The Rehearsal, directed by Alison Maclean

The Rehearsal is released nationwide on 18 September

poster_the_rehearsalThe Rehearsal is guaranteed to bring back all of your awkward teenage memories. And it is one of the best coming-of-age films I have seen in a long time.

Set in a drama school simply called ‘The Institute’, The Rehearsal tracks the life of Stanley (James Rolleston) as he becomes part of the churning-out-actors system, led by head tutor Hannah (Kerry Fox). Her focus is on getting the young actors to forget themselves, and open themselves up to being vulnerable.

Stanley meets a 15-year-old girl, then re-meets her by chance while role-playing one day, and tentatively starts a relationship with her. At the same time, we learn of a scandal at a local tennis club, where a coach has been carrying on with one of his students – as it happens, Stanley’s girlfriend’s old sister is the student. Stanley’s group has to create an end-of-year project, and as they have independently learned more than most about the scandal, they decide to create the play about this.

The script is spare, letting the young actors meet the challenge in a natural, off-the-cuff way. While I haven’t read the book (ok I admit it) I understand from the friend I attended with that the movie is different, and that this is a good thing. The use of a tennis club to open up the settings seemed an excellent way of bringing light into the movie, and contrasted well with some of the grimier spaces the movie lurks in.

The thing I enjoyed most about the movie was the humour. It wasn’t all drama students ranting and raging across the stage, and memorialising their darkest hours. From being a drama-type student at High School, mid-production things did get a little dark, and this was reflected accurately. But it was genuinely funny, though I noticed sometimes I was the only one laughing…

The final set-piece was superbly done, and served as a chance for some of the actors to look straight at the camera in farewell. I highly recommend going along and seeing this when it comes to a cinema near you  when it comes out on general release on 18 September.

Reviewed by Sarah Forster

The Rehearsal
Directed by Alison Maclean
Script by Emily Perkins and Alison Maclean
based on the novel by Eleanor Catton (VUP 2008, ISBN 9780864735812)

Book Review: Tell You What: Great New Zealand Non-fiction 2015, Edited by Jolisa Gracewood and Susanna Andrew

Available in bookstores from 17 November 2014cv_tell_you_what_2015

There is no law stating that you must compare fiction writing with non-fiction writing when discussing a volume of the latter, but there could be, for all that it occurs. Two fantastic exponents of either and both forms, Emily Perkins and Steve Braunias, have recently weighed in (Braunias has stated his belief that ‘our most accomplished literature is history and biography’) and it is inevitable to compare the qualities, content and effects of the two forms. To resist is futile, but it’s worth trying, if only for a paragraph or two.

This collection is unique. The editors, Jolisa Gracewood and Susanna Andrew, give as their inspiration that “…it had never been done before…surely we have enough great non-fiction to fill a book on a regular basis.” Concerned that much contemporary non-fiction material is ephemeral and often digitally published (think reportage, memoirs, essays, musings, blog posts), they have sought to “summon these fugitive pieces back into the light, to reveal the strength and variety of non-fiction in New Zealand right now…together on the page, these writers illuminate a moment in time.”

These qualifiers are worth commenting on. A moment in time. Yes, this is a collection drawn from a specific time period (2010-14) and centred on some aspect of life as experienced in Aotearoa: a person or an event, environment or culture, or a particular way of viewing the world. It is a time capsule, its contents informing current and future readers of what and who gathered our attention: earthquakes, the Auckland property market, Kim Dotcom, facebook and land rights, iPhones and climate change. Together on the page. Yes, and the result is coherence and context, critical for readers who can become disoriented and weary with a constant diet of decontextualised word bytes, even high quality ones. And for those who like reading off paper, this collection contains writing that otherwise may never have found its way to our eyes and minds. Bravo!

