Keri Hulme

Ngāi Tahu, Kāti Ruahikihiki

1947 -

Keri Hulme was born in Christchurch, grew up in Christchurch and Moeraki. Her first piece of published work was a letter to Woman’s Weekly which was printed as an article; she was paid 15/- for it. In 1973 she won the Te Awamutu Short Story Award and in 1975 was awarded the BNZ Katherine Mansfield Short Story Award. In 1977 Keri held a mini-Burns Fellowship at the University of Otago and received a Māori Trust Fund Award for writing in English in 1978. She has received Literary Fund grants in 1973, 1977 and 1979. In 1979 she was a guest at the East West Centre in Hawaii as a visiting New Zealand poet. In 1980 she participated in the opening of the Women’s Gallery in Wellington by exhibiting Paua-shell gods and reading aloud her prose and poetry. In 1982 she received the ICI Writing Bursary and in 1984 was awarded the New Zealand Book Award for Fiction and the Mobil Pegasus Award for Māori literature. In 1985 her novel the bone people received international recognition when it was awarded first place in the Booker McConnell Prize. She was awarded the Special 1990 Scholarship in Letters from the Queen Elizabeth Arts Council Literature Committee for two years. Keri has participated in at least a dozen overseas literary tours sponsored by various arts bodies from the Thoreau Conference to the Festival of the Dreaming. Her work has appeared in many New Zealand literary journals and has been translated in some nine different languages. Her work has also been broadcast on Radio New Zealand and Television One.

"Keri Hulme's second collection of short stories, Stonefish, was published by Huia Publishers in 2004.

Her novella 'Te Kaihau/The Windeater' appears in Nine New Zealand Novellas, edited by Peter Simpson (Reed, 2005). This is a companion volume to Seven New Zealand Novellas.

The Bone People was selected as the 2014 Great Kiwi Classic.

In 2014, Hulme gave her last interview for the New Zealand public on news show Campbell Live."



Biographical sources

  • Interview and correspondence with Hulme, Omaka Marae, Blenheim, 1992, and 18 Aug. 1998.
  • Long, Don. "A Conversation with Keri Hulme" Tu Tangata 7 (1982): 3.
  • http://www.bookcouncil.org.nz/writers/hulmek.html 7 September 2016

