Busytown by Jolisa Gracewood

45

All in the game

What’s that smouldering, sulphurous smell? No, not mischievous Eyjafjallajökull, doing for air travel what Lady Gaga has done for the underpants industry. I'm talking about something closer to home. Ah yes: it’s just the literary world singeing its skirts on the limelight again. Flaming trousers, knickers in a twist, scoops, scandals, feuds and frauds… I say! It’s almost as if literature matters.

I have mixed feelings when bookish types hit the entertainment pages. Is it a welcome boost for a dying medium – after reality TV, reality books (or, as we used to call it, non-fiction)! Or is it a useful reminder that reports of the death of the author have been wildly exaggerated, and were never countenanced by the marketing department anyway? Or is it yet another sign of the apocalypse?

--

Sometimes it’s just damned fine reporting. Last week, Matt Nippert managed a nifty scoop while profiling a new book by a US author that hinges on a supposedly true story about a chap whose wife and children were kidnapped by Maori in the mid 19th C. Something didn’t smell right about the inspiration for the novel, and Matt cleverly tracked the story down to its surprising source. An admiring Watson to his Holmes, I insist you read it.

I was happy to contribute this thought to the article: "It doesn't really matter whether the inspiration comes from real life or from an urban legend ... What matters is that the author transforms it into an original, persuasive and affecting work of fiction." But the best and last word went to Bill Manhire: “All the good stories are too good to check.” True dat.

--

I might have been more nuanced in my comment if, when I spoke to Matt, I’d already assimilated the brewing Stead-Cox brouhaha. Which has turned out to be more brou than haha.

My first thought (and indeed tweet) when I heard that C. K. Stead had won the world’s most generous short story prize was that he had probably broken the local record for dollars-per-word obtained in the pursuit of literary glory. By my rough calculation, about NZD$7.50/word, which is nice work if you can get it. He sure got it. Stead is on the money when he suggests that there's a measure of envy in the flutter that followed; I doubt we'd be as avidly interested if the story had won a book token and a year's subscription to the Times.

I didn’t think much more, other than to wonder who the other finalists had been. You can see the long list here, which included Helen Simpson’s terrifyingly funny "Diary of an Interesting Year". The final shortlist of six featured five blokes, as it happened; an interesting contrast to the formerly most generous short story award in the world, the BBC National Short Story Award, whose finalists last year were all women.

Then Stephen Stratford, editor of the defunct -- but dead funky -- literary mag Quote Unquote, linked the Stead story to its apparent biographical inspiration -- a historical grudge match with the late Nigel Cox, who wrote a disappointed mid-career assessment of Stead in 1994 -- and suddenly it was ON.

Stephen followed up in several interesting posts. And the Sunday Star-Times picked up the story.

I realize I’m late to this tea party, but it turns out to be one of those tea parties that orders a pizza and some beers and calls some mates, and rumbles on well past the point where Noise Control show up. The story has not just legs, but (thanks to its international origin) wings, with the latest round appearing in Private Eye and the Guardian.

At which point the Sunday Star-Times trawled its drift-net across the blogosphere again, and went back to Stead for further comment. He boldly fired off a few rounds at Stratford and also at Keri Hulme, insisted that the parallels between life and fiction are "not obvious" to him, and eschewed all "moral responsibility for mistakes that other people make in reading [his] work."

It would be nice to take Stead at his word -- except that there isn’t a single word, but several. On the one hand, Stead insists the story is not in any way about Cox. On the other, he tells the Sunday Times: "The reason I set this story in Croatia, rather than in New Zealand, was because everybody would have tried to work out who the characters were, and I didn’t want that."

These are not mutually exclusive statements, by any means: try setting any story in New Zealand and see how long it takes someone to start guessing who’s who, even or especially if they’re not. I’m still fruitlessly trying to figure out, for example, which of the contemporary Girl’s Own Show DJs – uniformly smart, sexy, and skinny - was the inspiration for the fat, sweaty, bossy lesbians who run a similar show on campus radio in a novel by one of our acclaimed young writers. Because authors don't just conjure characters out of thin air, do they? Or order them from catalogues of clichés?

And on the third hand, there’s the story about the Janet Frame story, mentioned by Fergus Barrowman in the comments here. This historical anecdote leaves our author looking a little bit like a one-legged man in a boot-on-the-other-foot contest. As a legendarily careful and close reader, he would recognise the irony.

Irony - or just common-or-gardeny. Writers, like most of us, are paper-skinned beasts who persist in the delusion that everyone else is a pachyderm. That familiar author-photo pose, gazing intelligently into the middle distance with chin in hand? Is really just the writer carefully shielding a glass jaw with their iron fist.

There’s a fashionable quote from Czeslaw Milosz, most often deployed as a pre-emptive excuse: “When a writer is born into a family, that family is finished.” Duck and cover, friends and relations! But it’s also fashionable to argue that a nation is a kind of family, and without a literature, a nation hasn’t even gotten started. Turns out you can’t make a truly tasty omelette without giving Humpty Dumpty a bit of a bruising, and as the literature tells us, it's awfully hard to put that together again.

Where do stories come from? I think the more interesting question is, having come from there, where do they go? At my house, we have an art cupboard for the kids, the bottom shelf of which is devoted to “inspiration.” Curiously shaped bits of packing cardboard, egg boxes, broken kitchen tools, a disemboweled clock, the old egg beater, contact lens containers, rainbow coloured string, cotton wool, cellophane. Out of these raw materials, the boys make objects - a Viking ship, a remote control robot, a hovering battleship - that utterly transcend their origins.

Croatian backdrop aside, Stead’s scenario hews closely enough to the known world to feel a little too personal. Certainly Cox’s widow and friends legitimately felt so; they can still see the parts from the art cupboard for what they are, which makes it hard to see the whole for what it is. And even if, like me, you didn't know the back story, once it's pointed out, the front story rather loses its gloss.

Would it have been kinder for Stead to knead the germ of inspiration into the dough of the story a little more industriously? Absolutely. And, given that guessing games are irresistible and unavoidable in stories about authors, by authors, it would definitely have been more sportsmanlike to bury the likenesses under a few more layers of costume.

It might even have made for a more complicated story. Two rival women writers, say, and a bereaved husband ripe for the wooing -- a gender flip would neatly have obviated Private Eye's wicked comment that the story read like "one of Jeffrey Archer's cast-offs". Or you could take it out of the artsy realm altogether: a couple of muscular Olympians battling for the gold, and the grieving boyfriend of one of them? Now, that would certainly have been a little less luvvie and a lot more saucy.

Stead argues that the story is purely fiction. As novelist-poet-critic, he’s professionally entitled to that opinion. But it's hard to believe the man whose job it is to notice every single word didn’t permit himself a tiny smile as he typed this sentence:

Steadily, as peace returned, Mario re-established himself in the theatre, and was reinstated to his old place of respect and, gradually, of dominance.

That’s a £25,000 adverb right there.

--

Perhaps it will all be sorted out in the great boozy book launch of the hereafter, which is bound to be, to quote the immortal Douglas Adams, not so much an afterlife, more a sort of an après-vie.

But then again, what could be more dull than a civilized post-everything handshake over cocktails and canapés. As a character in Tom Stoppard’s Arcadia puts it, contemplating the prospect of a “great celestial get-together for an exchange of views”: “If the answers are in the back of the book, I can wait, but what a drag.”

--

When you’re tossed out of the bar for brawling, there’s only one place to take it: to the street. By which I mean the Amazon review pages. If possible, have your spouse do it. (A busy week for the Times, to be sure, which broke the story). And when your spouse has finished tearing strips off your rivals, perhaps they can have a go at Fisher and Paykel, too.

--

She doesn't need the money, and freely admits it, but if there were a prize for best literary use of a true story, I’d give it this month to J.K. Rowling, for her blistering op-ed on the British Conservative Party’s risible social welfare proposals. Entitled "A Single Mother’s Manifesto", it's a veritable Avada Kedavra of a missive. Am I the only one who wanted to print this out, roll it up, and deliver it to our own Minister of Social Development and Employment?

130

Testing, 1 2 3

Hey, I know: let’s assume that the National Standards are a benevolent, well-meaning intervention, earnestly dedicated to closing a vast and unforgivably race- and income-based gap in educational outcomes. I know, it doesn’t come naturally. But try this: read the press release and globally substitute “health” for “education.” For reading, writing, and maths, think height, weight, and, say, healthy body temperature.