Speaking of high quality. There are writers known and unknown (to me) represented herein. There is Braunias, the godfather of the short non-fiction piece, investigating petty vandalism in the suburb of unease. There is Eleanor Catton, describing mountains: say no more. There is Elizabeth Knox, paying subtle and glorious homage to Margaret Mahy. There is also Paul Ewen, backgrounding his best friend’s one way flight home in a casket in cargo. Ashleigh Young describing the revolutionary life of a metropolitan cyclist. Gregory Kan doing compulsory National Service in Singapore. And Simon Wilson telling and retelling a piece of his family history. The quality of the writing in the collection is uniformly high, exceptional even. This suggests sound editorial judgment and a broad, deep talent base. For it takes talent to shape a history, be it personal or public, and make it compelling.

It is clear that good non-fiction writing operates on several levels and tends to resonate in multiple ways. There is the content, which may be entirely new to the reader (the realities of life for a sherpa in Nepal, the sad fate of the Society Islands snails, the anatomy of a heart murmur), or presented in a light so revealing that familiarity with the subject does not breed contempt. Then there is the delight caused by the sheer creativity that comes with the relaxation of the writer’s mind, freed as it may be from the strain of trying to invent everything and of trying to be authentic. It is authentic. When Steve Braunias casts a speculative eye over his neighbours, inventing personalities and motivations as he wonders which of them egged his house, the imagination is at its wild work. It all happened… some of it in my mind.In most, if not all of these pieces of work, the facts are interspersed with musings, the what ifs with verbatim. Holding it all together is structure.

The writers have each found rhythms and modes and tones of voice to best transmit their individual signals. Signals from the heart and mind, signals from a time and place, Aotearoa New Zealand, right about now. Vive le resistance.

Reviewed by Aaron Blaker

Tell You What: Great New Zealand Non-fiction 2015
Edited by Jolisa Gracewood and Susanna Andrew
Published by Auckland University Press
ISBN 9781869408244

Book Review: Lost for Words, by Edward St Aubyn


Lost for Words, a novel by the rather charmingly cv_lost_for_wordsnamed Edward St Aubyn, is a satire onthe Man Booker Prize for Fiction – which meant that Eleanor Catton was very much on my mind as I read. Featuring a cross-section cast of the literary elite, Lost for Words particularly pokes fun at the pretension, ineptitude and general ill-qualification of the prize’s judges. The plot follows one iteration of the Elysian Prize from the assembly of the judging committee to the announcement of the winner.

Of course, a novelist satirising literature’s highest prize for novels cannot help but appear to be, at best, self defeating, and, at worst, harbouring rather sour grapes. This feeling only intensifies when you realise that one of St Aubyn’s previous novels, Mother’s Milk, was Booker shortlisted in 2006, and failed to win. Then everything gets odder when you learn that, with Lost for Words, St Aubyn has just won the UK’s prestigious Wodehouse Prize for Comic Fiction.

So is it any good? I have to say that I really enjoyed it. It is very, very funny. The characters  − judges, publishers, authors, literary critics  − are splendidly and mercilessly drawn. The bite to St Aubyn’s satire keeps the book bubbling along nicely; his real anger lending it an urgency and candour without which Lost for Words would have been self-serving and tedious. There is even − and how very dare he  − what seems to be a swipe at our own literary golden girl: one of the long-listed titles is an historical novel written by a young New Zealander. We read an excerpt from it over one of St Aubyn’s characters’ shoulders and it is dreadful: crude and ridiculous. If this is intended as a dig at Catton’s sumptuous The Luminaries then it is very far from the mark.

Part of the pleasure of reading Lost for Words is in joining St Aubyn on his patch of judgemental moral high ground. The sheer ridiculousness of (for example) a self-published cookbook being mistaken for a post-modern novel and longlisted for one of world literature’s most serious awards is just possible enough to make the reader delightedly aghast. And of course St Aubyn is flattering us throughout, assuming that we − like he, one presumes  − are able to call a literary spade a spade.