    Fiction

  • "Chalice." Difference. No further details.
  • From the science fiction work Fishers in Hulme’s non-fiction essay "Dialects of the Heart."
  • "King Bait." NZ Listener 13 Apr. 1974: 18. Rpt. in NZ Listener Short Stories. Comp. Bill Manhire. Wellington, N.Z.: Methuen, 1977. 119-123. Rpt. in Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 37-42. Rpt. in Burning Boats: Seventeen New Zealand Short Stories. Ed. Owen Marshall. Auckland, N.Z.: Longman Paul, 1994. 120-126.
  • A story about the annual West Coast whitebaiting season.
  • "Hooks and Feelers." NZ Listener 17 Jan. 1976: 18-20. Rpt. in NZ Listener Short Stories. 2 Comp. Bill Manhire. Wellington, N.Z.: Methuen, 1978. 132-143. Rpt. in Into the World of Light: An Anthology of Māori Writing. Ed. Witi Ihimaera and D. S. Long. Auckland, N.Z.: Heinemann, 1982. 272-283. Rpt. in The Oxford Anthology of New Zealand Writing Since 1945. Comp. MacDonald P. Jackson and Vincent O’Sullivan. Auckland, N.Z.: Oxford UP, 1983. 642-649. Rpt. in New Zealand Now. Comp. Bernard Gadd. Auckland, N.Z.: Longman Paul, 1983. 115-130. Rpt. in Some Other Country. Ed. Marion McLeod and Bill Manhire. Wellington, N.Z.: Unwin and Port Nicholson, 1985. 181-191. Rpt. in Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 77-90.
  • This story explores the emotions of guilt and anger experienced by a couple after their son’s accident.
  • "One Whale, Singing." Broadsheet 39 (1976): 20-25. Rpt. in Women’s Work: Contemporary Short Stories by New Zealand Women. Ed. Marion McLeod and Lydia Wevers. Auckland, N.Z.: Oxford UP, 1985. 104-113. Rpt. in Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 61-71.
  • A story in which the inner workings of a disaffected woman, her pontificating husband and a pregnant humpback whale mesh together to disprove the husband’s arrogant assumptions of the intellectual superiority of humankind over the animal world.
  • "Kiteflying Party at Doctors’ Point" Islands 6.1 (1977): 2-14. Rpt. in New Zealand Short Stories. Ed. Lydia Wevers. Auckland, N.Z.: Oxford UP, 1984. 135-147. Rpt. in Women’s Work: Contemporary Short Stories by New Zealand Women. Ed. Marion McLeod and Lydia Wevers. Auckland, N.Z.: Oxford UP, 1985. 165-178. Rpt. in The New Fiction. Ed. Michael Morrisey. Auckland, N.Z.: Lindon, 1985. 213-226. Rpt. in Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 147-162.
  • A story highlighting the impact of grief on individuals and groups.
  • "Stations on the Way to Avalon." Islands: A New Zealand Quarterly of Arts and Letters 7.3 (1979): 234-242. Rpt. in Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 171-182.
  • The collective thoughts of a television director as he journeys to Avalon by train.
  • "A Nightsong for the Shining Cuckoo." Landfall 35.1 (1981): 7-19. Rpt. in Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 119-133. Rpt. in Authors’ Choice: Leading New Zealand Writers Choose Their Best Stories -- and Explain Why. Ed. Owen Marshall. Auckland, N.Z.: Penguin, 2001. 194-207.
  • A story of Francis’s indomitable triumph over personal tragedy.
  • "Kei." Spiral 5 (1982): 75-77.
  • As an old kuia sits at the water’s edge, she is captivated by the beauty of the view and the fishing, and ponders on her passing years. This is an extract of an early draft of Keri’s novel Bait.
  • "Gitarren". Mellan Tva Varldar: Prosaantologi Med Māori Forfattare. Ed. Bengt Dagrin. [Sweden]: Forfattares Bokmaskin, 1982. 85-95.
  • "Yer Can’t Make a Livin’ at Writin’, My Son!" translated into Swedish.
  • "Sjalamassa Over en Dod Marae." Mellan Tva Varldar: Prosaantologi Med Māori Forfattare. Ed. Bengt Dagrin. [Sweden]: Forfattares Bokmaskin, 1982.. 96-103.
  • This story is called ‘Requiem for a Dead Marae’. It was translated into Swedish and was included in this collection of Māori writers published in Sweden in 1982.
  • The Bone People. Wellington, N.Z.: Spiral, 1983. Rpt. Auckland, N.Z.: Spiral/Hodder & Stoughton, 1985. Rpt. Baton Rouge: Louisiana State UP, 1985. Rpt. New York: Penguin, 1986. Rpt. London: Pan (Picador), 1986. Extract rpt. as "The Kaumatua and the Broken Man" Into the World of Light: An Anthology of Māori Writing. Ed. Witi Ihimaera and D. S. Long. Auckland, N.Z.: Heinemann, 1982. 264-272. Two extracts rpt. as "From The Bone People." Countless Signs: The New Zealand Landscape in Literature. Comp. Trudie McNaughton. Auckland, N.Z.: Reed Methuen, 1986. 71-73, 338-339. Extracts rpt. as "From The Bone People". Te Ao Mārama: Contemporary Māori Writing. Comp. and ed. Witi Ihimaera. Contributing ed. Haare Williams, Irihapeti Ramsden and D. S. Long. Vol. 3: Te Puāwaitanga O Te Kōrero: The Flowering. Auckland, N.Z.: Reed, 1993. 293-301. Extract rpt. as "From The Bone People." My Garden My Paradise: The Garden in New Zealand Literature. Ed. Christina Stachurski. Photography by Sally Mason. Christchurch, N.Z.: Hazard, 2003. 50.
  • The story of an artist’s quest for wholeness and creativity. This involves learning to establish relationships with other people once again. This book won the NZ Book Award, the Pegasus Prize for Māori Literature and the 1985 Booker Prize.
  • "Tara Diptych [The First Wing]" Untold 4 (1985): 20-25. Rpt. in Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 9-12. Rpt. in The New Poets: Initiatives in New Zealand Poetry. Ed. Murray Edmond and Mary Paul. Wellington, N.Z.: Allen & Unwin and Port Nicholson Press, 1987. 42-44. Rpt. in The Penguin Book of Contemporary New Zealand Poetry/ Ngā Kupu T˚tohu o Aotearoa. Ed. Miriama Evans, Harvey McQueen and Ian Wedde. Auckland, N.Z.: Penguin, 1989. 217-220. Rpt. in Te Ao Mārama: Contemporary Māori Writing. Comp. and ed. Witi Ihimaera. Contributing ed. Haare Williams, Irihapeti Ramsden and D. S. Long. Vol. 3: Te Puāwaitanga O Te Kōrero: The Flowering. Auckland, N.Z.: Reed, 1993. 268-270.
  • A contrast between the insubstantiality of the speaker and human beings, and the solidity and power of nature. This is the first part of a Diptych; the second part is entitled "Tara [The Other Wing]". This immediately follows the first part and is written in poetic form.
  • "Kaibutsu-San." Landfall 39.4 (1985): 458-464. Rpt. in Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 19-27.
  • A science fiction story about two gang members and a Japanese tourist.
  • Kerewin Feministicne Uitqeveri Sara. Amsterdam: 1985. No further details.
  • Dutch translation of The Bone People.
  • Lost Possessions. Wellington, N.Z.: Victoria UP, 1985.
  • This publication is a collection of diary-like entries recording the imprisonment of Harrod Wittie, doctor of philosophy at the University of Canterbury who is inexplicably kidnapped and imprisoned, fed apples and water, and writes diary entries on a pad of paper. The concluding page is entitled a "Miscellaneous Property Record Card" and notes the discovery of a child’s plastic purse filled with 47 handwritten sheets. It is perceived to be a student prank.
  • "Swansong." Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 29-35.
  • When the narrator plans to subvert a demonstration with lethal weapons, he himself becomes a victim of violence.
  • "A Tally of the Souls of Sheep." Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 43-60.
  • This story, written in the form of a film script, describes the mysterious circumstances surrounding a family holiday at Kaitangata Bay.
  • "Planetesimal." Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 73-76.
  • A story of an afflicted woman who mysteriously vanishes from a party.
  • "The Knife and the Stone." Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 97-106. Rpt. in Goodbye to Romance: Stories by New Zealand and Australian Women Writers 1930-1988. Ed. Elizabeth Webby and Lydia Wevers. Wellington, N.Z.: Allen & Unwin/ Port Nicholson Press, 1989. 344-352. Rpt. in Deadly Earnest: A Collection of Fiction by New Zealand Women 1870s-1980s. Comp. and introd. by Trudie McNaughton. Auckland, N.Z.: Century Hutchinson, 1989. 219-225.
  • A story of the grim abusive world of a young girl toiling in the family fish business. She lives amidst the spectre of her brother’s tragic death, her father’s crippling accident and her mother’s chronic invalidism.
  • "While My Guitar Gently Sings." Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 107-117. Rpt. in In Deadly Earnest: A Collection of Fiction by New Zealand Women 1870s-1980s. Comp. and introd. by Trudie McNaughton. Auckland, N.Z.: Century Hutchinson, 1989. 226-233.
  • Hinewai reflects on her relationship with her deceased mother; she recognises that she gradually drew apart from her mother.
  • "The Cicadas of Summer." Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 135-145.
  • A story of Gwen’s fascination of cicadas and the threat of predators.
  • "A Window Drunken in the Brain." Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 183-194.
  • A story composed of short stanzas which describe a brief sensual interlude between the narrator and a man she meets down on the reef.
  • "A Drift in Dream." Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 195-209.
  • A story of a woman leaving the cloistered life of the convent.
  • "[Afterword]: Headnote to a Maui Tale." Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 239-240. Rpt. in Te Ao Mārama: Contemporary Māori Writing. Comp. and ed. Witi Ihimaera. Contributing ed. Haare Williams, Irihapeti Ramsden and D. S. Long. Vol. 3: Te Puāwaitanga O Te Kōrero: The Flowering. Auckland, N.Z.: Reed, 1993. 322-323.
  • A humorous retelling of the story of Maui with a few regional variations.
  • Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. Rpt. London: Hodder & Stoughton, 1986. Rpt. New York, Braziller, 1987. Rpt. Sevenoaks: Sceptre, 1988.
  • A collection of twenty short stories of Māori life and coastline living, science fiction, and the darker side of human relationships.
  • "The Pluperfect Pā-Wā." Sport 1 (1988): 9-13. Rpt. in Stonefish Wellington, N.Z.: Huia, 2004: 25-33.
  • A futuristic account of paua.
  • "He Tauware Kawa, He Kawa Tauware." ibid. 91-96. Rpt. in Pacific Voices: An Anthology of Māori and Pacific Writing. Comp. Bernard Gadd. Auckland, N.Z.: Macmillan, 1989. 53-57.
  • A story of conflicting understandings of the kawa of the marae and the under resourcing of urban marae.
  • "Unnamed Islands in the Unknown Sea." ibid. 163-170. Rpt. in The Penguin Book of Contemporary New Zealand Short Stories. Comp. Susan Davis and Russell Haley. Auckland, N.Z.: Penguin, 1989. 253-259.
  • A story about two friends’ excursion to an island. This piece is written in the form of diary entries.
  • "Storehouse for the Hungry Ghosts." Australian Short Stories: Writers in The Park Birthday Issue. 31. Ed. Bruce Pascoe and Linden Hyatt. [Australia]: Pascoe, 1990. No further details. Rpt. in Stonefish Wellington, N.Z.: Huia, 2004: 105-116.
  • Keri writes "reflections on the Moriori of Rehua (Chatham Islands) and the why of the death of Tommy Solomon."
  • "The Eyes of the Moonfish See Moonfish Pain." The Flinders Jubilee Anthology. Ed. Annie Greet and Syd Harrex. CRNLE/University of Flinders, NSW, 1991.
  • Keri writes of this story: "In a parallel New Zealand, now owned by the Japanese, a woman in hideously-straitened circumstances loses what she values most, her ‘mother’ (actually a very old tiki.)"
  • "Hinekaro Goes on a Picnic and Blows Up Another Obelisk." Subversive Acts: New Writings by New Zealand Women. Ed. Cathie Dunford. Auckland, N.Z.: Penguin, 1991. 25-32. Rpt. in Vital Writing 3: New Zealand Stories & Poems, 1991-92. Ed. Andrew Mason. Auckland, N.Z.: Godwit, 1992. 14-21. Rpt. in Te Ao Mārama: Contemporary Māori Writing. Comp. and ed. Witi Ihimaera. Contributing ed. Haare Williams, Irihapeti Ramsden and D. S. Long. Vol. 3: Te Puāwaitanga O Te Kōrero: The Flowering. Auckland, N.Z.: Reed, 1993. 288-293. Rpt. in Stonefish Wellington, N.Z.: Huia, 2004: 75-86.
  • A story of Hinekaro’s dramatic solutions to problematic people.
  • "Some Foods You Should Try Not to Encounter." Sport 8 (1992): 139-142. Rpt. in Stonefish Wellington, N.Z.: Huia, 2004. 35-42.
  • A humorous fantasy of real and imaginary foods that take on menacing proportions to the unsuspecting eater.
  • "Te Kaihau/The Windeater." ibid. 211-237. An extract rpt. as "From Te Kaihau/The Windeater: Never Trust a Dreamer Who Can Also Tell Stories." in Te Ao Mārama: Contemporary Māori Writing. Comp. and ed. Witi Ihimaera. Contributing ed. Haare Williams, Irihapeti Ramsden and D. S. Long. Vol. 3: Te Puāwaitanga O Te Kōrero: The Flowering. Auckland, N.Z.: Reed, 1993. 285-287. Rpt. in full in The Picador Book of Contemporary New Zealand Fiction. Ed. Fergus Barrowman. London: Picador, 1996. 231-258. Rpt. in Nine New Zealand Novellas. Ed. with introd. Peter Simpson. Auckland, N.Z.: Reed, 2005. 233-250.
  • Reflections of a lifetime of memories of a suicidal narrator.
  • "He Tangi Ki Te Po." The People of This Place: Natural and Unnatural Habitats. Ed. Roger Rosen and Patra McSharry. New York, U.S.A.: Rosen Publishing Group, 1993.
  • Keri writes: "Toi grieves for her dead ‘mokopuna’ (he wasn’t, but she considered him so), Bird, and recalls her own taua and poua and her childhood."
  • "From Bait." Extract printed in Te Ao Mārama: Contemporary Māori Writing. Comp. and ed. Witi Ihimaera. Contributing ed. Haare Williams, Irihapeti Ramsden and D. S. Long. Vol. 3: Te Puāwaitanga O Te Kōrero: The Flowering. Auckland, N.Z.: Reed, 1993. 301-322.
  • In this extract of Bait, the childhood, whanau and friendships of Toi are recalled.
  • "Sometimes I Dream I’m Driving." Sport 15: White Horse Black Dog (1995): 38-43. Rpt. in Stonefish Wellington, N.Z.: Huia, 2004. 43-52.
  • A collection of dreams and reminiscences of the old family car, the Snipe.
  • "Floating Words." Landfall 194 New Series 5.2 (1997): 243-252.
  • In this futuristic story, the narrator recalls the signs and omens signalling the need to vacate her home before it is subsumed beneath the rising sea levels.
  • "Floating Words." Stonefish Wellington, N.Z.: Huia, 2004. 3-19.
  • "The Eyes of the Moonfish See Moonfish Pain." Stonefish Wellington, N.Z.: Huia, 2004. 59-74.
  • "Hatchings." Stonefish Wellington, N.Z.: Huia, 2004. 117-133.
  • "Kissing It As It Flies." Stonefish Wellington, N.Z.: Huia, 2004: 135-145.
  • "The Trouble with A. Chen Li." Stonefish Wellington, N.Z.: Huia, 2004: 147-167.
  • "Incubation." Stonefish Wellington, N.Z.: Huia, 2004. 169-180. Rpt. in Mana: the Māori News Magazine for all New Zealanders 60 (2004): 92-94.
  • "Midden Mine." Stonefish Wellington, N.Z.: Huia, 2004.181-230.
  • "Telling How The Stonefish Swims." Stonefish Wellington, N.Z.: Huia, 2004: 231-233.
  • Stonefish. Wellington, N.Z.: Huia, 2004.
  • "Getting It." ibid. 87-104. Rpt. in Get On The Waka: Best Recent Māori Fiction. Ed. with intro. By Witi Ihimaera. Auckland, N.Z.: Reed Books, 2007. 79-89.
  • "Getting it." Get on the waka : best recent Māori fiction. Auckland, N.Z.: Reed, c2007
  • Introduction by Witi Ihimaera.
  • "Listening to the world." Te Karaka (Spr 2009): 12.
  • "Kiteflying partry at Doctor's Point." Essential New Zealand short stories. Ed. Owen Marshall. Auckland, N.Z. : Vintage, 2009.
  • "Listening to the world." Te Karaka (Spr 2009) :12.

  • Music

  • Ahua. 2000.
  • Anthony Ritchie was asked to write this opera/oratorio by Christchurcvh City Choir to celebrate the 150th Anniversary of European settlement in Canterbury. The work was a collaboration with Keri Hulme who wrote the libretto, and it was performed by the Christchurch City Choir in the Christchurch Town Hall on 4 November 2000.

