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A landscape of rusty tussock, cold misty sky, a corrugated-iron hut at the base of a hill.
(Photo: Peter Ryan)

BooksJuly 12, 2021

The boy’s trip

A landscape of rusty tussock, cold misty sky, a corrugated-iron hut at the base of a hill.
(Photo: Peter Ryan)

Hunting legend Peter Ryan takes his son to stay in a back-country hut, and remembers a turning point 10 years prior.

This essay appears in Ryan’s new book Hunting Life: Moments of Truth. It describes a traumatic birth; please take care. 

Our son is 10 years old. If he wants to do something I let him give me a hard time; I want to know that he really means it. If he pushes enough, it happens.

He started out fishing, which is just hunting in water. It’s a fine thing for a boy, an entry into patience, technique and fieldcraft as well as the natural world. It’s also a great way to see whether a kid really has an interest of their own or is just trying to please you.

On this day, after much pleading, we’re at a remote hut on the South Island of New Zealand, a long way from anywhere. In a week you can expect to see not one human being. It’s far up a braided river, along a track that’s as rough as guts. Here at the top of the valley the mountains loom high overhead. Waterfalls cascade off the mountainside and fingers of beech forest stretch down almost to the valley floor.

One part of the track runs hard against a bluff on one side, with a 100-metre sheer drop on the other. I’ve stacked the truck so that he can’t see that part. He’d probably be okay with it, but if he were to tell his mother things might get more complicated than they need to be. He’s quiet, watching hard.

There are a few hundred private huts like this scattered across New Zealand. Unlike the huts on public land, they usually come into play when the musters of autumn mean days spent bringing the stock down from the high country. They’re not funded by taxpayers, but are part of life on a big working farm. The bottom line is that they can be a bit rundown, but always full of character and history.

The hut itself is a classic: corrugated iron, the proper old Bristol Crown stuff, chains across the front to stop stock from rubbing and making trouble.

Rusty old rabbit-traps hanging on a nail and a few cast antlers struck in the rafters. A pile of ringed beech and an axe stuck in a log, for once with no dings at the head of the handle. Farm boys can actually split wood properly. Water off a little bit of spouting on the roof, and an old-fashioned long-drop out back. Inside it’s lined against the cold, and there is a huge old fireplace with some empty beer bottles on the mantle. Four bunks, a hut book and a couple of 10-year-old magazines. That’s it. Jamie takes the pine bunk opposite me. We’re home.

A photograph of a young boy fly-fishing in a river, surrounded by tussock and snowy mountains; a book cover with the title Hunting Life and an image of a man standing on an outcrop.
Jamie; the third of Peter Ryan’s books (Photo of Jamie: Peter Ryan; Image: Supplied)

We have some company. He’s a veteran, an old mate and one of the nicest blokes you could ever meet. Let’s call him Hard Case. Possum fur is what he’s here for.

Our days settle into an easy rhythm. Breakfast and lashings of hot tea, then saddle up to set out the traps. Scope out the lay of the land, looking for leads coming down into the new grass. Hammer a sturdy fencing staple into the base of a tree to hold the trap, then run a splash of flour, sugar and cinnamon above it on the trunk. Tag with a ribbon on a branch and trek on, one after another. A big set might be 100 traps, and that will keep you busy day in and day out. We’re not going that big.

Once the first set is out, it’s time to split wood and get chores done. Then an early dinner. No freeze-dried this time; venison sausages while there’s still light to see by, it’s so much harder with just a candle or two. There’s even a beer. You have to love a hut you can drive to, even if the track is a bit sketchy. The old fireplace invites a cracking blaze and we oblige. A good fire brings out the boy in every man.

Then it’s goodnight to young Jamie in the bunk opposite mine and a yarn by the fire with Hard Case. We flick through some of the ancient hunting and fishing magazines lying on the pine table, and find that both of us – or at least the younger versions of ourselves – have articles in there that we’ve long forgotten. Then it’s time to blow the last candle out. There is the odd scuttle in the walls, but otherwise the world is absolutely silent. Half an hour later the fire is still flickering away and sleep is elusive. It’s easy to watch the small flames and get lost in memories.

The young doctor was doing his best to chat about the weather, the new extension to the hospital, anything he could think of except the real reason for our walk. You can’t fool me, mate. I have ammo older than you. There was no getting around the fact that if things were fine we wouldn’t be taking Jamie, just 20 minutes old, to intensive care. I still had blood on my hands after a difficult birth. He wasn’t looking good. And I was scared.