But are we? Who are we to say which is the best novel? What criteria would we impose? As my favourite character in the book, Didier the philosopher, puts it: “What is literature? … What is this privilege we grant to certain verbal communications, although they employ the very same words we use to buy our bread and count our money? Words are our slaves: they may be used to fetch a pair of slippers, or to build the great pyramid of Giza: they depend on syntax to make the order of the world manifest, to raise stones into arches and arches into aqueducts.”

There is a lot more in this vein. Didier is loquacious; every time he appears on the page, a torrent of words spills from his mouth. Other characters are constantly trying to get him to shut up; one even resorts to kissing him to stop him talking. Although he is hyper-articulate, the reader very soon begins to worry that his cascade of sentences hides a confusion of thought. There is no doubt that St Aubyn intends him as a parody, a caricature of literary theorists.

And here again, Catton came to mind. I saw her deliver the New Zealand Book Council lecture at Wellington Writers Week earlier this year and was delighted and inspired by her articulate confidence and intellectual grace  − huzzah for successful Kiwi women! I was also very relieved not to be reviewing her lecture (as I had been reviewing other Writers Week events), because I didn’t entirely understand what she was trying to tell me. It reminded me of being in English Lit theory classes and being uneasily unsure whether my failure to grasp (for example) post-structuralism was down to my own intellectual ineptitude or a fault in the way the theory was explained.

David Larsen’s review of Catton’s lecture in The Listener was very revealing: “Not saying nearly enough is going to be my whole approach here, and one day, when this lecture is printed in a book of Catton’s essays, you can read it, and then read it three more times, and then you will understand why … let me concede frankly that the task [of explaining what Catton’s lecture was about] exceeds my abilities … I write this in terrified awareness that one day [Catton’s] non-hypothetical book of essays is going to put you in a position to judge just how badly I’ve got this wrong”.

This, I feel, is the core of the cultural problem that St Aubyn is trying to address. How can we assess the value of that which we don’t understand? To what extent should literature be judged on its ability to communicate? − and to whom? The cultural elite? The lowest common denominator? What does this mean for our cultural and intellectual ecosystem? What kinds of ideas  − and people  − can thrive in this environment?

As a satire, and as the title would suggest, Lost for Words takes a very dim view of the situation. Writers are self-absorbed, publishers are unfaithful, judges are blindly partisan, critics are spellbound by meaningless gush − and readers are entirely absent from the equation. The world of literature is doomed; a shrinking pool of self-referential, elitist tosh.

Personally, I am more optimistic than St Aubyn. I accept that judging will always be subjective and I’m sure there inevitably are political agendas at play − but I still find literary prizes to be useful signposts in a gigantic, ever-growing maze of books. And, if at first I don’t understand something, but I wish to, I am willing to re-engage with complex ideas. (I will be buying Catton’s book of essays when it is published.) Besides, if I fully understood everything I ever read or heard immediately, that would limit the possibilities of my intellectual development, and  − like Gwendolen in Oscar Wilde’s The Importance of Being Earnest − I intend to develop in many directions. But then, I’ve never been turned down for a Booker. That’s got to sting.

Reviewed by Elizabeth Heritage

Lost for Words
by Edward St Aubyn

Gender Divides and the Michael King Memorial Lecture, Auckland Writer’s Festival Sunday 19 May

A lot of folk today looking pretty shattered − but still smiling. This year’s Auckland Writers Festival has been absolutely full steam ahead the whole time, packed full of fascinations and inspirations. Thank you and congratulations to the organisers for delivering extraordinary experiences.

My first session today was oneJackley_Jessica I’d been really looking forward to: Gender Divides, a
panel discussion on feminism between Sandi Toksvig, Eleanor Catton, Jessica Jackley (right), and Ngahuia Te Awekotuku, chaired by Judy McGregor.
As with Science and the Big Questions yesterday, the topics were so broad as to make discussions in such a tight timeframe necessarily superficial. However, there was still a lot to be gleaned.

