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Lee Murray, Tusiata Avia and Linda Tuhiwai Smith (Photo of Tusiata Avia: Hayley Theyers. Image design: Archi Banal)
Lee Murray, Tusiata Avia and Linda Tuhiwai Smith (Photo of Tusiata Avia: Hayley Theyers. Image design: Archi Banal)

BooksDecember 21, 2023

The most exciting Prime Minister’s Award list in years

Lee Murray, Tusiata Avia and Linda Tuhiwai Smith (Photo of Tusiata Avia: Hayley Theyers. Image design: Archi Banal)
Lee Murray, Tusiata Avia and Linda Tuhiwai Smith (Photo of Tusiata Avia: Hayley Theyers. Image design: Archi Banal)

Books editor Claire Mabey reports on an historic all-women lineup for the Prime Minister’s Awards for Literary Achievement 2023.

For the first time in its 21-year history, three women are the recipients of the trio of Prime Minister’s Awards for Literary Achievement. Tusiata Avia MNZM is the first Pasifika woman to receive the poetry award; Lee Murray is the first person of Chinese heritage to receive the award for fiction; and Linda Tuhiwai Smith CNZM (Ngāti Awa, Ngāti Porou) is the first wahine Māori to receive the nonfiction award.

It’s also the first time that none of the recipients are Pākehā. In the press release from Creative New Zealand, which administers the awards, Arts Council chair Caren Rangi reflected: “We think of 21 as being a marker of maturity, and these writers reflect that in our literary scene. Each of these women is fearless in different ways, through experiment with genre, theory, and form. They have been recognised because they have each forged distinctive styles in their respective areas of practice.”

The PMALA’s, which each come with a career-boosting (especially at this time of funding scarcity) $60,000, are designed to acknowledge each writer’s contribution to Aotearoa literature at large (as opposed to honouring a single publication). The eligibility criteria asks that writers nominated are acclaimed and recognised for a body of work, have received a major fellowship, residency, award or international recognition, and shown leadership in the literary sector. 

The all-women line up shifts the award’s historic favouring of male writers into a slightly improved ratio of 26 women of the 63 recipients to date. It is a timely acknowledgement that Aotearoa women of colour have mapped the possible landscape for what constitutes New Zealand literature for years. 

The community of speculative fiction, sci-fi and horror writers will be celebrating the fact that genre fiction is being recognised in the award to Lee Murray who flown the flag for years. “It is humbling to be the first writer of Chinese heritage to receive this prestigious award, to have my name listed alongside such iconic Aotearoa writers, including Tusiata and Linda whom I admire for their mahi, their resilience, and their grace,” said Murray. “Traditionally, it isn’t seemly for Chinese women to accept a compliment, but I am grateful to all involved for their kind acknowledgement of my work. It means so much, and not just to me: I hope other Asian diaspora, speculative, and horror writers will be encouraged to tell their stories. Anything is possible.”

Lee Murray and the latest anthology she has edited.

Murray’s astonishing body of work includes 16 novels and 70 short stories. She has won five international Bram Stoker Awards, four Australian Shadows Awards and 12 Sir Julius Vogel Awards, and is New Zealand’s only recipient of the Shirley Jackson Award for psychological horror for Black Cranes: Tales of Unquiet Women. In April 2024, Murray will release a new book, Fox Spirit on a Distant Cloud, with The Cuba Press, which describes it as “an audacious blend of biography, mythology, horror and poetry that transcends genre to illuminate lives in the shadowlands of our history.”

Murray’s commitment to upholding other writers in the spec-fic/horror genres has also been relentless: she has edited 23 anthologies including the recently launched Remains to be Told: Dark Tales of Aotearoa. She is also the co-founder of the Wright-Murray residency for Speculative Fiction Writers, and in 2011 she co-founded the Young New Zealand Writers Programme with Piper Mejia, with the aim of providing writing and publishing opportunities for young people outside of the school curriculum.

Tusiata Avia reading from Big Brown Fat Bitch at Verb Readers & Writers Festival in Wellington. (Photo: Rebecca McMillan)

Poet Tusiata Avia is a widely beloved figure in Aotearoa’s literary and arts community. She has long forged a luminous, singular artistic voice that carries both personal histories as well as the vibrations of the Pasifika community. While she is best known for her poetry, she has also written children’s fiction, creative nonfiction, radio documentary, short film and theatre. She also teaches poetry, creative writing and performance in tertiary institutions, schools, justice facilities and refugee and Pacific communities. 

Avia is thrilled to have won this award for what she says is, for many, an unorthodox way to live a life. “It’s still an odd exchange when people ask me what I ‘do’,” says Avia. “Taxi drivers and other people ask me how I make a living from writing. I still haven’t managed a logical reply to that question because it’s a hand to mouth existence. The financial side of an award like this is a huge relief – there are a bunch of living costs I don’t have to worry about now. For a while at least. This award has come exactly at the right time for me and I’m very grateful for it.”

