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Tori Peeters is a 2024 Olympian (Image design: Tina Tiller)
Tori Peeters is a 2024 Olympian (Image design: Tina Tiller)

SocietyMay 25, 2024

What it takes to be an Olympian and why you don’t have it

Tori Peeters is a 2024 Olympian (Image design: Tina Tiller)
Tori Peeters is a 2024 Olympian (Image design: Tina Tiller)

This year, Tori Peeters will compete at the Paris Olympics in the javelin. Ten years ago, Madeleine Chapman thought she might be in the same position. She talks to Peeters about what it takes to go all the way and mulls her own life decisions in the process.

No New Zealand woman can throw a javelin further than Tori Peeters. In fact, no New Zealand woman in the history of New Zealand has thrown a javelin further than Tori Peeters. As the current record holder by a healthy margin, with a lifetime best of 63.26m, Peeters is likely to remain the country’s best female javelin thrower for a long time. 

For the past 12 athletics seasons, she’s had the longest throw each year by a woman in this country. She’s broken every record and has won the vast majority of national titles. In short, Peeters has dominated women’s javelin since she began competing, with nothing close to a rival on the local scene. 

But there have been brief moments when it looked like Peeters’ Federer had found her Nadal. In 2019, she lost her national title to Stephanie Wathrall, but Wathrall retired shortly after and returned to her full-time gig as an account manager while Peeters returned to winning by 20 metre margins. Earlier in her career, arguably before her career had truly begun, Peeters settled for silver on the national stage only twice: once in 2013 and again in 2017, to the same thrower, who was the same age and stage as her, with the exact same ambitions.

That thrower was me.

In 2024 at the cafe inside the Cambridge velodrome, where high-performance athletes of all stripes spend their days training, I am no longer that thrower. When Peeters sits down across from me and my laptop, she looks like a stronger, leaner, faster version of the person I used to compete against. I sit up a little straighter, suddenly aware of how much I look like a weaker, softer, slower version of the person she used to compete against. 

I want to talk to Peeters specifically because I have watched her throw the javelin semi-regularly since we were both at high school. I witnessed her improve over the years and saw how hard she worked. And in 2017, when I officially decided to give up on my dream of competing at the Olympics, I watched as she kept pushing. And pushing. And pushing. 

Every year that passed, sometimes with no improvement on paper at all, I wondered why she kept going. In 2021 when she was looked over for Olympic selection despite meeting the qualifying standards, I thought surely she’d pack it up. A tiny part of me wanted her to pack it up. Not because I didn’t want her to succeed – in fact, I became quite invested in her progress – but because if Peeters called time on her Olympics dream at age 30, it would mean that in some way I had made the right choice by calling time on mine at 23. 

But of course she didn’t quit. In July she will be in Paris, competing at her first Olympics. So here I am, ready to ask her what her life has been like and attempt to peek inside her mind, fully prepared to discover that I made a huge mistake.

Tori Peeters (left) and the author at the 2013 National Championships

Nobody is born to throw the javelin. Thanks to its inherent danger (it’s a spear), the event is only presented as an option to athletes as teenagers, long after many will have already chosen their specialist sport. Instead of the javelin, Peeters grew up playing netball, soccer and other team sports, while having “natural strength and coordination” from growing up on a dairy farm in Gore. With an older sister and a brother one year younger, the Peeters siblings competed against each other at everything. So when older sister Stacey tried out javelin at the St Peter’s College athletics day and did well, Tori immediately wanted in. “I just thought ‘if she can do it, I’ll be able to do it’. And sure enough, I did it and broke the school record.” 

Peeters is wearing a St Peters College (Cambridge) tracksuit jacket, representing the school across the road where she works 10 hours a week helping teenaged athletes with managing their time, bodies and expectations – a far cry from the St Peter’s she attended. At 8am, she looks energised and like she drinks plenty of water. When she talks, it’s fast, and peppered with more “like”s than you can imagine. But in like a South Island way, not a, like, California way. 