Catton spoke about the challenge, as a successful female artist, of having to be feminist as well as having to be heard. She said that women making good art is itself a feminist act. Toksvig commented that successful women in public life feel a responsibility to represent all womankind, not just themselves − a responsibility men never seem to feel to other men.

mark_zuckerbergI was particularly struck by Catton’s comments that she hates lists (eg of writers) that contain just one woman’s name. The presence of that one name does not legitimate the absence of all the other women. It was also very interesting to hear from Jackley, a social entrepreneur and micro-financer, about the different expectations of male and female entrepreneurs. Males are able to look scruffy (in a Zuckerbergian (left), been-up-coding-all-night kind of way), whereas females are expected to look immaculate at all times in order to be taken seriously.Author, Ngahuia Te Awekotuku

The session closed with McGregor asking the four panellists what advice they would give a 12-year-old girl, and I loved their answers. Te Awekotuku (right): never lose hope. Catton: you can do things that you’ve never seen done before. Jackley: you can write your own rules. Toksvig: look to the past and you will have the brightest future.

My final session for this year’s festival was, unfortunately, the weakest one. I went along to the Michael King Memorial Lecture expecting a high standard of considered, wide-ranging thought and communication, commensurate with King’s own impressive achievements. What we had was entrepreneur Ray Avery talking about his autobiography and his book about New Zealanders of note, which he urged us to buy.

One of the first things Avery (below) did was ask how many of us had heard of him, commenting that “being slightly famous is very complicated”. He spent nearly an hour telling us about his life, a classic rags-to-riches story. He also boasted about committing adultery, which I found alienating. However, he has undeniably had a largely positive impact on the world: as he told us repeatedly, the company he runs Avery_Ray(providing eye surgery in the developing world) has restored the sight of an impressively large number of people.

Avery’s main point seemed to be that the meaning of being a New Zealander is to be like him: entrepreneurial, resourceful and “with no respect for the status quo”. With this strong sense of identification between the traits he admires most in himself and our perceived national character, it is no wonder Aotearoa is his adopted country.

This weak point notwithstanding, this has been a superbly stimulating festival. I have discovered lots of new thinkers and authors whose ideas and works will provide food for thought in the months and years to come. Thank you to everyone who spoke – and I’ll see you all next year!

Events attended and reviewed by Elizabeth Heritage


Dunedin Writers and Readers Festival: An Evening with Eleanor Catton

I think it’s safe to say evening_with_eleanor_cattonthat An Evening With Eleanor Catton was one of the most anticipated events on the DWRF programme. It’s not often that Dunedin hosts prize-winning novelists, let alone Booker Prize-winners, and it was brilliant to see that the DWRF organizers chose to make Catton’s even something special, with abundant canapés and a glass of champagne handed to you right at the door.

eleanor_catton_eventThe talk was held in the spacious foyer of Toitū Otago Settlers Museum, with a camera sending live feed to two large screens set up to help the capacity audience see Catton and host Finlay Macdonald on the platform at one end of the foyer. Macdonald was a genial and funny presence, whose interviewing style made us all feel very comfortable and put us all in a mood to enjoy the event (or maybe that was the champagne).

Catton was a funny and warm presence herself, and I got the feeling that she’s someone who comes to clear, firm opinions but only after turning a thought over carefully and thoroughly in her head. This thoughtfulness was clear in the way she talked about how The Luminaries came about. She described the novel as “the Antipodean version of the Victorian novel” and noted that part of its structure came out of an earlier attempt to write a novel for young adults.In fact she seems to rate young adult and children’s literature very highly, because, in her words “the endeavour is very pure… a child will only read to the end because they love the story”, not because it’s won a prize or because the child wants to appear smart. In this way, children’s/YA literature is all about the reader.

