This year’s Hugo Award for best novel goes to Book three of The Broken Earth Trilogy by N.K. Jemisin. Books one and two, The Fifth Season and The Obelisk Gate respectively, are both previous winners of the award. This also makes N.K. Jemisin the first author to win three Hugo Awards for best novel in a row as well as making The Broken Earth the only trilogy in which all three novels are best novel winners (the closest to doing so previously was Kim Stanley Robinson‘s Mars Trilogy with two wins and a finalist position).
Essentially, this is the reward for best piece of non-fiction related to the world of science fiction and fantasy and understandably, recently deceased Ursula Le Guin, now six time winner of the Hugo Award and Science Fiction royalty, is the winner of this category. ‘No Time to Spare’ is a collection of Le Guin’s musings on various subjects from the mundane to the philosophical.
The best graphic novel of the year is the sequel to 2017’s winner: ‘Monstress Vol. 2’. Monstress is an apocalyptic steampunk fable notable for its exceptional artwork (with artist Sana Takeda also winning this year’s award for Best Professional Artist) and interesting world building.
Best Dramatic Presentation, Long Form: Wonder Woman, screenplay by Allan Heinberg, story by Zack Snyder & Allan Heinberg and Jason Fuchs, directed by Patty Jenkins (DC Films / Warner Brothers).
What essentially amounts to the award for best film, Wonder Woman takes the cake for its adaptation of the DC Comic hero in a film that captures the essence of this year’s Hugo Awards winners.
The winners of the Hugo Awards will be announced next month and with the Nebula Award winners having been announced in May (two of the biggest awards in science fiction), let’s take this moment in between to think about the future in literature and what it actually means to write and think about the future.
When we think about fiction and the future, there are two sub-genres that immediately spring to mind: dystopian and utopian. Most people will be familiar with dystopia; arguably the most popular form of science-fiction that there is. From Atwood’s The Handmaid’s Tale, The Walking Dead, or the classics of Nineteen Eighty-Four,Brave New World, and Logan’s Run, the idea of dystopia appear to be firmly entrenched in Western cultures’ collective imaginary. We all have different ideas of what a dystopia might look like, but put simply, it is an imagining of an unpleasant future that could occur through an apocalyptic event, the rise of widespread tyranny, or simply the break down of civil society.
The counterpoint to this bleak storytelling of a world gone to the dogs is utopian fiction. Many people will, as with dystopia, have different ideas of what utopia looks like. So, in this instance I am going to use the pragmatic definition of utopia put forward by Hugo and Nebula award winning author Kim Stanley Robinson: utopia is imagining the best possible outcome given where we are now. What I like about this understanding of utopia is that it doesn’t mystify utopia into religious sentimentality but places it firmly into the realm of possibility.
Take Robinison’s novel New York 2140 (that has been nominated for the 2018 Hugo Award for best novel) for example. Here we experience a New York that as endeavoured to survive and re-create itself in the wake of catastrophic climate change as the innovation of adaptability of humanity leads to a future despite of the crisis it found itself in. Robinson’s Nebula award winning novel 2312 also highlights the redeemable aspects of humankind as they work together to try alleviate humanity’s suffering and begin to recreate Earth into something resembling its former self.
Utopian fiction is not about the absence of conflict – no one would want to read or watch a story with no conflict – but the conflict is about the actions taken to prevent the fall into dystopia. Isaac Asimov‘s Foundation series is a fantastic example of such utopian thinking as the protagonists work to prevent a galaxy wide collapse into unprecedented galactic barbarism. Here, the utopian thinking is about creating a future for humankind that is free of insecurity and suffering.
So take a moment, and read about the future. Not the future in which everything is awful and the only thing humanity can hope for is survival, but a future in which humanity has a chance to thrive and flourish as it overcomes all the obstacles that could limit it from having a meaningful future existence.
The night’s chair was Morrin Rout, WORD Christchurch trustee and host of the Plains FM show Bookenz.