    • Non-fiction

  • "Mauri: An Introduction to Bicultural Poetry in New Zealand." Only Connect: Literary Perspectives East and West. Eds. Guy Amirthanayagam and Syd C. Harrex. Adelaide; Honolulu: Centre for Research in the New Literatures in English; East-West Centre, 1981. 290-310.
  • Campbell, M. Listener 11 Sept. 1982: 110.
  • "Keri Hulme." Broadsheet 110 (1983): 33-34.
  • An autobiographical statement of Keri’s childhood, family and writing.
  • Alcock, P. Landfall 37 (1983):209-13.
  • Crayford, E. Reviews Journal 1 July 1983: 21-3.
  • Oppenheim, R. Journal of the Polynesian Society 97 (1983): 245-57.
  • "Myth, Omen, Ghost, and Dream: (More Than You Ever Wanted to Know About Māori Spirituality and Religion)." Poetry of the Pacific Region: Proceedings of the CRNLE/SPACALS Conference. Ed. Paul Sharrad. Adelaide: Centre for Research in the New Lit. in English, 1984. vii. Rpt. in Te Ao Mārama: Regaining Aotearoa: Māori Writers Speak Out. Comp. and ed. Witi Ihimaera. Contributing ed. Haare Williams, Irihapeti Ramsden and D. S. Long. Vol. 2: He Whakaatanga O Te Ao: The Reality. Auckland, N.Z.: Reed, 1993. 24-30.
  • This paper is interspersed with fragments of Hulme’s poetry and various aspects of Māori mythology concerning life and death. She describes some traditional omens of death and bad news, notes the significance given to dreams and kehua, and concludes with a discourse on the meaning of tapu and noa. This paper was presented at the 1984 CRNLE/SPACALS Conference in Australia.
  • Cowley, J. & A. Blank "We are The Bone People." NZ Listener 12 May 1984: 60.
  • Hall, Sandi. "Sandi Hall and Keri Hulme talk about The Bone People." Broadsheet 121 (1984): 16-21.
  • King, Michael. "The Original Mouthful." New Outlook: a New Zealand Magazine of News, Reviews and Comment 11 (1984): 41.
  • Long, D. S. Tu Tangata 17 (1984): 20-1.
  • Mita, Merata. "Indigenous Literature in a Colonial Society: Review of The Bone People." The Republican: A Magazine of Left-Wing Analysis and Discussion 52 (1984): 4-7.
  • "Short Story Award: New Outlook: Judges’ Reports." New Outlook 15 (1985): 21-22.
  • Co-authors Maurice Gee and Keri Hulme.
  • "Dialects of the Heart." Difference: Writings by Women. Victoria: Waterloo, 1985.
  • Keri states that this is ‘a look at local and personal languages.’
  • "A Rich Year for Literature." New Zealand Review (1985): 6-8.
  • Dale, J. "The Bone People: (Not) Having It Both Ways." Landfall 39 (1985): 413-428.
  • During, Simon. "Postmodernism or postcolonialism?" Landfall 155 (1985): 366-380.
  • Jones, Lawrence. "Reflections on a bumper year in fiction." JNZL: Journal of New Zealand Literature 3 (1985): 17-34.
  • King, M. Auckland Metro 5.54 (1985): 226.
  • Romanos, Michael. "Kerewin, Simon and Joseph Ttake on the World." Tu Tangata 26 (1985): 32-33.
  • Stead, C. K. "Keri Hulme’s The Bone People, and the Pegasus Award for Māori Literature ." Ariel: A Review of International English Literature 16.4 (1985): 101-108.
  • Stone, Frank. "Bone to Pick." Auckland Metro 49 (1985): 102.
  • Webby, Elizabeth. "Keri Hulme: Spiralling to Success." Meanjin 44.1 (1985): 15-23.
  • King, M. Auckland Metro 5.54 (1985): 226.
  • Sharp, Iain. "Books in brief." New Outlook: a New Zealand Magazine of News, Reviews and Comment 19 (1985): 62-64.
  • Smith, S. Untold 4 (1985): 60.
  • Theobald, G. PSA Journal 72.11 (1985): 13.
  • Stone, Frank. "Bone to Pick." Auckland Metro 49 July 1985: 102.
  • Dale, Judith. "Connections and Disconnections in The Bone People." Eds. C. Philipson and H. Raskin. Women’s Studies Association Conference Papers, 1985. (1986): 34-43.
  • Gaffney, C. "Making the Net Whole: Design in Keri Hulme’s The Bone People." Southerly: A Review of Australian Literature 3 (1986): 293-302.
  • Wedde, I. Wellington City Magazine Apr. 1986:7 4-5.
  • Wedde, Ian. "Trying to Make Sense." Listener 31 May 1986: 35.
  • Corbett, F. "Books." North and South July 1986: 113.
  • Hodgson, D.L. PSA Journal 73.7 (1986): 16.
  • Renée. Broadsheet 140 (1986):44-5.
  • Sharp, Iain. "Books in brief." New Outlook: a New Zealand Magazine of News, Reviews and Comment 22 (1986): 58-59.
  • Steinberg, Sybil. Publisher’s Weekly 230 (1986): 57.
  • Wedde, Ian. "Trying to Make Sense." Listener 31 May 1986: 35.
  • "Te Whenua Whai-taoka." Forests, Fiords and Glaciers. RF&BP Soc., 1987.
  • Keri provides Chapter Five of this publication.
  • "Okarito and Moeraki." Te Whenua Te Iwi: The Land and the People. Ed. Jock Phillips. Wellington, N.Z.: Allen & Unwin and Port Nicholson Press, 1987. 1-9.
  • Keri provides a collection of anecdotal accounts, history, place-names and personal responses to Moeraki, her ‘turangawaewae-ngakau’, and Okarito where she has built a home.
  • Maxwell, Anne. "Reading The Bone People: Toward a Literary Post-Colonial Nationalist Discourse." Antic 3 (1987): 23-46.
  • Esposito, Michael. Library Journal 112 (1987): 89.
  • Fell, Alison. New Statesman 113 (1987): 28.
  • Olsson, Suzann. "Reviews." Landfall 41.2 (1987): 219-222.
  • Reed, Kit. New York Times Book Review 92 (1987): 89.
  • Belles Lettres 3 (1988): 6.
  • "Tales of the West Coast." Salute to New Zealand. Ed.: Sandra Coney. Auckland, N.Z.: Beckett Sterling and Weldon, 1989. 145-149.
  • Keri writes of the coastlands and seascapes of Moeraki and Okarito which are profoundly significant in her life. She outlines special days and seasons in her personal calendar.
  • Ash, Susan. "New Zealand: The Bone People after Te Kaihau." World Literature Written in English 29.1 (1989): 123-135.
  • Dever, Maryanne. "Violence as Lingua Franca: Keri Hulme’s The Bone People." World Literature Written in English 29.2 (1989): 23-35.
  • Fee, Margery. "Why C. K. Stead Didn’t Like Keri Hulme’s The Bone People: Who Can Write as Other?" Australian and New Zealand Studies in Canada (ANZSC) 1 (1989): 11-32.
  • Huggan, Graham. "Opting out of the (Critical) Common Market: Creolization and the Post-Colonial Text." Kunapipi 11.1 (1989): 27-40.
  • McCool, Paula. "The Bone People: The Sense of a National Past: Research Essay." Diss. U of Auckland, N.Z., 1989.
  • Ash, Susan. "The bone people after Te Kaihau". World Literature Written in English 29.1 (1989): 123-135.
  • Amoamo, Jacqueline. "Books: Urbanites and Boulder Places." Rev. of Auckland: City and Sea, by Robin Morrsion. Rev. of Homeplaces, by Keri Hulme and Robin Morrison. Art New Zealand 53 (1989/90): 101-103.
  • Dickinson, Steve. "Art and Affairs: Home places." Pacific Way 23 (1989): 41.
  • Graham, Susan. "Text and Images in Harmony." New Zealand Herald 28 Oct. 1989: 6.
  • Ireland, Kevin. "Southern Places in the Heart." Dominion Sunday Times 22 Oct. 1989: 19.
  • King, Michael. "Books: High Accomplishments." Metro (Auckland) 9.102 (1989): 190-194.
  • Willey, Hayden. "South Island Book Reviews." Rev. of Untouched Horizons: Photographs from the South Island Wilderness, by Nic Bishop. Rev. of Homeplaces, by Keri Hulme and Robin Morrison. New Zealand Environment 63 (1989/90): 15-16.
  • Young, David. "Books: New Bottles." Rev. of Homeplaces, by Keri Hulme and Robin Morrison. Rev. of The Last Rivers’ Song: Photographs of the Clutha and Kawarau, by Lloyd Godman. Listener 4 Dec. 1989: 127.
  • "Foreword". The Spirited Earth. Victoria Ginn. Rizzoli International, 1990.
  • Huggan, Graham. "Philomela’s Retold Story: Silence, Music, and the Post-Colonial Text." The Journal of Commonwealth Literature 25.1 (1990): 12-23.
  • O"Brien, Susie. "Raising Silent Voices: The Role of the Silent Child in ‘An Imaginery Life’ and The Bone People". Span 30 (1990): 79-91.
  • "Book Review." New Zealand Home and Building (Apr./May 1990): 165.
  • Fee, Margery. "Inventing New Ancestors for Aotearoa; The Edward A. Clark Center for Australian Studies, Univ. of Texas at Austin." International Literature in English: Essays on the Major Writers. Ed. Robert L, Ross. New York: Garland, 1991. xvi.
  • Talmor, Sascha. "A Kiwi Tale of Love and Violence." Durham University Journal 83.1 (1991): 93-98.
  • Leigh, Jack and others. "Weekend Books." New Zealand Herald 19 Sep 1992: 6.
  • Woodward, Carol. "Weldon’s Right on Target." The Dominion Sunday Times 11 Oct. 1992: 22.
  • Alcock, Peter. Span 34/35 (1992/93): 363-366.
  • "Books." Evening Post 13 Mar. 1992: 5.
  • French, Anne and others. "Books." Dominion 28 Mar. 1992. 11.
  • Harding, Bruce. "Books." Listener 1 June 1992. 52-54.
  • Murray, Heather and Shelton, Michael. "Books." Otago Daily Times 30 May 1992: 18.
  • Price, Chris. Landfall 183 46.3 (1992): 369-372.
  • Rose, Annette. WomanScript 7 (1992?): 38.
  • Shadbolt, Brigid, Treadwell, Greg and Yeats, Jodi. "Print." Stamp 31 (1992): 30.
  • "Bait!" New Zealand Geographic 17 (1993): 50-68.
  • A discussion on whitebait fishing, variety and lifecycle of whitebait, and list of whitebait recipes.
  • "Keri Hulme." What I Believe: The Personal Philosophies of Twenty-two New Zealanders. Comp. Allan Thomson. Wellington, N.Z.: GP, 1993. 78-85.
  • Keri writes: ‘My 8-page offering has such paragraph titles as ‘Ka Kete mo Te Ora’, ‘A Pragmatic Pig in the Chancy World of Fish’ and ‘A Waystation for Moths.’
  • Gadd, Bernard. New Zealand Books 3.1 (1993): 8.
  • Marks, Peter. "Book Reviews." British Review of NZ Studies 6 (1993): 139-140.
  • Paterson, Alistair. "The Discourse of Security." New Zealand Books 3.1 (1993): 8.
  • Marks, Peter. British Review of NZ Studies 6 (1993): 139-140.
  • "Reconsidering The Bone Beople". Australian and New Zealand Studies in Canada 12 (1994): 135-154.
  • An unedited transcription of Keri’s presentation in which she discusses her novel The Bone People at the "Writers’ Choice" series at the University of Sydney in August 1989.
  • "Out of Frame." The Inward Sun: Celebrating the Life and Work of Janet Frame. Comp. and ed. Elizabeth Alley. Wellington, N.Z.: Daphne Brassell, 1994.
  • ‘A 6-page personal tribute to Janet Frame.’
  • "Foreword". Aotearoa, New Zealand: The Legendary Land by Witi Ihimaera. Photographs Holger Leue. Auckland, N.Z.: Reed, 1994.
  • Hughes, Mary-Anne. "Transgressing Boundaries." Span 39 (1994): 56-68.
  • Whaitiri, Reina. "Rapua Te Tumu - To The Point." Commonwealth: Essays and Studies 16.2 (1994): 15-25.
  • "Te Rapa, Te Tuhi, me Te Uira." Below the Surface. Ed. Ambury Hall. Auckland, N.Z.: Vintage, 1995.
  • Keri writes: ‘A kind of rant against the perfidious French.’
  • "I Aim Carefully." Cherries On A Plate. Ed. Marilyn Duckworth. Auckland, N.Z.: Random, 1996.
  • Keri writes: ‘14 pages about my sisters and myself.’
  • "Wet Side Story." Meriam 1996.
  • A German magazine.
  • "I Am Carefully." Cherries on a Plate: New Zealand Writers Talk About Their Sisters. Ed. Marilyn Duckworth. Auckland, N.Z.: Random House, 1996. 120-147.
  • Brown, Ruth. "Contextualising Māori Writing." New Zealand Books 6.2 (1996): 14-15.
  • Hokitika Handmade. Hokitika, N.Z.: Hokitika Craft Gallery Co-operative Society, [1999].
  • Text by Keri Hulme; photographs by Julia Brooke-White.
  • Melhop, Val. "The making of Ho(l)mes: a Symbolic Reading of ‘The bone people’." JNZL: Journal of New Zealand Literature 17 (1999): 99-109.
  • "Lines & Time Marks are Less than Life tides." Sunday Star Times 2 Jan. 2000: sup. 20-21.
  • Dunbar, Anna. "Settling Scores." Press 16 Feb. 2000: 34.
  • Armstrong, Philip. "Good-eating: ethics and biculturalism in reading The Bone People." Ariel: a Review of International English Literature 32.2 (2001): 7-27.
  • Couch, Donald. "Review." Te Karaka: the Ngai Tahu Magazine 16 (2001): 45.
  • Cozma, Codrina. "Joe Gillayley: a Model of Cultural Hybridity in Keri Hulme’s novel ‘The Bone People’." Journal of Māori and Pacific Development: He Puna Korero 5.1 (2004): 69-81.
  • Agnew, Trevor and Mike Crean. "Storytellers’ Parade; Many Treasures For Those Looking; More Than A High-Country Tale." Rev. of The Best New Zealand Fiction, Vollume 1, edited by Fiona Kidman. Rev. of Stonefish, by Keri Hulme. Rev. of Call of the Falcon, by Felicity Price. Press 30 Oct. 2004: D15.
  • Isichei, Elizabeth, Janice Murphy and Lawrence Jones. "Books." Rev. of Stonefish, by Keri Hulme. Rev. of Emergence Sex (and other desperate measures), by Kenneth Cain, Heidi Postlewait and Andrew Thomson. Rev. of Getting Away With It, by Kevin Ireland. Otago Daily Times 11 Dec. 2004: sup.5.
  • Sharp, Iain. "Strange Encounters." Sunday Star Times 26 Sept. 2004: C8.
  • Stafford, Jane. "If we cast our lines out." Listener 30 Oct. 2004: 40.
  • Thomson, Margie and Siobhan Harvey. "Books." Rev. of Desert Rose, by Mary Weijun Collins. Rev. of Stonefish, by Keri Hulme. New Zealand Herald 16 Oct. 2004: sup.49.
  • Worthington, Kim L and Lydia Wevers. "Books." Rev. of Stonefish, by Keri Hulme. Rev. of Book Book, by Fiona Farrell. Dominion Post 18 Sep. 2004: E10-11.
  • "When Kids Go Bard; Aranui’s Dear Win; Top Of The Class." Sunday Star Times 19 June 2005: C4-5.
  • Authors Kim Knight and Keri Hulme.
  • Quirke, Michelle. "Bone of Contention." Dominion Post 26 Oct. 2005: B7.
  • Couch, Donald and Charisma Rangipunga. "Book Reviews." Rev. of Stonefish, by Keri Hulme. Rev. of Koro’s Medicine – Nga Rongoa a Koro, by Melanie Drewery. Te Karaka: The Ngai Tahu Magazine 26 (2005): 40.
  • Harris, Jocelyn. "The Self As Artefact In Farrell And Hulme." Rev. of Book book, by Fional Farrell. Rev. of Stonefish, by Keri Hulme. Landfall 210 (2005): 169-173.
  • Scott, L. E. "Hulme and the Birth of Stonefish." Tu Mai: Offering an Indigenous New Zealand Perspective 60 (2004/2005): 31.
  • Thompson, Christina. "What It’s All About." New Zealand Books 15.1 (2005): 7-8.
  • Barker, Clare. "From Narrative Prosthesis To Disability Counternarrative: Reading The Politics Of Difference In Potiki And The Bone People." JNZL: Journal of New Zealand Literature 24.1 (2006): 130-147.
  • "Warm congratulations." The Press (2006 Apr. 3): A14.
  • "Keeping Safe." Te Karaka 42 (2009): 10.
  • "Listening to the World." Te Karaka 44 (2009):12.
  • "Living past." Te Karaka (Sum 2009): 12.
  • Whitebaiters never lie : exploring an iconic Kiwi culture. Auckland, N.Z. : David Bateman, 2009.
  • Foreword by Keri Hulme.
  • "For Nearly Two Years, I Thought I Had Lost It." Te Karaka 50 (2011): 7.
  • "The Lagoon, The Bluff – The Story Of Us All." Te Karaka 52 (2011): 7.

