Journal articles on the topic 'Auckland hotels'

i te kore nga putake e mākukungia e kore te rakau e tupu ('If the roots of the tree are not watered the tree will never grow') New Zealand is in the middle of the most dramatic and sustained boom in tourism and hospitality in its history. The hotel sector that underpins our tourism growth stands utterly transformed from its humble beginnings. Yet the history of the Tourist Hotel Corporation (THC) and its role as the ‘roots’ of the modern hotel industry still tends to be told only as a minor part of our wider tourism story. Recent PhD research [1], based on extensive archive sources and interviews with senior practitioners, argues that the time has come for the THC story to be told in full. While there have been histories of the tourism and hospitality sector that cover the THC [2–7], they have not included in-depth discussion of the origins, structure and legacies of the organisation. Established in 1955 and sold in 1991, the THC dominated the New Zealand tourist hotel sector for 35 years, running around 10 resort-style properties and setting the standard for service. However, the current dominance of neo-liberal ideology has resulted in the achievements of the Government-owned THC being somewhat dismissed and the role of massive Government investment in the development of our hotel sector often being ‘conveniently’ forgotten. It is common for the THC to be depicted as rather archaic. Burdened with political interference and gross underfunding, the THC is sometimes depicted as a prime example of what happens when the state tries to run a business. However, this research argues there is a more heroic telling of the THC story, one that celebrates the THC as the fundamental ‘roots’ of the modern hotel sector. The THC was a key player in transforming post-war New Zealand hospitality, raising the bar for service, food and beverage and accommodation significantly. The THC invested heavily in improving buildings, vehicles, equipment and machinery, developing the skills and careers of its staff, and innovating menus. Staff from the THC were seen as ‘A grade’ and many of today’s most successful General Managers learnt their trade in THC properties. Many THC staff also went on to set up influential restaurants outside of hotels during this period. The THC managed significant tourism development even while showing a profit from 1974 till the late 1980s, posting a 2.7 million dollar surplus in 1986. However, a combination of perceived indebtedness, the 1987 recession and free-market Government ideology resulted in the sale of the THC to the Southern Pacific Hotel Corporation in 1991. The story of the THC involves drama, intrigue, politics, high finance, rapid growth and equally rapid collapse. But most importantly, this is the story of the origins of our hotel industry, showing the huge contribution this state funded group made to the modern industry. Surely it is time this story was told in full, on its own terms and in glorious technicolour. If you would like to read the PhD thesis this research is based on you can access it here: https://aut.researchgateway.ac.nz/handle/10292/10412 Corresponding author David is Senior Lecturer at the School of Hospitality and Tourism, Auckland University of Technology. He spent 18 years working in the hospitality industry as a hotel manager and restaurateur. His research includes work, employment and labour market issues in hospitality and tourism. David completed his PhD in 2017 – a history of employment relations in the New Zealand hotel sector, 1955–2000. David Williamson can be contacted at: david.williamson@aut.ac.nz References (1) Williamson, D. In Search of Consensus: A History of Employment Relations in the New Zealand Hotel Sector – 1955 to 2000; Ph.D. Thesis, Auckland University of Technology, 2017. (2) Brien, A. 100 Years of Hospitality in New Zealand: The People, the Politics, the Passion; Wellington Museums Trust in association with the Hospitality Association of NZ: Wellington, New Zealand, 2003. (3) McClure, M. The Wonder Country: Making New Zealand Tourism; Auckland University Press: Auckland, New Zealand, 2004. (4) Medlik, S. The Business of Hotels, 4th ed.; Butterworth-Heinemann: Oxford, U.K., 2000. (5) Slattery, P. The Economic Ascent of the Hotel Business; Goodfellow Publishers: Oxford, U.K., 2009. (6) Watkins, L. Billion Dollar Miracle: The Authentic Story of the Birth and Amazing Growth of the Tourism Industry in New Zealand; Travel Agents Association of New Zealand: Auckland, New Zealand, 1987. (7) Yu, L. The International Hospitality Business: Management and Operations; Haworth Press: New York, 1999.

Early in 1920, French-born architect Sholto Smith (1881-1936) decided to abandon his Moose Jaw practice, and his Canadian wife and family, and emigrate to New Zealand. His decision seems to have been precipitated by a memorable encounter with a woman who would later become a celebrated pianist for the Auckland radio station 1YA, Phyllis Mary Hams (1895-1974). Sholto Smith had met Hams during World War I while he was on leave from the Canadian Expeditionary Force and visiting Colwyn Bay, North Wales. Sholto Smith's major contribution to Arts and Crafts Auckland, the house he designed as a gift for Phyllis Hams on the occasion of their marriage on 3 March 1925, was named Colwyn to memorialise their Welsh meeting place. Despite only living in New Zealand for his last 16 years, Sholto Smith left a legacy of over 100 buildings. Colwyn was a well-placed advertisement for his domestic architecture, and his Arts and Crafts and Tudor house designs were soon in great demand throughout the building boom of the 1920s. Smith had arrived in Auckland on 17 March 1920 and immediately joined the practice of Thomas Coulthard Mullions (1878-1957) and C Fleming McDonald. The latter had been the architect of the original Masonic Hotel in Napier (1897), and the firm originally specialised in hotels and commercial architecture using modern materials including reinforced concrete, but dressing the modernist structure with historicist references. Several of their inner-city Auckland buildings such as the Waitemata and Manukau Council building on the corner of Shortland and Princes Street, Chancery Chambers in O'Connell Street and the Lister building on the corner of Victoria and Lorne Streets, still survive. After McDonald's death, Sholto Smith became a partner in the firm and encouraged Thomas Mullions to move into residential property development in central Auckland: Shortland Flats (1922) was a commercial venture where the architects formed a company owning shares in the building which comprised 24 flats designed to generate rental income. But detached suburban domestic architecture was Sholto Smith's real passion. Before leaving Canada for fresh beginnings in New Zealand, he drew an architectural perspective for his ideal home. He titled this drawing Dreamwold, and his vision for this ideal house was to be realised in Auckland at 187 St Heliers Bay Road. For this house design, Sholto Smith drew inspiration from Canadian colleagues such as British Columbian architect Samuel Maclure (1860-1929) and from the British masters of the Arts and Crafts Movement including CFA Voysey (1857-1951) and MH Baillie Scott (1865-1945). Colwyn is reminiscent of the latter's Corrie Wood (1908) in Letchworth Garden City, Hertfordshire in its adventurous open planning. A little bit of Olde Englande recreated in the South Pacific for his homesick new wife, Colwyn was Sholto Smith's perfect Dreamwold, right down to the text on the wooden mantelpiece over the fireplace. The quote inscribed there is taken from the beginning of Shakespeare's sonnet 57, and seems addressed by Smith to his 30-year-old bride: "Being your slave, what should I do but tend upon the hours and times of your desire?" Epitomising the romantic archetype, Colwyn remains a fine example of the type of Arts and Crafts dwelling that well-to-do Aucklanders aspired to inhabit in the 1920s.

The colonisation of the Hawai’ian people is a story shared with Māori and other Polynesian peoples. It is a story of shame, desecration, loss of land and loss of life. The commonality of the historical Pacific experience, however, can too easily mask the variety of outcomes of the decolonisation process, and for Māori and Pakeha New Zealanders, the present-day lived experience of the Hawai’ian people can come as a shock to those who have never ventured beyond the hotels of Waikiki. In this interview with filmmaker and Auckland University of Technology lecturer Christina Milligan, indigenous Hawai’ian filmmaker and activist Anne Keala Kelly discusses her 2010 documentary Noho Rewa: The Wrongful Occupation of Hawai’i. For Kelly, the making of the film was not only a lonely and tough five years, It was also an emotional struggle to document the pain suffered on a daily basis by those of her community who evidence the ongoing struggle of a people who remain tenants in their own land.

