A word to the wise: Spitz & Crumple is an entirely improvised concert. The banter, the stories, the songs, even the choreography are all made up on the spot. In the first 10 minutes I sat dumbfounded, thinking it had to be one of the strangest and worst shows ever. When it clicked, I did a full 180. “This is one of the strangest and best shows ever”, I whispered to my friend. 

Eleanor Spitz (Liz Butler) and Barney Crumple (Ben Jardine) are a married couple from Florida who have been in love and making music for 50 years. Together with The Captain (Matt Hutton) on keys, the famous lounge band is celebrating the release of their Greatest Hits album with us, their adoring fans, who are dotted about in stylish cabaret seating.

We begin with tracks Diamonds In Your Eyes and You Are Like Candy, where Jardine pulls off an incredible trumpet solo sans trumpet. We’re then treated to a taste of Spitz and Crumple’s number one LP Gift Giving (1983), which started Pitchfork as the first album to ever be reviewed on the site. It earned 17 pitchforks and reached heights that all the greats still aspire to.

More show highlights – although the whole thing is a highlight and a half – include The Bond Song (James Bond Under the Sea) (I’ve made that title up, but the song tracks the time James Bond went nautical and sees a stroke of red-lit genius from lighting designer Nino Raphael). Let’s not forget the highly niche and experimental Before the Grease Wars; Citrus Baby One More Time (yes Brit did steal that one, but thankfully she didn’t get her mitts on the citrus part); and the minimal-lyrics, maximum-impact Cha Cha Wow.

Butler and Jardine are two masters of musical improv whose chemistry and cleverness leap off the stage. I don’t think I’ve ever enjoyed an improv show more, and I’ve seen Whose Line Is It Anyway? live. 

This New Zealand Fringe Festival solo show follows Hero (Gabrielle Raz-Liebman), a budding academic who is conducting some really super important ecological research on termites in the Kakadu National Park of Australia’s Northern Territory. When Hero is paddling about one day, happy as can be, she unwittingly strays into the path of a crocodile, who promptly eats her.

Like the real-life person Being Prey is based on, philosopher Val Plumwood, Hero survives to tell the tale. But while her body recovers, her mental health remains in tatters from the traumatic experience.

Raz-Liebman is a consummate physical theatre and comedy performer. Her character work is exceptional, particularly when it comes to the seedy old academic and the seedy old doctor. It’s unclear whether these are two different characters or not, which certainly makes a statement about men in positions of power. The scene with the victim-blaming doctor makes me deeply uncomfortable and winds up being my show highlight.

Raz-Liebman transitions effortlessly between dream sequences, storytelling, and startling choreography, particularly in the final scene. The lighting and sound (Felix Olohan) help to distinguish state and place and are integrated well. Raz-Liebman handles opening night technical hiccups with good humour and grace.

There’s a wonderful blend of humour and pathos, silliness and meaning in the writing and dramaturgy (Jennifer O’Sullivan), although some scenes could be more concise while others could be fleshed out. Excuse that pun, but I reckon the poopy, liver-squelching mess of a crocodile dissection might have even more of a gross effect if trimmed. At the same time, I’m confused by the introduction of a virus so some explanation and expansion there would be helpful.  

The finale (it’s not a Fringe show until you see someone rolling around in carcass, right?) has a huge impact but what I desperately want to see is a little hope. A glimpse of recovery.

I’m excited for the future of Being Prey and to watch it go from very good to great.

In The S**t Kid, Sarah Harpur exposes a knack for anchored storytelling and deceptive writing. With nothing but a minimal set, a few sound effects, and a colourful array of characters, she coaches the audience to visualise a complete world of snobby horse riders and nosy locals. Unfortunately, where it excels in story elements it falls short on genuine laughs.

Sharni (Harpur) loves her twin brother, she swears it, but can’t help but envy him. While she’s stuck back on the family farm raising a baby, teaching rich kids to ride, and selling horse s**t… I mean, ‘pony poo’… he’s off winning Olympic medals. But Sharni has a plan, if only she can raise enough cash to put it into action.

