It is a set text in most New Zealand courses in universities, and is often grossly misrepresented as a kind of celebration of the Kiwi bloke going it alone, getting offside with the law and women, and making a fist of it on his own terms. It also has been glibly accused of misogyny and racism. For all its local emphases and colour, the novel must be read in the context of post-war Europe, as it takes a hard look at the reality of ‘ordinary’ life, without the self-congratulatory assurances common to both British and New Zealand conservatism. The starkness of the novel is also a philosophical one. Such values as emerge are what the individual manages to put together as the historical moment allows—fiction as existentialism, before such a term became modish. At the same time as he was working on the novel, Mulgan edited for Victor Gollancz Poems of Freedom, an anthology of poets who ‘were unafraid’, and whom W.H. Auden, in his Introduction, valued not for their wisdom, but for raising their voices against oppression.

    Born in Wellington, New Zealand in 1888, she came to London in 1903 to attend Queen's College and returned permanently in 1908. her first book of stories, 'In a German Pension', appeared in 1911, and she went on to write and publish an extraordinary body of work. This edition of The Collected Stories brings together all of the stories that Mansfield had written up until her death in January of 1923. With an introduction and head-notes, this volume allows the reader to become familiar with the complete range of Mansfield's work from the early, satirical stories set in Bavaria, through the luminous recollections of her childhood in New Zealand, and through the mature, deeply felt stories of her last years. Admired by Virginia Woolf in her lifetime and by many writers since her death, Katherine Mansfield is one of the great literary artists of the twentieth century.

    There's "Let's Go," the story of a young couple's apathetic wanderings on a trip to discover the real Prague; "You Can Hear the Boats Go By," the story of ex-lovers who cope with their chance meeting in a supermarket in the most childish way; and "Barking," the mad rant of a drama student pissed off by Clown class. Not Her Real Name presents an essential guide to postmodern romance, to the vagaries of city life, and to a chronically self-absorbed generation whose love affairs are never as good as the last movies they've seen.

    She is joining her husband there, a reunion that is far from warm, but this remote place is to mark Alice's long and steady growth towards shared love, a new awareness of life and a sense of personal liberation. First published in New York in 1920, this is the first New Zealand novel to confront convincingly many of the twentieth century's major political, religious, moral and social issues - most significantly women's rights. Daring for its time in its exploration of sexual, emotional and intellectual freedom, the New Zealand Herald found the ending 'too early for good public morality'. It is the most celebrated of Jane Mander's six novels, and is believed by many to be the inspiration of Jane Campion's film The Piano.

    A group of white-collar deadbeats attend a swinger’s party in the era of drunk Muldoon. A pervasive smell seeps through the walls of a German housing block. A seabird performs at an open-mic night.Bug Week is a scalpel-clean examination of male entitlement, a dissection of death, an agar plate of mundanity. From 1960s Wellington to post-Communist Germany, Bug Week traverses the weird, the wry and the grotesque in a story collection of human taxonomy.

    In 1915, when he was 33, Baxter was arrested, sent to prison, then shipped under guard to Europe, where he was forced to the front line against his will. Punished to the limits of his physical and mental endurance, Baxter was stripped of all dignity, beaten, starved, and left for dead. In a final attempt to discredit him, authorities consigned him to a mental institution, an experience that would haunt him for the rest of his life.Against the backdrop of troops being mindlessly slaughtered at the whim of upper-echelon officers, We Will Not Cease is a story of extreme bravery and ultimate resolve. Archibald Baxter's lonely fight against the war to end all wars is a nightmare that Kafka could have penned -- except that the story is true.

    This colourful story focuses on the relationship between the girls as they grow into women and their attempt to escape their impoverished background.The story is alternatively narrated by the eloquent Fag and the sensitive Ginnie, as well sections told by an historian and industrial psychologist.

    What personal price is this man prepared to pay in the pursuit of his conscience, no matter what the consequences are for those he loves?

