Watching Out For The Morepork (Press, 18 August 1984)

New Zealand Short Stories, edited by Lydia Weavers and published by Oxford University Press in 1984, presents a collection of narratives that capture the essence of the New Zealand short story from 1972 to 1982. The anthology draws from a pool of over 1,000 stories, showcasing the various thematic and stylistic developments within this literary period. Tom Weston's review highlights Keri Hulme’s story “Kiteflying. Party at Doctors’ Point,” which suggests that all individuals play roles in a larger, often misunderstood narrative, emphasising the need for a playwright—representing the writer—to articulate these experiences. The review discusses the broader notion that successful writers craft narratives that surpass the readers' interpretations, effectively guiding societal perspectives. Maurice Duggan's piece, “The Magsman Miscellany,” epitomises this role, merging a sense of artistry with a profound observation of reality, capturing the intricate interplay of experiences through vivid imagery. Weavers’ collection is noted for examining the realist tradition that dominates New Zealand fiction, tracing its roots back to influential figures like Frank Sargeson. Despite a noted transition from rural to urban themes in storytelling, the essence of realism persists. C. K. Stead’s “A New Zealand Elegy” delivers a fresh perspective on adolescent experiences, while Margaret Sutherland’s “Codling-Moth” introduces nuanced themes through a story of two young Catholic girls. Yvonne du Fresne and Joy Cowley also offer skillful expressions within the realist framework. Patricia Grace's portrayal of an elderly Māori man reflects deep empathy and understanding, particularly in a poignant moment involving the splintering of a desk panel, symbolising broader cultural tensions. However, the collection also signals a growing dissatisfaction with strict realism, with new narrative forms beginning to emerge. This shift towards a more imaginative and avant-garde style is influenced by international literary movements, such as South American magical realism. Weston spotlights Russell Haley’s “The Stolen Tables,” noting its exploration of dislocation through surreal imagery, which extends beyond traditional realist storytelling. Similarly, Owen Marshall’s stories, rooted in rural settings yet infused with absurd elements, challenge conventional narrative expectations, blurring lines between reality and farce. Janet Frame’s “The Painter” presents a unique, contemplative view of suburbia, capturing moments in an almost cinematic style, while Duggan’s work reflects a lively, engaging literary voice. Overall, New Zealand Short Stories serves as a significant anthology, with a range of narratives that are both enjoyable and indicative of evolving literary directions. Weston concludes by emphasising the importance of remaining vigilant in the face of creative developments, encapsulating the invigorating spirit of the anthology and its reflection of contemporary New Zealand life through storytelling. The collection is ultimately portrayed as a clarion call for readers and writers alike to remain engaged with the evolving landscape of New Zealand literature.

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