Short Story Writers

"I'm not against research of any sort. I fully understand the importance of research. But I'm against theft. I'm against appropriation — where those who are powerful use their power to take from those who have less power, and then rationalise this by saying that what they are doing is for the greater good; or that those less powerful people will benefit. They never do. It's about sovereignty. There is nothing wrong with one group giving to another because they have absolute understanding of all aspects of what is going on and want it equally as much for the same reasons. It needs to be a giving, not a taking. And research needs to be done primarily to benefit those about whom research is being done — who need to have the say, the power, the knowledge, the 'sovereignty' regarding the project."

"Only [he] could secure me, he being as rooted to the earth as a tree is. Only he could free me from raging forever between earth and sky - which is a predicament of great loneliness and loss. (Roimata, chapter 3 p23)"

"It's what I like to do--describe settings and circumstances, create images, and in so doing expose my own emotional responses to time and place. Underlying it, though, is an anxiety, the concern that it could all slip away, or that we could slip away from it; that we who walk the Earth, treading so heavily and selfishly, could be the authors of our own demise. We have to do better. (chapter 27 p297)"

"although the stories all had different voices, and came from different times and places and understandings, though some were shown, enacted or written rather than told, each one was like a puzzle piece which tongued or grooved neatly to another. And this train of stories defined our lives, curving out from points on the spiral in ever-widening circles from which neither beginnings nor endings could be defined. (Roimata, chapter 5 p41)"

"We don't live in a vacuum, we don't just stay in a little antiseptic spot with nothing happening; there is something happening around us and inside us all the time."

"The more I look into these matters the more I think that what happened to the baby happened for the same reason that land is taken, or cultural items, or indigenous knowledge. It's a new area of colonisation."

"The hills did not belong to us any more. At the same time we could not help but remember that land does not belong to people, but that people belong to the land. We could not forget that it was land who, in the beginning, held the secret, who contained our very beginnings within herself. It was land that held the seed and who kept the root hidden for a time when it would be needed. We turned our eyes away from what was happening to the hills and looked to the soil and to the sea. (Roimata, chapter 16 p110)"

"Everything we need is here, but for some years we had had little contact with other people as we struggled for our lives and our land. It was good now to know new people and to feel their strength. It was good to have new skills and new ideas, and to listen to all the new stories told by all the people who came. It was good to have others to tell our own stories to, and to have them there sharing our land and our lives. Good had followed what was not good, on the circle of our days. (Toko, chapter 21 p145)"

"Learning about each other is not as one-sided as it used to be."

"She told of gifts that she'd been given, and how gifts once given cannot be taken away and do not change. Gifts did not change even though there could be a shifting in the self caused by pain. (The Stories, chapter 28 p174)"

"Why is it that one set of stories is called "mythology", and another set of stories is called "the truth"?"

"The old woman sang of a time gone ahead, and of those already walking ahead of her on the pathways. Her eyes were reddened as though they bled. And her songs, like the pathways, were interweavings of times and places and of all that breathed between earth and sky. And the pathways and the songs went into a time beyond the thumbing down of the eyelids. (The Stories, chapter 28 p180)"

"People need to inhabit the work. I’ve always been interested in writing about those interrelationships – especially the intergenerational ones. It’s a matter of finding ways of doing that which enable different characters to have clear identity. Storytelling is one way I’ve found very useful – having different characters telling about the same things, each one bringing a new aspect and further enlightenment to the accounting."

"I don’t have a sense, when I begin a new work, of standing at the beginning of a long road and looking along it to an end. Instead I have a sense of sitting in the middle of something – like sitting in the centre of a set of circles or a spiral – and reaching out to these outer circles, in any direction, and bringing stuff in. That’s what makes it all closer to me, being in the centre and having all I need within reach around me and piecing it together. So there I am, at the core, with my core idea – the few sentences about the Japanese man – thinking about what I need to bring this character to life and to shift him from A to B."

"You and I grew together and we are inside each other's hearts. We don't have to explain. We know. We understand. (Chapter 25 p198)"

"When I get really stuck I want to get back to nothing, to nothing at all, so that I can allow 'something' to come. It's a clearing.... For me te kore is part of the process of writing, of searching, of starting out with nothing and making something of it."

"my aim is not to repeat. I always want to look for something new to attempt."

"I have a confidence now that I didn’t have in the early days, when I’d sometimes think ‘This is too terrible. I’m never going to be able to do this.’ I never feel like that now. I know there’s always going to be a way, or that you can just chuck something out if it’s too annoying. That’s a solution as well."