New Zealand is considered a nation of pet lovers, with 64 percent of households owning at least one pet [1]. The aim of this study [2] was to explore what the main considerations were for hospitality operators in Auckland with regards to offering pet-friendly services. To answer this question, several key aspects were considered: pet tourism trends; market expansion of pet-friendly accommodations; the profitability of allowing pets; and operational implications, such as additional investment and labour costs. This explorative research interviewed ten accommodation providers in Auckland: five pet-friendly and five non-pet-friendly. These operators represented owners or managers of hotels, motels, lodges and apartments spread across Auckland and Waiheke Island. Research on operators’ perspectives on pet tourism is unexplored, with previous literature focusing on tourists’ perceptions [3–5]. This study hopes to provide practical implications for the industry, especially for the New Zealand context. New Zealand’s pet tourism market is considered small and mainly domestic. According to popular global dog travel directory Bring Fido [6], in 2017 there were a mere fifteen pet-friendly accommodations in Auckland, in stark contrast to other cities such as New York (367), London (96) and Paris (643). Interviewees’ opinions on the profitability of accommodating pet tourists varied. Non-pet operators rejected the idea of allowing pets due to an abundance of non-pet customers and were reluctant to accept perceived pet-related risks. Their pre-conceptions were likely formed by operating in silos without conducting any research on pet tourism and its market landscape. There was a genuine fear of negative online reviews which cannot be easily amended and can have significant longevity. Their key perceived risks were related to hygiene and allergy concerns for other customers. Preventative measures were believed to involve significant investment into property renovation. Pet friendly operators, who mainly accommodated dogs, shared a different perspective through their own experiences. They expressed high trust and optimism for pet tourists and had rarely experienced any major pet-related incidents. From a hygiene and allergy point of view, the risks were considered minimal and customers bore the responsibility when stating their allergies. Pet-friendly operators stated that no additional workload or costs were incurred through accommodating pets. Significant renovations were not deemed necessary, instead relying on what they already had. However, in the unlikely event of a major pet-related incident, the interviewees expressed that their trust towards accommodating pets would waver, meaning their tolerance of risk was not resilient. At the time of the research, pet-friendly operators were relaxed about pet policies and had not formalised them. The majority were conveying rules to pet tourists through word of mouth, such as that pets must be on a leash in public areas, instead of through written and signed agreements. Tellingly, pet-friendly operators did not perceive New Zealand’s pet tourism market as lucrative. They were allowing pets as an extension of service and lacked motivation to expand or to cater for more pets. The study highlights the potential for growth in the domestic pet tourism market despite the current stalemate, where those who allowed pets were supportive and vice versa. Improving this situation might require unified pet-friendly associations and certain levels of government intervention. In parallel, all operators should break out of silos and socialise more with their pet-friendly peers to gain knowledge and validate assumptions. Pet-friendly operators could improve engagement with pet tourists through standardised policies and formal agreements. With guidance and support from their peers, more accommodations may be capable of handling pets. Pet owners could look forward to a day when travelling with pets becomes much more accessible due to abundant pet-friendly accommodation. Corresponding author Heike Schänzel can be contacted at: heike.schanzel@aut.ac.nz References (1) New Zealand Petfood Manufacturers Association Homepage. https://www.petfoodnz.co.nz/ (accessed Aug 13, 2017). (2) Chen, Y. Accommodating Travellers with Pets: Is Auckland Ready? Master’s Thesis, Auckland University of Technology, July 2018. http://hdl.handle.net/10292/11867 (accessed 19 June 2019). (3) Chen, A. H.; Peng, N.; Hung, K. Developing a Pet Owners' Tourism Constraints Scale – the Constraints to Take Dogs to Tourism Activities. International Journal of Tourism Research 2014, 16 (4), 315–324. https://doi.org/10.1002/jtr.1959 (4) Kirillova, K.; Lee, S.; Lehto, X. Willingness to Travel with Pets: A U.S. Consumer Perspective. Journal of Quality Assurance in Hospitality & Tourism 2015, 16 (1), 24–44. https://doi.org/10.1080/1528008X.2015.966296 (5) Zhang, Y. People's Attitudes towards Dogs in Hotel Settings. Master’s thesis, Purdue University, May 2012. https://search.proquest.com/docview/1242132630 (accessed 19 June 2019). (6) Bring Fido Homepage. https://www.bringfido.com/ (accessed Aug 13, 2017).

The New Zealand hospitality workforce is young; most are between 18 and 24 years old and attracted by the ease with which they can get work in a bar or restaurant. The work suits them; it is dynamic and easy to find, but many have no intention of staying in the industry. Hence, staff shortages and turnover are a constant problem for employers. However, the solution is not as difficult as one might imagine. This study identified why there are so few older workers in the New Zealand hotel industry after interviewing 44 managers and older workers in New Zealand hotels and looking at Human Resources (HR) policies, recruitment methods, and selection criteria. The hotel industry was found to be discriminatory towards older job seekers in both principle and practice, even though some companies’ policies appeared to address age discrimination. Interview data from the HR managers suggested older workers had the characteristics they were looking for, yet they were not specifically recruiting them. Recommendations arising from the study focus around changing attitudes at senior level so older workers are perceived as potential employees. Recruitment processes need to be checked to make sure they do not disadvantage older job seekers, and senior managers need to be objective and consider the skills, abilities, and attitudes of older job seekers. Either of these simple changes could be made through training or well-supported policy and would positively affect the age profile and turnover of the industry’s workforce. Practical suggestions also include using older workers to mentor younger workers to promote communication across an age diverse workforce and allowing older workers to demonstrate and share their knowledge and experience. Combining older and younger workers in work teams may also help remove barriers by allowing older workers to impart some of their values through frequent interactions and working towards a common work goal. In-house training programmes may also help educate staff at all levels about the benefits of diverse workgroups. Data from this and prior studies show that older people are ideal employees where good work attitudes [1] and well-developed soft skills [2] are important. Interestingly, prior research also shows that policy does not prevent discrimination, as it is too easily ignored. Recruitment methods such as ‘Seek’, Twitter, MyJobSpace.co.nz and word-of-mouth recruitment are discriminatory because they favour young people and act as barriers against the employment of older workers. Older recruits have much to offer, but in practice, their potential for employment is being restricted by recruiters’ attitudes, as managers’ views are more influential than policy. The challenge, therefore, is not so much in what needs to change, but how to make changes to reduce or eliminate discrimination in hotels against older job seekers. More information about this study is in the original article [3], which can be obtained from the authors. Corresponding author Jill is an Associate Professor at the Auckland University of Technology, where she studies a wide range of ethical issues in hospitality, such as sexual harassment, discrimination, and ethical food consumption. Prior to this, she worked in hospitality management, which included two roles as a General Manager. She currently teaches leadership to postgraduate students, and supervises student research projects. Jill Poulston can be contacted at: jill.poulston@aut.ac.nz References (1) Ng, T. W. H.; Feldman, D. C. The Relationships of Age with Job Attitudes: A Meta-analysis. Personnel Psychology 2010, 63(3), 677–718. https://doi.org/10.1111/j.1744-6570.2010.01184.x (2) Sissons, P.; Jones, K. Lost in Transition?; The Work Foundation: Lancaster, U.K., 2012. (3) Poulston, J.; Jenkins, A. Barriers to the Employment of Older Hotel Workers in New Zealand. Journal of Human Resources in Hospitality & Tourism 2016, 15(1), 45–68.

The co-creation process within the New Zealand luxury accommodation sector has, until recently, been under researched. However, in 2016, a doctoral thesis was completed [1] with the key question, ‘how is the luxury accommodation experience created?’ Following an interpretivist paradigm, data were collected that included 81 interviews (of 27 guests, 27 employees and 27 managers) within six luxury properties (three luxury hotels and three luxury lodges) which were selected via purposive sampling. Drawing from the findings of the thesis, this article aims to show that co-creation is a valuable tool for hoteliers. Co-creation is about customers creating value for themselves through an interactive relationship with a company. The hospitality industry is a complete veteran at this; for example, the use of à-la-carte menus, whereby a customer has the ability to compose a meal that has value specifically for them. The possible scope of the co-creation process, beyond à-la-carte menus, is now being recognised by the luxury accommodation sector. Co-creation can be described as a joint process that involves a customer and an organisation resulting in an output of value [2]. Co-creation permits and indeed encourages a more active involvement from the customer [1], and is important to organisations as it can ensure that any personal interaction that their customers have adds value to their experience [3]. If co-creation is used to its full potential, it can give an organisation a competitive advantage due to increased customer satisfaction resulting in a positive impact on customer loyalty [4]. Co-creation can also provide continual feedback for improving existing services, presenting a business with constant opportunities to increase their revenue and success [5]. In summary, the main finding of the doctoral research was the consensus among guests, employees and managers that the luxury accommodation experience is materialised through a process of co-creation, involving the many different forms of interaction happening between guests, employees and managers, as well as with external contributors outside of the properties [1]. The practical implications of co-creation cannot be determined without luxury properties first identifying what makes their accommodation a luxury experience. When this has been defined, more interaction between guests, employees and managers should be encouraged to ensure that this particular brand of luxury accommodation experience is created. This could include having staff members dedicated to interacting with guests, and having certain ‘touch points’ throughout the guests’ stay that ensure the type and the amount of engagement that is required happens. External co-creation should also be encouraged; for example, staff visiting the local producers of food and wine, which in turn would enable them to talk more informatively to guests about these products when they are interacting with them during their stay. Another example would be to build relationships with external agents who offer activities to the guests, to enable the continuation of the experience when guests are away from the property. Luxury properties also need to apply co-creation strategies that would enable guests to innovate new products and services. One such strategy is in the form of a digital customer relationship management tool; an example of this being HGRM – Happy Guest Relationship Management, although this technology is still quite innovative. Hotels and lodges need to make sure that they are using Web 2.0 applications such as videos, blogs, fora, wiki, podcasts, chat rooms, YouTube, Twitter and Facebook to encourage communication and social interaction, which is the customer engagement that enables co-creation. For any business that is involved in customer experience, especially hospitality, there is every good reason to go down the route of co-creation, especially when it can give that business a competitive advantage. If you would like to read the PhD thesis this research is based on you can access it here: http://aut.researchgateway.ac.nz/bitstream/handle/10292/9925/HarkisonT.pdf?sequence=3 Corresponding author Tracy is a Senior Lecturer in Hospitality at Auckland University of Technology, New Zealand. Her research passions are hospitality education and the co-creation of luxury accommodation experiences. This has resulted in the completion of her PhD thesis on how the luxury accommodation experience is created. Tracy Harkison can be contacted at: tracy.harkison@aut.ac.nz References (1) Harkison, T. How is the Luxury Accommodation Experience Created? Case Studies from New Zealand; Ph.D. Thesis, Auckland University of Technology, 2016. (2) Prahalad, C. K.; Ramaswamy, V. Co-creation Experiences: The Next Practice in Value Creation. Journal of Interactive Marketing 2004, 18(3), 5–14. https://doi.org/10.1002/dir.20015 (3) Chathoth, P. K.; Ungson, G. R.; Harrington, R. J.; Chan, E. S. Co-creation and Higher Order Customer Engagement in Hospitality and Tourism Services: A Critical Review. International Journal of Contemporary Hospitality Management 2016, 28(2), 222–245. (4) Oyner, O.; Korelina, A. The Influence of Customer Engagement in Value Co-creation on Customer Satisfaction: Searching for New Forms of Co-creation in the Russian Hotel Industry. Worldwide Hospitality and Tourism Themes 2016, 8(3), 327–345. (5) Thomas, A. K.; James, P. S.; Vivek, N. Co-creating Luxury Hotel Services: A Framework Development. Life Sciences Journal 2013, 10(7s), 1005–1012. http://www.lifesciencesite.com 162

