Friday, 31 July 2026

 

Cass and the Beast 
Claire Mabey  Jill Calder  

                                                                             


                                                                        

Cass and the Beast
Claire Mabey (2026)
Ill. Jill Calder
Picture book, 32 pages
Hardback
ISBN 979 8 348037 7

 

The Townsfolk had given it a name: Beast.’

This handsome picture book has a dramatic opening scene, with alarmed people looking at huge paw-prints at the edge of the forest. They are frightened of the beast and see it as a danger. Young Cass ‘who was hardly ever scared’ thinks differently.

In telling the story of Cass’s encounter with the beast, Claire Mabey uses words with power and confidence. ‘The beast ran like thunder. It devoured the ground.

Unlike many story characters in this situation, Cass takes the initiative. She goes out into the forest offering food to the beast, ‘with nothing but her thin winter coat and a scrap of bread.’

The creature’s response is abrupt: ‘Mouth, teeth and tongue roared foul and fierce.’

Undaunted, Cass continues her offer of food and the beast takes it ‘with precise lips.’

Then, taking the collar of Cass’s coat into its mouth, the beast hoists her onto its back.

 Run,” says Cass, burrowing her hands into thick, warm fur, ‘made of all the light and all the dark of the world together.’ What follows is a fantastic journey through night and day. (We also discover the beast’s food of choice which may alarm the squeamish.) Cass makes a dramatic return to the town, capturing the attention of the townsfolk, as she farewells the beast, kissing its snout without fear of its teeth.

The stage is set for the charming revelation in the final pages of the book.

 

Jill Calder’s beautiful illustrations form a crucial part of this story. Her dramatic pictures embody the spirit of the tale on every page.

When Cass muses that ‘it was people who frightened her, not beasts,’ the accompanying double-page illustration shows a mass of faces; all people talking about the danger that they feel is posed by the beast. Each face is a portrait of fright, anger and anxiety.  Eyes show fear. Mouths are passing on their alarm. The clamorous scene has only one face that is at ease, almost smiling, and it is Cass’s dog. This is picture book illustration at its highest level.

Jill Calder gives visual hints of the beast throughout the story. The readers can see massive teeth and thick fur but the creature’s true identity is not revealed until the wonderful final pages. (No spoilers here.)

Cass and the Beast is a beautifully presented and original interaction of Claire Mabey’s story and Jill Calder’s pictures, creating a modern fable. The designer is Vida Kelly

 

Trevor Agnew

12 July 2026  [Review 3849]


NOTE: In July 2026 Claire Mabey was awarded the 2026 Lynley Dodd Children's Writers Award of $30,000 for her contributions to children's literature in Aotearoa New Zealand.

 

A Flame in the Dark  Maria Gill

                                                                                     


A Flame in the Dark (2026)
Maria Gill
One Tree House 440 pages
Paperback
978-1-990-03549-4

 

Watch out world,’ she whispered, ‘Here I come.’

 Maria Gill’s first young adult novel is a stunner – a fast-paced account of war hero, Nancy Wake’s life in the French wartime resistance.

 A Flame in the Dark begins dramatically, with Nancy hiding underneath a verandah while police tramp over it, searching for her. But this is not a wartime escape from the Gestapo. Nancy was a 16-year-old runaway, escaping from a difficult home life. Her family background and upbringing in New Zealand and Sydney are lightly sketched in, so that within a few pages Nancy has begun to satisfy her wish for travel and adventure. She sails to Europe and works as a freelance reporter based in Paris. 1930s Europe is full of tense situations and dramatic moments. Nancy thrives, even witnessing the assassination of the King of Yugoslavia. Readers also see the rise of fascism in Germany and Austria through Nancy’s eyes.

 Maria Gill has created a well-structured story, so that her chapters usually end at a turning point or key moment in Nancy’s life. The best example comes when Nancy is about to marry Henri, a charming French businessman, and enjoy a life of bliss in Paris but, while she is in London, war is declared. Nancy’s strength of character is often shown in this account by the way other people respond to her.  Thus, the impact of news of the outbreak of war is seen through Nancy’s comforting of a weeping French schoolgirl who is at boarding school in Britain.

