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Saturday, August 27, 2016

An Interview With Anna Ciddor



Early in 2016, I wrote an informal review of The Family With Two Front Doors by Anna Ciddor, a novel based on the childhood of the author's grandmother, who appears as the ten year old heroine of this book. It's set in the 1920s, but it certainly appealed to my mother, who was growing up in Poland in the 1930s, and she is currently re-reading the book, which she says takes her right back to her own childhood. She did quite a lot of things little Nomi does, although her family wasn't a rabbi's family, and the small-town flavour was very similar. 

But I've read all of Anna Ciddor's fiction, so when she kindly agreed to be interviewed for The Great Raven, I couldn't resist adding questions about her other work. 

Anna, welcome to The Great Raven! 

SB: 

What was your first book? The first one I read was your history of toilets in Allen and Unwin's True Stories series, but I think you were writing education books before that. Anything before the education books

AC: 

My first book was a picture book called ‘Take Me Back’ which was published in 1988. It was inspired by Australia’s bicentenary celebrations (for the arrival of white settlers). I realised these celebrations would be meaningless to children unless they could see how life in Australia had changed over those 200 years so I created a book that gave a snapshot of home life for each generation from 1788 to 1988. 

SB: 

The Viking Magic books were delightful, set in a small Scandinavian community with two children who had been exchanged at birth. Would you like to tell us a bit about it and how you got the idea for it?




AC: 

When I did some research about Vikings for a little non-fiction reader, I discovered there was a lot more to these horned-helmet wearers than dragonships and raiders (and I found out that they didn’t really wear horned helmets at all!) Viking lives were dominated by a belief in magic. They thought there were little folk who lived underground and had to be appeased with gifts of food. They feared neighbours might be witches who could cast spells on them. And then, I discovered that if a Viking family didn’t want a newborn baby, they were allowed to dispose of it by leaving it for the wolves! Well, that was it. The idea for the series was born! I came up with the idea of a midwife secretly swapping an unwanted girl-baby for a boy born at the same time. This then set up the wonderful storyline of two children, Oddo and Thora, growing up in families where they didn’t fit in. 
It was great fun writing Runestone, Wolfspell and Stormriders, because every time I got stuck, I researched more about Vikings, and discovered some other wonderful truth I could use in the stories. 



SB: 

You wrote a book in the Quentaris series, Prisoner of Quentaris, in which your leprechauns formed a small copy of heroic Irish society instead of the cliched cutesy leprechauns of most fiction - what gave you that idea?





AC: 

When I was approached to contribute to the Quentaris series, I was immersed in research for Night of the Fifth Moon, a novel set in Ireland during the fifth century – in the time of druids, kings and battles. I decided to write a variation on an old Irish folktale from that period. In Prisoner of Quentaris, the king of the leprechauns is captured by humans and the little leprechauns have to work out how to free him. I asked students in schools I visited to give me ideas how they might achieve this, and I actually used some of their suggestions in the novel. 



SB: 

There is a gentle humour in all your fiction,  even in The Family With Two Front Doors, which is based on the true story of your grandmother's childhood - is this deliberate on your part or is it just you?

AC: 

A bit of both. I am always alert for humour in any setting or situation I am writing about. As a reader, I appreciate humour and the way it brightens a book, so I always want to include it in my writing.

SB: 

You mentioned at the Jewish Writers' Festival that this novel took you five years to research and write. Can you tell us a bit about what was involved? Mostly, my research involves reading lots of books and following up anything I can't find by going online. I suspect your process was a lot more complex!
AC: 

The book was inspired by interviews with my grandmother from twenty-five years ago. However, when I sat down to write it in 2011, I discovered some crucial holes in my information, and sadly, Nana Nomi was no longer around to answer my questions. That was what set me off on my five-year quest. Like you, I researched as much as I could in books and on-line, but these were not enough. I wanted to bring back to life the intimate everyday details of a lost lifestyle from 1920s Poland and also the characters of the eleven members of Nana’s family. 

I pored over the half dozen family photos that had come down to me, trying to guess personalities from solemn sepia images taken so long ago. I reread over and over again the little anecdotes my Nana had told me – each time noticing some nuance or particular I had overlooked before. I interviewed other elderly people who had lived in Poland at that time, and I asked rabbis for details of Jewish rituals and customs. Finally, I travelled across the world to Poland. I hunted in museums, I searched old archives for family documents, but most importantly of all, I found the apartment block where my Nana’s family lived. I opened the big wrought iron gate and ventured into the courtyard. I walked the street outside, following the footpath they must have trodden, and bought a banana in the market where they shopped. By the time I had finished all my research and written the book, I felt I really had known that long-ago family. 

And by the time I'd read the book, I felt that I, too, had known that family! 

Thanks for answering, Anna! 

If you'd like to get hold of this book or any of the others here are some places where you can get them: 




Or there's Booktopia, where I've put in a link to the ebook versions:


Book Depository has some and for others suggests AbeBooks, as they're out of print.

Or you can just go to Anna's website, which has links to everything. Anna tells me that if you're keen to find one of the out of print titles, she does have some for sale, so again, the best place to look.

Several are also available in epub format at iBooks.





Friday, August 26, 2016

And The Award Goes To... Hugo Awards 2016








Aussiecon 4 Hugo, created by Nick Stathopoulos, etched by Lewis Morley, logo by Grant Gittus, who designed my favourite book cover, for Crime Time. Fair use, but I know the boys won't mind.