  • Other

  • Long, Don. "A Conversation with Keri Hulme." Tu Tangata 7 (1982): 2-5.
  • Hulme discusses her writing and the Māori identity in her work.
  • Hall, Sandi. "Conversation at Okarito." Broadsheet 121 (1984): 16-21.
  • In this interview Keri Hulme discusses Māori spirituality, pre-European Māori life and the writing of the bone people.
  • Gevonden Voorwerpen. Amsterdam: Dekker, 1986.
  • A Dutch translation of Lost Possessions.
  • Homeplaces: Three Coasts of the South Island of New Zealand. Words by Keri Hulme. Photographs by Robin Morrison. Auckland, N.Z.: Hodder & Stoughton, 1989.
  • This is a collaborative work with Robin Morrison who provides photographs. Hulme writes of her three homeplaces: Okarito, Moeraki and Rakiura (Stewart Island). This is a personal account in prose and poetry of Hulme’s homes; it includes descriptions of the geography, bird and animal life, history, anecdotes, and white-baiting and family stories. Moeraki is her turangawaewae-ngakau, the standing-place of her heart.
  • O’Meagher, Steven. "Close to the Bone." Dominion Sunday Times 23 Sep. 1990: 10-17.
  • This interview was connected with the 1994 Melbourne Writers’ Festival. It was conducted by John Bryson of ‘Evil Angels’ fame.
  • Moir, Michelle. "Keri Hulme." New Zealand Country Women. Auckland, N.Z. Tandem, 1997. 138-139.
  • "White herons." The Press (1999 May 20): 6
  • "Eco chic : how 14 Kiwis have personally taken up the green challenge." Listener, 206.3475 (16 Dec 2006): 12-19.
  • "Uncle Bill's predictions." Te Karaka (Spr 2008): 10,66.
  • "Foreward." The New Zealand republic handbook. Auckland, N.Z.: Republican Movement of Aotearoa New Zealand, c2009.
  • "Once were, and always, gardeners." Te Karaka (Aut/Kah 2010): 13.
  • "Poets on music 3." Landfall (Aut 2010): 49.
  • "Time to find a quiet river bank." Karaka (Sum 2012): 5.
  • "Layering." Karaka (Spr 2012): 5.
  •  
  • "He Pūoro." Karaka (Win 2012): 5.
  • "Surviving vs living vs thriving." Karaka (Kah/Aut 2012): 5.
  • "An owl in the apple tree." Karaka, 58 (Win 2013): 5.
  • "Haere rā e Jude." Karaka (Aut 2013): 5.
  • "A bach upon a beach." Karaka (Aut 2015): 45