Growing up, Peeters was obsessed with sport and knew she wanted to be a professional athlete “of some sort” when she was older, but wasn’t sure which sport. “Not in an arrogant way, but I knew I had a variety of skills and I knew it would just be whatever sport I ended up enjoying most.” It’s a common tale for high-level athletes, particularly women. At a young age, advanced coordination and fitness will go a long way and allow for any number of sports to be pursued at once. For Peeters, the clearest path was to follow her sister into netball. There were obvious programmes, camps and teams to make in order to advance a career in netball. In javelin? Not so much. So Peeters attempted to progress in multiple sports at once, playing netball in the winter and throwing in the summer while at university in Dunedin.

In 2014, Peeters broke the national javelin record (at the time it was 54m and held by Kirsten Helier since 1999). Suddenly, she had to make a decision. “It was a real turning point for me because I was like, shit, I just broke this record and I barely trained for it.” Peeters had been training with Paralympian thrower Holly Robinson, who had already been to the Olympics in 2012. “I saw how much Holly committed to what she did to be the best and I was like, man, if I even gave half of that, how good could I be?” Only then did she start really investing in javelin; looking up who the big throwers were that season, what the qualifying standards were for the university games and the upcoming Commonwealth Games, and realising she actually wasn’t far off.

I’m nodding intensely as she talks because it all sounds so familiar. The multi-sport childhood, the dream of being a professional athlete, the channelling of energy at university, the realisation that maybe a world athletics event was only a few years away. I had hoped to hear her describe an early path that set us apart, but no. So far, so identical. 

But I also wanted to talk to Peeters because even though we competed against each other at Nationals a number of times, we had never spoken. She trained in Dunedin back then and I trained in Auckland. Nationals was the only time we were in the same place and when you’re competing, you don’t talk to each other. Or at least we certainly didn’t. I want to know if we are even more similar than I thought. What does Peeters do when she’s not throwing the javelin? What random hobbies and interests does she have? What does she spend too much money on? Turns out, we differ in that respect.

When we talk about finances, she says she works part-time in order to relieve some financial stress, but only spends her money on things in service of javelin. New running shoes, new workout gear, a home sauna for recovery. She says she has no interest in “whatever the current fashion trends are” and proves it by name-dropping Yeezys as the current trendy sneaker. I think of all the random, arguably pointless, things I love to spend my time on and wonder if I’d do that less as a professional athlete. Would it even be possible or does reaching Olympic level require a removal of all distractions?

Peeters is engaged and will get married at the end of the year to Cam Moorby. He’s a rugby coach and is a partner who understands Peeters’ mindset and drive more than anyone else. “I think at the start he probably didn’t understand just how big a thing it was that I was working towards,” she says. “He’s 31, I’m turning 30, I know there’s an expectation of kids, and we do want to have a family. But he’s really respectful of the fact that I’m trying to achieve a goal here. And [kids] will fit in the picture somewhere, sure, but right now this is the focus.

“I think both of my previous partners sort of thought, oh she’s done that and now she’ll quit. And I was like, well actually no. Cam really understands how stubborn I am. I think that’s really helpful.”

Tori Peeters stands holding a purple javelin and wearing a red singlet during competition
Tori Peeters competing at an Oregon meet in 2023 (Photo: Ali Gradischer/Getty Images)

Despite how straightforward it might look compared to, say, pole vault or hammer throw, the javelin throw is the most technical event in track and field. The margin for error is miniscule, with a good throw requiring huge amounts of energy and force to be channelled through an area the size of a thumb tack. 

As a javelin thrower, you begin your run up no different to long jumpers. The aim at first is to gather as much speed and momentum as possible through running. Halfway down the track, that momentum needs to be maintained while stretching your body into a human slingshot – the torso tilts back while the legs keep pushing forward, giving the feeling of your legs attempting to run away from your body. Then the front foot is planted with a straight leg, pushing all of that built-up force into one leg and hip – if you’re right handed, it’ll be your left foot. At the same time, your left arm aggressively pulls down, which, along with the force from your twisted hip, whips your chest around and propels your arm (and the javelin) forward through the air. 