This regard for the reader seemed to be very important for her. She talked about how shecv_the_luminaries_HB really wanted The Luminaries to be fun to read, and several times she mentioned doing something a certain way − for example, constructing the architecture of The Luminaries − because she thought it would be a fun thing to do. But that sense of just wanting to do fun things is clearly tempered by some serious thinking − she talked about having ‘control documents’ on her computer, including one which detailed every scene in the book and how she wanted each scene to feel, and how having these documents enabled her to look at the book from a telescopic or bird’s eye point of view.

It was also interesting to hear Catton’s point of view on modern fiction. The Luminaries apparently came out of frustration at a lot of modernist and experimental fiction, where she felt there was “a lot of withholding”, and she talked about how you can be influenced (and motivated) by something you feel could have been done better − in other words, a kind of ‘negative’ influence.

Catton also showed some real impatience with literary fiction; when asked by Finlay Macdonald about the oft-forecast ‘death of the novel’, Catton replied that the novel did something unique (and irreplaceable) in that it could “give the experience of externality and internality at the same time − like life”, where we live in the world but also have our own internal, thinking life as well. But she said she would be quite happy for consciously ‘literary’ fiction to die off, and described it as a dull genre where nothing seemed to happen.

She went as far as to say (in her quiet, firm way) that literary fiction “needs to open its doors and stop being so ridiculous about genre fiction”. Macdonald summed it up rather neatly when he suggested that perhaps “the boring novel is dead”! Certainly the amount of leleanor_catton_sign_lineove the audience showed for The Luminaries indicated that Catton had succeeded in writing a very un-boring novel. In fact, one audience member confessed he’d been so riveted by her book that one night he forgot to cook dinner − about as good a review as you can get. (signing line to the left).


Event attended and reviewed by Feby Idrus on behalf of Booksellers NZ 

Eleanor Catton will give a talk at the Auckland Writers’ Festival in the event called ‘Our Booker Winner’, at 5.30pm on Saturday 17 May.

Catton on Bloom’s “critical hypocrisy”

The New Zealand Book Council Lecture, 6.15pm, Monday 10 March

Eleanor Catton broke new ground in literary criticism when giving the New Zealand Book Council’s Lecture, part of Writers Week and the New Zealand Festival at the Embassy Theatre on Monday night.

The importance of what she said, in eleanor_cattonmy view, will reverberate  through literary circles for some time,  if for no other reason than she is to give the lecture at a number of other events before it is likely to be published in full (although I understand that the Monday night lecture is available behind The Listener‘s paywall). But there are more important reasons behind my contention of longevity of her thoughts than just how many times they will be repeated.

The lecture, while complex, was beautifully written and delivered with compelling, but gentle confidence, in a pristine voice.

Catton’s initial delving into the physics of time and space – the past and the future – was somewhat fuzzy and Catton described it later, in answer to a question, as a “silly idea’ on  which she needed to do more work.

Real sharpness came though in her criticism of those who contend that character is more important than plot in literary fiction. “Good fiction…. requires meaning “, thus a plot.

And then Catton went into the attack. She dissected a number of Shakespeare’s works , particularly Hamlet, dismissing any thoughts that they were devoid of plot in favour of  character. She was particularly critical of Harold Bloom’s view that Shakespeare was a writer of genre rather than a writer of literary fiction; dismissing his arguments as “critical hypocrisy”. Catton described “as dreary as it is wrong headed”, Bloom’s claim that “investing in plot was not a Shakespearean talent: it was one dramatic talent that nature denied him”.

And there was more on Bloom, which I am sure will fuel the debate for some time once the Catton lecture is more widely disseminated.

In thinking of this debate regarding plot and character in literary fiction, there was one insight I gained personally from the lecture in regard to The Luminaries – well, I think I have. I loved the plot and initially let slide any real understanding of the astrology within the book, as many other readers have told me they also did. Some of those other “sliders”, though, lamented the fact that there was not enough character development.

Then on Monday night I put the thoughts together and realised that what Catton may well have done was indulge the character lovers by the device of the establishing the characters of the “players” by using their astrological signatures. So to understand the characters within The Luminaries, it seems to me you have to refer to the front of the book and the astrological signatures of each person.

