Book event blog posts have a formula: introducing the author, setting the scene and then a chronological or thematic account of the literary chit-chat. But I’m feeling rebellious, so no entrée, no mains and straight to dessert. What is Francis Spufford going to serve up next on the fiction front?
He is currently working on a new novel (hurrah!) set in South London and starting in the year 1944 when a German V2 rocket fell on a branch of Woolworths in New Cross killing 168 people. Each chapter is set in a different year, so far he has got to 1949, and the volume and diversity of research has been hugely challenging. To date he has had to get his head around the intricacies of lino printing, 1970s reel-to-reel technology, what working on a suicide prevention helpline would be like, Nazi skinheads and being a female backing singer in Los Angeles in 1979…whew!
Asked about his late-in-life move into fiction, Francis Spufford replied that as an academic teaching creative writing, at Goldsmiths University of London, he felt ashamed giving advice and guidance on writing fiction without have dipped his own pen in the fiction ink.
He set himself an ambitious agenda for his first novel as he wanted to include: “a duel, a rooftop chase, a trial scene, a love story, bone-crunching violence, rude sex, a mystery and jokes” plus set it in the 18th Century New York and with at least a nod and a wink towards the language and style of the new 18th Century novel. “A mass of incompatible pleasures now but quite in keeping with the period” where “serious intentions and low pleasures could be stuck in together”. It did involve compromise and became essentially a 21st Century novel in an 18th Century manner but one which allows the reader to feel a sense of time travel but without the style being too verbally off-putting.
Setting the novel in historic New York was also important to him as he was drawn to the satisfying reversal of the city past and present:
The sheer tininess of the place then — some 7,000 people — versus the densely populated urban craziness of today.
The fact old New York was parochial versus its current cosmopolitan outlook.
That it was pious, Protestant, and ethnically limited compared with today’s predominantly secular and ethnically complex society.
Mr Smith, the mysterious central character, is a city-slicker — a London sophisticate travelling to the small and provincial New York “a Jane Austen sized village”. This New York is highly politicised and on surface level patriotically Royalist but the reader is aware that change is coming and that British influence is waning.
Francis Spufford was extremely knowledgeable and passionate about early US history, his retention of information researched some time ago but instantly recalled was enviable! He drew parallels between early New York and the US today saying “paranoia about tyranny has featured throughout its history” but he also lamented the topicality of his novel. He hadn’t anticipated Donald Trump and the focus on modern America’s paranoia and darkness.
Francis Spufford also spoke about his Christian faith and the process of writing Unapologetic — his response to Dawkins’ God Delusion. His aim he said “was to write a book that wouldn’t convert but would make belief recognisable to the reader” that faith was not “superstition or madness but meeting some human need”. He was anxious about creating a backlash as he wrote it not as “a good-tempered argument between faith and atheism” but in a more pugnacious attempt to show “that religion didn’t belong in a zoo of weird things but was a human norm”.
This was a bookishly warm and entertaining hour and if you haven’t read Francis Spufford, pull finger and get on with it!
I must admit to some trepidation about reporting on a Poetry Reading. How does one describe a Poetry Reading to those that weren’t there? Even one by a flamboyant Scottish poet who has travelled halfway across the world.
Harry Josephine Giles originally came from the Orkney Islands but they did not elaborate from which island other than to tell us that their island had 700 people and six churches of various denominations. Obviously, a small island northeast of Scotland was never going to contain nor satisfy a restless, creative spirit like Harry’s so they headed for the big city and now reside in Edinburgh.
I vacillated on whether I should take notes, but I thought that would be a buzz kill when I was trying to listen and enjoy the poetry in the moment.
Harry started off reading some poems in English and then went on to read some in Scots. If you want to see what Scots poetry looks like, check out Whit tae write nou?
I profess ignorance and I have no excuse since I am descended from Scots, but I was unaware that three languages were spoken in Scotland as Harry enlightened us. I knew they spoke English (the language of their colonisers) and Scots Gaelic (related to the other Celtic dialects of Ireland, Wales, Cornwall and Brittany), but I hadn’t considered Scots as a separate language. I’d thought of it as a variation of English. But Harry put us straight, explaining that Scots has those Norse origins that English shares.
