reeling and writhing

Melbourne Prize runaway for Murnane, Le

Readings bookshop had the announcement up before the Melbourne Prize Trust did. Congratulations to both winners: richly deserved. I am sure Mr Miller will carry it off another day.

(Note: I'm sure the reference on the Readings website will be rephrased speedily, but not all of Murnane's works are actually available from the Readings catalogue at this point in time. There are two other titles available as POD from Sydney University Press, here,  but at least two other short story collections, Emerald Blue and Velvet Waters, are currently out of print. I do hope plans are afoot to change that tout de suite.)

PS I won't re-edit this again - apologies to readers of feeds, I'll be a cleaner blogger from now on.

other reading, other writing

At the Varuna blog, Cate Kennedy talks about the need for feedback during the writing process from other writers and editors, and her appreciation for readers' remarks on her work.

It’s one thing for a critic to praise your deftness with imagery or whatever, but when someone feels moved to write that they’re planning on staying alive to read what you might come up with next…well,  that’ll get you back to the desk – elated and close to mysterious tears, not sure whether to laugh or cry.

There's a review of Judith Beveridge's latest collection, Storm and Honey, by Libby Hart up at Cordite.

Here's another beautiful bit of writing from Ampersand Duck, this time on some of her own work. What a fine photo-essay this is, on the story and making of pillow books. Get her into Black Inc tout de suite.

Looking for something silly? John Williams' personal collection of personals from the LRB is a hoot.

And here is something rather gorgeous I will get in my letterbox at some point, as a subscriber. John Williams comments that "It looks stunning. Not sure how it’s supposed to make the newspaper business feel any better, though. Not exactly a feasible model . . ."

Finally here's a great post by Alec Patric about the latest issue of Page Seventeen, and the life of small mags in general.

Patrick White award to Beverley Farmer

Ralph at Currajah was very quick off the mark last weekend! picking up the news of Beverley Farmer being awarded the Patrick White prize, and spreading the love, along with her misgivings (see Susan Wyndham's report, here).

(If you cannot read that bio on Austlit because you are not a subscriber, you should be able to join using a public library card, or a State Library one. Or you can read this older bio by Laurie Clancy, with some good notes on her books, which does not include her latest publication, The Bone House.)

One of my favourite books is Farmer's collection of diary extracts and short stories, collected mainly around their writing, A Body Of Water. There is a story about a Buddhist retreat in that volume, complete with a diary account of the retreat, that provides a magnificent study in how to render fiction out of memory.

Farmer is a prose poet in many ways - from her notes from October in that book comes this account of reading at Mietta's, a fine restaurant with literary leanings, at some time in the eighties:

Heat and sun for the first day of daylight saving. I read a story in the "Readings with Readings" program in the Lounge at Mietta's, among the fringed lamps, clustered gold bubbles of light overhead, black statues bearing flowers - heat and smoke drifting. The dappled grey marble of the round tables, bright with the light of wineglasses.

At seven o'clock tall buildings still reached up into the sun.

In the livid night sky - never black in Carlton - a crescent moon lay on its back holding a smaller moon clasped, a dim full one. (On top of a stupa they have an orb in a cusp.)

Further up that page, she writes of a house she had rented by the coast, somewhere near Lorne:

Skirting the full frog pond with a chilly scud across it, over the road and dunes you go down onto the surf beach. The tea-trees up there in the dune-folds are whiskery knuckles, leafless and lichen-splattered, scraping the sand. Though the sea is so near, there's not a whisper of it, as if this really were another time.

I liked living back there, deep in the tea-tree. Glaneuse Road: after the French barque Glaneuse, wrecked off the surf beach in 1886 with her bottles of contraband cognac. (And Glaneuse, gleaner: what I was and am.) For those six months I was suspended out of time in a glass lantern, not swinging - still, somewhere between two seasons. An old life, a new.