"in the early days I didn’t know what real creative writing was. I thought it was just imitating what had been read. I don’t know – trying to write a new Conan Doyle-type mystery, cobblestone streets, or something like that. That was until I came across writing by New Zealand writers, which was very late – after I’d left secondary school. I started to hear the New Zealand voice in literature and to understand that real writing is writing that comes from your self – your dreams, imaginings, emotions, dreads, desires, perceptions – what you know. Part of what you know comes from the research that you do. Those early influences were people like Frank Sargeson and Katherine Mansfield. I started to experience the New Zealand settings, hear the New Zealand voice in what I was reading for the first time, and then when I came across the writing of Amelia Batistich, a New Zealander of Dalmatian origins, I thought well, this is a different New Zealand voice. It started to click with me that I might have my own voice too. The penny dropped rather late for me. As well as Batistich there were all the Maurices [Gee, Shadbolt, Duggan], as well as writers like Dan Davin, Robin Hyde, Ruth Park, Ian Cross, Marilyn Duckworth, Janet Frame. All added to my enlightenment and to the realisation that I would have a voice of my own. I knew also that there were people who I could write about, or characters I could invent, based on people I knew, who hadn’t really been written about before. There were stories about them, but not written ones."

"I wasn’t a very talkative child and I’m not a greatly talkative adult even, but I do enjoy listening to people, and language and how it’s used. It becomes part of my own store."

"I never found myself in a book. The children I read about lived in other countries, lands of snow and robins. Sometimes they lived in large houses and had nurses and maids to look after them. They did not belong in extended families, did not speak as I spoke. There were malevolent aunts and terrible stepmothers. It was wrong to be poor. If you were poor you usually did some brave deed that made you rich by the end of the story, when you would marry a princess or a prince. Or you died in the snow while selling matches. Maidens and Jesus were fair. No one was brown or black unless there was something wrong with them or they held a lowly position in society."

"Every society has its own stories – old stories, but very importantly, new stories too, that give identity to the self and explain that particular world. If there are no books which tell us about ourselves, but tell us only about others, that makes you invisible in the world of literature. That is dangerous."

"At the time I gave the paper (1987), New Zealand history was still being evaluated from a Eurocentric viewpoint. It generally glorified the European settler experience and by doing so negated the Māori experience and settlement of Aotearoa. A look at some of the vocabulary in use could be taken as a quick example. Take “pioneer” and “settler”. These referred to British pioneers and settlers. The ancestors of the Māori children sitting in our classrooms were referred to in many less complimentary terms. They were savage barbarians, hostile, cunning. Warlike. Yet the British with all their guns and armoury, sweeping in on many indigenous areas of the world, were never referred to as warlike. In those times, the wars between Māori and Pākehā were still being referred to as “Māori Wars”. A British fighting force was an army. A Māori fighting force was a war party (a term still in use). British fighters were soldiers or colonial forces. Māori fighters were rebels and raiders and warriors (again, still in use). A successful battle by the colonial forces was a victory, by a Māori fighting force a massacre."

"I grew up amid two worlds, having close, continuous and frequent contact with each. These were two different and contrasting spheres that I inhabited, both full of life and vitality: my mother's Pākehā family and my father's Māori whānau. (chapter 2 p18)"

"The days before my wedding were full and busy ones but more so for my mother than for any of us. It was summer, with the sun skidding day after day across a flawless ice-blue sky, taking with it all moisture from creeks and pastures, draining the hills and gullies to a sleek ivory. It was the nearest we would get to a white Christmas in these parts."

"Autumn bends the lights of summer and spreads evening skies with reds and golds. These colours are taken up by falling leaves which jiggle at the fingertips of small-handed winds."

"The city was a great loom weaving its tangles and tufts of people into haphazard multicoloured fabric."

"I think the time was just right for myself and for people like Witi Ihimaera and Hone Tuwhare. The real pioneers were JC Sturm, Rowley Habib, Arapera Blank, Rose Denness and Mason Durie and those writers I had started to see published in the journal of the Māori Affairs Department, Te Ao Hou."

"This first part of the story is about two sisters, Ngarua and Maraenohonoho, who quarrelled over a canoe."

"In many stories blackness was equated with evil: devils, witches’ clothes, unlucky cats, bad wolves. New Zealand history was told from a Eurocentric point of view, if it was told at all."

"When I left teaching, I imagined myself spending every possible minute scribbling, or sitting for hours in front of the computer, and for some months this is what I did. But I soon came to realise that, for me, the writing life needs real life and interaction going on. So, though I did spend time writing every day, often long hours on week days, I found myself caught up in the many activities associated with family and community life as well. (chapter 19, p214)"

"I found this to be a way that works for me--placing myself at the centre, keeping characters and ideas close, and from the centre reaching to the outer circles, in any direction, for what I need in order to bring everything together. (chapter 18, p189)"

"Who is my audience? My answer to that has to be that I am the first audience. I write for me and I must be the sole judge and take full responsibility for what comes about. The second audience, the one unknown to me, is whoever will read. Once I've finished a book or a story, my job is done. Reviews, analyses, critiques, theses are not written for me. They come after the event. What follows the reading, discussion, dissection, opinion is part of the next life of the book, that is, if it is to have an afterlife. I should say, though, that if Maori readers did not relate to my writing, or if they rejected it, I would not do it. (chapter 18 p200)"

"When Potiki first came out there was quite a bit of criticism of it. One of the reasons was because of the use of Māori terms and passages in the book; the other was that some people thought I was trying to stir up racial unrest. The book was described as political. I suppose it was but I didn’t realise it. The land issues and language issues were what Māori people lived with every day and still do. It was just everyday life to us, and the ordinary lives of ordinary people was what I wanted to write about, so I didn’t expect the angry reaction from some quarters. But there was one deliberate political act, and that was not to have a glossary for Maori text or to use italics. A glossary and italics were what were used for foreign languages, and I didn’t want Māori to be treated as a foreign language in its own country."

