Women Authors From New Zealand

"Phil Cooper was eleven years old when he began to understand that his father meant to bend him to his will."

"The writing! The ideas and where my characters take me. That eureka moment when you've been stuck with something and BAM! the answer hits me."

"I used to worry about not having ideas to work on, but found the less I worried about it and kept my eyes and mind open to things around me - the ideas came all on their own. I love people and thinking about how they tick, why they do things and what happens next!"

"Molly's from his series Dance to the Music of Time, in episode ten"

"In fact her writing reminds me of your writing actually . . . it's insightful and it's layered. And it's a bit like intellectual quicksand"

"Trouble in Time came about when I was visiting my Poppa with my son who was about 3 at the time. I remembered my Poppa hooning around on his motorbike on his small farm, helping people in his little rural town here in New Zealand and being on the go. My son saw a frail elderly man sitting in his chair in the sunshine. Grandparents have done cool things in their lives - just ask them!q"

"The worst is when you can’t think where to go in your writing, and an idea won’t get written."

"our little niece came tearing out to meet us."

"Go and do something else. Have a rest from it for a while - could be an hour, could be a week. The answer usually shows itself and I'm away again."

"The place is the context of the poetry. It's not that I write about the place, but the poetry comes out of my life in the place. So in that way it is tremendously important To me, and I'm sure i wouldn't be writing what I'm writing if I weren't in Bluff."

"Can’t bring it down to one. Which part of childhood, anyway? When you were little and my mother used to read Beatrix Potter and the Winnie the Pooh books? Or when I was older and used to sneak read Enid Blyton (my mother didn’t approve of those!) No, better to say I read a vast amount, and on all sorts of subjects, and I loved historical fiction, and The Wind in the Willows, The Hobbit, The Fellowship of the Ring (and the rest of the Trilogy), Drovers Road, the Narnia books, Kate Seredy books about Hungary before the First World War, Patricia Lynch books set in Ireland - all sorts."

"...she's not a sentimental writer. There are times when she's as referential as a nun. At times she leaps into a comic, clownish dance. And times when she thunders like an Old Testament prophet."

"I started writing as a child, and then it got lost, and it was only when I began reading to my own children that I thought ‘I could do as well as this person’. Now one of the great rewards of writing is having characters constantly in your head, and seeing the world through their eyes and thinking about how they might respond to things that happen to them, and being aware of yourself in them."

"So far it has worked by imagining you in all the places I would like you to be"

"I love the title, I loved it. in the same way that the stories take on extra meaning after coming after the other stories. What I love about it is the way the title 'Opportunity' takes on so much meaning coming after the novel's provocation..."

"The mind of a child is a very different thing, and getting into that mind and just seeing the way the mind works...my younger daughter says 'you know if you stand on your head, you don't blink'. Now I don't know if that's true or not, but what a great line and I'm going to use that in a book that I'm writing at the moment..."

"The story begins as the Pilgrim family, along with the rest of the Whanganui branch of The Children, move south to Nelson, to join with another branch. The reason for the move is unclear, but the teenagers assume it has something to do with needing to match-make, as many of the young females are approaching marriageable age – 16. Rebecca has lived her entire life within her family group, though she and the other children had to attend a ‘worldly school’ in Whanganui. It is a frightening prospect, then, when she is sent with her twin, Rachel, to sell produce at a farmers’ market on Saturdays in Nelson. This interaction with people who live their lives in freedom proves an eye-opener for both sisters."

"For me, the idea that people in the past can be present, is not a very strange idea when you've had a lot of experience with people that feel that way. Being with [knowing] elders like Eruera Stirling for 20 odd years . . . he looked at the ancestors as if they were just in the next room."

"If someone was to tell me that I'd be raving on TV about a book about Diana, that's pink, [reading on] the bus, as a straight male, I'd tell you that 'you're wrong'. Let me just tell you that it's one of the most compelling books I've read!"

"Writing is not about inspiration! In the main it’s about hard work and frustration and rewriting and rewriting. But there are moments. The best are when you’re writing and suddenly, words seem to flow from your fingertips and ideas happen that you haven’t had to work for and you don’t know where they came from."

"You can read it with a perfectly straight face but kind of chuckle inwardly; that's what I like."

"Some phrases you have to say out loud. it's like someone has poured warm milk into your skull, you know? It's just beautiful — I loved it."

"What is your favourite food?"

"...of course it wasn't called Lord of the Flies to begin with; it was called something awful like A Cry of Children. And it took 22 goes to get the manuscript actually on the desk at Faber and Faber for someone to accept it. All these stories come out . . . the professional book reader who looked at Lord of the Flies and said 'rubbish, dull, pointless'."

"I have a twin sister whose name is Anne, and as we live in the same city I’m constantly getting mistaken for her, and people are always asking ‘Are you Helen or Anne?’ And I’m so bored with the question, and I’m not listening, and I say ‘Anne’ without thinking. And then I realise and is it better to say, I’m sorry, I made a mistake! or to try to brazen it out, hoping no-one will realise?"