Bill Wicks is an ex-military man and surveyor whose book Different Shadows is part of a series centred on Sergeant Harry Brent, who has been put to pasture solving cold cases while he recovers from a hunting injury. Bill uniquely sets the action in Christchurch and Queenstown. This case has something to do with a bombed latrine…
Katherine Hayton works in insurance and writes fantasy and crime in her spare time. Her newest book, The Only Secret Left to Keep, is the third book in the Ngaire Blakes Mystery series, based on a Māori policewoman based in Christchurch. Highly topical, the story begins with a body found in the aftermath of the Port Hills Fires in the summer of 2017, and traces a trail of evidence back to the divisive Springbok Tour of the 1980s.
Last but certainly not least, we heard from ex-opera singer and local historian Edmund Bohan. Unfortunately he didn’t sing for us. Edmund has written six mysteries for nineteenth century Inspector O’Rorke to ponder. A Suitable Time for Vengeance and The Lost Taonga bring this popular character back for a final two books in the series.
Katherine knew she wanted to write a trilogy so she set aside parts of Ngaire’s life; backgrounding, saving confronting moments such as her relationship and an ‘I’m going to die’ moment for other books. She feels she is finished with Ngaire, but may develop another character from this into another series.
Edmund’s O’Rorke is popular with the ladies. Edmund wanted to write a sensation novel that transferred to a New Zealand setting. In New Zealand’s quite violent nineteenth century, when there was much political and religious unrest, the Inspector is dragged out of retirement to track down the ‘dreaded Linsky,’ a stealer of bodies. The overarching theme in this series is that you can never escape your past.
Bill’s protagonist Sergeant Harry Brent is ‘basically normal’, just slightly flawed. Well none of us are perfect. Harry, unlike O’Rorke, is not very good with women. He wonders if he’s tough enough for the job. It’s a tough job. Bill’s writing has a military flavour, but this series is not gory like Bill’s first nonfiction book, A Long Way to Come to Die.
All agree there is a fair bit of not pleasant research to be done in order to appear authentic. Katherine talks to American detectives online, Edmund and Bill draw on their professional experience and contacts, while all three read widely in the genre.
When it comes to publishing, each has approached a different option. Katherine publishes eBooks, while Edmund recommends the benefit of remaining with a lifelong publisher (Hazard Press), if possible, to preserve the continuity of series writing.
Bill’s wife Gabrielle was tasked with the job of editing and getting published. She embraced it gladly, saying it was much nicer than that other horrible book” (A Long Way to Go to Die – a book as gory as a Peter Jackson exhibition). Getting sponsorship from the Spinal Trust where she had worked before retirement, Bill and Gabrielle self-published. Says Gabrielle :
” I didn’t want anyone to tear Bill’s stories to bits.”
The Ngaio Marsh Awards, to be held in September as part of the WORD Christchurch Writers and Readers Festival, were established by Craig Sisterson, in response to the literary elite’s (who remain unnamed, but may be publishers…) continued view of Crime Fiction as ‘not literature’, despite the genre’s rising popularity internationally.
Sadly due to family illness, fourth author Justin Warren, author of Forgotten Lands, couldn’t be there.
Craig Sisterson is a writer and reviewer, and a fan of great crime writing. He’s the force behind the Ngaio Marsh Awards celebrating New Zealand crime writing, starting the Awards in 2010 and now serving as the judging convenor for the prizes.
Read our interview with Craig where he talks Kiwi crime, #yeahnoir, the Ngaio Marsh Awards, and libraries.
This year, you can join in as Scorpio Books and WORD Christchurch present The Great Lit Quiz & Ngaio Marsh Awards! To celebrate NZ Bookshop Day, put together a team of book enthusiasts for a quiz of crime novels and other genres! All tickets gain entry to the invitation-only Ngaio Marsh Awards cocktail party, where the winners will be announced. Hosted by crime writers Paul Cleave and Vanda Symon.