"['Reading Readiness'] aligns with the whakatauāki 'A tōna wā ka mōhio.' 'In their own time they will know.' So, whether actual word recognition and textual meaning begins at four, or five, or eight, or later, what does it matter? There's a whole lifetime of reading exploration ahead as long as the interest has been fostered. Building towards that time of readiness, and children being successful in the building, was what mattered. (chapter 17 p180)"

"I’ve always loved the short story form. Short stories are like little gems that you can keep polishing and polishing in your aim for perfection."

"If there are no books which tell us about ourselves, but tell us only about others, that makes you invisible in the world of literature. That is dangerous. If there are books and stories about you but they are ones belonging only to the past, it is as though you do not belong in present society. That is dangerous. If there are books about you but they are negative, demeaning, insensitive and untrue, that is dangerous. Multiply this by what appears on television, in advertising, teacher attitudes, health services, questionnaires, testing and examinations and in many areas of society, maybe we shouldn’t wonder at the low self-esteem, low self-confidence, and therefore the disengagement of many Māori children with education."

"That’s what I like to do. I just start out and follow the characters."

"There are reasons we become ill or dispirited. It's what Oriwia was referring to. There's always a cause. Sometimes we bring sickness or punishment upon ourselves through carelessness, distraction, transgression, or failing to dedicate the day or the task. Weak moments may invite wrong forces. Sometimes sickness is caused by a vengeful person such as Oriwia describes. I have seen those affected by the spite of others become ill, go mad, become lame, turn black, drop dead, die slowly. I have seen their children born with ailments and deformities. (Chapter 25 p198)"

"I'm not sure of the reason for it, but during those days of caring for [her], my thoughts would often return to the time of my childhood when I would hear the old people say that we earthlings are related to the stars. The stars are our flesh and blood. I came to understand that this must be true in the deepest sense. We come from the dust of stars. (chapter 27 p213)"

"what was the best part of writing. The main thing for me is characters. I don’t really worry about anything else. I don’t think about the storyline too much actually – just the characters and what might happen to them because of who they are and where they are and who they interact with. The settings, the stories, the themes and the voices and everything else, the inter- relationships – all belong to the characters. So if you keep true to those characters and how they might develop because of who they are and who they have around them and, to a degree, what happens to them, then the story will unfold. I’ve learned to have faith that something will come out."

"To get back to writing the 'ordinary lives of ordinary people'. This is what I believed I was doing when I wrote Potiki. Land and language issues are part of everyday life for Māori. On the whole, the novel was well received. It has stood its ground and seen its way into the world. But it rocked the boat at the time. It showed Māori in a positive light, living in a functional community and being preyed upon by evil Pākehā wanting to wrest land from them by lying and cheating. It was regarded as political correctness (of which there was no greater sin) gone haywire. It was a 'minor miracle', a snide reference to miracle plays, angels and devils, where good triumphs over evil. But land protests at the Raglan Golf Course in the 1970s and at Bastion Point in 1977 and 1978 brought the nation's attention to what was happening in the ordinary lives of Māori people all over the country-injustices that had been ongoing for decades, and still continue. (chapter 18 p198)"

"To be well in spirit is the most important health. [She] was the song of that run-down house. She was its roof, its walls, its windows, its doors. She was its song. To be well in spirit is the most important wellness. To be well in spirit lifts the physical and mental state to an extraordinary level. All are affected by it. Dark thoughts disappear."

"my books are a giving — the first act in communication. Once the book is out there I've done my bit. It's gone. Anything that happens to the book after that is out of my hands, and I've consented to that. Whatever way the book is taken up afterwards is all to do with the next stage of the communication. Reading, reviewing, study, dissection, and commentary are all the business and work of other people — they're all part of discussion. It may all be part of promotion and distribution as well. In other words, if the book is well received then that is encouraging to me. I benefit. I put the book out there to be read and discussed — but if I put it out there and it heads for oblivion, so be it."

"It was when I first went to school that I found out that I was a Maori girl... I found that being different meant that I could be blamed..."

"Though I had always liked books, any books, any written-down words or expressions, the ones I read as a child were always exotic. I never found myself in a book."

"there's singing in the mountains, laughter in the trees, dancing in the light of evening fires. There's whispering in hearts and minds and shadows. That's enough for me. (chapter 31 p238)"

"And perhaps, I think to myself now, there are no real stories at all with beginnings, middles and ends, perhaps there simply is what there is, and what happens, and the lines we draw between those points are just nonsense and dreams, and the figure that arises from those lines could just as well have been something else completely."

"Perhaps I am finally the person I have really always been."

"I think that living only from writing is a privilege, in economic terms, that only some writers have achieved and to which, probably, all authors aspire: a difficult goal that is not impossible."