From A Body Of Water, UQP: 1990, p.188 (the one with the Matisse painting on the cover, yesss. Iss mine, preciousss.) A volume of Farmer's longer, meditative essays on art and life, The Bone House, is available from Giramondo. I don't know how many of her other books are in print - her Collected Stories have been on school reading lists from time to time. She spoke with Clive Hamilton and Alfred Yuson on Radio National's Book Show on the art of the essay in 2006 and a podcast is still available, here. I have also found an essay in Island from 2005, 'The Dog Of The Work', in my travels...Enjoy.

the seventh 'page' from Page Seventeen is out today

Issue 7 of the evergreen anthology, Page Seventeen, will be launched today at Burrinja Cafe (part of the gallery) in Upwey from 1 pm.

Work from seventeen (heh) new writers is featured, along with stories and poems by Sean M Whelan, Emilie Zoey Baker, Graham Nunn, Maxine Clarke, Amelia Walker, Ashley Capes, Peter Farrar, Christopher Currie, and David McLaren. There will be a regular poetry gig, The Word Tree, to follow, and an invite with some cover art can be found here. Just so you can find it easily in the shops (scroll down), if you don't get along today.

Prime Minister's literary awards are in

Finally. The news is out on this year's PM's literary awards.

Minister for the Arts Peter Garrett has just announced the winners of the 2009 Prime Minister's Literary Awards.

The winner of the 2009 Fiction award is Nam Le for his book of short stories The Boat. The judging panel was impressed by the daring scope and excellence of its execution, the generous breadth of its emotional and social traverse and the excitement generated by every story.

In 2009, two books and three authors share the Non-Fiction award. The winners are Evelyn Juers for House of Exile: The Life and Times of Heinrich Mann and Nelly Kroeger-Mann; and Marilyn Lake and Henry Reynolds for Drawing the Global Colour Line.

Both books explore important racial, moral and political issues of Australia's past. The Non-Fiction judging panel said "With great intellectual authority and international research Evelyn Juers, Marilyn Lake and Henry Reynolds tell their stories magnificently."

The link for this Bookforum review of The Boat comes from Nam Le's reviews page on his website - scroll right on down...

The most recent Latrobe University Bulletin  carried these remarks on Reynolds' and Lake's prizewinning book, here, and the Cambridge University Press catalogue entry includes (somewhat chunky bits of) reviews. 

And my March '09 review of House of Exile, with links to other sources, is here.

the way we published then...

As noted at Spike, Ampersand Duck has written a splendid post about Richard Jermyn's Common Press launch in Pambula some weeks ago. Run, read it here  and a couple of other places. Thanks to &Duck for permission to publish photographs of the first printing from Richard's press, built with Australian timbers.

Duck's post includes a fascinating, accessible account of the history and working parts of the Common Press: read it all, it is wonderful.

...and the way we publish now

Jennifer Mills' cracker essay in The Reader, the first anthology from the Emerging Writers' Festival, is published in full on her blog. The trials of the festival circuit are discussed with complete frankness, something rare and precious these days.

People who are good at writing books (and I hope to one day count myself among them) are not necessarily also good at selling them. Or, indeed, talking about them. And yet, if you don't have a media-friendly persona, the publishing world doesn't seem to want to know you. They are looking for an angle to distinguish you in the crush of new books and new writers, but you know yourself to be a complex individual who is made up of more than just angles. You have curves and straight lines and scribbly bits. On the upside, journalists will sometimes recast you as the mythical, romantic figure you have always suspected yourself to be. But the process of being marketed is deeply compromising and can actually feel like some kind of identity fraud.

(Also noted by the Overland blog.)

just hanging

The most amazing flower and plate. This lady is a china photography queen. And this post is a poem with pictures. Via the Strange Fruit blogroll.

Earlier this month, Sonya Chung wrote enthusiastically about Everyman's Guide for Scientific Living at The Second Pass, calling it 'the best book nobody's heard of'.

What book reviewing on blogs can be, (and here also.) The list of best posts on Sterne makes for happy Internet readings for us all. When is the mobile archive coming out, Tim?