 After her attempt to join the military is rejected, Nancy marries Henri.  She is working as a volunteer ambulance driver when the Germans sweep into France. Most of the novel is still to come, almost all of it portraying Nancy’s experiences with the Maquis, the French Resistance. The action scenes in German-occupied France are vivid and gritty. Mocked-up newspaper headlines at the beginning of each chapter keep the reader aware of the date and how the war is developing. The claustrophobic atmosphere and the constant fear of betrayal and death are well conveyed. Skilful flashbacks provide telling details about Nancy’s courage. At one dangerous period, Nancy always carried a hand grenade when there was a knock at the door.

 Many of the Maquis were doubtful about women taking part in the resistance and Nancy had to prove herself just as hard-talking, hard-fighting and hard-drinking as the men she led. She not only succeeded but also showed that the Germans would be less suspicious of a woman cyclist carrying groceries in her string bag than men in a car. ‘They’ll think I’m a farmer’s wife, going shopping,’ says Nancy. Thus, she pedalled over 500 km to make a desperate search for a contact to deliver a crucial radio message. She succeeded and then returned safely, although exhausted and in great pain. Nancy’s other wartime exploits are well described, along with the intense personal and emotional costs involved. 

 Rather than rehash history books, Maria Gill has made use of her detailed research to construct convincing conversations which carry Nancy’s story along and pass on information.

The Gestapo have put a price on the head of the woman helping refugees escape.’
’Me?’
‘They don’t know who you are. They call you the ‘White Mouse’ … because you’ve been hard to catch. 

 A Flame in the Dark is an exciting page-turner of a novel, immensely readable and continually surprising. It is full of action, drama, suspense and even has romance and humour. As a historian, I am impressed by the skilful way Maria Gill retells Nancy’s story as a novel that will attract and inform young adult readers.  Because it is so well written, it should also become a ‘cross-over novel,’ one that is enjoyed by adult readers as well.

 Fifi Coulston’s striking cover portrait captures Nancy’s appearance and spirit perfectly.

 A glossary, photos and an author’s note are included.

  Trevor Agnew [Review 3832]

Note: This review originally appeared in the July 2026 issue of Magpies magazine.

Sunday, 26 July 2026

Keith Goes Glam  Elaine Bickell

                                                                                         


Keith Goes Glam
Elaine Bickell
Ill. Minky Stapleton
Scholastic (2026)
Picture book
24 pages, Paperback
ISBN 978 1 77543 976 9

  

Keith Goes Glam is a companion volume to Keith and the Kitten (2025). Keith is a self-centred chihuahua, whose life is made miserable when his owner, known as Mama, acquires a feline named Queenie. Mama assumes the pair will get on like a brother and sister – which shows that she knows nothing about sibling rivalry. Keith and Queenie fight like cats and dogs. Keith Goes Glam sees the conflict spread into the world of canine fashion!

Their Mama loved dressing her little Keith up.
Queenie cat teased, “What a widdle pup.”’

 Elaine Bickell tells the story in cute rhyming couplets, which are neatly matched by the beyond-cute illustrations of the amazingly amusing Minky Stapleton.  A clever montage shows Mama taking a series of fashion shots of Keith in different outfits she has purchased for him. Pom-pom, bows and a top hat are key elements along with a double helping of sequins and pearls. His expressions in the photos are priceless. Queenie loves every moment of Keith’s chagrin.

Mama’s big weakness was sparkly clothes,
glittery booties and collars and bows.

 Worse follows when Mama buys a hot-pink carry-bag for her dog. It matches her hot-pink shoes and goes nicely with the hot-pink bow Keith is forced to wear. With his head sticking out of the bag, Keith is a picture of canine fury and embarrassment, as Mama carries him up the street.

Down at the shops, he was patted and poked.
“Awww, he’s adorable,” everyone joked.

 Then Keith sees his chance to get his revenge on the smirking Queenie. A shop is offering ‘a double pet bag, just perfect for two.’ With lots of barking and yapping he draws Mama’s attention to it. She buys the glittery golden backpack model. (And Keith gets a matching glittery gold ribbon, collar and K badge!) Keith is delighted because Queenie is about to find herself being carted around in the bag. Several pictures shows him smirking at the prospect of his revenge.

 

Into the bag goes Queenie and, too late, Keith realises his mistake.