The S**t Kid deals with something we have all experienced, disappointment, and specifically the envy we can feel when others don’t seem to face as much of it as we do. Maybe it was the time your best friend got a promotion while you were left feeling stuck, or in school when your sibling seemed to rack up accolades while you dawdled. Sharni’s story is particular but the emotions she’s feeling are not, and this makes the story relatable to all in our audience, even if some of us have never set foot in a stable.

Sharni is a likable character, and we certainly root for her to conquer, but I was left a little disappointed in the show’s final minutes. Most of what she does manage to achieve is, seemingly, handed to her. While she does learn some valuable lessons, I feel there is a stronger wrap-up out there.

Another disappointment is the hit-and-miss rate of The S**t Kid’s jokes, which is surprising given this is Harpur’s first solo play but sixth comedic outing. The show is still in development, and I feel a more varied tone could up this aspect of the show – as it stands, there’s simply too much wink wink, nudge nudge, and not enough solid, unexpected punchlines to earn anything more than a chuckle.

What Harpur has discovered with The S**t Kid is a raw talent for playwrighting. With more development, I am sure it could morph into something special.

Breakfast Time is coming in hot, and it’s definitely a tasty meal of a show. A mixed media piece featuring a short film (Aiden Fernando) followed by a deconstructive ‘duologue’, this Fringe show serves up the story of two (not very well acquainted) young adults, Reuben (Bon Buchanan) and Ana (Bella Petrie) cooking breakfast together the morning after their parents’ wedding. The laconic, obligatory, and forced conversation that sautés in the film however quickly sizzles and boils over in the live show to follow as the pair analyse the scene from the film itself, their childhoods, their backgrounds, their opportunities, their challenges, their traumas, and their futures.

Though ‘deconstructed’ wouldn’t normally sound appetising, Brick Haus Productions serves up a show that feels much more like comfort food despite the guise of haute cuisine. The actors excellently portray both renditions of the characters. Buchanan and Petrie are both subtle and obvious in the film, politely masking their contempt yet clearly intending to cause discomfort to the other. The live show however could be likened to Hell’s Kitchen with both characters voicing exactly what the subtleties of the film scene were meant to mask.

It is both satisfying and refreshing to see in the live show what you assumed the characters were thinking in the film. Reuben’s condescension to Ana’s higher social class is palpable and then overt as he deems her a spoiled brat while he slaved away washing dishes since 14 to go to university so he wouldn’t die broke like his grandfather. Ana however shows haughty disdain for Reuben’s materialism and martyrdom for her lonely childhood in which she grew up too fast in order to care for her father and herself.

While both characters yearn for the other to understand them, they do something much more powerful: they lay bare the human condition; normalising trauma, accepting inadequacy, allowing for mistakes, and most importantly connecting us all through our imperfect yet inherent humanity.

Like his previous films, particularly the acclaimed The Florida Project, Sean Baker zeroes in on outcasts and misfits in Red Rocket. A slice-of-life picture that candidly centres on an amoral character, its liberating attitude towards sex and bad behaviour makes it exhilarating beyond belief.

Following a 17-year stint in Los Angeles, washed-up porn star Mikey (Simon Rex) returns to his hometown in Texas to shelter with his estranged wife Lexi (Bree Elrod) and her mother Lil (Brenda Deiss). Unable to find work due to his previous career, he spends his time moving weed for an old acquaintance and frequenting the local donut shop, where he meets 17-year-old Strawberry (Suzanna Son).

For all intents and purposes, Mikey is a scumbag. He uses his deceptive charm and relentless fun-loving energy to manipulate those around him: convincing the ex he abandoned to let him crash, befriending his star-struck neighbour to score free rides, hitting on a highschooler with the objective of finding a way back into the porn industry. It’s been too long since a mainstream flick dared to set its sights on a dude this pathetic, and thankfully, Baker doesn’t waste time spelling it out. He simply lets Mikey’s decisions unfold while we play judge, jury, and executioner – a telltale sign of a filmmaker who trusts the intelligence of his audience.