Why look, there are even nifty Plunket-style graphs to lend weight to my imperfect but bear-with-me analogy. And unlike overseas, where the numbers are generally anonymized into a snapshot of how the school is succeeding, this new data, like a Plunket book, will be tailored to your individual child, showing how they succeed or fail at adhering to a weighted average on their way to a Brighter Future (TM). They're even weaseling carefully on the question of whether by "testing" they mean actual tests, or just, y'know, not tests, not really, certainly not national ones based on, ooh, standards or anything. Perfectly harmless, perfectly well-meaning.

But, you object, haven't we already been weighing this particular baby for decades now? We know when it’s bonny, when it's sickly, and we have a hunch that fixing the latter will require supplements of some sort. We also have plenty of data from local sources, not to mention tons of useful feedback from the struggling UK and US experiments in numbers-driven educational reform on how not to do this measuring thing. So, why? Why on earth invest precious dollars in yet another nifty set of I-speak-your-fate scales, now with wi-fi and real-time digital readouts?

Oh go on. Roll up, roll up, children, and let’s be measuring you. Say aaaah. It’s painless, and the information is incredibly useful. What could possibly go wrong?

Really now: what’s the worst that could happen?

--

Let me tell you some tales out of school.

Towards the end of his second year of public school in the US, our then 6 year old skipped two weeks of school to travel to New Zealand. One day we were visiting my brother, who lives over the back fence from a primary school. Picture my son jumping on the trampoline (a novelty: they’re virtually verboten over here, due to most home-owner insurance policies) and having a look over the fence at what a New Zealand school looks like.

It was noon. The children poured out onto the playing field and started, well, playing. They sat on benches, under the trees, out on the grass, eating their sandwiches and generally romping about.

Forty-five minutes later they were still out there, frolicking and chatting, and my puzzled child, still bouncing and ogling the charming Brueghel-esque scene over the back fence, asked what on earth they were doing.

“Lunchtime, what else?” I asked.

He thought he was witnessing the longest and most disorganized fire-drill ever seen.

--

Of course he was no stranger to the concept of recess, but at his school it was a maximum of twenty minutes long and took place at the teacher’s discretion. In his first two years of school, this was officially every day, albeit dependent on weather -- and behaviour. If the children played up, they missed out.

This behavioural bar applied to classwork as well. One day I picked him up in tears: he had had to sit out the art lesson, he explained, because he hadn’t finished his maths in time. (He was just five years old, had started school a month before his fifth birthday). His “maths” consisted of writing the numbers from 1 to 100.

This is a child who could count to a hundred on his 4th birthday, and was used to performing complicated sums in his head. He had refused to finish the task, he said, because it was so boring that his brain hurt. His teacher, a kind and intelligent person, said she had tried everything she could think of to get him to just finish the job, but only withdrawing his participation in art class had gotten his attention.

Of course it did. He loved the art teacher, and they were in the middle of a fairly complex (for five year olds) art project, with multiple stages. This was the day they were meant to finish it.

I was stunned that a piece of math-work so mindlessly trivial could not only become a bone of pointless contention between a teacher and a five year old (admittedly part mule), but could also trump another part of the curriculum. Surely the task, if necessary, could be completed at home? Was it even necessary?

Oh yes, it was. It was necessary for the “portfolio.” Vague explanations were given about the weight that would be placed on showing that this particular accomplishment had been ticked off, and the dire consequences if a child failed to complete the task. Besides, there was already homework to be done: every night a page or two of random letter-practice, or a colouring exercise, or a small piece of math, usually printed from an online source, rarely connected to anything actually done in the classroom.

My child got excited about precisely one homework assignment that first year, which involved drawing a plant. He sat out in the garden and drew a tulip, making a cross-section that showed the underground part, and then a cunning flap that showed what we actually see. Every part of the flower was carefully labeled. I had never seen him so attentive to a school-related task at home. The rest of the time, homework was a slow-drip of torture for him.

This was a middling decile school, one we’d chosen from a list of magnet schools in the city because of its express philosophy of child-centred, inquiry-led learning. The school was home to children from an impressive cross-section of families, from newly arrived immigrants to doctors, managers and scientists. All of whom took education seriously, but with a vast range of means. It was part of what we liked about the place.

The school was surprisingy “crunchy” for a public school, at first glance. It featured mixed-age classrooms so that children could learn at their own pace, teachers were addressed by their first names, and each of the junior class teachers had a full-time aide to help. There were 22 children in the class, each of whom I came to know by name.

One child spoke little English, or, as the teacher’s aide put it in a not-very-whispered aside to my husband, complete with eye-roll: “He no speaka da English.” My son was very worried about this child, who had difficulty figuring out what was required of him. “Because he’s bilingual,” my child explained to me. What did that word mean, I asked, not having heard him use it before. “It means that his ears don’t work and he can’t really learn properly,” my child explained, sadly.

Little pitchers are fearsomely skilled at picking up the hidden curriculum, and it took me a while to convince my son that “bilingual” meant neither deaf nor dumb. What burned me up about this particular incident was that we had leaned towards this school partly on the recommendation of Belgian friends. Their children were also emphatically bilingual, but I doubt they were subject to the same implicit discounting of their intellectual abilities.

The hidden curriculum appeared in different guises. The classroom operated a “traffic-light” behavioural system. Each child’s name was on a clothes-peg attached to a cardboard sign. At the beginning of the day, everyone was on green. If you played up in any way, you moved to the orange light. If you made it to red, you missed out on “afternoon stations,” which was the free-play part of the day that happened after 2.

(In this respect, the school was extremely enlightened: children in the K-1 classrooms were encouraged to play with blocks, cars, paint, dress-up materials and so on, although even that was eventually curbed. The official ethos was mostly kind and encouraging, and my son never forgot the day he freaked out over the fire-drill, and spent an hour recovering in the office of the very sweet deputy principal, working on a soothing art project).

But when I arrived for pick-up in the afternoon, I would notice the same names on orange and red, day after day. No prizes for guessing the gender and race of these children. It seemed a terribly defeating, self-fulfilling prophecy rather than a useful crowd-control device. I mentioned what I’d noticed, and the traffic light was eventually discontinued, but not before a discussion in which it was explained that the ultimate goal was to help children learn to sit still during tests.

--

The school moved from its scruffy temporary digs to a smart new building, and at the opening ceremony, the head honcho of public schools gave a speech in which he described the children as “VIPs.” VIPs, he explained, study very hard and do well on their tests, and they do not (among other things) vandalize their nice new school building. Once again, the expectations were underwhelming and at odds with the stated ethos of the school.

This was the year the school instituted a yogic meditation moment each morning, conducted via the PA system. I thought it was sweet, and the kids enjoyed it. It turned out to be part of a scheme to settle the nerves of the children in the higher grades as they prepared for the tests.

Recess still happened nearly every day, but was more frequently withheld for raucous behaviour in the classroom, in direct violation of the laws of cause-and-effect. I was surprised to discover that recess was not guaranteed until 2005, when the state we live in passed a law mandating twenty minutes of free-range time per day for grades K-5 (which could also be fulfilled by a gym class, or by stand-up exercises in the classroom). It struck me that prisoners, casual workers, and zoo animals quite probably had more generous fresh-air provisions than children.

--

Officially, the state testing doesn’t start until 3rd grade (the fourth year of school, given that schooling in the US starts with what is called Kindergarten year), but thanks to the mixed-age system at this particular school, the effects were felt as soon as our child moved into the Grade 2-3 classroom.

Recess dropped to three times a week, although the teacher often sneaked a fourth bite of outside time. Questions about this drew two answers: one, that the children had gym on the other two days, so it was all right (leaving aside the question of how the gym teacher was meant to feel about this, or what this meant for children for whom recess was a mental proposition as much as a physical one). And secondly, that there simply wasn’t enough time in the school week to cover the curriculum AND have daily recess.

These were seven-year-olds.

Homework was the same drip-feed of photocopied worksheets, enlivened by a new exercise, in which a simplified weekly “newspaper” from Scholastic was handed out with a set of questions to be answered. These drove our child to new heights of anti-homework frenzy, particularly the open-ended written response question, which always took the form: “What was the most interesting thing you learned about [snow leopards, Barack Obama, fruit, charity-work, whatever the subject of the newspaper was].

Like George Washington, he could not tell a lie. Nine times out of ten, he learned nothing from the simplistic text, and nine times out of ten, he wrote “Nothing” and got a zero for his efforts. I had known that I would have to teach him the art of pointless hoop-jumping at some point in his life, but I had no idea it would arrive this soon. “Just make something up,” I would say, and he would ask “WHY????!!” and drive his pencil through the paper to make a point.