Harry kindly read their Scots versions of poems then followed with the English translation, so to speak.
Although tired after their whirlwind tour of Aotearoa (nine gigs in seven days in New Plymouth and Wellington), Harry gave an energetic performance. It was easy to see that Harry works in the performance and theatre arenas because they enlivened their poetry with modulations of their voice and gestures. Harry has a beguiling shyness that peeps out from time to time.
Harry read a small series of poems in which they had engendered their fears and anxieties through the persona of a female military drone. You can hear some of the sequence on Soundcloud.
Harry was introduced by Ray Shipley who is a Christchurch-based poet, comedian, youth worker and founder of the Faultline Poetry Collective. Ray made an able MC and general crowd-exciter, but Harry had the audience engaged from their first poem and many of us were sad to bid Harry farewell after only an hour and a half.
I attended the live-streamed All about women sessions beamed in from the Sydney Opera House to the Christchurch Art Gallery on Sunday from 3pm to 7.30pm.
It was heartening to hear the introductory voiceover acknowledge the traditional owners of the land on which the Sydney Opera House stands in both English and the local Gadigal dialect of the Dharug language.
The first session was calledGrabbing Back: Women in the Age of Trump, chaired by Julia Baird and featuring author Fran Lebowitz, moderate Republican commentator Sophia Nelson, and Francesca Donner from the New York Times. Each of the panellists had been totally surprised and disheartened by Trump winning the Presidency. Nelson said she had a sense of foreboding when she saw huge Trump billboards all over rural Virginia where she lives. Lebowitz, the archetypal New Yorker, said she remembered three days in minute detail: Kennedy’s assassination, 9-11, and Trump’s election victory. She remembers the New York streets being empty at 3am on a Tuesday morning which is unheard of in “the city that never sleeps”. Donner felt that the media treated Hilary Clinton badly and that Trump’s victory was due to white fear of women and black people.
All of the panellists were puzzled by the fact that 53% of white American women voted for Trump given the many appallingly sexist comments he had made. The consensus of opinion was that those women had overlooked Trump’s sexism in order to vote for their men’s economic welfare.
Lebowitz and Donner disagreed that the #MeToo movement was not related to the rise of Trump with Donner arguing that the political climate provided the arena for the “whispers to become a roar”. Lebowitz said that #MeToo needed to concentrate now on the abuse of women in low-paid jobs. Nelson felt #MeToo needed to open up the conversation with men and that young boys needed to be taught to value women. Donner felt it was really positive that #MeToo had men now thinking much more about their behaviour.
Tarana Burke founded the MeToo movement in 2006 when it was a little-known and grassroots. The movement entered the global consciousness when actress, Alyssa Milano, started using #MeToo as an Internet hashtag in response to the allegations circulating about Harvey Weinstein.
Tracey Spicer, after 14 years with the Ten network, was dismissed in 2006 after returning from maternity leave when her second child was two months old. She took the Ten Network to court for discrimination and won. Tracey Spicer felt that the Australian media had failed to expose powerful male abusers and that women were stronger together if all their stories of being abused were told.
Tarana Burke was a community worker in Selma, Alabama, and she wondered why sexual violence wasn’t discussed as part of the social issues she was working with. As an abuse survivor from a young age herself, she felt that the young women she was working with needed a trajectory to healing. She felt a community problem needed a community solution, but most organisations were dealing with young women’s external needs, but not their internal needs.
In 1996, a shy young woman Burke calls “Heaven” told Burke how she was being molested by her mother’s boyfriend. Burke found Heaven’s story triggered her own trauma and she could not deal with it at the time. Burke later reflected that she wanted to say to Heaven “Me too”, but she couldn’t at that moment. Later, when Burke started sharing her story she found that the exchange of empathy between abuse survivors was healing.
