Wednesday, September 13, 2017

Happy 150th Island Magazine

Sesquicentenary roll your tongues around that fine word for a moment Sesquicentenary.


It is Island magazine’s sesquicentenarial edition this season, it’s 150th. A significant issue to mark a magazine that began its life as The Tasmanian Review in June 1979. It includes the work of Andrew Sant, one of the magazine’s first editors as well as work from Cassandra Pybus who was editor in the early 1990s, her tenure not without controversy and one that still has tendrils in our literary community today.
Island has seen the first published works of many of the country’s most respected writers, indeed many who have graced the contents have been recognised internationally.
It has been an early publication outlet for figures in our broader literary community, including Amanda Lohrey, James Boyce and Richard Flanagan. Recent publications have seen work from Susie Greenhill, winner of the Richell Prize for Emerging Writers and Robbie Arnott, who has recently signed a contract for a novel with Text.
The first issue states that the two criteria which determine the selection of material are “excellence and variety” and these factors remain the same after nearly forty years of publishing. Issue one includes an essay about ‘Creativity and the Australian Media’ by Michael Denholm, one of the founders, whose work today on Tasmanian literary history will become an important resource for us all in future.
In contrast to the purely black and white first edition, and though the magazine has existed in many forms, for decades under the wise design eye of Lynda Warner, the magazine now sits comfortably alongside stylish design magazines, and it wears its arts on its sleeve.
150 features the endlessly fascinating and arcane work of Tricky Walsh and I’m so glad that we, the reader can experience her Tiefenzeit in a form different than on the gallery walls. There is fiction from Amanda Lohrey, who has been involved with the publication to varying degrees from day one. As also from day one, there are topical essays, 150 featuring work from Behrouz Boochani, ‘Chanting of Crickets, Ceremonies of Cruelty’. Berhrouz is a Kurdish-Iranian journalist and he is detained on Manus Island.
My favourite edition is issue 63. Mainly because of the perfect incongruity of the cover image, It is a photo of Michael Mansell, Tasmanian Aboriginal Activist, meeting the Queen. Inside Henry Reynolds interviews Mansell, alongside an essay by Richard Flanagan ‘The Stars and the Mountain’ and poetry from Tony Birch ‘Ladies’ Lounge’.
The other edition I adore is 125, featuring the painting ‘The Collector’ by Geoff Dyer of David Walsh, standing bloody and indignant, flanked by slabs of meat from one of the works in his collection. This edition was produced under the astute eye of Sarah Kanowski, who suffered the indignity, new in her tenure, to have lost funding from Arts Tasmania, though a keen and aware rallying from literary community around Australia afforded the magazine continued life. It was beautiful to see that support rising loudly, from day one.
A recent initiative of the magazine has been a wise partnership with Chatter Matters, opening, acknowledging and working with our state of illiteracy, to celebrate reading and writing in all its forms. Island is a beautiful, relevant and crucial publication and while I’ll toast the
sesquicentenary, I’d also like to toast the tercentenary:quinquennial and the quatercentenary. Oh such lovely words.

Friday, September 1, 2017

Paige Turner September

Let’s pay some homage to our most trusted reading friends, those who are able to suggest the perfect book for our own unique reading requirements, those who intimately understand what we like to read and even more importantly, why you like to read. And let’s be honest, there are not many of those kind of friends around. There are other ways in to good books of course, a mention on the cover by a trusted writer, a review from someone who reviews with integrity – but recently there have been a spate of endorsements on covers by writers I have a lot of time for, but they are endorsing vapid crap. I wonder if they get paid for an endorsement and whether or not they do I call on them to have more integrity.

September in Tasmania is full of excellent ways to celebrate the written word. To begin with, it is the sesquicentennial of Island magazine (this means they are publishing their 150th edition this month). In a state with such low literacy, that there has been such a sustained celebration of the written word is to be celebrated loudly.


Cassandra Pybus, a former editor of Island, who is also featured in the latest edition of the magazine, and indeed who edited it for a rather controversial time has recently been included in the Griffith Review Novella Project V, which also includes Krissy Kneen, Chris Somerville and Frank Moorhouse.

Kickstart Arts are running their diverse Creative Exchange and one particular event that has made me curious is the Celtic History Studies with Kristen Erskine. The first session is on September 24th and more information can be found here.

There are a wonderful array of book launches and events happening around the state, Fullers, as ever has a rich events program and I’m looking forward to being in conversation with Jock Serong about his new book On the Java Range on September 8. They will also be hosting Cazaly, the Legend by Robert Allen on September 21st and that’s surelytime for us all to break out the song voce magna. 