One for the money, two for the show - some Pen Macquarie videos. Come on, you know you want to watch them!

This very fine interview with Tom Cho at Eric Forbes's blog was first published in the Ubud Writers'
Festival edition of Quill magazine. Cho discusses the process by which Look Who's Morphing came together, and how his creative writing studies influenced its development.

The opening line of this is gorgeous, though it sounds more like Confession than AA. There's a story waiting to be written about my family, Wilson's Prom and the golden ticket. Or maybe we'll just keep it to ourselves, 'for a larf'.

Finally, Jonathan Mayhew mentioned Arcade on his blog the other day, saying he writes here. Looks like a fine site: a lot of the conversation seems to start here. (And there's plenty of it, too.)

weekend news 1, with a remark on Gerald Murnane

HEH. What I said I would not do any more.

But I cannot resist notifying you of these podcasts of treasure  from Radio National - has the programming there been sensational this week or what?

CAN HAZ Gerald Murnane, the writer of Tamarisk Row, The Plains and his latest book Barley Patch, on fiction for an hour (PURE GOLD) and Sonu Shamdasani, the editor of Jung's Red Book for twenty minutes? THOSE BASES BELONG TO US thanks to the national broadcaster and Team Koval. Thanks to Peter Mares for both interviews  - regrettably the Shamdasani interview has doubtful sound quality, so it will be easier to deal with when the transcript is up in a week or so.

Thanks to Giramondo I have already read Barley Patch, and what can I say? so much more to digest and think about regarding this thing we call fiction. I bought two volumes of his stories (out of print) from AbeBooks for myself for an extra birthday present. Velvet waters, indeed.  And he mentions in the radio show that he has completed a novella, A History of Books, so I hope we will see that sometime soon as well.

Barley Patch is provocative, teasing, bracing, all sorts of good things. Suffice it to say that upon finishing it, I started in on Vikram Seth's An Equal Music with the sense that I was seeing everything through the cleanest of clear windows. The Seth felt baroquely messy, and I was hearing all kinds of annoying things, including pastiche, even after I realigned my ears and eyes. So I know what to go back to in the future if my reading aids need tuning up. It's unlikely I'll have more to say on this, I have too much to learn.

reading notes: Brooklyn, The World Beneath

I swear that there are things in Colm Toibin's books that just cut me open, they do (and the interview in that link deals with a few of them, as well as being quite wacky in places). I remember finding The Heather Blazing, the first book of his I read way back last century, a bit clinical: Brooklyn, while returning again to Ireland, seems more assured than his earlier work, even than the precisely calibrated Blackwater Lightship.

There is an almost miraculous engineering of narrative tension in this beautiful book. Toibin conveys the helpless ratiocination of demure Eilis Lacey in a third person narration that is barely coloured with her emerging sympathy for others, so that she just manages to stand out as a character from a cast of much stronger people and two vibrant, colourful backgrounds in Enniscorthy and Brooklyn.

The total effect is just riveting, and perhaps those who were expecting a noisier book may not be in complete sympathy themselves with Toibin's utter success in placing us in an inarticulate Irish migrant girl's shoes. There are several moments where the sheer pity of it all is just overwhelming: Rose prefers not to marry, as she notes what it has done to her friends, while later Eilis waits for her mother to tell her that she will miss her, and waits in vain.

Lives of quiet desperation indeed - the bitterness of the young women in Mrs Kehoe's boarding house could supply a pickle factory. I have some thoughts on how Anne Enright's comparatively tougher style may have influenced Toibin's work here, but for now I really just want to read it all again ASAP. And then his earlier books as well.

Another book that has given me a powerful buzz recently is Cate Kennedy's first novel, The World Beneath, which I found magnificent. The only fault I can find with this book is the use of the noun proletariat as an adjective on the first page, by Sandy, who it transpires is a bit clumsy with words anyway. Apart from that, it is a flawless, absorbing, zeitgeist brokering threehander. (And 'zeitgeist broker', as far as I know, is Kennedy's phrase.)