Baker again showcases an uncanny ability to make a community feel existent – the people, locations, and experiences in Red Rocket appear lived-in, an achievement aided by the gorgeously grainy 16-millimetre photography. His films are the screen equivalents of lo-fi Soundcloud mixtapes, those ones that go on to be rereleased by major labels and heralded as classics. This tangibility also flows through the writing (Baker and Chris Bergoch) and performances. Rex delights in playing a man this downtrodden and gives his all to the role. It’s safe to say I won’t soon forget the image of him running down the street butt naked to NSYNC’s Bye Bye Bye.

While a touch bloated at 130 minutes, Red Rocket is a cinematic experience unlike any other you’re likely to have in 2022.

Part stand-up, part musical odyssey, comedian Ocean Denham fought a tough opening-night crowd for her New Zealand Fringe Festival show No! I’m Not Australian! to score well-earned laughs. After settling in, our audience comes to appreciate her candid and open approach to storytelling, not to mention her stellar singing voice, the combination of which make her stand out as a unique talent.

Over the course of an hour, Denham reminisces on her weird, wild, and occasionally gross OE. Her trip to the UK was full of hilarious stitch-ups and stories too bizarre to make up. We all know what it’s like to be a fish out of water, and in No! I’m Not Australian!, Denham mines that feeling for comedy gold.

Billing this show as a cabaret is somewhat misleading, as Denham’s strongest asset is her natural talent for stand-up. She knows how to pull an audience into a bit and make it relatable, even if she’s sharing experiences that we can only pray we never have to endure first-hand. What would you do if you showed up to a fancy-pants dinner party only to discover it was a drug-fuelled madhouse? Or how about if your IBS flared up moments before you were to meet your new flatmates in a foreign country? She makes every story feel visceral and presents them in the most high-octane way possible, wringing out laughs all the way.

While her material may have been too honest for some in the crowd, a slow start turns into a big finish as the audience becomes accustomed to the fact that this is a performer expressing herself unapologetically. The same goes for her songs. Lyrically, they’re just as graphic as her bits, but when delivered via Denham’s powerhouse vocal chops, the contradiction makes many of them the highlights of the hour.

Some minor technical difficulties on the part of The Fringe Bar are the only thing that halt an otherwise flowing performance on Friday night. Delivered with confidence and gusto, Denham is clearly a comedic talent to keep your eye on.

Modern day romance is anatomised without faux sentimentality in The Worst Person in the World, a dark rom-com that shows how a person can discover themselves by falling into each and every pitfall the dating game opens up. Renate Reinsve delivers one of the most impactful performances in recent memory, and Joachim Trier adds just enough directorial flourishes to make it all feel both tangible and cinematic.

Julie (Reinsve) is a promising medical student in Oslo, Norway who decides to drop it all to pursue psychology, then photography. She’s endlessly indecisive, which feeds into her love life. We watch on as she, over the course of several years, explores serious (and not so serious) relationships, struggles to find a fitting career path, and tries to forge an identity.

I am thrilled that The Worst Person in the World broke out of the International Feature category at the 94^th Academy Awards and received a nomination for Original Screenplay. Trier and Eskil Vogt’s script conflates an entire youth’s worth of romance into two hours, mapping a finely tuned character arc that never feels crammed. It covers the realities of dating someone older who may be ready to settle down sooner than you, the envy that comes with having a partner who grows more successful than you, the temptation to cheat, and on and on. While I prefaced this as a rom-com, it almost feels too authentic for that label.

As its title implies, Julie, on paper at least, should not be remotely likable. This is a red herring, as she must be for the viewer to care about her journey; even if they do not agree with her decisions, they must understand them and root for her to figure it all out. Much of this falls on Reinsve’s shoulders, and she tackles it with all her might. Through heartbreak and trepidation, hunger and happiness, she makes Julie feel real, like an old friend we just haven’t caught up with in a while.

The Worst Person in the World will break your heart and feed it in one foul swoop.

Semblances of intrigue occasionally rear their head in Memoria, but it refuses to grab the bull by the horns. I wanted to love it, I really did, but this was a slog. A void of emptiness that while sometimes pretty, is too static, flat, and fruitless to take anything from.