This list of nominees/winners is pinched from the TOR website. Alas, I haven't read any of the nominated titles let alone the winners! It tends to be the case with these awards - so much American stuff on the list, so harder to get in local bookshops, and at a time of year when I am busy reading for the CBCA  Awards, which are, after all, for our local books - and who knows how long those will be published if the Productivity Commission gets its way? Maybe next year I'll join as a supporting member. It's not too expensive and you get to read the nominated works in ebook, at least, quite good value! And then you get to vote. 

I see that Mike Glyer has won yet again, both for best fanzine and best fan writer. He and Dave Langford between them have  racked up quite a lot of Hugo wins! 

I see also, looking down the list, that the Puppies have been up to their old tricks yet again, slating. I mean, why? They must know it won't work, and last year was a particularly nasty year, in which both sides were horrible. If I'd been a member of the Puppy committee I would have made sure that the loudest-mouthed people on the other side were on this year's slate... and sat back and grinned while they denied frantically any connection... They would have refused their nominations, of course, but there would have been a lot of fun meanwhile. 

And frankly, some of them would have  deserved it, IMO. The whole business caused a lot of disagreement and unpleasantness in the committee of my lovely ASIM. I'm out of it now, except as a slush reader, but it was a bad year for me, and spoiled somewhat my pride in my first ASIM editing.

Anyway, why not just set up their own awards? It can be done. It has been done to a certain extent with the Prometheus Awards for libertarian SF. I was horrified to find a Poul Anderson novel among the winners of that award, but then I read it and said, "Oh. I get it."

The awards could even be presented at Worldcon, if they asked nicely. 

Still, there's no reasoning with some people.

Anyway, as a service, here's the list, with winners in bold. Congratulations to everyone who made it this far. Remember, someone cared enough to nominate your work. You're all winners! I see Ann Leckie was shortlisted again and would like to remind anyone who sneered at ASIM last year that she made one of her earliest sales to us, as did plenty of others, eg off the top of my head, Jim C Hines. 


BEST NOVEL 

The Fifth Season by N.K. Jemisin (Orbit)
Ancillary Mercy by Ann Leckie (Orbit)
The Cinder Spires: The Aeronaut’s Windlass by Jim Butcher (Roc)
Seveneves: A Novel by Neal Stephenson (William Morrow)
Uprooted by Naomi Novik (Del Rey)

BEST NOVELLA

Binti by Nnedi Okorafor (Tor.com)
The Builders by Daniel Polansky (Tor.com)
Penric’s Demon by Lois McMaster Bujold (Spectrum)
Perfect State by Brandon Sanderson (Dragonsteel Entertainment)
Slow Bullets by Alastair Reynolds (Tachyon)

BEST NOVELETTE 

“Folding Beijing” by Hao Jingfang, Ken Liu (Uncanny Magazine, Jan‐Feb 2015)
“And You Shall Know Her by the Trail of Dead” by Brooke Bolander (Lightspeed, Feb 2015)
“Flashpoint: Titan” by CHEAH Kai Wai (There Will Be War Volume X, Castalia House)
“Obits” by Stephen King (The Bazaar of Bad Dreams, Scribner)
“What Price Humanity?” by David Van Dyke (There Will Be War Volume X, Castalia House)

BEST SHORT STORY 

“Cat Pictures Please” by Naomi Kritzer (Clarkesworld, January 2015)
“Asymmetrical Warfare” by S. Algernon (Nature, Mar 2015)
“If You Were an Award, My Love” by Juan Tabo and Harris (voxday.blogspot.com, Jun 2015)
“Seven Kill Tiger” by Charles Shao (There Will Be WarVolume X, Castalia House)
Space Raptor Butt Invasion by Chuck Tingle (Amazon Digital Services)

BEST RELATED WORK 

No Award - (presumably because everything here was on a Puppies slate?)

Between Light and Shadow: An Exploration of the Fiction of Gene Wolfe, 1951 to 1986 by Marc Aramini (Castalia House)
“The First Draft of My Appendix N Book” by Jeffro Johnson (wordpress.com)
“Safe Space as Rape Room” by Daniel Eness (castcom)
SJWs Always Lie: Taking Down the Thought Police by Vox Day (Castalia House)
“The Story of Moira Greyland” by Moira Greyland (com)

BEST GRAPHIC STORY 

The Sandman: Overture written by Neil Gaiman, art by J.H. Williams III (Vertigo)
The Divine written by Boaz Lavie, art by Asaf Hanuka and Tomer Hanuka (First Second)
Erin Dies Alone written by Grey Carter, art by Cory Rydell (dynet)
Full Frontal Nerdity by Aaron Williams (nodwick.com)
Invisible Republic Vol 1 written by Corinna Bechko and Gabriel Hardman, art by Gabriel Hardman (Image Comics)

BEST DRAMATIC PRESENTATION (LONG FORM) 

The Martian screenplay by Drew Goddard, directed by Ridley Scott (Scott Free Productions; Kinberg Genre; TSG Entertainment; 20th Century Fox)
Avengers: Age of Ultron written and directed by Joss Whedon (Marvel Studios; Walt Disney Studios Motion Pictures)
Ex Machina written and directed by Alex Garland (Film4; DNA Films; Universal Pictures)
Mad Max: Fury Road written by George Miller, Brendan McCarthy, and Nico Lathouris, directed by George Miller (Village Roadshow Pictures; Kennedy Miller Mitchell; RatPac‐ Dune Entertainment; Warner Bros. Pictures)
Star Wars: The Force Awakens written by Lawrence Kasdan, J. Abrams, and Michael Arndt, directed by J.J. Abrams (Lucasfilm Ltd.; Bad Robot Productions; Walt Disney Studios Motion Pictures)