When asked by Maley, Burke did not feel that Hollywood actresses had co-opted the MeToo movement. She felt the real co-opters were the media and corporations. Burke saw the global expansion of #MeToo as a real opportunity, but was worried about failing abuse survivors. She feels that the larger focus must be on helping those who really need the movement’s help.
Spicer made the important observation that sexual abuse/violence is a pyramid, with rape and sexual assault at the top and sexually inappropriate comments and put-downs and the like at the base. She said it all needed to be addressed as a pattern of behaviour that society should no longer tolerate.
Both panellists felt strongly that #MeToo can’t be allowed to fade into “hashtag heaven”, but must be sustained by engaging in the conversation with men and for women to continue applying pressure to the media and to politicians.
The third session was Suffragettes to Social Media: waves of Feminism, chaired by Edwina Throsby and featuring Barbara Caine, Anne Summers, Rebecca Walker and Nakkiah Lui.Each panellist spoke about the wave of feminism with which they were most familiar.
Barbara Caine spoke about the first wave of feminism. She said they started as very polite, upper middle-class women called the Suffragists until Emmeline Pankhurst made the movement more militant. The term, “Suffragette”, was coined by the Daily Mail newspaper with the intention of being patronising by using the diminutive ending “ette”. Pankhurst galvanised the movement by instigating property damage whereby the Suffragettes were determined to be arrested for the publicity and when they were jailed, they demanded to be treated as political prisoners. They sought the sexual mores of men, but were still somewhat exclusive as their aim was to seek the vote for white, middle-class women. Caine ascertained that the first wave ended with the advent of World War One.
Anne Summers was a protagonist in the second wave of Feminism. She was a young woman in the 1960s when the Vietnam War and Women’s Lib were prominent in the headlines. Although revolution was being espoused, she realised that “it was still women who were doing the shit work of the Revolution”.
Books such as Simone de Beauvoir’s The Second Sexradicalised women in the 1960s who sought a total transformation of Capitalism and Imperialism. In Summers’ pithy phrase: “women wanted equal pay and orgasms”. Through their activism, they brought about many reforms including anti-discrimination, gender pay equality, rape crisis centres, better child care provisions and getting more women into higher education.
Summers said the ’60s and ’70s saw a flowering of women’s creativity and it never occurred to her or many of her fellow feminists that the changes they had wrought would not be permanent. Unfortunately, John Howard’s government came to power in Australia in 1996 and “turned back the clock’ by dismantling many of the reforms.
Rebecca Walker spoke about the third wave of Feminism. She grew up believing in feminist ideals, but found, in the early 1990s, that many young women felt a “deep disconnect” with Feminism. She saw a need to re-radicalise a generation of women who felt alienated by Feminism. Women of colour felt left out of Feminism, seeing it as a white, middle-class movement. She perceived that the movement needed a more diverse leadership and had to emphasise both similarities and differences. She spoke of the need for third wave Feminism to become multi-issue, inclusive and working for all forms of equality.
Nakkiah Lui wasn’t sure if she represented a fourth wave of feminism, but, as a “queer black woman”, she knew she didn’t want to be part of the patriarchy. She said her feminist hero was her mother who had only identified herself as a feminist two years ago. Her mother grew up in a tent and had to leave school in Year 10, but she left a violent domestic relationship to go into tertiary education and now she works in Aboriginal communities empowering indigenous women.
Liu said many indigenous women in Australia still endure high rates of domestic violence, have lesser life expectancy and fear having their children taken from them by government agencies. As for fourth wave Feminism, she said there can be no “true victories if they don’t include all women”.
Tuesday 13 March, Space Academy, 371 St Asaph Street. Buy tickets $20 waged, $15 unwaged (service fees apply) Presented by LitCrawl Wellington, Harry Giles appears with the support of the British Council in partnership with Writers’ Centre Norwich, UK as part of the International Literature Showcase.
Harry Josephine Giles is from Orkney, Scotland, and is a writer and performer. They have lived on four islands, each larger than the last. They trained in Theatre Directing (MA with Merit, East 15 Acting School, 2010) and Sustainable Development (MA 1st Class, University of St Andrews, 2009) and their work generally happens in the crunchy places where performance and politics get muddled up.