And in order for that energy to be useful, it must all travel through a still and straight javelin and follow the point of the javelin from start to finish, at an angle that has been judged optimal for the wind conditions. 

In training and early in a career, it is often too many things to think about at once. You’ll do a perfect run up and forget about your front arm. Or you’ll plant perfectly and in the process let your javelin stray a few centimeters to the right. By the time I stopped throwing the javelin, I hadn’t managed to throw a single one without thinking.

A triptych of Tori Peeters in different stages of throwing the javelin, including the release
Tori Peeters throwing the javelin (Photos: Kenta Harada/Getty Images)

A perfect throw is rare, if not impossible, for most throwers. I certainly never experienced one, and I wonder if Peeters has. She nods enthusiastically, diving straight into the moment she threw a massive personal best of 62.04m in Sydney in 2020. The feeling of a perfect throw after 10 years of competing. I’ll let her describe it.

“I vividly remember when I picked up the javelin for that throw in Sydney. I think it was the first time I’ve ever experienced that flow state. It was so surreal. I picked up the jav and I just felt the sense of, like, this is gonna go really far. Right from when I gripped it, it was like, this feels good. And I just ran down the runway, and I just remember the whole thing feeling effortless. I can’t even remember what I was thinking about, I just let it go. You can’t even feel anything because everything’s happened in perfect timing that you’ve literally just, you can’t feel it.”

That sort of experience is the dream for any javelin thrower. As a university student struggling miserably through weight training and sprints, I would imagine the moment when I would nail the perfect throw. Because how would I possibly know how good I could be if I’d never experienced everything happening as it should? That was always the push: potential. When you know there’s potential, it’s hard to ignore it. Most people, at some point in their lives, find themselves in that bittersweet spot of deciding whether or not to invest in potential. 

Peeters may have experienced a perfect throw, but she knows her potential is far greater, even if it’s taken a lot longer than expected. Her original goal, after breaking the national record in 2014, was the Rio Olympics in 2016. Instead, she developed a stress fracture in her spine and was out for most of the season prior. She wasn’t deterred: “I’m super stubborn. When I want to do something, I’m gonna do it. If I’m injured, well, shit, that’s just delaying it.” Every time she says something like this – which is fairly regularly in our nearly three hour conversation – I believe it a little more. By the end of the day I’m convinced that I’ve just spoken to a future world champion. 

After Rio it was the 2018 Commonwealth Games, but again, no dice. A few stellar seasons had her throw an international qualifying distance for the 2021 Tokyo Olympics well ahead of schedule. But then, inexplicably, she was passed over for selection by NZOC as she was deemed to not have thrown well enough for a top 16 finish. (In the end, had she competed in Tokyo and thrown anywhere near her best, she would have placed comfortably in the single digits.) 

There were news articles about her omission, and she was evidently, and unsurprisingly, angry. But not enough to reconsider whether javelin was worth another three years of her life. 

Instead, she continued to train and to work part-time at St Peters since professionalism in track and field is closer to a subsidised hobby than a paying gig. The following year, she placed sixth in the final at the Birmingham Commonwealth Games and in May last year, broke her own national record with a new PB of 63.26m. And now she’s at the big one, preparing for the Paris Olympics where she has every intention of going for gold while also acknowledging that she hasn’t hit her peak yet.

I ask her when she thinks that will be. “This Olympics, I want to be on the podium. And I truly believe I can be on that podium,” she says. Despite her current PB not suggesting a podium finish, I still believe her. But what about next year? Or the year after? “LA [2028 Olympics] would be my last one,” she says. “I would be 34 and right in amongst my peak years, like, let me have my shot.” It’s slow-burn planning at its finest, to have your life and ambitions laid out like that in a single track, stretching years ahead of you. I can feel my mind wandering even imagining trying to stick to a plan like that. But Peeters’ plan goes all the way to the top. “The dream for me is to be the best in the world, throw a world record. If you’re going to do something, do it well. If I’m going to do something, I’m not going to do it just to be mediocre.”