The chef profession is considered a challenging career, with female chefs seeming to be most affected. As such, it is rare to find female chefs occupying the coveted executive chef positions. The aim of this research was to establish if female chefs in Kenya encounter similar challenges to those experienced by female chefs elsewhere. Previous research shows that female chefs encounter career challenges in hospitality organisations and hence they struggle to make it as chefs; for example, studies by Druckman [1] and Harris and Giuffre [2,3] in the United States, Murray-Gibbons and Gibbons [4] in the United Kingdom, as well as Zengeni et al. [5] in Zimbabwe. This article poses the important question: how can these challenges be overcome? The study sought to make sense of the lived work experiences of Kenyan female chefs. Baum [6] recommends contextualised research methodologies to explore hospitality issues in non-Western countries. Moreover, Adelowo [7] asserts that lived experiences are better expressed through stories. Therefore, a qualitative approach was employed in this study where 15 chefs working in the Kenyan hospitality industry were interviewed [8]. Ten female chefs told stories of their workplace experiences while five male executive chefs recounted their experiences of working with female chefs. Despite the different geographical, socio-cultural and economic factors between Kenya and other countries previously studied, female chefs expressed common challenges such as sexual harassment, gender discrimination, unsupportive attitudes towards pregnancy and an unhealthy work environment, as well as hierarchical kitchen structures that they believed discriminated against them. There was an indication of engrained patriarchal attitudes that limit the professional success of potential female chefs. Unfortunately, hospitality employers appeared to support the status quo; that is, a gendering of the chef’s profession that privileges men and penalises women. These findings suggest a trend that must worry hospitality employers. The highly competitive career structures and the male domination that discourages women from making a long-term career in the kitchen [2], coupled with stiff competition for scarce hospitality human resources, support the need to retain female chefs. Christensen and Rog [9] stress that employee retention strategies will only work if human resource managers are fully committed to creating a positive workplace culture that treats all employees equally, regardless of their gender or any other dimension of diversity. In his study, Orido [8] suggests that the following measures may help to attract and retain female chefs. Firstly, employers should introduce personalised career development plans. For instance, a female chef who has attained postgraduate qualifications ought to be promoted and remunerated accordingly. This will not only retain female chefs but also enable them to further their career aspirations within the hospitality industry. Secondly, female chefs should be given the opportunity to fully participate at all levels of the kitchen hierarchy, thereby acquiring the necessary skills for promotion in the future to executive chef’s positions. Additionally, it will encourage a clear career progression path within the kitchen hierarchy. Hospitality employers must ensure that employment opportunities as well as employment terms and career progression are not dependant on a chef’s gender, but on their qualifications and competencies. By investing in female chefs and, most importantly, keeping them safe from bullying at work, the hospitality industry will not only attract, but retain, these talented professionals in satisfying culinary careers. If you would like to read the PhD thesis this research is based on you can access it here: http://hdl.handle.net/10292/10626 Corresponding author Charles is a chef and lecturer at Kenya Utalii College, Nairobi, Kenya. His research interests include inhospitable hospitality, culinary arts, human behaviour in the hospitality industry, and indigenous research. He holds a Certificate in Food Production (currently Culinary Arts) from Kenya Utalii College, a BA degree in Hospitality Management from the University of Nairobi, Kenya, and a Master of International Hospitality Management (MIHM) from Auckland University of Technology, New Zealand. Charles Orido can be contacted at: chaloridoh@gmail.com or corido@utalii.ac.ke References (1) Druckman, C. Why Are There No Great Women Chefs? Gastronomica 2010, 10, 24–31. https://doi.org/10.1525/gfc.2010.10.1.24 (2) Harris, D. A.; Giuffre, P. “The Price You Pay”: How Female Professional Chefs Negotiate Work and Family. Gender Issues 2010, 27, 27–52. (3) Harris, D. A.; Giuffre, P. Taking the Heat: Women Chefs and Gender Inequality in the Professional Kitchen; Rutgers University Press: New Brunswick, NJ, 2015. https://books.google.co.nz/books?id=qTaACgAAQBAJ (4) Murray-Gibbons, R.; Gibbons, C. Occupational Stress in the Chef Profession. International Journal of Contemporary Hospitality Management 2007, 19, 32–42. https://doi.org/10.1108/09596110710724143 (5) Zengeni, D. M. F.; Tendani, E.; Zengeni, N. The Absence of Females in Executive Chef Position in Zimbabwean Hotels: Case of Rainbow Tourism Group (RTG). Australian Journal of Business and Management Research 2013, 3, 1–18. (6) Baum, T. Human Resources in Tourism: Still Waiting for Change? – A 2015 Reprise. Tourism Management 2015, 50, 204–212. (7) Adelowo, A. The Adjustment of African Women Living in New Zealand: A Narrative Study; Ph.D. Thesis, Auckland University of Technology, 2012. http://aut.researchgateway.ac.nz/handle/10292/4601 (8) Orido, C. O. Challenges Faced by Female Chefs in the Kenyan Hospitality Industry: A Study through an African Oral Tradition of Storytelling; Ph.D. Thesis, Auckland University of Technology, 2017. http://hdl.handle.net/10292/10626 (9) Christensen, J.; Rog, E. Talent Management: A Strategy for Improving Employee Recruitment, Retention and Engagement within Hospitality Organizations. International Journal of Contemporary Hospitality Management 2008, 20, 743–757.

With the development of technology, self-service kiosks (kiosks) are increasingly being adopted by service providers such as hotels, restaurants, airports and banks [1, 2]. However, with the increasing search for more efficiency, calculability and control by replacing people with non-human technology, service quality and a sense of hospitality can be adversely impacted [3]. Nevertheless, many seem willing to use kiosks in fast-food restaurants [4], suggesting that these provide considerable value for some segments of the hospitality industry. Consequently, this study [5] explores young people’s customer experiences of and views on using kiosks in McDonald’s restaurants. The study was carried out in Auckland, New Zealand, where interviews were conducted with 16 young people (18 to 24 years old; Gen Z)1 originating from seven countries (2 Indian, 3 Chinese, 2 Korean, 2 Vietnamese, 1 Filipino, 1 Moroccan and 5 New Zealanders). The findings suggest that kiosks provide improved customer satisfaction but can also result in reduced perceptions of hospitableness. The respondents felt that kiosks improved efficiency by eliminating the need to queue to place an order and provided more relaxed time for making their menu selections. Therefore, although using a kiosk did not necessarily speed up the service process, it allowed time for contemplation of choices and less time waiting to be served. The kiosks also provided clear food categories with pictures, simple English language instructions, and generally simple ordering and payment processes. Compared with the amount of information provided at the service counter, the kiosks provided more detailed and clearer information about menus, ingredients, discounts and promotions. Furthermore, when using kiosks, respondents felt a sense of empowerment and control over their ordering process. Kiosks provided the ability to customise meals, discuss menu choices and change orders without feeling as if they were annoying an employee or holding up other customers. This sense of empowerment and control provided relief from the pressure to place quick orders at the service counter or delay other customers. Many respondents were afraid of annoying employees or becoming an annoying customer in public. They cared about the perception of counter staff, while at the same time, they also cared about their personal image in public. The fast-paced restaurant environment and the need to be decisive with their menu selection added to the pressure and stress when purchasing takeaways. Additionally, those who spoke English as a second language faced increased stress while trying to select the right words and communicate with employees in front of others. These pressures increased their fear of public humiliation. Many respondents indicated there was no pressure when using kiosks as the kiosks offered more time and a judgment-free environment for customers. The number of kiosks available and the freedom from employee and other customer expectations had a significant impact on them by releasing them from any pressure to make a quick decision. Reduced pressure also brought enough time for discussion of food choices among friends. Using the self-order kiosk provided respondents with a judgment-free environment away from other customers and busy employees. The time-space provided by kiosks also provided respondents with a sense of safety and privacy in situations where, for example, they were upset or not confident speaking in English. Their emotions (e.g. happy, sad), skills (e.g. level of English language), appearance (e.g. lack of makeup) and eating habits (e.g. food allergy) were kept confidential in comparison to ordering in public at the counter. However, the findings also suggested that the appeal of kiosks is somewhat determined by the lack of useful and caring alternatives. This may suggest that the issue is not whether kiosks are able to do a better job than humans, but rather whether humans (service employees) are sufficiently resourced (e.g. capability and capacity) to provide both efficient and caring interactions. The original research on which this article is based is available here http://hdl.handle.net/10292/11993 Note The Merriam-Webster dictionary defines ‘Generation Z’ as the generation of people born in the late 1990s and early 2000s. Corresponding author Qi Yang can be contacted at: kikiyangaut@gmail.com References (1) Considine, E.; Cormican, K. Self-Service Technology Adoption: An Analysis of Customer to Technology Interactions. Procedia Computer Science 2016, 100 (Suppl. C), 103–109. https://doi.org/10.1016/j.procs.2016.09.129 (2) Wei, W.; Torres, E.; Hua, N. Improving Consumer Commitment through the Integration of Self-Service Technologies: A Transcendent Consumer Experience Perspective. International Journal of Hospitality Management 2016, 59 (Suppl. C), 105–115. https://doi.org/10.1016/j.ijhm.2016.09.004 (3) Ritzer, G. The McDonaldization of Society, 6th ed.; Sage/Pine Forge: Los Angeles, CA, 2011. (4) Herne, S.; Adams, J.; Atkinson, D.; Dash, P.; Jessel, J. Technology, Learning Communities and Young People: The Future Something Project. International Journal of Art & Design Education 2013, 32 (1), 68–82. https://doi.org/10.1111/j.1476-8070.2013.01738.x (5) Yang, Q. Young People’s Perspectives on Self-service Technology and Hospitality: A Mcdonald’s Case Study; Master’s Thesis, Auckland University of Technology, New Zealand, 2018. http://hdl.handle.net/10292/11993 (accessed Nov 25, 2019).