You can go to Harry’s fulsome website if you wish to delve more deeply into their work but, as a precursor to the event, I will give you an overview.
I like Harry’s “mission statement” (my quotation marks): “My work is about what it feels like to live under capitalism, and how to survive and resist in a violent world.” I think many of us realise that capitalism is a flawed, if not failing, system for human beings. If Kylie Jenner can wipe $US1.3 billion off the share market value of the social media app, Snapchat, just by tweeting that she doesn’t use it any more, then clearly capitalism is ridiculous. If CEOs of major global corporations can earn many hundreds of times more than their workers, then clearly capitalism is amoral. And evidence of the violent tendencies of the human animal are widespread.
Harry is a very busy artist. They are all over many different media for conveying their art; poetry, video, installation and the internet being some of the ways Harry explores ideas and makes art.
Our catalogue doesn’t contain any of Harry’s work at present, but they have written this interesting piece about stone-hearted people called The Stoneheart Problem and you can watch and listen to Harry Giles read from their debut poetry collection, Tonguit Filmed at the Scottish Poetry Library, Harry reads Poem in which nouns, verbs and adjectives have been replaced by entries from the Wikipedia page List of Fantasy Worlds.
So I’m looking forward to hearing and seeing how Harry Giles critiques life in the modern world and reporting back to you, gentle reader.
WORD Christchurch is bringing Francis Spufford to Christchurch, next Wednesday 7 March, 7pm at the salubrious venue of The Piano. Francis is in New Zealand as a guest of New Zealand Festival Writers and Readers. He has written seven books, on topics as diverse as science, history, theology, and politics. The Child That Books Built was a love letter to literature, and his first novel Golden Hill won the Costa Award for Best First Novel – it’s “a rollicking, suspenseful tale set in mid-18th century Manhattan, the novel pays loving tribute to the literature of that era”. Francis Spufford appears in conversation with Chris Moore.
Joyce is heading along to the session, and asked Francis some choice questions:
I read in a previous interview that you wished you’d had the gumption to write fiction earlier in your career. What held you back? And did you ever feel pigeon-holed by your publishers and readers?
The short answer is cowardice. I was and am a great believer in the scope for non-fiction to do adventurous things, revealing things. I never felt pigeon-holed or limited by non-fiction. But still, it seems to me that fiction draws much more directly on the writer’s understanding of human character and human behaviour. When you write a novel, you dip your pen in your own psyche, inevitably. You have to. And for a long time I was afraid that I didn’t know enough to write imaginary people without making a fool of myself.
The sex scene in Golden Hill was particularly squelchy, torrid and memorable! Traumatising as a reader, how on earth did you manage to conceive the scene and write it?!
Good! I wanted it to be clear that both parties were doing something completely disastrous, carried away by different kinds of fear: but which was very pleasurable to them both in the moment, in a greedy kind of way. I wanted the reader to be peeking through their fingers going ‘No! No!’ yet also feeling the gross turn-on of what they were doing. And to this I could bring the pre-Victorian novel’s ability to be a lot lewder than you were expecting, complicated by the grossness being channeled through a very book-dependent narrator who, though mischievous, is really not enjoying themselves at this point. That’s about six literary ambitions for one episode of torrid squelching.
I loved the contrariness, passion and conviction of your youthful characters, especially juxtaposed with the complacency and corruption of New York’s elder figures. Do you see that generational gulf in action in modern society too?
Isn’t it permanent that youth is contrary and passionate and idealistic, and age is complacent and corrupt? (Or at least corrupt-seeming to young people.) Having said that, I do think this is a moment in history when, in the U.K. and the US at least, the fears and the weaknesses of the middle-aged and the old really have led us into stupidities at which young people are rightly gazing with horror – because they’re stupidities at their expense, at the expense of the future. As a fifty-something writer I enjoyed getting to be, temporarily, twenty four-year-old Mr Smith and nineteen-year-old Tabitha.
Golden Hill portrays a young New York and embryonic America, with considerably more time passed do you see the USA as a successful society?