In the big lift things went quiet as some frail passengers got on board. I wondered how VJ was feeling down in the operating room, and wondered about our boy, so new to the world. It occurred to me that he may only have an hour, and that it might be best to steel myself for that. And then it occurred to me that those thoughts have never been any damn good to anyone.

No, if all our little man will have is an hour, then I will love him and hold his hand for that hour, let the chips fall as they may. There is a Latin expression for this: dorsum nudum. “I bare my back.” It’s a choice we all face at some time. Fate, do your worst, I’m ready. If I’ve ever done a brave thing, that was it.

It has taken some awful moments for a slow learner to grasp the true nature of love, however late in life. That it takes a terrible courage to seek nothing in return. That you must fall without fear. That nothing else will do.

But Jamie grew up strong and sure. When he was five or so he begged for “cave man stuff”, so I shaped a piece of red stag bone for him and bound it to a wooden shaft. His mum decorated it with wild animal motifs. No, it wasn’t sharp. And, yes, learning responsibility is a good thing. He combed our stubble field for mice with predictable results, but ended up skewering a hay bale. A morning well spent, in my book. I wonder how far back that little exercise goes?

The spear, blunt tip pointed at the camera
(Photo: Peter Ryan)

Tomorrow we’ll take him out and scout up a rabbit or two. I promised, you see. And on that happy thought sleep came at last.

By the third day we find our rhythm. Walk the set and add more traps to the line. We have company sometimes, a dark-phase fantail that follows us branch to branch, hawking for insects as we pass. Jamie sees it and calls it “pīwakawaka”, making me wish my Māori vocabulary were better. A bush robin hangs poised on a mānuka twig as we push through foxgloves and gooseberries, then off over the shingle and streams rushing over the rocks. At times a restless, lonely breeze sighs in the branches of tall mānuka.

You always leave a hut better than you find it, so there’s a fallen beech to cut and carry, avoiding the punky stuff. There’s deer sign in some of the clearings; not a lot, but enough that you’d expect to pick one up if you persevered. But there’s so much to do. These are not prime possum skins so we pluck as we go. Jamie does his well enough, marvelling at the darks, pales and rusties. They have a persistent smell, not unpleasant but not something you’d seek out either.

The evenings back at the hut are light-hearted, but it’s easy to see how the trapper’s curse could set in for someone working alone. Long winter nights with nobody to talk to could drag. Who can sleep for 12 hours?

Jamie is humming with excitement. Far off in the grass he spots a cast antler, heavy and well-stained with mānuka, and he seizes his new prize with obvious pride. I know where it is going. Since he was three or four he’s kept a collection of feathers, shells and the odd bone. The hoard has got big enough that I’ve put an old set of drawers down in the shed for him to store it all in. The Museum, he calls it. I’d given him cast antlers before, but this was his find. It makes a difference.

His collection might seem a little odd, but it’s not a new instinct. Some male deer have strong canine teeth, a relic of their ancestral past when many carried tusks, just as Chinese water deer still do today. For thousands of years these eyeteeth were the most precious thing on Earth. They were coveted, used as currency, as jewellery, as status symbols. They were so prized that copies were made from bone – in other words, counterfeit money. They have been found where there were no deer, meaning that they were worth travelling long distances to trade and exchange. Grandeln, as the Germans call them, were wealth and currency for longer than coins or anything else we have used since. And of course our modern word “buck” for a dollar originally meant a deer skin. So maybe Jamie’s instincts are not so unusual.

I’ve given him a small folding knife. It was cheap but has nice wood scales and brass bolsters. It’s not sharp, and he only has it when I’m with him. He’s never hurt himself or anyone else so I guess he’s learned something more from it than just how to cut things. That knife is our little secret. It’s important to him, more than I knew at first, not because he gets to cut baling twine but because of the silent message it carries – that I have faith.

Interior of a mustering hut, open fire roaring, black retriever asleep in front of it, a person reading a hunting mag.
(Photo: Peter Ryan)

Towards the end of the week we see signs of rain coming. For the next 12 hours straight it drums hard on the tin roof. We busy ourselves with chores until they run out, then stoke up the fire to read and doze in front of. After dinner Jamie takes the pen from the hut book and, using the flickering light of the fire, makes a tiny signature on the wall. It takes a moment to see it for what it is, his small mark on the world. And in another moment I see, far above it and disappearing into the darkness, another name, another James from a century ago. Jim Muir, legend among hunters, explorers, frontier guides. It occurs to me that the old-timer might be pleased. And then it occurs to me that our snug little hut is not so different from a cave after all.