BEST DRAMATIC PRESENTATION (SHORT FORM

Jessica Jones: “AKA Smile” written by Scott Reynolds, Melissa Rosenberg, and Jamie King, directed by Michael Rymer (Marvel Television; ABC Studios; Tall Girls Productions; Netflix)
Doctor Who: “Heaven Sent” written by Steven Moffat, directed by Rachel Talalay (BBC Television)
Grimm: “Headache” written by Jim Kouf and David Greenwalt, directed by Jim Kouf (Universal Television; GK Productions; Hazy Mills Productions; Open 4 Business Productions; NBCUniversal Television Distribution)
My Little Pony: Friendship Is Magic: “The Cutie Map” Parts 1 and 2 written by Scott Sonneborn, A. Larson, and Meghan McCarthy, directed by Jayson Thiessen and Jim Miller (DHX Media/Vancouver; Hasbro Studios)
Supernatural: “Just My Imagination” written by Jenny Klein, directed by Richard Speight (Kripke Enterprises; Wonderland Sound and Vision; Warner Bros. Television)

BEST EDITOR ‐ SHORT FORM

Ellen Datlow
John Joseph Adams
Neil Clarke
Jerry Pournelle
Sheila Williams

BEST EDITOR ‐ LONG FORM 

Sheila E. Gilbert
Liz Gorinsky
Jim Minz
Toni Weisskopf
Vox Day

BEST PROFESSIONAL ARTIST 

Abigail Larson
Lars Braad Andersen
Larry Elmore
Michal Karcz
Larry Rostant

BEST SEMIPROZINE

Uncanny Magazine edited by Edited by Lynne M. Thomas & Michael Damian Thomas, Michi Trota, and Erika Ensign & Steven Schapansky
Beneath Ceaseless Skies edited by Scott Andrews, Nicole Lavigne, and Kate Marshall
Daily Science Fiction edited by Michele‐Lee Barasso and Jonathan Laden
Sci Phi Journal edited by Jason Rennie
Strange Horizons edited by Catherine Krahe, Julia Rios, J. Odasso, Vanessa Rose Phin, Maureen Kincaid Speller, and theStrange Horizons staff

BEST FANZINE 

“File 770” edited by Mike Glyer
“Castalia House Blog” edited by Jeffro Johnson
“Lady Business” edited by Clare, Ira, Jodie, KJ, Renay, and Susan
“Superversive SF” edited by Jason Rennie
“Tangent Online” edited by Dave Truesdale

BEST FANCAST 

No Award
8‐4 Play, Mark MacDonald, John Ricciardi, Hiroko Minamoto, and Justin Epperson
Cane and Rinse, Cane and Rinse
HelloGreedo, HelloGreedo
The Rageaholic, RazörFist
Tales to Terrify, Stephen Kilpatrick

BEST FAN WRITER

Mike Glyer
Douglas Ernst
Morgan Holmes
Jeffro Johnson
Shamus Young

BEST FAN ARTIST 

Steve Stiles
Matthew Callahan
disse86
Kukuruyo
Christian Quinot

JOHN W. CAMPBELL AWARD FOR BEST NEW WRITER 

Andy Weir *
Pierce Brown *
Sebastien de Castell *
Brian Niemeier
Alyssa Wong *
* Finalists in their 2nd year of eligibility.

FOREST J. ACKERMAN AWARD

Joe Siclari & Evie Stern



And The Award Goes To... Hugo Awards 2016








Aussiecon 4 Hugo, created by Nick Stathopoulos, etched by Lewis Morley, logo by Grant Gittus, who designed my favourite book cover, for Crime Time. Fair use, but I know the boys won't mind.

This list of nominees/winners is pinched from the TOR website. Alas, I haven't read any of the nominated titles let alone the winners! It tends to be the case with these awards - so much American stuff on the list, so harder to get in local bookshops, and at a time of year when I am busy reading for the CBCA  Awards, which are, after all, for our local books - and who knows how long those will be published if the Productivity Commission gets its way? Maybe next year I'll join as a supporting member. It's not too expensive and you get to read the nominated works in ebook, at least, quite good value! And then you get to vote. 

I see that Mike Glyer has won yet again, both for best fanzine and best fan writer. He and Dave Langford between them have  racked up quite a lot of Hugo wins! 

I see also, looking down the list, that the Puppies have been up to their old tricks yet again, slating. I mean, why? They must know it won't work, and last year was a particularly nasty year, in which both sides were horrible. If I'd been a member of the Puppy committee I would have made sure that the loudest-mouthed people on the other side were on this year's slate... and sat back and grinned while they denied frantically any connection... They would have refused their nominations, of course, but there would have been a lot of fun meanwhile. 

And frankly, some of them would have  deserved it, IMO. The whole business caused a lot of disagreement and unpleasantness in the committee of my lovely ASIM. I'm out of it now, except as a slush reader, but it was a bad year for me, and spoiled somewhat my pride in my first ASIM editing.

Anyway, why not just set up their own awards? It can be done. It has been done to a certain extent with the Prometheus Awards for libertarian SF. I was horrified to find a Poul Anderson novel among the winners of that award, but then I read it and said, "Oh. I get it."

The awards could even be presented at Worldcon, if they asked nicely. 

Still, there's no reasoning with some people.

