Otago.

Miss Button was unable to attend the club’s December 1917 meeting due to a severe illness. Poignantly, a letter was read on her behalf: “Although the sadness of this great war was responsible for the formation of our club, its outcome has been a mutual understanding and comradeship”.[ii] After a long and fruitful career at the D.I.C. (which we will cover in the next blog post on the women of the D.I.C.), Miss Frances Alice Button succumbed to her illness on the 18th of June 1918. The knit and purl girls of the D.I.C. continued their good works, headed by the talented dressmaker Miss E. Lawrence, until the end of World War One.

Frances Alice’s words were ringing true for thousands of New Zealand women, who took up their knitting needles to comfort their loved ones ravaged by war, but gained friendship, autonomy, and much more.

References

[i] St Clair, as a popular seaside destination, saw the first public toilet for women built in 1908, but it wasn’t until 1910 that the central city had “underground conveniences” for women. See Alison Breese’s digital thesis below for more information on the fascinating history of Dunedin’s public toilets: https://scalar.usc.edu/works/conveniences/chapter-one-public-conveniences-and-the-rise-of-undergrounds

[ii] Evening Star, 15 December 1917, Page 4

 

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.

 

Octavius Harwood – a real “Wellerman”

Wednesday, January 27th, 2021 | Anna Blackman | 9 Comments

Currently there is world-wide interest in the song “Soon May The Wellerman Come”. Social media is simply heaving with shanty mania. There is of course a Dunedin connection and a recent article in the Otago Daily Times explains the history of the Weller Brothers shore whaling station at Ōtākou and a little bit of background on the origin of the song. https://www.odt.co.nz/news/dunedin/wellerman-sea-shanty-global-hit

The song includes the line “And bring us sugar and tea and rum,” referring to essential treats distributed regularly to the whaling gangs employed by the Weller Brothers. This reminded me I had seen many references to sugar, tea and rum in of one of our most significant archival collections – the Octavius Harwood papers.

The Harwood papers are probably the best collection of archives still extant from a shore whaling station in New Zealand. Octavius Harwood was employed late in 1837 to run the store and oversee some of the station’s activities and he kept extensive records that were preserved by later generations of his family and eventually came to the Hocken in the 1930s with the papers of George Craig Thomson.

Octavius Harwood’s journals describe what life was like for those working in the 1830s whaling industry around Ōtākou and the Otago coastline. With our help from current HUMS 201 intern, Caitlyn Duff, I have transcribed and edited an extract from the start of Harwood’s 1838 journal.

To make the extract more readable I expanded abbreviations and corrected spelling to modern spelling and removed some capitals. I also used square brackets to annotate some terms and names in the text.

The close relationship of Māori and European working together in the settlement of Ōtākou is clear in the journal with regular reference to the work Māori did at the station and in the whale fisheries. Many whalers, including Harwood and his employer Edward Weller married local women and an extensive network of whānau was created along the Otago coast.

Harwood’s original journal commencing in 1838, MS-0438/001 Hocken Collections Uare Taoka o Hākena

The original journal is hand sewn, probably by Harwood himself and bears the stains and scuffs of a hard life at the store. It is made of Downton Mill paper water marked 1834.

Harwood supplied provisions to the whaling gangs, who visited Ōtākou to pick up their supplies. The gangs picked up two or so weeks’ worth of supplies and dropped off the prepared oil and bone. On one occasion in this extract Taiaroa and Karetai delivered some supplies from Harwood’s store to the nearby Pūrākaunui whaling station.

The supplies almost always consisted of sugar, tea, grog (a rum and water mix), tobacco, flour and sometimes casks of salted beef or pork.  Whaling gear – rope, tools, casks or shooks (supplies for barrel making) and slops (cheap cotton canvas clothing) were also often supplied. Occasionally spirits were supplied to the whaling gang leaders. There seemed to be little fresh food distributed, perhaps the gangs supplemented their diet by trading locally, fishing, hunting and gathering.

The ship Dublin Packet was at Ōtākou at the time and Harwood spent much time unloading supplies and loading oil and bone on the ship. He also supplied a visiting French whaling ship.

Harwood supervised the cooper (barrel maker) at Ōtākou, and a team of usually six Māori who cleaned whalebone, and did other work such as building repairs, road repairs and fencing. He sometimes pickled pork in barrels and purchased potatoes from Māori.

He also issued provisions for “the House” – presumably the house where Edward Weller lived. Weller’s activities are mentioned occasionally. Edward eventually returned to live in Sydney when the business failed and further archival records of the Weller Brothers business are held at the State Library of New South Wales in Sydney, where they have been digitised and are available online. http://archival.sl.nsw.gov.au/Details/archive/110364025?_ga=2.66028653.2102099567.1611630649-263552842.1611630649

 

THE JOURNAL

1838

April 24th. – Received from the Dublin Packet a quantity of rope – Whale line – Grass rope – flour in casks – Boat planks – Chests tea – Cans oil – Iron pots – Tin plates – Rag stones – Adze. Mincing knives – Cases Soap – Tubs – Paint brushes. Issued whaling gear to Mr. Brown – Mr. Prices – and Mr. Williams, Mr. Chaceland – and also provisions for 1 week to Mr. Chaceland’s gang – Employed six hands regulating provisions in store &c. Broached cask flour.

Wed. – 25th.  – Employed issuing provisions to gangs – storing cargo – stowing away slops in casks, &c. – the six hands still employed.

Thurs. – 26th. – Issued whaling gear to Angas, Williams, Hedges, Chaceland & Brown – victualled 14 Māoris belonging to Mr. Chaceland and Price’s gangs for 1 week. Served out grog to same gangs – Received a quantity of flour, sugar &c. from Dublin Packet – Stored the same – Broached cask flour & beef.

Frid. – 27th. – Employed issuing stores to Tonguers [the workers who cut up the whales] – receiving and stowing away in the stores cargo from the Dublin Packet – gave Williams tea for Headsmen for Upper Fishery for 1 week.

Sat. – 28th. – Gave Black and Tandy carpenters rum for 1 week.  G. Ryan, Cooper, Tea for a fortnight – Chaceland’s gang day’s grog – Boat gear to hedges, Angas and Chaceland – 2 hands employed rolling cargo from Dublin Packet into store, &c.

Sun. – 29th. – Gave Mr. Price 17 fathoms rope for Middle Fishery – Mr. Chaceland tobacco – Mr. Cureton 1 breaker of oil & 1 axe for Middle Fishery. Mr. Angas 2¼ yds of duck fisher, Muckleroy & Davis one lot grog each. Mr. Price received 2 days allowance grog for his gang – 1 Māori employed cleaning bone.

Mon. – 30th. – Mr Chaceland, Mr Williams drew whaling gear from store. Issued 1 week’s provisions to Mr. Cureton & Abbot received 16 casks flour from Dublin Packet 2 labourers employed Fisher and Davis. Mr Price drew 2 days’ grog 2 for his gang.

Tues. – May 1st. – Issued Provisions to Mr. Chaceland’s Gang and to Mr. Cureton’s Boat Crew of 5 Hands – Employed filling pork casks with fresh pickle, stowing flour in store, and serving out slops to Manuel – Black etc – Broached cask beef.

