“Are you being served?” – writers, readers, publishers and reviewers … ?

Walter Dean Myers, American author of more than a hundred books for children and young adults, wrote about growing up a bibliophile in Harlem but falling out of love with books that failed to offer characters with whom he could relate. James Baldwin’s Sonny’s Blues changed that. It proved to be both an antidote and a revelation, Myers says, “I was lifted by it, for it took place in Harlem, and it was a story concerned with black people like those I knew. By humanizing the people who were like me, Baldwin’s story also humanized me. The story gave me a permission that I didn’t know I needed, the permission to write about my own landscape, my own map”.

Reflecting on Walter Meyers’ experiences – about representations in literature – it strikes me that alongside reading, writing and publishing, reviewing is a weighty task, not to be lightly undertaken and definitely a part of the ‘landscape’.

It has been said that writers write to share their ideas and experiences, to convey meaning and work with others; that publishing is the pivotal event that marks the move from ‘writer’ to ‘author’, and that reviewers, ideally, offer an analysis based on content, style and merit.

A review is an evaluation. It is not enough for it to be based on or anchored in personal taste – bland, glowing or otherwise. Nor is a review an occasion for a display of learning or to promulgate a reviewer’s own ideas on the topic of a fiction or non-fiction work.

Reviews are more than assessments of content, style, and merit. Reviews generate evidence for evaluation and making judgements about the written and published ‘landscapes’ of experience and the values these reflect or omit.

In takahē’s forthcoming reviews there is a wealth of sharing: of ideas and experiences by emerging and established authors, published by small and large presses in Aotearoa New Zealand. Does this selection reflect the diversity of experiences in our communities? We’d like to think so. That said, we are always open to feedback – especially about gaps or blind spots!

As we gather together our forthcoming reviews (a selection that does not necessarily cover all the publications of the season) it is our intention, however imperfectly achieved, to deliver reviews attuned to context and difference that encourage readers to explore and consider for themselves the diversity of ‘landscape’ being written about and published in Aotearoa New Zealand – by commercial, academic and self-publishing presses.

So, what are we writing, reading and publishing? Are you being served? In the list of forthcoming reviews for issues 87 (August, on line and free) and 88 (December) there is a rich mix, some with succinct short titles and some with very long ones! Yes – difference!

In takahē’s 87 (August), there’s Fale Aitu ‖ Spirit House by Tusiata Avia (VUP). I still remember my sense of amazement when I first read her poem (ten odd years ago?), “Pa’u-stina”– ‘I am da devil pa’umuku kirl …’.

In t87 there’s a review of The Blue Outboard, New and Selected Poems by Nicholas Williamson (Black Doris Press) and in which Carolyn McCurdie finds, “care for quality, integrity, craft, are evident in every aspect … ”.

Also in t. 87 there’s a review of Leaving the Red Zone: poems from the Canterbury earthquakes edited by James Norcliffe and Joanna Preston (Clerestory Press). This gathers together 148 poems from 87 poets and in which, according to Dr. Christopher Gomez (a natural hazards scientist), “The brain gains a heart”.

There’s also a review of a collaborative work by a bevy of New Zealand and German poets: Transit of Venus   Venustransit by Hinemoana Baker, Ulrike Almut Sandig, Glenn Colquhoun, Uwe Kolbe, Brigitte Oleschhinski and Chris Price (VUP). Reviewer Janet Newman found that the work “… is not only about the Transit of Venus ­– a significant marker in New Zealand’s colonial history – but also illuminates the differing perspectives of poets from opposite sides of the world”.

And there’s a review of Helena Wiśniewska Brow’s book, Give us this day (VUP) which, Ludmila Sakowski says, ‘demonstrates that memoir can be more than a genre’.