Jessica (Tilda Swinton), a Scottish expat living in Colombia, is awoken one night by a large, mysterious boom. It recurs, but she is seemingly the only person who hears it. Where on Earth is this noise coming from?

Many films place experience above plot or character, leaving the audience to piece together a story as they perceive and interpret what’s in front of them. David Lynch and Stanley Kubrick mastered this effect with films like Mulholland Drive and Eyes Wide Shut. Robert Eggers is a more recent example that comes to mind with The Witch and The Lighthouse. These films demand your attention. They grip your eyeballs and sear images into your mind causing deep-rooted emotional responses, even if it takes two or three viewings for you to understand exactly where it’s brewing from. Memoria sits at the opposite end of this spectrum.

Written and directed by Apichatpong Weerasethakul, it meanders along at a snail’s pace, with tension that never rises or falls. Silent, motionless shots remain fixed for minutes on end, characters take an eternity to respond to another’s line of dialogue. No one communicates this way, and Weerasethakul doesn’t do enough to establish a world where we believe they might. He is clearly trying to examine existential concepts – dreams, memories, and what have you – but he is doing it in a way so uninteresting, so uninspiring that I don’t even care to address them.

Swinton is by no means a boring performer, quite the opposite. But until Memoria’s final moments, she gives very little, or perhaps, little was brought out of her. An actor of her calibre was not necessary for this part, though I praise her for attempting to inject passion and solemnity where she could.

Conceived and created by HACKMAN (Kip Chapman and Brad Knewstubb), Destination Mars is an interactive experience perfect for young people and their whānau. Suitable for those aged six up, this Aotearoa New Zealand Festival of the Arts show puts the audience in the driver’s seat of a space mission on Mars in the year 2034. As the engineers in the control room, we’re responsible for maintaining the base’s support system, powering up the next rocket launch… and saving the day when it all goes wrong.

The technology is a high point of Destination Mars. Each audience member is in charge of their own touch tablet, where space lingo and highly detailed systems information flash across the screen. Games of Space Tennis and Cosmo Run hide out in the entertainment tab – a great touch from the digital design team led by Pedro Klein.  

Deftly guiding our session, charismatic performers Isadora Lao and Arlo Gibson ad-lib with each other and interact beautifully with the audience, assigning tasks to many of us by name. Young faces light up when they are called upon, with a six-year-old Evan getting a round of applause as surely the youngest engineer to ever work on Mars. You go, Evan!

It’s clear the kids absolutely love this unique experience. For the grownups, there’s the slick tech and overall design (directed by Knewstubb) to appreciate, heightened by Sophie Sargent’s costume design that transforms the performers into true space explorers. I do want for more of a human element to latch onto, as I don’t know a whole lot about who or what I’m trying to save when the rocket hits the fan.

I have the young audience member sitting next to me to thank for my favourite moment of Destination Mars. Through blaring alarms, flashing alerts, and a bellowed countdown, us engineers manage to work together to avert total destruction. In the calm after the chaos, Master 10 looks across to his family and whispers, “Can we all agree that was actually quite stressful?”

The cover photo of this book depicts two stunning young blonde women. “Wild” is not the adjective you’d think of. But identical twins Amber and Serena Shine defy all conventional notions of stunning blondes. Their lives are dedicated to ‘unfeminine’, daring, and often dangerous exploits.

Growing up in rural Aotearoa meant hunting was par for the course. Townie that I am, I especially savoured an early chapter detailing a deer hunt – albeit with a man in tow – complete with hauling the unfortunate dead animal out of a tree halfway down a cliff and shouldering its carcass to the quad bike.

After a couple of years in the army, Amber astutely observed that they “weren’t cut out for being told what to do all the time.” No surprise then that the twins’ next move was to gate crash their way into the world’s highest marathon on Mount Everest.

As if that wasn’t enough, they’ve subsequently taken part in extreme dog sledding in Michigan (Amber), found a positive side to sustaining a serious back injury (Serena), been driven by squalls and high seas sailing from Hawai’i to San Francisco, and walked with jaguars in the Amazon.