We wake to a world of white. Overnight the temperature has dropped and there is snow all the way to the head of the valley, dusting the hanging beech forests like a Christmas card. Later that day we bring the set in. There’s not much left to do so I take Jamie out with the .22 looking for rabbits and hares. We try a few stalks, but, with the sun going down behind the mountains, time and visibility are short. On the way back to the hut we cross a small stream that would flood Jamie’s boots, so he grabs my arm and I swing him across. One day I won’t be able to do that. Why does he want to be here? Why does he want to chase these wild creatures? Like any mystery, he wants to be with them, to see them up close. And then it occurs to me that he will remember this trip for the rest of his life.

The next day Hard Case and his dog come with us for a final tramp upstream. He glasses from a clearing while we wander off with the rifle. In an open patch of grassland I spot a rabbit, maybe 50 metres out. This is where all of Jamie’s practice on the range will come into play. I set up the rifle for a prone shot and he slides in behind it like a pro. I drop down beside him. The rabbit has other ideas by now. It has made a short run and is now at maximum range for the little rifle. Our luck is out. Then, quite obligingly, it stands up on its hind legs to see us better. Our luck is in.

As Jamie is getting ready I notice that Hard Case’s dog has come looking for us. She’s wandering our way but not close enough to the rabbit to be a problem. That shows how little I know. In the exact moment that Jamie is about to squeeze off, she decides that a boy lying prone is an open invitation to play. She literally walks up his back just as the shot breaks. A miss. Our luck is out again.

It’s time to go home. Jamie shows off his dark antler to his mother and little sister, and we all admire it. Later, after his first hot shower for a week, we tuck him into bed and it’s clear he has the wobbles. With a small tear in one eye he whispers, “I miss the hut.” He says that, but we swap glances and both know he means something more. He didn’t bring any game home but he found something bigger. He just doesn’t know it yet.

Son, that chase will hurt you … but in it you can find the best of who you are. 

Hunting Life: Moments of Truth, by Peter Ryan (Bateman, $39.99) is available from Unity Books Auckland and Wellington. 

Keep going!
Old black and white family photo, very beautiful, a mother kissing her baby's cheek. Baby looking straight to camera.
The author and his mum, 1962 (Photo: Supplied)

BooksJuly 10, 2021

This is how harakeke grows

Old black and white family photo, very beautiful, a mother kissing her baby's cheek. Baby looking straight to camera.
The author and his mum, 1962 (Photo: Supplied)

Poet Ben Brown (Ngāti Mahuta, Ngāti Koroki, Ngāti Paoa) is the inaugural Te Awhi Rito, the reading ambassador. Here he writes about his parents, and his kids, and the way gnarly old flax leaves protect the new shoots.  

Mum made many things with flax, with harakeke. She had the old ways, though to her they were not old, they were simply the ways. One particular day I remember vividly, even now nearly 50 years on. Mum showed me a trick that day. No, not a trick, it was much more than that. 

She led me down to the great harakeke at the far end of the front lawn, where Tūi often dements himself chasing sparrows and finches and shadows with his carry-on and his clanging.

Tūī cracks me up with all that pomp and bluster. The little birds have got his number though. One lot keep him busy. The other lot swoop in.

When we got to the pā harakeke, Mum pointed out a blade of flax, long and broad and tūpuna old. “There son, that one there,” she said, “Pull it out for me.” The leaf was longer than I was in my gumboots, longer than Mum was, longer than me and Mum together even. “Go on then, pull it out, that’s the one I need, that one there!”

“OK,” I said, not sure how this would go. But if Mum says that one there, well, that one there it is. So I took a deep breath, grabbed a hold of the leaf as tightly as I could and heaved.

And heaved.

And heeeeeaaved.

It did not budge. Not even a millimetre, which then was new to us as a measure of something very small. “Come on, what’s the matter with you? I need a handle for the kete. Stop playing with it and start pulling.” For some reason, Mum found my struggle amusing. Well, she was laughing anyway.

Again I strained and struggled, planting the heels of my gumboots into the turf of the lawn, grasping that gnarly old leaf with both hands, leaning back with all my meagre weight and straining my legs to straighten against the hold of this great old leaf as I growled and groaned my exertions. But all I got for my efforts was sore hands and a sore backside as my grip let go and my own legs, assisted by gravity, dumped me arse over kite as my dad would’ve said, to the ground.

“You need a tractor to pull that out,” I grumbled.

“A tractor you reckon. Ha! We’ll see about that!”

My Mum was not a big woman. Some would call her small, petite or even “slight”. But slight to me is like “almost” or “a little bit”. Mum would feed you your own tongue one piece at a time if you ever confused her with “a little bit”.