I think America grew up into a reservoir of idealism and principle which the world needs, and has benefited by incalculably. But I think that contemporary America, like the embryonic America Mr Smith visits, is also a culture which is not very self-knowing: a place which, to a dangerous degree, contrives to forget the darkness which has always been the flip side of its virtues.
Having sported a beard of varying bushiness for many years, I have a longstanding interest in facial hair, so I was delighted to discover that this was the topic of a talk by Lucinda Hawksley at the Christchurch Art Gallery on Sunday, presented by WORD Christchurch. On a rainy Canterbury afternoon an audience of bearded and un-bearded alike almost filled the Art Gallery’s auditorium to hear all about the fascinating history of facial hair from ancient Mesopotamia to the modern hipster, and all points in between.
Using pictures mostly taken from the National Portrait Gallery, Lucinda’s fascinating talk focused mostly on European examples, but we also heard about how dangerous and painful it must have been to have your face shaved in ancient Egypt (apparently they used sharp flints and mussel shells, risking nasty cuts and blood poisoning), and how the ancient Egyptians liked to be buried wearing false beards (women and babies included!). Since then beards have fallen, periodically, in and out of fashion. Initially popular in Ancient Greece (where they implied high status and masculine beauty), but less so in Ancient Rome, they lost favour after Alexander The Great insisted that his soldiers should be clean shaven. Throughout history, beards have been associated with barbarians, although the often cited etymological link between them appears to be less clear cut. In medieval times, suits of armour were often designed to accommodate the long and luxuriously flowing facial hair that was common at the time.
Lucinda with her ancestor Charles Dickens and his 'doorknocker' beard, which his friends & family loathed. pic.twitter.com/zUh2jPqOoH
As Lucinda’s talk entered the early modern era, the focus switched to British beards, and we discovered the astonishing fact that periods when beards were in highest fashion seem to coincide with female monarchs. The reigns of Queens Elizabeth I, Victoria, and Elizabeth II were all times when beards flourished, and in the first two cases, the subsequent ascension of a King to the throne resulted in an immediate and rapid decline in facial hair. Interestingly, more recently, men have grown longer beards at times when women’s rights movements have been particularly strong (e.g. women’s suffrage in the late Victorian period, women’s lib in the 1960s, etc.).
Lucinda’s talk was richly illustrated with portraits of famously bearded men from the extremely fashionable, and much emulated, pencil-thin moustache of Lord Byron, (which would appear again in the 20th century as the Hollywood moustache of Clark Gable, Erroll Flynn, and others), to the sumptuous sideburns of Charles James Napier, the extraordinary neck-beard of Robert Browning, and the familiar “door knocker” beard of Charles Dickens (Lucinda’s great-great-great-grandfather, who started his foray into facial hair by entering a moustache-growing competition and then got hooked, despite his family’s protestations). We are also shown the glorious mutton chops of Dickens’s illustrator, George Cruikshank. (Apparently Charles Darwin replaced Dickens on the British £10 note because his beard is more difficult to forge.) We also learned the different outcomes that being a bearded women can bring, depending on the times, from ruthless exploitation as a freak (Barbara Urselin), to admiration as an unusual sex symbol (Annie Jones).
The greatest flourishing of the beard came in the late Victorian period after soldiers returned from the Crimean War with large beards necessitated by the extreme cold and lack of shaving facilities, making beards a mark of the hero. Coinciding with the women’s suffrage movement, this beard craze affected all levels of society, and for the first time facial hair was no longer a signifier of class. (Prior to the invention of the safety razor, regular shaves were largely the preserve of the well-heeled). During this era, barbers had a hard time of it and had to come up with inventive ways of making a living, with aggressive marketing of hair dyes and oils, leading to advent of the antimacassar.
