The Cruise of the "Janet Nichol" Among the South Sea Islands: A Diary by Stevenson: The Cruise of the "Janet Nichol" is a travelogue and diary written by Robert Louis Stevenson, recounting his journey through the South Sea Islands. Stevenson's vivid descriptions, personal anecdotes, and observations of the local cultures and landscapes make this book a captivating account of his exploration of these exotic islands. Key Aspects of the Book "The Cruise of the "Janet Nichol" Among the South Sea Islands: A Diary": Travel and Exploration: Stevenson takes readers on a journey through the South Sea Islands, offering vivid descriptions and personal experiences of the places he visits and the people he encounters. Cultural Encounters: The book provides insights into the diverse cultures, traditions, and customs of the South Sea Islands, providing readers with a deeper understanding of these unique societies. Personal Reflections: The Cruise of the "Janet Nichol" offers Stevenson's personal reflections on his travels, sharing his thoughts on the beauty of the islands, the challenges of the voyage, and his encounters with the local inhabitants. Stevenson refers to Robert Louis Stevenson, a Scottish writer born in 1850. He is best known for his literary works, including Treasure Island and Strange Case of Dr. Jekyll and Mr. Hyde. Stevenson's writings often explore themes of adventure, imagination, and the human spirit, and his travelogue The Cruise of the "Janet Nichol" reflects his passion for exploration and his talent for storytelling.

In April 1890 the steamer Janet Nicoll set off from Sydney for a three-month trading voyage through the central and western Pacific. Aboard were seven white men, a crew of forty islanders, and one woman: a short-haired, barefoot, cigarette-smoking American, Fanny Van de Grift Stevenson, wife of the famous novelist Robert Louis Stevenson. The Cruise of the Janet Nichol is Fannys account of her journey with her husband and grown son through what are today the Cook Islands, Tuvalu, Kiribati and the Marshall Islands.

Table of Contents PART 1: THE MARQUESAS Chapter I—AN ISLAND LANDFALL Chapter II—MAKING FRIENDS Chapter III—THE MAROON Chapter IV—DEATH Chapter V—DEPOPULATION Chapter VI—CHIEFS AND TAPUS Chapter VII—HATIHEU Chapter VIII—THE PORT OF ENTRY Chapter IX—THE HOUSE OF TEMOANA Chapter X—A PORTRAIT AND A STORY Chapter XI—LONG-PIG—A CANNIBAL HIGH PLACE Chapter XII—THE STORY OF A PLANTATION Chapter XIII—CHARACTERS Chapter XIV—IN A CANNIBAL VALLEY Chapter XV—THE TWO CHIEFS OF ATUONA Part II: THE PAUMOTUS Chapter I—THE DANGEROUS ARCHIPELAGO—ATOLLS AT A DISTANCE Chapter II—FAKARAVA: AN ATOLL AT HAND Chapter III—A HOUSE TO LET IN A LOW ISLAND Chapter IV—TRAITS AND SECTS IN THE PAUMOTUS Chapter V—A PAUMOTUAN FUNERAL Chapter VI—GRAVEYARD STORIES Part III: THE GILBERTS Chapter I—BUTARITARI Chapter II—THE FOUR BROTHERS Chapter III—AROUND OUR HOUSE Chapter IV—A TALE OF A TAPU Chapter V—A TALE OF A TAPU—continued Chapter VI—THE FIVE DAYS’ FESTIVAL Chapter VII—HUSBAND AND WIFE Part IV: THE GILBERTS—APEMAMA Chapter I—THE KING OF APEMAMA: THE ROYAL TRADER Chapter II—THE KING OF APEMAMA: FOUNDATION OF EQUATOR TOWN Chapter III—THE KING OF APEMAMA: THE PALACE OF MANY WOMEN Chapter IV—THE KING OF APEMAMA: EQUATOR TOWN AND THE PALACE Chapter V—KING AND COMMONS Chapter VI—THE KING OF APEMAMA: DEVIL-WORK Chapter VII—THE KING OF APEMAMA

Explorers wanted is an exciting new non-fiction series aimed at children of 10+. Each book in the series presents the reader with an exciting expedition to tackle, and is crammed with fascinating information, gruesome details and cool facts.

Oxford Textual Perspectives is a series of informative and provocative studies focused upon literary texts (conceived of in the broadest sense of that term) and the technologies, cultures, and communities that produce, inform, and receive them. It provides fresh interpretations of fundamental works and of the vital and challenging issues emerging in English literary studies. By engaging with the materiality of the literary text, its production, and reception history, and frequently testing and exploring the boundaries of the notion of text itself, the volumes in the series question familiar frameworks and provide innovative interpretations of both canonical and less well-known works. The Aesthetics of Island Space discusses islands as central figures in the modern experience of space. It examines the spatial poetics of islands in literary texts, from Shakespeare's The Tempest to Ghosh's The Hungry Tide, in the journals of explorers and scientists such as James Cook and Charles Darwin, and in Hollywood cinema. It traces the ways in which literary and cinematic islands have functioned as malleable spatial figures that offer vivid perceptual experiences as well as a geopoetic oscillation between the material energies of words and images and the energies of the physical world. The chapters focus on America's island gateways (Roanoke and Ellis Island), visions of tropical islands (Tahiti and imagined South Sea islands), the islands of the US-Canadian border region in the Pacific Northwest, and the imaginative appeal of mutable islands. It argues that modern voyages of discovery posed considerable perceptual and cognitive challenges to the experience of space, and that these challenges were negotiated in complex and contradictory ways via poetic engagement with islands. Discussions of island narratives in postcolonial theory have broadened understanding of how islands have been imagined as geometrical abstractions, bounded spaces easily subjected to the colonial gaze. There is, however, a second story of islands in the Western imagination which runs parallel to this colonial story. In this alternative account, the modern experience of islands in the age of discovery went hand in hand with a disintegration of received models of understanding global space. Drawing on and rethinking (post-)phenomenological, geocritical, and geopoetic theories, The Aesthetics of Island Space argues that the modern experience of islands as mobile and shifting territories implied a dispersal, fragmentation, and diversification of spatial experience, and it explores how this disruption is registered and negotiated by both non-fictional and fictional responses.