At the end of August 2014, scientists and policymakers from forty-eight countries gathered at the Heritage Hotel in Auckland, New Zealand to debate the science and art of scientific advice. Jointly hosted by Sir Peter Gluckman, chief scientific advisor to the PrimeMinister of NewZealand, and the International Council for Science (ICSU), the Auckland summit was the largest ever meeting of its kind, attracting science advisors, advisory bodies and academic experts fromAlbania to Zimbabwe, and a host of countries in between.Over two days of intense discussion, participants debated structures and methods for the provision of scientific advice in emergency situations, across national and disciplinary boundaries, and on contested topics,where science, values and politics collide. The meeting ended with a call to strengthen collaboration between advisory systems, an agreement to formalize the network, and a commitment tomeet again in 2016. As Sir Peter Gluckman said afterwards: “Our goal was to start a global conversation on the practices and challenges of conveying science advice to governments…The meeting has highlighted a real thirst among practitioners to share models and lessons.”

To our valued hospitality community, welcome to this thought-provoking second issue of 2020. It has been a challenging, tumultuous and difficult year, especially for hospitality artisans, business owners and employees. At times, it seemed that offering hospitality to tourists, local guests and even close family members became instantaneously inaccessible, rather than being a fundamental right. Yet, with creativity and resilience, throughout 2020, hospitality professionals surmounted the challenges and adapted to new times with new ways. This issue takes a hopeful view of a post-pandemic future beginning with an inspiring opinion piece, 2021 dreams of a hospitable society, from Paul Lynch (AUT Adjunct Professor) writing from Scotland. It is followed by an original philosophical reflection that views COVID-19 as an “intruder”. Other topics include the importance of communicating effectively online about accessibility in hotel restaurants, how to extend hospitality to customers with epilepsy, an industry interview with a hotel General Manager in Auckland on what makes New Zealand hospitality unique and finally, the far reaching effects of the Covid-19 crisis on women working in the hospitality industry. The journal provides free, open access to the key implications of hospitality research for a wider readership along with opinion pieces of topical interest. We thus welcome your contributions to future editions of Hospitality Insights on the impact of COVID-19, as well as other issues currently testing the sustainable future of the hospitality industry and communities. He waka eke noa. We are all in this together.

Independent restaurants face multiple challenges to their survival, including low entry barriers that create intense competition, industry norms of low pay, long working hours and a hard-working environment that can render it hard to recruit suitable employees, and a lack of support from the industry to the restaurateurs. Evidence shows that independent restaurants suffer from higher failure rates when compared to franchise restaurants [1, 2]. This has been attributed to a lack of resources, especially when compared to the chained or franchised restaurants that have financial, technical and marketing support [3]. These challenges increase the failure rate for independent restaurants. The aim of this research was to consider the notion of ‘success’ among Auckland’s restaurateurs, and to gauge how the restaurant industry perceive their own definition of success and the main factors influencing restaurant ‘success’ [4]. Previous studies have predominantly measured the success of restaurant businesses by their profitable financial rewards [5, 6]. However, this measure ignores other important aspects of restaurant operation such as the longevity of operation, customers’ satisfaction levels, relationships with employees and society, and restaurateurs’ own personal achievements. The research adopted a qualitative approach involving in-depth interviews with eleven independent restaurateurs to explore the underlying factors they perceived as affecting restaurant success. A qualitative research approach helps the researcher understand people and the social and cultural contexts in which they live and work [7]. The independent restaurateurs were selected through purposeful sampling to select information-rich cases [8]. The participants were owner-operators of independent restaurants in Auckland city, and the restaurants they owned were either casual/formal-dining or styles in between. The study findings suggested different measures of success among restaurateurs, which have implications for how the industry comes to understand and gauge business success or failure. Notably, instead of the commonly reported financial criteria, restaurateurs in this study related success to their personal achievements and satisfaction; for instance, reaching their own personal goal(s) of opening and operating a restaurant, receiving culinary related awards, and gaining media attention. The study revealed three main factors as the important influencing factors of a restaurant’s success: the operational environment; stakeholders; and management factors. Firstly, the operational environment of restaurants included intense competition, a constantly changing environment and changing consumer trends. In particular, the intense competition was considered to have a significant impact on the success of restaurants. Secondly, the positive association between stakeholders and a restaurant’s performance was also acknowledged. Four key stakeholders – restaurateurs, customers, suppliers and employees – were identified as influential in restaurant success. A good relationship with stakeholders was seen as beneficial to a restaurant’s operation. A successful restaurant was perceived to have loyal customers, trustworthy suppliers, and employees with good skills and knowledge. Out of these stakeholders, the restaurateurs were considered the foundation of the success of restaurants, as they control the management factors. Because of this key role, restaurateurs are required to have an in-depth understanding of the restaurant industry and the ability to manage and operate the restaurant. At the same time, restaurateurs need to find a balance between their work and personal lives. Thirdly, management factors were also felt to have an impact on independent restaurant success. This typically included decisions about the restaurant’s location, purchasing and ordering, hiring and training staff, price and quality of products, and marketing and financial control. The study provided a number of recommendations for how to successfully manage a restaurant. Firstly, thorough pre-entry research and a careful decision-making process will provide a good foundation for the business. Secondly, during the operation, tight financial control and effective marketing should be applied. Finally, a management system is needed in order to stay viable in the long term. A management system consisting of a standard operation manual and an extensive training programme can allow efficient restaurant operation without the restaurateur’s continued presence. In conclusion, this study found that restaurateurs in Auckland related the ‘success’ of their restaurants to factors other than just financial performance including personal success such as personal progression and the satisfaction gained during the operation. The operating environment, stakeholders and management factors were found to be important influences affecting restaurant success. The research recommends that a well-designed management system is vital for the long-term success of an independent restaurant business. The full research project can be accessed here: http://aut.researchgateway.ac.nz/handle/10292/8431 Corresponding author Beverly (Shih-Yun) Chen can be contacted at beverlyc@ais.ac.nz References (1) Camillo, A. A.; Connolly, D. J.; Kim, W. G. Success and Failure in Northern California: Critical Success Factors for Independent Restaurants. Cornell Hospitality Quarterly 2008, 49(4), 364–380. https://doi.org/10.1177/1938965508317712 (2) Parsa, H. G.; Self, J. T.; Njite, D.; King, T. Why Restaurants Fail. Cornell Hotel and Restaurant Administration Quarterly 2005, 46(3), 304–322. (3) Parsa, H. G.; Self, J.; Sydnor-Busso, S.; Yoon, H. J. Why Restaurants Fail? Part II – The Impact of Affiliation, Location, and Size on Restaurant Failures: Results from a Survival Analysis. Journal of Foodservice Business Research 2011, 14(4), 360–379. https://doi.org/10.1080/15378020.2011.625824 (4) Chen, Shih-Y. Lessons Learned: A Qualitative Case Study of Restaurant Success in Auckland, New Zealand; Master’s Thesis, Auckland University of Technology, New Zealand, 2014. (5) Gu, Z. Analyzing Bankruptcy in the Restaurant Industry: A Multiple Discriminant Model. International Journal of Hospitality Management 2002, 21(1), 25–42. https://doi.org/10.1016/S0278-4319(01)00013-5 (6) Kim, H.; Gu, Z. Predicting Restaurant Bankruptcy: A Logit Model in Comparison with a Discriminant Model. Journal of Hospitality & Tourism Research 2006, 30(4), 474–493. https://doi.org/10.1177/1096348006290114 (7) Merriam, S. B. Qualitative Research: A Guide to Design and Implementation. San Francisco, CA: Jossey-Bass, 2009. (8) Goldman, K. L. Concept Selection for Independent Restaurants. Cornell Hotel and Restaurant Administration Quarterly 1993, 34(6), 59–72.