Anyway, as a service, here's the list, with winners in bold. Congratulations to everyone who made it this far. Remember, someone cared enough to nominate your work. You're all winners! I see Ann Leckie was shortlisted again and would like to remind anyone who sneered at ASIM last year that she made one of her earliest sales to us, as did plenty of others, eg off the top of my head, Jim C Hines. 


BEST NOVEL 

The Fifth Season by N.K. Jemisin (Orbit)
Ancillary Mercy by Ann Leckie (Orbit)
The Cinder Spires: The Aeronaut’s Windlass by Jim Butcher (Roc)
Seveneves: A Novel by Neal Stephenson (William Morrow)
Uprooted by Naomi Novik (Del Rey)

BEST NOVELLA

Binti by Nnedi Okorafor (Tor.com)
The Builders by Daniel Polansky (Tor.com)
Penric’s Demon by Lois McMaster Bujold (Spectrum)
Perfect State by Brandon Sanderson (Dragonsteel Entertainment)
Slow Bullets by Alastair Reynolds (Tachyon)

BEST NOVELETTE 

“Folding Beijing” by Hao Jingfang, Ken Liu (Uncanny Magazine, Jan‐Feb 2015)
“And You Shall Know Her by the Trail of Dead” by Brooke Bolander (Lightspeed, Feb 2015)
“Flashpoint: Titan” by CHEAH Kai Wai (There Will Be War Volume X, Castalia House)
“Obits” by Stephen King (The Bazaar of Bad Dreams, Scribner)
“What Price Humanity?” by David Van Dyke (There Will Be War Volume X, Castalia House)

BEST SHORT STORY 

“Cat Pictures Please” by Naomi Kritzer (Clarkesworld, January 2015)
“Asymmetrical Warfare” by S. Algernon (Nature, Mar 2015)
“If You Were an Award, My Love” by Juan Tabo and Harris (voxday.blogspot.com, Jun 2015)
“Seven Kill Tiger” by Charles Shao (There Will Be WarVolume X, Castalia House)
Space Raptor Butt Invasion by Chuck Tingle (Amazon Digital Services)

BEST RELATED WORK 

No Award - (presumably because everything here was on a Puppies slate?)

Between Light and Shadow: An Exploration of the Fiction of Gene Wolfe, 1951 to 1986 by Marc Aramini (Castalia House)
“The First Draft of My Appendix N Book” by Jeffro Johnson (wordpress.com)
“Safe Space as Rape Room” by Daniel Eness (castcom)
SJWs Always Lie: Taking Down the Thought Police by Vox Day (Castalia House)
“The Story of Moira Greyland” by Moira Greyland (com)

BEST GRAPHIC STORY 

The Sandman: Overture written by Neil Gaiman, art by J.H. Williams III (Vertigo)
The Divine written by Boaz Lavie, art by Asaf Hanuka and Tomer Hanuka (First Second)
Erin Dies Alone written by Grey Carter, art by Cory Rydell (dynet)
Full Frontal Nerdity by Aaron Williams (nodwick.com)
Invisible Republic Vol 1 written by Corinna Bechko and Gabriel Hardman, art by Gabriel Hardman (Image Comics)

BEST DRAMATIC PRESENTATION (LONG FORM) 

The Martian screenplay by Drew Goddard, directed by Ridley Scott (Scott Free Productions; Kinberg Genre; TSG Entertainment; 20th Century Fox)
Avengers: Age of Ultron written and directed by Joss Whedon (Marvel Studios; Walt Disney Studios Motion Pictures)
Ex Machina written and directed by Alex Garland (Film4; DNA Films; Universal Pictures)
Mad Max: Fury Road written by George Miller, Brendan McCarthy, and Nico Lathouris, directed by George Miller (Village Roadshow Pictures; Kennedy Miller Mitchell; RatPac‐ Dune Entertainment; Warner Bros. Pictures)
Star Wars: The Force Awakens written by Lawrence Kasdan, J. Abrams, and Michael Arndt, directed by J.J. Abrams (Lucasfilm Ltd.; Bad Robot Productions; Walt Disney Studios Motion Pictures)

BEST DRAMATIC PRESENTATION (SHORT FORM

Jessica Jones: “AKA Smile” written by Scott Reynolds, Melissa Rosenberg, and Jamie King, directed by Michael Rymer (Marvel Television; ABC Studios; Tall Girls Productions; Netflix)
Doctor Who: “Heaven Sent” written by Steven Moffat, directed by Rachel Talalay (BBC Television)
Grimm: “Headache” written by Jim Kouf and David Greenwalt, directed by Jim Kouf (Universal Television; GK Productions; Hazy Mills Productions; Open 4 Business Productions; NBCUniversal Television Distribution)
My Little Pony: Friendship Is Magic: “The Cutie Map” Parts 1 and 2 written by Scott Sonneborn, A. Larson, and Meghan McCarthy, directed by Jayson Thiessen and Jim Miller (DHX Media/Vancouver; Hasbro Studios)
Supernatural: “Just My Imagination” written by Jenny Klein, directed by Richard Speight (Kripke Enterprises; Wonderland Sound and Vision; Warner Bros. Television)