At the parent-teacher conferences, we asked if there was a way around this. Could we rephrase the question? Could he, perhaps, write the most interesting thing he already knew, or write a question that the newspaper didn’t answer but that he would love to know? Surely the point was to craft a well-written sentence on the subject at hand, and to extend his curiosity on the topic, whatever it was?

Apparently, no. The question was phrased this way, because it was the way it would be phrased in the tests, and it was important for children to get used to it. The material was irrelevant. It was style over substance, and the style was drillingly dull.

We asked a lot of questions that year. We became “those” parents. At every step along the way, in every one of these conversations, teachers and administrators – intelligent, well-educated, well-meaning people – explained things in terms of the tests. Not in terms of what was good for the children, or what worked as effective classroom management. It was all about the tests. A spectre was haunting the school, and it was the spectre of the tests.

And at every point, our perplexed observation that the tests seemed to be driving the curriculum, and that the horse might be happier pulling the cart, was categorically denied. We wanted to be good supportive parents, but the gaslights were flickering.

--

I’m telling this story chronologically and anecdotally, from the bottom up, because that is how we learned it. At first, all I could see was the details, the illogic of the system, and the effect on my child, primarily, and the teachers, secondarily. The connection between the tests and every other facet of school became clearer and sharper as time went on. I repeat that it was a kind, well-meaning school staffed by kind, well-meaning people. Looking back, every moment that involved fluster, or bluster, or frustration, or fury could be laid at the feet of the tests.

Homework in kindergarten: because of the tests. The wording of the homework: because of the tests. The crowd-management techniques: because of the tests. The recess policy: because of the tests. The phasing-out of playtime in the classroom: because of the tests. Library time only once a week, even for readers who got through a book a day: because of the tests. Even the good stuff – the yoga, the ice-cream parties – because of the tests.

--

That third year of school, it all became abruptly desublimated. The third graders in the classroom were preparing for the tests, and the second graders couldn’t avoid the subject. This was early 2009, and the art hour (half-hour, by this point) was spent making posters on the rather topical theme “Yes We Can!” – neatly harnessing our new president’s bold rhetoric for the tests.

The streamed maths groups (a bonus for our number-mad boy) were abandoned for the moment, because of test prep. Even the G & T programme (not a cocktail hour, but an hour a week of “enrichment” for kids deemed “gifted and talented”) was suspended for the 6-week duration of the testing and marking period.

A field trip to the art gallery was cancelled on the morning of the trip, in favour of more maths prep “for the tests.” This was a school that was rightly proud of the number of field trips it managed to provide on its limited budget, a bonus for children who didn’t necessarily have those resources in their home life. They were embarrassed about the last-minute cancellation and offered several different explanations, even though I was waiting with the docents for the bus full of children to arrive, and the voice over the phone explained the math situation.

Indeed, whenever we asked direct questions about the situation, we were told conflicting things. The teachers would say they’d been told to teach this way. The administration would say this was purely the teachers’ choice. I don’t want to blame the teachers or the administration, since it seems to me that’s precisely what this sort of policy is designed to do. But it’s hard not to be disappointed by the system-wide capitulation. We inquired, we lobbied, we even managed to call a meeting with some of the city administrators, but to no practical avail. The school lived and died by the test results, and so did the school’s spirit.

--

There were projects and classroom fun unconnected to the tests, of course. Our lad enjoyed the historical project, compiling a small book about a famous figure in history and then showing up in full costume. (We smiled as a rugged Ed Hillary mingled with Harriet Tubman, Betsy Ross, Susan B. Anthony, more than one Martin Luther King, Malcolm X and a Kennedy or two). The teacher took the pressure off the children with read-aloud stories every afternoon, and random craft activities for Halloween, Thanksgiving, and the snowy season.

But the tests were around the corner, and the worry about the impending tests communicated itself from the top down. Children were advised about stress management techniques. The PTA got busy making “survival kits” for the tests (gum, tissues, water bottles). A friend with a child in a higher grade confided that she was torn between getting a doctor’s note for her brilliant but slightly fragile child, or upping the child’s medication to get her through the tests. Another high-achieving child of our acquaintance was freaking out, and worried that she might “fail” the tests; clearly the message that the smart kids should pull harder was getting through.

As the tests approached, anxiety permeated the school to a palpable degree. It was astonishing, upsetting, confusing, frustrating. If this school truly believed in its explicitly right-on mission, its mixed-age classrooms, its child-centred teaching and its inquiry-led curriculum (those latter two scarcely in evidence, now that we thought about it), then surely the quality of the teaching would prevail, and the tests would show that it was working? Why drill the children at all?

What we didn’t realize at that point was that the school was in a perilous position: never quite meeting its targets, year after year, and thus constantly in danger of never fully specified consequences for failing to make “Adequate Yearly Progress”. Details were hard to come by (unlike the test numbers, freely available on a handy web site where you could slice and dice the data by year, by subject, by comparable schools, by comparison with the city and the state at large).

The school was rumoured to have managed to have itself designated a “safe harbor” school – which is when you promise to change your approach, and thus can beg immunity from the consequences of failing to meet your target. In practice, the changes were incremental rather than qualitative – the turn of the screw. With the number of children succeeding “at or above grade level” hovering between 50 and 60 percent, occasionally higher or lower depending on class and subject, the school was simply treading water, year after year.

Indeed, the annual test results mostly varied by the margin of error. Given the number of children taking the tests each year, the loss of a single “safe bet” – a professor’s child, say – could make all the difference. No wonder the school was so eager to retain the children of the cadre of disgruntled parents who had begun to speak up about the invidious effects of the overpowering emphasis on tests.

--

I sought advice from other parents, several of whom shared the concern but were determined to tough it out, others of whom were already making exit plans for their children. One mother, a teacher on “mommy sabbatical,” was a PTA stalwart. She was the one who would show up to class with a trolley full of art gear and lead the children in exhilarating, challenging projects that had nothing to do with tests. In second grade, she started homeschooling her child, after a teacher took her aside and advised her that she’d never get what she was looking for from this school. She said with a shrug, “they’re just trapped in this system.”

After seriously considering homeschooling, we managed to transfer our child to a public school within walking distance. It’s the in-demand top-decile school that we’d been told we should be aiming for all along. I’d resisted, partly just because the admission process seemed so baroque and capricious (our house fell outside the gerrymandered district, even though we lived literally over the road from the school’s temporary digs while the new building was being constructed).

I’d also resisted out of principle. It seemed like giving in, to send our smart privileged offspring to the smart privileged school along with all the other smart privileged kids. What could we possibly contribute to a school composed largely of the children of academics, when we could be bussing our social capital across town to a brave little school that, as it turned out, was holding on by its fingernails?

It’s the traditional liberal dilemma, and I didn’t want to be a cliché. But I also didn’t want my child weeping over his homework, and I didn’t want to be spun any more contradictory stories about why he was learning what he was learning, and what was wrong with him for not wanting to learn what they were teaching.

We weren’t alone in our exodus. Some of the families we’d been working with to try and rescue the old school from its tangle of anxiety stayed on, but many bailed out along with us.

At the new school, I still volunteer, but not as much as I used to. The children are older and need less hands-on help in the classroom; the teachers have it under control, and frankly, there is more than enough parental largesse – both practical and financial - to go around. It’s a more traditional place, with teachers addressed by Mr and Mrs, and fewer field trips. But there’s recess every day, and art and music are prized, and bilingualism is seen as a feature rather than a bug; the children learn Chinese and celebrate their international heritage.

At the dedication of the new building for this school, the same chief of educational services gave a speech. This time he didn’t mention vandalism or test scores. He spoke to the parents, praising them for their dedication to the school and promising to do whatever it took to keep the school a good one. He was, quite literally, preaching to the converted. To the saved.

The tests are a month away. At the new school, the homework has only just begun to be about test practice, with the multi-choice quizzes that bore my child and the rote questions that still drive him bonkers. But he's managing. The prep is presented as a necessary evil, not overemphasized; thanks to the student catchment and the uniformly stellar annual test results, the teachers can afford not to freak out about it.

They use the same pre-masticated preparation material as the other school, including the green booklet on Editing and Revising which (trust me, I’m a copyeditor) contains at least one unintentional error per page. The teachers have complained but to no avail, but the children, at least, can laugh about it.