‘”Uh-oh,” said Keith. He’d not thought of that.’

Young readers will have spotted the drawback in Keith’s cunning scheme long before Keith did and will enjoy the final pages even more. A thoroughly unhappy ending is had by all.

 

Trevor Agnew
23 July 2026  [Review 3854.]

 

 

 

 Out in the Bay  Ned Barraud

                                                                                                         


Out in the Bay
Ned Barraud (text & ill)
Scholastic (2026)
Picture book
24 pages, Paperback
ISBN 978 1 77543 977 6

 

There in the bay, beneath waters jade green,
dwell creatures of mystery, shy and unseen.
A seahorse? A crab? Grey dolphins at play?
A whole hidden world lies out in the bay.’

 Out in the Bay is an attractive companion volume to the author-illustrator’s equally fascinating At Home on the Farm (2025) This time the subject is the dramatic area where the sea meets the land – the bays and beaches of New Zealand. Raised in Nelson and now living in Wellington, Ned Barraud knows his bays and their wildlife.

 The handsome double-page colour illustrations don’t show glamorous, idealised seashore scenes. Rather, we see storm-battered beaches, collapsing remnants of old jetties, piles of driftwood, sandy islands being eroded by the sea and even an ageing yacht ‘crusty and rusty and riddled with rot.

Look closer and we see that the yacht is being used as a roost by terns, its mooring rope is festooned with mussels. The jetty piles are home to starfish and still more mussels. Schools of small fish dart through the seaweed below. There is life everywhere in his pictures: tiny humans in their sailboats, a stingray gliding in the shallows, a crab scuttling for cover and the multitude of wading birds which gather on the shore to dine:

Oystercatchers, herons and stilts
Probe for a feed through the mud and the silt.

 

The illustration of the accumulated flotsam washed up on a rocky shore– ‘treasures to spot if you have a keen eye’ -  includes shells, feathers, driftwood, kina shells and even a half-built hut. It should inspire a generation of young readers to go beachcombing

 

There is a page devoted to the guano production of a colony of spotted shags, which is certain to fascinate young readers.

‘Their crang-a-dang nests cling to the cliff,
but yuk! What a stink! What a foul-smelling whiff!’

 

Barraud has a sharp eye for the distinctive features of the creatures he depicts, such as the shags holding their wings out to dry. My favourite illustration shows fur seals – not the sleek, diving ones – but the lumpy, lolling ones, lying on the rocks, enjoying the sunshine, and waving the occasional flipper.

 

His time spent working in the film industry with Weta Workshops is reflected in Ned Barraud‘s dramatic landscapes and seascapes.  The most awe-inspiring creation is the school of luminous jellyfish in a purple, midnight sea. The author’s words are a perfect accompaniment to his picture:

Out in the bay, drifting with grace,
jellyfish float like stars in deep space.,
glowing like lanterns, soft and slow.
they’re carried by currents that ebb and flow.

 

The dramatic closing pages show Nelson’s Boulder Bank lighthouse standing firm against the black clouds of a rising thunderstorm, while dolphins plunge through the breakers:

But, surfing the white caps with joy and with glee,
grey dolphins are dancing, wild and free.’

 

Out in the Bay is a book to enjoy reading. And, doubly, to enjoy looking at.

 

Trevor Agnew

20 July 2026  [Review 3853.]

 

 

 

 

Saturday, 25 July 2026

Tania Roxborogh

Bastion Point:
507 Days on Takaparawha,
Auckland 1977-78
Tania Roxborogh 

                                                                                            
                                                                             

Bastion Point:
507 Days on Takaparawha,
Auckland 1977-78
Tania Roxborogh 
My New Zealand series
Scholastic (2017)
Historical novel
206 pages, paperback
Historical notes, booklist, photographs
ISBN 978 1 77543 479 5

 

 

‘Dad, this is so stupid. We are nobody and nobody cares what we think.’


This novel, the latest in the respected My New Zealand Story series, is told as the diary of a 12-year-old Māori girl, Erica Tito, who unexpectedly finds her plans for a relaxing summer holiday of training her pony completely upset. Today the Bastion Point protest is seen as a turning-point in New Zealand’s history but Erica, at first, has no idea of what is involved. The reader learns along with her as she writes about each day’s developments in her diary.
Told to pack for a ‘short holiday down south,’ Erica finds herself part of a large group camped on an Auckland headland. On the first morning, Erica doesn’t even know where she is.