Look out for the published lecture.

By Lincoln Gould, CEO, Booksellers NZ

Comics and Roses – a review of two events, Monday 10 March

Comicsville, featuring Adrian Kinnaird, Dylan Horrocks, Jonathan King and Robyn Kenealy

My first Writers Week event today (Monday) was Comicsville, a panel discussion at the Hannah Playhouse on New Zealand comics. It was chaired by Dylan Horrocks and featured Adrian Kinnaird, Jonathan King and Robyn Kenealy; cartoonists all. I also spotted Alison Bechdel in the audience, and later saw that she had tweeted a drawing she’d done of Horrocks.

As with Sunday’s session with Bechdel, it was slightly pp_robyn_kenealystrange to have a discussion about comics without having any of them on display, but conversation was lively nonetheless. I was particularly glad to be continuing my trend of discovering interesting female authors: today’s ‘find’ is Kenealy (right). Deeply involved in the fan community, she spoke intelligently and with academic insight about the place of fan-fiction and the nature of self-publishing, very hot topics in the publishing world today. Normally, being drawn to an intriguing new author, I would immediately go and buy the book, but she said very openly that she is not trying to make money from comics and only self-publishes, mostly online. You can find her work here and here.
The book that was available for sale, though, is the new and very colourful From Earth’s End by Kinnaird (left). It’s a history of New Zealand comics and a snapshot of Kiwi cartoonists today. Flicking through my copy, I was immediately struck by the dearth of women: apart from Kenealy, apparently we pretty much just have Sarah Laing, and that’s about it. Surely that can’t be right? What about Li Chen, for example? (Closer study reveals that Chen is mentioned on page 88, but is not one of the thirty cartoonists with their own dedicated chapter.)

Being a word geek, I was particularly interested to learn from Horrocks that ‘graphic’ comes from a word meaning both to draw and to write; and that comics in te reo Maori are pakiwaituhi, which similarly indicates a story both drawn and written. This came up after a very lively discussion of the term ‘graphic novel’, which apparently has become a posh, literary term for comics generally – a rather back-handed compliment, as it implies comics need euphemising.

Overall, I left feeling that New Zealand comics are in an interesting and fruitful state, with digital publishing reaching new audiences unbounded by geography or paper distribution. Lots to look forward to.

A Rosie Glow, featuring Graeme Simsion (with a little bit of Catton comparison)

My third Writers Weekpp_graeme_simsion event today (Monday) was A Rosie Glow; Lynn Freeman in conversation with Graeme Simsion, author of the New York Times bestselling novel, The Rosie Project. Unlike previous sessions, this felt very much like a standard author talk pitched explicitly towards increasing book sales.

And indeed Simsion admitted that, since publication, his life has become one long publicity tour – full credit to him for still seeming engaged and genuinely pleased to talk to fans. The fact that this was the second time that Freeman had interviewed him on this topic, though, unfortunately intensified the feeling of stale, recycled material.

It was perhaps a rather cruel and unusual act of scheduling to put Simsion’s talk on the Embassy Theatre stage immediately before Eleanor Catton’s extraordinary New Zealand Book Council lecture (entitled “Paradox and change in fiction”). In many ways, Simsion’s and Catton’s lives could be seen as parallel: they are both relatively new Australasian authors who have rapidly become life-changingly famous and, based on the success of one novel, are both now able to be full-time professional writers. But of course they are very different people.

Simsion spoke a lot about his protagonist, Don Tillman, and how he has a Twitter account in which he tweets in Tillman’s voice, and how there is a Tillman sequel planned. Catton didn’t mention The Luminaries or any of her characters at all, and instead spoke with calm but ferocious intelligence about huge ideas, ranging from the way fiction requires both ingenuity and insight in order to succeed, to the nature of space and time in narrative.

