Sixty-eight writers and eight artists gather at a hui in a magnificent cave-like dwelling or meeting house. In the middle is a table, the tepu korero, from which the rangatira speak; they converse with honoured guests, and their rangatira-korero embody the tahuhu, the over-arching horizontal ridge pole, of the shelter. In a series of rich conversations, those present discuss our world in the second decade of this century; they look at decolonisation, indigeneity, climate change . . . this is what they see.Edited by Witi Ihimaera and Michelle Elvy, this fresh, exciting anthology features poetry, short fiction and creative non-fiction, as well as korero or conversations between writers and work by local and international artists. The lineup from Aoteraoa includes, among others, Alison Wong, Paula Morris, Anne Salmond, Tina Makereti, Ben Brown, David Eggleton, Cilla McQueen, Hinemoana Baker, Erik Kennedy, Ian Wedde, Nina Mingya Powles, Gregory O' Brien, Vincent O' Sullivan, Patricia Grace, Selina Tusitala Marsh and Whiti Hereaka. Guest writers from overseas include Aparecida Vilaç a, Jose-Luis Novo and Ru Freeman.

Don’t miss Elizabeth Wein’s stunning new novel, Stateless The beloved #1 New York Times bestseller, a "fiendishly plotted" (New York Times) "heart-in-your mouth adventure" (Washington Post) that "will take wing and soar into your heart" (Laurie Halse Anderson) October 11th, 1943—A British spy plane crashes in Nazi-occupied France. Its pilot and passenger are best friends. One of the girls has a chance at survival. The other has lost the game before it's barely begun. When "Verity" is arrested by the Gestapo, she's sure she doesn't stand a chance. As a secret agent captured in enemy territory, she's living a spy's worst nightmare. Her Nazi interrogators give her a simple choice: reveal her mission or face a grisly execution. As she intricately weaves her confession, Verity uncovers her past, how she became friends with the pilot Maddie, and why she left Maddie in the wrecked fuselage of their plane. On each new scrap of paper, Verity battles for her life, confronting her views on courage, failure and her desperate hope to make it home. But will trading her secrets be enough to save her from the enemy? A universally acclaimed Michael L. Printz Award Honor book, Code Name Verity is a visceral read of danger, resolve, and survival that shows just how far true friends will go to save each other.

In her latest collection, Michele Leggott speaks to the art and writings of nineteenth-century New Zealand painter Emily Cumming Harris. Face to the Sky tells stories of love and loss from two woman in the shadow the same mountain, more than a century apart. 'Voices sing from the archive: a choir of breakers on a North Taranaki beach. Two women born more than a hundred years apart tell stories of love and loss in the shadow of the mountain that is always there. One of them becomes a painter of botanically accurate native flora, and writes all her life. The other, now without sight, lives in a world of sounds caught into expanding webs of memory. She listens for the other, tracing the delicate shapes of what she cannot see, taking her cue from the words of others. She listens and travels, picking up connections over time and place. Mothers and fathers come and go, adding their voices to the tumult on the beach, the shadow of the mountain, the hills above Nelson where the first woman comes to rest. The second, living between two small volcanos in a northern city, waits for a miracle that might cure the lymphoma that has been tracking her days. Through it all, the familiar phrases of the weather forecast sound their ever-hopeful, ever-changing predictions.' — Michele Leggott

A powerful collection of personal essays on displacement, being different and living between two worlds, told with humour and self-reflection. 'A book for our times, written with wit, lyricism, cynicism and tenderness.' Rachel House Based on Ghazaleh Golbakhsh's experience as an Iranian immigrant growing up in New Zealand, these essays range from a childhood in war-torn Iran, including the trauma of a night spent in prison as a six-year-old, to learning English so she could make friends, to dating in the days of Corona. This is about growing up as a young woman torn between her immigrant roots and her desire to be like everyone else. The humour is sometimes offset with the more sombre reminder of the racism that has always existed in this country, from misguided quips to more serious stories of harassment. The impact of recent world events shows that, more than ever, marginalised voices are needed in our cultural discourse.