By Edwardian times the beard had all but gone, with the novelist Frank Richardson labelling it “face fungus”, and the final death knell came with World War I and the need for close-fitting gas masks. Despite some notable exceptions, e.g. Salvador Dali (“the most famous moustache in history”), and the Handlebar Club (founded in 1947 and still going strong, requiring the growth of a moustache with “graspable extremities”), facial hair was largely gone until the 1960s when it reappeared with the hippy movement and again, as history repeated itself one more time, was correlated with a period of women’s lib. We were finally brought up to date via Tom Selleck’s moustache, and the designer stubble of the 1980s, to the recent hipster beard and the controversy surrounding Conchita Wurst. The audience were captivated by these tales of the hirsute, and the hour seemed to fly by. Lucinda has a real gift for storytelling and there is so much more to learn about the history of facial hair in her recent book “Moustaches, Whiskers & Beards”, on which her talk was based.
For more fun with beards, the library has all sorts of great stuff including a graphic novel about a “Gigantic Beard That Was Evil”, manuals on how to grow a handsome beard, and even a couple of children’s books.
Nigella Lawson, she’s the “Queen of frozen peas,” creator of the Chocolate Cake Hall of Fame and ambassador for food pleasure… And I got to meet her on Thursday night at the Isaac Theatre Royal, courtesy of WORD Christchurch and her publishers Penguin Random House.
To say I was thrilled is an understatement. It’d be more accurate to say I just about pooped my pants with excitement. But a lady sitting next to me had never read any of her books. And I saw someone online saying they felt it would be a waste of time to go see her.
How could this be? She’s fantastic! With me or not, here’s 10 reasons for you to love Nigella Lawson:
She is an inspiration to women all over the world. When asked what she thought about people always commenting on her “flaunting her tiny waist,” curves or weight; she responded: “When you get older you can ignore an awful lot, I find, it’s one of the great things… I don’t tend to care about what people think anymore.” *stands up clapping*
She’s honest about her motivations: “Because I’m greedy, I’m always thinking about what I’m going to cook.”
“People are more practiced at persecuting themselves than pursuing pleasure.” – her motto is to enjoy what you’re eating, even if it’s a slice of decadent chocolate cake.
Her advice for weeknight cooking: “My grandmother always had a schedule of food for the week… Give yourself a timetable” She explained how that not only limited stress, but would help with your food budget – and you can create strategies to use leftovers.
She’s a model mindful cook. “I love the sound that food makes… and get great pleasure from that” She’s not a fan of listening to music while cooking, “I’m very happy having the music of the food itself.” That’s mindfulness.
She isn’t a fan of restrictive diets, however she is understanding when it comes to food intolerances and allergies. She wants to make people comfortable when they enter her home. “I find it quite helpful when anyone doesn’t eat different things, it’s like painting with a different palate.” But don’t ask her why she doesn’t make sugar free cakes. “If you want sugar free… just don’t have a cake!”
She’s all about nourishing yourself emotionally and physically.
“I take great pleasure from a bowl of greens”
Hey Mums of picky eaters! Nigella was a picky eater as a kid too – there is hope! “I didn’t willingly eat anything at dinner till about 14… I loved spinach and hot chocolate.” Rest easy Mums, you may be nurturing the next Nigella.
She’s published 11 cookbooks, all of which make for great reading. Sometimes the “words” part of cookbooks can be boring, about gathering this and that fancy ingredient or implement – but her cookbooks read more like a comforting novel, all about the joys of food.
Check the list below to see what is available in our libraries.
The end of one year and the start of another gives rise to lots of ‘Best of’ lists and reflections on what has stood out for the year. Here’s yet another literary round-up…
The Best (& Worst) Children’s Books Evening co-hosted at the end of the year by the Canterbury Literacy Association and Christchurch City Libraries once again celebrated the best in children’s books.
Held annually, the event is a way to shout about and share the best books in a light-hearted end-of-year event, with no actual prizes awarded but an opportunity to hear from various experienced and enthusiastic practitioners and experts. It’s also a chance to gather together for the holiday season as a community of children’s literature enthusiasts, with like-minded folks across Canterbury. Attendees included a diverse section of professionals interested in children’s books from the National Library, the University of Canterbury, Christchurch City Libraries and Selwyn Libraries, to teachers and school librarians, all coming together at the newly rebuilt Ōrauwhata: Bishopdale Library and Community Centre.