For these happy, healthy children, the tests are a minor hassle, a mile-wide flaming hoop, a tedious rubber stamp, a set of boxes to tick. They don’t need pep rallies or survival kits. The only thing they really need to be drilled in is how to sit still for 45 minutes without going to the bathroom. They will be measured, according to the laws, and will come out tall, fit, and healthy, as expected. They and their teachers will be able to relax and get on with the year.

Meanwhile, I wonder about the kids on the other side of town who continue to trust in the school that failed us.

The quiet boy, an extraordinarily fluent early reader, from a family of nine who lost their house to a disaster one Christmas and who were helped by a clothing drive organized by the school. The stroppy little guy, half the size of my son, who tried (without significant success) to beat him up in the bathroom one day, to the despair of his single dad who was doing everything to raise him right. My favourite, an irrepressible little dude whose hard-looking and underemployed father was sometimes the only other parent on the field trips.

Those children will be sitting their first bank of standardized tests in a month’s time, and they will have been under the gun since the beginning of the school year. The test scores at their school continue to hover in the fretful hinterland of not-good-enough, with an ironic, self-defeating, self-fulfilling kicker: the emphasis on raising the test scores has driven out a number of children pretty much guaranteed to do that for free.

The result, as the teachers scramble to prepare their charges for the annual weigh-in, is presumably the usual roundelay of chivvying and drilling and calming and cheerleading. The educational equivalent of ice chips and cold-packs to cool their fevers, pennies in their pockets and wedges in their shoes in the hope of getting them to hit the right numbers on the Plunket graph.

Reading back over this, I’m amazed that we stayed as long as we did at the first school, bobbing around like frogs while the water boiled around us. We, like our child, were new at this school thing, and still figuring out how it all worked. But we also stayed as long as we did because of the people. Writing this piece made me sad and nostalgic for that hard-working, dedicated community of people – the children, the parents, and the harassed teachers, administrators, and staff doing their best amid the sticky web of justifications and statistics that, they believed, tied their hands and ruled their school.

They first taught us how to go to school in America. They also taught us when and why to leave.

616

Holiday reading lust

I have the second sight, I do. Thursday: dropped off a box of chocolates at the public library and left with two bags of books. Friday: noticed that the weekend forecast promised an epic snowstorm.

We only got a foot of snow in the end, but that's more than enough for some proper sledding, a fair amount of shoveling, and lots of lying on the couch with books and hot cocoa. And my favourite winter breakfast: snow cream, which is like ice cream, but made with eggnog and freshly fallen snow. It's criminally delicious.

Today: a mild thaw, which means pretty icicles garlanding the eaves. Yeah, I'd rather be summering on the Cheviera, but I'll take a greeting-card-worthy White Christmas as second prize.

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A hat tip to PA System commenter recordari for inspiring the title of this post, in which I haphazardly mention a random handful of the books that I loved this year, and add a few booky-links (bookmarks?) in the hope that you’ll reciprocate in kind, so we can all lie around with our noses in books no matter what the weather.

Firstly, a few links that seemed apposite in the light of recent discussions here: James Wood writing in the New Yorker on Paul Auster’s auto-plagiarism; the blog Regrettheerror on errors, and the rise of crowd-sourced fact-checking. And AL Kennedy in the Guardian, on the privilege and pleasure of rewriting.

Two pertinent quotes from that last piece:

Oh, but think, dear reader, of the dear reader. They've done you no wrong. They have, in fact, sought out your work and allowed it into their mind – deep into their warm, intimate mind, where they could be thinking exactly what they want to about all the wonders of life. Instead, they chose you.
[...]
A writer who thinks, who rewrites, isn't just bucking an ugly trend. He or she is also taking control of a power that can delight the heart, encourage, entrance. That same power can deceive, betray and murder and it is a matter of basic self-defence to keep ourselves as literate as possible, as strong as possible in our words.

Case in point: a thoroughly terrifying but typically brilliant story by Helen Simpson in the latest New Yorker, in which several thousand words paint a picture worth paying attention to. It's Copenhagen, the bedtime-story version. (And I love what she does with niggly bourgeois sexual politics in this story.)

Speaking of which, see also this tasty morsel by Hilary Mantel, which visits Cinderella twenty years down the track, to see exactly how she's getting on ever after.

And I stumbled across this sweetly voluptuous story by Imogen de la Bere, about the world of am-dram companies and their soft-boiled egos.

Let me also point you towards Sam Anderson's interesting article on the state of the naughty, sorry, noughty novel. "What kind of novel, if any," he asks, "can appeal to readers who read with 34 nested browser tabs open simultaneously on their frontal lobes?" The short answer: short ones, or long ones composed of short bits (or, I suppose, bytes). I'll have to read The Brief Wondrous Life of Oscar Wao to be absolutely convinced.

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For the rest, something old, something new, something borrowed, something blue, and some other bits.

Something Old The Home-Maker, by Dorothy Canfield Fisher. I have the Persephone Books edition, in its creamy dove-grey cover, which I read in one sitting. First published in 1924, it’s a straightforward role-swap story. An over-achieving hausfrau (and inadvertent tyrant) finds herself with a “real” job at the local department store after her gentle, unambitious husband has an accident and is unable to go back to work. He becomes a stay-at-home-dad, while she discovers the world will pay her for her domestic genius.

The novel is both gently comic and deeply tragic, as it slowly reveals the effects of this new order on the couple and their children, and the impact of their switcharoo on the fortunes of the department store and the psychic life of the wider community. A lovely, very modern, and thought-provoking read, with some of the most incisive portraits of the child mind I’ve seen in ages.

Also in the same pile: Tell It To a Stranger, a book of exquisite wartime short stories by Elizabeth Berridge, who died last week. And a couple of Richmal “Just William” Crompton’s novels for adults, too, all jolly good stuff.

Something New David Nicholls wrote the appealing and funny Starter for Ten, a love story set against the backdrop of University Challenge. I didn’t get where I am today without falling in love against the backdrop of University Challenge, so I’m already predisposed to love his work. The hook for his latest novel, One Day, sounds almost impossibly contrived and yet is as ambiguously simple as the title: two people meet one day in 1988, on their last day of university. And then we check in with them annually thereafter -- sometimes alone, sometimes together -- every year, for twenty years, on the same date, July 15.

That's St Swithin’s Day, for the Billy Bragg fans in the room.

Emma and Dexter sort of hook up on that first night, but don’t actually get together. Not yet, anyway. There’s an agonizingly platonic relationship, several false steps, and a few belated realizations. On one level, as we follow idealistic Em and hedonistic Dex through the nineties and into the new millennium, this is a swift and funny Hornby-esque novel of manners. If you're roughly that age yourself, prepare to cringe and/or giggle in recognition at many points in the book. On another level, it's a meditation on love and life and what we want out of them. It rattles breezily along, and you gradually figure out where it’s going, by which point it’s too late not to care about the characters and where they’re headed.

I did have a debate with myself about why Dex got to be the good time bad boy and Emma had to be the one with the broomstick, but I suppose the only other choice was to make Dex all fraught and uptight and Emma the Manic Pixie Dream Girl. And some readers might not thrill to the ending; I felt it deserved one more twist -- a meta-fictional one. The novel is a light read, except for the bits when it very much isn’t. Don’t read it if you’re feeling the least bit emotional. Or perhaps don’t read it unless you want to feel emotional. Nice reviews of it here and here.

Something Borrowed No, not what you’re thinking. From the library, I mean. There are, as we have learned recently, many ways to write a historical novel. Meg Rosoff does it by quite literally saddling up and galloping off into the sunrise. Here’s how The Bride’s Farewell begins:

On the morning of August the twelfth, eighteen hundred and fifty something, on the day she was to be married, Pell Ridley crept up from her bed in the dark, kissed her sisters goodbye, fetched Jack in from the wind and rain on the heath, and told him they were leaving. Not that he was likely to offer any objections, being a horse.

There wasn’t much to take. Bread and cheese and a bottle of ale, a clean apron, a rope for Jack, and a book belonging to Mam with pictures of birds drawn in soft pencil, which no one ever looked at but her.

We’re in Tess of the Durbervilles territory – chalky Salisbury, middish 19th century, with an unlettered rural girl trying to parse the big wide world beyond the known village. Barefoot Pell, accompanied by a mute little brother who won’t take no for an answer, carefully skirts “each village dawn to dusk till the names grew strange and the people they passed started to look unfamiliar.” She wants to be free: “free and hungry, free and cold, free and wet, free and lost. Who could mourn such conditions, faced with the alternative?”