The Bone Line wine and nibbles provided. Saturday, 28 October, 5.30pm Ngaio Marsh Awards; 7pm Great Lit Quiz
$80 per table (up to 5 players) by emailing email@example.com
How did the idea for the Ngaio Marsh Awards come to you?
It was a culmination of a lot of little things. I’d started reading a lot while backpacking through Latin America for six months, picking up dozens of novels from hostel book exchanges and the like to pass the time on 24-hour bus rides in Argentina and Chile. The hostels tended to have plenty of ‘popular fiction’ (crime, romance, sci-fi, action thrillers etc), and I gravitated towards the crime novels, having loved mystery tales since I was a kid devouring The Hardy Boys adventures when I was at Richmond Primary School in Nelson.
Then when I was in Canada I went along to an Arthur Ellis Awards event at the Vancouver Public Library (a crime author panel where the finalists for their national crime writing awards were also announced). I met some really cool Canadian crime writers, including the great William Deverell, and had a really good chat with him afterwards about recognising and celebrating quality writing, and how the crime genre was much deeper nowadays than the stereotype of old-fashioned mysteries, potboilers, and airport thrillers.
As an aside, I spoke with the Canadians about the state of New Zealand crime writing (they were curious), and even lamented that other than Dame Ngaio and Paul Thomas’s series, and one-offs from the likes of Simon Snow, Nigel Latta, and Michael Laws, we didn’t seem to have as many crime writers as you’d expect for a country that has some really great writers (Oscar-nominated screenwriters, Man Booker listees, fabulous children’s authors, great longform journalists, etc). Or at least we didn’t have many ongoing series or crime writers putting out multiple books. It’s embarrassing to look back on that discussion now, because NZ does have a greater crime writing history than I knew about at that time, but perhaps the fact I was a keen reader who still wasn’t aware of that was telling too?
When I returned to New Zealand in October 2008, I popped into the Papatoetoe Library my first weekend to keep feeding my reading habit. By chance, a couple of crime novels on the recently returned shelf caught my eye. I picked them up, was taken by the backcover blurbs, and was surprised to read they were set in New Zealand: Cemetery Lake by Paul Cleave and The Ringmaster by Vanda Symon. Not only were they modern NZ crime novels, but each was from an author who’d published more than one novel!
I read them both that weekend, before I started my new job at a legal magazine (I was a lawyer before my overseas adventures). Both were terrific, really top quality stuff. Great characters and writing, coupled with page-turning action and suspense. And both books were as good if not better than many of big-name international bestsellers I’d been reading on my Latin American journey.
So my thoughts about the state of NZ crime writing began to shift. Then my new boss asked if I’d read any good books lately, as a review for our magazine hadn’t come in before deadline. So I wrote reviews of Cleave and Symon’s books, and took off from there. Soon afterwards I was reviewing crime fiction for Australian magazine Good Reading, as well as some other publications. I reviewed a few dozen crime novels for them over the next year, including Kiwi authors like Cleave, Symon, Lindy Kelly, Neil Cross, and Paddy Richardson. The Kiwi crime novels stood up really well against the well-known international stuff, and I started thinking ‘why aren’t we talking about our crime writers more?’ On top of that, I realised that while Canada, Australia, the UK, the USA, and many other countries had crime writing awards, New Zealand didn’t. Our popular fiction writers were unlikely to be listed for the NZ Book Awards, but at least our romance, sci-fi and fantasy authors had their own associations and awards. So did our children’s authors.
Our crime writers did not. That kept niggling at me the more reviews and features I wrote about the genre, and when I raised the possibility of a New Zealand crime writing award with authors, publishers, reviewers, and others in the book industry, pretty much everyone thought it was a great idea in principle. There was a gap between principle and putting it into practice though. And in the end I just got to the ‘ah bugger it, I’ll just start them myself then’ stage. By then I had lots of contacts in New Zealand and overseas, and called on various people for advice. Crime Writers Canada and the Australian Crime Writers Association were very generous and shared with me how their awards started, evolved, and were run. I cherry-picked various things to create our own awards.