May 2nd. – Served out provisions to Mr. Price’s Gang of 25 White People and 7 Māoris for 1 week – slops to Davis and Hewit, Brown & O’Donnel – Provisions to Roberts. Received a quantity of whale bone from the Tonguers of Middle Fishery – filled up pork cask with pickle – gave Māoris their tobacco at the Middle Fishery for 2 weeks – to Mr. Chaceland’s Māori 1 week’s tobacco – Broached 1 keg & 1 Hhd [Hogshead?] of flour 1 tierce [a tierce of pork was around 136 kg of pickled pork] pork – Shipped 6 casks oil.

Thurs. – 3rd – Issued provisions to 7 Māoris in Mr. Chaceland’s gang for 5 days – & 2 bone cleaners – also 2 week’s tobacco – Employed drawing off liquor – putting slops in casks – setting stove &c. Shipped 6 casks oil.

Fri. – 4th – Issued provisions to Isaac – for 1 Week – 1 piece pork for House – finished setting stove, made Carey and Russel’s accounts out. 3 bone cleaners employed.

Sat. – 5th. – Issued Slops to Manuel & Russel, and provisions to house – Grog to Upper Fishery etc & 3 bone cleaners.

Sun. – 6th. – Received 1 head of bone from Upper Tonguers. Issued slops &c. – dined on board the Dublin Packet. – Grog to upper gang and three bone cleaners.

Mon. – 7th. – 6 bone cleaners employed – Cooper at day’s work. Issued grog to Chaceland’s gang and bone cleaners – Gave slops to 4 of bone cleaners. – Provisions to House – Settled John Carey’s account – 3 glasses grog to Mucleroy, Davis, Fisher and Isaac each.

Tues. – 8th. – Issued provisions to Price & Chaceland’s gang – to 22 Māoris – Coe at his own work, stowed cleaned bone in store. Shipped 4 casks oil – Slops to Fowler – Broached 2 casks flour 1 cask pork – Provisions to House – Geo. Gray’s grog stopped by order of Chaceland, carpenter’s by Doctor – Cooper headed up cured fish.

Wed. – 9th. – 6 bone cleaners employed – Grog to Do [ditto] and Chaceland’s gang. Issued provisions to coopers and carpenters and 1 piece beef to House. Shipped oil on board schooner Dublin Packet. Blacked tanks and rolled 1 up into yard to keep bone in. Broached cask beef.

Thurs. 10th. – 7 bone cleaners employed. Issued grog to them and Chaceland’s gang. Provisions to House – Employed regulating accounts, &c.

Fri. 11th. – Issued provisions to Mucleroy and Isaac – House 1 piece pork – Black, Ryan and Tandy tea for 1 Week – Slops to two Māoris – Tobacco to people. Making people’s bills out. 6 bone cleaners employed – Geo. Smith’s grog stopped by order of Doctor. Stowed cleaned bone in loft – Mr Philippin one steer oar.

Sat. – Gave Mr. Williams tea for four for 1 Week – Grog to Chaceland’s gang. – 6 bone cleaners employed – finished cleaning bone – Tyro [Taiaroa] – Grog from this date.

Sun. – 13th. – 7 Māoris employed repairing fences – brought spare boat from fishery to be repaired – 14 lbs. flour for House, 1 lb. tea 2 pieces pork – 1 keg to Mr. Price.

Mon. – 14th. – 5 Māoris employed repairing shed for cooper – Employed making out people’s bills – issuing provisions &c. – Sent two casks peas, two casks flour aboard the French vessel “La Fawn” [“Faune” a French whaling ship that called in twice to Ōtākou in 1838] in exchange for rope, &c.

Tues. – 15th. – Issued provisions to 35 hands in Mr. Price’s Gang, to 28 people in Mr. Chaceland’s gang – to 6 Māoris bone cleaners – Provisions to Davis and Fisher – Slops to people – received four casks beef from the French vessel “La Fawn” – Māoris as yesterday – Gave Captain Bruce 20 lbs rivets – Whaling gear to Price, Hedges, Angas and Williams.

Wed. – 16th. – Provisions to carpenters and cooper – Grog to Chaceland’s gang & Māori bone cleaners – 6 – Employed drawing of spirits – 20 gallons – regulating store, &c. – returned the four casks beef received yesterday from on board “La Fawn” – and got in lieu 3 casks pork.

Thurs. – 17th. – Employed repairing fences – Cleaning bone 6 Māoris – Gave Captain Wells 4½ bundles hooping. Settled Mr. J. Russel’s account in slops – issued provisions to House – Grog to gang – Māori and coopers – Cooper made 2 Piggin, 1 Buckey, 1 Keg.

Fri. – 18th. 6 Māoris employed making a fence between the beach and Cooper’s Workshop with the Whales Head Bones – Making foxes to tie up bone with – Issued grog to Chaceland’s gang – coopers, carpenters and Māoris. Drew off twenty two gallons spirits for Captain Wells.

Sat. – 19th. 6 Māoris employed as yesterday – issued provisions to House – Mr. Weller shooting on the other shore with Captain Wells – Issued grog to Chaceland’s gang, Māoris, coopers, carpenters, cooks &c. Williams 1 pulling oar.

Sun. – 20th. – 6 Māoris employed fetching wood for fence, bringing bones from Upper Fishery, &c. – Gave the Captain Of “La Fawn” 25 pounds of 30 hundred hooping to repair his rudder. Issued provisions to House – dined on board the Dublin Packet.

Mon. – 21st. – Māoris as yesterday – Issued provisions to House – Grog to Chaceland’s gang, coopers, carpenters, cooks &c. Received ½ head bone from Upper Tonguers.

Tues. – 22nd. – Issues Provisions to Middle and Upper Gangs – Do. To 6 Māori bone cleaners – Received the other half head bone from Upper Tonguers – vice from French vessel – Māoris employed removing sand bank abrest carpenter’s House.

Wed. – 23rd. – Provisions issued to cooper and carpenters – to Mr Brown for Pūrākaunui &c. – 4 Māoris employed cleaning bone and received 30 bundles of shooks from the Dublin Packet – 2 Māoris left without permission.

Thurs. – 24th – Provisions to House. 5 Māoris employed cleaning bone – repairing road – fetching water &c. Issued slops to Chaceland – 1 Māori not returned – Drew off ten gallons spirits.

Fri. – 25th – Provisions to House. Issued slops etc to Mr Phillipine – Māoris employed making spun yarn for bone, bring bone from the Upper Fishery – to repair fence &c. – The Māori returned to his duty.

Sat. – 26th. – Provisions to House. 6 Māoris employed repairing cooper’s house, making fence, bring earth to repair road etc. – Mr Chaceland lost 40 fathom Whale Line & iron – Steward of Dublin Packet repairing the bellows – Killed a pig.

Sun. – 27th. – Sent three Māoris back to Mr Brown who had run away from Pūrākaunui – Māoris employed fetching grass for cooper’s house and fence – grog to gang, &c.

Mon. – 28th. – Issued slops to Davis & Fisher – Drew off 30 gallons spirits for Mr Brown – 6 Māoris employed as yesterday – set the bellows up.

