The idea for the book grew out of a 2014 blog post in which Reni, a young British journalist of Nigerian heritage, wrote of her “frustration that discussions of race and racism were being led by those not affected by it,” and that when she tried to talk about these issues was told that there wasn’t actually a problem or accused her of being angry. The irony of marking this line in the sand was that suddenly lots of people wanted to listen to Reni’s point of view – including a full (mostly white) art gallery auditorium.
There are a number of themes in the book. One is history, and Reni is keen for black Britons to write themselves back into history. The British connection to slavery and to Africa is deep. I studied economic and social history 1750-1875 at A-level and slavery and colonialism was barely mentioned. I find this appalling because:
a) hello – where was the cotton for the cotton mills coming from?
and b) it has taken me until the last week or two to realise this.
It is this kind of oversight that Reni is trying to point out.
Whiteness isn’t the default. Whiteness isn’t neutral. There are other ways of doing things; there are other points of view. Which is actually quite liberating if you think about.
Reni was assured and matter of fact, and very easy to listen to. Another topic she highlights is feminism. What is the point of feminism that is only for white women and doesn’t have a space for black women and others? Issues don’t happen in isolation, and overlap and intersect all the time.
This truly was a session to make you think about and observe how you experience the world, to make you want to explore further by reading her book, and to shift your point of view.
100 years ago last week at Craiglockhart Hospital for Neurasthenic Officers in Edinburgh, Wilfred Owen introduced himself to Siegfried Sassoon and one of the great literary friendships was born. Wilfred was recovering from shellshock, deeply traumatised by his time on the Western Front in 1917. Siegfried, grieving and angry at the deaths of his friends and men in his unit, had protested against the continued conduct of the First World War. After intervention from Robert Graves, he was sent to Craiglockhart rather than face a court martial. As the aspiring poet Wilfred was well aware, Siegfried was already a moderately famous poet. In the few weeks together they had in Scotland, Siegfried encouraged and mentored Wilfred.
Wilfred was killed on 4 November 1918, exactly a year after he left Craiglockhart and a week before the Armistice, however in the time between meeting Siegfried and his death he produced some of the most famous war poems, including Anthem for Doomed Youth and Strange Meeting. Their shared influence can still be felt today – their works are still taught in school, and Siegfried’s quote “I died in hell; they called it Passchendaele” has been widely quoted in the ongoing commemorations of the Third Battle of Ypres.
We know so much about their friendship as they both wrote about it – Wilfred in excited letters to his mother and Siegfried a couple of decades later in his volume of autobiography Siegfried’s Journey. This documentation has provided excellent source material for modern authors looking to portray the two poets. They are the subject of a two-hander play Not About Heroes which covers Craiglockhart in Act One and their different paths in Act Two. Intimate and moving, this is a powerful play (but having directed it a few years ago I am quite biased).
Perhaps the most well-known depiction of their friendship is in Pat Barker‘s award winning Regeneration Trilogy. However, in Barker’s interpretation of Siegfried’s time at Craiglockhart, his friendship with Wilfred is overshadowed by his connection with his doctor, W. H. R. Rivers. There’s a lot going on in the trilogy – the cultural construct of masculinity cracking under pressure, mental health, sex, pacifism – and Siegfried and Wilfred are only one strand to this. Rivers is perhaps the main character and the marvelous fictional creation that is Billy Prior dominates the last two books.
I’ve mentioned before how Billy is possibly my favourite literary character. He’s the working class kid who becomes an officer; he’s bisexual; he’s somewhere on the continuum of sanity and insanity; he’s a split personality. He’s so many things that in some ways he shouldn’t work but – to me at least – he does. Billy and Rivers tie the trilogy together.
And so a chance meeting 100 years ago is still being interpreted and played out today; the voices of those caught up in conflict still resonating.
Pop! Bang! That’s what happened – literally – when a group of New Zealand children’s authors and illustrators presented inspiring talks to hundreds of Canterbury school children, just ahead of the announcement of the 2017 winners of the New Zealand Book Awards for Children and Young Adults.
