#that is juuuuuust close enough to america's exported culture

[ignitesthestxrs]

are you a kiwi? I'm american myself, but honestly feel like I haven't seen enough kiwis talk about the locked tomb (though i think im partly just missing most of the discourse anyway somehow??)..

if you ever feel like layin out some more thoughts ab tlt id love to read em! <3

i am a kiwi! there is a small but thriving kiwi sf/f community, but overall people are not...terribly online, or terribly into fiction lol. i definitely know there are kiwi fans of the series out there but in general i can imagine most of them simply not wanting to get into it. i don't really want to get into it! i just saw a reply on a post i reblogged and lost my mind about it for a couple of seconds.

as a pākehā/white kiwi i am like, both protective of these books, critical of them, and kind of ill-equipped to be the person criticising how māori characters and māoritanga/māori culture is depicted in them.

tamsyn muir is a pākehā author writing māori characters that she didn't initially identify as such getting like,,,increasingly more māori in depiction as the books go on and she learns more about the general consensus on how white people should write characters of colour. and those māori characters are involved in instituting, recreating, participating in a uh....very roman? sort of societal structure? and in the latest book there's this further māorification of Jod while also depicting him as a radical under fire from the government in a compound, and act which has both deep historical and very recent (2007!!)roots in aotearoa nz culture.

this māorification of gideon too with the prince kiriona stuff is also: something. what is it? i don't know. i don't think it's Cancellable Offense Bad, or even bad at all. but there's an overall freedom of mishmashing aspects of kiwi and māori culture into a broader sf/f context that muir has kind of taken it upon herself to perform, when ultimately it's not her who should have been the person who got to do it, you know? the structural racism of the global publishing industry means that a pākehā writer can step up onto that stage with an ease and popularity that a māori writer is going to have institutional difficulty accessing in the same way. do i think carl tor editor picks up these books if they're written by a brown author? idk man

and then on the flip side - this is a part of her lived experience too. as a pākehā writer, choosing to write, do you include your pākehā-ness? your kiwi-ness? choosing to do that, do you include your knowledge and understanding of te ao māori/the māori world? are you stealing or are you sharing? what is yours to share in the first place?

these are questions that i think every pākehā writer should ask themselves as they're writing and they're also questions that i don't think have a Correct Answer, or even an answer full stop. they're things that i think muir started asking around book 3 lol which is a very better late than never kind of thing, but it's also clear as the books go on that she's laying down her road as she runs on it, so to speak.

i think muir is Trying In Public, which is a deeply vulnerable thing to do, but also, she is right now a very popular pākehā writer introducing māori character and culture to a broader audience, many who have not encountered any of this before, in an environment where very few māori writers have an opportunity to do the same.

so when that broader american audience comes and picks up what muir has put down and then unthinkingly applies their own american cultural lens to what they have in their hands - it's weird, right? it's weird in ways that many (i generalise - not all, obviously, there are also many americans who do have global context) americans can't understand, because those americans don't live in a world where they are outsiders on the global stage. even americans who understand that the rest of the world is not america have not necessarily experienced that in a way that is intrinsic, intuitive.

the world is shaped by america, either by its presence or by its absence. so when a pākehā writer creates māori characters and uses te reo māori/the māori language in her work, which then gets read and used and consumed by an american audience as though it is a creation that belongs in their worldview - it becomes disconnected entirely from the source muir borrowed, or stole from, or grew up with. it forces the conversation into this place of whether or not the americans playing with this particular doll know what they're doing or where the doll came from or why it's a doll anyway, instead of like, why has muir made this doll and should she have and are there other people making dolls, or are other people making different things entirely.

links to some sf/f by māori writers:

THE DAWNHOUNDS by Sascha Stronach

LEGACY by Whiti Hereaka

WATCHED by Tihema Baker

PŪRAKAU, ed. Witi Ihimaera and Whiti Hereka

GUARDIAN MAIA