I understand the sentiment and the attitude, because I have verbalised similar things to myself and my colleagues when it comes to writing. Which keeps me confused as to why I didn’t follow her down that track all those years ago. Why I, like so many others, couldn’t find the drive and discipline to stick with the hard thing that might alter the entire course of your life.

My burning question for Peeters, and the reason I gave up javelin all those years ago, is about the repetition of training. The same movements, day in and day out. In 2017, when I was just starting out as a writer and decided to pick up javelin again, my mum asked me if I wanted to do it full-time, rather than once a week after work if the weather was nice. It was a serious offer to support me if javelin-throwing was really my dream. The choice was between something I was enjoying doing that cost me $400 a year in fees, or something I was enjoying doing that paid me nearly a living wage. I chose the writing, and for many months after that phone call with my mum, I wondered if I should’ve chosen javelin. Then I would think about the repetitiveness and loneliness of an individual sport and I would feel better. I wasn’t cut out for that, I decided, only a little bit shamefully.

Tori Peeters’ career trajectory since 2014

For the last few years, Peeters has dedicated 20 hours a week to training her body in service of throwing a spear further. There’s strength and conditioning, Pilates, speed work, technique assessment, physiotherapy and active recovery. How does Peeters get up every day and push her body to its limit in service of maybe achieving a better result months down the line? The same thing, over and over and over again? “Do you ever just wake up and not want to train?” I ask, as someone who has woken up every day of my life not wanting to train. I have asked the question only semi-seriously, knowing that even people who love their jobs sometimes hate them. But Peeters doesn’t even think about it before shaking her head. “No, I love training.”

And there it is. The difference between athletes like Peeters and former athletes like me. All this time, I had thought that Olympic athletes were simply those who were willing to put in the hours and deal with the endless pain and suffering of training in order to achieve their goals. I’d never considered that a crucial element was you had to want to train. Enjoy it, even. I didn’t realise it was genuinely fun for some people. 

Everyone sitting at home watching the Olympics and thinking they could have gotten there is wrong. Maybe physically you could, yes. Maybe if you and I had nothing else we wanted to do, yes. But you really have to want to do every part of it. And nothing else. That mindset is far rarer than a good arm or large lung capacity. 

As Peeters sits in front of me, describing her endless enthusiasm for weight and speed training, my clouds of delusional regret start to lift. My mind flashes back to when I told my therapist that I was going to try running again, even though I’d hated it every time I’d tried it. Maybe if I did it enough I would grow to love it or even be good at it, I told her. And she’d responded, “so you want to try again to become someone you’re not?”

Tori Peeters wears a red, yellow and black singlet and strides through a javelin throw, holding the javelin aloft behind her
Tori Peeters competing at the NZ Track & Field Champs in March, 2024 (Photo: Hagen Hopkins/Getty)

The more we talk, the more I notice how different Peeters and I are. She talks about studying physical education at uni and getting a job as a personal trainer at the local gym. She hated it. “I very quickly realised I didn’t want to be a PT, definitely not with the general population,” she says, her voice quickening as she remembers. “You could really invest in someone, and they could turn around and just be like, ‘I didn’t go for the run’. And, ‘I didn’t do that training’. And now I’m gonna complain about everything still, when I’m not helping myself.”

I nod, on one level understanding where she’s coming from, and on another feeling extremely exposed as part of the general population after years of believing I maybe wasn’t. I love to complain and I love to do things that serve no purpose. Peeters’ goals may be shared by many, but her determination and one-track mind is not.

This year is Peeters’ year. She’s committed fully to Olympics preparation. She is competing in a few grand prix events in Asia before setting up in Paris for the final stretch. She says she’s timing her training to hit a season – and ideally, career – peak at the biggest meet of her life. (In the four weeks it takes me to put this piece together, Peeters throws a season best 61.26m at the Tokyo Grand Prix, finishing third.) 