    It was also the first to introduce a full democracy. Between those events, and in the century that followed the franchise, the movements and the conflicts of human history have been played out more intensively and more rapidly in New Zealand than anywhere else on Earth. This title tells that story in all its colour and drama. The narrative that emerges is an inclusive one about men and women, Maori and Pakeha. It shows that British motives in colonizing New Zealand were essentially humane; and that Maori, far from being passive victims of a "fatal impact", coped heroically with colonization and survived by selectively accepting and adapting what Western technology and culture had to offer. The latter part of the book reveals how an insulated and dependent British colony transformed itself into an independent nation, open to and competing with technological and cultural influences sweeping the globe.

    Summer has come, and those who can have left the bay for the allure of the far away city. Among them is Harry's mother, who has left behind a case of homemade ginger beer and a vague promise of return.Harry and Cal are too busy enjoying their holidays, playing in the caves and the old abandoned slaughterhouse, to be too concerned with her absence. When their older cousin-the beautiful, sophisticated Caroline-comes from the city to stay with the Bairds, Harry is besotted. With their friend Dibs Kelly, the boys and Caroline spend the long summer days exploring the bay and playing games.But Harry is very protective of Caroline and jealous of the attention she receives from other men. And what looked to be a pleasurable summer is overshadowed by certain 'accidents' in the old slaughterhouse and a general air of suspicion and distrust.There was a simple country boy who lived on the edge of the world, and his name was Harry Baird. That is not the whole story.First published in 1968, Sydney Bridge Upside Down has long been considered a New Zealand literary masterpiece. Published now for the first time in Australia, this brilliant tale, told in an entirely distinctive voice, deserves a place on the bookshelf alongside period classics like Wake in Fright and My Brother Jack.

    Off the coast of Kapiti, English trader John Stewart seeks to trade with Te Rauparaha, setting off a train of events that forever change the course of New Zealand history.Narrated by two English sailors on board Stewart's ship, these events are also eerily resonant of a more distant memory, stretching back into mythology, of the charismatic leader Wulf and an ancient lament. History, it seems, may be repeating itself.Wulf, Hamish Clayton's inventive, brilliant first novel, explores a subject little covered in New Zealand fiction, and marks the emergence of a startlingly assured, exciting new voice.

    Sometimes, it is Hemi, a man who was laid off from his job and realizes that this situation affords him the opportunity to reconnect with the land, his culture and his family. Other times, Toko is the narrator. Toko is Hemi's adopted son and is physically handicapped. However, he also has a sixth sense and can see events before they occur. Mostly, though, the story is told by Roimata, Hemi's wife and Toko's adoptive mother. She relates the growing concern the Maori have about developers coming into their land, and their quiet, concerted efforts to rebel. She details their successes and many painful failures in a sparse, simple prose. The book does not really have a true resolution; instead, Patricia Grace outlines the cultural differences that exist in New Zealand, and the uses and abuses of power, and how it can affect a people.

    Our narrator doesn't know where she stands with Ilana, her not-quite-girlfriend. She has a complex history with her best friend, Ashi. She's haunted by the spectre of her emotionally abusive ex-boyfriend. And her period's now weeks late.Attraction is a meditative novel of connection, inheritance and the stories we tell ourselves. In lyrical fragments, Porter explores what it means to be and to belong, to create and to destroy.

    Strongly autobiographical, it vividly conveys the intensely felt worlds of the adolescent - love, poetry and England - and the enthralling but sometimes painful experience of growing up female; and its picture of family life in early-twentieth-century Wellington, in all its physical details, emotional tensions, muddle and variety, lingers in the mind.

    Auē can be heard in the sound of the sea he loves and hates, and in the music he draws out of the guitar that was his father’s. It spills out of the gang violence that killed his father and sent his mother into hiding, and the shame he feels about abandoning his eight-year-old brother to a violent home.But Ārama is braver than he looks, and he has a friend and his friend has a dog, and the three of them together might just be strong enough to turn back the tide of sorrow. As long as there’s aroha to give and stories to tell and a good supply of plasters.Here is a novel that is both raw and sublime, a compelling new voice in New Zealand fiction. Haere mai, Becky Manawatu.