On Saturday, September 2, Fullers will host the first of the Chatter Matters Children’s Reading Series, with speech pathologist, ‘courage facilitator’ and 2017 Tasmanian Australian of the year, Rosie Martin. Storytelling sessions with the aim of helping kids develop language and communication skills. For more information about the above events click here.

The Tasmanian Writers and Readers Festival is running between 14-17 of September and features some interesting looking panels and workshops. Guests include Omar Sakr, one of the most exciting poets on the ground in Australia, and writer and feminist Clementine Ford,– eloquent, considered and smart. Alongside the program of speakers, the festival is also offering a series of workshops including one with Maria Tumarkin, whose collection of essays, Courage, I adore.


The festival has some gems on the menu, though it is very safe programming, especially when you look at the diversity at recent mainland festivals. The Writers Centre did not receive any funding during Arts Tasmania’s latest round. I hope this challenge offers the centre an opportunity for introspection and to revivify and diversify. I would love to see the Centre as a hub that truly celebrates literature and literacy across the board, and to advocate for the burgeoning and exciting literary communities in Tasmania. I must state I was a peer assessor though had no part in the final funding decision and the above information is in the public domain. 

Hobart Bookshop is also hosting some good looking events in September, including the launch of Margaret Lea Wallace’s Bruny Island Bounty on Thursday 21st at 5.30. This will be launched by Pete Hay and is a book that will take you on a journey around the island to experience dynamic land, sea and skyscapes, and abundant wildlife with every species of bird endemic to Tasmania. 

Hobart Bookshop is hosting the double launch of Jane William’s new poetry collection Parts of the Main, along with Ian Kennedy William’s short story collection Leaving the Comfort Zone, on September 7. http://www.hobartbookshop.com.au/upcoming/

On September 2, 3pm at the Moonah Arts Centre, a new book called Badgers and Porcupines is being launched. This is a collection of stories and art from people living with younger onset dementia - and it is gorgeous. I may be biased as I've been working as a Writer in Residence with Alzheimer's Tasmania. This is an event open to the public, there will be readings, wine and cheese and the official launch done by the Honorable Elise Archer, speaker in the House of Assembly. 

 

Up North at Haus Creative there is a Q&A for Jo Green's S^ORD on September 9th at 2pm. For further information check out Haus Creative on Facebook.

Christine Matheson Green is launching her book Theatre Of War. With 10 restaurants and 2 cooking schools behind her, Christine shares the trials and despair of being a female boss in a man’s world. She fed celebrities and crime lords, and it was a risky, busy life. Check out justthesizzle.com

Forty South, as well as being the biggest publisher in Tasmania also publish Tasmania 40° South magazine and are generous to the literary community, running and auspicing various writers awards. They have recently announced the winner and finalists for the Tasmanian Writers' Prize 2017. The anthology will be launched by James Dryburgh at the Writers and Readers Festival at 4pm on Saturday 16th September at Hadleys. This is a free event and open to the public.

And, on September 1 the beautiful Wild IslandGallery will host the launch of the book pictured here, Magic Land, featuring images remastered, and many unseen for a long while, of one of the maestros of Tasmanian wilderness photographer, Peter Dombrovskis.

The wonderful 'All That We Are' crew are hosting a workshop for parents, teachers, and anyone interested in giving children a voice in their world, to a range of simple strategies for creating artwork, supporting storytelling and straightforward ways of publishing the work of children. I love this for a lot of reasons - that it is about getting children publishing, that it celebrates reading and writing, and that it is a direct engagement with the community and getting people skilled up. More information can be found here.




Got some news for me? Drop me a line Racheledwards488@gmail.com

A version of this column also appeared in September Warp




Thursday, August 31, 2017

The Balfour Correspondent by James Dryburgh - review

In many places across our island there are towns and camps and dwellings that have sunk back into the earth, there are hut depressions and extant chimneys and, in some places arches that stand amongst newer saplings of eucalypts. There are middens and daffodils, patches of naked ladies and arum lilies, and there are gravestones that have been swallowed by bush and eroded by waves.

Balfour is one of those places, now almost folded completely back into the damp bush from whence it rose, another lost, another vanished mining town in the northwest of the state. It is also one that we can celebrate again, or at least get a sense of what it was like, with the publication of this beautiful new book, The Balfour Correspondent by James Dryburgh.