Tues. – 29th. – Issued provisions to Price’s & Chaceland’s Gangs – to 6 Māori labourers – Māoris employed cleaning up bone – Quin once of Mr Price’s gang fell from a cliff and killed himself.

Wed. – 30th. – Issued provisions to Black, Tandy and Ryan – to Mr Brown 240 lbs sugar 30 gallons rum 6 pounds tea & 100 figs of tobacco – to Māori cook of Big House – 6 natives employed cleaning bone, repairing cooper’s house, building fence &c. Buried Quin in the ground behind Carpenter’s Workshop.

Thurs. – 31st – Had the honour of being threatened by Mr Angas that he would smash my bloody head – cautioned him against so doing – and told him if he did not succeed I should not make a light business of it – 6 Māoris employed as yesterday – sent provisions from Dublin Packet to Pūrākaunui – Grog to gangs, &c.

Fri. June 1st. – 6 Māoris employed cleaning bone, rolling provisions to beach for Tyro [local Chief Taiaroa] to take to Pūrākaunui, but did not go – scraping boat – finishing making fence by Cooper’s house – received 400 blades bone from Pūrākaunui by Tyro and Jackey White [local Chief Karetai] – as also a receipt from Mr Brown for having received 14 casks provisions – issued 30 lbs sugar to Dublin Packet.

Sat. – 2nd – 6 Māoris employed repairing chimney of cooper’s house, cleaning bone, scraping boat &c. Issued provisions to 1 Māori for Mr Cureton’s boat – clothes etc. – Mr A and – C. tea. Stopped Māori’s grog for not coming earlier in the morning.

Sun. –  3rd – 5 Māoris employed cleaning bone – Issued provisions to House – Tea to Mr Williams and Hedges. Slops to Fowler and Chaceland – Mr Weller out shooting and dined on board the Dublin Packet.

Mon. – 4th – Issued slops &c. to Mr Manuel & provisions to house. Māoris employed as yesterday.

Tues. – 5th Issued provisions to Price’s and Chaceland’s gang – To 6 Māoris – Bone cleaners. Māoris employed cleaning bone, rolling water up from and bringing lie [lye?] from tryworks – issued whaling gear to Chaceland – provisions to David and Fisher, and Mucleroy and Isaac Porter.

Wed. – 6th. – Issued provisions to cooper and carpenters – whaling gear to Mr Cureton, 6 Māoris employed cleaning bone.

Thurs. – 7th. – Māoris employed cleaning bone – sent three Māoris away in boat to Hobart town fishery with Lowe to bring up plank for to make a trough for lie [lye] – to clean bone in. Engaged a cooper of the name – John Clarke – to make casks at the rate of 20/- per ton on labour at the rate of £6 per month.

Fri. – 8th. – Māoris employed as yesterday – issued whaling gear to Mr Manuel Goombs and tobacco to himself and boat’s crew – also 1 lb of tea to Mr Brind – received 2 kegs 1 line tub and 1 old repaired piggin from cooper.

Sat. – 9th – Māoris employed clearing bone – shipped a Frenchman from the ship “La Fawn” of the name Victor Hobé  – Issued provisions to the same and to John Clarke (Cooper) Tea to Mr Williams and Hedges – Carpenter made trough for bone – Issued tobacco to Roberts – Williams, &c.

In preparing this blog I consulted the following sources on Harwood family history, the Wellers, Ōtākou and whaling:

http://www.toituosm.com/collections/smith-gallery/wall-1/octavius-harwood

https://ngataonga.org.nz/blog/nz-history/octavius-francis-harwood-a-journey-of-family-discovery/

https://teara.govt.nz/en/biographies/1w13/weller-edward

http://www.toituosm.com/collections/smith-gallery/wall-1/edward-weller

Church, Ian (ed), Gaining a Foothold : Historical Records of Otago’s Eastern Coast, 1770-1839, Friends of the Hocken Collections, 2008.

Church, Ian, Opening the Manifest on Otago’s Infant Years, Shipping Arrivals and Departures Otago Harbour and Coarst 1770-1860, Otago Heritage Books 2001

Harwood, Mac, Octavius Harwood, Titopu, Piro, Janet Robertson, published by Mac Harwood, Upper Takaka, 1989.

King, Alexandra, The Weller’s whaling station : the social and economic formation of an Otakou community, 1817-1850. https://ourarchive.otago.ac.nz/handle/10523/5533F

Tod, Frank, Whaling in Southern Waters, published by Frank Tod1982

West, Jonathon, The Face of Nature : An Environmental History of the Otago Peninsula, Otago University Press, 2017

Advice for your flight

Monday, January 4th, 2021 | Hocken Collections | No Comments

Post researched and written by Collections Assistant (Publications), Emma Scott

Air New Zealand’s Pacific Network [1960s] Jet Air New Zealand to a different holiday [1960s] Air New Zealand [1960s] Air New Zealand mini-timetable [1969:June] from the Ephemera Collection, Hocken Collections, Uare Taoka o Hākena, University of Otago Advice for your flight [1973/1974?] from the Publications Collection, Hocken Collections, Uare Taoka o Hākena, University of Otago

Prior to the COVID-19 lockdown, the Publications staff at the Hocken discovered a booklet in the collection titled Advice for your flight [1] which was produced by Air New Zealand. Advice for your flight was designed to answer any questions a new traveller may have and was also an advertisement to fly on the DC-8 and the DC-10 jets. The booklet doesn’t have a date, but upon consulting an excellent publication titled Conquering Isolation: the First 50 Years of Air New Zealand by Neil Rennie [2], I was able to determine that the earliest the booklet could have been produced was 1973, which was when the DC-10 began service in the Air New Zealand fleet. Maybe it is my ever increasing wanderlust since the pandemic, but on returning onsite after lockdown, this little booklet sparked an interest in me to do some research into the jet age of air travel in New Zealand during 1960s and 1970s.

1965 was a very momentous year for Air New Zealand. For starters they changed their name from TEAL to Air New Zealand. Tasman Empire Airways (TEAL) was established by the New Zealand, the United Kingdom and Australian governments to provide a trans-Tasman air link. When the New Zealand government bought the remaining 50% share owned by the Australian government in 1962, TEAL officially became a fully New Zealand owned and operated air carrier. The 1962 TEAL annual report states “TEAL is an all-New Zealand undertaking whose first loyalty is to New Zealand and whose cause we are all proud to serve.” [3] The name change coincided with the building of a new airport in Māngere, a new jet base at Auckland airport costing $2 million dollars and the purchase of three DC-8 jets ($5 million dollars each) which were introduced into service later in 1965.

Our Ephemera collection contains several pamphlets advertising the DC-8 and Auckland’s new jet base.

Air New Zealand and the jet era… [1960s] Welcome Aboard! [1960s] Air New Zealand [1960s] from the Ephemera Collection, Hocken Collections, Uare Taoka o Hākena, University of Otago.

One of Air New Zealand’s pamphlets; Air New Zealand and the jet era states: “The Douglas DC-8 Series 52 is the latest version of a line of DC-8 jets which has been proven for over six years in commercial operation. Powered by four JT3D-3B Pratt & Whitney engines, the Air New Zealand DC-8 will speed up to 159 passengers at 10 miles per minute in superb luxury”. This was quite a step up from the L-188 Electras which could carry 71 passengers at 400 miles per hour compared to the DC-8 which could travel up to 540 miles per hour.

