Donovan Bixley
Author and Illustrator of How Māui Fished up the North Island Published by Upstart Press How Māui Fished up the North Island
Māui is our is our very own superhero, and the legend of how he fished up Aotearoa is the coolest fishing story ever told. |
About the author/illustrator
Donovan Bixley is one of New Zealand’s most acclaimed picture book creators, with books published in 31 countries. His books have been twice selected for the International Youth Library’s White Raven, and his numerous awards include the Mallinson Rendel Illustrators Award, for lifetime achievement, and the Russell Clark Illustration Award. Donovan’s work spans high–brow to low–brow and every brow in between, from his award–winning illustrated biography Much Ado About Shakespeare, to the hilarious hijinks of pussycats in planes in Paris in his Flying Furballs series, and over 100 books in between. Some of the funny things he has illustrated include Shelob making Kentucky Fried Frodo, Wolfgang Amadeus Mozart telling fart jokes, and a veloci-rapping gangsta dinosaur. When not immersed in the world of picture books, Donovan plays saxophone and is the singer for a 13 piece big–band/funk ensemble, “Hot Tub”. He lives with his family in Taupō. SELECTED BIBLIOGRAPHY How Māui Fished up the North Island, Upstart Press 2018. The Great Kiwi ABC Book, Upstart Press 2016. Fuzzy Doodle, illustrated by Donovan Bixley, written by Melinda Szymanik, Scholastic 2016. AWARDS: Storylines Notable Book 2017. White Raven 2017. Flying Furballs series (5 books), Upstart Press 2016. AWARDS: Tatoulu prize 2018 (France). Storylines Notable Book 2018. Much Ado About Shakespeare, Upstart Press 2016. AWARDS: Russell Clark Illustration Award 2016. Storylines Notable Book 2017. Monkey Boy, Scholastic 2014. AWARDS: Winner Best Junior Fiction NZ Book Awards for Children and Young Adults 2015. White Raven 2015. Storylines Notable Book 2015. Finalist Junior Fiction LIANZA Awards 2015. Highly Commended Best Children’s Book Design PANZ 2015. The Three Bears Sort Of…, illustrated by Donovan Bixley, written by Yvonne Morrison, Scholastic 2013. AWARDS: Children’s Choice Award NZ Post Book Awards for Children and Young Adults 2014. Storylines Notable Book 2014. The Looky Booky, Hodder Moa 2012. Dinosaur Rescue series (9 books) illustrated by Donovan Bixley, written by Kyle Mewburn, Scholastic 2011 2013. Old MacDonald’s Farm, Hodder Moa 2011. The Wheels on the Bus, Hodder Moa 2010. Faithfully Mozart, PQ Blackwell/Hachette/Hodder Moa 2005. Finalist Montana NZ Book Awards 2006. |
How the idea for the book came about
I’m always inspired by the thought of reinterpreting a subject for new audiences. A lot of my work is creating bright and humorous books for preschoolers and young readers, and I wanted bring Māui’s story to these New Zealanders in a way they could connect with.
The writing and illustrating process
Initially I turned down the opportunity to retell Māui’s story. He’s such an important part of Pacific culture and I felt didn’t have the knowledge or the mana to take on this legendary figure. But the more I thought about it, the more I was drawn to Māui. I envisaged a colourful and humorous interpretation for young children. But first I needed someone to help me.
Luckily I bumped into Dr Darryn Joseph (Ngāti Maniapoto) at a children’s book hui. We got on well and I discovered that not only was Darryn a Senior Lecturer of Māori at Massey University, he was also an award–winning writer of teen sci–fi novels in te reo, as well as being a judge for the New Zealand Children’s Book Awards.
I showed Darryn some of my imaginative early drafts. I was concerned whether my version would be culturally appropriate because I wanted my book to focus on the Māui who is pōtiki and tinihanga – the smallest brother and cheeky trickster. He’s a character that a lot of children can relate to, and I’d written the story using a lot of modern language and attitude.
One of my first scribbles featured Māui and his brothers setting off in a war canoe from their fortified pa at the top of the South Island. I’d reimagined Māui as a boy on the type of hilarious fishing trip with the whanau that will be familiar to many young Kiwis. I was thrilled when Darryn approved of my child-centred humorous approach, but he pointed out that Māui should be paddling a simple fishing canoe, not a waka taua, and that Māui’s fishing trip begins in tropical Hawaiki — Aotearoa doesn’t exist until Māui fishes it up.