Avia’s poetry has won many awards including the Janet Frame Literary Trust Award in 2013, and the Mary and Peter Biggs Award for Poetry at the Ockham New Zealand Book Awards 2021 for her incendiary and astonishing collection, The Savage Coloniser, which was also staged as a theatre show (like her first poetry collection, Wild Dogs Under My Skirt, which showed Off-Broadway, winning the 2019 Outstanding Production of the Year at Soho Playhouse). 

Avia’s latest book, released in November, is called Big Fat Brown Bitch, a reference to the kind of language fired at her from members of right-wing media and politics who, earlier in 2023, engaged in a highly visible and deliberate misrepresentation of her poetry in a bullying tactic that fuelled their own racist agendas. Avia received death threats as a result of the campaign.

“It’s completely ironic and hilarious that it is the ‘Prime Minister’s’ award,” says Avia. “I wrote my latest book shortly before the announcement of our National / New Zealand First / Act government – in the book I spare that group no mercy. Each leader comes under my poetic critical eye. Lucky, I guess, that we live in Aotearoa where a poet is not imprisoned or tortured for her work. Publicly used as political fodder to a racist agenda, gaslit and threatened (and pronounced a ‘mediocre poet’ by the now Deputy PM) perhaps, but not imprisoned or tortured.”

Anyone who has had the electrifying experience of witnessing Avia in performance knows that her art pivots on wit and warmth. Her delivery sparkles while she invites audiences to either sit with discomfort as her poetic reflections provoke and reveal their biases, or bask in comfort as her words affirm the truth of lived experience.

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Gabi Lardies
— Staff writer

You would be hard pressed to find anyone in the realm of indigenous scholarship who has not been influenced by the work of Professor Linda Tuhiwai Smith (Ngāti Awa, Ngāti Porou). Smith’s book Decolonising Methodologies: Research and Indigenous Peoples is considered a foundational text for Indigenous Studies both in Aotearoa and overseas. First published in 1999, it is now in its third edition and has been translated into many languages. 

Smith’s acclaim is immense: in 2023, she was made a lifetime international member of the United States National Academy of Sciences, and in 2021, became an international honorary member of the American Academy of Arts and Sciences. In 2018, she received the Royal Society of NZ Te Puawaitanga Award for Research Excellence in Te Ao Māori and Indigenous Knowledge and an honorary Doctor of Laws from University of Winnipeg, Canada. 

Linda Tuhiwai Smith and her groundbreaking book.

In 2017, she received the Prime Minister’s Lifetime Achievement Award for Education. The New Zealand Association for Research in Education recognised her sustained contribution to education with the NZARE McKenzie Award in 2015. She is a fellow of the Royal Society of New Zealand and the American Educational Research Association. 

Smith has been awarded the Dame Joan Metge Medal (Royal Society of New Zealand), He Waka Tangata Social Science Annual Lecture Award, Te Tohu Pae Tawhiti (New Zealand Association for Research in Education NZARE), Jean Herbison Lecture Award (NZARE) and a Churchill Fellowship. In 2023 she received the Royal Society of New Zealand’s Rutherford Medal “for her preeminent role in advancing education and research for Te Ao Māori, her groundbreaking scholarship in decolonisation of research methodologies, and her pioneering contribution to transforming research for Indigenous Peoples globally”.

The awards will be celebrated with an event in 2024 with details to come. 

Previous recipients of the Awards

Fiction Poetry Non-fiction
Stephanie Johnson (2022) James Norcliffe (2022) Vincent O’Malley (2022)
David Hill (2021) Anne Kennedy (2021) Dame Claudia Orange (2021)
Tessa Duder (2020) Jenny Bornholdt (2020) Sir Tīmoti Kāretu (2020)
Elizabeth Knox (2019) Fleur Adcock (2019) Gavin Bishop (2019)
Renée (2018) Michael Harlow (2018) Wystan Curnow (2018)
Witi Tame Ihimaera-Smiler (2017) Paula Green (2017) Peter Simpson (2017)
Marilyn Duckworth (2016) David Eggleton (2016) Atholl Anderson (2016)
Roger Hall (2015) Bernadette Hall (2015) Dame Joan Metge (2015)
Jack Lasenby (2014) Ian Wedde (2014) Jock Phillips (2014)
Owen Marshall (2013) Michele Leggott (2013) Martin Edmond (2013)
Albert Wendt (2012) Sam Hunt (2012) Gregory O’Brien (2012)
Dame Fiona Kidman (2011) Peter Bland (2011) James Belich (2011)
Joy Cowley (2010) Cilla McQueen (2010) James McNeish (2010)
CK Stead (2009) Brian Turner (2009) Dr Ranginui Walker (2009)
Lloyd Jones (2008) Elizabeth Smither (2008) WH (Bill) Oliver (2008)
Fiona Farrell (2007) Bill Manhire (2007) Dick Scott (2007)
Patricia Grace (2006) Vincent O’Sullivan (2006) Judith Binney (2006)
Margaret Mahy (2005) Alistair Te Ariki Campbell (2005) Philip Temple (2005)
Maurice Gee (2004) Kevin Ireland (2004) Anne Salmond (2004)
Janet Frame (2003) Hone Tuwhare (2003) Michael King (2003)