‘But, Dad… Where are we? Are we in Auckland?’
‘Yes, and this place here, my people call Takaparawha but on the maps it’s Bastion Point.’


Erica’s father has brought his family to join a protest against the selling-off of Bastion Point, an area of land the Ngati Whatua people claimed had been illegally taken from them. The protestors – who preferred not to be called occupiers – set up an encampment and, amid increasing national controversy, remained there for 507 days. Tania Roxborogh has done her research well and provided the tiny details that make her story so convincingly genuine. For example a garden hose was the only supply of drinking water in the early days.


Another striking aspect is that, throughout the protest, the young people involved attended the local schools. Erica is thus faced with all the problems of being a new student in a strange city but also of being perceived as a disruptive element. All the issues of the complex and controversial national dispute are mirrored in the tensions Erica encounters at school. Thus, when the truckloads of police suddenly arrive, at Bastion Point, the reader is fully aware of what is at stake.
A clever framing device helps put the diary into its historical context and also gives a hint of Erica’s future. This is a simply-told but powerful historical novel, a reminder that governments can be obtuse and autocratic and that sometimes people have to take a stand.


As usual in this highly-regarded series, there is a Timeline, Historical Note, Glossary, Bibliography and a set of contemporary photographs.

Trevor Agnew, 7 January 2017
[Review 2998
]


 Helpful notes and questions, discussion topics and activities, are in the Teacher Notes on the Scholastic NZ websitemnzs-bastion-point.pdf


Review for Magpies magazine, April 2017 issue

By Trevor Agnew

 

Bastion Point: 507 Days on Takaparawha,
Auckland 1978-79 

Tania Roxborogh 
Scholastic (2017)   (My New Zealand Story series)
206 pages, pb, NZ$18
978 1 77543 479 5

 “What is this place?” I asked.

“This is where I was born,” he said…”It’s gone now. All the homes were destroyed when I was a kid.”

The fortieth anniversary of the confrontation over Bastion Point is a sobering reminder of just how far race relations and Maori land issues have come since the 1970s. Those who lived through that period have vivid memories of the conflict and the attitudes, but how can children growing up today understand the way things were back then?

The answer is to be found in Tania Roxborogh’s excellent novel, Bastion Point: 507 Days on Takaparawha, the latest in Scholastic’s superb My New Zealand Story series. Roxborogh has created a young girl, Erica Tito, who lives in a rural area north of Auckland and has no knowledge of her father’s childhood or of Ngati Whatua’s land confiscation protests. All Erica is interested in is training her pony Silver. We know this because Erica’s diary entries for 1977 and 1978 form the narrative.

 The reader learns along with Erica as her life suddenly changes forever. Told to pack for a “short holiday down south,” Erica finds herself part of a large group camped on an Auckland headland. Her father has brought his family to join a sit-in protest against the selling-off of Bastion Point, an area of land the Ngati Whatua people claimed had been illegally taken from them.

The protestors – who prefer not to be called occupiers – settle down in their encampment and, amid increasing national controversy, remain there for 507 days.

Roxborogh’s master stroke in this story reflects her careful research. The Bastion Point children went to school locally. It sound simple but it creates a perfect microcosm of New Zealand as Erica encounters various responses to the land dispute. Pining for her pony, and labelled a troublemaker  at school, Erica gradually learns more about the history of the area. The most moving testimony comes from her father, describing how his childhood home was bulldozed, “They told us to get our gear and leave because they were going to remove the houses…Then they set them all on fire. They killed my dog.”

 Always, the author maintains a young girl’s viewpoint, drawing us in to Erica’s experiences and emotions.  According to Father Shirres at the church service last Sunday, we’ve been protesting on the Point longer than Noah and his family were in their Ark. That story will never be the same to me again – I think I know how they must have felt.” Finally, Erica stands with the others as the police convoy arrives.

 A lovely feature of this dramatic story is the framing device, set in the present day, which enables the reader to work out what became of Erica and her dreams. This is a gripping and powerful historical novel, a reminder that governments can be obtuse and autocratic and that sometimes people have to take a stand.