BEST EDITOR ‐ SHORT FORM

Ellen Datlow
John Joseph Adams
Neil Clarke
Jerry Pournelle
Sheila Williams

BEST EDITOR ‐ LONG FORM 

Sheila E. Gilbert
Liz Gorinsky
Jim Minz
Toni Weisskopf
Vox Day

BEST PROFESSIONAL ARTIST 

Abigail Larson
Lars Braad Andersen
Larry Elmore
Michal Karcz
Larry Rostant

BEST SEMIPROZINE

Uncanny Magazine edited by Edited by Lynne M. Thomas & Michael Damian Thomas, Michi Trota, and Erika Ensign & Steven Schapansky
Beneath Ceaseless Skies edited by Scott Andrews, Nicole Lavigne, and Kate Marshall
Daily Science Fiction edited by Michele‐Lee Barasso and Jonathan Laden
Sci Phi Journal edited by Jason Rennie
Strange Horizons edited by Catherine Krahe, Julia Rios, J. Odasso, Vanessa Rose Phin, Maureen Kincaid Speller, and theStrange Horizons staff

BEST FANZINE 

“File 770” edited by Mike Glyer
“Castalia House Blog” edited by Jeffro Johnson
“Lady Business” edited by Clare, Ira, Jodie, KJ, Renay, and Susan
“Superversive SF” edited by Jason Rennie
“Tangent Online” edited by Dave Truesdale

BEST FANCAST 

No Award
8‐4 Play, Mark MacDonald, John Ricciardi, Hiroko Minamoto, and Justin Epperson
Cane and Rinse, Cane and Rinse
HelloGreedo, HelloGreedo
The Rageaholic, RazörFist
Tales to Terrify, Stephen Kilpatrick

BEST FAN WRITER

Mike Glyer
Douglas Ernst
Morgan Holmes
Jeffro Johnson
Shamus Young

BEST FAN ARTIST 

Steve Stiles
Matthew Callahan
disse86
Kukuruyo
Christian Quinot

JOHN W. CAMPBELL AWARD FOR BEST NEW WRITER 

Andy Weir *
Pierce Brown *
Sebastien de Castell *
Brian Niemeier
Alyssa Wong *
* Finalists in their 2nd year of eligibility.

FOREST J. ACKERMAN AWARD

Joe Siclari & Evie Stern



Tuesday, August 23, 2016

Of Productivity Commissions And Parallel Import Laws


On National Bookshop Day, I went to my local bookshop and bought yet another cookbook! I wished the staff a happy National Bookshop Day and they gave me this.


If you haven't seen it, it's a collection of articles by our best known writers on the subject of something that is going on now, an attempt to destroy our local publishing industry.  Don't believe me? 

Here's a quote by Richard Flanagan, author of Booker-winning novel Narrow Road To The Deep North, from the Productivity Commission's report.


Okay, a bit blurry, but what it says is that the local publishing industry is wasting all those people who could be better employed in other industries, and is thus doing horrible things to the economy. Huh? It's successful, it's employing lots of people(25,000 at this stage) who are paying taxes, unlike some billionaires, buying things, building homes, thus employing more people, and this is wrong? I don't get it. 

When you think of all those manufacturing industries moved offshore because this government and the ones before it let them go, what do they have against an industry they don't subsidise and don't support, which is still doing nicely, here and overseas? Because they don't subsidise it, apart from a few grants via the Australia Council and even those have been slashed by the current government. 

"Productivity" basically means "do more with less." In this case, it's "do nothing. Overseas books are better and we can get the readers onside by telling them they will get cheaper books." 

In case you have no idea what I'm talking about, here it is. We currently have a law in place that prevents us from having huge piles of overseas books dumped on us. The deal is that the publisher has to make the books available in an Australian edition within fourteen days of overseas release. Otherwise, the booksellers could buy huge lots of cheap editions from the US or Britain - cheaper for them, anyway - and some of those books are by our local authors, who would get paid less in royalties  for the overseas editions of their own books.  That's while these still exist; overseas publishers don't want to take our books till they've proved  themselves here. 

I remember, early in my writing career, when a friend went to the UK to see overseas publishers, who just weren't interested in anything from the colonies. Looks like that time might come back.

When they did this to the music industry here some years ago, it wreaked havoc. Our musicians have never recovered. 

There is territorial copyright at present. Most countries have it. Check that paperback book in your bag and you'll see a statement about it. Once that's gone, it's gone. The end of territorial copyright all but wiped out the publishing industries of countries, such as New Zealand, which surrendered it. 

Books over there, by the way, have gone up in price, not down. 

And for what? Even if you do resent paying more for your own stories, you can always buy online. 

But this isn't all. They want to scrap the current copyright system, for something they call "fair use". Fair to whom? "Fair use" in this country means that you can photocopy 10% or one chapter of a book, whichever is more, to use in study. The new U.S. version of "fair use" means something else altogether. 

If this happens, the current copyright term of seventy years after the author's death would be reduced to fifteen or twenty years after publication. After that? If you've visited this blog before, you'll know how I feel about piracy. But it would no longer be piracy, it would be legal. 

For those writers who make their living from this, royalties are their pension, their superannuation, and something to leave to their families. Now? The politicians are sneering at the very idea. How DARE these writers want to leave an income to their children! 

What if someone walked into Mr Turnbull's mansion and ordered him to vacate it because he'd had his fifteen years in it, time to give it away to anyone who wanted it? Hey, why not divide it into flats for young families? How would he react to that? 

What if you walked into a furniture workshop and told the carpenter that they shouldn't expect to keep the work of their hands and certainly not expect to leave the business to their children? The furniture should be given away to anyone who walked in? 

Just because writing is made up of ideas you can't touch or hold doesn't mean it should be free to anyone who wants to steal it. 

And so I'm asking you, if you read this, if you care about Australian stories, to do something. 