How hard was it to set up a literary prize?
How long is a piece of string?, as my mother would say. It’s really hard to answer your question. Looking back it all seemed to go quite smoothly, though that could be my rose-tinted glasses! At the time there were plenty of bumps in the road, for sure, but we just rolled with the punches, adapted, and kept on going (how many cliches can I fit in a paragraph?). We were creating something new, so there was no blueprint (other than advice from overseas peers), so if something wasn’t working or went wrong, I just changed it.
My core concern was to make sure that the awards had a good level of credibility, even if we weren’t offering the winner a big amount of prize money. I just really wanted the awards to be sustainable, not a one-off, and to have some ‘heft’, for want of a better term.
That was achieved (I think) thanks to the really top-notch judges we’ve had from the beginning, and the support of WORD Christchurch. We have a large judging panel for the Best Crime Novel prize; seven judges from New Zealand and overseas. All are crime fiction experts, so we had people who were connoisseurs of the genre and read an awful lot, weighing up the quality of our local crime tales. In the first years we had the likes of legendary British reviewer Mike Ripley (who was the Daily Telegraph’s crime reviewer for 17 years), Vice President of Crime Writers Canada Lou Allin, and doyen of the Kiwi books scene Graham Beattie on the panel.
More recently Janet Rudolph (editor of Mystery Readers International), J Kingston Pierce of Kirkus reviews, top Australian crime reviewer Karen Chisholm, and award-winning Icelandic crime writer Yrsa Sigurdardottir have served on the judging panel.
These people may not be household names, but they are extremely highly regarded within the global crime writing world, and their involvement has given the Ngaios a lot of credibility on the global stage. They read a massive amount of crime fiction, from the biggest names to new authors and many in between, and when they say our Kiwi authors are world class, that carries a lot of weight.
The other main pillar of the Ngaios from the beginning was the involvement of what is now WORD Christchurch. I wanted a cool event for our first ever Ngaio Marsh Awards presentation in 2010, and Ruth Todd and Morrin Rout of the Christchurch Writers and Readers Festival really came to the party. They were so supportive, and planned a terrific event for the Saturday night of their festival, which even included the Court Jesters doing an improv murder mystery, before the inaugural winner would be announced. The festival also put up some prize money for the winner (adding to the handcrafted trophy created by sculptor Gina Ferguson and selection of Ngaio Marsh books donated by HarperCollins, Dame Ngaio’s publisher). As Dame Ngaio was a Cantabrian herself, it was a perfect fit.
Then the September earthquakes struck, the festival was cancelled, and our event postponed. Not the greatest start! But Ruth and Morrin continued to be so supportive, even as they were dealing with all the property damage and other concerns. We had offers from other festivals to hold an event in other cities, but stuck with Christchurch. We had a cool one-off event in a temporary venue that November, where the pseudonymous Alix Bosco won the inaugural prize for Cut and Run (fittingly, an author whose identity was then a mystery won our first-ever Kiwi mystery writing prize).
I get a lot of credit for starting the awards, but in truth there have been so many people involved, and it is the mana of those people that have made the awards what it is. Along with our authors, judges, and the libraries who’ve come on board with our Murder in the Library series that started in 2015, I’d like to give a nod to Marianne Hargreaves and Rachael King of WORD Christchurch, who’ve done amazing things and had to deal with me flitting about all over the world and not being the easiest to work with. Because of all those great people it hasn’t seemed all that difficult to set up and run a literary prize, even if there have been difficult moments.
What is it about Aotearoa that make us bat above our weight in the crime writing stakes?
Hmm… I think we have some great writers, across all different styles of storytelling. So our talented crime writers are just part of that wider group of great authors. (Seriously, whatever type of stories take your fancy, you can find great Kiwi books; compelling, page-turning, thought-provoking tales. Give some of our authors a go, whatever genre you love.)