And the ‘winner’ is…
It quickly became apparent that Nevermoor: The Trials of Morrigan Crow – a debut novel by Australian Jessica Townsend – was the most notable book of the night, having been picked by several panellists who presented their top picks of 2017. But never mind about Nevermoor for now, let’s have a look at their other individual favourites…
First up presenting was a representative from Paper Plus Bush Inn, Jo Harvey, who – aside from just Nevermoor – was also enthusiastic about:
PaperPlus Bush Inn kindly donated bursting book bundles for the evening’s raffle draw.
Katie Lumsden, from Christchurch City Libraries, spoke next about dyslexic friendly texts, and sang the praises about new changes to Overdrive (Overdrive is a digital content platform used by libraries to offer eBooks and audiobooks). It now has a feature to make some texts more accessible for dyslexic readers. An app called Libby has a feature that highlights the text as it reads aloud (only applicable on our Read Along collection). Katie has recently delivered talks on dyslexic-friendly texts and resources at the 2017 LIANZA conference in September in Christchurch.
Katie chose Ash Boy: A Cinderfella Story by Lucy Coats as her top dyslexic-friendly read of the year. It’s a good fun story says Katie, and, like other books from publisher Barrington Stokes, is printed in traditional dyslexic-friendly reading format using yellow pages, specific layout techniques and sans serif typeface. It has an interest level of age 8-12, yet is edited to a reading level of age 7, to allow ease of reading while still pitching to older readers.
When Cinder Ashok’s father remarries, Cinder finds himself lumped with a horrible new step-mother and step-brothers! They bully Cinder terribly – all he wants is to be left alone in the library, his favourite place in the world. But will a fairy godfather and a royal quintain tournament mean Cinder has a happily-ever-after on the horizon? Fun spin on the Cinderella story.
Each year we hear directly from the voice of young readers themselves. Primary school children from Waitākiri Primary School and Redcliffs School Mia, Otto, Evie & Flynn each spoke well and confidently about their favourite titles they read in 2017:
Sophie O’Rourke, junior teacher at Waitākiri Primary School, shared her plethora of engaging picture book titles of 2017 that stood out in her classroom, reading some funny highlights and telling us about the reactions and responses she gets from her Year 0-2 to the books – the real test of how well the authors and illustrators have hit the mark. A few highlights from the dozen chosen are The Scariest Book Ever, Triangle, Creepy Pair of Underwear, A Place to Read (also titled as Are You Sitting Comfortably?) and Bug Bear.
Zac McCallum, formerly a children’s librarian from Christchurch City Libraries and also a previous children’s book awards judge, and now school librarian at Halswell Primary School, shared his delights of 2017 in the junior fiction category, including Nevermoor and:
The Goldfish Boy by Lisa Thompson. Synopsis: Twelve-year-old Matthew is trapped in his bedroom by crippling OCD, spending most of his time staring out of his window as the inhabitants of Chestnut Close go about their business. Until the day he is the last person to see his next door neighbour’s toddler, Teddy, before he goes missing. Matthew must turn detective and unravel the mystery of Teddy’s disappearance… Page-turning, heartbreaking, but ultimately life-affirming, this story is perfect for fans of The Curious Incident of the Dog in the Night Time and Wonder. It is a book that will make you laugh and cry. See Zac’s glowing review of The Goldfish Boy.
Snark – written and illustrated by David Elliot – a winning book at the New Zealand Book Awards for Children & Young Adults with the unwieldy subtitle: Being a true story of the expedition that discovered the Snark and the Jabberwock… and its tragic aftermath.
Rachael also wanted to give special mention to what is actually an adult book, Tess, a page-turning eerie novella about a 19-year-old woman – a somewhat supernatural story set in late 1999 Masterson, by New Zealand author and publicist Kirsten McDougall.
WORD Christchurch also donated tickets to raffle off to celebrity children’s author David Walliams sold-out show which they were hosting. Priceless!
