
The Unity Books bestseller chart for the week ending June 27
AUCKLAND
1 A Different Kind of Power by Jacinda Ardern (Penguin Random House, $60)
The Spinoff's own Madeleine Chapman reviewed Ardern's memoir – here's a snippet: 'Whether or not Ardern wrote this book herself (there is an 'editor' profusely thanked in the acknowledgements) is by the by. It is the story that she wanted to tell, or at least the parts of it she wanted to tell. Ardern ends her book by referring to herself as a 'speechwriter'. And her speeches are what have defined her career, whether impromptu or nervously rehearsed. But they're also deliberately limiting in what they offer. As a memoirist, Ardern has taken the same approach – offering just enough while still holding her cards close to her chest. It's an impressive move from someone who will now continue to be able to live a very private life while being extremely famous and a successful memoirist.'
2 The Safe Keep by Yael van der Wouden (Penguin, $26)
A stunning debut novel set in the Netherlands of the 1960s. Beautifully written, surprising, and hopeful even while it offers insights into traumatic episodes in history.
3 Papatūānuku: A Collection of Writings by Indigenous Wāhine by multiple contributors (Awa Wāhine, $30)
The latest, beautiful publication from indie indigenous publisher Awa Wāhine. Here's the blurb: 'A collection of writings by Indigenous wāhine is a powerful anthology of writing by Māori and Pacific women, offering a fresh, raw, and deeply personal tribute to Papatūānuku, the Earth Mother. Through these stories, poems, and reflections, the contributors explore the sacred connections between land, identity, and Atua Wāhine (Māori goddesses), bringing ancient wisdom into the present moment.'
4 James by Percival Everett (Picador, $38)
One of the great novels of the decade is this Pulitzer Prize-winning retelling of Huckleberry Finn. Here's the blurb:
'When Jim overhears that he is about to be sold to a man in New Orleans, separated from his wife and daughter forever, he runs away until he can formulate a plan. Meanwhile, Huck has faked his own death to escape his violent father. As all readers of American literature know, thus begins the dangerous and transcendent journey by raft down the Mississippi River toward the elusive and unreliable promise of the Free States and beyond.Brimming with the electrifying humour and lacerating observations that have made Everett a literary icon, this brilliant and tender novel radically illuminates Jim's agency, intelligence, and compassion as never before. James is destined to be a major publishing event and a cornerstone of twenty-first century American literature.'
5 Butter by Asako Yuzuki (4th Estate, $35)
The hugely successful true crime novel that has stayed in the bestseller charts for over a year now. Way back in 2024 Josh Weeks reviewed Butter in The Guardian: 'Based on the real-life case of the 'Konkatsu Killer', in which a con woman and talented home cook called Kanae Kijima was convicted of poisoning three of her male lovers, Butter uses its sordid source material to interrogate the impossible beauty standards to which Japanese women are held.'
6 Eurotrash by Christian Kracht (Serpents Tail, $30)
A black comedy about a mother and a son and a roadtrip. 'Eurotrash is a knowing book,' writes Marcel Theroux, 'with excursions into German history and allusions to Shakespeare, myth and pop culture. Part of its charm is the voice of its narrator, a self-aware snob-insider who is anatomising the avarice and insecurity of the privileged class he was born into.'
7 There Are Rivers in the Sky by Elif Shafak (Penguin, $26)
A moving novel about the ways water connects people, place and time.
8 Nesting by Roisin O'Donnell (Simon & Schuster, $40)
Another 'unforgettable voice in Irish fiction'. Here's the blurb:
'On a bright spring afternoon in Dublin, Ciara Fay makes a split-second decision that will change her life. Grabbing an armful of clothes from the washing line, Ciara straps her two young daughters into her car and drives away. Head spinning, all she knows for certain is that home is no longer safe.
It was meant to be an escape. But with dwindling savings, no job, and her family across the sea, Ciara finds herself adrift, facing a broken housing system and the voice of her own demons. As summer passes and winter closes in, she must navigate raising her children in a hotel room, searching for a new home and dealing with her husband Ryan's relentless campaign to get her to come back.