In this quick but astonishing read, freedom really is just another word for nothing left to lose, and it’s a scarily romantic proposition. There’s hunger, horse-trading, children lost and found, workhouses and forges, farms and great houses, and hunger, always hunger. Paths are crossed and re-crossed, crossroads reached. A preacher with secrets. A single gypsy mother with a wagon full of childen. Kind gentlefolk who really have no idea. A mysterious hunter, nameless, whom Pell thinks of as Dogman.

The narrative flies like an arrow shot into the air, in a clean, clear arc. So what if it lands a little shy of the mark in the last few pages? It’s a long strange trip through an old world made new. There’s no need for footnotes in this book: just a tale, told well and told straight, although Rosoff supplies a list of inspirational books on her website. The author delivers historical detail subtly and gracefully, via her characters' actions and words, without editorializing or cliché. Like Thomas Hardy, whose disquisition on Tess’s favourite cows tidily reveals a world of detail about gender, power, and agriculture without hitting us over the head with a textbook about the industrialization of rural England. Old Pretty and Dumpling tell you everything you need to know. Now that’s how you do it.

I also loved Rosoff’s debut, How We Live Now, which took the girl-stays-with-cousins-in-a-big-house-and-has-fun premise, and introduced it to the End of the World as We Know It plot, resulting in a sort of I Capture the Castle on the Day of the Triffids, with a hot, sweet, cousinly love-affair to boot. It was riveting and weird and delightful. And I love that the author passes herself off as having wasted decades of her adult life in the advertising mines, and claims she is completely unable to come up with stories. Wrong on both counts, Ms Rosoff: you obviously learned how to attract attention and make every word count, and your story-telling is flawless. Write on!

I also borrowed from the library Colm Toíbin’s much-bruited Brooklyn, prompted by the Marion McLeod's promising review in the Listener: “Novels don’t come more realist, more mundane, than Brooklyn. But they don’t come more magical either.” That's a beautiful encapsulation of the novel's strange attraction: its almost stunning mundanity takes hold of you immediately, and paints a persuasive picture of how utterly opaque people are, not only to each other but to themselves.

I read it the way I read Cormac MacCarthy’s The Road -- doggedly, grimly, unable to look away from the page -- despite the odd niggling doubt: I can’t believe a female character who could mention in passing the new hairstyle and clothes that changed her life without actually describing said hairstyle and clothes. Still, the story it tells is quietly powerful, and the final paragraph comes as a brilliant, heart-breaking sideswipe, and a terribly particular answer to the universal emigrant question: how did I get here?

Something Blue Oh, I love a good weepie, and I love a good children’s picture book. Sit me down with Bob Kerr’s almost wordless masterpiece After the War and a box of tissues, and there goes my afternoon. Half a World Away (published in NZ as Amy and Louis) is the first picture book I’ve seen that directly captures my children’s diasporic experience: a close friendship experienced at a distance of, yes, half a world away. Written by an Australian, Libby Gleeson, and beautifully illustrated by New Zealander, Freya Blackwood, the book really gets it. Two wee thumbs up and a big lump in the throat.

Other children’s books enjoyed this year: Rick Riordan’s Lightning Thief series, which is intelligent, exciting, and so well written as to be a joy to read aloud. We’re excited by the promised of a movie and hoping it gets things right. The trailer is promising, anyway.

Also on the 8 year old's bedside table: Calvin and Hobbes (Old and New Testaments; they have all been memorized and are quoted on a daily basis, chapter and verse, with missionary zeal). And a rotating stock of Hardy Boys adventures, all of which seem to feature deep-sea diving, a fast car, a lighthouse, a treasure left by an old pirate or ancient Pharaoh (or both), and a posse of brutal ruffians with suspiciously foreign accents -- not to mention the reliably butch Frank and Joe, and the obligatory comical over-eating scene starring that lovable third nostril, Chet.

On the one hand I strive to introduce more literary fruit and veg into his starchy white-bread book diet - tips appreciated. And on the other, I know it's never too soon to discover the carbo-comfort of genre fiction, the bread and butter of the reading life, of which there is, thankfully, a whole range to explore across a lifetime. One man's Hardy Boy is another's Holmes. Onward and upward with the literary arts!

At the younger end of the scale, we are getting some giggles out of a new series by Mo Willems. I can take or leave that wiseacre pigeon with the thing about buses, but the conversations between Elephant and Piggie are pure Bluebottle and Eccles.

We also loved Lydia Monks’ Aaaarrgghh, Spider! and Eeeek, Mouse! (not to be confused with this guy). And Tiddler, the latest fishy tale by Julia “Gruffalo” Donaldson, jingles along with meter and rhyme that would turn Kipling viridian with envy.

Books, Interrupted Oh, the shame! Over the summer, on my first week in England, I rushed to buy A.S. Byatt’s The Children’s Book and Sarah Waters’ The Little Stranger. I fondled them lovingly, feasted my eyes on the exquisite book design -- and then got no further than the first chapter of either. Of course, Things Happened, and big books felt beyond me for a bit. But I will get back to them over the break.

You know I reviewed and liked Lorrie Moore's A Gate at the Stairs. Another a book I reviewed and liked, although the review never ran in the end, was The Magicians, by Lev Grossman. It's not perfect, but it is perfect for those whose guilty pleasure it is to read Harry Potter under the covers.

Quentin Coldwater (chimes with Holden Caulfield) is a high school senior, brilliant, mildly disgruntled, overly entitled. He’s going through the motions of applying to all the top universities -- oh, the drama of the gifted child! -- when without warning he is whisked sideways into a university for young wizards, cleverly hidden away in upstate New York.

The audition scene, in which Quentin discovers to his own surprise that card tricks are the least of his talents, will ring true to any smart kid who cruised through school only to discover a whole new mental gear at university. Quentin's finally among his peers, and from that point on, every little thing he does is magic. Literally.

The chapters about Brakebills College for Magical Pedagogy read like Hogwarts Revisited, only with American kids and fewer teddy bears. Four years whiz past in an intoxicating blur: bright college days of eye-opening classes taught by eccentric professors, and, even more exciting, dark college nights of cramming, crushes, and cocktails.

Then the novel darkens as our hero and his motley breakfast club of magic pals graduate into the, shall we say, “real world,” where they settle into Friends-style communal living and seek fulfilling outlets for their wizardly talents, settling for the Peace Corps or management consulting. It becomes steadily clearer that Quentin is kind of a dick, which I suspect is partly Grossman’s point. Magic (or higher education) doesn’t make you more lovable, or better, or more handsome, or indeed any smarter than you were to begin with. Take that, Harry!

And then the unreal world obtrudes again: this time, in the form of a Narnia-like series of books -- obsessively loved by Quentin and his classmates -- set in an imagined land called Fillory. Which turns out not to be fictional at all. In the final third of the novel we're dragged off again across the magic chessboard into another dimension, where things get very weird and very real, very fast. One minute you're chortling at the talking bear who witters on about varieties of honey and his inferiority complex vis-a-vis grizzlies; the next minute bloody havoc breaks out all over, in a battle of good vs evil, or something like that, with a very unlikely villain.

Sure, the book is too long by a quarter and the characters often grate, but the degree of imagination Grossman has poured into this book, combined with his often prestidigitatorial prose, makes for a bewitching read.

Poem of the Year For me, anyway: John Updike’s Perfection Wasted, as read in the Papatoetoe Cemetery. Re-reading it now, I see the winking cynicism and love-me artfulness that was Updike's stock-in-trade, but reading it then, it conveyed its basic message awfully well.

Phew, So It’s Not Just Me Discovering, in the Listener’s Best Books issue, that C.K. Stead doesn’t keep a list of what he’s read, either. Do you? I feel as though I should.

Literature Enlarges the World The silver lining of my latest bumpy adventure in book reviewing was the many intriguing correspondences with many lovely people -- and the offers of editing work -- that sprang from it. Likewise, the way a discussion thread takes off around here when someone mentions something they've just read is like a hot air balloon of the heart. Dear readers, what readers you are: I salute you.

Discoveries included Bookiemonster’s blog, which I admire for its catholic tastes, endless enthusiasm and generous wit, and incredibly frequent updates.

And from the “don’t know what you’ve got till it’s gone” department: Simon Mayo’s books podcast from BBC5 Live, the last session of which ran this week. For the last several months it's kept me company and cheered me up as I walk the streets. It’s like the dream book group in your head: a couple of nervous but willing authors, three or four fierce but kind reviewers, and a gentle and literate host who keeps them more or less on track as they review the books of the week, beginning with the cover and working their way in. I’m not sure what will spring up to replace it, but I know I'll miss it in its original form.