  • Poetry

  • "What has Ve Got to Say for Verself." Broadsheet 41 (1976): 18-19.
  • A discourse on exclusive language. Hulme presents an alternative form of personal pronoun which is neuter.
  • "For 1978." ibid.
  • A poem articulating the burdens and cares of humanity.
  • "Okarito Tuhituhia: October." Coast Voices - Some People Writing Poetry on the West Coast. Ed. Roger Ewer. Greymouth: Walden, 1979. 5.
  • Contributing poets include Keri Hulme, Robert Simpson, Anne Donovan, Bill Mathieson and Peter Hooper.
  • "Okarito Tuhituhia: Towards a Motherlode, 3." Coast Voices - Some People Writing Poetry on the West Coast. Ed. Roger Ewer. Greymouth: Walden, 1979. 6.
  • A poem exploring the polarities of solitude and hardship with the knowledge of imminent replenishment of resources.
  • "Where do I Come from?" [First line] .” Coast Voices - Some People Writing Poetry on the West Coast. Ed. Roger Ewer. Greymouth: Walden, 1979.
  • A poem about origins.
  • "Okarito Tuhituhia: Playtime." Coast Voices - Some People Writing Poetry on the West Coast. Ed. Roger Ewer. Greymouth: Walden, 1979. 8.
  • A humorous poem on the liberating effects of ‘wild wine’.
  • "Never the Right Question." Coast Voices - Some People Writing Poetry on the West Coast. Ed. Roger Ewer. Greymouth: Walden, 1979. 9.
  • A series of answers to the incessant questions concerning the speaker’s abode in a quiet, solitary place.
  • "Okarito Tuhituhia: A Day." Coast Voices - Some People Writing Poetry on the West Coast. Ed. Roger Ewer. Greymouth: Walden, 1979. 10.
  • The poet compares her dreams with the subject of a book and acknowledges the companionship of whisky in dispelling ‘the gaping dark’.
  • ‘"It was Raining and the Road was Full of Ghosts." Coast Voices - Some People Writing Poetry on the West Coast. Ed. Roger Ewer. Greymouth: Walden, 1979. 10
  • The title is a quotation from Moana Tracey’s West Coast Yesterdays. Reflections on former gold mining days on the Coast.
  • "E Nga Iwi O Ngāi Tahu." Te Kaea: The Māori Magazine 1 (1979): 16. Rpt. in Into the World of Light: An Anthology of Māori Writing. Ed. Witi Ihimaera and D. S. Long. Auckland, N.Z.: Heinemann, 1982. 257-258. Rpt. as "Silence... on another marae: E nga iwi o Ngāi Tahu." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 25-26.
  • This poem of seven stanzas is a personal response to Rowley Habib’s question "Where are your bones?"
  • Coast Voices - Some People Writing Poetry on the West Coast. Ed. Roger Ewer. Greymouth: Walden Books, 1979.
  • Includes poetry by Keri Hulme, Robert Simpson, Anne Donovan, Bill Mathieson and Peter Hooper.
  • "Lullaby For a Stone Doll." Mothers. Wellington, N.Z.: the Women’s Gallery, 1981. 10. Rpt. in Strands. Auckland, N.Z.: Auckland UP, 1992. 39-40. Rpt. in Te Ao Mārama: Contemporary Māori Writing. Comp. and ed. Witi Ihimaera. Contributing ed. Haare Williams, Irihapeti Ramsden and D. S. Long. Vol. 3: Te Puāwaitanga O Te Kōrero: The Flowering. Auckland, N.Z.: Reed, 1993. 274-276. Rpt. in Whetu Moana: Contemporary Polynesian Poems in English. Ed. Albert Wendt, Reina Whaitiri and Robert Sullivan. Auckland, N.Z.: Auckland UP, 2003. 79-80.
  • The notes accompanying this poem state that it is "indebted to a patere... composed by Hine-i-turama, an aristocrat of Ngāti Rangiwewehi. She composed her song when she was accused of being pregnant - she was a puhi (a chiefly woman who was supposed to remain a virgin until an arranged marriage which would bring honour to her people was accomplished). She made herself a stone baby and sang the patere in defiance of her accusers."
  • "Deity Considered As Mother Death." Mothers. Wellington, N.Z.: the Women’s Gallery, 1981. Rpt. in Strands. Auckland, N.Z.: Auckland UP, 1992. 44-45.
  • A poem personifying death as a deified mother. The poem and its accompanying drawing were exhibited in the Mothers exhibition held at the Women’s Gallery in 1981.
  • "Okarito Tuhituhia: Nga Kehua." ibid. 7. Rpt. as "Nga Kehua." In Into the World of Light: An Anthology of Māori Writing. Ed. Witi Ihimaera and D. S. Long. Auckland, N.Z.: Heinemann, 1982. 260-261. Rpt. in The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 27.
  • The speaker recalls her tipuna and their kehua lingering on her shoulders.
  • "Whakatu." Into the World of Light: An Anthology of Māori Writing. Ed. Witi Ihimaera and D. S. Long. Auckland, N.Z.: Heinemann, 1982. 259-260. Rpt. in Pacific Voices: An Anthology of Māori and Pacific Writing. Comp. Bernard Gadd. Auckland, N.Z.: Macmillan, 1989: 44. Rpt. in 100 New Zealand Poems. Comp. Bill Manhire. Auckland, N.Z.: Godwit, 1993. n.pag.
  • A response to stereotype images of Māori working in the freezing works and factories, driving trucks and drinking ‘up large’ in the pubs.
  • "I Asked for Riches". The Silences Between: Moeraki Conversations: (Moeraki Conversations). Auckland, N.Z.: Auckland UP, 1982. 4. Rpt. in Te Ao Mārama: Contemporary Māori Writing. Comp. and ed. Witi Ihimaera. Contributing ed. Haare Williams, Irihapeti Ramsden and D. S. Long. Vol. 3: Te Puāwaitanga O Te Kōrero: The Flowering. Auckland, N.Z.: Reed, 1993. 266.
  • A terse three-line comment about the way Māori have been treated in New Zealand. The imagery of the phrase "scavenging rights on a far beach" provides a powerful picture of the dehumanizing treatment of Māori.
  • "Moeraki Conversations 1." The Silences Between: (Moeraki Conversations). Auckland, N.Z.: Auckland UP, 1982. 9.
  • A reflection on planting kowhai seeds on the hills above Moeraki and a pondering on the identity of the skull found on Maukiekie beach.
  • "Silence... In a City." The Silences Between: (Moeraki Conversations). Auckland, N.Z.: Auckland UP, 1982. 10.
  • The lonely sentiments of a city flat-dweller bereft of dreams and isolated from home.
  • "Wine Song 1." The Silences Between: (Moeraki Conversations). Auckland, N.Z.: Auckland UP, 1982. 11.
  • The speaker recognises the anaesthetising affect of inebriation dulling the pain of "hard memories" and rejection.
  • "Hate Takes Forms the Heart Can’t Answer." The Silences Between: (Moeraki Conversations). Auckland, N.Z.: Auckland UP, 1982. 12.
  • The speaker is a dancer in a competition who is trapped in a world of blaring music and unsympathetic judges. She is gripped by a sense of pain and entrapment.
  • "(Mo Rore)" The Silences Between: (Moeraki Conversations). Auckland, N.Z.: Auckland UP, 1982. 13.
  • The poet reflects on the violence of the city.
  • "Moeraki Conversations 2: He Wahi Tapu." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 15. Rpt. in Yellow Pencils: Contemporary Poetry by New Zealand Women. Comp. Lydia Wevers. Auckland, N.Z.: Oxford UP, 1988. 120. Rpt. in Occupation: Journal of the Otago Polytechnic Department of Occupational Therapy 3.1 (1995): 23. Rpt. as "He Wahi Tapu". He Wai: A Song: First Nation’s Women’s Writing: A Waiata Koa collection. Ed. Trixie Te Arama Menzies. Auckland, N.Z.: Waiata Koa, 1996. 22.
  • A discovery of a wahi tapu while digging on the beach.
  • "Kehua Trap." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 16-17. Rpt. in He Wai: A Song: First Nation’s Women’s Writing: A Waiata Koa collection. Ed. Trixie Te Arama Menzies. Auckland, N.Z.: Waiata Koa, 1996. 23-24.
  • A poem with dialogue about ghosts in the old graveyard.
  • "Silence... Moons & Self." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 18-21.
  • A poem written in contrasting stanzas of normal type and bold type representing the different voices of the aging and dying speaker. She contemplating her mortality, her impending death and her perception of the moon’s response to her.
  • "Moerangi Conversations 3." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 22.
  • A poem on the grounding of the Te Araiteuru and the petrification of the crew into landscape forms.
  • "Hōkioi." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 24. Rpt. in Whetu Moana: Contemporary Polynesian Poems in English. Ed. Albert Wendt, Reina Whaitiri and Robert Sullivan. Auckland, N.Z.: Auckland UP, 2003. 74-75.
  • The speaker addresses the mythical bird, the hokioi, and tells of her preparation for the ‘hellbent raving cry of war.’
  • "Moeraki Conversations 4: (Dream Fragment, Seaweed Hair Climbing)." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 29-30. Rpt. in Countless Signs: The New Zealand Landscape in Literature. Comp. Trudie McNaughton. Auckland, N.Z.: Reed Methuen, 1986. 120-121. Rpt. in Yellow Pencils: Contemporary Poetry by New Zealand Women. Comp. Lydia Wevers. Auckland, N.Z.: Oxford UP, 1988. 120-121.
  • A brief encounter between the speaker and seaweed ‘growing from/a cliff’.
  • "Knowing." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 30-31.
  • Reflections on different perception of God.
  • "Silence... Overseas." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 32.
  • A poem anticipating the poet’s coming separation with her whanau and land, and her limited perception of the lands she is travelling to.
  • "Leaving My Bones Behind." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 32-40.
  • A series of twenty-one short poems entitled sequentially with the Māori numbers one to twenty-one. The poet explores her dislocation of identity travelling in foreign lands, her homesickness for Okarito and Moeraki, and the curious inhibition to her creative sensibilities when separated from her homeland.
  • "Tahi." [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982.. 32.
  • In ‘Leaving My Bones Behind.’ The poet writes of her weariness with words and her pursuit of ‘the safety of new waves... [and] unknown seas.’
  • "Rua." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 33.
  • A description of the poet’s "narrow land" seen from the air as she departs New Zealand for overseas’ travel.
  • "Toru." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 33.
  • Despite being farewelled with good wishes, the speaker embarks on her journey uncertain and unsure.
  • "Wha." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 33.
  • The speaker entreats Maui to ‘call [his] kin to order!’
  • "Rima." The Silences Between: (Moeraki Conversations). 34.
  • The speaker mourns the separation with her land which leaves her feeling empty and alone.
  • "Ono." The Silences Between: (Moeraki Conversations). 34.
  • The poet contends that while she could easily present a taped or photographed image of her new surroundings, words to describe them are indefinable.
  • "Whitu." The Silences Between: (Moeraki Conversations). 34.