Simsion appeared happy to basically keep writing the same book until its popularity ran out – and, indeed, since it obviously ain’t broke, this is a perfectly cromulent strategy. Catton displayed a dizzying intellectual ravenousness that seemed to eat up subjects ranging widely within her chosen field of literature and beyond. When a member of the audience asked when she plans to publish a book of essays, she responded simply “soon”.

Once again I have ended a day of Writers Week events inspired and buzzing. Bring on tomorrow!

by Elizabeth Heritage, on behalf of Booksellers NZ

Bookselling serves an astonishing role in society (A review of ‘Midwives and Meddlers’)

Midwives and Meddlers, 8 March, 4.45pm, The Embassy

‘Bookselling serves an astonishinmax_porterg role in society’ says editor Max Porter, who has found it a privilege to shop in the standard of independent bookshops that we have here in Wellington. I am certain he would be further impressed if he had a chance to shop throughout the regions, to which the presence of great out-of-town booksellers Carole Beu (Women’s Bookshop, Auckland) and Stella Chrystosomou (Page & Blackmore, Nelson) attests. I also know that Penny Geddis from Otatara Bookshop was somewhere in this audience, showing the love that all of these incredible booksellers have for the written word.

This was a fantastic way to beginning my Writer’s Week proper. Hearing such a talented editor speak with such a talented writer, as Eleanor Catton most certainly is, was a real joy. Porter remarked wryly that the full house must show how much of a fan we all are of editing – of course it was Catton who was the star attraction, and seeing her converse with somebody on equal terms was very enlightening, as well as entertaining.

eleanor_cattonCatton’s first question for Porter centred on a comment that Germaine Greer made to her (loudly, during another person’s session) during the last festival, that ‘There is no such thing as a good editor’. So what is the point of an editor – what role do they play? Porter answered this and more – the types of editing, from proofreading through to what he calls ‘in the trenches’ edits where every line needs work – and commented that due to the ‘unfortunate focus of the economic imperative’, the creative editor (as he is) is an endangered experience.

As you may have guessed from the opening sentences, Porter has a personal tie to bookselling, having been one himself. He believes that booksellers on the whole tend to make good publishers, as they ‘know how to communicate the validity of a writers word’. There are close ties between hand-selling and publishing, in particular.

‘It is a privilege to have a writer on your list who you will follow wherever they need to go’

While Catton made life difficult at times for her publishers, simply because her endeavour in writing The Luminaries was so ambitious, Porter asserted that there was never any doubt within the publishing company (Granta) that she would pull it off – mainly because Catton herself was so confident in the work. Though there was an amusing aside when Catton joined Twitter – two hours later, she had an email from Porter with ‘Twitter?!’ as the subject line, and #murderweapon in the body…

Porter picked this book up halfway (ish) through the process of publication, as Catton’s previous editor Sarah Holloway departed the company. Catton asked him whether there was anything that may have been different if he had begun with the book, which Porter evaded rather neatly by talking about other authors – particularly some poor soul that he had to pack off with a full first draft as it had turned into something they weren’t ready for and that he thought was the wrong direction for their career altogether. Porter was incredibly good at not naming names – disappointingly!

Porter said one of the important things an editor should contribute is not only that a line is wrong, but why it is wrong, and further, what the writer could do to fix it. He describes himself as a generous editor, as his delete sign always has a question mark on it, as the best way for a writer-editor relationship to proceed is to work together through knotty problems.

Catton didn’t speak at great length about The Luminaries, but we did learn that she doesn’t see it as fitting in the genre ‘historical fiction’ – I think rightly, it is more than that; but lovers of this genre may demur. We also learned that she is aware of the danger for her as a creative writing teacher to fit into an editorial role, and how wary she is of being a ‘midwife’ for their work.

This was a fascinating session, on a fascinating topic. I feel certain that everybody who was there from the industry came away intrigued. The quality of the audience questions suggested that many of them were either in the industry, or currently working on their own writing. The people who came to see our Ellie were possibly a bit disappointed as she spent a lot of time interviewing Porter, but there is always The Book Council Lecture to get their fill of the endlessly interesting Eleanor Catton. You’d better book quickly, as I have heard ticket numbers are getting very low.

