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AbstractHistoryArchive Description
'Hohepa Te Umuroa is with Te Rauparaha at the Wairau killings in the 1840s, and at Boulcotts Farm in the Hutt Valley when white settlers lose their lives. Convicted of insurrection, he and four companions are transported to the convict town of Hobart to serve their sentences. Ismay Glossop and her doctor husband Gower McKissock have also come to Tasmania, via Nelson, New Zealand. On Maria's [sic] Island near Hobart, their lives intersect with the five Maori, with unexpected consequences. Witi Ihimaera returns from rewriting his early books with this brand-new novel, a compelling historical drama that places one of New Zealand's master storytellers at the height of his powers.'
Source: Boomerang Books website, http://www.boomerangbooks.com.au/
Sighted: 07/11/2009
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Hohepa Te Umuroa's Invented 'Wife' Te Rai : Crossing the Line Between Historical Fiction and Fact
2016
single work
criticism
— Appears in: Tasmanian Historical Studies , vol. 21 no. 2016; (p. 85-98)'In November 1846 five young Maori warriors arrived in Hobart from New Zealand after being sentenced to transportation for life. Their arrival n the penal colony caused a sensation. Tasmanian colonists condemned their New Zealand counterparts for the treatment being meted out to local indigenous peoples, lobbied for the humane treatment of the men while they were in Van Diemen's Land, and advocated for their repatriation to their homeland. While consent to repatriate the men was being sought from London, the warriors were initially housed at the Hobart Penitentiary. During their first few days there, each man's portrait was painted in luminous watercolours by noted colonial artist John Skinner Prout. Hohepa Te Umuroa was perhaps the most compelling looking of the five. His portrait was also painted by Wiliam Duke, this time in oils. The afterlife of Duke's portrait, specifically the story that became attached to it, is the focus of this article and is situated within a wider debate about history and historical fiction.' (Introduction)
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'Disfigured by Plagiarism'; Top Maori Writer 'Lazy and Rude'
2009
single work
column
— Appears in: The Canberra Times , 7 December 2009; (p. 2) -
Creative Writing
2009
single work
criticism
— Appears in: The New Zealand Listener , 12-18 December 2009; Joanne Black exposes examples of plagiarism in Witi Ihimaera's The Trowenna Sea. The examples include material from work by Australian historian Dr Peter Stanley. -
Ihimaera to Buy Back Plagiarised Editions
2009
single work
column
— Appears in: Dominion Evening Post , 19 November 2009; (p. 7) Kelly Burns reports that Penguin Group will buy back copies of the first edition of Witi Ihimaera's novel The Trowenna Sea following the author's admission that the novel inadvertently contains plagiarised material. -
Ambitious Yarn Fails to Convince
2009
single work
review
— Appears in: Sunday Star-Times , 8 November 2009; (p. 8)
— Review of The Trowenna Sea : A Novel 2009 single work novel
-
Ambitious Yarn Fails to Convince
2009
single work
review
— Appears in: Sunday Star-Times , 8 November 2009; (p. 8)
— Review of The Trowenna Sea : A Novel 2009 single work novel -
Ihimaera to Buy Back Plagiarised Editions
2009
single work
column
— Appears in: Dominion Evening Post , 19 November 2009; (p. 7) Kelly Burns reports that Penguin Group will buy back copies of the first edition of Witi Ihimaera's novel The Trowenna Sea following the author's admission that the novel inadvertently contains plagiarised material. -
Creative Writing
2009
single work
criticism
— Appears in: The New Zealand Listener , 12-18 December 2009; Joanne Black exposes examples of plagiarism in Witi Ihimaera's The Trowenna Sea. The examples include material from work by Australian historian Dr Peter Stanley. -
'Disfigured by Plagiarism'; Top Maori Writer 'Lazy and Rude'
2009
single work
column
— Appears in: The Canberra Times , 7 December 2009; (p. 2) -
Hohepa Te Umuroa's Invented 'Wife' Te Rai : Crossing the Line Between Historical Fiction and Fact
2016
single work
criticism
— Appears in: Tasmanian Historical Studies , vol. 21 no. 2016; (p. 85-98)'In November 1846 five young Maori warriors arrived in Hobart from New Zealand after being sentenced to transportation for life. Their arrival n the penal colony caused a sensation. Tasmanian colonists condemned their New Zealand counterparts for the treatment being meted out to local indigenous peoples, lobbied for the humane treatment of the men while they were in Van Diemen's Land, and advocated for their repatriation to their homeland. While consent to repatriate the men was being sought from London, the warriors were initially housed at the Hobart Penitentiary. During their first few days there, each man's portrait was painted in luminous watercolours by noted colonial artist John Skinner Prout. Hohepa Te Umuroa was perhaps the most compelling looking of the five. His portrait was also painted by Wiliam Duke, this time in oils. The afterlife of Duke's portrait, specifically the story that became attached to it, is the focus of this article and is situated within a wider debate about history and historical fiction.' (Introduction)
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cNew Zealand,cPacific Region,
- Tasmania,
- 1840s