Hmmm... Public Address Radio Books?

190

For the (broken) record

Back in November I promised a roundup of the discussion about the plagiarism in Witi Ihimaera’s The Trowenna Sea. Many interesting people had said many interesting things along the way, and it seemed useful to assemble the major links in one place, just for the record.

But I have to tell you, my heart just hasn’t been in it. At a distance the whole thing just seems tawdry and depressing. A storm in a tea-cup – make that a china tea-cup out of place on the veldt – indeed, a china tea-cup as out of place on the veldt as a chunk of somebody else’s memoir in a novel by a once great New Zealand writer (to coin a metaphor).

The storm rumbles on in various places, most recently at Stephen Stratford's Quote Unquote blog and in a new post by Peter Wells. The previous online discussions – links below, in previous post – form a veritable garden of forking paths in which you might lose yourself for an hour or so.

Like the blind men and the elephant, we’re all standing in a darkened room, each of us with a firm grip on a different part of the beast, convinced that that is where the problem lies – the hasty writing, the once-over-lightly editing, the rush to print, the background of the story, the laureate, the university’s “investigation,” the backlash, the counter-backlash – and every now and then someone attempts to delineate the elephant we’re all haphazardly groping.

There are probably many elephants in the room, but those are animals known for their patience and they aren’t going anywhere any time soon. One of them, according to one commenter over at Quote Unquote, is that “Witi Ihimaera is just not a very good writer.”

Well, the looming mother elephant of that particular baby elephant -- ignore her at your peril! -- is, of course, that he was a very good writer. He wrote stories that had never been written before, he wrote fast and well and with authority, and he brought a whole world to life on the page. To some readers, his books were dispatches from another country -- but our own country -- and to others, who had never expected to see their own experiences in a book, they were empowering news flashes that their lives were something to write home about.

(For a glimpse of the predicament of the young Ihimaera – who found himself wedged between the rock of representation of his own history and the hard place of patronising Pakeha patronage -- check out this vivid Kaleidoscope interview from the mid 1980s).

Then Ihimaera came into the academy and helped foster a whole new generation of writers. And now this impressive legacy has messy clay footprints all over it.

“Sentimental” is the word the author himself uses to disparage his early writing, which is silly, if you ask me. Sentiment is no bad thing. Some like it hard-boiled, others prefer coddling, and you can even have it both ways if you want to. A sentimental lens is almost unavoidable when you’re describing a world in the process of disappearing before your eyes. See also James Herriot, Alexander McCall Smith, Giovanni Guareschi, Sara Paretsky, Kawabata Yasunari, Tanizaki Jun’ichiro, Kazuo Ishiguro, and many many other fine writers. Let me spell it out: there’s no shame in that game. The shame is that, in this case, Ihimaera’s combination of sentiment and history-by-the-book curdled on the page into an unappetizing mess.

Far be it from me to teach a grandfather to boil eggs. But how I wish he would go back into the kitchen and start from scratch, and start small, because when Ihimaera writes small, his work is huge.

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The latest developments, for those following along at home, include a third piece in the Listener, in which Joanne Black spoke to another author whose words had been borrowed, noted Australian historian Peter Stanley. She also noted that Penguin had forbidden the Listener to quote any further from the novel.

Almost simultaneously with that article, three wise men ventured that enough was probably enough. Lawrence Jones made the kind, calm, and explicitly provisional case that “probably the most Ihimaera can be accused of is carelessness about sources, excessive haste, and maybe taking a few shortcuts” -- henceforth to be known as the Goodbye Pork Pie defence. Hamish Keith tweeted his relief at hearing a “saner voice … amongst the manufactured outrage,” and Graham Beattie begged the Listener to “Give it a rest!”

These Gandalfian pronouncements were the cue for the rest of us to down pitchforks and wander off to the Hobbit Inn to compare pumpkins and think about elevenses.

Mary McCallum had made a similar argument earlier - and had wickedly anatomized the various responses to the palaver.

Talk of lynch mobs was wild overstatement, though. That’s just not how we roll. Lunch mobs, maybe. I’d say that apart from the predictably intemperate (read: racist) grumbling in the expected corners of the internet, the discussion has been pretty respectful, illuminating and healthy.

And who can complain about literature being in the news? Peter Wells wrote “Oddly enough I find these public kerfuffles quite heartening. Literature is so often almost invisible in New Zealand.” And as Chad Taylor put it over here, “New Zealand writers have been clamouring for more coverage in the media. I guess we just got it.”

Well, domestic coverage, at least. It’s terribly ironic, in the age of tweets heard around the world, that the fuss has been largely confined to New Zealand. This was probably a direct result of the Listener’s old-school protocol of protecting its articles by keeping them offline for weeks. (And my own sense of decorum, in choosing not to post the parallel passages, or to crowd-source the ones I couldn't pin down).

I suspect the storm will rumble on as long as the book remains not just on shelves but at the top of the best-seller list. Continuing to sell the book makes the original gesture of apology just that: a gesture, perhaps even a bird-shaped one.

Meanwhile, offstage, I’ve been having the most rewarding – and largely off the record -- conversations with all sorts of people from all corners of the world. Writers, editors, reviewers, academics, and people who experienced some of the events told in the novel. Each has added a piece of the puzzle. Some parts of the story may still never be told, at least in public. But others can and should be.

To that end, and with a view to learning lessons and moving forward, sitcom-style, I offer a LUQ. As in, Lingering Unanswered Questions (it’s like a FAQ, but luqier… for some). With seasonal trimmings. Feel free to contribute your own.

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Q. So at no point in the last six weeks have you been contacted by anyone from Penguin or Auckland University so they could compare notes while conducting their own audits of the novel? Isn't that a trifle peculiar?

A. Oh, trifle is never peculiar. It’s a good warm-weather alternative to dense, fruity Christmas pudding.

Q. But, I mean, you've read the book what, three times? And got all those other books out of the library? And contacted other writers whose work you think might have been harvested? Surely they'd appreciate your assistance in sorting it all out?

A. A little cream on your trifle? It's fresh.

Q. Oh dear oh dear oh dear. I am a writer [actually I am a bunch of different writers condensed for brevity and convenience], and this is my worst nightmare. Honestly, we lose sleep over this sort of thing happening by accident. And it’s not just historical fiction, but anything we write that relies on knowing the background, or bringing old words to new life. So here’s what I do: I make sure to move all my research books off my desk and compose in a fresh document, without recourse to cut and paste, but still I worry -- accidents can happen. My editor and I once spent days hunting for the origin of a single phrase I had used, which I suddenly thought I might have heard elsewhere. We didn't find anything. But what if I accidentally plagiarised it? And given that my work plays with the literary canon, what if readers and reviewers think my deliberate allusions are theft? Please don’t judge or punish me for an honest mistake!

A. Dearest writers. If you are worried about it, you are not doing it. If it happens by accident, I trust you won’t have 30+ accidents in the same book. All novelists harvest material from the world around them and brew it into a story; if there are chunks in the stew, I generally believe that you know the protocols and will have put them there on purpose ,and that we will know them by their different typeface, quotation marks, or sheer famousness. Any reviewer or reader worth their salt can spot an allusion at 500 paces. Or 500 pages. If not, our loss. Please keep writing. PS I love you.

Q. If other writers are this careful, how on earth did Ihimaera manage to slip up so often and so comprehensively?

A. “It’s a puzzle,” said Geoff Walker to Paul Henry on TV. “And it’s a puzzle to Witi as well... I can only think that it’s something to do with the creative process.”

Also known as the “We’re taking this novel to Invercargill” process.

Q. Does the University of Auckland consider the case closed?

A. Officially, they are satisfied with the original investigation. They should be satisfied: it was accomplished in less than three days, which is a record for any university decision-making procedure anywhere. It takes a group of academics longer than that to decide where to take the visiting speaker for dinner, bless ‘em.

Q. How does this case affect students who might be worried about plagiarising - or no longer worried about plagiarising?

A. What the University has said is that if “minor” plagiarism – more than a dozen passages, no upper limit specified -- is discovered in, say, your dissertation, all you need do in order to graduate is admit to the bits that have been found, apologise, and then rewrite those bits. At least, that’s my reading of this press release from the Vice Chancellor, although I will happily stand corrected.

Q. If we hold off buying the book now, we can look forward to buying the revised version of the book with an expanded acknowledgements section, as promised by Ihimaera and Penguin for some time next year, right?