Because leaving is one thing, but staying away is another.'
9 The Book of Guilt by Catherine Chidgey (Te Herenga Waka University Press, $38)
A magnificent new novel from one of New Zealand's great fiction writers. Here's a snip from The Spinoff's books editor Claire Mabey's review: 'Fading seaside towns are microcosms for faded histories and dreams – and the UK's coastline is littered with them. The layered architecture of eras gone by affects a kind of haunting; the bright surfaces and ice cream shops pasted on top peddle dreams of beachside holidays often, in reality, rudely spiked by hyper-aggressive, Hitchcockian seagulls. Pastel-coated shopfronts and dusty vintage stores soften the detection of darker underbellies and thinly disguise the failures of capitalism to inject the buoyancy required to keep the nostalgia at bay.'
10 The River Is Waiting by Wally Lamb (Simon & Schuster, $40)
An epic new novel from the superstar that is Wally Lamb.
WELLINGTON
1 A Different Kind of Power by Jacinda Ardern (Penguin Random House, $60)
2 A Beautiful Family by Jennifer Trevelyan (Allen and Unwin NZ, $37)
Narrated by a 10-year-old girl, this immersive summer holiday novel is awash with a sinister undertow. Read a review of A Beautiful Family on The Spinoff, right here.
3 If I Must Die by Refaat Alareer & Yousef Aljamal (OR Books, $59)
Renowned poet and literature professor Refaat Alareer was killed by an Israeli airstrike in Gaza City alongside his brother, sister, and nephews in December 2023. He was just forty years old. This book is a collection of his essays and poetry about literature, politics, and family.
4 The Book of Guilt by Catherine Chidgey (Te Herenga Waka University Press, $38)
5 The Safe Keep by Yael van der Wouden (Penguin, $26)
6 Bombard the Headquarters! by Linda Jarvin (Black Inc., $32)
For anyone interested in China then and China now: 'In 1966, with the words 'Bombard the Headquarters!' Mao Zedong unleashed the full, violent force of a movement that he called the Great Proletarian Cultural Revolution. By the time he died ten years later, millions had perished, China's cultural heritage was in ruins, its economic state was perilous, its institutions of government were damaged and its society was bitterly divided.
The shadow of these terrible years lies heavily over the twenty-first-century nation. The history of this period is so toxic that China's rulers have gone to great lengths to bury it – while a few brave men and women risk their freedom to uncover the truth. For as both they and the Party know, to grasp the history of the Cultural Revolution is to understand much about China today.'
The award-winning novel about ageing, loss, and living. The Spinoff's Gabi Lardies and Claire Mabey loved it.
A succinct guide to the conflict – essential reading.
9 James by Percival Everett (Picador, $38)
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Toi Tū Toi Ora reframed: Doco reveals Auckland Art Gallery politics of landmark Māori exhibition
The artists are all here tonight. The always-too-small foyer of SkyCity Theatre is bursting with a sold-out crowd for the premiere of Toi Tū: Visual Sovereignty, Chelsea Winstanley's documentary about what happened five years ago and a kilometre away at Auckland City Art Gallery Toi o Tāmaki. There had been a crowd back in 2020, too, with many of the same people in it, for the opening of Toi Tū Toi Ora, which was not only the largest show in the gallery's history, but also the largest exhibition of contemporary Māori art there had ever been. Yet, amid the celebration, there was a whisper that something had gone wrong, that even as Toi Tū opened its doors, its curator, Nigel Borell, had resigned. A cover story in the NZ Herald's Canvas magazine a few weeks later finally told the public what the artists knew – that Borell and the gallery's director, Kirsten Lacy, had fallen out over what he described as 'different ways of viewing aspirations for Māori'. Winstanley had been on the inside of it all, filming what she had imagined would be a celebratory film that would accompany Toi Tū as it toured internationally. The show never toured, and she wound up with a different story to tell. Curator Nigel Borell: 'You have a moment to make some change.' Photo / Auckland Art Gallery Toi o Tāmaki This is an audience that knows the story. It's also an extraordinarily engaged crowd. The next 100 minutes are dotted with swirls of applause, knowing laughter and even cheers as one artist or another comes up in the tale. What had originally seemed like an