The following is a reflection from two Auckland University of Technology (AUT) academics seconded as visiting professors to teach events and human resource management at a Vietnamese university. As this may be an ongoing project for AUT, they have provided these insights to guide other academics venturing to teach in Vietnam. It was a humbling experience and we recommend all academics make teaching overseas and entering into global classrooms part of their journey. Although others with experience of overseas teaching have recommended co-teaching with a translator/interpreter [1], interpreters are not always available when required. And when surprised by their absence, what do you do? Ten lessons were drawn from our experiences for you to include in your overseas teaching survival kit: Lesson #1. Expect the unexpected. Lesson #2. Brace yourself for culture shock – the first day you will feel like a fish out of water, which really makes you reset yourself to becoming a better teacher. Imagine you are without an interpreter and the students can only understand half of your slides. Lesson #3. Adapt your materials and revise your notes to include local examples. This will involve thinking on your feet; your assessment format may undergo many changes. Try to blend in your students’ local and pop-cultural interests. Lesson #4. Find your allies; the class monitor and the interpreter rule! Identify the ‘leaders of the pack’ – those who can help lead and manage the class. Lesson #5. Use language carefully. Remember that English words can have more than one meaning and that you will spend most of your time rephrasing sentences. Lesson #6. Co-teaching with an interpreter means half the time is spent translating your lessons. Be realistic about your learning outcomes. Lesson #7. There are no international standards in Vietnam, only regional standards. For example, the international hotel accreditation is not the same as Vietnam’s hotel quality standards. Lesson #8. Be prepared with multiple, fun teaching tools to engage your students in group activities. Team building is always welcome. Lesson #9. Bring small souvenirs from New Zealand as little treats and rewards to encourage participation from students. Lesson #10. Always travel in pairs and be prepared to ‘rough it’. Vietnam has transformed us into instructors with a global perspective. We went to impart knowledge, but we have had returned to us many times what we gave. We stepped outside of our comfort zones and this has certainly stretched our personal and professional limits in ways conventional teaching could never achieve. Like Stachowski and Sparks [2], we now know what it is to be cultural outsiders looking in, and how to find ways to gain acceptance as ‘foreign teachers’. Now that we are back on campus comfortably teaching in English, we should still consider the students we have in our classrooms. In a university that promotes the presence of a global community, we need to be mindful that some international students in our classrooms may need help to orientate them to what, for them, is an alien learning and teaching platform in a foreign language. This teaching reflection was supposed to be written upon our return from Vietnam in November 2019. However, at the time of writing, COVID-19 has brought about unprecedented changes that are transforming the way universities are teaching – bringing their lessons online to students from all over the world. Although this article is not focused on COVID-19, the unusual times have triggered questions for academics and industry trainers planning on teaching overseas in the future, to consider beyond the above lessons, particularly about the accessibility of technology. Considerations include the availability of hardware and software to students in other countries. We did not have access to WIFI in the classrooms in Vietnam; students were dependent on their phones for the additional information they needed for our group activities. Corresponding author Tracy Harkison can be contacted at: tracy.harkison@aut.ac.nz References (1) Herman, W. E.; Bailey, M. P. Recommendations for Teaching Overseas. College Teaching 1991, 39 (3), 117–121. https://doi.org/10.1080/87567555.1991.10532443 (2) Stachowski, L. L.; Sparks, T. Thirty Years and 2,000 Student Teachers Later: An Overseas Student Teaching Project that is Popular, Successful, and Replicable. Teacher Education Quarterly 2007, 34 (1), 115–132. https://files.eric.ed.gov/fulltext/EJ795147.pdf (accessed May 4, 2020).

Immigration New Zealand (INZ) recently announced changes to the skilled migrant residence and essential-skills work visas based on a strong association between skills and salary. This shift will impact both employers and migrants, especially in hospitality. According to the INZ, the hospitality sector was the fourth-largest recipient of skilled migrant residence visas in their last reporting year [1,2]. INZ expects migrants employed as chefs, café/restaurant managers and retail managers to be the hardest hit by these changes [1,2]. Residence under the skilled migrant policy can be gained for jobs in skill levels 1–3 as defined in the Australian and New Zealand Standard Classification of Occupations (ANZSCO). Traditionally, hotel managers, chefs, and café/restaurant managers have been classed as level 2, and bakers at level 3 in accordance with ANZSCO. However, skills levels are now also assessed based on salary (at least $23.49 p/h) and specialist skills obtained through qualifications and/or work experience. Migrants paid a justifiable $35.24 p/h for a position previously considered unskilled (levels 4–5), or those with positions unclassified by ANZSCO, could gain residence under the new policy shift. While this could mean a residence visa for people whose jobs do not neatly fit within ANZSCO, INZ are not easily deceived. Indeed, the Labour Inspectorate reports that 20 percent of the published list of employers currently barred from recruiting migrants (due to breaches of employment and immigration laws) are in the hospitality sector. Accordingly, there is little to be gained by migrants claiming to be paid $80,000 for a housekeeping position. Approximately 21 percent of essential-skills work visas issued by Immigration New Zealand in the last reporting year were for migrants in the hospitality sector [1,2]. Essential-skills work visas cover five skills levels (as indicated by ANZSCO) but now have accompanying salary thresholds. The main change affects migrants earning below $19.97 p/h because they will now be unable to sponsor their partner’s work visa or child’s domestic student visa. While their partner and child would still be able to apply for visas, the partner would have to meet the visa requirements in their own right to obtain a work visa, and their child could only obtain an international student visa – the costs associated with which would likely consume the ‘low’ salary of the migrant worker. Additionally, this ‘low-skilled’ migrant will only be able to obtain one ‘low-skilled’ essential-skills work visa of three-year duration before experiencing a 12-month stand-down period, during which they would be barred from applying for another low-skilled essential-skills work visa. This does not, however, prevent the migrant from applying for an essential-skills visa at a higher skill level or for a visa in another category entirely. Those in positions assessed as skill levels 4–5 under ANZSCO and paid below $19.97p/h will only be issued a 12-month work visa, and will be unable to sponsor a partner for a work visa or a child for domestic student status. There are some elements of the policy change that are not retrospective. It is, therefore, vital to seek specific advice in each case. Many employers will now be faced with the prospect of increasing salaries to attract migrants or expending more time and resources to recruit and train New Zealanders. However, it is recalled that many employers, particularly in the regions, have experienced recruitment difficulties for decades. It is, therefore, unclear whether these changes will produce the desired increase in job opportunities and salaries for New Zealanders or whether they will only add to the recruitment woes of employers. Corresponding author Stewart is a Senior Solicitor with Ryken and Associates (www.rykenlaw.co.nz). He assists in all aspects of immigration and refugee law, including advising on visas, deportation and humanitarian claims. He has experience in representing clients at the Immigration and Protection Tribunal, Family Court, District Court and High Court. Stewart is an active member of the Auckland District Law Society’s Immigration and Refugee Law Committee, where he engages with Immigration New Zealand, the Immigration Protection Tribunal, and other outside organisations, to help shape and inform discussion on immigration and refugee-related policy matters. His work has been published in the New Zealand Law Society’s official magazine (LawTalk) and the New Zealand Law Journal. Stewart Dalley can be contacted at: stewart@rykenlaw.co.nz References (1) New Zealand Immigration. www.immigration.govt.nz/about-us/research-and-statistics/statistics (2) Ministry of Business, Innovation and Employment. Aide Memoire Information for Ministers: Composition of the Skilled Migrant Category – updated slide pack, May 26, 2016.