A. Given that nobody seems to know precisely how many passages require acknowledgement or rewriting, any revised edition would be subject to doubt about its provenance. I’d also be very surprised if the epilogue section, which relies closely on not just Karen Sinclair’s book but on precious memories and diaries, survived the rewriting process. Short of completely rewriting this one, best to move on to the next project, I think.

That said, Penguin has been officially upbeat about the novel’s long-term prospects. Geoff Walker, to Paul Henry again: “We’ve gone to every single author of the original pieces that are causing offense and Witi has apologized and he’s come clean and I’m happy to say that so far there have been no difficulties and people have appreciated that he’s being upfront about it.”

Q. Any chance we’ll hear more about, as Ngaire Bookiemonster put it, “the process of how a book with unacknowledged copied passages got all the way to the bookshop shelves”?

A. There’s speculation about the “how” over at Quote Unquote: basically, that the manuscript was written in haste and delivered at the last possible minute, thus ruling out the usual checks and balances. I doubt we’ll hear more detail. As with conjuring, the magic disappears if you peek into the black box.

Q. Will Penguin build more buffers into their publication process in the light of this affair?

A. See above. But as Geoff Walker told Paul Henry, “we’ve racked our brains and agonized over just what we could have done. And if an editor is editing a page of text, and the odd sentence has come from another source, unless there’s a marked change of tone, it’s impossible for an editor to pick it up.”

Chad Taylor begged to differ in a comment on Quote Unquote: “In the old days, this was called "editing," or even "reading" -- reading being an active process as opposed to just sitting back and admiring the page count.”

It should be a given that the writer-editor relationship is based on trust, and as noted by a published author in one of the discussion threads here, every writer signs a contract attesting that the work is their own. A publisher should be able to assume that a writer is original until proven otherwise; equally, though, a writer should be able to trust that a publisher will have their antennae out for any issues with the manuscript. In the end, we’re all readers, and we should be good readers.

Q. Is it ironic that having found the first “borrowing” with the help of Google Books and a library copy, you were then largely able to confirm your intuition about other sources by using the power of the internet -- and specifically Google? I mean, given that both Google Books and the web are monstrous devouring engines of cut-and-paste, and unholy nemeses of copyrighteousness?

A. Ironic? I think the earth’s magnetic field just flipped polarity. (Don’t adjust your compasses: it flipped back again when Geoff Walker invoked copyright in forbidding the Listener to quote further from the book, when they were only quoting the bits that Witi had not in fact written himself).

The Google Books angle is indeed a very pointy one. Who knew that by kidnapping your words, Google was actually protecting them from other kidnappers?? The whole palaver might seem to suggest that information doesn’t want to be free, so much as free range: able to graze unmolested on a fairly wide piece of grass behind a nice electric fence, so as to be all the safer from predators.

It’s not news that retired poachers make the best gamekeepers, and that some of the most successful breeding programmes take place in zoos. In a way, Google Books starts to look like a protection racket for writers (“Are you sure you don’t want to archive with us? Wouldn’t want any nasty accidents to happen to your lovely prose… oops”).

It should be pointed out, however, that Google conveys a false sense of comprehensiveness: it won’t help you trace copyings from books that have not been put digitised. There are several other passages in The Trowenna Sea that I am 99.6% sure are borrowed from elsewhere, but I can’t trace them digitally. Which also suggests a definitive strategy for would-be plagiarisers: hit the bricks-and-mortar library and read some real books, you slackers!

Q. O persnickety purveyor of persiflage, cease your pedantic posturings! Full 99.6% of this enchanted tale was born of the author, not ripp’d untimely from other sources! And verily the verbal changelings snatched away to Witi’s bower grow fat and happy and blessed therein. Yet you damn the lot of it! Words, words, words? You with your quiddities, your quillities, your cases, your tenures, and your tricks – ‘tis sound and fury signifying nothing! Madam, your quality of mercy is monstrous strain’d. Yours, etc. Wm. Shakespere, Stratford 'pon Avon.

A. Thank you, Mr Shakspere (funny, I know another fellow from your town with a similar name, although he spells it differently).

Firstly, all parties should have long ago retired the “only 0.4%” figure, because it’s wrong. The original sixteen borrowings were just the start. There’s actually a borrowing per sixteen pages, on average.

With the exception of the heavy reliance on Karen Sinclair’s book and Joan (Hoana) Akapita’s diary, and the paragraph lifted from Peter Godwin, most of the appropriations are penny-ante. A sentence here, a sentence there. But the overall effect is penny-ante wise and pound foolish. As you yourself might have said, sir, many a mickle makes a muckle.

Perhaps we could be kind and round it off to “a tiny percentage.” As a friend of mine pointed out, the faulty O-ring on the space shuttle Challenger only amounted to “a tiny percentage” of the rocket. Or, a seasonal metaphor: if you bake a Christmas cake with slightly weevilly flour, the bugs probably only amount to “a tiny percentage” of the mix. But they’ll still crunch when you bite into the cake.

I don’t mean to go on about this, but really! If someone embezzled “a tiny percentage” of, say, the annual operating budget of Auckland University (a mere few million bucks), or a single department therein (a negligible tens of thousands), they wouldn’t get far with pleading a percentage-based mitigation. Penguin would probably mind a lot if I liberated “a tiny percentage” of their warehouse stock and sold it down the pub.

Ah, but you say, this is literature. It’s different. When writers swipe something – an idea, a phrase, a paragraph, large or small – it’s not like taking someone else’s knickers off a washing-line. (Of course not. It’s like painting a picture of someone else’s knickers on a washing-line, or, depending on how you do it, possibly borrowing those knickers, wearing them to a party, and posting the pics on Facebook). It’s a victimless crime. Indeed, it’s not even a crime: it’s the whole point. Good artists borrow, great artists were last seen buying a round for Ronnie Biggs at a topless bar in Rio. All artistry is theft! Quibbling about percentages is for bookkeepers, not book-lovers!

Which is funny, because what the repetition of that figure of 0.4% really seems to want to say is: it’s barely there, you’ll hardly notice it, so it doesn’t really matter. When theoretically you could borrow 99.6% of the text of a novel from elsewhere (with permission, or out of copyright) and it could be an absolute masterpiece.

This is not that novel. We don’t mind the patchwork in Moby-Dick or in your own work, Mr Shakespeare, for one very good reason: it’s good.

Q. The author himself has said that he was trying to tell the story in a new way:

With The Trowenna Sea, I have always tried to be on the cutting edge of fictional devices, what I have been attempting to do with that book is to create fiction as history. So I think what Trowenna Sea is, is the beginning of a hybrid book in which [you have] the problematics of acknowledgement of historical material and historical inspirations.

Why are you so down on ground-breaking fictional techniques?

A. Cutting edge? Please. That particular edge was being honed a hundred and fifty years ago when a writer put a white youth and a moko’d Maori in bed together, then put them on a ship with an insane captain, plundering every known source about whaling and sailing, mixing in his own crazy teenage shipboard experiences in the Pacific, and whipping the whole thing up into a white-hot lather of mad brilliance. (Moby-Dick: it’s quite good).

Many writers incorporate slices of history, both written and oral, into their writing. Peter Carey. Tom Stoppard. Theresa Hak Kyung Cha. Salman Rushdie. A.S. Byatt. Don DeLillo. John dos Passos. Leslie Marmon Silko. Haruki Murakami. It’s been done. It’s being done. Do it well, or not at all.

Q. All right, then, let’s assume we weren’t meant to notice. If you hadn’t told us there were plagiarised passages in the novel, would we know? Would it matter, if we didn’t know?

A. That’s a fair question and I’m glad I asked it. I didn’t know, on the first reading. Nor did Nicholas Reid, who also reviewed the book the first week it came out. (See also Reid's Turkey of the Year). And neither of us thought the novel worked on its own terms. Quite independently, we came to the conclusion that the problem wasn’t so much the borrowed bits, as all the bits in between.

Readers may beg to differ, of course. Dr Cath Koa Dunsford, a respected scholar of Pacific literature, gave the novel a rave review, or at least a thoroughly loved-up one.

Q. Let me try again. Apart from that, Mrs Lincoln, how was the play?

A. You know, the more I think about it, the more there really is no “apart from” here. When I first read the novel, and again when I re-read it, the borrowed passages stuck out like sore thumbs, except that there were more of them than the average person has thumbs. There are passages I haven’t managed to find a source for, but am certain are cut and paste. You can see the seams.