 

Keep going!
Winner of the 2023 Ngaio Marsh Award for best novel. (Image: Archi Banal)
Winner of the 2023 Ngaio Marsh Award for best novel. (Image: Archi Banal)

BooksDecember 20, 2023

Missing person, missing memories: a review of Remember Me by Charity Norman

Winner of the 2023 Ngaio Marsh Award for best novel. (Image: Archi Banal)
Winner of the 2023 Ngaio Marsh Award for best novel. (Image: Archi Banal)

Sam Brooks reviews Charity Norman’s Ngaio Marsh Award-winning novel.

The premise of Remember Me is an ingenious one. Emily, as proverbially a prodigal daughter as you could find, returns to her hometown of Tawanui, which is so remote the InterCity doesn’t even stop there, to take care of her ailing father, Dr Felix Kirkland. Although Felix is physically as fit as an ox, he is suffering from Alzheimer’s, and even though both of Emily’s twin siblings live much closer, she is the one who has to take care of everything.

To complicate matters, the 25th anniversary of their neighbour Leah’s disappearance is looming. Leah, an accomplished doctor and avid environmentalist, went on a solo hike one night and despite weeks of searching, was never found. That disappearance hangs over not just the town, but the entire story. It’s only when Felix starts to wander deep into the fog of dementia, and Leah’s name starts escaping his mouth, that Emily begins to dive back into the mystery of what actually happened to her neighbour – and why.

2023 Ngaio Marsh Award for Best Novel winner Charity Norman (right) with New Zealand’s ‘queen of crime’, Vanda Symon.

The best, and most touching, parts of Remember Me are when Emily has to deal with her father’s Alzheimer’s. Norman captures perfectly the constant pivots that not only Felix is going through as his mind, and his memories, slip in and out of his grasp, but how the child has to readjust and reassess based on which version of their parent they’re getting this morning. Norman’s personal experience of Alzheimer’s informs the accuracy and poignancy of Emily’s situation: a reality that heightens the tension and the emotion of the novel. Is Emily waking up to make breakfast for her brilliant, but distant, doctor father? Or is she making breakfast for a man who seems on the cusp of confessing something he maybe shouldn’t, and even worse, might not even be true? In a story where we guess quite early on that there is something linking Felix and Leah, it’s a credit that Norman keeps the reader guessing for as long as she does.

There is no doubt that Remember Me is a great yarn. But I wonder if it sacrifices depth for the sake of being a great page turner. While Norman’s depiction of Alzheimer’s is touching, and sometimes even haunting (especially when Emily starts to begin to have dreams that seem directly connected to her father’s mental state) she stops short of interrogating how we should treat a person who may have committed many sins, be they criminal or merely negligent, when they are, in terms of where their mind is at, no longer that person. Perhaps the mystery genre isn’t the place for this. The questions that the reader wants answered are less about psychology and philosophy, and more about story and character. Like a shark, if the plot stops moving, the novel drowns.

The character of Leah provides another conundrum for Norman. It’s not a spoiler to say that Leah, introduced in the first paragraph of the book as “infinitely, effortlessly superior” and declared “vanished” two pages later, is not as she seems. Hell, it’s adhering to the conventions of the genre that the human void at the centre of this mystery is more than she appears.

Leah becomes such a presence in the story, however, that she unbalances it. While her mystery may be the centre of the story, and understandably the characters are drawn back into the past due to her untimely disappearance, she ends up being the most vividly drawn of anybody – even though we only ever see her through the eyes of other people. This results in making everybody else feel tertiary. By the time the reveals start coming, we care more about finding out about Leah and what really happened to her than what that means to the characters left behind.

In other parts of the novel, Norman appears to be fighting against the genre she’s operating in. There’s a passage later on in the book – if you’re looking for spoilers, you won’t find them here – that stretches a bit of credulity. Realism is never really the goal of a mystery novel, but a mystery’s main reveal should exist within the reality that the author sets up for us. Norman’s reveal is as good as any I’ve read in a mystery novel, seeded thoughtfully and nourished very carefully throughout, but the method of the reveal showed too much of the author’s hand for my liking. The form used amps up the story at the necessary moment, but draws attention to itself in the exact same gesture.

It’s a credit to Norman that this doesn’t derail Remember Me, but it does draw attention to the tension between her chosen genre and her chosen story. As interrogation, or even as commentary, the novel ends up falling a bit short. However, as a yarn? You could hardly find better. It’s the kind of story you tell breathlessly over a beer, to an enraptured audience. And sometimes? That’s just the ticket. 

Remember Me by Charity Norman, (Allen & Unwin NZ) can be purchased from Unity Books Auckland and Wellington.