If you live here, write to your Federal MP. Write to your State Senator. Tell them how you feel and hint, if you feel strongly enough about it, that you're thinking carefully about your next vote. 

Here is a link to help you.


While you're there, sign the petition if you haven't done so already. 

If you don't live here but still care, and want stories from Down Under in your life, publicise the issue. Feel free to embarrass our politicians. Tweet this post or look in Twitter under #saveozstories and retweet. 

And - can you comment below to let me know if you've done any of the above? I get many hits on my posts, but rarely a comment and I never know whether they've had an effect. 

Thank you! 


Friday, August 19, 2016

And The Award Goes To.... The 2016 CBCA Awards


Taken from the CBCA web site. Fair usage.



And here they are, after we've been waiting for such a long time, from the long list onwards. Congratulations to everyone who got even that far. The long list used to be the Notables and I remember one judge saying that for something to get a Notable at least six judges had to think it should be in the short list. That's nice to know, as someone who has had two Notables and a Clayton's short listing. So even if you got no further than the long list, authors, you've done well, just like someone who got into the Olympics, even if they didn't get a medal.

I have said I'm pleased with the winners this year, though I wish The Flywheel had got an Honour book.  But something I've found over the years is that once you've been on the short list you're likely to win another time and this year they had two books to choose from in that respect. So Erin Gough might make it another time, I do hope so. Or maybe she'll be in next year's YABBAs or, more likely, Inkys, for this one. I hope so. 

CBCA Awards 2016 winners -  from the Books And Publishing web site


This year's Children's Book Council of Australia Awards go to the following

The winning titles in each of the categories are:

Older Readers

Winner

Cloudwish (Fiona Wood, Macmillan)

Honour books

A Single Stone (Meg McKinlay, Walker Books)
Inbetween Days (Vikki Wakefield, Text)

Younger Readers

Winner

Soon (Morris Gleitzman, Viking)

Honour books  

Shadows of the Master (Emily Rodda, Omnibus)

Sister Heart (Sally Morgan, Fremantle Press)

Early Childhood

Winner

Mr Huff (Anna Walker, Viking)

Honour books

Perfect (Danny Parker, illus by Freya Blackwood, Little Hare)
The Cow Tripped over the Moon (Tony Wilson, illus by Laura Wood, Scholastic)

Picture Book of the Year

Winner

Flight (Nadia Wheatley, illus by Armin Greder, Windy Hollow)

Honour books

One Step at a Time (Jane Jolly, illus by Sally Heinrich, MidnightSun)
Ride, Ricardo, Ride! (Phil Cummings, illus by Shane Devries, Omnibus)

Eve Pownall Award for Information Books

Winner

Lennie the Legend: Solo to Sydney by Pony (Stephanie Owen Reeder, NLA Publishing)

Honour books

Ancestry: Stories of Multicultural Anzacs (Robyn Siers & Carlie Walker, Department of Veterans’ Affairs)
Phasmid: Saving the Lord Howe Island Stick Insect (Rohan Cleave, illus by Coral Tulloch, CSIRO Publishing)


Crichton Award for New Illustrators

The Underwater Fancy-Dress Parade (Davina Bell, illus by Allison Colpoys, Scribe)


Finally Finished Reading... Inbetween Days by Vikki Wakefield


Update! Update! I've looked up the winners and my two favourites won! Cloudwish and Soon, for the Older and Younger Readers respectively. Both of them books our kids, at least, have enjoyed. This one and A Single Stone got the Honour book for Older Readers.


And with it, I've read the entire Older Readers section of this year's CBCA shortlist. I decided I wasn't allowed to find out who the winners were till I'd done this. I just know that once I found out I would never have got around to finishing whatever I was reading at the time, and certainly not anything else I hadn't started. And that would have been a shame. I admit I'm missing the days when I had that wonderful student Selena to read the Older Readers list with me and discuss it. (That was the year we both loved Cath Crowley's Graffiti Moon and thought it should have won). There are some great kids in my current book club, but no Selenas. Most of them read only one book at a time! How can a true booklover do that? Unless they read very quickly, of course.

I confess, I have only read one book in the Younger Readers section, Morris Gleitzman's Soon, but it was wonderful! One of the book club students is reading another book in the Younger Readers, can't recall which one, and another is reading and enjoying The Flywheel. She told me so when she came to renew the loan.

So, what did I think of Vikki Wakefield's opus? Well, it was very literary, which probably means it has won. I felt that while I got the whole "heroine develops and grows as a human being" thing, it wasn't really the kind of book I'd normally read. YA fiction is the only area in which I'll read straight contemporary fiction, though I prefer it when it's funny. But funny doesn't win awards. Really. I remember Geoffrey McSkimming complaining about that at a library conference once. I guess he'll just have to comfort himself that the kids read his books.

There were some bits in it I appreciated. I liked the whale rescue scene, although it was really only there to tell us something about the heroine, Jack - and about her mother. I appreciated the whole notion of the Mobius strip town actually called Mobius which nobody ever really leaves. Mind you, there's the ending, but I won't tell you because of spoilers. I quite liked the wisdom of older female mentors, though they didn't take on that role till late in the novel. Before that, we only saw them through Jack's eyes, and I was surprised when they suddenly appeared in a different light to her. Her growth, I suppose. I very much liked the drive-in cinema which Jack and two others are trying to restore, though I don't know how you can show a movie on the big screen using videotapes. There must be some tech stuff I've missed. If the author meant "film reels" - logical, as it turns out the owner used to own the drive-in - she never said that. She said "tapes."