There's a fine, if brief, review in the ALR by Kerryn Goldsworthy and some notes here on her blog, and I concur completely with the parallel she draws with The Slap: I certainly noticed a similarly acute observational bent in this novel. Jo Case in her ABR review  is concerned that structure sometimes detracts from the overall achievement in this book, but otherwise notes Kennedy's skill in bringing characters to life:

Kennedy crawls expertly inside the skin of her three central characters, assembling word pictures from telling details that enable us to know them better than they know themselves, and avoiding the novelist's trap of sacrificing nuance to secure the reader's sympathy.

(That link may endure for a few more weeks as the ABR website seems to be in flux. It may even stay there for a couple of months if we are lucky.)

I am ready for another novel by Ms Kennedy anytime,and a film of this one, as Kerryn suggests, would be very welcome indeed.

Random House Australia to allow publishing at random

Australian Bookseller and Publisher Online announced this afternoon that Random House Australia (RHA) has launched a print on demand (POD) program that will allow it to produce single copies of out-of-print titles:

The program, which has been 18 months in the planning, is in partnership with Sydney-based SOS Print+Media and will cover out-of-print in-copyright Random House titles that sell nine or less copies per year. (Books which sell in small quantities of 10 or more fall into the publisher's short-run program.)

Random House sales director Gavin Schwarcz told WBN the program would ensure the publisher's books stayed in print, but that it was as much about meeting customer expectations as making a profit.

‘It's a reduced margin for us,' he admitted. ‘The author will make the same [royalties on these books], but it's all about service. I think with the world the way it is, the consumer nowadays just thinks if they want something they don't understand why they can't get it.'

Schwarcz said the POD initiative would mean booksellers could satisfy customer requests and added that such a program could even help to promote some out-of-print titles.

only connect

This is another reason I did the tinkering and am trying to read fewer feeds - so I can return to the odd spot of browsing and happen upon people like Lisa, a friend of George Dunford's  who is studying journalism in Paris.

Her views on the difference between zines and blogs are news to me, and fascinating  - she says in an earlier post, "Among the ex-pats here, zines are a rarity, with blogs the main way of keeping touch with people back home. And yet, most blogs do not have the same kind of sincerity or passion that's found in a zine. There's a real love for the zine making process which gets lost when sharing your thoughts becomes as easy as clicking the "Publish" button. "

One of my Facebook friends uploaded photos of his favourite zine front covers. Oddly, I was thankful that none of my zines were among the list. Every now and then there are discussions about digitising zines – but to do so would to lose its meaning. I love reading back on my old zines because it reminds me of who I was at a particular time in my life, and how much I’ve changed (or haven’t changed) since that zine was made. There is an honesty in these early zines, an intimacy between myself and the 50 other people who managed to get a copy. Many things shared in the zines are things that I would not tell an online audience, where strangers from all over the world could find and read it without its original context. Rather than trying to get as many web hits as possible or having an eternal presence on the World Wide Web, I want my personal zines to remain ephemeral. Perhaps the same could be said about squats.

Posted at her blog, Colours of Bohemia, and also published in the Sticky newsletter early this year.

Via the Sticky Institute, someone else discusses these issues at Barnard, Columbia, no less - Jenna
Freedman. Lovely.

that festive time of year for writers and readers

There is truly something for everyone at MWF this year, though fewer sessions with individual poets than one might expect, and an attempt has been made to save festival-lovers some dosh by packaging tickets together, so I hope that goes down well with those of us who are a little less decisive in our purchases. (Maybe a discount on purchases of four or more tickets across the fortnight is on its way?)

Congratulations are due to Rosemary Cameron for allowing the festival to expand to fit its new Fed Square spaces across the last two festivals - best wishes for the future to this retiring director.

Do look out for fantastic festival blogger Estelle Tang on the MWF blog as she will keep you posted on many good things. (She can also be heard on SYN FM on Saturdays.)