In terms of crime writing in particular, I think our Kiwi authors often have a willingness to push the boundaries of the genre. Check out Adam Christopher‘s Ray Electromatic series that’s pure 1960s LA noir, just with a robot detective, or some of our literary-crime crossovers like Tanya Moir’s The Legend of Winstone Blackhat and Fiona Sussman’s The last time we spoke, or Paul Cleave’s latest A killer harvest which you’d call magic realism if he was a literary author. And that’s just a few examples.
Our authors certainly don’t feel constrained by the traditional tropes of the crime genre. Many of our Kiwi crime novels also have a great, subversive sense of humour, even the tales that are dark and serious. Many of our authors also have a good touch for landscapes, whether countryside or urban. But in the end, even if many people think of crime fiction as being primarily plot-focused, the best crime fiction often comes down to character – and our Kiwi authors have created some really terrific crime characters!
Can you suggest 3 titles that epitomise #yeahnoir for readers who haven’t tried Kiwi crime?
Instead, I’m going to choose three other books that are really great, and very ‘Kiwi’ crime reads:
Bound Vanda Symon: the fourth tale in a really terrific series starring young Dunedin detective Sam Shephard. A successful businessman is murdered during a brutal home invasion, with his wife tied up and left to watch. Sam’s colleagues zero in on two local crims who’ve been on the police hit list for a while, but she’s not sure it’s so cut-and-dried. Sam is a terrific crime character, and the whole series is great, but I particularly like this instalment. Vanda Symon has a nice balance of plot, character, and setting, creating a page-turner with plenty of character depth. Sam has that maverick, trouble-with-superiors essence of crime fiction top cops like Harry Bosch (Michael Connelly) and John Rebus (Ian Rankin), but as a younger woman she layers in plenty of freshness too. There’s a great sense of humour in these books, and Sam is a fierce southern lass who’s her own woman.
Hunting Blind Paddy Richardson: like her fellow southern crime queen, Richardson has written several really terrific crime novels, but unlike Symon she has focused on standalones rather than series books. Hunting Blind is a great place to start, a chilling thriller which centres on Stephanie, a psychiatrist whose sister vanished from a lakeside picnic seventeen years ago, fracturing the family and community. Then a new patient tells an eerily similar story, causing Stephanie to reexamine her sister’s disappearance, and sending her on a dangerous and emotional journey around the South Island, searching for long-hidden answers. This is a really terrific novel that was a Ngaio’s finalist in 2011 and really wowed our international panel. Richardson is a master at crafting layered characters who resonate with the reader, and delivers a terrific flavour of the south.
The Sound of her voice Nathan Blackwell: a superb tale from a new author who’s recently joined the #yeahnoir ranks (the Twitter hashtag for NZ crime fiction created by Steph Soper of the NZ Book Council). Blackwell is the pseudonym for a former Auckland detective who was involved in covert operations and investigated very serious real-life crimes. Whoever he is, he’s certainly hit the ground running in the crime fiction world, with a belter of a debut. Detective Matt Buchanan is burnt out, worn down by a succession of tough cases, and haunted by the unsolved disappearance of a young girl years before. Some fresh leads give him hope, but also threaten to draw him across lines that shouldn’t be crossed. Blackwell showcases the courage of Kiwi crime writers in tackling tough issues, giving readers a dark, authentic insight into the stresses the police face.
What do you think about libraries?
In short, libraries are bloody awesome!
I was a sports-loving kid growing up in Nelson, but I also loved spending time in my school and local public library. I discovered so many wonderful authors and books thanks to the librarians, and they cemented my lifelong love of reading. Libraries are so vital to communities, providing information and entertainment, cultivating learning, bringing people together. They’re egalitarian and democratic, opening up doors for anyone regardless of your background or means. Yeah, I think they’re pretty cool.