As always with this series, there is an informative Timeline, Historical Note, Glossary, Bibliography and a set of contemporary photographs.

 Trevor Agnew

30 March 2017


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Author Tania Roxborogh’s rich creative life ‘rewrites the narrative’ of a troubled childhood

As told to Joanna Davis|Homed

Photos by Peter Meecham, The Press, Christchurch [Stuff]

Your weekend magazine, 25 July 2026

July 25, 2026 • 4:00am

Copy Link

Writer and educator Tania Roxborogh at home in Lincoln, Canterbury, in front of her much loved book collection.Writer and educator Tania Roxborogh at home in Lincoln, Canterbury, in front of her much loved book collection.Photo: Peter Meecham / The Press

 

Told as a teenager that she’d never amount to anything, Tania Roxborogh has gone on to be a multi-award winning author and educator, perhaps best known for her Charlie Tangaroa series of books for young readers.

Roxborogh (60, Ngāti Porou, Ngāti Mutunga o Wharekauri, Scottish, German, and Irish descent) lives in Lincoln, Canterbury.

TANIA: This is probably the longest I’ve been in one house in my entire life, 10 years.

I was born in Christchurch and just before I turned four we moved to the Bay of Plenty. But we moved around a lot: In one year I went to seven different primary schools.

When I was 15 I left home, tried to find my father, found him, that was a disaster. He was in a drunken rage and kicked me out.

I spent 18 months in foster care. I’m incredibly grateful for their generosity and their kindness. They were so patient with me, even though I would nick her cigarettes. They even got a horse for me.

As hard as I was on them, they showed me what good families are like.

Sixteen was the beginning of my depression and anxiety. I went to fill out one of those personality questionnaires, the psychologist and the social worker said to me: ‘Tania, you will never amount to anything. You’ve set yourself up to fail.’

My uncle had dropped me off. He said, Let’s prove the bastards wrong. Let’s show them.

I have a BA in humanities, a post-graduate diploma, first class honours in Māori knowledge and I’m working on my PhD.

And my books have won awards. One of them I really love, Charlie Tangaroa, won the Ibby award [a prestigious international children’s book award].

Roxborogh loves the old Imperial typewriter, and likes to see the old numberplate from the family car (a Honda Odyssey), as it took her family on many adventures.Roxborogh loves the old Imperial typewriter, and likes to see the old numberplate from the family car (a Honda Odyssey), as it took her family on many adventures.Photo: Peter Meecham / The Press

I started writing at high school. Bless my teachers. This is why I became a teacher. I wanted to become for other kids what mine were to me.

I started teaching at Macleans College in Auckland, and then moved to Westlake Girls High school to become head of drama. I found it difficult to find plays the girls could perform in, so I wrote some.

I joined writing groups, read a lot. I don’t see myself as especially talented. I’m a good storyteller but I’m willing to improve and make changes when people make suggestions.

I was in Auckland nearly 20 years, then got a writer-in-residence position in Dunedin, so we stayed in the South Island.

Roxborogh treasures these lettters she received from celebrated poet Alistair Te Ariki Campbell after she sent him her poems in 1986. At first he told her she needed to work much harder, and then congratulated her, including for recognising that her future lay in prose rather than poetry.Roxborogh treasures these lettters she received from celebrated poet Alistair Te Ariki Campbell after she sent him her poems in 1986. At first he told her she needed to work much harder, and then congratulated her, including for recognising that her future lay in prose rather than poetry. - Photo: Peter Meecham / The Press

 

My husband, Phillip, is a lecturer in technology and computing. When we moved to Dunedin, he arranged it so he could work from home. The time he saved in commuting, he did a masters and then got a job at ARA [Institute of Canterbury].

In 2023 I moved from my job which I loved to the Ministry of Education. And that was important. My PhD is in helping teachers teach Shakespeare through a te ao Māori lens - basically decolonising Shakespeare. I’d only just started and the new Government came in and I lost my job.

They’ve undone all the good stuff that was being done. I feel embarrassed to say but I lost my mojo. I can’t be the teacher I want to be any more. I’m just so over the changes and the politics.

I have two daughters, Mackenna, 34; she’s a vet, and she and her social worker husband live in Brisbane. I think they’ll come home. And my pōtiki Brianna is 30, and she lives in Christchurch. She comes to visit and goes on Dad dates which means he takes her to the petrol station and fills it up with petrol.