That’s a wrap…
Nevermoor was certainly the favourite on the night with three speakers having brought the book along as their favourite of 2017. Touted as Harry Potter meets Alice in Wonderland, the story is about “a cursed girl who escapes death and finds herself in a magical world – but is then tested beyond her wildest imagination.” The panelists said they were pleasantly surprised to find that the book really did live up to its marketing hype. (There are eight more books in the series due out!)
And as for the ‘worst’ part of the event’s title? The books chosen as the ‘worst’ of the year are of a ‘you have to have been there’ type nature – Chatham House rules – but we can say that books about poo got the poo poo!
David Walliams came into the Christchurch Boys High auditorium through the crowd – a real rock star entrance. And in kid books circles (and tv entertainment ones) he really is that level of famous. There were about 700 kids and 400 adults here to see Mr Walliams.
Rachael King, WORD Christchurch literary director asked him about the 20 million books he has sold – “All bought and burnt by Simon Cowell”, he said. David had the audience in the palm of his hand from the get go, with stories, heaps of audience participation, and his trademark naughty wit. Even the obligatory Australia diss – The World’s Worst Children?:
Well, I’ve just been in Australia and met a lot of the children …
He read us the tragic tale of Windy Mindy whose farting into wind instruments leads to a galactic end.
The kids in the audience served up stories about why their siblings are so bad. One answer had the crowd in stitches (beautifully conveyed in this tweet):
WALLIAMS (working the crowd) Now, who's got a Worst Kid in the World in *their* family?
WALLIAMS Just yell it out!
KID (yelling) MY BROTHER WAS BORN AND TOOK ALL THE ATTENTION.
Bad Dad is his latest bestseller, and tells the story of Frank, whose Dad is a banger driver who ends up in jail after being a getaway driver. David read for us a rather splendid excerpt about how one might get the dreadful medical condition Bottom Freeze (including cryogenically freezing your bottom for posterity).
David’s favourite of his own books is Gangsta Granny (my kid’s fave too), and it came from listening to his own Gran’s stories about the Blitz:
Every old person has a story to tell.
He read Gangsta Granny’s famous naked yoga scene (and see Tony Ross’s brilliant illustration came up on the big screen). David gave a big shoutout to his illustrators Tony Ross and Quentin Blake – both in their 80s.
Walliams explained a bit about why he loves a villain:
Without Voldemort, Harry Potter would just be having a lovely day at school.
Burt, the Ratburger villain, was inspired by a contestant in Britain’s got talent who ate cockroaches. Ergh. Miss Trunchbull (from Roald Dahl’s Matilda) is one of his fave villains. It’s that combo of funny and evil, and who wouldn’t want to be a villain (for a day).
We got to see sneak preview clips of Ratburger (Walliams himself is unrecognisable as the grotty villain), and Grandpa’s Great Escape (Jennifer Saunders is the Matron in that, and veteran actor Tom Courtenay is Grandpa.) He is that rarest of beasts – an author who gets to see his creations come to life first hand, because he stars in the adaptations.
David admits he was a reluctant reader. He went to the library with his family every couple of weeks, and would pick books on the solar system, space travel, and dinosaurs. And then he discovered Charlie and the Chocolate Factory. It got him into reading, and to writing.
Roald Dahl is his “gold standard”. When he visited Dahl’s Gypsy Cottage and met his widow, she said kids still ring the doorbell and ask to meet the author. David has visited the Roald Dahl Story Museum and looked at the handwritten manuscripts. He clearly loved the writing set up of Roald Dahl – sitting in armchair, a picture of his much-missed daughter nearby, with a big ball of rolled up choccie wrappers to add to, and a telephone (to put a sly bet on the gee gees).
And David loves his fan mail, and who wouldn’t when kids are so honest:
Little Britain fans – he thinks the funniest thing he’s ever written is this:
10 lucky kids got to ask a question, and got a fab box set of Walliams’ books. A ripper of a prize I reckon. Thanks to David Walliams, WORD Christchurch, HarperCollins New Zealand, Merivale Paper Plus, and the crew involved in the event – and to everyone who came along, you rocked and made it a fun whānau night. It was especially awesome to get to get your book signed and a picture taken. Ka rawe!
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