Watch out for some of those longer titles in takahē 87 and 88:

Ko te Whenua te Utu / Land is the Price: Essays on Maori History, Land and Politics by M. P. K. Sorrenson (AUP); Ka Ngaro Te Reo Māori language under siege in the nineteenth century by Paul Moon (OUP); Extraordinary Anywhere: Essays on Place from Aotearoa New Zealand edited by Ingrid Horrocks and Cherie Lacey (VUP); Artefacts of Encounter, Cook’s voyages, colonial collecting and museum histories, edited by Nicholas Thomas, Julie Adams, Billie Lythberg, Maia Nuku and Amiria Salmond (OUP); and Re-inventing New Zealand Essays on the arts and the media by Roger Horrocks (Atuanui Press).

And keep an eye out for the work of six poets (published by Makaro Press’ HOOPLA Series): Where the fish grow by Ish Doney; Withstanding by Helen Jacobs; Bones in the Octagon by Carolyn McCurdie, Udon by The Remarkables by Harvey Molloy; Possibility of flight by Heidi North-Bailey and Felt Intensity by Keith Westwater, reviewed by Patricia Prime in takahē issue 88 (December).

So – the long and the short of it? Are you being served? What are we writing, reading and publishing?

At the side of my desk is a newspaper article reporting on the falling standards of reading, writing and maths in our schools. MMmmmm …

Cassandra Fusco
Reviews Editor

‘Reading is not optional’ – Walter Dean Myers (1937-2014)

And since you are already online, why not check out takahē’s forthcoming spread of art, essays, fiction and poetry!

Poetry Competition 2016

three takaheHARK YE BARDS

Our 2016 Poetry Competition is now officially OPEN

JUDGE: Peter Bland

Usual conditions of entry with a tiny tweak: To thank our loyal subscribers we are offering one additional entry to the competition for FREE. Incentive or what! (Also available if you add a subscription amount with your entry fee.) Honestly, when was the last time you were offered anything for free?

Stuck for inspiration?

Crickey just take a walk through the park. It’s Autumn out there (my fav season). Think of mists and mellow fruits. So come-on all you lovely wordsmiths, stick on the old thinking cap, sharpen up the pencil, roll up your sleeves and go and make us some magic.

Short Stories for Online takahē 87

P1040473Thanks to all who entered stories in the 2016 takahē Short Story Competition. With that deadline behind you, it is time to pick up your pen, get out your laptop. Finish off and send a submission to for the first online issue of takahē magazine – takahē 87 – which will appear on this website in August.

The new online publication of takahē is a special opportunity for those who like to write longer stories, as we can accommodate stories up to 5000 words. Longer is not necessarily better, though, so make every word count. Give us depth. Give us complexity. Give us freshness. Make us want more.

Christchurch author Nod Ghosh is the Guest Fiction writer for the first online issue. You will have read her insightful, even magical stories in previous issues of takahē.  I look forward to seeing what she has for us this time.

Submissions for the online issue takahē 87 will need to be received by 1 July 2016, at the very latest.

takahē 86 is go!

T86 cover bigAny day now, the latest print issues of takahē – our 86th – will be arriving in mailboxes across the country. Hurrah!

Those of you who keep a regular eye on this website may have already seen some of our online content – all thirty-one book reviews for example, or the stunning art (cover and other) by Lisa Walker, or the sample fiction and poetry from Rachel Smith, Meagan France, Jenny Powell and Robert McLean. Or maybe you’ve read our Essays Editor’s Editorial piece, and taken a moment with your cup of coffee to wonder about the ins and outs of putting a magazine like takahē together, and keeping it a lively and satisfying read.

Of course, to get the full content of the magazine, you need to subscribe

Personal Experience and Fiction

I was critiquing a story and suggested to the writer that the ending didn’t work.

‘But that really happened,’ she said. I replied that real events don’t always – or even often – make good fiction. When talking to friends about what’s been going on in our lives we tend to frame things in a particular way, embellish this, exaggerate that, so as to add interest to what we’re saying.

This is even more important when creating fiction. We might start from personal experience but we craft a piece as we write it, we wrap it in meaning, we add structure and significance.

Writers of fiction also produce works that have no basis in their own lives. But for these to work there has to be a connection between the writer and the work: the story expresses an emotion the writer feels or once felt.

Some of the short stories in takahe 86 (the April 2016 issue) are clearly based on personal experience. Some less so or not at all. Either way I hope you enjoy them.