  • A short description of the menacing quality of traffic in overseas cities and the curious connection between strange notes and coins and the ability to buy food.
  • "Waru." The Silences Between: (Moeraki Conversations). 34-35.
  • The speaker writes of her increasing homesickness for the sea of Aotearoa.
  • "Iwa." The Silences Between: (Moeraki Conversations). 35.
  • The speaker tells of lost dreams and the intrusion of others.
  • "Tekau." The Silences Between: (Moeraki Conversations). 35-36.
  • A portrait of an angry inebriated woman at Waikiki.
  • "Tekau ma Tahi." The Silences Between: (Moeraki Conversations). 36.
  • A poem expressing the poet’s suffocation within sterile rooms and her longing to ‘dive as a dolphin... into the deeps’.
  • "Tekau ma Rua." The Silences Between: (Moeraki Conversations).
  • The speaker writes of the external and foreign dreams colliding with her own dreams.
  • "Tekau ma Toru." The Silences Between: (Moeraki Conversations). 36-37.
  • A poem about the physical impact of living in a foreign environment.
  • "Tekau ma Wha." The Silences Between: (Moeraki Conversations). 37.
  • A short discourse on being named by others as foreign and different.
  • "Tekau ma Rima." The Silences Between: (Moeraki Conversations). 37-38.
  • The poet ponders on her home areas, whanau and turangawaewae.
  • "Tekau ma Ono." The Silences Between: (Moeraki Conversations). 38.
  • The speaker momentarily imagines she is back in a special place, Maukiekie, in the evening light.
  • "Tekau ma Whitu." The Silences Between: (Moeraki Conversations). 38.
  • The speaker defines the perimeters of her reality and rejects the superficial images.
  • "Tekau ma Waru (Nightsong for Te Pipiwharauroa)." The Silences Between: (Moeraki Conversations). 38-39.
  • The speaker comforts a despairing child bereft of parents and embues him with thoughts of hope and a destiny.
  • "Tekau ma Iwa." The Silences Between: (Moeraki Conversations). 39.
  • The poet bewails a season of creative barrenness.
  • "Rua Tekau." The Silences Between: (Moeraki Conversations). 40.
  • Within the environment of gloomy days, the speaker appreciates the vitality of people.
  • "Rua Tekau ma Tahi." The Silences Between: (Moeraki Conversations). 40.
  • The poet ponders on the volcanic and coral growth of the Pacific islands and acknowledges what she is leaving behind.
  • "Spotlight." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 41-44.
  • The poet writes of a poetry reading held amidst a sex show in the underbelly of ‘downtown Honolulu’ where women are ‘merchandise, plastic and cold’. After reading her work, the poet departs feeling ‘hollow’ within.
  • "Moeraki Conversations 5: Searching for Clear Water." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 45-46.
  • Keri writes of this poem: "where togo for spiritual consolation in the dark and in the desert, within a Moeraki context (which is famous for not having any reliable potable equals ‘clear’ water)".
  • "Okarito Tuhituhia." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 49-50.
  • The speaker articulates her frustration in the long years it takes to get things completed and describes in detail how her frustrations are taken out on the unsuspecting sandflies.
  • "He Namu Pea Au?" The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 50.
  • The poet describes a time out in the elements collecting wood on the beach.
  • "October." ibid. 51. Rpt. in Into the World of Light: An Anthology of Māori Writing. Eds. Witi Ihimaera and D. S. Long. Auckland, N.Z.: Heinemann, 1982. 258-259.
  • An evocative portrayal of an evening when the speaker slipped out into the darkness and felt ‘an intruder’ in evening light of the moon and the bewitching sounds of the night.
  • "Ends and Beginnings." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 52.
  • A poem on origins, identity, and Māori and Pakeha roots.
  • "Ki te uta, Ki te tai." The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 53.
  • A description of the view of the shoreline.
  • "Wine Song [23]." Poetry New Zealand: Volume Five. Ed. Frank McKay. Dunedin, N.Z.: John McIndoe, 1982. 28. Rpt. in Yellow Pencils: Contemporary Poetry by New Zealand Women. Comp. Lydia Wevers. Auckland, N.Z.: Oxford UP, 1988. 125. Rpt. in Countless Signs: The New Zealand Landscape in Literature. Comp. Trudie McNaughton. Auckland, N.Z.: Reed Methuen, 1986. 1 25. Rpt. in Strands. Auckland, N.Z.: Auckland UP, 1992. 60-61. Rpt. in Whetu Moana: Contemporary Polynesian Poems in English. Ed. Albert Wendt, Reina Whaitiri and Robert Sullivan. Auckland, N.Z.: Auckland UP, 2003. 77-78.
  • The speaker muses on her various identities over the course of time and likens the passing of time to the gradual consumption of a bottle of wine.
  • "Mushrooms and Other Bounty [Te Kaihau -2]." Poetry New Zealand: Volume Five. Ed. Frank McKay. Dunedin, N.Z.: John McIndoe, 1982. 29. Rpt. in Yellow Pencils: Contemporary Poetry by New Zealand Women. Chosen Comp. Lydia Wevers. Auckland, N.Z.: Oxford UP, 1988. 125-126. Rpt. in Stonefish Wellington, N.Z.: Huia, 2004: 21.
  • The speaker ponders on ‘chance-fruit’, or treasure, found by accident on the beach front, in her dreams, in the ground or in ‘the jewels of phrases tossed away by careless strangers’.
  • "Trying to Appease Mother Earth." Spiral 5 (1982): 75-7.
  • The speaker lost in wonder of the natural world, the domain of papatuanuku, the earth mother.
  • "First Sleep in Te Rangiita." Into the World of Light: An Anthology of Māori Writing. Ed. Witi Ihimaera and D. S. Long. Auckland, N.Z.: Heinemann, 1982. 259. Rpt. in The Silences Between: (Moeraki Conversations). [Auckland, N.Z.]: Auckland UP/Oxford UP, 1982. 28. Rpt. in Whetu Moana: Contemporary Polynesian Poems in English. Ed. Albert Wendt, Reina Whaitiri and Robert Sullivan. Auckland, N.Z.: Auckland UP, 2003. 77.
  • Sleeping in Te Rangiita, the speaker feels alone and far removed from her people at Moeraki and Okarito.
  • "He Hoha." Into the World of Light: An Anthology of Māori Writing. Ed. Witi Ihimaera and D. S. Long. Auckland, N.Z.: Heinemann, 1982. 261-264. Rpt. in Yellow Pencils: Contemporary Poetry by New Zealand Women. Comp. Lydia Wevers. Auckland, N.Z.: Oxford UP, 1988. 126-129. Rpt. in Kiwi & Emu: An Anthology of Contemporary Poetry by Australian and New Zealand Women. Comp. and introduction by Barbara Petrie. Springwood, NSW, Austral.: Butterfly Books, 1989. 111-114. Rpt. in Strands. Auckland, N.Z.: Auckland UP, 1992. 41-43. Rpt. in An Anthology of New Zealand Poetry in English. Ed. Jenny Bornholdt, Gregory O’Brien and Mark Williams. Auckland, N.Z.: Oxford UP, 1997. 87-89.
  • The female speaker celebrates her different identities.
  • The Silences Between: (Moeraki Conversations). Auckland, N.Z.: Auckland UP, 1982. Rpt. 1984, 1985 (twice).
  • In her interview with Don Long in Tu Tangata 7 (1982), Hulme discusses the title of this first collection of her poetry. Long states that this is the ‘first collection of poems by a Māori woman writer to be published in New Zealand.’ Keri observes: "I regard time spent away from Moeraki and my family there as silence. Things at Moeraki seem to be almost larger than life. Moeraki to me is heart place. Moeraki conversations are really what the book is about. The plan of the book is six conversations (they are each maybe a little series of linked conversations - maybe conversations with someone in my head - maybe real things that have happened with bits of dialogue around them which are approximations of the conversations that took place) and in between each set of Moeraki conversations there is silence, nei. The silences are aloud with their own words." The structure of this collection is six poems of "Moeraki Conversations" interspersed with six poems of silence, and a series of twenty-one poems under the title "Leaving My Bones Behind" in which the poet explores her sense of dislocation and foreignness while visiting other nations far from her homes at Okarito and Moeraki. In this collection the poet writes of seascapes and life along the shoreline, Māori tupuna, ghosts, wine songs, and poems of identity.
  • "To Kamala, Late of Wellington Zoo." NZ Listener 23 July 1983 :12.
  • A piece on the lonely bleak existence of incarceration in zoo life on the occasion of the death of Wellington Zoo’s elephant, Kamala.
  • "Watch a Seal in Water". Broadsheet 110 (1983): 35-36. Rpt. in Te Ao Mārama: Contemporary Māori Writing. Comp. and ed. Witi Ihimaera. Contributing ed. Haare Williams, Irihapeti Ramsden and D. S. Long. Vol. 3: Te Puāwaitanga O Te Kōrero: The Flowering. Auckland, N.Z.: Reed, 1993. 283-285.
  • The speaker tells of the night she hears the cry of a dying seal caught in a fisherman’s net. The next morning she finds the seal dead in the small lagoon. Later she and her neighbours sympathise with the seal over a glass of sherry.
  • "Paua Shell Gods." Landfall 37 (1983): 414-18. Rpt. as "Pauashell Gods". Strands. Auckland, N.Z.: Auckland UP, 1992. 46-51. Rpt. as "Pauashell Gods." Te Ao Mārama: Contemporary Māori Writing. Comp. and ed. Witi Ihimaera. Contributing ed. Haare Williams, Irihapeti Ramsden and D. S. Long. Vol. 3: Te Puāwaitanga O Te Kōrero: The Flowering. Auckland, N.Z.: Reed, 1993. 276-279.
  • The speaker reminisces back to her childhood days when she played imaginary games along the beachfront with other children. Hulme writes that ‘[t]his poem, with an accompanying pauashell god and four painted panels, was part of the opening exhibition of the Women’s Gallery, Wellington, 1980’ [Strands: 51].
  • "Waiting on the Laughing Owl." Poetry New Zealand: Volume Six. Ed. Elizabeth Caffin. Dunedin, N.Z.: John McIndoe, 1984. 31. Rpt. in The New Poets: Initiatives in New Zealand Poetry. Ed. Murray Edmond and Mary Paul. Wellington, N.Z.: Allen & Unwin and Port Nicholson Press, 1987. 49. Rpt. in Strands. Auckland, N.Z.: Auckland UP, 1992. 52. Rpt. in Te Ao Mārama: Contemporary Māori Writing. Comp. and ed. Witi Ihimaera. Contributing ed. Haare Williams, Irihapeti Ramsden and D. S. Long. Vol. 3: Te Puāwaitanga O Te Kōrero: The Flowering. Auckland, N.Z.: Reed, 1993. 280.
  • An all-night vigil sitting around a fire under a blanket and with a whisky flask, waiting for some sign of the last laughing owl.
