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<p> Works of fiction originating from Aotearoa New Zealand exist on the periphery of world literary space and have often been given “special treatment” when they reach Australia – segregation and seclusion – which has limited their ability to connect with international readers (Morris 2016). These literary titles are situated within a deregulated local market and are subject to the “blockbuster culture” of the global publishing industries. The widespread practice of bundling territorial rights together as “ANZ” (Australia New Zealand) has created an ecosystem in which Aotearoa New Zealand books have been kept in warehouses across the Tasman Sea (Te-tai-o-rehua) but are rarely, or minimally, promoted in the Australian market. This context has seriously limited the possibilities for many titles, which might have enjoyed greater success in Australia. However there are some strategies emerging that bypass the traditional routes, such as targeted cross-publishing and prizes that encourage Transtasman publishing and distribution, allowing select books to “breakout” from national borders. In this article, I offer an overview of the situation for New Zealand fiction in the Australian market including recurrent problems with visibility, related to a dearth of distribution and marketing, as identified by industry professionals and scholars. I trace the trajectories of three novels that originated in Aotearoa and have navigated obstacles to circulate in the global literary marketplace: Becky Manawatu’s <i>Auē,</i> Michael Bennett’s <i>Better the Blood</i> and Elizabeth Knox’s <i>The Absolute Book</i>. These case studies highlight the function of agents and prizes in the elevation of such rare fictions, enabling them to travel via an often circuitous route, to reach readers in neighbouring Australia.</p>

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Transtasman Border Breakouts: Fiction from Aotearoa New Zealand in the Australian Market

  • 期刊论文

  • 发表日期：

    2025年10月27日

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  • Brigid Magner

摘要

Works of fiction originating from Aotearoa New Zealand exist on the periphery of world literary space and have often been given “special treatment” when they reach Australia – segregation and seclusion – which has limited their ability to connect with international readers (Morris 2016). These literary titles are situated within a deregulated local market and are subject to the “blockbuster culture” of the global publishing industries. The widespread practice of bundling territorial rights together as “ANZ” (Australia New Zealand) has created an ecosystem in which Aotearoa New Zealand books have been kept in warehouses across the Tasman Sea (Te-tai-o-rehua) but are rarely, or minimally, promoted in the Australian market. This context has seriously limited the possibilities for many titles, which might have enjoyed greater success in Australia. However there are some strategies emerging that bypass the traditional routes, such as targeted cross-publishing and prizes that encourage Transtasman publishing and distribution, allowing select books to “breakout” from national borders. In this article, I offer an overview of the situation for New Zealand fiction in the Australian market including recurrent problems with visibility, related to a dearth of distribution and marketing, as identified by industry professionals and scholars. I trace the trajectories of three novels that originated in Aotearoa and have navigated obstacles to circulate in the global literary marketplace: Becky Manawatu’s Auē, Michael Bennett’s Better the Blood and Elizabeth Knox’s The Absolute Book. These case studies highlight the function of agents and prizes in the elevation of such rare fictions, enabling them to travel via an often circuitous route, to reach readers in neighbouring Australia.