Kind

Super yachts and stereotypes, #MeToo blunders and post-apocalyptic bolt holes, locking down and locking up – a thoroughly entertaining novel!

High on the Southern Alps of New Zealand lies a fallen man, like ‘a black exclamation mark on a white page, Kiwi-noir face down in the snow’. Is he still alive?

This funny, fearless, thought-provoking novel trains its sights on us.

Kerry-Anne is kind, unlike her foster sister Joleen, who is a different kind of person altogether. Being locked down for Joleen will mean behind bars. For Kerry-Anne’s ex-husband, the National MP Lyall Hull, lockdown will also take on a new meaning when he goes on a cycle trip instead of staying at home. From lockdown in the Bay of Islands, Kerry-Anne tries to work out what both are up to. Will anyone come up smelling of roses?

‘Johnson has always had an eye for topicality’ – Steve Braunias

Author Biography

Stephanie Johnson is the author of several collections of poetry and of short stories, some plays and adaptations, and many fine novels. The New Zealand Listener commented that ‘Stephanie Johnson is a writer of talent and distinction. Over the course of an award-winning career – during which she has written plays, poetry, short stories and novels – she has become a significant presence in the New Zealand literary landscape, a presence cemented and enhanced by her roles as critic and creative writing teacher.’ The Shag Incident won the Montana Deutz Medal for Fiction in 2003, and Belief was shortlisted for the same award. Stephanie has also won the Bruce Mason Playwrights Award and Katherine Mansfield Fellowship, and was the 2001 Literary Fellow at the University of Auckland. Many of her novels have been published in Australia, America and the United Kingdom. She co-founded the Auckland Writers and Readers Festival with Peter Wells in 1999. She is the 2023 recipient of the Prime Minister’s Award for Literature.

The Oxford Companion to New Zealand Literature describes Johnson’s writing as ‘marked by a dry irony, a sharp-edged humour that focuses unerringly on the frailties and foolishness of her characters . . . There is compassion, though, and sensitivity in the development of complex situations’, and goes on to note that ‘a purposeful sense of . . . larger concerns balances Johnson’s precision with the small details of situation, character and voice that give veracity and colour’.