Several of the nominated authors and illustrators toured the country speaking to school children about their work and craft. Hosted in conjunction with WORD Christchurch, they addressed primary and intermediate students who came from across Canterbury to hear them speak at St. Margaret’s College. They talked about what it takes to be a writer and/or illustrator and what keeps them inspired and shared their working processes, all with the aim of sparking readers and the next generation of writers and illustrators. We share some of the highlights here.
Session One: Tania Roxborogh, Leonie Agnew and David Elliot
“Any change for good is powered by fury and passion to make the world a better place” says Tania Roxborogh, and this idea is a driving force behind the story in her book about the Bastion Point occupation for Scholastic’s My New Zealand Story series, told from a child’s point of view.
Through the process of researching and writing this book, Roxborogh was reminded that: “Retelling history is never straightforward” because “people lie, self-edit, and mis-remember” and that “people remember different things.” She added that there is also the problem of bias in New Zealand media – from the right wing as well as the left wing – which she had to take into consideration when researching for this book.
When Roxborogh visited Bastion Point to help her find her point of view for the story, she found herself humbled, prompting her to ask: “What right do I even have to tell this story?” She realised, however, that regardless of who she was, the story of the protesters was a story worth telling.
Roxborogh teaches English and Drama at a Canterbury high school and has written over 50 books.
Snark – Being a true history of the expedition that discovered the Snark and the Jabberwock … and its tragic aftermath.
Elliot’s illustrated book was inspired by Lewis Carroll’s The Hunting of the Snark, and the Jabberwock and his presentation of museum-like artefacts and the stories he told about them would have had some in the audience wondering if his tale of the mission to discover the snark was true or not.
Elliot says he spent time living in a cottage inside Edinburgh Zoo and you have to wonder if this influenced his work illustrating weird and wonderous creatures.
For The Impossible Boy, Agnew asked: “What if a kid believes in something so much that his faith in it makes it real?” like Peter Pan’s belief in fairies, and on the flipside, “if you were an imaginary friend, what if you discovered you weren’t real?”
Agnew recommended using a little bit of non-fiction to make your fiction more real. In this case, she used the war-torn streets of Beirut in Lebanon as the inspiration for her setting of the story.
Various authors at the event talked about the hard parts of writing, when you feel like quitting or at least taking a break. Writing can take time! Agnew wrote 100 drafts of her book over 6 to 8 years. She says if you’re stuck, consider what Einstein said: You don’t solve a problem by looking at it in the same way, try looking at things from a new angle.
Agnew fits writing into her job as a primary school teacher by getting up at 5:30am to write before the school day starts. What inspired her to become a writer? Agnew “grew up in a house full of books” and her dad was a journalist who writes non-fiction, but really, she says, she “just wanted to do it.”
In the first session with Tania Roxborogh, Leonie Agnew and David Elliot I felt an overall theme of the elusive – of capturing the elusive writing spark, capturing the Snark, and elusive invisible friends. Another theme that came through for me was the theme of imagination: imagine if someone was trying to take your land, imagine wondrous creatures and lands, imagine how an imaginary friend would feel if they discovered they weren’t real. Imagine.
Session Two: Des Hunt, Jenny Cooper and Simon Pollard
Des Hunt has a love of adventure stories, science, New Zealand animals and he combines all of these into his stories. Sunken Forest was inspired by a real life summer camp he went on when he was 15 at Lake Waikaremoana, a trip that was memorable partly for sparking his interest in geology. The lake was formed during an earthquake landslide that drowned the forest. Standing tree trunks eerily remain there underwater today. Also trapped there are eels which can’t make their way back to sea to migrate to the Pacific islands to lay eggs. Unable to leave, they grow exponentially large.
In Sunken Forest, one such eel befriends Matt, who is sent to boot camp after his father, a boy racer, is sentenced to prison. At camp, Matt has to deal with bullies and getting the blame for things he didn’t do.
In his talk, Des Hunt totally engaged his audience from beginning to end, by which time he had them on the edge of their seats. He cleverly demonstrated the idea of building tension in a story by blowing up a balloon… about to burst at any moment. How do you really build tension in a story? He says: Add conflict and injustice, a disaster and… Pop!… an explosive climax.