The introduction of the new DC-8 jets didn’t go entirely according to plan, with a bird being sucked into the engine of one of the DC-8’s during a training flight on the 11th of August 1965 which caused £1000 worth of damage. To avoid this happening again, the government allocated £120 for the construction of a radio-controlled model hawk to scare away the birds. The hawk was tested in October 1965 with positive results. [4] [5] [6]

Otago Daily Times. “Bird Damages New Airliner.” Otago Daily Times, 12 Aug. 1965, p. 3. Otago Daily Times. “Model Hawk Scares Birds.” Otago Daily Times, 21 Oct. 1965, p. 1.

Not long after being in service, on the 4th of July 1966, a DC-8 jet on a training flight crashed and killed two of the five men on board; Captain Donal McLachlan and flight engineer Gordon Keith Tonkin. [7] It was determined that “an inadvertent application reverse engine thrust” during take-off caused the crash. Minister of Civil Aviation J.K. McAlpine went on to assure the public that there “were no grounds for public concerns on the score of passenger safety” as the controls that were manipulated would not be used during a take-off with passengers on board. [8]

Despite initial problems, Neil Rennie states in Conquering Isolation on page 104 that: “the DC-8 was the first pure jet in the Air New Zealand fleet which really shrank the world.” “The Jet flew smoothly above or around most bad weather”. One DC-8 was even kept on to serve for seven years after the others were phased out in 1981, as a freighter and carried everything “from computers to live deer”. The success of the DC-8 justified purchasing three DC-10s in 1970. The DC-10 could carry 268 passengers, which dramatically reduced the costs per passenger for Air New Zealand.

With the introduction of the DC-10 came some new uniforms for Air New Zealand hosts and hostesses. The new uniforms were designed by New Zealander Vinka Lucas. The hat was also designed by New Zealander Wynne Fallwell of Mr Wyn Originals. You can see some beautiful photographs and read a detailed description of the uniform on the New Zealand Fashion Museum Website.

Aircraft superimposed over aerial photograph WA-25451 taken by Whites Aviation in 1950. Quantity: 1 b&w original negative(s). Physical Description: Cellulosic film negative, 1/2 plate https://digitalnz.org/records/22321305/air-new-zealand-dc10-aircraft-flying-over-the-mount-cook-region

Sadly, most New Zealanders remember the DC-10 for one of New Zealand’s biggest tragedies. On the 28th of November 1979, DC-10 flight TE901 didn’t return to Christchurch after a sightseeing flight to Antarctica. The wreckage of the plane was discovered the following day on the slopes of Mt Erebus. All 257 passengers and crew were killed. [9]

There was a significant amount of controversy over the crash. Chief Air Accident Investigator Ron Chippendale’s report into the crash stated that the probable cause of the accident was “the decision of the captain to continue the flight at low level toward an area of poor surface and horizon definition when the crew was not certain of their position”. [10]

On the 21st of April 1980, Justice Peter Mahon was chosen as the commissioner for a Royal Commission of Inquiry into the disaster. Peter Mahon’s report listed several factors and circumstances which contributed to the cause of the Erebus crash. On page 159 of the report he states that in his opinion “the single dominant and effective cause of the disaster was the mistake made by those airline officials who programmed the aircraft to fly directly at Mt Erebus and omitted to tell the aircrew”. [11] [12]

We hold a number of items in our ephemera collection related to the sightseeing Antarctic flights including: breakfast and lunch menus for the flights, raffle tickets for the TE901 fatal Erebus flight and a promotional booklet titled The Antarctic experience.

Advice for your flight includes the usual kinds of instructions you would find on the Air New Zealand website now;  like baggage allowances, insurance, passport and visa regulations. As per the title, the booklet also contains useful advice such as “fountain pens are prone to leak and should be emptied before travelling”.

Pages 7 and 8 of the booklet lists approximate weights of commonly worn clothing items to assist travellers in keeping their suitcases within the free baggage allowance of 30kg for first class and 20kg for economy. A woman’s 3 piece wool suit is listed as weighing 1lb 8 oz, her live-in set 8 oz and her Winter house coat 6 oz. A man’s dark worsted suit was listed as weighing 3 lbs, his sports jacket 2 lb 12 oz and his shoe cleaning kit 1 lb.

If you were considering purchasing duty-free goods there is a handy guide in the back of the booklet listing what customs will allow into various countries. When travelling home to New Zealand you were allowed to carry 200 cigarettes or 50 cigars or ½ a pound of tobacco. You could also carry 1 quart of Wine and 1 quart of spirits. When travelling to Australia you could carry 400 cigarettes or 1 pound of cigars or 1 pound of tobacco, 4 quarts of Wine or 4 quarts of spirits.

While we are limited to domestic travel, at least for the moment, we can use the Hocken’s collections to imagine ourselves flying off to exciting overseas destinations. As our collection primarily consists of New Zealand material, you can also get some inspiration for your next New Zealand getaway.

References:

[1] Air New Zealand. Advice for Your Flight. Air New Zealand, 1973/1974?.

[2] Rennie, Neil. Conquering Isolation: The First 50 Years of Air New Zealand. Auckland: Heinemann Reed, 1990.

[3] TEAL. Annual Report and Accounts, 1962, p. 3.

[4] Otago Daily Times. “Bird Damages New Airliner.” Otago Daily Times, 12 Aug. 1965, p. 3.

[5] Otago Daily Times. “Bird Damage Costs £1,000.” Otago Daily Times, 21 Aug. 1965, p. 5.

[6] Otago Daily Times. “Model Hawk Scares Birds.” Otago Daily Times, 21 Oct. 1965, p. 1.

[7] Otago Daily Times. “Two Killed In Crash At Auckland Airport.” Otago Daily Times, 5 July 1966, p. 1.

[8] Otago Daily Times. “Reversed Engine Thrust Caused Crash of DC8.” Otago Daily Times, 21 July 1966, p. 1

[9] “The 1979 Erebus Crash” Te Ara. Last modified 17 December 2020. https://teara.govt.nz/en/air-crashes/page-5

[10] Office of Air Accidents Investigation. Aircraft Accident Report No.79-139 Air New Zealand McDonnell-Douglas DC-10-30 ZK-NZP Ross Island Antarctica 28 November 1979, p.35

[11] Mahon, Peter. Verdict on Erebus. Auckland: Fontana Paperbacks, 1985.

[12] Report of the Royal Commission to inquire into The Crash on Mount Erebus, Antarctica of a DC10 Aircraft operated by Air New Zealand Limited 1981

Air New Zealand. Annual Report, 1966-1980.

Otago Daily Times. “Airliner Lost In Antarctica.” Otago Daily Times, 29 Nov. 1979, p. 1.

Otago Daily Times “Grisly Task for Rescue Team.” Otago Daily Times, 30 Nov. 1979, p.1.

