“Representation is important” writes Tayi Tibble in her debut poetry collection Poūkahangatus. The line is framed by the poet’s recollection of the grief and frustration she experienced after watching the Disney film Pocahontas and being told that the reallife heroine accompanied John Smith to England where she died of disease. Representation and diversity are the words of our time and they reverberate through recent discussions about the literature of Aotearoa New Zealand. Michalia Arathimos raged at the way in which non-Pākehā authors are perpetually labelled and qualified “only by their ethnicity” in a way that others and exoticises them (E-Tangata 24 June). Yet both she, and Hinemoana Baker in a review of Poūkahangatus, speak of the way in which cultural belonging and cultural heritage are part of the lived texture of experience and identity (Writehanded 29 June). Achieving a balance between identification without othering is a challenge for us, as the act of attempting to provide an overview of a year in the literary life of a nation inevitably relies on tracing recurring trends and voices. We acknowledge our own positionality as two Pākehā women who aim to comment on relevant issues of gender, sexuality and ethnicity in a way that is respectful and that values multiplicity, but who are alert to our own limitations. After a process of consultation, we have changed the name of this article to “Aotearoa New Zealand” in order to better reflect the cultural heritage of our nation. In writing this reflection on Aotearoa New Zealand literature in 2018 we are inspired by the admonishment and dream expressed by author and teacher Tina Makereti who critiqued the way in which publishing trends and literary discourse privilege Pākehā and proposed that the nation’s literature undergo “radical renovations”. She asks the reader to imagine a house “that must welcome and absorb and connect all the literatures and writers and readers of Aotearoa” the way “a wharenui ... a house that represents the body of an ancestor ... contains within it the whole whakapapa [genealogy] of its people, reaching back through generations and migrations and eons until it touches the cosmology

中文翻译：

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新西兰

“代表很重要”Tayi Tibble 在她的首部诗集 Poūkahangatus 中写道。这条线是由诗人回忆起她在观看迪斯尼电影风中奇缘并被告知现实生活中的女主人公陪同约翰史密斯前往英国后死于疾病的悲伤和沮丧的回忆。代表性和多样性是我们这个时代的词汇，它们在最近关于新西兰奥特罗亚文学的讨论中产生了反响。Michalia Arathimos 对非 Pākehā 作家被永久贴上标签和资格的方式感到愤怒，这种方式“仅根据他们的种族”，其他人和异国情调的方式（E-Tangata 6 月 24 日）。然而她和 Hinemoana Baker 在对 Poūkahangatus 的评论中，谈到文化归属感和文化遗产如何成为体验和身份的生活质感的一部分（Writehanded 6 月 29 日）。在认同与他人之间取得平衡对我们来说是一个挑战，因为试图概述一个国家一年的文学生活不可避免地依赖于追踪反复出现的趋势和声音。我们承认自己作为两名白族女性的立场，她们旨在以尊重和重视多样性的方式评论性别、性和种族的相关问题，但她们对我们自身的局限性保持警惕。经过协商，我们把这篇文章的名字改成了“Aotearoa New Zealand”，以更好地体现我们民族的文化遗产。在撰写 2018 年对 Aotearoa 新西兰文学的反思时，我们受到了作家兼教师 Tina Makereti 所表达的告诫和梦想的启发，她批评了出版趋势和文学话语特权 Pākehā 的方式，并建议国家文学进行“彻底革新” . 她要求读者想象一所房子“必须欢迎、吸收和连接 Aotearoa 的所有文学作品、作家和读者”，就像“一座 wharenui……一座代表祖先身体的房子……在其中包含其人民的整个 whakapapa [系谱]，通过世代、迁徙和永恒追溯，直到触及宇宙学