Not to leave their native land out of their adventure calendar, in 2017 the pair attempted an ascent of Aoraki/Mount Cook, though were ultimately deterred by bad weather. As ever, theirs is a cheerful, even philosophical, response.

Although they shared some adventures, both women seemed equally willing to go it alone. They alternate in a chapter-by-chapter account of their exploits. Individual accounts are interspersed with motivational comment for us far more timid readers. We get headings such as Taking on Challenges, Don’t Hold Back, and Give Everything a Go.

“There’s no point tip toeing through life only to arrive safely at death,” observes Serena. Experiencing something vicariously by reading about it is all very well, but for the likes of Amber and Serena Shine, it would come a long way second.

Elon Musk is considered a polarising character – you either love him or hate him. It is fair to say, by choosing to review Powerplay: Elon Musk, Tesla and the Bet of the Century amongst a sea of fabulous options, that I was (and maybe surprisingly for some, still am) firmly in the ‘love’ camp.

Leading any new business can be a tumultuous endeavor. However, leading a business with a concept that has never been achieved due to its complexities, along with the pressure of hundreds of millions of dollars of investor cash (as is the case with Tesla), is another type of beast entirely. Before diving into the beginnings of Tesla, Tim Higgins starts by describing Musk’s early success with PayPal and other lucrative ventures. This lays the foundation of Musk’s unique character and capacity to foresee opportunities, no matter how crazy they appear to be.

The quirky entrepreneur is described juggling the demands of running SpaceX and Tesla with anecdotes of firing staff on the spot and the kind of general impulsive behavior we have come to expect from someone like Musk. As much as I admire him, I certainly never wish to work for him. Higgins does a fine job of illustrating the frustrations and high-risk scenarios of the automotive industry. Supplier issues, new markets, logistics of customer repairs, charging stations, and maintaining control of direct sales were just a few of the challenges that the Tesla team were forced to navigate. Add to that the scrutiny of the world’s media and it’s no wonder Musk has been through numerous divorces.

Despite this, Musk’s ambitions never wavered. In fact, to the horror of his employees, Musk would routinely push the goalposts further away and demand that they hold their “feet to the fire” if success was to be achieved. Higgins describes one such example when Musk decided to increase Tesla’s annual sales target in 2015 to 55,000 cars, an alarming 74 percent jump from the year before.

Musk’s goal was simple really. Through the introduction of the world’s first pure electric car, the automotive industry would be changed forever. What could possibly go wrong?

Bonded is the fourth novel in a series from Ian Austin. It’s another escapade of Dan Calder who has returned from the UK with his family to reside in sunny Auckland. The storyline is loosely based on the author’s past life as a police officer and detective. Dan has a wife in a coma and a son with health issues. He can’t cope with either so buries himself in his work and luckily has a long-suffering nanny to look after his son and visit his wife.

Another reviewer said if you like John Grisham then you’ll like this. I’ve read one John Grisham and that was enough. I think Bonded is a man’s book – not that I’m into ‘chick lit’ – but I found its level of detail about a red alert event at the airport too in-depth and I skipped over it. And quite frankly it was boring. I needed more cat and mouse, not details of how airports work during emergency situations. I did learn this: flights are in five-minute increments – for example, there’s never an 11:34am flight, it’s 11:35am and it’s the same at airports around the world. Something you never think about but it makes sense.

Anyhoo, at the front of the book there’s a page with 10 definitions of the word bond, which I found interesting as who knew the word could have so many meanings? ‘Policeofficer’ is written as one word throughout the book which is weird and my proof-reader brain didn’t like it.

After far too long a wait at the boarding gate, this book suddenly picked up and we were off flying like a robber’s dog! And now I’m engaged and want to know the ending. There was a good twist that mixed things up towards the end but the last sentence I found implausible. Bonded has a happy ending of course, a bit American for me. I’m a tough nut to crack it seems.