She says she’s stronger and faster than she’s ever been, and now is working on getting her technique to catch up to her body. Every year it’s the same: train the body in the off-season to be faster and stronger, spend the throwing season getting your technique and muscle memory to align with it, then train the body to be faster and stronger again in the off-season, and so on until you can’t get any stronger or faster. 

I want to lie down, but Peeters loves it. “I just would hate myself so much if I didn’t explore what my potential was.” 

So, the Olympics was never the goal, and that seems to be the key. Peeters just wants to be her best, and she happens to believe beyond a shadow of a doubt that her best will be the best in the world.

Before we wrap up and I drive back to Auckland, stopping at KFC on the way, I ask her a question I suspect I already know the answer to. Whenever I’ve thought about Peeters throwing and me writing, I imagine them as alternate realities of the same life. I think about decisions and Sliding Doors moments that could have seen me be the person training every day for the Olympics, and Peeters pursuing another career entirely. If I was heading to the Olympics this year instead, what would she be doing? Teaching? A doctor? An accountant? Having spoken to her for almost three hours, I know now that it would never have happened but I ask anyway.

If you weren’t throwing the javelin and were doing something completely different right now, what would it be?

Peeters doesn’t even bother to think about it. “I’d be doing another sport.”

‘Love The Spinoff? Its future depends on your support. Become a member today.’
Madeleine Chapman
— Editor
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SocietyMay 25, 2024

In the place I grew up, I am always lost

SundayEssay_FeatureImage_HongKong.png

Reflections on a childhood split across Hong Kong and Auckland.

The Sunday Essay is made possible thanks to the support of Creative New Zealand.

I arrive in Hong Kong with my mother in the middle of summer. 

t’s not a good time to travel here, she tells me. It’s June. We’re walking through the Hong Kong airport – famously large, filled with glistening surfaces and smooth floors. Luxury stores line the walls. Bakeries with dense yellow goods sold by the dozen, wrapped in plastic. Nothing in the open air. There is a sense of organised scale, entrances and exits clearly demarcated.

My mother tells me the old airport was in the middle of Kowloon. Planes would fly so close to apartments that you could see right into people’s living rooms. I imagine the wingtips of the plane twisting to avoid the edge of a building. Our suitcases make a satisfying whirr as they roll. 

Whenever I’m back in Hong Kong, I get memories. 

But are they my own or someone 

else’s? 

It’s not a good time to travel because it’s hot. Before we leave, I add Hong Kong to my weather app and look at the symbols. Storm clouds and lightning bolts. Hong Kong summers are notoriously rainy, my mother reminds me, leaning back on her chair in her house in Devonport. They’ve renovated it recently and there are now huge glass sliding doors that look out on a large patch of grass. When the light streams in it pools on the wooden floors. It’s a little white villa that sits on a road filled with little white villas. 

For a long time I resented that question: where are you from? 

Sitting across the dining table, I turn to my mum. That makes sense, I say. Because I recall the typhoons that blew across the city. I watched them as a child from the 12th floor of our apartment building, where I shared a room with my siblings. From our room we could see the dark sea, glistening. I remember how dark the sky could get. Clouds sweeping over the tops of the skyscrapers then sinking down to hold them. Black with destruction. I was a princess high up in a castle. Sometimes I thought I could see the buildings swaying. 

sometimes, I can’t tell what’s mine and what I found 

on the TV screen, from words out of my friends’ mouths, or my

parents, or my parents’ friends in one place, or another, or was it just a glittering skyline on

a postcard? 

We land in Hong Kong. Despite summer, despite heat. My mother is here trying to sell the apartment I was born in. 

Walking across the airport, she leads me to the train that will take us into the city. We won’t even have to set a foot outside. On the train, she lets me sit by the window and I look out. The land rushes by. Identical apartment buildings stick up in pastel clusters – baby pink, yellow, and pale blue. They look like matchsticks. They flicker past, interspersed with trees that I don’t recognise, though they look lush and verdant, full in the humidity. Hong Kong is so green, I say, and she tells me how the government flattened an island to build the new airport. I imagine someone slicing off the top of a hill. 

