What a fascinating collection this is. Poets, novelists, playwrights, tutors all write about their experience of writing. Their stories are remarkably different – Elizabeth Knox says she learned stories first as spoken narrative (her old sister Sara told her stories all the time) and later to read independently. That’s not so unusual, most kids hear narrative first – but few have the same talented sister to spin the tales, and even fewer find their creative voice as successfully as Elizabeth Knox has.
James Brown discovered at some point that reading could make him laugh and cry, and that it is not necessarily so for everyone. His piece is an alphabetic framework of his experience of writing and what the intending / aspirational writer should keep in mind. It’s well done and ranges from discovery through flarf (look it up!), intervention and shit detection to zing. It’s a clever idea and it works really well.
Lloyd Jones writes ‘to unlock something I don’t know exists. It’s in me somewhere and I’m in search of it’.
Damien Wilkins sheds light on Dennis McEldowney, among others. Stella Duffy views writing from a mid-point in life, with ideas to assist new writers. As she says, you can ignore all her points except this one: do the work. You have to do the work.
She also says that writing is not hard work. ‘Being a miner is hard work. Working twelve hours a day in a textile sweatshop is hard work………Writing…is not hard work…. but you have to work hard at it’
Patricia Grace is interviewed by her playwright daughter-in-law Briar Grace-Smith in a wonderfully interesting set of questions and answers. Much to be learned here.
For Victor Rodger writing is a political act, and for Nina Nawalowalo, necessity is the mother of her invention – there are stories which need to be told. As Tina Makereti quotes at the beginning of her essay, ‘Beautiful writing alone is not enough. Not now – look around you.’
There is a wealth more in this small book – it’s a really excellent insight into how many of our best writers write, teach, learn and create. If you want to write and don’t know how to begin, most of the experience in this book seems to say “just do it” and then see where it goes. That is really great advice. I think this is a great addition to our New Zealand literary canon, and I just have to end with the most wonderful quote from the last piece in this book, a poem by Hera Lindsay Bird where she says:
‘You start to wonder about the future and the great untitled project of your life
It keeps you up at night, like a big fluorescent sadness’
Maybe the solution to that is simply to start writing.
Reviewed by Sue Esterman
The Fuse Box: essays on writing from Victoria University’s International Institute of Modern Letters
Edited by Emily Perkins and Chris Price
Published by VUP