“You can’t heal with just anyone. There are people who haven’t yet been to the same life forest as you and don’t carry the familiar scent with them.”

In My Inner Sky there are many quotes like this that will resonate with you simply for being poignant.

Its illustrations are a little whimsical, but the beauty of them is that they soften some of the serious issues author and illustrator Mari Andrew processes and shares. Through her adventures travelling alone, becoming sick when abroad, falling in love, and the life lessons and self-awareness she gathers along the way, it feels as if you are along for the journey too as she recounts her experiences on many a different soil: France, Australia, Greece, and New York City.

Andrew writes of a life configured in such a way that it’s possible to deconstruct each moment, at any given time, effortlessly. Despite the challenge and diversions around her, there exists a solace and beauty in both the everyday occurrences and the ones that immerse her in sorrow and grief. In My Inner Sky there is a sharp sense of living and losing, battling and winning. All are worthy and discernible experiences and markers of time, no matter how small or seemingly insignificant. Most of all, Andrew comes out of them stronger and salved.

Andrew has the ability to see each experience at its source and accept its flaws, the uncertainties that might come with it. Her words resonate because they speak of feelings and experiences common to us all: sorrow, heartbreak, searching for the unattainable. Ultimately she shares the healing that happens when the imperfect and the things out of our control are embraced and valued as they are.

My Inner Sky is the kind of book that makes you feel happy just for owning it – it’s a book you give to someone when you want to give them rainbows, or make them feel just a little bit better.

Though Jeanne Bernhardt’s short story The Narrator is based in real life, I can’t help but notice the subtle undertones of magical realism that imbue the story with a sense of both disquiet and mystery. The short story is told from the perspective of a writer living in the Southwest of the United States (perhaps Bernhardt herself), but the narrative focuses entirely on a man named Ogden: “a pale gnome-like presence, slightly hunched, soft in his manner and expression, unimposing”. Though hardly the hero one would imagine as the protagonist of any story, Ogden is a vital character to the narrator and her own development.

Though we only see Ogden through the eyes of the narrator and in reference to her, we see both Ogden and the narrator herself morph and shift as their relationship changes. The two start off as polite friends who enjoy reading each other’s writings, becoming hostile and uncomfortable as the narrator finds Ogden’s work disappointing and critiques her friend’s “profound inability to write about women”. As Ogden distances himself and leaves for a trip to Prague, the narrator becomes increasingly introspective thinking about both Ogden and herself; angry at first, then doubtful, and finally empathetic. Upon his return, something within Ogden has changed. He returns with a male friend, the narrator reads another one of his writings, and albeit awkwardly and stiltedly, the pair patch their relationship as the narrator becomes more sensitive towards Ogden.

The Narrator in my opinion is not so much about plot as it is about the relationship between the two characters and how it changes from disdain and pity, to condemnatory as the narrator dubs Ogden a coward, to finally a very tender moment in which the narrator finds respect for him and his writings despite their differences. Though The Narrator focuses on Ogden’s transformation, the narrator also undergoes a transformation of her own in parallel and in response to Ogden’s.

Witty, intriguing, and sincere, The Narrator is a character study, a gem, and a page-turner.

I was really trying to like this book, because fundamentally the message in Beautifully Brave is arguably one of the most important: show love and care for yourself, build your self-worth so you can stand in your own power, and don’t spend energy on things that do not serve or empower you – but it just felt a little
too much.

Author Sarah Pendrick has really put a lot of herself into this book, breaking down the act of caring for yourself into so many different facets. There’s knowing your values and living in them, which is the chapter that resonated the most. “If something is costing you your happiness, it’s too expensive. Invest in something else”, Pendrick says. There’s even a ‘homework’ section towards the end to complete so you too can become a self-care goddess. Beautifully Brave reads a little overindulgent in parts. There is so much encouragement to find and nurture self-love that it seems repetitive and more than simply just cultivating the ideal that it is okay to live in your own skin.

A dear friend once told me you need to be your own best friend, and in that moment many years ago she perfectly and unequivocally summed it up. I feel that’s all you need to know about how you should treat yourself.