Roxborogh says Macbeth is her favourite Shakespeare play, and a trip to Glamis Castle in Scotland was “a trip of a lifetime” as that is where the king was killed. Roxborogh has written a trilogy sequel to Macbeth.Roxborogh says Macbeth is her favourite Shakespeare play, and a trip to Glamis Castle in Scotland was “a trip of a lifetime” as that is where the king was killed. Roxborogh has written a trilogy sequel to Macbeth.Photo: Peter Meecham / The Press

 

I spend a lot of time avoiding doing my work. The third draft of my latest novel has been to the editor and come back full of annotations. So I watched 15 seasons of Call the Midwife. I’d do a bit of work and then go and watch an episode.

I’m lucky I have good support networks who help me navigate past trauma. I’ve been diagnosed with complex PTSD. I didn’t realise I spent my life disassociating.

That’s how I managed my whole life, I saw it as a story rather than as a reality of my upbringing.

But I can re-write my narrative the way I want it to be.

 

Your Weekend [Stuff] 25 July 2026, pages 14-15.

 

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Thursday, 23 July 2026

Whenua: Māori Pūrākau of Aotearoa (2025)

 

Whenua: Māori Pūrākau of Aotearoa
Isobel Joy Te Aho-White

                                                                                                 


Whenua: Māori Pūrākau of Aotearoa
Isobel Joy Te Aho-White (2025)
Little Moa/Hachette
Māori legends, 90 pages
Hardback
ISBN 978 1 86971 588 5

 We begin our storytelling with the oldest tale of them all. This is the story of the creation of the world.’

 Pūrākau is a marvellously flexible word. Depending on context, it can mean myth or story or incredible tale. Even legend. In Whenua: Māori Pūrākau of Aotearoa, all of these meanings apply. In this wonderful book author and artist, Isobel Joy Te Aho-White, is retelling eleven stories that have been passed down, told and retold, drawn, carved and painted, by generations past. Her skill with words, pictures and maps introduces a new generation to some the world’s oldest stories. And, as she reminds her readers. ‘For us, storytelling is an art form that is used to relay important information about nature, history, healing and the land.’ It is the whenua (land) which brings these stories together.

 

Isobel Joy Te Aho-White has chosen eleven pūrākau to retell, beginning with ‘The Waka of Aoraki.’ Four bickering brothers, children of the sky gods, decide to visit their auntie Papatūānuku, the Earth Mother. Unfortunately, the brothers’ arguments distract Aoraki as he chants the spells which would have enabled their canoe to fly safely. The waka crashes and the brothers scramble on to its upturned hull. Aoraki throws his korowai [cloak] over them. ‘There they stayed, shivering under the korowai, as the centuries passed … Slowly the brothers began to turn to stone…’ Thus the snow-covered brothers become Kā Tiritiri-o-te-Moana (the white caps of the ocean), the Southern Alps. This retelling really brings the stroppy brothers to life and also fulfils the purpose of the tale: making a landscape memorable, in a tradition to be passed on. There is also some truly memorable prose: ‘Never again would the brothers join their mother or their father in the sky and Aoraki’s chant can still be heard blowing through the surrounding valleys of Kā Tiritiri-o-te-Moana.’

 

Then there are the illustrations by the author. There are colour pictures on every page of this 90-page book!  The six pages of the Aoraki story have paintings, decorative designs and a map, all of which help carry the story.  The best picture in the book shows Aoraki’s canoe in full flight over the continent of Australia. Turn the page and the canoe is plunging to destruction, with Aoraki’s korowai sweeping over the foreground. Turn the page and the korowai enfolds the brothers, as it takes on the familiar outline of the mountains.

 

Three more stories from Maui’s canoe (the South Island) follow. I was lucky enough to hear the legend of ‘Rākaihautū and Tuhiraki’ being told at Rehua Marae, Christchurch. Four decades later I still remember the active digging motions of the storyteller, as he spoke of Rākaihautū carving out the lakes and rivers.  Isobel Joy Te Aho-White adds a reminder that the names of people, places and things are important. ‘Landmarks, tribal areas, houses, waka and even weapons have names.’ Sure enough, Rākaihautū’s ‘trusty ko (digging stick) is named Tū Whakarōria. And the mountain where Rākaihautū set this ko up to rest from its work, Tuhiraki, still stands looking over Akaroa.