International visitor surveys (IVS) are traditionally designed to provide destinations with marketing data and intelligence. The New Zealand Tourism Research Institute has been developing new approaches to IVS implementation and data collection in the Pacific Islands that can provide a much richer source of information [1]. The research outlined here is the first to utilise an IVS to explore the positioning of cuisine in the culinary identity of a destination – specifically, the cuisine of the Cook Islands. The Cook Islands is known primarily for its sun, sea and sand features, rather than its culinary attributes. Drawing on data mining of the Cook Islands IVS (2012–2016) and a web audit of destination websites and menus, this paper considers the positioning of food and food-related activities within the Pacific nation’s tourism experience. National tourism organisations are increasingly seeking competitive advantage by utilising their local cuisines as tourist attractions. Research suggests that distinctive local cuisines can act as both a tourism attraction, and as a means of shaping the identity of a destination [2, 3]. In addition to providing an important source of marketable images, local cuisine can also provide a unique experience for tourists. This reinforces the competitiveness and sustainability of the destination [2]. The cuisine of the Cook Islands has come up repeatedly in recommendations for how the country can grow its tourism revenue. Recommendations have been made to improve the food product on offer, develop a distinctive Cook Islands cuisine based on fresh, local produce, and to promote a Cook Islands cuisine experience [4, 5], and to use these to market the Cook Islands as a destination for local food tourism experiences [4]. Despite these recommendations, Cook Island cuisine features less prominently than stereotypical sun, sea, and sand marketing images, and little is known about tourists’ perceptions of and satisfaction with food and food-related activities [6]. Our research addresses this gap by mining IVS data to gain a deeper understanding of tourists’ experiences and perceptions of food in the Cook Islands and assessing whether local food can be positioned as means of creating a unique destination identity. Two methods were used to develop a picture of where food sits in the Cook Islands tourist experience: one focussed on tourist feedback; and the other focused on how food is portrayed in relevant online media. Analysis of all food-related data collected as part of the national IVS between 1 April 2012 and 30 June 2016 was conducted (N = 10,950). A web audit also focused on how food is positioned as part of the Cook Islands tourism product. After identifying the quantitative food-related questions in the IVS, satisfaction with these activities was analysed. Qualitative comments related to food experiences were also examined. The results suggest that participation in food-related activities is generally a positive feature of the visitor experience. The web-audit revealed, however, that food is not a salient feature in the majority of Cook Islands-related websites, and when food did feature, it tended to be oriented towards international cuisine with a ‘touch of the Pacific’ rather than specifically Cook Islands cuisine. This reinforced findings from the IVS data mining that Cook Islands food is presented as a generic tropical ‘seafood and fruit’ cuisine that, largely, lacks the defining and differentiating features of authentic Cook Island cuisine. High participation rates in food-related activities and overall positive evaluations by visitors emerged from the IVS data, yet a dearth of images and information on the country’s food suggests that the Cook Islands is not exploiting its cuisine and food experiences to their full potential. As a direct result of this secondary analysis of IVS data, which highlighted the importance of and potential for food-related activities, the Cook Islands Government is now actively addressing this gap by developing a range of food-related resources and information that can better link tourism to local cuisine. In addition to developing a greater presence of local food in online resources, the Cook Islands Tourism Corporation has also taken on board the messages from the IVS to drive the development of Takurua [7] – an initiative to develop and document local, traditional cuisine and share it with the world. This approach is part of a broader ongoing effort to differentiate the Cook Islands from other South Pacific destinations through its unique cultural attributes. Data mining and secondary analysis of IVS data has not been restricted to the identification of food-related opportunities. Secondary analysis of IVS data in the Pacific has also been used to investigate the impact of other niche markets such as events [8] and to gauge the impact of environmental incidents, for example Cyclone Pam in Vanuatu [9] and algal bloom in the Cook Islands [10], thus reinforcing that IVS data are a rich source of information and are indeed more than just numbers. Corresponding author Tracy Berno can be contacted at tracy.berno@aut.ac.nz References (1) New Zealand Tourism Research Institute (NZTRI). Cook Islands Resources and Outputs; NZTRI: Auckland. http://www.nztri.org.nz/cook-islands-resources (accessed Jun 10, 2019). (2) Lin, Y.; Pearson, T.; Cai, L. Food as a Form of Destination Identity: A Tourism Destination Brand Perspective. Tourism and Hospitality Research 2011, 11, 30–48. https://doi.org/10.1057/thr.2010.22 (3) Okumus, F.; Kock, G.; Scantlebury, M. M.; Okumus, B. Using Local Cuisines when Promoting Small Caribbean Island Destinations. Journal of Travel & Tourism Marketing 2013, 30 (4), 410–429. (4) Food and Agricultural Organization (FAO). Linking Farmers to Markets: Realizing Opportunities for Locally Produced Food on Domestic and Tourist Markets in Cook Islands. FAO Sub-regional Office of the Pacific Islands: Apia, Samoa, 2014. (5) United Nations. “Navigating Stormy Seas through Changing winds”: Developing an Economy whilst Preserving a National Identity and the Modern Challenges of a Small Island Developing State. The Cook Islands National Report for the 2014 Small Islands Developing States (SIDS) Conference and post 2015 Sustainable Development Goals (SDGs). https://sustainabledevelopment.un.org/content/documents/1074217Cook%20Is%20_%20Final%20NATIONAL%20SIDS%20Report.pdf (accessed Jun 10, 2019). (6) Boyera, S. Tourism-led Agribusiness in the South Pacific Countries; Technical Centre for Agriculture and Rural Cooperation (CTA): Brussels, 2016. (7) Cook Islands Tourism Corporation (CITC). Takurua: Food and Feasts of the Cook Islands; CITC: Avarua, Cook Islands, 2018. (8) Thorburn, E.; Milne, S.; Histen, S.; Sun, M.; Jonkers, I. Do Events Attract Higher Yield, Culturally Immersive Visitors to the Cook Islands? In CAUTHE 2016: The Changing Landscape of Tourism and Hospitality: The Impact of Emerging Markets and Emerging Destinations; Scerri, M., Ker Hui, L., Eds.; Blue Mountains International Hotel Management School: Sydney, 2016; pp 1065–1073. (9) Sun, M.; Milne, S. The Impact of Cyclones on Tourist Demand: Pam and Vanuatu. In CAUTHE 2017: Time for Big Ideas? Re-thinking the Field for Tomorrow; Lee, C., Filep, S., Albrecht, J. N., Coetzee, W. JL, Eds.; Department of Tourism, University of Otago: Dunedin, 2017; pp 731–734. (10) Thorburn, E.; Krause, C.; Milne, S. The Impacts of Algal Blooms on Visitor Experience: Muri Lagoon, Cook Islands. In CAUTHE 2017: Time for Big Ideas? Re-thinking the Field For Tomorrow; Lee, C., Filep, S., Albrecht, J. N., Coetzee, W. JL, Eds., Department of Tourism, University of Otago: Dunedin, 2017; pp 582–587.