She walked up to the harakeke, bent to her mahi, took a firm grip on the thicker part of the blade-like leaf, right near the ground where it emerges with its kāhui and the magic gooey gel oozes and sticks to your fingers. Put that stuff on cuts eh, stings a bit but it does the business.

She gave the great leaf a few firm side-to-side jerks and twists and then somehow – POP – out it came. Told you, eh. Nothing “a little bit” about Mum.

Old family photo of a middle-aged Māori woman, long hair in a ponytail, squinting and smiling at the camera.
Brown: “She was born at Waahi Pa in a punga and raupō whare, by the firelight, Saint Patrick’s Day 1937” (Photo: Supplied)

Te rito is the new shoot of the harakeke, the great green flax that doesn’t mind having its feet wet, with long broad leaves that are full of the muka, the fibres strong enough to plait the cord that fished up the land and bound the sun.

Awhi is to embrace, to surround, to assist and support with love, guidance, experience, and wisdom. Te awhi rito are the older, stronger leaves that grow protectively around the young shoot, giving it every chance to grow and thrive. Imagine the vast groves of harakeke clattering in the wind; they once would have been no more than a few stubbornly persistent leaves clinging to the damp earth, determined not to fail.

If you observe in your mind the small boy and his mother, the metaphor becomes humanly clear: this woman is of the kāhui te awhi rito. Today, so is her son.

One of the most beautiful aspects of te reo is the depth of metaphor, layer upon layer, as complex as geological strata and still all of it Earth, Papatūānuku, of whom we are made, whakapapa, and given our bearing as natural as breath, te hā, the wind, te hau, as water, ko wai koe, who are you? Ko wai koe. A statement, not a question. You are water. Water and Earth. Of course you are, of course you are, how do you think you could be anything else.

Metaphors. Discreet and gentle, overt and awesome, meanings rich with imagery: we are water, we are earth, we are air, we are everything. This is the essence of the wānanga, the deepest knowledge o te wā, totality of time and space, that we command with mana kupu, with the power of words.

Te Awhi Rito. The Reading Ambassador. A two-year gig. A pretty tidy stipend. Thirty years’ work to get here. Not a household name by any stretch. Fine with me. Never was the intention. The kaupapa has always been words. Learning them, knowing them, understanding them. Placing them in a certain order to a certain effect and trying to make a buck by doing it, only because that way, I can keep on doing it. But the why of it goes deeper.

Dad’s been bugging me for weeks, “You read it yet?”

Me, I’m in the Sunday afternoon dead zone of boredom and belligerence. “Naa …  Can’t be bothered reading your book!” 

I didn’t see my father’s deft little flick of a throw – couldn’t be bothered with that either I guess. My Dad had a good eye and seldom missed what he aimed at.

“Ow! That hurt!” I grizzled. “Read it!” said my father. He did not bellow. He did not growl. He did not threaten. He made no dramatic gesture or demonstration. He merely spoke from the deepest oldest darkest part of his humanity where the animal used to be. “Read it!”

So I did.

Seventeen words in, I’m starting to like this kid called Tom. Here I am in 1972, 10 years old and a ratbag myself. Māori mother from the Kīngitanga hard, Pākehā father born in outback South Australia, raised in the Northern Territory, the epitome of a self-reliant man born slightly out of his time who’d learned to live with it. Their answer to every question, their solution to every problem: hard work and stoic resolve. We live on a 30 acre tobacco farm beside a river full of fish and potential adventure in the prettiest valley in the world.

And then one Sunday afternoon I meet Tom Sawyer and Huckleberry Finn and they remind me of me and my best friend cos we bunk off school and go rafting on the river and avoid hard work whenever we can in favour of mischief and occasional mayhem.

I was so enthralled that I read everything by Mark Twain that I could find in the library at Ngātīmoti School, and so inevitably I meet a man called N****r Jim and I don’t even know what N****r means but there’s a farmer down the road got a big black dog with that name, calls him N** for short, so I say to my dad, “That’s a funny name for a man.” And Dad says, “Keep reading son, you’ll understand.”

Old family photo of a boy aged approx 12? in an awesome tan leather jacket.
The author, 1972. “I wore that jacket to pieces.” (Photo: Supplied)

Ambassadors represent. They advocate and promote. They assert and defend. Te Awhi Rito represents reading and is there to promote and advocate for this profoundly life changing exercise; this learning, knowing, understanding and ultimately, wielding of words.The metaphor is appropriate because the world into which the new shoot rises is sometimes lit by different suns with changing energies. This is known to te kāhui o te awhi rito, the gathered embrace of wise old leaves who have witnessed such changes and so extend the wānanga as part of their awhi.

So te rito grows to learn and know and understand.

