New Zealand fiction in the 1970s

Press, 28 February 1978, Page 11

New Zealand fiction in the 1970s

The autobiographies of Grant Batty and Rob Muldoon sold thousands of copies in the last year: the autobiography of Frank Sargeson, one of the finest pieces of prose ever written in this, country, probably has not. That has always been the problem of the writer in this country — plenty of talent but the wrong sort of audience. The writing has kept coming during the 19705, though, despite the fact that we have not heard from Janet Frame since “Daughter Buffalo” (1973), that Maurice Duggan is dead with only three collections of his work published, and that Frank Sargeson is now well into his seventies. Age, in fact, seems to agree with Sargeson — since 1972 he has written three novels or novellas and his three-volume autobiography, “Once is Enough” (1973), “More Than Enough” (1975) and “Never Enough,” which has yet to reach the local bookstores.

Maurice Shadbolt has published four novels in the 19705. of which the most ambitious and probably • successful is the monumental “Strangers and Journevs;” Noel Hilliard and M. K. Joseph have added solidly to their earlier work, Joseph winning acclaim with his superbly-crafted “A Soldier’s Tale.” Maurice Gee has written two very successful novels in the traditionally realistic mode that seems to dominate New Zealand writing — “In My

Father’s Den” and “Games of Choice” — as well as a sound volume of short stories ,“A Glorious Morning, Comrade,” O . E. Middleton, too, has quietly added to his small but solid body of work, publishing his “Selected Stories” in 1976. However unfashionable the short story might seem to be, New Zealanders continue to write it well. It could be argued that this is, for the time being, the most appropriate mode for the fictionalisation of the New Zealand experience, Dan Davin, Roderick

One of the highlights of the - 1978 Christchurch Arts Festival, the Contemporary' New Zealand Fiction Symposium to be held at the Town Hall Conference Room on March 11 and 12, is perhaps the first event of its kind to be held in this country. Academic conferences on literature are common enough but the usual partnership of writers, critics, academics and publishers is, on this occasion, being extended to include members of the reading public, thus completing the partnership. In this respect, the symposium is unique. Readers will have the opportunity of hearing and exchanging views with some of New Zealand’s most distinguished novelists and critics. Maurice Shadbolt, author of the greatly admired novel, “Strangers and Journeys,” will be heard in conversation with M. K. Joseph, Professor of English at the University

Finlayson, Philip Mincher, Patricia Grace, Vincent O’Sullivan, Margaret Sutherland, Edith Campion and Witi Ihimaera have all published collections of stories in the 1970 s although we will await similar collections from Michael Henderson, lan Wedde and Michael Morrisey, three promising new writers of the period. Henderson’s “Log of a Superfluous Son” (1976) and Wedde’s “Dick Seddon’s Great Dive” (1977) provide the strongest evidence of the health of the younger generation — both works deviate from

of Auckland, literary critic and a novelist in his own right. C. K. Stead is renowned as the author of “Smith’s Dream” which was transmogrified into the feature film, “Sleeping Dogs”, by lan Mune and Roger Donaldson. Professor Stead and lan Mune will discuss with Peter Simpson the social and political implications of “Sleeping Dogs”, and the interest New Zealand’s emerging film industry is showing in novels by New Zealand writers. Of the other speakers, Patrick Evans is the author of the first fulllength critical study on Janet Frame and has recently completed a novel; Peter Smart is the editor of the highly respected literary journal, “Landfall;” Cherry Hattkin is a scholar of Katherine Mansfield and the editor of “Critical Essays on the New Zealand Novel,” for which she is now preparing a companion volume on short stories; Vin-

“New Zealand Realism” and show awareness of experiments abroad without in any way being merely slavish imitations. Other vounge v writers, like Margaret Sutherland and Joy Cowley, are less technically adventurous, p rod uc in g well-made books with familiar settings but a slightly oldfashioned sensibility. An even more welcome development than the departure from realism has been the emergence of a Polynesian literature written in English giving an inside view of a culture too few New Zealanders

cent O’Sullivan, editor of numerous collections of New Zealand literature and widely known as a poet, is about to have a collection of short stories published; Maurice Gee is one of New Zealand’s

know about: Witi ihimaera's “Pounamu, Pounamu” (1972), “Tangi” (1973) and “Whanau” (1974); Albert Wendt’s “Sons for the Return Home” (1973) and “Pouliuli” (1977), and a collection of short stories called “Flying Fox in a Freedom Tree” (1974); and Patricia Grace’s delightful collection of short stories, “Waiaraki” (1975). It is obviously far too early to assess the achievement of New Zealand fiction writers in the 1970 s — the definitive New Zealand novel may Hp lirino in rhp ,-frntxro: /nF

most accomplished novelists and Michael Harlow has brought a refreshing experimentation to the national literary scene. Other guest novelists and publishers’ representatives will answer ques-

mornent — but some considerable achievements can already be acknowledged. There are Shadbolt's “Strangers and Journeys.” impressive in reach if not always in grasn; James McNeish’s “Mackenzie” (1970), a very successful attempt at an antipodean masterpiece of the stature of Patrick White’s “Voss”; Sargeson's autobiography, and perhaps Vincent O’Sullivan’s witty satirical I extravaganza, “Miracle” (1977), a welcome change from the remember-the-night-Dad - fell-down-the-long-drop school of New Zealand written humotr.

tions at the symposium. The high calibre of each speaker and the variety of format in each ses-

sion should ensure an informative and enjoyable week-end for all who attend.