Underneath the fun, I had a real desire to honour the cultural significance and importance of Māui too. Working under the guidance of Dr Darryn Joseph, who also translated the te reo edition, along with Keri Opai, my eyes were opened to some of the deeper meaning and symbolism behind the legend. Even though my version is aimed at young readers, there are a lot of sophisticated elements woven into the book.
Amazingly the basic story and layout barely changed between my first scribbles and the final publication. The great changes were all in the details. As I discovered more, I added these into my sketches. Readers can clearly see the differences between Hawaiki at the start of the story, and Aotearoa at the end. Keep an eye out for the places where Māui earns some of his names, or spot the bored little boy who invents the string game Te Whai Wawewawe a Māui, whilst tangled in his fishing line. I hope readers take note of the place where Māui’s waka first rests on the land, and there are also references to the great Pacific voyagers, from the type of deep–sea birds they followed out to their fishing grounds, to the important stars they used for navigation.
How Māui Fished Up The North Island took about 6 months to complete, from first ideas to sending the book off to the printers in China. Through most of that period I was working on several other books, but I needed time to absorb all the ideas that were forming. The final colour illustrations are digital paintings and took roughly a month and a half of full time work. I also do all the design for my books which allows me to choose what kind of typefaces and layout I use. I wanted the book to have a fun Pacific feel to it in the colours and fonts.
I absolutely adored writing and illustrating this book. Every day on this project was like escaping to wonderful place when the world was fresh and colourful and new. I hope that it’s a world readers will want to return to again and again as well.
I’m always inspired by the thought of reinterpreting a subject for new audiences. A lot of my work is creating bright and humorous books for preschoolers and young readers, and I wanted bring Māui’s story to these New Zealanders in a way they could connect with.
The writing and illustrating process
Initially I turned down the opportunity to retell Māui’s story. He’s such an important part of Pacific culture and I felt didn’t have the knowledge or the mana to take on this legendary figure. But the more I thought about it, the more I was drawn to Māui. I envisaged a colourful and humorous interpretation for young children. But first I needed someone to help me.
Luckily I bumped into Dr Darryn Joseph (Ngāti Maniapoto) at a children’s book hui. We got on well and I discovered that not only was Darryn a Senior Lecturer of Māori at Massey University, he was also an award–winning writer of teen sci–fi novels in te reo, as well as being a judge for the New Zealand Children’s Book Awards.
I showed Darryn some of my imaginative early drafts. I was concerned whether my version would be culturally appropriate because I wanted my book to focus on the Māui who is pōtiki and tinihanga – the smallest brother and cheeky trickster. He’s a character that a lot of children can relate to, and I’d written the story using a lot of modern language and attitude.
One of my first scribbles featured Māui and his brothers setting off in a war canoe from their fortified pa at the top of the South Island. I’d reimagined Māui as a boy on the type of hilarious fishing trip with the whanau that will be familiar to many young Kiwis. I was thrilled when Darryn approved of my child-centred humorous approach, but he pointed out that Māui should be paddling a simple fishing canoe, not a waka taua, and that Māui’s fishing trip begins in tropical Hawaiki — Aotearoa doesn’t exist until Māui fishes it up.
Underneath the fun, I had a real desire to honour the cultural significance and importance of Māui too. Working under the guidance of Dr Darryn Joseph, who also translated the te reo edition, along with Keri Opai, my eyes were opened to some of the deeper meaning and symbolism behind the legend. Even though my version is aimed at young readers, there are a lot of sophisticated elements woven into the book.
Amazingly the basic story and layout barely changed between my first scribbles and the final publication. The great changes were all in the details. As I discovered more, I added these into my sketches. Readers can clearly see the differences between Hawaiki at the start of the story, and Aotearoa at the end. Keep an eye out for the places where Māui earns some of his names, or spot the bored little boy who invents the string game Te Whai Wawewawe a Māui, whilst tangled in his fishing line. I hope readers take note of the place where Māui’s waka first rests on the land, and there are also references to the great Pacific voyagers, from the type of deep–sea birds they followed out to their fishing grounds, to the important stars they used for navigation.
How Māui Fished Up The North Island took about 6 months to complete, from first ideas to sending the book off to the printers in China. Through most of that period I was working on several other books, but I needed time to absorb all the ideas that were forming. The final colour illustrations are digital paintings and took roughly a month and a half of full time work. I also do all the design for my books which allows me to choose what kind of typefaces and layout I use. I wanted the book to have a fun Pacific feel to it in the colours and fonts.
I absolutely adored writing and illustrating this book. Every day on this project was like escaping to wonderful place when the world was fresh and colourful and new. I hope that it’s a world readers will want to return to again and again as well.