My ancestors came to New Zealand from Southern China in the 1800s. 

My Por Por was born in Eastbourne and grew up working in fruit shops.

My mother calls her “champagne Grace” because of how fine her tastes are. Opera. Art galleries. Knowing where the Western cutlery should sit on the table. 

Our assimilation strikes me at times

knife like and perfect.

The first few days in Hong Kong we are staying with my mum’s friend Rachael, my aunty in everything but blood. She gives up her room for us. We walk in and the sky is a deep, muted purple. A fake kind of purple. I’m struck because I haven’t remembered this – the way the smog diffuses the rays of the sun so nothing is piercing, the way the city coughs light into the air and it lingers in a haze above the buildings. It’s not what I remembered.

I moved to Auckland at 12 and everything was oversaturated. The sky was wide and the fields outside my school spread out forever and ever in green. I remember leaving Hong Kong. Pulling away 

from our apartment block, shrouded by trees, watching my friends cry in front of the stone lion statue as we pulled down the long driveway. The long driveway. 

I shower in Aunty Rachael’s ensuite and peer out the small crack of a window. From my vantage point I can look down and see the green of a stadium, the small blue rectangle of a pool on the terrace of another apartment building, a red string of lights; cars braking at a stop light on the road. There is so much density. Everything I remember about this place rushes through my body as adrenaline, catharsis. I turn up the shower pressure. Water rolls hot down my back. Something like excitement is rising in my chest. Maybe this is where I belong. I think.

Once, I went to dinner with my friend in Wellington. We had Chinese at KC Cafe. Staring up at the billboard containing the menu – hundreds of items, rendered in peeling stickers, the background white and chalky – he asked me what I wanted to order and I said I didn’t know. We sat down and talked briefly about Hong Kong. 

Sounds like living there didn’t really affect you much, he said. 

It’s impossible to measure how much he is right. 

The next day, my mum and I travel into Central. She is the perfect tour guide, walking at the correct pace onto the train, weaving through the crowds, her black head of hair disappearing into the others. In the place I grew up, I am always lost. I recognise the pattern of the subway tiles but I can’t name a street. I spend hours trying to find a particular kind of golden bun, filled with a coconut paste, only to realise, days later, it’s a feature of every bakery but goes by a different name. Everything is as I remembered but just out of reach. I wonder if I’m really “remembering” or just reverse engineering a kind of memory.

I wonder if this even matters at all.  Lots of people have written about the faultiness of memory: the classic cases of people merging their own experiences with things they saw on TV or heard from a friend and recalling it with the forcefulness of a worldly truth. I hate the idea of singular truth. I hate when questions are addressed to me that seem to be asking for this, like what is Hong Kong like? I don’t know. It’s an entire region. You tell me. 

I hate singularity with a kind of singularity. 

My mum takes me to a good noodle shop, the kind of thing she has a sixth sense for locating. We sit at the end of a long table and my mother orders wontons and a leafy vegetable that, when it arrives, I recognise only by its taste, not by name. The wontons – her favourite – sit in a clear broth. The skin of the dumpling is slick, filled with small prawns, whole. It doesn’t taste like this in New Zealand, she says, and of course, she is right.  After that, we part ways so I can have some kind of solo travel experience, a feeling of independence at the age of 25. 

I walk around. The footpaths are narrow and busy, and even though it is raining, people navigate seamlessly around each other, lowering and raising their umbrellas as they walk in silent orchestration. I walk down back streets that contain small restaurants with faded green signs and then mainstreets that are punctuated by malls – large, wide buildings, their entire exterior a screen that loops advertisements over the street.

In the small alleyways that connect the streets there are markets that my mum suggests I go to. I enter an alleyway and pick through piles of clothes while the shop owners side eye me. I think that I make more sense to them as a tourist, but less sense to myself that way. 