SHE LOVED FINE THINGS, AND SHE HAD NO DOUBT THAT SHE DESERVED THEM. . . . Young Latha knows that she was not meant to be a servant. She was born for finer things, like the rose-smelling soap she steals from the family she has worked for since she was five, or the glasses of fresh lime juice she helps herself to after a long day. But the hard truth is that her life is tied to Thara, the family’s spoiled daughter, and for the next thirty years they grow up bound by love, betrayal, resentment, and an impossible secret. Then there is Biso, a devoted mother of three, who risks everything to escape from her tyrannical husband. Though her journey begins with hope, she navigates a disastrous path that ultimately binds her story to Latha and Thara’s in the most unexpected and heartbreaking way. Set against the volatile backdrop of class and prejudice in Sri Lanka, A Disobedient Girl is a bold and deeply moving tale about the will to survive and the incredible power of the human spirit to transcend the unforgiving sweep of tragedy.

“Reddi’s understated prose and her choice of detail give her revelations a quiet power.” — The New Yorker “[A]mong such time-tested topics of immigrant fiction, Reddi suddenly soars.” — San Francisco Chronicle “While many of the stories seem simple, characters and plots linger long after you turn the page.” — Washington Post “...reminiscent of Jhumpa Lahiri... The immigrant experience...is rendered with the starkest honesty... substance and depth.” — Philadelphia Inquirer “Reddi has produced a piece of writing that masterfully contrasts the assumed with the experienced, myth with reality.” — India Currents “...superb debut collection... much like Jhumpa Lahiri...a gem of a book...characters remain etched in memory...” — Indian Express “In deceptively simple prose...a compassionate look at what happens when the insular world of the Indian immigrant is breached.” — St. Louis Post-Dispatch “...Reddi deftly employs images to crystallize... the isolation and occasional bewilderment shared by her sympathetic characters.” — Publishers Weekly “This excellent debut collection... [offers] elegant studies of a culture that is both familiar and foreign.” — Booklist “Reddi’s voice is gentle and her eye watchful...A soft-spoken, sympathetic collection.” — Kirkus Reviews “Sad, sweet, tender--a truly lovely book.” — Kiran Desai, Man Book Prize-winning author of THE INHERITANCE OF LOSS “Only the finest writers can craft short stories with the richness of a novel...[an] exceptional debut collection.” — Arthur Golden, bestselling author of MEMOIRS OF A GEISHA “Rishi Reddi has written a unique and beautiful book with the power to both entertain and educate.” — Judith Guest, bestselling author of ORDINARY PEOPLE “Reddi’s characters are complicated people...and, as are the stories they inhabit, memorable and very worthy of our attention. Exquisite.” — Binnie Kirshenbaum, author of AN ALMOST PERFECT MOMENT “Reddi is the brightest light in Boston’s latest literary constellation.” — Boston magazine

Bloody Woman is bloody good writing. It moves between academic, journalistic and personal essay. I love that Lana moves back and forward across these genres: weaving, weaving – spinning the web, weaving the sparkling threads under our hands, back and forward across a number of spaces, pulling and holding the tensions, holding up the baskets of knowledge. Tusiata Avia This wayfinding set of essays, by acclaimed writer and critic Lana Lopesi, explores the overlap of being a woman and Sāmoan. Writing on ancestral ideas of womanhood appears alongside contemporary reflections on women's experiences and the Pacific. These essays lead into the messy and the sticky, the whispered conversations and the unspoken. As Lopesi writes, 'Bloody Woman has been scary to write... In putting words to my years of thinking, following the blood and revealing the evidence board in my mind, I am breaking a silence to try to understand something. It feels terrifying, but right.' These acts of self-revelation ultimately seek to open up new spaces, to acknowledge the narratives not yet written, and the voices to come.

The celebrated digital magazine e-Tangata is home to some of the most incisive and profound commentary on life in New Zealand. Māori, Pasifika and Pākehā writers grapple with topics that range from politics and social issues to history and popular culture. The best of these are collected together here into this BWB Text by the magazine’s editors, Tapu Misa and Gary Wilson.