"Writing didn't really get a look in until we had children. I made the decision that I was going to stay home and bring the kids up myself, and oddly enough that gave me the opportunity and the time to write finally. I say time very loosely there..."

"...legends are not only necessary to us, but however strong the legend, even if you try to demolish it, you can't. In fact you end up reinforcing it . . . We writers are mythmakers, whether we like it or not. The moment you write a book, you are very often adding to and sometimes creating a myth, and I've done both and I'm very happy with that."

"...I have a problem with historic novels, I think that they tend to become history lessons and this book at times becomes a history lesson"

"...a lot of really bad books, like just shit books, are written with really great plots that really move along, and why should the devil have all the good tunes you know? I like a good story in a book. It's not very fashionable to say that, because people associate good stories with the kind of books that are a cop-out: books that are like bad middlebrow popular fiction. But what's bad about being entertained?"

"Part of that shorthand is the way that she works as well. I mean she's got this very reduced, very spare kind of style, which I loved. But more than anything I found it so compelling because of this fantastic unconsummated love, that really acts as a huge narrative pull."

"I don’t think I have one - I like a lot, and we cook a lot with Asian spices like lemon grass and fish sauce."

"I read a tremendous amount. But I also ride a mountain bike round the Wellington hills and on bike tours, and sail and tramp."

"...I wouldn't really be interested in writing a biography about someone who was obvious and straightforward. It's the enigma of a particular personality, I think, that drives your interest as a biographer. With someone like [John] Mulgan, someone like [Ralph] Hotere, there is a core there which is truly enigmatic, and which obviously fuels the work."

"...what I liked about it is . . . you never know if you're nuts, you know? And he had no idea, until they started finding the bodies..."

"It's not a world that I know but I came to know something about it though the book which was good, but I see...when I look at literature, when I look at books I look at the structure of them and ... I saw a fairy tale actually, when I think about it you know the traditional princess who becomes a maid who rises to become a queen and all these mad people inbetween on that journey..."

"Within this poem the ghost of an accentual meter can be heard, and the metrical scheme, while loose, is something near the traditional 4, 3, 4, 3 ballad stanza. And it is off-rhymed, xaxa. Perhaps the ballad was lurking behind the scenes all along. It has been mentioned that Dear Neil Roberts is rhythmically close to prose. I think this is true (as it is for a wide range of contemporary free verse), but I also think that writing to a regular stanzaic shape can lead to some interesting effects. For instance, rhymes frequently occur at line-ends. And there are lines in the book that are straight iambic pentameter. It has to be remembered that poetry is a genre, and can be written in verse, prose, or any combination of the two. Writing Dear Neil Roberts as a poem allowed me to present, juxtapose and interpret information in a different manner, than if I had set out to write an extended essay or a work of New Zealand history."

"I never decided that I would; I was just never able to stop."

"I have a new scarlet coat and I look like a fire engine and I don't give a damn..."

"Hers was the first voice like hers that I had discovered in literature before. I was good at English . . . I had never come across a voice like hers before. She was a black woman from the States, and she just blew my mind..."

"The fact that he can focus so deeply on a dinner, or a conversation at a beach, or you know, the impending non-consummation of a marriage, was really wonderful. It had all the depth. But I was quite captivated by the food, the English food, and how kind of unappealing it was. It was just so banal and humdrum."

"The thing is, Neil, you are all of us’ is one of the first parts of the book I wrote, back in 2011. I had known Neil Roberts’s story for some time and it had occurred to me it would be interesting to write a long poem about the incident. One of the things that struck me early on in my research, from reading various anarchist/ libertarian communist web entries, was the sense of ownership amongst these radical left communities for the story. It was as though each person who had re-told the story, while not endorsing Neil’s act, could identify with the way he must have felt. In this poem I drew on my own experience within the Wellington anarchist scene – although not every detail is ‘true’, the characters in this poem do approximate real people, myself included."

"The way Doyle paints it is that the brotherhood, the Sinn Féin became the home for all these poor — you know, the woebegotten souls who were like trying to find their way."

"I'm always happy because your definition of 'young" is elastic..."

"While I won’t tell you what happens, I will say that Rebecca is a strong and admirable character. You feel that Beale really lets you into the mind of somebody who has grown up within a strict environment such as The Children of the Faith. Beale’s books have dealt with cults several times previously, but always from the outside looking in, so this is a refreshing point of view."

"Those that come after me will gather these roses, And watch, as I do *now, the white wistaria Burst, in the sunshine, from its pale green sheath."

"It's typically Jamesian because in a way its an unambiguous story: you know exactly what's going on, but it creates these ambiguities of feeling in you, because you want her protected, yet you can't like the father who's protecting her..."

"Established’ is a good word, much used in garden books,"

"A great deal of my fiction deals with extreme violence erupting in normal lives."

"how to translate these words into silences or the silences into words"

"I really like learning, and I liked learning when I was small. I guess I was one of those model pupils - except in one subject - see below."