I’m hungry. I walk outside. Where should I eat? I pass a series of western-style cafes, sleek and minimalist wooden interiors, all lower case font. But I don’t want something that reminds me of the west. I want something that reminds me of what I think Hong Kong was like when I was a kid. I keep walking. 

Hours pass and I’m still walking around the same three blocks. My feet are sore and I’m growing weary. I stand with my back close to the entrance of a department store, so I don’t get in the way of people walking. There is a security guard in a suit standing next to me. He nods. I can feel the air con cool against my neck as the sliding doors open and close behind me.  People rush past in either direction. If they are a river flowing, I am a stone. In my creative writing for my master’s, I’ve written about the way the sea can be sighted between buildings. I mentally erase that line as I walk around Central. 

It does not apply here.

I meet my mum in a bustling plaza outside a large glinting mall, and she’s smiling. There is a breeze blowing through her hair that is not discernable in mine. How are you going, Han?, she says. I admit that I’m tired. But it’s great, I say, so many people. She nods and looks around. Something about her makes sense here, I think, and I see her, arriving from New Zealand in the 90s. Short black bob. Sunglasses. Tiny flannel sports shorts and a white polo shirt. She is glamorous and young; effortless. I think of her in our first rental house in Auckland, scrubbing the dingy sides of the bath, some stains impossible to remove. It’s funny being here again, she says, looking around. Your dad used to lose me in the crowds. 

I am glad she feels at home here. 

Explanatory ancestors interlude

I know about my ancestors because my mother has been researching them. She treats it like a full-time job, filled with new information about them each time I visit my parents in Auckland. She has printed out photos and lined them in rows on the walls of her study. Black and white faces look outwards.

Her study doubles as a guest room. Months after our trip to Hong Kong, a friend comes over and stays in the room. I think of my friend, lying in the single bed, my ancestors looking down at them at night. How does it feel, I wonder. To be watched by people you don’t belong to. 

We catch the train back to Aunty Rachael’s house and my mother chats about our ancestors. She’s focusing on the Chinese gold-mining families, in particular the women. When the men came from China, she reminds me, they left behind families and wives. This was because they never thought they’d stay in New Zealand. It was never meant to be their home. But some of them did stay. Married second wives and lived in camps on the outskirts of town. Some of them never went back. 

I look at her. We’re standing on the underground train and I recognise things. The smooth metal interior. The way the seats feel – matte and cool against the backs of my legs. The tone of the automated voice that announces each stop in Cantonese then English. My mum and I hold on to the handrails that hang from the ceiling. We sway to and fro as the train rushes to a halt. There are people on the train who stand, head tilted down, one hand in their pocket and the other on their phone. The difference between me and these people, I think, is that they don’t need to hold the handrail. A difference, I correct myself. The train stops and my mother leaps to action, gesturing that it’s time to get off.

In Auckland, my mother does puzzles. There’s a trestle table set up in the lounge and 1000 pieces sit on it. A fractured image of a man with glasses surrounded by clocks of different sizes. Clocks line the walls. They appear to float through the sky. 

I imagine her, standing by the table, weighing the pieces in her hands. Clocks broken into barely discernible pieces – little black and white and numbers, and dashes, and hands frozen. The order of time split apart.

Obsession makes sense to me. To drive the complexity of the world through a form. To choose something to burrow into. You could choose to make it puzzles, or rowing, or a career. You could make it your ancestors. You could make it treating their lives like a puzzle. My mother is so meticulous. Her mind like a laser. I see her piecing it together. History. The ultimate puzzle because it will never be complete. There will always be more than one image. 

I puzzle alongside my mother, writing articles about my ethnicity, and my upbringing, and my mixed-race angst. I realise I am iterating the same idea, chewing it over in my mouth until it turns to pulp. I spend some time fashioning the pulp into different shapes, changing forms, trying non-fiction, poetry, a draft of a novel, then back to non-fiction. I send things to people. Implicitly, I am asking if my work is legible. Does it make sense? Do you like it? 