I am hoping to get to hear Dennis Loy Johnson of Melville House and MobyLives fame at some point, and though I am delighted she is here, I am pretty much keeping away from MJH so that her mystique is preserved. There are some authors who really should keep out of the limelight so we keep asking questions - I'm a bit odd about that, but one day I'll hold forth on the matter in more detail. For now, I'm happy for her to tell us she's boring wherever she chooses to do so - and I respect her, dammit! for doing that - and to find her books completely compelling instead.

So enjoy whatever you get to - there's plenty happening. Congratulations are due to Tom Cho and Kate Middleton for receiving nominations for The Age Book of the Year awards, winners of which will be announced tonight - you can read the shortlist here.

To kick off my infinitesimal contribution to publicising the presence of a digital publishing program at MWF this year, accept this update on matters digital from Kate Eltham, CEO of the Queensland Writers' Centre, who is appearing at some MWF events after this steam punk publishing venture with the ABC's Pool.

Kate, Nick Earls, Kim Wilkins and Hinemoana Baker are travelling through Queensland by steam train to commemorate the 1990 Writers' Train, and blogging and collaboratively publishing about their trip as they go.

In other digi news, publishers at MWF can see first hand what CommentPress and Sophie (this one, not this one) are all about by attending a workshop with Bob Stein of the Institute for the Future of the Book. I am surprised to learn that these tools have been in development for close to seventeen years - I first came across CommentPress in 2007 or thereabouts, as part of the publishing platform for McKenzie Wark's 2007 publication, Gamer Theory. A more recent example of how CommentPress can be used for publishing discussion is here. I am looking forward to hearing Stein speak at a couple of things on Thursday 27th.

And now, for something not entirely different -  Richard Nash, elsewhere, speaking of another festival in another town, is inviting people to vote on SXSW programs, including a proposal for The Novel in 2050:

"...The spiel is “Research shows reading a book for as little as six minutes may cut stress levels in half. But have Twitter-length attention spans decreased demand for novels? What is the future of the “non-networked” book? This panel will debate the relevance of novels in a networked world.”

Questions to be asked include:

Will novels exist in 2050? What will they look like?
Have modern Twitter-length attention spans decreased interest in novels?
How might crowdsourcing and collaboration contribute to the creation of a novel?
What are some recent examples of networked books?
Are young people reading novels?
Does a novel communicate differently on a Kindle, iPhone, or other electronic device?
Is the Internet more of a threat to publishing than film or television were in the 20th century?
Why is technology mostly absent in the plots of contemporary novels?
How might novels use games and cross-platform storytelling?

What about novels should be preserved? What needs to change?"

I can't help thinking that a 20 year old reading this proposal in 2050 will label it 'poignant' as my son did when recently perusing my reprint of Marshall McLuhan's The Medium Is The Massage. Happy festivals, everyone.

and they'll none of 'em be missed

Shortlists? Vic Premier's, Age Book Of Year? we haz them.

As well as a wacky bestseller list from Readings. Just look at the first two there, don't they look cosy together?

there will be links

A new online mag - via Stephen Romei, the ALR editor at the Ragged Claws blog, there's news of a shiny new publication with a contributors' page living in Facebook Land called The Group.
It will be curated by Larry Buttrose, Mark Mordue, James Bradley, John Birmingham and Billy Marshall-Stoneking, and its main interface is here.

And if I were in Britain, this would be fun.

Speaking of the UK (and also Ireland) the Australian Poetry Centre's international circuit places have been awarded to Robert Gray and Alison Croggon (reported here by the Currajah weblog at Walleah Press.)

I've been coming across Ivy Alvarez' work here and there - and found this Hong Kong journal, Cha, via the Canongate writers' network, Meet at the Gate, with two of her poems in the current issue.

Would you just look at this lovely thing (and the great snaps).
And these 'nice publications'.

Hardly a bustle in the hedgerow - more of an alphabet.

And finally blogpost title of THE WEEK.