Lights of the City

Monday, December 21st, 2020 | Hocken Collections | 2 Comments

Post researched and written by Curator of Photographs Anna Petersen

Fig. 1 Lights of Dunedin, c.2000. John R. Lamb 35mm slide, P2017-033-055.

Illumination is a topical subject in Dunedin at present as the City Council continues to roll out the new LED lights, designed to cut down on energy consumption and enhance our night sky.  As we also enter the season of light, it seems a good time to make a quick survey of what the Hocken Photographs Collection has to offer as evidence of the different technologies used to light our way over the years and decorate the main business district.

Fig 2. Princes Street, Dunedin, 1861. F.A. Coxhead reprint of Meluish photograph, Box-116-003.

Looking back at the earliest images of our streets, dated between 1860-1861, it is not hard to imagine that in the beginning it must have been very dark and quite hazardous on a cloudy or moonless night. Some hotels might have had candle lanterns over the doorways, but for the most part, there were no street lights.  Even in the daytime, the first roads were dangerously uneven, with potholes and drainage ditches.[1]  A photograph of the main street taken c.1861 reveals how the road basically doubled as the footpath.

The early 1860s saw a period of rapid expansion, however, made possible through the formation of Dunedin Gas Light and Coke Company in mid-1862 and new-found civic revenue from the gold rush.[2]

Fig. 3 Princes Street, 1867. W. Burton photograph, Album 076, P1910-009-002.

By September 1863, pipes from the new gasworks in South Dunedin fed 150 gas lamps along Princes, George and Stuart streets, beside purpose-built footpaths.[3] This development made Dunedin the first settlement in New Zealand to have central city street lighting.

Fig. 4 Octagon, 1867. W. Burton photograph, Album 076, P1910-009-016.

Yet, of course, Dunedin was still a very small place in the great scheme of things and new technological advances continued overseas.  Thomas Edison patented the first commercially viable electric light bulb in 1878 and even as Dunedin’s public gas lights were being extended to the suburbs of Caversham, Mornington, Roslyn and St Kilda in 1882, major businesses like the Roslyn Woollen Mills were beginning to adopt electric lights on their premises.[4]  An Otago Daily Times (ODT) newspaper report about this advance at the Mill in 1885 noted the different quality of light that electricity generated.  ‘The first thing that attracted attention was the steadiness and brilliancy of the light as compared with the old system of lighting with kerosene lamps, which has been in vogue for the five years during which the mills have been working night and day.’[5]

By the turn of the century, electric light bulbs had become an important form of decoration and source of illumination, emitted through shop and office windows in the downtown area.  Evidently, when the Duke and Duchess of York visited in 1901, ‘there was scarcely a shop or office [on Princes Street] that did not help to swell the general brightness of the street in the evening.’[6]  The Council briefly set up a dynamo driven by a traction engine to power light bulbs decorating the Town Hall and welcome arches in the Octagon, making it ‘a scene of great beauty’.[7]

Fig. 5 Balmoral Arch, Dunedin, 1901. C.C. Armstrong photograph, P2001-027-003. Note the light bulbs above the arrowslit windows and along the castellations.

As evidence mounted to suggest electricity was the way of the future, the idea of funding the replacement of the public gas lights nevertheless met with some resistance.  In one heated letter to the editor of the ODT, J. Watt, a gas engineer in Balclutha, wrote ‘… We have been told times without number that great things have been done in America and elsewhere.  We don’t want to know what has been done in America or anywhere else… Electric light may be the coming light, but I think those who are likely to use it are entitled to know what it will cost before it does come, and not to be asked to assist in buying a pig in a poke…’.[8] Mr Watt had done the sums for operating 16, 20 or 25 lights at 70 candle-power (i.e. roughly 880 lumens).  He calculated the expense comparing other places in New Zealand like Gore, Patea and Stratford, where electric lights had been operating for some years at a rate of seven pence a unit, and found the gas lights in Balclutha operated at not much more than a fourth of the cost.

Concerns were also raised by citizens about the safety of electrical cables, yet there was no halting the global trend towards the adoption of electricity and ten arc lights were erected in Custom Square and along Princes Street as far as the Octagon at the end of 1904.  

Fig. 6 Dunedin Exchange, 1904-1905. Photographer unknown, P1990-015/49-274. Note the arc light in the foreground on the left.

These electric bulbs, suspended from sinuous iron frameworks, connected to the electric tramlines laid down in the area a year beforehand.  There was little fanfare at the time, but in a brief, untitled ODT article, the reporter described how ‘The effect was a beautiful one, and when these lights are at the maximum of 2000 candle-power each there will be no more brightly-lighted thoroughfare in New Zealand than Princes and George streets.  As it was, even the white lights from the incandescent gas lamps along the streets appeared last evening but a pale, sickly yellow in comparison.’[9]  The promise of more power came from plans to connect the lights to a hydro-electric station at Waipori, which happened in 1907.

Fig. 7 Octagon, Dunedin, 1913. S.T. Paterson glass plate negative, P2005-014/1-077.

All of the photographic evidence of the street lights in Dunedin up until this point had been taken during the day.  Photography itself is dependent on there being sufficient light and it was not until the 1890s that art photographers overseas began experimenting with capturing street scenes at night with the aid of artificial light.[10]  We know that members of the Dunedin Photographic Society used flash bulbs for photographs of interiors in 1894, but photographers generally seem to have been slow to address the subject of night scenes here.  Figure 8 is one of the earliest examples that we have.  This view of decorations on the Town Hall was probably taken in May 1920, when the building was lit up for the reception of Edward, Prince of Wales.  Thanks to the Waipori Power Station, Dunedin evidently provided ‘staggering illuminations, which completely eclipsed those of Christchurch.’[11]

Fig. 8 Town Hall at night, [May 1920?] Photographer unknown, P2015-011/4-030.

The new technologies for photographing colour (i.e. refracted light) that emerged in the twentieth century would similarly lag behind advances in coloured electric lighting.  The first neon lights appeared in Dunedin in the 1920s.  Jim Sullivan has described how the Arthur Barnett ‘Can’t stop’ sign of the man on a horse was created in 1930 and David Murray has written about the Barton’s signage in one of his blog posts.[12]  While there were photomechanical ways of producing colour used in the manufacture of postcards of Dunedin from the early 1900s, and hand colouring was always an option, it was not until the development of Kodak’s first Kodachrome film in 1935 that people could really get into colour photography.  Even then, it remained an expensive pursuit until about the 1970s.  A 35mm slide taken by the much-celebrated George Chance records the decorations for another royal occasion – the Queen’s visit in 1954.

Fig. 9 Dunedin Chief Post Office decorated for the Royal Visit, 1954. George Chance slide, P1991-023/19-4618.

Turning finally to evidence of developments over the last 50 years, the Franz Barta studio collection of commercial negatives, includes two images of the Octagon Theatre in 1965 by night and another of unlit neon signs in the vicinity during the daytime.

Fig. 10 Octagon Theatre, 1965. Franz Barta film negative, P1997-156/09-292.
Fig. 11 Galbraith’s Building, 1962. Franz Barta film negative, P1997-156/09-034.

A few years on, engineer Edward Dwyer made his own private study of lighting in the central city c.1967-1970. These photographs were taken during the period before weekend trading began, when locals would go shopping on Friday night. 

