Their task is to map a rail route through an uncharted wilderness.They overcome the many obstacles posed by nature-bears, bees, bats, river crossings, cliff falls, impossible weather-but can they survive the treachery of their competitors?This is a fast-paced and charming novel. Its children are brave and competent but not always right. Its world is magical enough to be intriguing but close enough to our own to keep the reader on firm ground.

    She didn’t want to hear his story; she’d had enough of them." Tess is on the run when she’s picked up from the side of the road by lonely middle-aged father Lewis Rose. With reluctance, she’s drawn into his family troubles and comes to know a life she never had. Set in Masterton at the turn of the millennium, Tess is a gothic love story about the ties that bind and tear a family apart.Cover by Keely O'Shannessy

    When armed conflict drives a wedge between Maori and Pakeha, not everyone can choose sides easily. For Isla McKinnon, the choices are bitter. Taken in by local Maori when her parents are brutally murdered, she has grown to womanhood and taken a Maori husband. In a thrilling tale of love and loss from the land wars - when simmering tensions between Maori and the encroaching Pakeha settlements exploded into bloody warfare - love and trust are put cruelly to the test. Separated from her husband and her family and restored to Auckland society, Isla must learn to survive in both worlds. Inevitably, she must decide between them, and lose part of her heart forever.

    It is focused on the effort of Ripeka/Linda to find identity as well as love, as increasingly she commits herself to her Maori being, family and name.

    Peggy and Greta are learning how to live sober. They go to meetings and they ring their support person, Diane. They have just enough money for one Tom Yum between them, but mostly they eat carrot sandwiches. They volunteer at the Salvation Army shop, and sometimes they sleep with men for money. They live with Heidi and Dell, who are also like them.It’s 2006. Peggy and Greta have two jobs: a job at a call centre, and a job as a moderator for a website. They’re teaching themselves how to code. Heidi and Dell don’t live together anymore, and Dell keeps getting into trouble. One day, Peggy and Greta turn around and there’s only one of them.It’s 2018. Margaret lives next door to Heidi and her family. She has a job writing code that analyses data for a political organisation, and she’s good at it. Every day she checks an obsolete cellphone she found under her bed, waiting for messages. She struggles to stay sober. Then, one day, there are two of them again, both trying to figure out where they have come from. Nothing to See is a compelling, brilliantly original novel about life in the era of surveillance capitalism, when society prefers not to see those who are different, and the line between reality and simulation feels dissolvingly thin.

    But Clifford's words have too much life in them to be ignored, and start to permeate his family's world. This book tells the story of three generations of the Stilton family.

    He traces an intimate history of the Dunedin Sound—that distinctive jangly indie sound that emerged in the seventies, heavily influenced by punk—and the record label Flying Nun.As well as the pop culture of the seventies, eighties and nineties, Carter writes candidly of the bleak and violent aspects of Dunedin, the city where he grew up and would later return. His childhood was shaped by violence and addiction, as well as love and music. Alongside the fellow musicians, friends and family who appear so vividly here, this book is peopled by neighbours, kids at school, people on the street, and the other passing characters who have stayed on in his memory.We also learn of the other major force in Carter’s life: sport. Harness racing, wrestling, basketball and football have provided him with a similar solace, even escape, as music.Dead People I Have Known is a frank, moving, often incredibly funny autobiography; the story of making a life as a musician over the last forty years in New Zealand, and a work of art in its own right.

    From the mouths of babes come 37 stories, from the haunting to the hilarious to the horrific.Leave the lights on tonight. So you’ll see them coming.---Paper Road Press and the Baby Teeth authors are proud to donate all proceeds from sales of this book to Duffy Books in Homes, to support their great work with child literacy in New Zealand.