More about Craig, Ngaio Marsh, and the Ngaio Marsh Awards
The biennial Pikihuia awards have returned for 2017 bringing with them the chance for fame and cash prizes. Selected winners and finalists will be published in Huia Short Stories 12.
Six categories including:
Best short story written in English
Best short story written in te reo Māori
Best short Film Script
Best Novel Extract
Best short story by a school student in English
Best short story by a school student in te reo Māori
With $2000 up for grabs for the winners of the first four categories and winners of the school student categories are up to win a cash prize of $500 and $250 worth of HUIA books for their school be sure to get your entries in.
Enter online at Huia or The Māori Literature Trust, entries close 5pm Tuesday 18th April and winners are announced at the awards ceremony in Wellington this September.
Check out some of the books in our collections from past winners:
Up to 10 scholarships are on offer at a value of between $1000 and $3000 and are open to all Māori students, in any field, from any iwi. Preference is given to applicants who are descendants of Māori WW1 veterans. Applications close 1st of May 2017.
The Sir Āpirana Ngata Memorial Scholarship, created by the Māori Soldiers Trust to support higher education amongst Māori, is administered by Te Tumu Paeroa. Funding for the scholarship comes from Hereheretau Station, an investment of the Māori Soldiers Trust Fund set up at the urging of Sir Āpirana Ngata, who was once a recipient of a scholarship himself.
BIRD + YOUNG sounds like a firm purveying fancy jewellery. But for Hera Lindsay Bird (poet) and Ashleigh Young (poet, writer, editor), it is words and ideas that are the things they are making and selling. This WORD Christchurch event at the Christchurch Art Gallery auditorium was introduced by WORD’s programme director Rachael King and chaired by Amy Marr, the Visitor Programmes Coordinator of the Art Gallery.
Hera Lindsay Bird is a poet whose works have pretty much gone viral – you might have read the one about Monica from Friends, and that Keats one – everywhere, BAM! Ashleigh Young is a poet and writer who recently became the first New Zealander to win Yale University’s Windham-Campbell Prize, worth US$165,000 (NZ$230,000), for her collection of raw, real, beautifully honest essays, Can you tolerate this? Their books are both on the shortlist for the Ockham New Zealand Book Awards.
It was a soggy evening, but that didn’t deter the crowd. It was full to the gunnels.
How do they get time to write when they work full time (Hera at Unity Books, Ashleigh at Victoria University Press)? It ain’t easy, but great employers help. Hera gets a paid day off each week. Ashleigh’s boss has offered time off for writing, while keeping her job open.
What followed was a discussion that ranged widely – from influences, to the IIML, sexy stuff, humour, and processes – with a good amount of Q&A time (surprise fact: lots of questions asked by men). Here’s some of the things we learned:
Ashleigh edited Hera Lindsay Bird’s book which she said required barely a single change. She read the manuscript on the floor, weeping and cackling.
Hera enjoys reading crime fiction, humour, and heaps of poetry. She’s currently reading the Adrian Mole books by Sue Townsend.
Ashleigh has lots of self help books concealed on her Kindle.
Ashleigh said she can’t remember not wanting to write (but always knew she’s need a day job to pay the bills)
Hera’s parents had star charts – not for good behaviour but for writing, and she would get paid to write poems. She wondered if her Coromandel hippy parents fancied her as the next Laura Ranger (remember Laura’s Poems?)
Hera feels the support of her family and knows that even if she writes something explicit, her Dad will be chill with it.
It’s out. The longlist for New Zealand’s most prestigious book award. Plenty of options here for reading over the summer months. A shortlist for the awards will be announced in March next year and the winners in May.
There are a number of excellent resources available if you’d like to learn more about the 1881 invasion of the Parihaka settlement by Government forces, the aftermath and ongoing legacy of this event. Whether you want something that’s suitable for children, a fictional account or well-researched history on the topic, our library collection has got you covered.