I find the more things make sense the more false they feel to me. The more they could only be called stories. 

My mother knows this too – the inevitable frustration of a fixed story, how quickly when one is writing, things start to feel too concrete.  What started as a simple attempt to recount the facts of our ancestors’ lives becomes, for her, a series of mysteries. The questions are numerous. Simultaneously broad and specific. Like, why would a white settler woman marry a gold-mining Chinese man who lives in the camps? And, why would a man from China not go back there? Or, why would a woman give up her child?

I rewrite her questions in an attempt to reduce them: 

Why leave

Why stay

Was it better

Was it worse

Did you like it

Did it hurt you

 

Why?

After our first day in Hong Kong, I lie awake. My mother and I are lying next to each other in twin beds, with only a small table between us. The air con has dried out the air and our room is filled with our bags – hers is closed and serene, and mine is half-unpacked, spilling out and messy. It’s almost midnight and neither of us can sleep for the jetlag and something about our proximity feels almost confessional. To lie away next to someone at night. Outside, flashes of light reverberate over the city, through the large window and up against the walls of the room. 

She starts speaking. Don’t you love the lights of the city? she says.

Yeah, I do, I agree. Really, I’m thinking about the little time I’ve spent here. How it felt to look out the window in the shower on the first night, the elation. The way I messaged my boyfriend afterwards saying, maybe we should live here. Now, I’m not so sure. 

Outside, despite the late hour, there is still so much light. It reflects up from the city and eclipses the stars. 

In bed, my memories take on new meanings. I think about Lantau island, the largest island in Hong Kong but with a much smaller population than the city. I’d go there for holidays with my parents and siblings. We’d drive over hills, dense with trees, on a winding path that looked over the sea, passing occasional villages until we arrived at our house by the beach where there wasn’t a high-rise building in sight. Each night, we’d go up onto the rooftop and my parents would look at the stars. As a child, I’d found the tradition at times so rote. The spectacle was always in my parents oh-ing and ah-ing at the night sky, more than the sky itself. 

I turn towards my mum and her face is half-lit. I understand, I say. It’s never really dark here. I talk about Lantau and looking at the stars.

We loved Lantau, she replies. But the city lights are beautiful in their own way too. 

I think of the sky in New Zealand at night. How sometimes the darkness is so thick you want to cut it. Split it open and hold it over your face. I think about walking down the street to my flat in Hataitai in the evening. Even in this suburb, one layer removed from the city, it’s possible to walk down the middle of the road and feel like you’re the last person alive in the world. The only proof of other beings in the small glow of houses flecked through the hills.

What would you choose, if you had to choose one, my mum says, the darkness of the New Zealand night sky, or this? 

I look out the window. It’s true the colours are different here. Burnt-out oranges, faded and hazy.  Purples like bruises. It’s not just the colour tones, it’s the way they spread across the sky like a paste. But the hills – once you’re high up, you can look out the window of your building and see the green staring back. It reminds me of Wellington. 

I recognise my mother’s question – she often asks me questions like this. Sometimes, I think they all arc back to the same inquiry: am I happy that we moved? Or perhaps, am I happy? 

I think about answers. Answers feel reductive. Why leave, why stay. An answer can imply completion, that something is fixed, pinned down, understood. A wise person once said to me, it is better to ask what than why. 

I find that I keep telling stories. It seems only natural. I write about places I know and have known and places that elude my understanding altogether. Sometimes, the legibility of any story I tell lasts for a second. Sometimes minutes, months, years. But it always leaves. Then I speak and the words fall dull from my mouth. 

To try and catch something, and in that process, watch it slip through your hands; to realise the impossibility of pinning something down. I can only describe it as an arrow shooting through me. A pleasure and a sorrow, and ultimately, a gift. 

I like questions with no answers and I like trying to tell stories. And when clarity strikes me like a gong, I take it. I watch it. I wait for it to reverberate and leave.