obstacle to the production – the pandemic – turned out to be something of a gift. The lockdown Zoom meetings with Borell, the gallery's longstanding artists' advisory board Haerewa, and Lacy and the gallery's senior management, all tiled across the screen, are rich documents in retrospect. There are murmurs and an audible gasp when Lacy, an Australian appointed to run the gallery in 2019, just as Borell's five-year dream for the exhibition was becoming a reality, is shown announcing her intention to go off on her own to conduct 'informal meet and greets' with iwi about how they would like to engage with the exhibition – effectively over the heads of Borell and Haerewa. Borell, sitting at home on Zoom, simply gets up and leaves the frame, to laughter from the audience. 'She's got to go with someone,' says painter and Haerewa's chair and founding member Elizabeth Ellis at a follow-up hui without Lacy. 'She's going to be discussing Māori stuff. We can't send her off, this young Australian woman, to carry our message.' Ellis and five other Haerewa members would eventually follow Borell in resigning. The film turns on an understanding of mana – translated on screen as 'authority to lead' – that will be familiar to many New Zealanders, but was not evident to Lacy. The gallery director arrived with an admirable record of working with indigenous artists in Australia but, it seems, an incomplete sense of the moment she was entering here. 'You have a moment to make some change,' says Borell at one point in the film. 'And if you don't use it in that way, then you're just taking up space.' Winstanley has gone out of her way not to be inflammatory, to the extent that some viewers could even wonder what all the fuss was about. She's after a teachable moment rather than a pile-on. Former Auckland Art Gallery Toi o Tāmaki director Kirsten Lacy. Photo / Auckland City Art Gallery Toi o Tāmaki 'I don't think she's a villain,' Winstanley says of Lacy the following morning. 'I think she is someone who … She's not Māori, she doesn't have the experience of having lived in this country, she doesn't understand or know that, and I think that's what comes across. And there's an opportunity, I think, for people in these positions. You can do what the beautiful Dr Maya Angelou says: 'Do the best you can until you know better – and when you know better, do better.'' Winstanley's original, more celebratory film survives through the twists of the story. We're taken straight from a troubled Zoom meeting to Reuben Paterson working out the lighting for Guide Kaiārahi, the crystalline waka taua that was Toi Tū Toi Ora's most prominent commissioned work, by virtue of its position at the gallery entrance. As commissions from Shane Cotton and Mataaho Collective take shape, we get a glimpse of the artists as purposeful engineers. The film, also commissioned by the gallery, provides an enriching context for the exhibition that will make viewers wish for a chance to see the art again with it all in mind. Indeed, that was the role it would have played had the exhibition toured as planned. Those plans were let go after Borell's departure – but the artists travelled even if the show did not. Eight New Zealand artists were invited to present at the Venice Biennale last year; all were Māori and all had been part of Toi Tū Toi Ora. An investment from the barrister Kahungunu Barron-Afeaki allowed Winstanley to fly there to capture the event, where Mataaho Collective claimed the Biennale's Golden Lion prize. Mataaho Collective won the Golden Lion award at the 60th Venice Biennale for their installation Takapau. Photo / Creative NZ Although Toi Tū Toi Ora had made its case by breaking gallery attendance records – at least since the return of the landmark Te Māori exhibition from New York in 1987, to which it is consciously connected in the film – following the story to Venice meant, says Winstanley, that 'we were able to truly celebrate what having that kind of sovereignty meant and that's what I'd envisioned in the beginning. Because if the whole point of Toi Tū Toi Ora was to enable our art to live and thrive through a Māori lens, it didn't feel like it was able to do that fully, opening the way it did and with what happened.' Lacy, who resigned in April and left in June, saw a rough cut of the film before she departed. By that time, she had received the recommendations of an independent review of the gallery's relationship with Māori and appointed Ngāti Whātua Ōrākei chief executive Tom Irvine as her deputy director. The move had the