Fig. 12 Exchange and Princes Street, 7am, July 1967. Ed Dwyer photograph, P2017-013/3-004. Note the Kingston lanterns on spun concrete poles that were new in 1964. Where they appeared as pairs (as in the bottom of this photograph), they provided approximately 35,000 lumens per 100 feet. (See P1997-156/03-009 for lumen specifications.)
Fig. 13 Princes Street on a Friday night, 8pm, c.1967-1969. Ed Dwyer photograph, P2017-013/3-005.

With two contrasting shots of the same area taken in the dark of early morning and evening (figures 12 and 13), one begins to see negative effects of light pollution, which has become more of a concern in recent times. 

On a more positive note, another of Ed Dwyer’s photographs (figure 14), taken at dusk on George Street during Festival Week in 1970, records the Christmas candle decorations that delighted children growing up in the 1970s and captures something of the upbeat mood described in the lyrics of the popular song, ‘Downtown’, by Petula Clark (1964):

[Pre-Chorus]
Just listen to the music of the traffic in the city
Linger on the sidewalk where the neon signs are pretty
How can you lose?
The lights are much brighter there
You can forget all your troubles, forget all your cares

[Chorus]
So go downtown
Things will be great when you’re downtown
No finer place for sure, downtown
Everything’s waiting for you

Fig. 14 Friday night shopping, Festival Week, Dunedin, January 1970. Ed Dwyer photograph, P2017-013/1-001.

Most recently, a collection of 35mm slides taken by the late John R. Lamb and dating from the start of the new millenium, focus on neon signs and floodlit buildings around Dunedin.  Clearly, by the beginning of the 21st century the city no longer needed the event of a royal visit to highlight its significant architectural heritage and express civic pride in light. The use of dramatic colour on the Town Hall continues to this day. 

Fig. 15 Dunedin Town Hall, c.2000. John R. Lamb 35mm slide, P2017-033-049.

Even a brief overview of Hocken photographs focusing on lighting technology and its use in the heart of Dunedin over the last 150 years, illustrates the efforts made and resources spent over the generations to develop a safe, attractive and prosperous urban environment, and provides evidence of the enduring joy and wonder that light can bring.

[1] ‘Street lighting’, Te Ara Encyclopedia of New Zealand https://teara.govt.nz/en/streets-and-lighting/page-5 (accessed 12/6/2019).

[2] Karen Astwood, IPENZ Engineering Heritage Report, Dunedin Gasworks, 2014, pp.5-7.

[3] Ibid.

[4] Ibid.

[5] ‘The Electric Light at the Mosgiel Factory’, Otago Daily Times, 3 October 1885.

[6] ‘Decorations and Illuminations’, Otago Witness, 3 July 1901.

[7] Ibid.

[8] For example, see ‘Gas v. Electricity’, Otago Daily Times (ODT), 11 August 1904.

[9] ODT 8 November 1904.

[10] Michel Frizot, A New History of Photography, 1998, p.285.

[11] ‘The Illuminations at Dunedin’, The Mercury 20 May 1920.  See also ‘The Illuminations on the Town Hall, Dunedin’, Otago Witness, 1 June 1920.

[12] Jim Sullivan, ‘Time to get Can’t Stop restarted’, Otago Daily Times, 29 January 2019, https://www.pressreader.com/new-zealand/otago-daily-times/20190129/281788515283549 (accessed 22 January 2020) and David Murray, ‘Bartons Buildings (Stafford House)’, https://builtindunedin.com/2013/08/14/bartons-buildings/ (accessed 22 January 2020).

Hot Shots from the ‘60s

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Post researched and written by Curator of Photographs Anna Petersen

Fig 1 Johnny Devlin at the Empire Ballroom, London, 1965-1966, P2004-044/2-082.

The Geoff Adams collection of slides, prints and negatives in the Hocken Photographs Collection stand out for their colourful, rather racy nature. 

Predominantly portraits of actors, artists, singers, TV broadcasters, dancers and sportsmen, they were all taken in London during the mid-1960s and tell of those swinging times when television had just come in and the Avengers, Twiggy and the Beatles ruled the airwaves.  The eyes of the women are heavy with black mascara and the men wear tight-fitting tops – why there are even two shots of Clive Revill and Raquel Welch, greatest sex bomb of them all.


Fig. 2 Terry Callahan, 1966, P2004-044/2-045.
Fig. 3 Bridget Armstrong, 1964-1967, P2004-044/2-039.
Fig. 4 Paddy Frost in Battersea Park, 1964-1967, P2004-044/2-035
Fig. 5 Noel Trevarthan, 1966, P2004-044/2-080.
Fig. 6 Clive Revill and Raquel Welch on the set of Fathom, 1966. P2004-044/2-025

As the world ground to a halt with Covid lockdown, I took the opportunity to contact Geoff and ask him more about these photographs, which date from one of the busiest periods of his working life.

Geoff was living the dream of many young journalists at the time.  He first won a USA State Department journalism scholarship offered by the US Embassy in Wellington, which took him to the States for three months on an all-expenses paid tour of many of its main cities.  ‘That tour covered the two party conventions held before the LBJ-Goldwater presidential election, the World’s Fair in New York and the murder of civil rights workers in the Mississippi.’[i] 

From America, Geoff moved to London (and was joined by his wife, Helen and young family) to take up a three-year placement as solo resident correspondent in London for New Zealand Associated Press (NZAP).  Those three years, between 1964-1967, ‘included a few brief visits to Ireland, Scotland, France and Belgium for news stories or conference reporting, and also a fortnight’s tour of Russia (the latter ‘with Vladimir, my KGB escort, was very eerie but exciting’).[ii] 

The NZAP (not to be confused with the NZPA or New Zealand Press Association, which until 2011 offered a news service to all newspapers in New Zealand), was a consortium of the NZ Herald (Auckland), Evening Post (Wellington), The Press (Christchurch), and the Otago Daily Times (Dunedin).  While the NZPA dealt with hard news and the newspapers Geoff served wanted feature stories and photographs, ‘the two did occasionally compete’. [iii]

Geoff recalls how he enjoyed moments in his office at 107 Fleet St of racing with his secretary to get films developed and fine prints made within an hour at a studio close to his office in Ludgate Circus, and then cabling the stories to New Zealand ‘to meet the late edition for publication by lunch the next day’.[iv]

This was the period when papers were making the switch to colour and, though Geoff only carried a ‘rough and ready’ camera, there were times when his efforts made it to the front page or created a double-page spread in the centre of the New Zealand Weekly News, a big magazine (long defunct) that was started by the NZ Herald.

Fig. 7 ‘The New Johnny Devlin’, New Zealand Weekly News, 30 January 1967, pp.18-19.
Fig. 8 ‘Trooping the Colour’, New Zealand Weekly News, 27 July 1966, pp. 36-37.

Portraits in the Geoff Adams collection include such British celebrities as Diana Rigg, Patrick McGoohan, Noel Coward, Lynn Redgrave, Dudley Moore and Malcolm Muggeridge, but the newspapers and readers Geoff served were especially crying out for illustrated articles about New Zealanders who were making a splash overseas.  They could not get enough of Kiri Te Kanawa in particular, who went to study at the London Opera Centre in 1966. 