 

‘The Sleeping Giant’ is a traditional just-so story which explains the origin of the Moeraki boulders, and does it with flair and well-characterised heroes. ‘Poutini and Waitaiki’ is a poignant love story which tells of the origin of the West Coast’s unique, pale, flecked greenstone. It also has the instantly memorable reminder that Poutini, the taniwha who is the kaitiaki of pounamu, is only frightened of one thing – the sandstone teeth of his sister, Whatipū. Just so.

 

The other seven stories are all equally well retold and illustrated. Once again, volcanoes and hot springs are created as freezing explorers are saved. Wellington Harbour is formed as taniwha struggle to escape the confines of Pōneke Lagoon. Lovesick mountains battle in vain for the love of Pīhanga. Okatia, the spirit living in a giant totara, carves out the Tararua and Ruahine ranges. Whātonga’s troubles with his two wives results in the discovery of a plentiful forest home. An angry tohunga and an annoying young whale change the landscape around Wairoa forever. A battle between fairy folk creates the volcanoes of Tāmaki Makaurau. Whenua is indeed the right title for this book.

 The result is a handsome collection of exciting and interesting stories from the great treasury of Māori pūrākau, retold with respect and illustrated with imagination.

Using the Māori tradition of Maui’s canoe and Maui’s fish, Isobel Joy Te Aho-White has also created some maps of Aotearoa New Zealand which will really get young brains working and – above all - seeing things from another point-of-view. Which is really what these eleven pūrākau do as well.

 

Trevor Agnew
17 June 2026  [Review 3846]

BIRD! Raymond McGrath

 Bird!  In Spring Along Came a Spider  Raymond McGrath

 Bird!  In Spring Along Came a Spider 
Raymond McGrath (2026)
Lerner/Graphic Universe
Junior graphic novel
48 pages, Paperback
ISBN 979-8-7656-4813-1

                                                                                        

 Wow! This is a really great branch.

 It’s the first day of spring and there’s a new bird in town. You can tell the bird is a fresh arrival because he’s carrying a suitcase. The tiny bird is also carrying a Things To Do note from his mother. Number One on the list is ‘Find a great tree.’ The bird is depicted as a small blue sphere of fluff with three feathers each for wings and tail. His eyes take up more than half his body-mass. He is unbelievably cute.

 

Raymond McGrath is a witty writer as well as a witty illustrator. This is amply demonstrated when the bird’s first visitor literally drops in. The following nervous conversation ensues:

Aah!

Aah!

Who are you?

I’m Spider.

You mean you are a spider.

My name is Spider. But, yes, I am a spider. So, who are you?

I am Bird.’

 Spider and Bird soon become an inseparable team.  Strolling along the branch one day, Spider is impressed by Bird’s photo of his Mum and even more impressed by her reminder list.

Are you still working on Number Two?’ enquires Spider, discreetly.

What was Number Two again?’ responds Bird, shiftily.

It turns out that Mum’s second instruction was to ‘weave a fancy nest.’ Bird’s first attempt at nest-building looks like an explosion in a spaghetti factory, so it is up to Spider to show what can be done with imaginative flair, twigs, straw and lots of spider-silk. The resulting nest, with its rococo swags and bows certainly qualifies as fancy.

 

Bird and Spider continue to hit it off, mainly because Bird can sing and Spider can dance. This is handy because Number Three on the Things To Do List is ‘Sing and Dance the Springtime Song of Friendship.’  Spider, having eight legs, proves expert at dancing.

Spider: ‘You do the singing!

Bird: And you do the dancing!

Spider: ‘Look out world. Here it comes!

Bird: ‘A one. And a two. And a one, two, three!’

 

What follows is a marvellously joyful series of pictures showing Bird and Spider singing and dancing together. (This is a charming tribute to Bill Watterson’s comic sequence where Calvin and Hobbes the tiger danced to a classical record played at 78 rpm, except that Spider and Bird, between them, have four more legs to dance with.)