    First published om 1972, it was immediately endorsed by Maori and Pakeha alike for its original stories that showed how important Maori identity is for all New Zealanders. As Katherine Mansfield did in her first collection In a German Pension (1911), and Janet Frame in The Lagoon (1951), Witi Ihimaera explores in Pounamu Pounamu what it is like to be a New Zealander - but from a Maori perspective. The seeds of Ihimaera's later works are first introduced in this ground-breaking collection- The Whale Rider in his story 'The Whale', The Rope of Man in 'Tangi', and the character of Simeon form Bulibasha, King of the Gypsies in 'One Summer Morning'; and the themes of aroha (love), whanaungatanga (kinship) and manaakitanga (supporting each other), which are so intergral to Ihimaera's work.

    In the spring of 1903 a ship explodes as it docks on the island, drowning many of the passengers and crew in the icy waters of Stolnsay harbour. Young, strawberry-blond-haired Billie Paxton is among the only survivors. Clumsy, illiterate and suddenly alone, Billie will not say why, before the explosion, she jumped from ship to shore, and so falls under the immediate suspicion of her fellow passenger, Murdo Hesketh and his cousin and employer, Lord Hallowhulme, who owns the island - and has controversial plans for improving the lives of its inhabitants. Gloriously inventive and vividly atmospheric, Billie's Kiss conjures up a way of life hurtling towards a brave new world, in an enchanting novel that combines a strange, sexy love story with an Edwardian mystery, bringing together murder and eugenics, progress, prejudice and the loss of innocence.

    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.

    Rose can’t imagine the future without Ray, but she’s certain he would have wanted her to start again. She decides to volunteer as a postwoman in West London, and when she courageously rescues a young boy from a bombed-out house and takes him home, she finds a new sense of purpose. Traumatised from losing his mother in the ruins, seven-year-old Alfie is also rebellious and withdrawn. However, he touches the hearts of Rose's family, and with kindness, patience and love, they eventually win his trust. But then a handsome stranger, Johnny Beech, turns up on the doorstep, looking for his son, and everything changes...

    Six years later, his daughter Chessie interviews him in an attempt to understand the trauma that led her father to burnout, in the process unravelling stories and memories from her own remarkable family history. Chessie rebuilds her family’s lives on the page, from her parents’ honeymoon across Africa, to living in Tokelau as one of five children under ten before returning to New Zealand, where her mother would set her heart and home in the Clarence Valley only to see it devastated in the 2016 Kaikōura Earthquake, and the family displaced. Written with the same love and compassion that defines her family’s courage and strength, We Can Make a Life is an extraordinary memoir about the psychological cost of heroism, home and belonging, and how a family made a life together.

    The sight of a spam ad for ‘lonely Asian women looking for fun’ becomes a moment of profound realisation that she, too, is but a lonely Asian woman looking for fun. Paula's new outlook leads her to shoplift a cheesecake-laden supermarket trolley. The trolley contains an unexpected attachment. Lonely Asian Woman is not the story of a young woman coming to her responsibilities in the world. Instead, Lam defies the expected and leads the reader and her characters to a deft climax against the grain of the titular lonely Asian woman.

    It's home to all sorts of people, with all the stresses and joys of modern life, but with a town square and a proper butcher's. It also has, for our purposes, a rash of gory murders ...  Jess Castle is running away. Again. This time she's running back home, like she swore she never would.   Castle Kidbury, like all small towns, hums with gossip but now it's plagued with murder of the most gruesome kind. Jess instinctively believes that the hippyish cult camped out on the edge of town are not responsible for the spate of crucifixions that blights the pretty landscape. Her father, a respected judge, despairs of Jess as she infiltrates the cult and manages, not for the first time, to get herself arrested.  Rupert Lawson, a schooldays crush who's now a barrister, bails her out. Jess ropes in a reluctant Rupert as she gatecrashes the murder investigation of DS Eden. A by-the-book copper, Eden has to admit that intuitive, eccentric Jess has the nose of a detective.   As the gory murders pile up, there’s nothing to connect the victims. And yet, the clues are there if you look hard enough.