While many of those who spoke at the event started writing or drawing as early as their primary school years, surprisingly Des only published his first fiction book when he was about 50 years old but has since written heaps of books. His passion for writing is now so strong that he can’t imagine doing anything else and he hopes to be an author until he dies. This is good news for my young son who was so inspired by Des Hunt’s presentation he immediately went and read Sunken Forest, despite never having independently read a chapter book without pictures in it before. Des certainly inspired him reader to take his reading engagement to a higher level.
It was fantastic to see instant booktalking success in action! Des tours schools doing writing workshops so see if your school can be added to his schedule.
She especially does a lot of research for illustrating the war stories, hiring models and WWI artefacts and taking hundreds of photos to draw from so she could get the details correct. The war stories she works on are “hard to illustrate because they are so sad” but equally she says, they are “really satisfying.” She added: “Sometimes the hardest and most challenging things you work on were the most rewarding.”
This was a sentiment shared by several of the speakers. Getting to a finished product takes times and many drafts! She tries 6 – 10 layouts before she has a rough drawing and after that, a finished painting may take up to 6 hours.
Pollard is a spider expert, lecturing as an adjunct professor at the University of Canterbury and he has been working with spiders for 30 to 40 years. He is interested in telling stories about what spiders get up to and recently worked with WETA Workshop on the impressive display of oversized bugs for the Bug Lab show at Te Papa Museum.
Pollard is an engaging speaker and really brings bugs to life. He told stories (complete with eek-inducing pictures) about the jewel wasp that immobilises and enslaves a cockroach so it can use it as a living nursery, laying its eggs in it to hatch. Ingenious, but gross. We also heard about the clever Japanese honey bees that kill their enemy, the Japanese hornet, by gathering together in a ball around one and quivering – the heat of their buzzing wings stops the wasp from secreting their signal for more wasps to attack them.
Then there’s the insect that looks like a spider, but isn’t, just to scare off predators. After learning all these fun facts, we were left marvelling at the magic of the natural world.
Primary and intermediate students from all over Christchurch lined up to ask lots of questions of the authors and illustrators after they spoke. Here are their inquisitive questions, and answers aimed at inspiring young readers, writers and artists.
What were some of your favourite books (growing up and now) and what writers would you recommend?
An integral part of the New Zealand Book Awards for Children and Young Adults is the HELL Reading Challenge, now in its fourth year. It has been hugely successful in getting kids reading and enjoying the pleasure of stories (and pizza). Kids can pick up their reading challenge cards at Christchurch City Libraries (until December 2017).
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.
The School for Young Writers in Christchurch is holding a Summer Writing School and Workshops, 16-20 January 2017. The Summer Writing School comprises a week’s worth of writing for teenagers, with special guest tutors alongside some of our regulars. On the final day students will get an opportunity for 1:1 mentoring as they complete a piece for the special magazine that they will produce.
Why go to The School for Young Writers throughout the year? Who is it for and what will they get out of it?
The School for Young Writers is for Years 3 to Year 13. Young writers get the pleasure of working with skilled teachers in groups of like-minded children. Regular tuition produces results. We also have a correspondence programme for those who can’t make the class times.
What kind of writing activities and exercises do you do?
Heather: Stories, poetry in all its forms, creative non-fiction, jokes, flash fiction, memoir, song lyric, play script, monologue, twists on genre, fantasy, slam poetry, whatever the children ask for and whatever our creative tutors can come up with.
Tell us about some of the tutors at the school.
Glyn: James Norcliffe is one of New Zealand’s most admired writers of poetry (Burns Fellowship and many other awards) and fiction for young readers. Heather is also an award-winning writer of fiction for young people as well as poetry, short story and flash fiction ( She is the current National “champ” in Flash fiction). Gail Ingram is New Zealand’s best poet for 2016 (New Zealand Poetry Society). Greg O’Connell is renowned for his interactive poetry shows and poems published in the School Journal. Stephanie Frewen is an award-winning scriptwriter. The plays her students write are broadcast on Plains FM and many are preserved for all time in Radio New Zealand Sound Archives.
Can you share some top tips for youth who want to write?
Join the School for Young Writers (of course). And enter the competitions in our Write On magazine. Teenagers submit to Re Draft – an annual anthology of the best teenage writing in New Zealand.
What about young people who think “I’m no good at writing…”
Glyn: Some of our best writers said that when they joined us. We are not there only for the gifted and talented. People don’t know they have a talent until they try it.