But the whole idea of getting a drive-in going again is very cool.

It's not an easy book to read; it took me a couple of weeks and I'm a fast reader. As far as the kids are concerned, it will take very good readers to enjoy it. Not a book for the reluctant reader or even the average reader. It's one you have to think about as you read.

And I suspect some schools will get class sets and make this a class text, because there's a lot of material for discussion.

Now I'm going to look up the winners of this year's CBCA Awards. I'll post about that later.

Thursday, August 18, 2016

Look What I just Bought! The Second Gisburne Novel!


And here it is, complete with deleted scenes. I read and reviewed the first novel, Knight Of Shadows, a couple of years ago

Now the author, Toby Venables, has been interviewed on the Modern Medievalists blog and I learned that there was a second one, so I wandered over to iBooks and bought it. The annoying thing is, the omnibus with both books was cheaper than just this one, but I already had it and this does have those deleted scenes, just like on a DVD...

If you didn't read my first post, just follow the link above. This Gisburne is not a villain or even an anti-hero, he is just the good guy of the novel and he's very much James Bond, with Prince John as M. There's even a Q character! And Robin Hood is the Joker from Batman, as the author says. Not at all a nice man. 

I loved the first book and as Gisburne was wearing a leather coat(just like in the ballads) I imagined him as Richard Armitage. 

If you want a medieval novel with a difference, get them both!

Wednesday, August 17, 2016

Another Fannish Funeral: Elley Hamlyn-Harris


There are too many fannish funerals these days. Way too many!

This morning I attended the funeral of my old friend Elley Michaelson, married name Hamlyn-Harris, who passed away last week of cancer. I admit I hadn't seen her in years, and her sons had grown from little boys in primary school to young men since I saw them last. But that's life for you. Once she was married and moving around I only saw her at the occasional party.

Still, I felt that I ought to go, because I had enjoyed her hospitality many times in my early years of fandom, including birthday celebrations, mine and others'. Her home in Port Melbourne was our clubhouse, when I was in Austrek. I went there often in Friday nights, long before Friday became my family's gathering night. We watched Star Trek and some episodes of Dr Who. I tended to doze off after a long day at work. I missed most of the first episode of Blake's 7, of which we all later became great fans, but what I did see was in Elley's living-room. 

I remember how everyone used to dance the Time Warp around her tiny living room and have to work to make sure they didn't step on each other's toes. I remember going out for fish and chips to curl up on the couch with. 

And I remember Elley, large and jolly and hospitable. She will be much missed. 

I took the day off work and went to St Peter and Paul's Catholic Church in South Melbourne, a large, beautiful old church surrounded by gardens, where Elley had her confirmation many years ago. There, I met my friends who had known her. I only knew about it because someone had sent me a text message; I believe it was on Facebook, but I don't have an account and refuse to get one as long as I'm a teacher and have three blogs and a Twitter account; it's more than enough. But fandom is a great tree; when one knows, it's passed on and in a short time everyone knows. That's how I knew to go to some other fannish farewells. Once it was by email. When I mentioned it to some students sitting near me in the computer room, they were shocked that I'd heard by email instead of by phone. But it was the best way for that event; it meant that the emailer could contact a lot of people at once and we could contact anyone she might have forgotten. 

Fandom is still around, but we're an older generation. There was no Internet in those days and if you wanted to make a phone call it was landline. No mobiles! Fanzines? Printed, not online. I remember going to Star Trek marathons, where they were laid out on tables for sale. Then we'd all curl up at home or at our "clubhouse" and share them, along with the catalogues from Lincoln Enterprises, which sold posters, badges, photos and knock-knacks connected with Star Trek, and send in joint orders. And then distribute the goodies when they arrived...

Now? You just go online, whip out your credit card and order what you want from a website that sells it. Fan fiction is freely available online, in whichever universe you like, and artists can upload their work for everyone to admire. Mind you, when we were getting printed fanzines, there was a filter via the editor, meaning  a better chance of reading decent quality fiction; online you just have to take your chances. 

There  are fan-made films on YouTube, some of them with members of the original cast joining in the fun. And we can not only communicate by smart phone, we can do it the way they did in Star Trek, seeing each other's faces! Wonderful! 

Elley certainly thought so. Among the pictures shown at her funeral were some of her on her laptop, merrily going on the WWW. I think we all get more out of the Internet than the "digital natives" who have never known what it was like before. We appreciate it more, instead of taking it for granted. 

Speaking of the younger generation, most of the faces I saw today were my own age, but some brought their children, young men and women now, including my friend Greg, who brought his children Sean and Mary, whose births I remember. Now Sean is about to start life as a student counsellor and Mary, always the artist, is at uni, studying games creation. They knew Elley, though.  Their parents never lost contact, unlike me. 

Elley's son Freddy told me, after the service, over tea and cake, that his mother had inspired him to have his friends over regularly, though he always asks them to bring a plate! He also mentioned tat when they were looking for photos to use, he found the picture of her with Star Trek actor George Takei, so that now he can believe she actually met him.

"Oh, yes," I assured him, "she met him all right! I was there." It was at a con in Sydney, where we all shared a room, because fans did that in those days. We had very little money. I'm sure the hotel staff were suspicious, but they didn't check on us - and we were a lot quieter and better-behaved than, say, businessmen there for a conference. But, as I told Freddy, it was a case of whoever got there in time to use the bed. The rest of us slept in sleeping-bags on the floor. One of us - not Elley, but someone among the fifteen - persuaded George to come along to a room party, where he asked us to sing "Waltzing Matilda" but we had to keep stopping to explain, because the song sounds like another language if you don't know  Australian English. A very nice man, by the way. 