Introduction Crime fiction is one of the world’s most popular genres. Indeed, it has been estimated that as many as one in every three new novels, published in English, is classified within the crime fiction category (Knight xi). These new entrants to the market are forced to jostle for space on bookstore and library shelves with reprints of classic crime novels; such works placed in, often fierce, competition against their contemporaries as well as many of their predecessors. Raymond Chandler, in his well-known essay The Simple Art of Murder, noted Ernest Hemingway’s observation that “the good writer competes only with the dead. The good detective story writer […] competes not only with all the unburied dead but with all the hosts of the living as well” (3). In fact, there are so many examples of crime fiction works that, as early as the 1920s, one of the original ‘Queens of Crime’, Dorothy L. Sayers, complained: It is impossible to keep track of all the detective-stories produced to-day [sic]. Book upon book, magazine upon magazine pour out from the Press, crammed with murders, thefts, arsons, frauds, conspiracies, problems, puzzles, mysteries, thrills, maniacs, crooks, poisoners, forgers, garrotters, police, spies, secret-service men, detectives, until it seems that half the world must be engaged in setting riddles for the other half to solve (95). Twenty years after Sayers wrote on the matter of the vast quantities of crime fiction available, W.H. Auden wrote one of the more famous essays on the genre: The Guilty Vicarage: Notes on the Detective Story, by an Addict. Auden is, perhaps, better known as a poet but his connection to the crime fiction genre is undisputed. As well as his poetic works that reference crime fiction and commentaries on crime fiction, one of Auden’s fellow poets, Cecil Day-Lewis, wrote a series of crime fiction novels under the pseudonym Nicholas Blake: the central protagonist of these novels, Nigel Strangeways, was modelled upon Auden (Scaggs 27). Interestingly, some writers whose names are now synonymous with the genre, such as Edgar Allan Poe and Raymond Chandler, established the link between poetry and crime fiction many years before the publication of The Guilty Vicarage. Edmund Wilson suggested that “reading detective stories is simply a kind of vice that, for silliness and minor harmfulness, ranks somewhere between crossword puzzles and smoking” (395). In the first line of The Guilty Vicarage, Auden supports Wilson’s claim and confesses that: “For me, as for many others, the reading of detective stories is an addiction like tobacco or alcohol” (406). This indicates that the genre is at best a trivial pursuit, at worst a pursuit that is bad for your health and is, increasingly, socially unacceptable, while Auden’s ideas around taste—high and low—are made clear when he declares that “detective stories have nothing to do with works of art” (406). The debates that surround genre and taste are many and varied. The mid-1920s was a point in time which had witnessed crime fiction writers produce some of the finest examples of fiction to ever be published and when readers and publishers were watching, with anticipation, as a new generation of crime fiction writers were readying themselves to enter what would become known as the genre’s Golden Age. At this time, R. Austin Freeman wrote that: By the critic and the professedly literary person the detective story is apt to be dismissed contemptuously as outside the pale of literature, to be conceived of as a type of work produced by half-educated and wholly incompetent writers for consumption by office boys, factory girls, and other persons devoid of culture and literary taste (7). This article responds to Auden’s essay and explores how crime fiction appeals to many different tastes: tastes that are acquired, change over time, are embraced, or kept as guilty secrets. In addition, this article will challenge Auden’s very narrow definition of crime fiction and suggest how Auden’s religious imagery, deployed to explain why many people choose to read crime fiction, can be incorporated into a broader popular discourse on punishment. This latter argument demonstrates that a taste for crime fiction and a taste for justice are inextricably intertwined. Crime Fiction: A Type For Every Taste Cathy Cole has observed that “crime novels are housed in their own section in many bookshops, separated from literary novels much as you’d keep a child with measles away from the rest of the class” (116). Times have changed. So too, have our tastes. Crime fiction, once sequestered in corners, now demands vast tracts of prime real estate in bookstores allowing readers to “make their way to the appropriate shelves, and begin to browse […] sorting through a wide variety of very different types of novels” (Malmgren 115). This is a result of the sheer size of the genre, noted above, as well as the genre’s expanding scope. Indeed, those who worked to re-invent crime fiction in the 1800s could not have envisaged the “taxonomic exuberance” (Derrida 206) of the writers who have defined crime fiction sub-genres, as well as how readers would respond by not only wanting to read crime fiction but also wanting to read many different types of crime fiction tailored to their particular tastes. To understand the demand for this diversity, it is important to reflect upon some of the appeal factors of crime fiction for readers. Many rules have been promulgated for the writers of crime fiction to follow. Ronald Knox produced a set of 10 rules in 1928. These included Rule 3 “Not more than one secret room or passage is allowable”, and Rule 10 “Twin brothers, and doubles generally, must not appear unless we have been duly prepared for them” (194–6). In the same year, S.S. Van Dine produced another list of 20 rules, which included Rule 3 “There must be no love interest: The business in hand is to bring a criminal to the bar of justice, not to bring a lovelorn couple to the hymeneal altar”, and Rule 7 “There simply must be a corpse in a detective novel, and the deader the corpse the better” (189–93). Some of these directives have been deliberately ignored or have become out-of-date over time while others continue to be followed in contemporary crime writing practice. In sharp contrast, there are no rules for reading this genre. Individuals are, generally, free to choose what, where, when, why, and how they read crime fiction. There are, however, different appeal factors for readers. The most common of these appeal factors, often described as doorways, are story, setting, character, and language. As the following passage explains: The story doorway beckons those who enjoy reading to find out what happens next. The setting doorway opens widest for readers who enjoy being immersed in an evocation of place or time. The doorway of character is for readers who enjoy looking at the world through others’ eyes. Readers who most appreciate skilful writing enter through the doorway of language (Wyatt online). These doorways draw readers to the crime fiction genre. There are stories that allow us to easily predict what will come next or make us hold our breath until the very last page, the books that we will cheerfully lend to a family member or a friend and those that we keep close to hand to re-read again and again. There are settings as diverse as country manors, exotic locations, and familiar city streets, places we have been and others that we might want to explore. There are characters such as the accidental sleuth, the hardboiled detective, and the refined police officer, amongst many others, the men and women—complete with idiosyncrasies and flaws—who we have grown to admire and trust. There is also the language that all writers, regardless of genre, depend upon to tell their tales. In crime fiction, even the most basic task of describing where the murder victim was found can range from words that convey the genteel—“The room of the tragedy” (Christie 62)—to the absurd: “There it was, jammed between a pallet load of best export boneless beef and half a tonne of spring lamb” (Maloney 1). These appeal factors indicate why readers might choose crime fiction over another genre, or choose one type of crime fiction over another. Yet such factors fail to explain what crime fiction is or adequately answer why the genre is devoured in such vast quantities. Firstly, crime fiction stories are those in which there is the committing of a crime, or at least the suspicion of a crime (Cole), and the story that unfolds revolves around the efforts of an amateur or professional detective to solve that crime (Scaggs). Secondly, crime fiction offers the reassurance of resolution, a guarantee that from “previous experience and from certain cultural conventions associated with this genre that ultimately the mystery will be fully explained” (Zunshine 122). For Auden, the definition of the crime novel was quite specific, and he argued that referring to the genre by “the vulgar definition, ‘a Whodunit’ is correct” (407). Auden went on to offer a basic formula stating that: “a murder occurs; many are suspected; all but one suspect, who is the murderer, are eliminated; the murderer is arrested or dies” (407). The idea of a formula is certainly a useful one, particularly when production demands—in terms of both quality and quantity—are so high, because the formula facilitates creators in the “rapid and efficient production of new works” (Cawelti 9). For contemporary crime fiction readers, the doorways to reading, discussed briefly above, have been cast wide open. Stories relying upon the basic crime fiction formula as a foundation can be gothic tales, clue puzzles, forensic procedurals, spy thrillers, hardboiled narratives, or violent crime narratives, amongst many others. The settings can be quiet villages or busy metropolises, landscapes that readers actually inhabit or that provide a form of affordable tourism. These stories can be set in the past, the here and now, or the future. Characters can range from Edgar Allan Poe’s C. Auguste Dupin to Dashiell Hammett’s Sam Spade, from Agatha Christie’s Miss Jane Marple to Kerry Greenwood’s Honourable Phryne Fisher. Similarly, language can come in numerous styles from the direct (even rough) words of Carter Brown to the literary prose of Peter Temple. Anything is possible, meaning everything is available to readers. For Auden—although he required a crime to be committed and expected that crime to be resolved—these doorways were only slightly ajar. For him, the story had to be a Whodunit; the setting had to be rural England, though a college setting was also considered suitable; the characters had to be “eccentric (aesthetically interesting individuals) and good (instinctively ethical)” and there needed to be a “completely satisfactory detective” (Sherlock Holmes, Inspector French, and Father Brown were identified as “satisfactory”); and the language descriptive and detailed (406, 409, 408). To illustrate this point, Auden’s concept of crime fiction has been plotted on a taxonomy, below, that traces the genre’s main developments over a period of three centuries. As can be seen, much of what is, today, taken for granted as being classified as crime fiction is completely excluded from Auden’s ideal. Figure 1: Taxonomy of Crime Fiction (Adapted from Franks, Murder 136) Crime Fiction: A Personal Journey I discovered crime fiction the summer before I started high school when I saw the film version of The Big Sleep starring Humphrey Bogart and Lauren Bacall. A few days after I had seen the film I started reading the Raymond Chandler novel of the same title, featuring his famous detective Philip Marlowe, and was transfixed by the second paragraph: The main hallway of the Sternwood place was two stories high. Over the entrance doors, which would have let in a troop of Indian elephants, there was a broad stained-glass panel showing a knight in dark armour rescuing a lady who was tied to a tree and didn’t have any clothes on but some very long and convenient hair. The knight had pushed the visor of his helmet back to be sociable, and he was fiddling with the knots on the ropes that tied the lady to the tree and not getting anywhere. I stood there and thought that if I lived in the house, I would sooner or later have to climb up there and help him. He didn’t seem to be really trying (9). John Scaggs has written that this passage indicates Marlowe is an idealised figure, a knight of romance rewritten onto the mean streets of mid-20th century Los Angeles (62); a relocation Susan Roland calls a “secular form of the divinely sanctioned knight errant on a quest for metaphysical justice” (139): my kind of guy. Like many young people I looked for adventure and escape in books, a search that was realised with Raymond Chandler and his contemporaries. On the escapism scale, these men with their stories of tough-talking detectives taking on murderers and other criminals, law enforcement officers, and the occasional femme fatale, were certainly a sharp upgrade from C.S. Lewis and the Chronicles of Narnia. After reading the works written by the pioneers of the hardboiled and roman noir traditions, I looked to other American authors such