Heather: Sometimes young people have not had the opportunity to express their own creativity through writing. Our programmes are “low stakes.” We don’t use rubrics, mark or judge writing. Our goal is to help a young writer develop a piece to be the best expression of their ideas. This is a joyful process.
What changes do you see in the students over the course of the year?
Glyn says the changes are “immense” and Heather agrees: “For some it takes a few sessions to warm up and let their ideas free. Once they do then amazing things happen. Learning that all writers redraft is often key to the breakthrough.”
Can you share some highlights from the School for Young Writers this year?
Glyn: The greatest kick for me was to see the change in a young writer who came to us writing very dark stuff. By the end of the year, eligible to enter our annual Re-Draft competition for teenagers, this person won a place in the 2016 book The Dog Upstairs. This nationwide competition is for writers up to university level, so it’s a great achievement for such a young writer to win a place.
Heather: This year we held a poetry reading event in association with WORD Christchurch and New Zealand Poetry Day. It was a thrill to see usually shy young people stand up and read their pieces with confidence. I also love working in schools and a seeing the transformation over two days as reticent, vulnerable writers realise that they have something worthwhile to write, something that others want to read. Standouts have to be a group of Year 7/8 country boys (never laughed so much in a workshop) and a gorgeous group of teenagers in Queenstown who were open, enthusiastic and extremely talented. They even gave up their Saturday to attend.
Your favourite authors writing for children and young adults?
Of course we love James Norcliffe! Most of our young writers are also avid readers and they recommend writers to us!
Some of YOUR Top picks of books for youth in 2016?
Heather: Being Magdalene by Fleur Beale. I went back and reread her others. Anything Patrick Ness has written. I’m a bit behind on my YA reading having been a University student this year and reading the modernists. I’m looking forward to some holiday immersion in YA books.
What drives you to commit so much passion for this work?
Glyn: All of our tutors do it for the love of writing and with a passion for ensuring the future of New Zealand literature.
The School for Young Writers is based at Hagley College. What’s the association?
Glyn: Hagley College offered to support us and we gratefully accepted. We are a separate organisation and a registered charity. Hagley is our venue.
Tell us about the publications the writing school is associated with.
Glyn: The School for Young Writers has always emphasised the importance of publication. Without it, writing is like a house without a roof. Write On magazine gives everyone a chance to strive for the pleasure of seeing their name in print and encourages them to lift their game as far as possible. The Re-Draft competition began when we had developed teenage groups whose work was good enough to publish in book form. Re-Draft challenges our senior students to pit their skills against the best in the country. The results are amazingly good. New Zealand literature is alive and well and has a good future. Your blog should include this.
What are some things you’ve heard the students say about their experiences at the writing school?
Glyn: You should see the smiles on their faces when they emerge after two hours of fun learning. They don’t need to say anything. It shows. The younger ones often excitedly share their work with Mum on the way home.
Heather: They keep coming back and stay for years. For some of the students The School for Young Writers is their safe place, they make special friends and can be themselves. We love quirky. We value individuality.
Check out what is on offer for youth at the Summer Writing School this January.
Literary festivals are wonderfully educational things. If you open your ears and listen, seemingly the wisdom of the world will made available to you.
And some of it is quite pithy too. Now that the extended programme events have been completed we’ve gathered together our favourite quotes from the writers and thinkers of WORD Christchurch 2016. Read and receive their wit and/or wisdom.
“To create Lena, I took elements from a wide range of … characters and sources. These were the disparate, disconnected limbs and organs I harvested and stitched together to make my monster. It was my job to add flesh and skin, and then to animate her.” Tracy Farr
“You’re writing fiction; take liberties.” Tracy Farr
“We have over-simplified things for children. Children’s sentences need to be longer. We need more semi-colons.” Kate de Goldi on writing for children
“Writing is a form of changing energy into words.” John Freeman
“The worst place for creativity is a desk. I need to be out-and-about stealing ideas!” Alice Canton on creativity
“I wanted to create a journal of stories that would silence a dinner party.” John Freeman on his new journal Freeman’s
“Do I have any chips for writers? No, I don’t share my chips.” Nobody can grab Andy Griffiths’ ghost chips.