I could go on for thousands more words with the memories, but enough. To her family, I say, "Long life!" as we do after Jewish funerals. And "Peace and long life", as the Vulcans do. 

Another part of my life has fallen away, alas! But the memories will stay. 

Monday, August 15, 2016

ANOTHER Ben-Hur Movie!

Silent movie version. Public Domain.


I stumbled across the trailer when I was reading a newspaper article on-line - about Donald Trump, of all things! It was the advertising added to the video footage about Trump.

I never thought it could be done, considering how expensive the first one was, but ... I guess that in this day and age, you can do an awful lot with CGI, making it less expensive.

The movie hasn't had much of a rating in IMDB, but how can I let it go, when it comes out?

I've seen the original, made in 1907, one day in the city. It was Easter and they showed the 1907 version, the 1925 version and the chariot race from the Charlton Heston version.

The original movie was only ten minutes long. I vaguely recall, it had a cast of dozens and ended with the (two-chariot) chariot race. It's actually played a part in history by having gotten its makers into trouble for copyright breach,  so they created a law to make sure it didn't happen again.

And it was hilarious, by our standards. I don't know if it's on YouTube, but worth looking.

The 1925 version, with Ramon Navarro, was actually not bad. I think it went for about two hours, quite impressive for that day and age.

Francis X Bushman played Messala. I read somewhere that he went for advice to Will S Hart, who'd played the role in the Broadway play(and who later became a well-known cowboy star in silent movies). Hart advised him to take the role, saying something along the lines of, "It's the best part in the play! They made me play Ben-Hur once and it made me sick - I couldn't wait to get back to playing Messala again!"

Carmel Myers, who played the vamp, Iras the Egyptian(left out of the later movie) was a rabbi's daughter. Iras is the daughter of Balthasar, one of the Three Wise Men. He has come back looking for the child he once gave presents in that stable, and brought his daughter with him. She falls in love with Messala, abandons her Dad and later regrets her choice.

I remember that from the book, which I read as a child, because it had all that spectacle in it and lots of horses and I was, after all, a little girl longing for a pony... In the novel, as I recall, Ben-Hur's chariot team were bays, not white. But white does look more spectacular in a film - wonder what they'll do in this version? From the looks of the trailer they may be white again, or maybe dapple-grey?

The 1950s version was amazingly beautiful to watch, and that chariot race was breathtaking. It's also the version where, so we heard in The Celluloid Closet, Stephen Boyd, the Irish actor playing Messala, asked how he should handle the scene where he and Ben-Hur first meet again after all those years and was told, "Play it like he's your lover - but don't tell Chuck!"

Is it apocryphal? I don't know, but it makes a good story, and it was told in the film by one of the script-writers. And every time I've watched that scene again, I can't help noticing it - Stephen Boyd really does look as if he's gazing at his lover!

The thing is, I had been enjoying it for the spectacle and for the distinguished cast members such as Jack Hawkins and Frank Thring. Sorry, I know he got an Oscar for the lead role, but Charlton Heston, in my opinion, was very pretty, but not the best actor in the world. His Moses was just as awful. Just my personal opinion, so please, any Heston fans out there, don't kill me! But oh, he was pretty! In all fairness, the lines he got were not that good; he actually did well in Planet Of The Apes, where he had a decent script. And yes, he did make quite a good Michelangelo in The Agony And The Ecstasy, although I'm remembering it from a long time ago.

I went to see the movie one day at the wonderful Astor Cinema, which has the biggest screen in Victoria, and took along my friend Bart, a Catholic, who had never seen it before. Afterwards, discussing it with him, I realised that in his eyes, it was just a Sunday school lesson, not one of the great epics of cinema history.

It hasn't had quite the same feel for me ever since.

The novel was indeed a Sunday school story.  I think it could probably do with some pruning, beginning with the opening scene, where the shepherds see a great light, etc. and the Wise Men come along looking for that stable. It began with a long description of the territory where the shepherds were watching their flocks by night, then the shepherds themselves, then the Wise Men's camels...

It was also interesting in that it's the first time I read the word "voluptuous" applied to a young man, Ben-Hur as a teenager (oh, yes, in the novel he and Messala were teenagers in the early chapters). I asked my English teacher the meaning of the word and she described it as being big, perhaps a little bit too big, ie overweight. So I tend to snicker when slush stories I read describe a character as being "slim but voluptuous."

Nevertheless, it does have a lot of dramatic set pieces. There's the fight at sea. The chariot race. The drama of the Crucifixion. Even reading it, I could almost hear the music, see the crowds...

Hey, I was a child who loved ancient history - anything to read a historical novel!

Just saying, by the way, there weren't any galley slaves in ancient Rome - as I discovered in my reading. The rowers were free sailors, though one of the lower ranks in the Roman navy.

So much for one of the most famous scenes in Ben-Hur!

Ah, well, I guess I'll go see the new one anyway. Morgan Freeman plays Sheik Ilderim and I gather he gets to do a lot more than Hugh Griffith did in the Heston version, though guess what? He got Best Supporting Actor in the Oscars that year and he was delightful in the role. But if Morgan Freeman is playing it, it's going to be dignified, as the trailer seems to suggest. Anything with Morgan Freeman!

I'll see if I can get someone other than Bart to come along, unless, as usual, he's read some interesting things about it. I couldn't put him through another Sunday school story.

Anyone else thinking of going?