as Edgar Allan Poe who, in the mid-1800s, became the father of the modern detective story, and Thorne Smith who, in the 1920s and 1930s, produced magical realist tales with characters who often chose to dabble on the wrong side of the law. This led me to the works of British crime writers including Arthur Conan Doyle, Agatha Christie, and Dorothy L. Sayers. My personal library then became dominated by Australian writers of crime fiction, from the stories of bushrangers and convicts of the Colonial era to contemporary tales of police and private investigators. There have been various attempts to “improve” or “refine” my tastes: to convince me that serious literature is real reading and frivolous fiction is merely a distraction. Certainly, the reading of those novels, often described as classics, provide perfect combinations of beauty and brilliance. Their narratives, however, do not often result in satisfactory endings. This routinely frustrates me because, while I understand the philosophical frameworks that many writers operate within, I believe the characters of such works are too often treated unfairly in the final pages. For example, at the end of Ernest Hemingway’s A Farewell to Arms, Frederick Henry “left the hospital and walked back to the hotel in the rain” after his son is stillborn and “Mrs Henry” becomes “very ill” and dies (292–93). Another example can be found on the last page of George Orwell’s Nineteen Eighty-Four when Winston Smith “gazed up at the enormous face” and he realised that he “loved Big Brother” (311). Endings such as these provide a space for reflection about the world around us but rarely spark an immediate response of how great that world is to live in (Franks Motive). The subject matter of crime fiction does not easily facilitate fairy-tale finishes, yet, people continue to read the genre because, generally, the concluding chapter will show that justice, of some form, will be done. Punishment will be meted out to the ‘bad characters’ that have broken society’s moral or legal laws; the ‘good characters’ may experience hardships and may suffer but they will, generally, prevail. Crime Fiction: A Taste For Justice Superimposed upon Auden’s parameters around crime fiction, are his ideas of the law in the real world and how such laws are interwoven with the Christian-based system of ethics. This can be seen in Auden’s listing of three classes of crime: “(a) offenses against God and one’s neighbor or neighbors; (b) offenses against God and society; (c) offenses against God” (407). Murder, in Auden’s opinion, is a class (b) offense: for the crime fiction novel, the society reflected within the story should be one in “a state of grace, i.e., a society where there is no need of the law, no contradiction between the aesthetic individual and the ethical universal, and where murder, therefore, is the unheard-of act which precipitates a crisis” (408). Additionally, in the crime novel “as in its mirror image, the Quest for the Grail, maps (the ritual of space) and timetables (the ritual of time) are desirable. Nature should reflect its human inhabitants, i.e., it should be the Great Good Place; for the more Eden-like it is, the greater the contradiction of murder” (408). Thus, as Charles J. Rzepka notes, “according to W.H. Auden, the ‘classical’ English detective story typically re-enacts rites of scapegoating and expulsion that affirm the innocence of a community of good people supposedly ignorant of evil” (12). This premise—of good versus evil—supports Auden’s claim that the punishment of wrongdoers, particularly those who claim the “right to be omnipotent” and commit murder (409), should be swift and final: As to the murderer’s end, of the three alternatives—execution, suicide, and madness—the first is preferable; for if he commits suicide he refuses to repent, and if he goes mad he cannot repent, but if he does not repent society cannot forgive. Execution, on the other hand, is the act of atonement by which the murderer is forgiven by society (409). The unilateral endorsement of state-sanctioned murder is problematic, however, because—of the main justifications for punishment: retribution; deterrence; incapacitation; and rehabilitation (Carter Snead 1245)—punishment, in this context, focuses exclusively upon retribution and deterrence, incapacitation is achieved by default, but the idea of rehabilitation is completely ignored. This, in turn, ignores how the reading of crime fiction can be incorporated into a broader popular discourse on punishment and how a taste for crime fiction and a taste for justice are inextricably intertwined. One of the ways to explore the connection between crime fiction and justice is through the lens of Emile Durkheim’s thesis on the conscience collective which proposes punishment is a process allowing for the demonstration of group norms and the strengthening of moral boundaries. David Garland, in summarising this thesis, states: So although the modern state has a near monopoly of penal violence and controls the administration of penalties, a much wider population feels itself to be involved in the process of punishment, and supplies the context of social support and valorization within which state punishment takes place (32). It is claimed here that this “much wider population” connecting with the task of punishment can be taken further. Crime fiction, above all other forms of literary production, which, for those who do not directly contribute to the maintenance of their respective legal systems, facilitates a feeling of active participation in the penalising of a variety of perpetrators: from the issuing of fines to incarceration (Franks Punishment). Crime fiction readers are therefore, temporarily at least, direct contributors to a more stable society: one that is clearly based upon right and wrong and reliant upon the conscience collective to maintain and reaffirm order. In this context, the reader is no longer alone, with only their crime fiction novel for company, but has become an active member of “a moral framework which binds individuals to each other and to its conventions and institutions” (Garland 51). This allows crime fiction, once viewed as a “vice” (Wilson 395) or an “addiction” (Auden 406), to be seen as playing a crucial role in the preservation of social mores. It has been argued “only the most literal of literary minds would dispute the claim that fictional characters help shape the way we think of ourselves, and hence help us articulate more clearly what it means to be human” (Galgut 190). Crime fiction focuses on what it means to be human, and how complex humans are, because stories of murders, and the men and women who perpetrate and solve them, comment on what drives some people to take a life and others to avenge that life which is lost and, by extension, engages with a broad community of readers around ideas of justice and punishment. It is, furthermore, argued here that the idea of the story is one of the more important doorways for crime fiction and, more specifically, the conclusions that these stories, traditionally, offer. For Auden, the ending should be one of restoration of the spirit, as he suspected that “the typical reader of detective stories is, like myself, a person who suffers from a sense of sin” (411). In this way, the “phantasy, then, which the detective story addict indulges is the phantasy of being restored to the Garden of Eden, to a state of innocence, where he may know love as love and not as the law” (412), indicating that it was not necessarily an accident that “the detective story has flourished most in predominantly Protestant countries” (408). Today, modern crime fiction is a “broad church, where talented authors raise questions and cast light on a variety of societal and other issues through the prism of an exciting, page-turning story” (Sisterson). Moreover, our tastes in crime fiction have been tempered by a growing fear of real crime, particularly murder, “a crime of unique horror” (Hitchens 200). This has seen some readers develop a taste for crime fiction that is not produced within a framework of ecclesiastical faith but is rather grounded in reliance upon those who enact punishment in both the fictional and real worlds. As P.D. James has written: [N]ot by luck or divine intervention, but by human ingenuity, human intelligence and human courage. It confirms our hope that, despite some evidence to the contrary, we live in a beneficent and moral universe in which problems can be solved by rational means and peace and order restored from communal or personal disruption and chaos (174). Dorothy L. Sayers, despite her work to legitimise crime fiction, wrote that there: “certainly does seem a possibility that the detective story will some time come to an end, simply because the public will have learnt all the tricks” (108). Of course, many readers have “learnt all the tricks”, or most of them. This does not, however, detract from the genre’s overall appeal. We have not grown bored with, or become tired of, the formula that revolves around good and evil, and justice and punishment. Quite the opposite. Our knowledge of, as well as our faith in, the genre’s “tricks” gives a level of confidence to readers who are looking for endings that punish murderers and other wrongdoers, allowing for more satisfactory conclusions than the, rather depressing, ends given to Mr. Henry and Mr. Smith by Ernest Hemingway and George Orwell noted above. Conclusion For some, the popularity of crime fiction is a curious case indeed. When Penguin and Collins published the Marsh Million—100,000 copies each of 10 Ngaio Marsh titles in 1949—the author’s relief at the success of the project was palpable when she commented that “it was pleasant to find detective fiction being discussed as a tolerable form of reading by people whose opinion one valued” (172). More recently, upon the announcement that a Miles Franklin Award would be given to Peter Temple for his crime novel Truth, John Sutherland, a former chairman of the judges for one of the world’s most famous literary awards, suggested that submitting a crime novel for the Booker Prize would be: “like putting a donkey into the Grand National”. Much like art, fashion, food, and home furnishings or any one of the innumerable fields of activity and endeavour that are subject to opinion, there will always be those within the world of fiction who claim positions as arbiters of taste. Yet reading is intensely personal. I like a strong, well-plotted story, appreciate a carefully researched setting, and can admire elegant language, but if a character is too difficult to embrace—if I find I cannot make an emotional connection, if I find myself ambivalent about their fate—then a book is discarded as not being to my taste. It is also important to recognise that some tastes are transient. Crime fiction stories that are popular today could be forgotten tomorrow. Some stories appeal to such a broad range of tastes they are immediately included in the crime fiction canon. Yet others evolve over time to accommodate widespread changes in taste (an excellent example of this can be seen in the continual re-imagining of the stories of Sherlock Holmes). Personal tastes also adapt to our experiences and our surroundings. A book that someone adores in their 20s might be dismissed in their 40s. A storyline that was meaningful when read abroad may lose some of its magic when read at home. Personal events, from a change in employment to the loss of a loved one, can also impact upon what we want to read. Similarly, world events, such as economic crises and military conflicts, can also influence our reading preferences. Auden professed an almost insatiable appetite for crime fiction, describing the reading of detective stories as an addiction, and listed a very specific set of criteria to define the Whodunit. Today, such self-imposed restrictions are rare as, while there are many rules for writing crime fiction, there are no rules for reading this (or any other) genre. People are, generally, free to choose what, where, when, why, and how they read crime fiction, and to follow the deliberate or whimsical paths that their tastes may lay down for them. Crime fiction writers, past and present, offer: an incredible array of detective stories from the locked room to the clue puzzle; settings that range from the English country estate to city skyscrapers in glamorous locations around the world; numerous characters from cerebral sleuths who can solve a crime in their living room over a nice, hot cup of tea to weapon wielding heroes who track down villains on foot in darkened alleyways; and, language that ranges from the cultured conversations from the novels of the genre’s Golden Age to the hard-hitting terminology of forensic and legal procedurals. Overlaid on these appeal factors is the capacity of crime fiction to feed a taste for justice: to engage, vicariously at least, in the establishment of a more stable society. Of course, there are those who turn to the genre for a temporary distraction, an occasional guilty pleasure. There are those who stumble across the genre by accident or deliberately seek it out. 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