“My job as a writer is to stop my characters from solving problems.” Andy Griffiths
“You get tragedy and farce in all of life – and politics is a part of life” Peter S. Field on the US Presidential race.
“His plans for being president don’t seem like those of someone who thought about being president for more than an hour…” Steve Hely on Donald Trump.
“You want boring people in government. You want outrageous people on TV.” Steve Hely on what makes a good politician.
“Politics doesn’t just happen in parliament – it affects lives. Laws aren’t made in a vacuum” Fiona Kidman
“A world without intelligent discourse gets you Trump and Brexit.” Duncan Greive tells it like it is.
“It’s like watching a political version of the O.J Simpson trial.” Dr Amy Fletcher regarding the Trump/Clinton political situation and its polarizing effect.
“I venture to suggest that a man who dyes his hair is a man not to be trusted” Peter Bromhead referring to Prime Minister John Key
“I don’t think men should read my book” Jodi Wright dismisses a male reviewer who used the words “sex slave”.
“My body is not an apology” Tusiata Avia reads from her poem.
“There’s not a lot of money in feminism.” Debbie Stoller
“I find it hard to have respect for people who say they are not feminist” Debbie Stoller
“Because wanting equality as a human being is exactly like the Holocaust” Tara Moss on the term “feminazi”
“Do what works for you, however weird it seems.” Tracy Farr on weirdness
“Magazines smell really good; the Internet doesn’t” James Dann is not wrong.
“I’ve watched a lot of porno on tape…” the start of an audience question at the No sex please we’re teenagers session.
“New Regent Street – a time period that has never existed in New Zealand” The Unicorn
“I appreciate this dystopian polemic, sir, but is there a question?” Kim Hill to a persistently long-winded audience member.
“When it is someone you love, a bit of decomposition doesn’t matter.” Caitlin Doughty on dealing with our own dead.
“Being “othered” is something that pervades your daily life in New Zealand.” Alice Canton
“I know it’s after 10pm and Christchurch, emphasis on the Christ…” The Unicorn
“Community is a social lifeboat…” Justin Cronin on disaster response and community
“A child is a deal you make with the future.” Justin Cronin
“We raise our voices, not shouting but singing” David Levithan
Fiona Kidman’s latest book All Day at the Movies explores what it means to be a woman in New Zealand. It’s an episodic novel set over six decades. She explores where families were at and where they are going now.
Family is important to me as an only child I was often an observer looking in on families.
But she also says “I try not to put my family into books”.
This novel was inspired by the sight of abandoned tobacco kilns. Her father grew tobacco in KeriKeri and the memories of the Nicotiana scent drew her to setting her central character in the tobacco field of Motueka. The novel features a lot of pregnancies – as Owen Marshall observes, some more welcome than others. One of her characters doesn’t know who her father is.
Fiona acknowledges pregnancy is a huge issue in women’s lives. She is an adoptive mother herself, and acknowledges adoption was not handled well in the past. Recently her novels are set around a central historical character – but in this novel she wanted to say something about politics, how decisions made in Wellington affect people’s lives.
Fiona has always been a political animal. She was part of the 1981 Springbok tour movement as explored in her novel Beside the Dark Pool. Exploring the social context her characters inhabit over the decades gives her a vehicle to say something about how Wellington decisions affect their lives.
Looking at her characters as they deal with illegitimacy, estrangement, and abuse you may think she has a negative view of life and of men. But she says “I love men”. There are at least 5 positive men in the book, even though it may not seem that men come out well.
“I have had a lucky life” one of her characters says in the novel (and she observes it of her own life) which ends on an optimistic note. She looks at the circumstances of her characters and why things happen without making judgments. Authentic characters are important – how real people deal with things and how it affects them in 20, 30, 40 years time. Her characters become very real to her – they stand at the kitchen bench and come for rides with her in the car. By the time she sits down to write a novel they have their own voice which has to be listened to. Sometimes she is ready to let them go after a novel, and sometimes they don’t want to go away and reappear in another form like her character Jessie Sandal from Songs of the Violet Café.