effect of further stirring debate about Lacy's personal cultivation of mana whenua at the expense of the mana of Haerewa. Ngāti Whātua seems like a missing voice in the film. Irvine is currently acting director. Whoever is permanently appointed to the role will find plenty to think about and much to respond to in Toi Tū: Visual Sovereignty. A day after the premiere, the friends I went with were still exchanging messages about what it meant. Perhaps that's what teachable moments are meant to do. After selling out its screenings at the Auckland leg of the NZ International Film Festival, Toi Tū: Visual Sovereignty has screenings in Wellington (Aug 17, 23), Dunedin (Aug 24) and Christchurch (Aug 17, 21), see for more. Plans are underway for screenings beyond the festival. To request a screening go to Director Chelsea Winstanley: 'I'm not putting words in people's mouths.' Photo / Supplied Things Fall Apart Chelsea Winstanley on filming in a crisis. For film-maker Chelsea Winstanley, Toi Tū: Visual Sovereignty represents her most serious film in years. Her recent producer duties have been on former husband Taika Waititi's Oscar-winning Jojo Rabbit and before that What We Do in the Shadows and giving Disney's animated hits te reo makeovers. But TT:VS is also her debut feature as a director. Her career began with directing Whakangahau, a documentary short about cousins from her Paparoa marae running a tourism venture. It was her 2003 graduating film from the Auckland University of Technology and won a Media Peace Award. Her feature directing debut also focuses on another relation with Ngāti Ranginui iwi roots – Nigel Borell. Toi Tū: Visual Sovereignty started out of conversations she had with Borell in the years running up to the exhibition about what it took to stage an event of its size and ambition. When you spoke at the premiere, you seemed quite nervous about how the film would be received. For a few reasons, I suppose. This is my directorial debut – I've done enough producing in my life – and you're putting your film out into the world, it's all on you this time. But not only that, it's the community that I love the most. You love them so dearly that you just want to do right by them. Was there a distinct point where you knew that the story was going to be different from what you had thought it would be? Obviously, when Nigel had to make that decision, it really did change then. I was going to follow the whole exhibition and the background to it, because I don't think we ever really understand what goes into putting on something like that. I thought it was going to travel overseas, because that's what I was told. I was like, 'Wow, this is going to be amazing, a celebration from beginning to end.' And then when he made that decision, for himself, I had to go, 'Oh, all right, I have to now rethink how it's going to happen.' Other things were happening, too – everyone went through Covid. Even at that point, I was like, 'Oh, my god, is this show even going to come to fruition?' That was actually a moment, too. A small selection of the art shown as part of Toi Tū Toi Ora (clockwise, from left): Lisa Reihana, Ihi, 2020; Israel Tangaroa Birch Ara-i-te-Uru, 2011; Aimee Ratana, Potiki Series, 2005; and Shane Cotton, Te Puawai, 2020. Photos / Supplied What was the response after the screening for Kirsten Lacy and the gallery staff? Was there a response? It's challenging for anybody to have to observe themselves. But remember, when they watched that edit, it's not like it was a big surprise what happened there, the story was already out. It's about how you have to reflect on your position, so that was up to them. And they knew that I had final cut anyway, and I'm not putting words in people's mouths or anything like that. While I watched the film, I did find myself thinking I'd like to go and see the exhibition again, having absorbed all this context. Yeah, of course, and that's the wonderful thing for people who were fortunate enough to see the show. A lot of people said to me afterwards that it brought back so many memories, both people who were working there and those who had gone to the show and wanted to see it again. And I think, for us as a country, we need to have spaces where we can just see that beautiful, contemporary art all the time, not just these once in 20-year timeframes.


NZ Herald
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Paaka Davis rejects $50k gambling deal on ethics because mana is more important than money
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