  • "Pa Mai To Reo Aroha." ibid. 5-8. Rpt. in Countless Signs: The New Zealand Landscape in Literature. Comp. Trudie McNaughton. Auckland, N.Z.: Reed Methuen, 1986. 34-36. Rpt. in The Caxton Press Anthology New Zealand Poetry 1972-1986. Ed. Mark Williams. Christchurch, N.Z.: Caxton, 1987. 146-148. Rpt. in Yellow Pencils: Contemporary Poetry by New Zealand Women. Ed. Lydia Wevers. Auckland, N.Z.: Oxford UP, 1988. 123-124. Rpt. in Homeplaces: Three Coasts of the South Island of New Zealand. Photographs by Robin Morrison. Auckland, N.Z.: Hodder & Stoughton, 1989. 58. Rpt. in Te Ao Mārama: Contemporary Māori Writing. Comp. and ed. Witi Ihimaera. Contributing ed. Haare Williams, Irihapeti Ramsden and D. S. Long. Vol. 3: Te Puāwaitanga O Te Kōrero: The Flowering. Auckland, N.Z.: Reed, 1993. 266-268.
  • A close scrutiny of the seascape, rocks, bird and insect life at Moeraki and the speaker’s wonder at the vitality and vigour of the scene.
  • "Silence... On the Other Coast: Getting to the Coast." ibid. 47-49. Rpt. in Countless Signs: The New Zealand Landscape in Literature. Comp. Trudie McNaughton. Auckland, N.Z.: Reed Methuen, 1986. 106-107.
  • The speaker considers the bleak weather and sea ‘running high’ on a ‘cold grey Greymouth morning’. She bewails the slow start to the whitebait season.
  • "Moeraki Conversations 6." ibid. 54-55. Rpt. in Countless Signs: The New Zealand Landscape in Literature. Comp. Trudie McNaughton. Auckland, N.Z.: Reed Methuen, 1986. 121-122. Rpt. in Yellow Pencils: Contemporary Poetry by New Zealand Women. Comp. Lydia Wevers. Auckland, N.Z.: Oxford UP, 1988. 121-122.
  • The speaker reflects on the passing of another year and sits by the dimming embers of the beach bonfire contemplating her mortality and weaknesses and farewelling those ‘gone into the great night’.
  • "Tara [The Other Wing]" Te Kaihau: The Windeater. Wellington, N.Z.: Victoria UP, 1986. 13-18. Rpt. in The New Poets: Initiatives in New Zealand Poetry. Eds. Murray Edmond and Mary Paul. Wellington, N.Z.: Allen & Unwin and Port Nicholson Press, 1987. 44-48. Rpt. in The Penguin Book of Contemporary New Zealand Poetry/ Ngā Kupu Tōtohu o Aotearoa. Ed. Miriama Evans, Harvey McQueen and Ian Wedde. Auckland, N.Z.: Penguin, 1989. 220-224. Rpt. in Te Ao Mārama: Contemporary Māori Writing: Volume 3: Te Puāwaitanga o Te Kōrero: The Flowering. Comp. and ed. Witi Ihimaera. Contributing editors: Haare Williams, Irihapeti Ramsden and D. S. LonG. Auckland, N.Z.: Reed, 1993. 271-274.
  • The speaker contemplates her own mortality and the interactions of human relations. This is the second part of a diptych; the first part is entitled "[Foreword] Tara Diptych [The First Wing]." It immediately precedes "Tara" and is written in prose form.
  • "Getting to the Coast." Countless Signs: The New Zealand Landscape in Literature. Comp. Trudie McNaughton. Auckland, N.Z.: Reed Methuen, 1986. 106-107.
  • The speaker is surrounded by the ‘brisk cruel/clatter of hail’, wind and rain. She contemplates her sense of belonging as she waits unsuccessfully for whitebait in the Grey River.
  • "Returning." ibid. 23. Rpt. in The New Poets: Initiatives in New Zealand Poetry. Ed. Murray Edmond and Mary Paul. Wellington, N.Z.: Allen & Unwin and Port Nicholson Press, 1987. 50.
  • A poem about a painful encounter with a former friend.
  • "From The Bone Collector’s Songs" Homeplaces: Three Coasts of the South Island of New Zealand. Photographs by Robin Morrison. Auckland, N.Z.: Hodder & Stoughton, 1989. 64-65. Rpt. in Kiwi & Emu: An Anthology of Contemporary Poetry by Australian and New Zealand Women. Comp. and introduction by Barbara Petrie. Springwood, NSW, Austral.: Butterfly, 1989. 115.
  • A short description of the antics of the seal and the gulls. The Kiwi & Emu version has one extra stanza.
  • "Midden Mine - The Third of the Children of Hinearoarotepare (Who is the Mother of Echoes). Homeplaces: Three Coasts of the South Island of New Zealand. Photographs by Robin Morrison. Auckland, N.Z.: Hodder & Stoughton, 1989. 116-117. Rpt. in Kiwi & Emu: An Anthology of Contemporary Poetry by Australian and New Zealand Women. Comp. and introduction by Barbara Petrie. Springwood, NSW, Austral.: Butterfly, 1989. 115-117.
  • A portrait of Tutakahikura beach which portrays the poet’s deep knowledge and affection for its sand, stones, rocks, and archaeological remnants of earlier ages.
  • "Aue, te Aroha me te Mamae." The Sleepy Giant & Other Poems. School Journal 3.3 (1989): 18.
  • Reflections on ‘a warm quiet day for walking’ with descriptions of the shells of former living creatures deposited along the shoreline.
  • "Fishing The Olearia Tree." Strands. Auckland, N.Z.: Auckland UP, 1992. 9-27. Rpt. in An Anthology of New Zealand Poetry in English. Ed. Jenny Bornholdt, Gregory O’Brien and Mark Williams. Auckland, N.Z.: Oxford UP, 1997. 83-87.
  • A lengthy reflective poem exploring various maps set around the speaker’s garden. The poem also reflects upon a lagoon with the motionless white heron perched on her olearia tree waiting to pounce on unsuspecting waxeyes.
  • "Against the Small Evil Voices." Strands. Auckland, N.Z.: Auckland UP, 1992. 29-32.
  • The speaker lists the evil voices heard in Māoridom that foretell bad events and ill-omens. However, she contends that a ‘worst kind live/in the city... [where they are ‘insulated by the white noise of TV against/ the nextdoor screams.’
  • "Papatuanuku E Tu!" Strands. Auckland, N.Z.: Auckland UP, 1992. 33-34.
  • A celebration of the diverse, all-encompassing and timeless nature of Papatuanuku the earthmother.
  • "Te Rua Haeroa O Te Tokotoru." Strands. Auckland, N.Z.: Auckland UP, 1992. 35-38.
  • In this poemk, the speaker calls for graves to be dug for men who rape, steal, and murder the planet. Haeroa is the name of a grave for spirits of enemies [The New Dictionary of Modern Māori. P. M. Ryan. London: Heinemann Publishers, 1974. Rpt. 1975, 1977, 1978, 1979, 1981, 1982.]
  • "The Bond of Bees." Strands. Auckland, N.Z.: Auckland UP, 1992. 56.
  • The speaker ‘blend[s] [her] mind’ with the flowers and bees seen from her room while drinking wine.
  • "Sing it Round the Pyre." Strands. Auckland, N.Z.: Auckland UP, 1992. 58.
  • The speaker calls her friends to light a fire for her after her death and urges them to either mourn or cry ‘with loud / words of glee’.
  • "Winesong for the Wicked in Retirement." Strands. Auckland, N.Z.: Auckland UP, 1992. 59.
  • A song extolling the warming qualities of a ‘friendly port’.
  • "Winesong 27." Strands. Auckland, N.Z.: Auckland UP, 1992. 62.
  • The speaker reflects on the incompatibility of an acquaintance in terms of their different expressions of passion and perception.
  • "Antidotes to Mindrush." Strands. Auckland, N.Z.: Auckland UP, 1992. 63.
  • Amidst the rapid movement of aspects of the natural world, the speaker recalls ‘the still island in its seas / and calm of hills.’
  • "Saying Nothing/In the End (Lines to be Put on a Gravestone)." Strands. Auckland, N.Z.: Auckland UP, 1992. 65.
  • The speaker writes of her burial instructions and the treasures she wants placed around her body including ‘a paua-hafted hook’ to show her trade of ‘catching dreams’.
  • Strands. Auckland, N.Z.: Auckland UP, 1992.
  • Hulme’s second collection of poetry is composed of 19 poems interspersed with short inserts. The poems describe her life along the coastline and the destructiveness of city living. They also include tributes to Papatuanuku, Mother Earth, female identity, death and goddesses. Winesongs are also included in the collection. Hulme writes that Strands is about ‘fishing and death. Angry women/angry earth chants, and funny inserts/insights/snippets/snappings. Winesongs of fifteen years’ maturation’ [Strands. Back cover].
  • "Stargazer." Te Ao Mārama: Contemporary Māori Writing. Comp. and ed. Witi Ihimaera. Contributing ed. Haare Williams, Irihapeti Ramsden and D. S. Long. Vol. 3: Te Puāwaitanga O Te Kōrero: The Flowering. Auckland, N.Z.: Reed, 1993. 280-282.
  • The poet reflects on stargazing, and writes of a rainbow mauri, and the child-like innocence of a young boy entranced by the stars.
  • "The Wine-Rich Arteries." ibid. 57. Rpt. in Dangerous Landscapes: An Anthology of New Zealand Poetry. Comp. Rangi Faith. Auckland, N.Z.: Longman Paul, 1994. 57.
  • The speaker writes of the natural elements preparing her for the coming of te po and death.
  • "Old Old Winesong." ibid. 64. Rpt. in Dangerous Landscapes: An Anthology of New Zealand Poetry. Comp. Rangi Faith. Auckland, N.Z.: Longman Paul, 1994. 87.
  • A short song on the life of a seafaring person.
  • "He Moemoea." ibid. 14. Rpt. in He Wai: A Song: First Nation’s Women’s Writing: A Waiata Koa collection. Ed. Trixie Te Arama Menzies. Auckland, N.Z.: Waiata Koa, 1996. 21.
  • An exuberant picture of Simon dancing on the beach and a contrasting image of a ‘small man... weeping’.
  • "Headnote to a Māui Tale." ibid. 322-323. Rpt. in Spirit in a Strange Land: A Selection of New Zealand Spiritual Verse. Ed. Paul Morris, Harry Ricketts and Mike Grimshaw. Auckland, N.Z.: Godwit, 2002. 84.
  • ‘A four page extract from "Fisher in An Autumn Tide." published in RePublica: "The New Land Lies Before Us". Ed. George Papellinas. Angus & Robertson, 2 (1995).
  • "Winesong 15." ibid. 55. Rpt. in Whetu Moana: Contemporary Polynesian Poems in English. Ed. Albert Wendt, Reina Whaitiri and Robert Sullivan. Auckland, N.Z.: Auckland UP, 2003. 78-79.
  • The speaker addresses a female lover and warns her of the emptiness of the speaker’s winesongs that will encapture her love within the realm of a bottle.
  • "Silence…On Another Marae." Whetu Moana: Contemporary Polynesian Poems in English. Ed. Albert Wendt, Reina Whaitiri and Robert Sullivan. Auckland, N.Z.: Auckland UP, 2003. 75-76.
  • "From Fisher In An Autumn Tide (bit3)." Whetu Moana: Contemporary Polynesian Poems in English. Ed. Albert Wendt, Reina Whaitiri and Robert Sullivan. Auckland, N.Z.: Auckland UP, 2003. 53-58.
  • "I Have A Stone That Once Swam…" Stonefish Wellington, N.Z.: Huia, 2004: 1.
  • "A Deal Among the Makyrs." Stonefish Wellington, N.Z.: Huia, 2004: 22-23.
  • "Selected bibliography." Contemporary New Zealand poets in performance. Ed. Jack Ross and Jan Kemp. Auckland, N.Z.: Auckland University Press, 2007.
  • "The bond of bees." Our own kind : 100 New Zealand poems about animals. Ed. Siobhan Harvey. Auckland, N.Z. : Godwit, 2009.
  • Photography by Mark Smith.
  • "What would you do if tonight was the last day of your life?" Karaka (Sum 2014/2015): 5
  • Puna wai kōrero : an anthology of Māori poetry in English. Ed. Robert Sullivan and Reina Whaitiri. Auckland, N.Z. : Auckland University Press, 2014.