Braveness comes from knowing who you are, being kind to yourself, and spending time and energy on the things that sustain you and bring some joy into your life.

Beautifully Brave is a great book if you really want to apply a hyperfocus to all that self-love means. Its underlying message is to simply show up for yourself, remember yourself in the equation, and that there is ‘self’ in everything we do, whether this is intentional or not.

Pendrick implores you to “remember that ‘just fine’ is not what you are on this planet for, you are here for the ultimate level of love and joy.”

Vendela Vida has developed a relatable and fallible character in Eulabee, a young girl stepping out of childhood and into adolescence with her best friend Maria Fabiola.

Eulabee feels a sense of belonging and ownership over her neighbourhood of Sea Cliff. “We are thirteen, almost fourteen, and these streets of Sea Cliff are ours.” She has always belonged there, roaming the hills between her home, her school, and the beach. Eulabee and Maria Fabiola count the waves as they crash on the rocks and at just the right moment, they sprint through the sand past the point to the next beach. It is dangerous but exhilarating and in these moments, they run the tides.

Vida delves into the themes of friendship and how it intertwines with personal growth. I had the impression of a cushioned, insular world expanding before these girls who stand on the brink of their lives, deciding who they will be. A minor disagreement about what the girls see on the way to school one morning turns into an enormous betrayal, and Eulabee finds herself ostracised for speaking the truth. Suddenly an outsider, she sees her closest and oldest friend in a new light.

Maria Fabiola is admired from every angle by everyone, it seems. Yet she craves more attention, manipulates, fabricates. Being cast out from Maria Fabiola’s inner circle gives Eulabee unexpected freedom – through her loneliness she befriends new people, discovers new things about herself. Eulabee connects with a boy, Keith, and they bond in a dreamy night of crashing music and synced heartbeats. Driving home from her first concert, “as we cruise smoothly and steadily through the night, it feels like we’re on a boulevard built only for us”.

Misunderstanding leads Eulabee to believe she has caused something terrible to happen, and in a strange twist of fate, Eulabee finds herself with Maria Fabiola as her only confidant, struggling to keep up with the web Maria Fabiola is weaving around them.

I highly recommend this book to anyone who enjoys astute fiction with a tender crux.

The Big Bike Trip is based on the true story of four kiwis who cycled from New Zealand to London: author Freddie Gillies, Arthur, Sean, and Timmy. My hatred for bikes has always been a topic of amusement amongst my friends. However, I love adventure and travel, so I was very excited to read this book!

Freddie starts off by setting the scene for the extensive mental and physical preparation that was needed and quicky delves into the adventure. For the first few chapters I found myself commenting my thoughts out loud to my husband; “It’s so frustrating they are not enjoying themselves, they are missing their partners!” Arthur and Sean leave behind their girlfriends and are devastated. Why did they not plan to meet their girlfriends somewhere on the trip? Or why didn’t their girlfriends go with them? I didn’t understand what the drama was and none of this was made clear. However, this gave the reader a deep understanding of Freddie. He showed incredible resilience and empathy. Clearly something I would lack in that situation!

By the time the boys arrive in Malaysia they are well in their stride and begin to enjoy themselves. The theme of friendship takes heart and centre as they support each other through every challenge imaginable. The most relatable of all being falling ill from something they ate. The boys seemed to be playing Russian roulette with their guts every day, dropping like flies with regular trips to the hospital. Despite their sickness and exhaustion, they managed to keep trucking along and their determination just blew my mind!

Our home lives are often automated and predictable. Travelling is one of those rare moments in life where you are forced to abandon hygiene protocols, try different foods, and put your trust in total strangers. I have been longing for that sense of freedom and adventure again, so it was incredibly satisfying to read Freddie’s beautifully written personal experience, the kind that changed something within him forever.

Well what a journey! I felt exhausted but also slightly exhilarated when I finished this book. Faith Jones, the author of Sex Cult Nun, is quite a woman. At two, she was performing on stage with her siblings, at three washing the dishes for 50 people, at four being shown a sex act by her parents, and then at the tender age of seven simulating sex with a friend. Faith says you can skip the history of the Children of God cult at the start and just read her story but I found the history fascinating and wondered throughout the book where all the money came from? And how these cults begin? And who believes someone’s grandfather is a prophet?

