Jared Davidson is an archivist, historian and writer based in Wellington, New Zealand. His work has appeared in The Guardian, Overland, History Workshop Journal, The Spinoff, Newsroom and other publications, while his latest book Dead Letters was longlisted for the Ockham New Zealand Book Award for General Non-Fiction. He is the recipient of the Michael Standish Prize for best archival essay, and a finalist for the Bert Roth Award for Labour History and the NZSA Heritage Book Awards. The co-authored He Whakaputanga – The Declaration of Independence won best secondary resource in education.
Jared is currently working on a new book, tentatively called Blood and Dirt: Prison Labour and the Making of New Zealand, as well as the odd article. You can find all of his writing on the bibliography page and keep up-to-date with the latest news and content on Twitter, Instagram or his blog.
Writing for The Guardian, this article suggests Covid lockdowns give us a chance to reimagine Anzac Day and consider war more honestly. “This year, we have an opportunity to jettison the militarism and remember the trauma of war in a different way. This year, we may be able to escape what the Pulitzer prize-winning novelist and scholar Viet Thanh Nguyen calls the “industrialisation of memory” and consider the root causes of war, as well as the voices that are heard in wartime commemorations and those that are not. Not having a public commemoration defined and organised by the state might just enable a “just” remembering of war.”
Click below to read this latest writing and to view a full bibliography of Jared’s work.
In 1918, from deep within the West Coast bush, a miner on the run from the military wrote a letter to his sweetheart. Two months later he was in jail. Like millions of others, his letter had been steamed open by a team of censors shrouded in secrecy. Using their confiscated mail as a starting point, Dead Letters: Censorship and subversion in New Zealand 1914–1920 reveals the remarkable stories of people caught in the web of wartime surveillance.
Among them was a feisty German-born socialist, a Norwegian watersider, an affectionate Irish nationalist, a love-struck miner, an aspiring Maxim Gorky, a cross-dressing doctor, a nameless rural labourer, an avid letter writer with a hatred of war, and two mystical dairy farmers with a poetic bent. Military censorship within New Zealand meant that their letters were stopped, confiscated and filed away, sealed and unread for over 100 years. Until now.
Intimate and engaging, this dramatic narrative weaves together the personal and political, bringing to light the reality of wartime censorship. In an age of growing state power, new forms of surveillance and control, and fragility of the right to privacy, Dead Letters is a startling reminder that we have been here before. Foreword by Charlotte Macdonald.
Published by Otago University Press, March 2019
Winner of the 2018 Copyright Licensing NZ Education Award for Best Secondary Student Resource
He Whakaputanga o te Rangatiratanga o Nu Tireni was signed by fifty-two rangatira from 1835 to 1839. It was a powerful assertion of mana and rangatiratanga, made after decades of Māori and European encounters that had been steadily expanding – both within Aotearoa New Zealand and elsewhere on the globe as Māori travelled abroad. As rangatira reached out, they also forged new alliances. He Whakaputanga was part of that process, reinforcing ties between northern rangatira and the British Crown that dated back nearly half a century.
He Whakaputanga remains a taonga of great significance. It is shown here along with narratives about the people who signed and those who witnessed. Through these histories new light is shed on a document that signalled New Zealand’s place in the world. Co-authored, featuring a Foreword by Aroha Harris and Introduction by Vincent O’Malley.
Published by Bridget Williams Books with the Department of Internal Affairs, May 2017
Sewing Freedom is the first in-depth study of anarchism in New Zealand during the turbulent years of the early-20th century—a time of wildcat strikes, industrial warfare, and a radical working class counter-culture. Interweaving biography, cultural history, and an array of archival sources, this engaging account unravels the anarchist-cum-bomber stereotype by piecing together the life of Philip Josephs—a Latvian-born Jewish tailor, antimilitarist, and founder of the Wellington Freedom Group. Anarchists like Josephs not only existed in the ‘Workingman’s Paradise’ that was New Zealand, but were a lively part of its labour movement and the class struggle that swept through the country, imparting uncredited influence and ideas. Sewing Freedom places this neglected movement within the global anarchist upsurge, and unearths the colourful activities of New Zealand’s most radical advocates for social and economic change. Includes illustrations by Icky from Justseeds and a foreword by Barry Pateman (Kate Sharpley Library Archivist and Associate Editor at the Emma Goldman Papers).
Published by AK Press: Oakland, USA, 2013
On the eve of his execution in 1915, Joe Hill — radical songwriter, union organiser and member of the Industrial Workers of the World (IWW) — penned one final telegram from his Utah prison cell: “Could you arrange to have my body hauled to the state line to be buried? I don’t want to be found dead in Utah.” Hill’s body was then cremated, his ashes placed into tiny packets and sent to IWW Locals, sympathetic organizations and individuals around the world. Among the nations said to receive Hill’s ashes, New Zealand is listed.
Remains to be Seen traces the ashes of Joe Hill from their distribution in Chicago to wartime New Zealand. Drawing on previously unseen archival material, it examines the persecution of anarchists, socialists and Wobblies in New Zealand during the First World War. It also explores how intense censorship measures — put in place by the National Coalition Government of William Massey and zealously enforced by New Zealand’s Solicitor-General, Sir John Salmond — effectively silenced and suppressed the IWW in New Zealand. Cover illustration by Dylan Miner of Justseeds.
Published by Rebel Press: Wellington, 2011