You see then that I alone am not Te Awhi, as wise as I might like to think I am. There is gathered with me a delegation inspired to the task of reminding us all, but especially our young, our rito, our tamariki and rangatahi, our children and youth, that while the road they are on is the fast moving product of now and tomorrow, the purpose of the journey remains unchanged.

The fulfilment of potential.

But how to arrive at the destination refreshed and energised, how to get there primed and ready, how to get there in multitudes and majorities across every demographic? That has always been the challenge.

For myself, I see that words are still the record we are drawn to. Words are how we measure, how we mark our progress and ascent. Words are how we remember, how we remind ourselves that we are not only capable but indomitable.

Words are how we check ourselves, wreck ourselves, resurrect ourselves. Words are how we project ourselves and reflect ourselves. Words are how we gloss our failures and exaggerate our achievements. Words are how we lie.

There are institutions bound to the duty of ensuring that these words are not only kept safe and secure but are there to be seen, scrutinised and tested, disseminated and dispersed, discussed and debated and disambiguated, sifted for jewels and flaws and falsehoods, challenged, defended, built up and torn down but surviving and telling and retelling and retelling …

We change the world with words. We make the world with words. It’s not a glib statement, it’s a self-evident truth. It happens every day. It’s happening now. Go watch any 24/7 news channel, even a rubbish one, and there it is, mana kupu writ large, behind every chaos, every triumph, every insipid banality.

Words are, without question, the greatest expression we have of ourselves. Zeros and ones have their place but it takes hardware to resolve, I’ll take a verb every time and represent it with vigour.

Words are quite possibly our only perfect invention and when we use them to their best effect we glimpse our absolute potential, just as the opposite to that supposition is true. Learning words, knowing words, understanding words, using words; this is what gives us dominion and insight and awareness. Mana kupu, the power of words, makes us the apex predator. Words define us, give us purpose, give us place, give us meaning. Meaning is Everything.

“Keep reading son, you’ll understand.”

Thirty years ago my first kids book hit the shelves. First book of any kind actually. The mother of my own two children illustrated it. We published it ourselves, sold 3000 copies. Back in the 20th century bookshop owners and big chain buyers used to look at you funny when you rolled in peddling the book you built yourself. Not all of them, just enough to make it motivating.

That turned out to be an eight-year exercise in humility and grit with four titles across 16 thousand books sold. I will say this, it was the most satisfying way of going broke I’ve experienced to date.

Started out with an 11k overdraft, wound it up in ‘99 18 grand in the hole with a two-year-old son commanding attention. Never said I was a business man but I’d do it again in a heartbeat if the groundhog said so. Nowadays if that’s your thing you’re an independent publisher and that is as it should be in a world where anyone can publish with an iPhone and a thumb. 

The two-year-old son turned 24 just a couple of months ago. He writes code now, a language alien to me but awesome in its power, reach and influence. It is the language of ubiquitous utility in our wired-up wifi web of a world where disruption is the hallmark of progress and dinosaurs like me are still trying to figure out why a TV needs three remotes to watch exponentially more crap.

My daughter, thank the stars, was born a dragon. For her part, she would like in her 21st winter, a little less disruption to her final undergrad year at Canterbury University and fewer idiots masquerading as either potential boyfriends or leaders of the world.

I tell her “Don’t hold your breath, my girl,” regarding that last little dream, but she worries about things. It comes with caring I guess. It’s a hard truth that our daughters bear the weight of worry. It seems evident to me the world can be unkind to its daughters, to the women they become, to the mothers, lovers, widows, hookers and slaves. No wonder Mum used to get shitty as hell and go to war at the drop of a hat.

To my secret pleasure and slight despair however, my daughter has expressed to me an interest in the writing arts. She loves words. She believes in their magic. She gets me to read her essays sometimes, before she hands them in. It is one of the simple pleasures of my life. It is simple because it is effortless. It’s a pleasure because I couldn’t write that well when I was 20.

My daughter writes because she reads. She writes well because she reads deeply, observes craft, remains forever curious as she seeks and searches. She loves the act, the practice, the refining of faculty. She gets it!

My daughter loves reading. That’s the trick right there.

Ultimately, that’s the message of Te Awhi Rito. Read for the love of reading. Read because you want to, not because you have to. Read because it gives you pleasure. If you don’t love reading, don’t sweat it. All is not lost. You can learn to love it. Love is like that. So is reading. Books have been written on the subject.

Ben Brown is delivering the Margaret Mahy Memorial Lecture at the WORD Christchurch festival next month, using the harakeke metaphor in talking about “building children’s imagination and confidence through storytelling in all its forms”.