This pair of children’s books written by Jennifer Beck and illustrated Lindy Fisher, with the Teo Reo translation done by Kawata Teepa. They look at what happened at Parihaka through the frame of a school speech contest.
I really like that they are companion volumes, with the same beautiful illustrations, and that the Gunpowder Plot and the climactic day at Parihaka both 5th November are compared and contrasted. The murderous intent of those who wanted, in their anger and frustration, to blow up the Houses of Parliament is juxtaposed with the calm and dignified passive resistance of the people of Parihaka. Simple but hugely powerful, these two books are a great introduction to a hugely important New Zealand historical event and hanging it off an event in British history creates another level of interest.
Written in 2011, this novel weaves fact and fiction together to tell the story of Erenora, a young woman living in Parihaka at the times of the invasion and land confiscation. It is also told from the perspective of a retired teacher, who is researching his whanau and comes across Erenora’s story.
Because of the two stories, and points of view changing, it can be a little tricky to get your head around at times, but I think it’s worth persevering. Erenora’s journey to the South Island in search of her husband, who has been taken prisoner after the massacre is a touching and descriptive and I learnt a lot about how life was for both Māori and Pakehā in those early years of our nation.
It certainly paints a brutal picture of the events of Parihaka and allowed me to get a sense of the injustice and upheaval during this not so proud part of our past.
This book can be found in both the Nga Pounamu Māori collection and in Young Adult, so recommended to YA readers looking for books for NCEA reading as well.
Parihaka is paradoxically one of the most shameful episodes and one of the most remarkable and enduring stories in New Zealand’s colonial history.
This ground-breaking publication brings together art, poetry and waiata from the past 100 years. It features over 100 artworks that explores the legacy of Parihaka and its leaders, Te Whiti o Rongomai and Tohu Kākahi. It draws on teachings and sayings of Te Whiti and Tohu, in Māori and English, many of which have been previously unpublished and are here now reproduced in full. Artists include Shane Cotton, Tama Iti, Tim Finn (with that classic song), Tony Fomison, Colin McCahon and Ralph Hotere to name a few.
This is a collaboration between City Gallery, Wellington from their 2000-01 exhibition, The Trustees of Parihaka Pā and Victoria University Press.
Originally published in 1975, journalist and historian Dick Scott broke new ground with Ask that Mountain. This book draws on official papers, settler manuscripts and oral histories to give the first complete account of what took place at Parihaka. This illustrated seminal work was named by the Sunday Star Times in 1995 as one of the 10 most important books published in New Zealand.
This will not be an easy read as events are recounted. There is violence and oppression but ultimately it is a compelling story of an important event in New Zealand’s past.
I have let quotes from the author do all the talking with this title.
“It is about the forgotten stories, blind spots and hidden corners that I encountered in the history-making about the Crown’s 1881 invasion of Parihaka Pā, a non-violent settlement in Taranaki. This invasion is one of the most troubling, significant and well-known events in the short shared history of Māori and Pākehā, yet is easily overlooked.” -Rachel Buchanan.
“The story of Parihaka did not end with the 1881 invasion or the 1907 deaths of its two leaders – Te Whiti o Rongomai and Tohu Kakahi. It is difficult, impossible even, to find the place to put the final full stop to the story of this place, or the stories of many of Aotearoa New Zealand’s other trouble spots. Our world is saturated with the unfinished past, and yet it is so easy to be blind to it all, to pretend that the past is not really there at all and none of these disturbing things really happened. Open your eyes! Come with me on a road trip into the present past.” -Rachel Buchanan.
“After growing up in Taranaki, doing a Phd on Parihaka and now writing a book, I know a lot about the place but I’ve still got a lot to learn. Parihaka is a story that got under my skin I guess when I was a school-kid, but my biggest inspiration was the big art show at City Gallery in 2000-2001. It was awe-inspiring and I wanted to know more about a place that could inspire so much passion. Now, nine years later, I think I understand!” –Rachel Buchanan
Kelvin Day brings together eleven distinguished academics and historians who provide fresh and engaging insights into this turbulent period, much sourced from previously overlooked material, and a remarkable collection of photographs and illustrations. It includes the chapter A new kind of resistance: Parihaka and the struggle for peace by Historian Hazel Riseborough.