 All that remains on Mum’s list is to ‘Have fun with your new best friend.’ Unfortunately, neither Bird nor Spider have discovered a new best friend for Bird. Can this problem be solved? (Young readers will be well ahead of Bird and Spider by now.)

Or will this problem have to wait for Volume 2 in the Bird! Series: Bird in Summer: the Worm Turns Up (2026)

 Bird! is a cutely illustrated, brilliantly written series that will introduce young readers to the joys of funny dialogue, the joys of funny pictures and the joys of funny graphic novels. Simultaneously.

 

Trevor Agnew

16 July 2026  [Review 3851.]

 

                                            THE FOUR SEASONS - Raymond McGrath


Bird!  In Summer the Worm Turns Up  Raymond McGrath

 

Bird!  In Summer the Worm Turns Up 
Raymond McGrath (2026)
Lerner/Graphic Universe
Junior graphic novel
48 pages, Paperback
ISBN 979-8-7656-4814-8

                                                                                  

Bird!  In Summer the Worm Turns Up is the second in the witty series about a tiny bird making its way in the world, guided by a Things To Do note written by his Mum. His current task is to alter Number Three on the Things To Do List from ‘Sing and Dance the Springtime Song of Friendship’ to ‘Sing and Dance the Summertime Song of Friendship.’  This is important to Bird because Task Four is ‘Have Fun with Your New Best Friend.

 

Because it is now Summer, the weather is hot and the cherries on Bird’s tree are ripe. Bird is hot and listless, when Spider drops in to further beautify Bird’s already fancy nest. Not only can Spider eat cherries and decorate Bird’s nest with spider-silk flowers, but she can also keep up her end of a conversation:

Spider: ‘So, have you found a best friend to share your nest with yet?’

Bird: ‘Not yet. How about you?’

Spider: ‘What about me?’

Bird: ‘Have you found a best friend yet?’

Spider: ‘Uh. No. Not yet.’

(Young readers love characters who miss the obvious, so they find an unexpected joy in this situation.)

 

Refreshed by cherries, Spider gets Bird to join in their singing and dancing of the Springtime Summertime Song of Friendship. Spider’s creation of two spider-silk parasols enables them to cope with the hot sun and mount a fine performance. To their astonishment, somebody down on the ground hears them; it is Worm, who has crawled out of his hole into the sunshine to enjoy their performance.

 

 Their first conversation starts badly but helps dispel suspicions.

Worm: ‘Hang on. You aren’t going to eat me, are you?’

Bird: ‘What? No!’

Worm: ‘Are you sure? Some birds like to eat worms.’

Spider: ‘Bird doesn’t eat worms. He sips nectar. You can tell from the shape of his beak.’

 Worm is further reassured when he learns that Spider is not going to eat him either. ‘Those are salad-y teeth not bite-y teeth.’ Fitted with a spider-silk sun-hat, Worm recovers from the de-moisturising effects of the summer sun and invites the helpful pair back to the coolness of the wormhole, where he stores his dirt collection. There, the three of them can relax and bewail their lack of friends:

Worm: ‘Well, it would be nice to have someone around who likes to talk about dirt.

Bird: ‘I know how you feel. I’d like to have a best friend to talk to and share my nest.’

Spider: ‘Me too.’

Bird: ‘But making friends is hard.’

Worm: ‘Sure is.

 

To cheer them all up, Spider suggest that all three sing and dance the Summertime Song of Friendship. The only problem is that Worm can’t sing and can’t dance. Fortunately, he can play a drum, so the performance goes ahead with unexpected results.

 Raymond McGrath’s pixilated dialogue will also give young readers something to think about: ‘I read it on the internet,’ says Worm. How?

And where did Worm get a drum from? Probably the same place that Spider got her lorgnette from, and Bird got his suitcase from. These graphic novels are packed with tiny details, in text and picture, put there just to amuse young readers (and some lucky old ones). This is genuinely skilful stuff and I look forward to Volume 3 which I suspect will be set in Autumn.

 

Also, it is noticeable that in all the pictures of the cherry tree, there is clearly a large, tortoise-shell cat lurking in the long grass below The only thing you can be sure of in a Raymond McGrath book is that you can’t be sure what’s going to happen next.

Enjoy.

  

Trevor Agnew
16 July 2026  [Review 3852]

 


                                    THE FOUR SEASONS - Raymond McGrath