Faithy, as she’s known in the book, tells the story of her life as a missionary tripping around the world with her large family. At its peak, The Family as it’s known, reaches 10,000 members in over 100 countries. Grandpa, who is The Prophet, doesn’t believe in birth control so the families are large and therefore there are more people like them in the world to spread the word – and not ‘Sheep’ or ‘System’ people (non-believers) like me.

Sex (they call it sharing) is prominent and the women are supposed to keep their figures trim, be attractive and submissive and available for sex from any men, married or not. Faithy endures multiple rapes, even from men she thought she trusted. So she stops trusting anyone. It’s quite hard to read. I gave up on Chapter Two: Watch Out For Snakes as the title gives the game away and this is the chapter where she gets sex education lessons from her parents. I felt sick and distressed reading it and was going to stop reading the book, but instead skipped the rest of the chapter. It got better.

I won’t give the game away so read this book to find out what she becomes after a huge amount of effort and sacrifice.

Cat World is an ode, a love letter to the companions that enter and accompany our lives briefly but with such joy and love. There are few that cannot relate to the poems in Margaret Jeune’s collection detailing the lives of cats alongside our own.

The free-form poems, 14 in total, are all told from Jeune’s perspective. They are simple and concise. Their simplicity however is what makes them so tender. Jeune often talks to a particular cat, recounting both the antics of the little beast (such as dropping presents in the form of dead animals on the doorstep in Murderous Hobby and Gifts), or describing her cat acquaintance’s various moods and humorous attitudes as in Storm Clouds Brewing and Sheba.

Though cats are the subject of Jeune’s poems, she also critiques people’s consumeristic attitudes towards a living creature as well as their lack of compassion. In for Gus, Gus is treated more like an object than an animal: “Consoling a rejected cat / returned after eight months in a new home / because he wasn’t smoochy enough… Here Gus is back on the shelf… Is there an owner out there / who won’t count smooches?” Similarly in Skid Row at the SPCA, Jeune depicts the cats as inmates or orphans and muses at the best characteristics to have to escape the SPCA. “Be a kitten”, she says, or “if you are a black cat / for heaven’s sake / try for a white paw or nose”. Finally, Juene adds that since “prospective owners are very particular / they come along with exact / specifications in mind”, the best way to escape Skid Row is to “ooze on the charm”. Jeune simply yet powerfully comments on humans’ often inhumane behavior.

Charming and heartwarming, Jeune pays tribute to the furry friends that have brought her comfort and company. Cat World is a wonderful read for anyone who has ever shared a part of their life with a cat.

Middle Distance takes works from a total of 14 New Zealand writers and puts together a collection of short stories that are as diverse as the people writing them. Each story grabbed my attention and hooked me until the end, something not a lot of authors can do. The fact that this book does it not once but several times over is a testament to the depth of literacy skill on display here.

Each story is small, but they all pack a sizeable punch, and a few even had me thinking about them hours after I was finished reading. Despite the brevity of short stories, characters are well developed and come across as fully functioning people living in good old Aotearoa. The world they inhabit is equally as fleshed out and there were times I could almost recognise some of the places in the book.

One story in particular caught my attention the most, titled The Promotion by Maria Samuela. It’s the tale of a young man trying to reconnect with his absentee father and his family. Like all good stories, it has its fair share of ups and downs and then ends on a sweet, sombre note leaving me wanting more. For me, that is the mark of a good story: one that leaves you on the edge of your seat and has you asking the question, what happens next?

My only real concern is the book may come off as something of a mixed bag to some readers. While this is understandable considering the variety of literacy talent involved, it also means readers might be turned off by one story before finding another they really like. It’s a risk but in my humble opinion one worth taking. 

For those who are willing to plunge in and stick it out, Middle Distance delivers a real treat, as I am sure the amount of content here will impress the majority of people who give it a go.