Fig. 9 Kiri on arrival in London, 1966, P2004-044/1-002.

Having a life-long interest himself in music, Geoff well remembers capturing Dame Kiri on the balcony of New Zealand House, together with Inia Te Wiata, who was a close friend of his.  Whenever Geoff visited New Zealand House and could hear Inia banging or singing as he worked in the basement on the carved pouihi (for eventual display in the foyer of New Zealand House), he would go down for a chat and they would often have lunch together at a pub over the road.

Fig. 10 Inia Te Wiata, 1965-1966, P2004-044/1-004.
Fig. 11 Pou Ariha [detail], 1965-1966, P2004-044/2-075.

While it was the journalist’s job to hunt out and pursue newsworthy stories by contacting agents of the more famous and arranging interviews, sometimes it was the journalists themselves who were called to provide much wanted publicity.  For example, Geoff was invited along with other Commonwealth journalists in 1966 to the opening of the new Playboy Club on Park Lane.  There he discovered 23-year-old bunny, Colleen Turner, all the way from Auckland.

Fig. 12 Colleen Turner, 1966, P2004-044/2-048.

The art-related slides include valuable records of artists, Melvin Day, Ted Bullmore and John and Warwick Hutton at work in their studios, as well as a series relating to the production of the first New Zealand decimal coins at the Royal Mint in 1967. 

Fig. 13 John Hutton and his son, Warwick, 1964-1967, P2004-044/2-112.

These latter document the whole process from the translation of James Berry’s designs to plaster models, to the making of the dies and striking the 165 million new coins.[v]

Fig. 14 Royal Mint, London, 1967, P2004-044/2-119
Fig. 13 Royal Mint, London, 1967, P2004-044/2-137
Fig. 16 Royal Mint, London, 1967, P2004-044/2-146.

Geoff subsequently brought his talents back home to Dunedin and spent the rest of his career working for the Otago Daily Times, first as deputy editor for 11 years and then as editor from 1988-1997.  His collection of 171 prints, 124 film negatives and 196 slides from the 1960s form a distinct body of work, available under the reference number P2004-044, but also represent just part of the strong association that the Hocken holds with our major local newspaper, the Otago Daily Times.

[i] Email correspondence, 9 April 2020.

[ii] Ibid.

[iii] Ibid.

[iv] Telephone conversation, 8 April 2020. 

[v] ‘New Zealand adopts decimal currency’.  URL: https://nzhistory.govt.nz/nz-adopts-decimal-currency,(Ministry for Culture and Heritage), updated 3-Aug-2017.  https://www.royalmint.com/discover/uk-coins/making-the-coins-in-your-pocket/, (viewed 15 April 2020).

Stirring up the stacks #8: Xmas Cake Recipe Recommended by “Buckhams”

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Post cooked up by Katherine Milburn, Liaison Librarian and Curator of Ephemera

For many people Christmas is a time of long-honoured traditions. At the Hocken this means the decorating of our Christmas tree in the foyer on the 1st of December. It seemed the perfect date to bring in the latest contribution to Stirring up the Stacks, especially one that celebrates the festive season and advertised itself as a “proven recipe”.

Xmas Cake Recipe Recommended by “Buckhams”. Buckhams Cordials, [Queenstown], 1967. Ephemera Collection, Hocken Collections, Uare Taoka o Hākena, University of Otago.

In the Hocken’s Ephemera Collection is a Christmas cake recipe leaflet from Buckhams Cordials that wishes readers a “Merry Xmas 1967”. On the reverse is a photograph of a well-stocked fridge of “Chilled Buckhams Cordials” where we can spot a variety of flavours on the labels including Still Orange, Frostee Orange, Cola Kist, and Jamaica Dry Pale Ginger Ale. Sadly, none of these labels are currently represented in the ephemera collection, but we would gladly welcome their addition if anyone has a collection they would like to pass on.

Buckhams Cordials was a Queenstown company that was established in 1870 as the Wakatip Brewery by William Lovell Davis and Thomas Surman. Their partnership dissolved in 1873, and the brewery and cordial factory continued to be run by Davis until 1880, when he left to take up mining with his brother James. James Read was granted the brewery’s lease and ran the business until his death in 1888. His wife Alice then continued the business until 1901 when management was taken over by Charles Davis, son of William Lovell Davis. In 1908 William Lovell Davis died and the brewery was purchased by his daughter Mrs H.C. Buckham. In November 1915 the brewery side of the business was closed to avoid charges from new beer duty regulations, and the company continued as a cordial manufacturer under Buckham family management. It was eventually sold in 1969 by Jim Buckham to R. Powley and Co. Ltd of Dunedin.

The Christmas cake recipe requires the overnight soaking of mixed fruit in a seven ounce bottle of Buckhams Ginger Ale. This was easily substituted for a modern supermarket brand, but it obviously remains unclear what difference this made to the eventual flavour. Perhaps for today’s bakers, the most unusual ingredient is one tablespoon of glycerine. An internet search revealed it is used to keep cakes moist and icing soft, and a bottle was eventually tracked down in a local health food store.

Mixed fruit soaked in ginger ale; freshly baked cake

The cake was made following the standard instructions but the recipe lacked any directions about decoration. I decided to make a royal icing that also incorporated glycerine (using a Mary Berry recipe), since I now possess a bottle to be used up! This cake is not suitable for the dietary requirements of all Hocken staff as it contains ten ounces of butter and six eggs, so I also baked a vegan version. This involved the swapping of ordinary flour for self-raising flour, besides the exclusion of butter and eggs, and a lemon juice/icing sugar glaze for decoration.

The decorated cake and the vegan version

Staff feedback was positive with most enjoying the cake’s taste and texture, and the royal icing in favour of the more common almond icing. One person rated both cakes a very generous 20 out of 20, and it was gratifying to hear another admit “I don’t really like fruit Christmas cakes, but this is an exception – lovely”. However, as my own Christmas tradition is to make my Christmas cake on Labour Day and feed it weekly with rum to ensure a moist texture and delicious flavour, I would have to concur with the staff member who suggested that this cake “possibly needs to age more?” The texture may have been improved by the addition of more than just the prescribed tablespoon of glycerine. I also would have preferred an increased ratio of spices, with the possible addition of ginger since, as one Hocken staff member noted, the flavour from the ginger ale did not come through.

It is always interesting to learn more about our early business and food history. The ephemera collection includes numerous examples of local advertising that also illustrate the perpetuation of our cultural traditions.

Sources

Leckie, Frank G. Otago’s Breweries Past & Present. Dunedin, Otago Heritage Books, 1997.

“Queenstown Identity Dies” Otago Daily Times, 13 July 1988, page 13.

What else have we cooked up?

Stirring up the stacks #7: Virginia pudding

Stirring up the stacks #6: Pumpkin pie

Stirring up the stacks #5: Sauerkraut roll

Stirring up the stacks #4: A “delicious cake from better times”

Stirring up the stacks #3: Bycroft party starters

Stirring up the stacks #2 The parfait on the blackboard

Stirring up the stacks #1 Variety salad in tomato aspic

 

Representations of women in the Dunedin music scene in the 1960s

Wednesday, October 7th, 2020 | Anna Blackman | 3 Comments

AG-047-7/004. Photograph of unnamed performers. Folk Proms Concert Capping, 1967. Otago University Folk Music Club: Files. Hocken Collections, Uare Taoka o Hākena, University of Otago.