The other P word - my elephant in the room - is pastiche. On any given page we encounter wildly divergent style and substance. Faux-Victorianism one minute, Regency romance the next, then New Age dolphin encounters interrupt encyclopedic retellings of historical events. One major character amounts to little more than a well-embellished plaster saint, another is a feisty mash-up of every brave, passionate, fierce etc woman who ever appeared in a romance novel, while another has so many zig-zags in his character arc it makes you carsick. Of course there are good bits, too, otherwise I’d never have been able to finish the book. But the pastiche is not deliberate, it’s a by-product of the write-by-numbers process. It's not style, it's evidence of the book's having been composed in such a furious hurry.

Paradoxically, focusing on the plagiarism obscures all the other questions we might ask about the novel. Why such a conventional fictional approach, instead of all the other possible ways this story could have been told? Why fictionalise the Pakeha characters out of respect for their descendants, but not the Maori ones? What kinds of stories might be told about encounters between indigenous peoples of the wider Pacific region, both pre-contact and in the early days of settlement? And why so much purple, when there are so many other colours in the paintbox?

There’s a lot to puzzle over. The novel is an interesting failure, the sort of thing academics tend to pounce on, whether or not readers enjoy it.

Caveat lector: according to the astonishing sales figures, there will be many a Trowenna Sea-shaped stocking come Christmas morning. As Geoff Walker said to Paul Henry: “The books that have already sold have been sold. They’re being read and I hope they’re being enjoyed. Because the novel itself is fantastic, it’s untainted in a way by all this peripheral stuff.”

“All this peripheral stuff”? Really? Is that all this was?

--

Initially, I hesitated to review the book out of respect for the status of its author and the importance of its subject. Then, drafting the review while reading the book, I hesitated to speak unequivocally about how disappointing I found the novel, out of respect for that tender sprout, the writer’s soul, which is always vulnerable no matter how sturdy the carapace that surrounds it. Even once I'd found the plagiarism, I hesitated about going public with what I’d found. Was it worth it?

In the end, for me, it was a question of respect. Respect for the story itself -- for the lived history of Hohepa Te Umuroa -- respect for other writers and their work, respect for readers, respect for our public and private arts institutions, respect for the young writers who struggle to put their own words on the page, respect for Ihimaera’s powerful legacy of stories that had to be told and that were told well, respect for his future work, and respect for the very idea of fine literature. And self-respect.

--

An old debating friend of mine used to launch into his speeches with the words "I am angry, ladies and gentlemen. I wasn't angry when I got here tonight, but I am now, and here's why." And then he would launch into his rebuttal. It always got a big laugh, because he was such a gentle and funny guy, all arms and legs and a grin. I'm reminded of his shtick now because I too am angry, ladies and gentlemen. Comically, wearily, rhetorically angry. I wasn't when I started writing this post, but I am now. Picture me waving my arms around as I type this.

Even now, I tell myself: it’s just a book. But a book is never just a book. In hindsight, the speedy apologies and the promise of buying back the warehouse stock to “preserve the mana and integrity of the novel” look like cynical expedience.The Trowenna Sea perches at the top of the best-seller list, breaching faith with the people whose words and histories were so cavalierly borrowed, and who have been elbowed aside in pursuit of a swift buck on the Christmas market.

I’m disappointed with Witi Ihimaera for making it happen, with Penguin for letting it happen, with Auckland University for putting PR before process, and with book-buyers for sheepishly queuing up to buy it when there are so many other great options out there.

--

Well, that’s a stocking full of coal, eh? I won’t grumble on any further, since the words of the immortal Douglas Adams are ringing in my head:

The storm had now definitely abated, and what thunder there was now grumbled over more distant hills, like a man saying "And another thing..." twenty minutes after admitting he's lost the argument.

Maybe we’ve lost the argument, but we can still win the war. In my next post I want to talk about good books, and good things, and good things about books, and I look forward to hearing your best bookish thoughts.

3

A garden of forking paths

As promised, here’s the Trowenna Sea story in links, in roughly chronological order. NB this by no means a comprehensive list; feel free to let me know of any major omissions.

The Herald leaked the story on Friday 6 November, complete with press releases from Penguin and Auckland University pronouncing it a non-story.

The Listener came out the same day with the cover story by Guy Somerset in which Ihimaera said both that the appropriation was accidental, and that it was deliberate. My review ran in the same issue.

The same day: my first blog post on the subject, and the lengthy discussion that followed.

The next day, the Herald article that interviewed my blog about "How Witi was Found Out."

On the Sunday, Nicholas Reid’s review appeared, and Paul Holmes opined that plagiarism was an author’s greatest sin (tied with being boring, surely).

I blogged again, explaining the context of some of the plagiarized material, as the Listener article was not yet widely available; and discussion ensued.

Giovanni Tiso came at the question in his usual rewardingly diagonal fashion, and always has the most erudite comments. Scott Hamilton at Reading the Maps pointed out that collage is a well-worn poetic technique that, when deployed artfully, enriches the source material as well as the new work of art (in poetry, anyway).

David Cauchi made a similar point about the history of visual art, which Stephen Stratford followed up.

Witi Ihimaera was named one of five Arts Laureates by the Arts Foundation, and after that it's all a bit of a blur.

The Herald came out with a very uncompromising editorial the morning after the Laureate Awards.

Paul at the Fundy Post took on the university’s treatment of the case, here, here,
here, and here.

C.K. Stead also criticised the university’s approach, and John Drinnan remarked that there were a few chapters left in the row.

In the wake of the Laureate award, Witi Ihimaera explained the experimental literary technique he’d been attempting, and announced his plans to buy back all remaining stock of the book, in order to “preserve the mana and integrity of the novel”:

"Although I have already made the relevant apologies and have publicly undertaken to fully audit the book myself, it seemed appropriate to remove the first edition immediately and begin working on a corrected second edition."

Denis Welch wasn’t the only one who thought that giving the money back would also be a good idea.

There were further editorials by Karl du Fresne and Michael Cummings.

Vincent O'Sullivan, emeritus professor of English at Victoria University, agreed that plagiarism was analogous to doping in sports: "It's a performance-enhancing technique that works at someone else's expense."

Danyl at the Dim-Post pointed out the Herald's glasshouse-stone conundrum.

Keith Sorrenson, whose historical writing was “sampled” in The Matriarch, said on Radio NZ that of course it was indeed possible to plagiarise by accident, but that in that case one would have to say that Ihimaera was “accident-prone.”

I also spoke on the radio and then blogged again, leading to a lively discussion.

Over at Pundit, Andrew Geddis framed it as a question of respect for the work of other writers. And Peter Wells agonized about the situation.

The Vice-Chancellor of Auckland University issued a press release, saying:

“The University does not condone plagiarism, but recognises the need to take into account a range of factors such as intention, seriousness and extent. Were a small amount of unattributed material to be discovered in a doctoral thesis, for example, the student would be required to rewrite the thesis with appropriate attribution - precisely the action Professor Ihimaera will be taking of his own volition.”

Margaret Soltan, who blogs at Inside Higher Education and carries a flaming torch on the subject of plagiarism in the academy, weighed in several times.

Joanne Black followed up in The Listener with further examples (found by me) and an interview with Margaret Soltan. [NB full text not yet online]

Stephen Stratford expressed sympathy for the publisher.

Alan Samson’s opinion piece in the Dominion-Post, on the epidemic of plagiarism:

“Plagiarism does matter. Setting aside ownership legalities, there is a fundamental issue of trust to be considered in the relationship between author and reader. If deceit is evident in one area of publication, why should one not expect it also to emerge in another? Indeed why, subsequently, should one take an offending author seriously at all?”

An op-ed by a disappointed Valerie Grant, retired from the University of Auckland.

Ranginui Walker didn’t look too pleased here.

Steve Braunias wrote a satirical piece (not online, alas), while Rosemary McLeod urged compassion.

Mary McCallum also urged kindness and categorized the various responses.

In early December, Joanne Black reported in the Listener that Penguin had asked the magazine to desist from quoting the novel any further. She also spoke to prominent historian Peter Stanley about borrowed lines from his work.

The Herald noted that the book was still on shelves.

Deborah Coddington proposed that “Thank you” was as useful as word as “Sorry” in situations like this.

Prof. Lawrence Jones elucidated the context of composition and a hypothetical explanation.

Graham Beattie called for a time-out.

And Peter Wells returned to the subject.

Witi Ihimaera himself, after the post-Laureate interview about his experimental fictional techniques, has kept his own counsel.