Fiona has always been a feminist writer as is evident in A breed of Women. She sees herself not as a woman’s writer but a writer writing for women. She first thought of herself as a writer as a 22-year-old in the 1960s. It was in an era when it was embarrassing to be pregnant. She had worked at Rotorua Library and moved to Rotorua High School library when she married her husband who also worked there. When she got pregnant, students remarked “Got her up the duff eh Sir!”, leading to a request for her to leave the school. Such were the expectations of the era.
She left and started writing – submitting a play for a competition. Her play evoked the comment that it must have been written by the dirtiest minded young woman in New Zealand.
I felt I did know stuff about being a woman that a middle-aged man in Wellington seemed not to know.
Fiona often struggled with expectations:
What am I doing sitting at the kitchen table, buying the kids clothes not preserving hundreds of jars and doing this.
She worked as a secretary of PEN and the NZ Book Council and hoped to help authors think of writing as working.
Her favourite genre is short stories but they don’t sell a lot of books and she loves poetry but working in other genres is necessary. She made as much money working in television in a month as writing in a couple of years.
Through working in television, she learnt to see as you would through the camera
through radio work she learn to listen especially to the silences
through journalism she learnt to ask questions
All have been useful in her writing work. Poetry is not so much thinking about the audience more spontaneous.
Flash fiction is an experimental literary form that links together many traditional forms of narrative while also pushing on boundaries of poetry and dialogue. Here’s a chance to enjoy and celebrate it! The National Flash Fiction Day (NFFD) Christchurch event, Flash in the Pan, will be held at Space Academy, 371 St Asaph Street on Wednesday 22 June 2016 from 6 to 8pm. All welcome. NFFD events are occuring simultaneously in Auckland and Wellington.
James Norcliffe is one of the judges and he’ll announce the 2016 winners. The 2015 NFFD first and third place winner, Frankie McMillan will also be present, along with other writers. The compere is literary reviewer and PlainsFM Bookenz co-host Morrin Rout.
At the Auckland Writers and Readers Festival in 2009, I was lucky enough to attend a session in which Ranginui Walker, academic, historian and biographer shared the stage with his own biographer and friend Paul Spoonley.
Over the course of the hour Walker came across as an intelligent, committed man with a great deal of personal integrity. Someone who never intended to be “the voice of Māoridom” for Pākehā New Zealand but somehow ended up there (and as you can imagine this was not often a comfortable position to be in). He spoke quietly and modestly of his accomplishments while there was no doubt that the courteous and stately manner was underlaid by a steely resolve. This is often the case with people who tell difficult truths.
His contribution to our understanding of ourselves as a country cannot be overstated. His 1990 history of New Zealand from a Māori perspective, Ka whawhai tonu matou: Struggle without end (along with Michael King’s The Penguin history of New Zealand) is a must read for anyone interested in how New Zealand came to be the place it is. It was a revelation to many and is a seminal work, which was later updated to address the Foreshore and Seabed debate. It is still a great and relevant read for all New Zealanders.
In an attempt to tame her ever-growing For Later list, Robyn has decided to share with us on a regular basis the titles that she has recently added to her list. The theory being that, even if she doesn’t ever get round to reading them, she can perhaps do so vicariously through you… So please do share your opinions of her picks – are they worthy, do you think, of inclusion in that lofty list?
Pink Up Your Life: The World of Pink Design Embarrassing but irresistible. Who knew there was such a thing as Pink Design? I’m game though. “Pink for old and young. Pink for everyone!” Perhaps a pink feature wall is just what I need.
The Hollow of the Hand by P. J. Harvey
Polly’s poetry combines with the images of photographer/film-maker Seamus Murphy to tell the story of their travels around the world between 2011 and 2014. Harvey wanted to “smell the air, feel the soil and meet the people of the countries I was fascinated with”. Should be interesting.
The Face of Britain: The Nation Through Its Portraits by Simon Schama Portraits and Simon Schama seem like a good match; Schama has a lovely light touch with art and history. This book has been produced to accompany an exhibition at the National Portrait Gallery in London where Schama considers what makes a successful portrait, grouping portraits from the gallery’s amazing collection into themes: Power, Love, Fame, Self and People. According to The Times reviewer Schama’s approach here is “not systematic but wonderfully compelling” and the book is “entertaining and idiosyncratic”. Let’s see about that.