Post researched and written by HUMS 301 intern Kayli Taylor.

How power (im)balances mean minorities are not adequately represented, including in archives.

Gordon Spittle’s Beat Groups and courtyard parties provides a broad snapshot of the underground culture of the Ōtepoti Dunedin music scene in the 1960s. The book offers a raw depiction of collectives of artists, musicians and performers who set the stage for the city’s emerging Dunedin sound. The book also contains a distinct lack of representation of women. Therefore, one might be forgiven for thinking that there were no women performing in the 1960s. An in-depth analysis of the Hocken archives, as I did for my HUMS301 internship, tells another story. Women did perform but were simply represented less than men. This has implications for how historians and archivists discuss women in the Dunedin music scene, and how we can do research to understand their lives and experiences.

The research I undertook at Hocken was broad, looking at publications and archives. In particular, the archival material on the Otago University Folk Music Club AG-047/7 provided different representation of women. Publications such as student magazine Critic, the Otago Daily Times and Playdate also provided interesting points of analysis.

In the 1960s, folk music expanded across Ōtepoti Dunedin and the world.[1] A key aspect of folk music was the role of women.[2] Through the archival records of the Otago University Folk Music Club, we can see that women played a key role in the organisational management of the group. This includes Diane Baird, Wendy Clark, Catherine Monthieth, Di Looney, Liz Somerville, Lyn Jeffcoate, and Bronwyn Patterson. Women also performed in concerts organised by and connected with the group, including Di Looney, Val Murphy, Lea Stevens, Christine Smith, Brownyn Patterson and Ann Wigston.

An article published in student magazine Critic in 1961 recognised this phenomenon, saying there was a shift to women performing in concerts on the basis that if women are good enough to perform behind the scenes, they are deserving of performing.[3]

The representation of women in the music scene in Dunedin in the media is also of interest to our analysis of women in the Dunedin music scene in the 1960s. Critic, for example, includes discussion of women and their role in the Dunedin music scene. In particular, Critic shows that folk music has quite extensive representation of women. Women, such as Diane Baird and Juliet Scott, also wrote for Critic about music – showing another way that women could speak into the Dunedin music scene in the 1960s.

AG-047-7/001. Photograph of unnamed performer. Folk Proms Concert Capping, 1967. Otago University Folk Music Club: Files. Hocken Collections, Uare Taoka o Hākena, University of Otago.

Expanding to look at women musicians across Aotearoa New Zealand, we can see that women both performed – and were represented. Musicians such as Sandy Edmonds, Dinah Lee, Maria Dallas and Kiri Te Kanawa were regularly represented in Playdate. The way they were represented is still of note, however. They were often used in advertising, such as for hair product Napro. These products were advertised by Dinah Lee (seven times), Anne Murphy (one time) and Sandy Edmonds (nine times).

Analysing the representation of women in the Dunedin music scene in the 1960s shows common threads of the representation of minorities. David Thomas’s Silence in the Archive argues that archives are not neutral or natural, but hold particular stories and reinforce particular discourses.[4] He argues that though archives should be beacons of light to the stories of history, that is not always the case.[5] We can see this playing out in the lack of representation of women in the Dunedin music scene.

The Ōtepoti Dunedin music scene has an interesting history of its presence and representation of women. The 1960s, in particular, was a key point of flux and transition. Women played an increasingly role in the music scene but were rarely recognised in the media of the day. For historians, this poses a challenge to how they perceive and understand women and their involvement. Thomas argues that as historians seek stories of minorities, there is not always the archival material to assist their research.[6]

AG-047-7/003. Photograph of unnamed performers. Folk Proms Concert Capping, 1967. Otago University Folk Music Club: Files. Hocken Collections, Uare Taoka o Hākena, University of Otago.

While I found some representation of women in the Dunedin music scene in the 1960s, I believe there were more women performing than the archive represents. David Thomas argued that archives silence some stories, and I believe this is the case in this instance. This encourages us – as historians and people – to act more consciously to find and represent the stories of women and minorities in the archives, and to make space for their stories in our everyday lives.

Dunbar, Julie C. Women, Music, Culture: An Introduction. Second Edition. ed. New York: Routledge, 2016.

Thomas, David, Simon Fowler, and Valerie Johnson. The Silence of the Archive. London: Facet Publishing, 2017.

[1] Julie C. Dunbar, Women, Music, Culture: An Introduction, Second Edition. ed. (New York: Routledge, 2016), 364.

[2] Ibid.

[3] “More Women Take An Active Part in Concert”, Critic, 4 May 1961, 8.

[4] David Thomas, Simon Fowler, and Valerie Johnson, The Silence of the Archive (London: Facet Publishing, 2017), 1.

[5] Ibid., 22.

[6] Ibid., 17.

Letters of antifascist and biochemist Marianne Angermann to her parents published

Wednesday, September 9th, 2020 | Anna Blackman | No Comments

Marianne Bielschowsky, photographed in Brussels, 1939. MS-1493/036, Bielschowsky papers.

On this blog we last met Marianne Bielschowsky (nee Angermann) as the author of a delicious cake recipe in this post by Ali Clarke.

On the day that the cake was made and served to Hocken staff I was unfortunately a little late to morning tea and missed out, all I could do was scrape some of the scrummy custard butter cream filling from the plate!

So today it is especially sweet to say I’m delighted that thanks to the efforts of our colleagues in the Languages and Cultures Programme that some of Marianne’s letters to her parents are now easily available online for researchers to access and that more will be available soon in subsequent issues of the journal.

The letters have been transcribed from old German script (Deutsche Schrift or Kurrentschrift) to modern script and then translated from German to English. The first tranche of the letters are published in issue 29 of the open journal Otago German Studies.

At least these transcriptions and translations will last longer than the cake!

The work has been completed by Dr Peter Barton in collaboration with Dr August Obermayer.

The story of Marianne and her husband Franz Bielschowsky’s lives as biochemical and cancer researchers parallels the upheavals and difficulties of the early 20th century Europe.

A detailed biographical introduction and detailed annotations have been provided with the translations to provide historical context. Briefly Marianne was born and trained as a biochemist in Germany at a time when it was unusual for women to study science at University. After graduating she worked in Germany, and then traveled to Spain in early 1936.  There she was reunited with her soon to be husband Franz Bielschowsky who had left Germany in 1933 as persecution of Jewish people escalated. Franz and Marianne had positions at the University of Madrid but were soon caught up in the turmoil of the Spanish Civil War. After three years they left Spain for Sheffield in England, and in 1948 came to Dunedin where Franz had been appointed Director of Cancer Research.

 

 
Anna Blackman anna.blackman@otago.ac.nz
 

Any views or opinion represented in this site belong solely to the authors and do not necessarily represent those of the University of Otago. Any view or opinion represented in the comments are personal and are those of the respective commentator/contributor to this site.