By Sarah Forster, Web Editor

Eleanor Catton is delivering the inaugural New Zealand Book Council Lecture on Tuesday 11 March at 4.45pm. If you have tickets already, get there early, as it will be a tightly packed audience lining up to hear Eleanor speak. If you don’t have tickets – get some!

Words of the Day: Wednesday, 29 January 2014


Follow us on Twitter to get this news as it happens:

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Eleanor Catton to be awarded honorary degree

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The Raven by Edgar Allan Poe was first published on this day in 1845!

Something to watch out for…

Oprah 2.0

A word for the day. For my fellow spelling Nazis


The Luminaries illuminates the Bestsellers Chart for 2013

The Luminaries, by Eleanor Catton, has sold more copies in New Zealand than any other book to date* this year.

According to publisher, Fergus Barrowman, pp_fergus_barrowman_smlthe actual sales figures are currently sitting at around 64,000 copies. Victoria University Press have around 11,000 copies available in their warehouse, and hope that this will see them through the Christmas period. Fergus adds, ‘and don’t forget over 7000 copies of the ebook have sold in NZ alone.’

The Luminaries was released in New Zealand on 2 August 2013, a week after it was announced as one of 13 titles on the Booker longlist. (Granta published the title in the UK shortly before). Sales to date average out at a massive 546 copies a day. Fergus puts the success of The Luminaries down to the fact that, ‘…it makes NZ history extremely interesting and exciting’. Readers have found the book enormously rewarding.

Did Fergus have an inkling that this book was a potential Booker-prize winner? ‘Yes. I knew how good it was perhaps two years ago when I first read part one, and I knew that Max Porter at Granta felt the same. Of course, as well as exceptional quality a book needs a bit of good luck.’

While it isn’t unusual for a Booker-prize winning boocv_the_luminaries_HBk to rocket to the top of bestsellers charts internationally, it is unusual here in New Zealand for the prize to have such a huge effect (though admittedly a NZ-set book by a NZ author doesn’t usually win!) It is also unusual to see a literary work top the charts for both the general chart (which takes in all bookstores in New Zealand, excepting Whitcoulls), and the Indie Top 20 (taking in only independent bookstores). It is difficult for local publications to beat out the big internationals with their marketing juggernauts – Lee Child’s Never Go Back and Dan Brown’s Inferno take second and third spots in the general chart.

We asked Fergus whether these levels of sales had ever happened before to him in his career as a publisher. ‘The Vintner’s Luck took off at the end of 1998 and sold 40,000 in 12 months.’ After mentioning that VUP didn’t begin to catch up with demand for The Luminaries until the sixth reprint (of 30,000 copies), he reflected that what had happened with The Vintner’s Luck ‘should have given us the courage to respond more boldly when The Luminaries began to go.’

The hardback of The Luminaries also reached number five on the NZ Fiction bestsellers to date, and is the only hardback on that chart.

Victoria University Press publishes both fiction and non-fiction,cv_the_vintners_luck_silver focusing on good quality literary fiction. Have they published anything else that they thought may have taken off in this way? Fergus says ‘I knew The Vintner’s Luck’s potential, but we pulled back our initial print-run because the trade was cautious…we are very happy to publish books that we know are unlikely to reach a big readership: short stories, first books, experimental fiction. We have published eight fiction titles this year, and all have met expectations.’

Eleanor Catton’s first novel, The Rehearsal, has also experienced an upsurge in sales, and has been prominent in the NZ Fiction charts for the past few weeks. This has led to VUP reprinting twice in 2013.

The only other New Zealand book on the Overall Bestsellers Chart was Annabel Langbein the Free Range Cook: Simple Pleasures, which came in at number eight.

by Sarah Forster

* The overall chart is for sales until 30 November 2013.