  • Reviews

  • "The Kuia And The Spider/Te Kuia Me Te Pungawerewere." Spiral 5 (1982): 11.
  • "Two Views of The Penguin Book of New Zealand Verse, Karl Stead and Keri Hulme." Landfall 39 (1985): 289-305. Rpt. in "Four Responses to The Penguin Book of New Zealand Verse". By Terry Sturm, Hirini Moko Mead, Keri Hulme and Trixie Te Arama Menzies. Te Ao Mārama: Regaining Aotearoa: Māori Writers Speak Out. Comp. and ed. Witi Ihimaera. Contributing ed. Haare Williams, Irihapeti Ramsden and D. S. Long. Vol. 2: He Whakaatanga O Te Ao: The Reality. Auckland, N.Z.: Reed, 1993. 329-336.
  • In these responses to The Penguin Book of New Zealand Verse (1985), Sturm asserts that the anthology’s strongest message is ‘that New Zealand has two languages’, and that the ‘older, indigenous language has never been silenced and is currently a medium of vigorous, renewed creative activity.’ Sturm also notes the continuing strong contribution of Māori women poets and the ‘fascinating accidental collisions and coincidences of perspective that occur through the interweaving of Māori- and English-language poets’. Mead’s major criticism of the anthology is in choosing a Pakeha academic to decide on which Māori material should be included. While he does not argue with her choices and welcomes ‘the appearance of Māori texts in the book’, he contends that there are Māori who could have done the job instead. Keri Hulme states that ‘[t]here are many strange strands in the kete of New Zealand poetry.... Here is an anthology which ventures with an eye to the inclusive rather that the exclusive position.’ She also notes that the editors ‘have made a conscious effort to overview much outside their natural ambit…. [and] welcome within the covers of The Penguin Book of New Zealand Verse the range of poetry here.’ The major thrust of Trixie Te Arama Menzies’ response is a critique of C. K. Stead’s review of the anthology.
  • "Books: Moving Away, Falling Off." Rev. of Time and the Forest, by Peter Hooper. NZ Listener 5 Sept. 1987: 63, 65.
  • "Books: 38" Rev. of The Brain of Katherine Mansfield, by Bill Manhire. NZ Listener 6 Aug. 1988: 50.
  • "Mythmaker." Rev. of The Frigate Bird, by Alistair Campbell. NZ Listener 23 July 1990: 105.
  • "Legends Brought to Life." Rev. of Wahine Toa: Women of Māori Myth, by Robyn Kahukiwa and Patricia Grace. Evening Post 3 May 1991: 7.
  • "Exhibition and Book Show the Power of Art." Evening Post 28 June 1991: 5.
  • "Be a Festival." Rev. of The Shark That Ate the Sun, by John Pule. New Zealand Books 2.3 (1992): 4.
  • "An Ancient Moko." Rev. of Land of Memories, photographs by Mark Adams, text by Harry Evison. Listener 16 Oct. 1993: 49-50.

    Films/Video

  • "Kai Purakau." A film by Gaylene Preston, 1987.

  • Other

  • Bryson, John. 24 Hours. ABC magazine. No further details.
  • This interview was connected with the 1994 Melbourne Writers’ Festival. It was conducted by John Bryson of ‘Evil Angels’ fame.
  • Archie, Carol. "The Keri Hulme Story." Mana: The Māori News Magazine for All New Zealanders 1 (1993): 65.
  • Braunias, Steve. "The Sensualist." Listener 30 Oct. 2004: 34-37.
  • Charman, Janet. "Keri Hulme." Broadsheet 173 (1989): 14-16.
  • Coates, Ken. "Bowed, but Not Broken." The Press 8 Aug. 1992: Sup. 1.
  • "Constructing the Author." Untold 4 (1985): 26-34.
  • Clark, Margaret. "The Politics of Literature." British Review of NZ Studies 7 (1994): 85-92.
  • Dudding, Robin. "Living Elsewhere." Listener 29 Oct. 1990: 113.
  • Fee, Margery. "Why C K Stead didn’t like Keri Hulme’s ‘the bone people’: who can write as Other?" Australian and New Zealand Studies in Canada 1 (1989): 11-32.
  • Fraser, Fiona and Sharon Course. "75 Women We Love." New Zealand Woman’s Weekly 20 Aug. 2007: 16-21.
  • "Hulme, Billing Share Fellowship." Dominion 2 Nov. 1984. No further details.
  • Kedgley, Sue. Our Own Country. Auckland, N.Z.: Penguin, 1989. 87-110.
  • "Keri Hulme." New Zealand Official Yearbook. 1993. 245.
  • Kit, Chin Peng. "Keri Hulme." In ‘Beyond Our Cultural Horizons: A Look at Three Māori Writers.’ Directions 14 (1992): 3.
  • Knight, Kim. "Power of three." Sunday Star Times 15 Feb. 2004: Sup.14-16.
  • Johnston, Andrew. "Waiting for The End." In ‘Weekend.’ The Press 19 Nov 1994: 1.
  • Jones, Lawrence. "Modernism, Myth, and Postmodernism: Keri Hulme and C. K. Stead." Barbed Wire and Mirrors: Essays on New Zealand Prose. 201-207.
  • Little, Paul. "Writing isn’t my life." Listener 15 Aug. 1998: 22-24.
  • O’Brien, Greg and Robert Cross. "Keri Hulme: Pure Tang of Coast." Moments of Invention: Portraits of 21 New Zealand Writers. Auckland, N.Z.: Heinemann, 1988. 20-26.
  • O’Connor, Elizabeth. "Artist Talks." Te Karaka: the Ngai Tahu Magazine 35 (2007): 53.
  • Peek, Andrew. "An Interview with Keri Hulme." New Literature Review 20 (1990): 1-11.
  • Prentice, Chris. "Re-writing Their Stories, Renaming Themselves: Post-Colonialism and Feminism in the Fictions of Keri Hulme and Audrey Thomas." Span 23 (1986): 68-80.
  • "Protect the West Coast says Hulme." Te Karere Māori 14.6 (2001): 201.
  • Ricketts, Harry. Talking About Ourselves. Wellington, N.Z.: Mallinson Rendell, 1986. 17-29.
  • Roger, Warwick. "The Long Silence Of Keri Hulme." North and South 149 (1998): 64-71.
  • Romanos, Michael. "Kerewin, Simon and Joseph take on the World." Tu Tangata 26 (1985): 32-33.
  • Smith, Anna. "Keri Hulme and ‘Love’s Wounded Beings’" Opening the Book: New Essays on New Zealand Writing. Eds. Mark Williams and Michele Leggott. Auckland, N.Z.: Auckland UP, 1995. 140-161.
  • Smith, Shona. "Keri Hulme: Breaking Ground." Untold 2 (1984): 44-49.
  • Smith, Shona. "Constructing the Author." Untold 4 (1985): 26-34.
  • Thompson, Alastair. "Hulme’s Win Helps Pay Tax." Dominion 31 Oct. 1990: 3.
  • Webby, Elizabeth. "Keri Hulme: Spiralling to Success." Meanjin 44.1 (1985): 15-23.
  • Welham, Keri. "With Bated Breath." Dominion Post 27 Mar. 2004: B5.
  • Welham, Keri. "Bait expectations." Press 27 Mar. 2004: D1.
  • Whaitiri, Reina. "Rapua te tumu – to the point." Commonwealth: Essays and Studies 16.2 (1994): 15-25.
  • Williams, Mark. Leaving the Highway, Six Contemporary New Zealand Novelists. Auckland, N.Z.: Auckland UP, 1990.
  • Wedde, Ian and McQueen, Harvey. A Select Bibliography. The Penguin Book of New Zealand Verse. Auckland, N.Z.: Penguin, 1985. 548.
  • Erai, Michelle, Fuli, Everdina, Irwin, Kathie and Wilcox, Lenaire. Māori Women: An Annotated Bibliography. [Wellington, N.Z.]: Michelle Erai, Everdina Fuli, Kathie Irwin and Lenaire Wilcox, 1991. 12-13.
  • McNaughton, Trudie. "Biographical Notes and Selected Bibliography." Countless Signs: The New Zealand Landscape in Literature. Comp. Trudie McNaughton. Auckland, N.Z.: Reed Methuen, 1986. 368.
  • The Oxford History of New Zealand Literature in English. Oxford: Oxford UP, 1991. Rpt. in 1998.
  • Contemporary Authors. No details.
  • Contains the American references to Keri’s work.