"I live in Aotearoa/New Zealand as Pākehā, Tangata Tiriti, which means I’m part of the colonizing group. A massive part of living here is working out how to be the best guest, and how to be aware of the harm that I do just by being here. In Audition, tied into questions about the carceral system are questions of land back. We’re pretty much all living on stolen land in New Zealand and that makes a major difference to me as a writer. If I write, how much space do I take up or how little space should I take up? But the amazing thing about living in New Zealand is that if I can widen my understanding to Te Ao Māori, the indigenous world of this country, this is a place where land is a relative of the people. Rivers are citizens. There is a way of thinking about relationships outside of the transactional, imagining work as relational. A writer’s relationship to the land that they’re on is huge. The places that we walk make up a kind of psychic map in our heads. It’s absolutely inseparable from the work."
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You’ve always lived in New Zealand. Is home critical to a writer’s work?
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Pip Adam
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