“People need to know what happened at Parihaka”, according to Kaumatua Rangikotuku Rukuwai.
This was the main motivation behind Dr Danny Keenan’s decision to write a book about the life of its prophet Te Whiti o Rongomai.
Inspired by his chats with Rangikotuku (Te Whiti’s great grandson) and his wife Ngaraiti over cups of tea at their New Plymouth home, Keenan revived the idea he had for the book back in the early 2000s. The book documents the roles both Te Whiti and fellow prophet Tohu Kākahi played in the creating the reputation of Parihaka as a place of peace.
The book details the events leading up to the invasion of 1881 and the arrest and imprisonment of the two men and is peppered with drawings from the time period, photographs, both old and new and accounts from people there at the time, and memories of whanau. It also traces the life of Te Whiti from Ngā Motu, where he was born, to his settling at Parihaka and his evolving sense of the injustices and disempowerment Māori experienced and his response to these.
This is a fascinating perspective of Parihaka. Author Danny Keenan has ancestral connections to Parihaka and the interviews he did with descendants whose oral histories of the injustices, shed a unique light on a history.
There is no greater gift a writer could give to their own people than a story. Fiona Farrell’s book The villa at the edge of the empire was nominated as one of the best non-fiction books of the year (NZ Book Awards) – a nomination which is entirely and unquestionably deserved. But The Villa is much more than magnificently and subtly narrated story about the Christchurch earthquakes. It is a precious tribute to the Christchurch community, its individuals and every human being ever affected by an earthquake.
Talking to Fiona is as much a pleasure as reading her books. I was very lucky to spend a rainy afternoon with her, talking about earthquakes, writing and other things that make us human.
It will be 6 years on Sunday since the 2010 earthquake. The rebuilding of the city is still going on and it’s proving to be much longer process than anyone imagined. It is almost impossible to describe how long it takes to rebuild a city to anyone, who has not experienced the aftermath.
It wasn’t just one quake. It has been ongoing. We are about to 15,000 aftershocks, each one a minor earthquake. It is such a long drawn out process. It’s not like a war, which has an ending. It has its own timetable, its own agenda and that’s a very, very, long time, beyond human comprehension.
That reminds me of the ending of The Villa, which I find very beautiful. You end it from an assuring, wider, almost cosmic perspective, which works really calmingly after a read, that can possibly be unsettling for many.
Getting that angle on human behaviour is essential. At any one time, when you’re a human being, you have to believe that everything that you do, think and say is quite important, while on the other hand living with the certainty that everything you do, think and say in the great scheme of things is completely irrelevant. You have to hold both realities in your head. For me, this was a habit of thinking that I got into as a child. I had quite an unhappy family and one of the ways I used to cope with it when I was little, was to lie in my bed and think of myself just going up, through the ceiling, until it was all really really tiny. That’s how I handled it as a child. So it’s not some kind of adult philosophy, but an instinctive way. I think everyone has ways of handling unhappiness and finding techniques for survival.
The narrative in The Villa starts very wide, dives deep into the history, with comparisons between Berlin and Christchurch. After that, it nicely narrows and focuses on Christchurch and later on to Avon Loop. I really like the way narration flows from a wide perspective into something smaller.
When I’m writing I often think it’s like making a film, where you use close up and wide angle, and move between the two.
I think it also works very well for people who have experienced the earthquake in Christchurch and everything that followed, but also for people who haven’t had this experience because it gives a reader space to move. I was wondering when you realized while writing that you need to take an outside perspective of what’s happening in Christchurch and visit L’Aquila in Italy. Was that a conscious decision?Continue reading →