AVERIL ROBERTSON

The New Zealand publishing industry is one of difficulties, curiosities and beauty. Only a small fraction of New Zealanders buy books with any regularity, and even fewer who buy New Zealand books. A solid print run for New Zealand fiction is 3000 copies; if you get a first run of 5000 you’ve made it (for a rather narrow definition of ‘making it’, compared with overseas markets). 

The fiction shortlist comprised four writers (Emily Perkins, Stephen Daisley, Pip Adam and Eleanor Catton) who have all taken out the top prize before, including one (Catton) who also won the Man Booker Prize in 2013. Tough year to try and get to the top of the NZ fiction game – but Perkins did it, with the fantastic Lioness (reviewed by me on Insta @avrbookstuff). Her shock at winning was genuine. Her sense of humour shone. We know that winning New Zealand’s richest literary prize will help support her to keep writing, in a way that good sales never will. 

Outside of fiction, one of the biggest challenges of NZ publishing is the incredibly niche topics that occupy our tiny country. The range of non-fiction titles – separated into the categories illustrated and general – that rose to the top is astounding. From a book about NZ mushrooms, through to an illustrated biography of painter Don Binney, and the biography of a waka (Māori canoe) at Waitangi. One author wrote about the broken medical system; another the history of rugby league. One book, about artist Marilynn Webb, is written in both English and te reo Māori. Not necessarily amazing sellers (although I hope they are), and yet they are commissioned or accepted for publication, not solely based on commercial viability but on their value to New Zealand culture. And this is what makes the awards so amazing – it’s a chance to showcase books that matter. They are incredibly well researched, beautifully written, and have high production values. They capture important aspects of New Zealand culture. We must keep honouring them.

It was also a treat to be able to hear each author read from their work. When I worked at Unity Books Wellington, we ran book launches and getting to meet so many authors, and hear their work in their own voices, was a pleasure every time. 

The current New Zealand government is methodically tearing to shreds the arts industry by withdrawing, or limiting, funding. It is attacking the use of te reo Māori. Our book industry will struggle to withstand it. And yet, we know that artists – in this case, writers – find a way, because art always finds a way. Indeed, in these tough times, art is one of the constants that binds us together in our humanity. The Ockham New Zealand Book Awards is a once-a-year opportunity to say, loudly and proudly, that our books matter.