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• W3167205291 abstract "Reviewed by: Robert Louis Stevenson's Pacific Impressions: Photography and Travel Writing, 1888–1894 by Carla Manfredi Richard Hill Carla Manfredi. Robert Louis Stevenson's Pacific Impressions: Photography and Travel Writing, 1888–1894. New York: Palgrave Macmillan, 2018. 256 pp. Hardcover, $89.99. Robert Louis Stevenson's travels around the Pacific have proven rich subject matter for recent scholarship; however, they have also proven difficult to quantify or encapsulate because his movement, his work, and his experiences were so diverse. Vanessa Smith, Ann Colley, Oliver Buckton and Roslyn Jolly have all ably tackled different aspects of this journey, and Carla Manfredi's book Robert Louis Stevenson's Pacific Impressions: Photography and Travel Writing, 1888–1894 is a worthy addition to this collection. Manfredi's book is an important step forward in several fields of inquiry, including providing a focused, nuanced account of some of Stevenson's interactions with very different island communities and personalities, and most significantly a close examination of some of the photography produced by Stevenson and his extended family on their travels. Nineteenth-century photography of the Pacific, as Manfredi's work aptly reveals, is much more complex than it is perhaps given it credit for. Manfredi's analysis focusses on the nuances of a range of these photographs, outlining in detail the cultural, situational and socio-political contexts in which specific photographs were taken. For example, in chapter 2, which discusses photographs taken of the Marquesan cannibal chief Moipu, Manfredi spends much time contextualizing the history of cannibalism in the islands, and how colonial intrusion first almost eliminated the highly ritualized practice, and how Marquesans subsequently resurrected it in a more random, violent form in resistance to colonial repression. In fact, so long does Manfredi spend on this well [End Page 131] researched subject that the reader begins to wonder what this has to do with photography; however, Manfredi skillfully handles this when she brings the discussion back to three specific photographs taken by Stevenson of Moipu, in one of which he is seen standing next to a rival chief, Paaaeua. It is here that Manfredi's research illuminates some of the complexities behind the photographs. She explains that Lloyd Osbourne (Stevenson's step-son and photographic confederate) asked Moipu to dress up for a photographic session, which he duly did. In the first two photographs (figs. 2.2 and 2.3), Moipu is seen, with back to camera, in revealing (possibly scandalous for a nineteenth-century audience) traditional costume. Manfredi, by this point, has made it clear that Moipu, a proud, self-confessed cannibal, is flouting his notoriety, taking ownership of his image as the cannibal chief, and reinforcing his status as the traditional Marquesan chieftain in the pre-colonial style of his ancestors for the camera. Manfredi forces us to consider this fact: in doing so, she argues convincingly that Moipu assumes a degree of agency in how he chooses to have himself depicted, and thus understands the power of the white-man's camera. This not only lends Moipu an idiosyncratic intelligence and personality but also places him as a participating member of late nineteenth-century technology and culture. Another interesting example is provided by competing photographs of King Tem Binoka, his adopted son and his wives in chapter 4 (137). On first viewing, and without contextual understanding of the images, it is easy to interpret the first of these photographs (fig. 4.8) as an island-monarch inscribing his sexual mastery and prowess over a submissive harem. Manfredi, however, first points out an obvious fact that undercuts this image: the son in the picture is adopted, for reasons we can never know but which rumor suggests is due to the king's inability to father a child. The photograph caption, King Tembenoka with adopted son—standing to the front of wives, undermines the virility of the king just as the image attempts to reaffirm it. Further, Manfredi then provides a fascinating juxtaposed image in chapter 5 (fig. 5.1) of some of these same wives boarding the steamer The Janet Nichol. Manfredi first contextualizes how these women were not all wives, but were wives, sisters, family members, a very diverse group who..." @default.
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• W3167205291 title "Robert Louis Stevenson's Pacific Impressions: Photography and Travel Writing, 1888–1894 by Carla Manfredi" @default.
• W3167205291 doi "https://doi.org/10.1353/itx.2021.0006" @default.
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