Dryburgh, who is best known for his informed and well written, often political essays ‘found’ Sylvia McArthur in her letters to The Weekly Courier, which she wrote early last century. She wrote six letters, and then she died a few days after her 15th birthday, most likely of typhoid. She was buried in Balfour, where her grave still stands amongst the encroaching bush today.
Even in her scant correspondence we can read her vivacious, genuinely friendly and curious spirit. The structure of the book is primarily a correspondence between then and now, with Dryburgh writing back through the ages, addressing Sylvia and her long lost town. Sylvia was 14 when she moved with her family to Balfour, her first letter describes the lengthy and convoluted journey her family made to get to Balfour, which is described as “new, wet, rude and remote,” by Dryburgh.

Sylvia, like many people of her day (early in the 1900s) read the children’s pages, or the ‘Young Folks’ pages of Launceston’s Weekly Courier, and indeed she wrote in to the paper becoming known as the eponymous Balfour correspondent, just as other children around the nascent state did. She recounted in a lovely unassuming manner her daily life in the town, her trip down the mine her father worked in, her naughty little brother and even, delightfully, what books she was reading.

The book design is also gorgeous. A slim red hardcover, with a painting of a young girl by Barbie Kjar on the cover, which revealed itself to be eerily reminiscent of Sylvia herself, but only after completion of the painting, and a photo of the girl herself was unearthed. The hardcover adds a fine heft to the beauty of this publication, as do the inclusion of maps from the time, and some lovely line drawings by Rachel Tribout. The book even contains photographs of Sylvia that she has written about her in correspondence.

Despite the fact that it is made clear from the outset that Sylvia died young, I was still crying by the end. There is something delicate and simple about the premise of the book, and it is a reminder of our impermanence. Dryburgh handles her life with sensitivity and I recalled the line from Blake “to see a world in a grain of sand and a heaven in a wild flower,” in so far as the simple correspondence between a man in 2017, and a girl who died in 1912 has afforded us a greater insight into the human condition.

This is a book that is published by the Bob Brown Foundation, and all profits are returned to the foundation. As Bob writes in his introduction “His (Dryburgh’s) empathy for the beauty and tragedy of Sylvia’s life is her redemption”. It is true, it is her redemption, and our gain. I challenge anyone to not be moved by this exquisite tome.


Wednesday, August 16, 2017

A short piece on publishing in Tasmania

A long time ago I picked up a copy of Christopher Koch’s award winning novel The Doubleman from my parent’s shelves. It was the first time I had read about Tasmania in a book for adults, and it shifted everything for me. The place became imbued with more magic, more story and more depth, it allowed me to better understand the community I had grown up in. It didn’t stop me fleeing the island at the age of 18 though, for what I thought would be juicier territories. They were juicy, though I’m glad, that when I crawled home with a broken heart, for what I thought would be a mere pit stop, I stayed.
Christopher Koch is heir to a long line of writers hailing from Tasmania. In fact, the longest in Australia. Henry Savery, a fascinating character transported to Van Diemen’s Land for forgery, wrote the first novel in the federation. Quintus Servinton is a rather stodgy, thinly veiled autobiographic work. The first novel written by a woman in Australia, Mary Grimstone’s Woman’s Love also was penned here. There are 40 000 years of stories that precede them; stories of our first inhabitants, written in stone, in country, in memory and in voice.
Tasmanian writing was not prolific in the early twentieth century, and as the state headed towards an economic downturn and only 50% literacy, a shocking figure that is true still today, many voices became disenfranchised and lost.
Publishers seemed to disappear too, but with the inception of Island magazine in 1979 (formerly The Tasmanian Review), the importance of local story, local content and local publishing became valued again. Island mainly published local work for local readers. Over the next three decades the purview of the magazine changed, but the value of publishing local work meant that a new generation of Tasmanian writers, many of whom are now recognized internationally (think Amanda Lohrey, Richard Flanagan, Peter Conrad, Carmel Bird, James Boyce, Pete Hay) had an outlet for their words and stories.
The arrival of Mona changed so much; including the way we see ourselves. Creatives, who have always existed on this island were all of a sudden in an international spotlight, and for many Tasmanian writers, came the realization that their work sat comfortably alongside its national and international partners.
‘Slush’ is the unfortunate term for unsolicited submissions sent to a publishing house. About five years ago I was wading through slush for Island on a flight home to Hobart on an autumn afternoon. It was a luminous afternoon, one where I could see the late afternoon light illuminating the Hazards. I was nonplussed; some stories were good, some mediocre, many bad. I read a story from a chap in London who had been emailing me for some time. It was so good I grasped the stranger next to me and gushed and blathered about this exceptional story. It was written by Tadgh Muller, of South London, formerly of Tasmania, son of Mrs Muller, who my mother taught with at a local school. That information came later. We began a correspondence and before we knew it, Transportation Press and a collaboration between Tasmanian writers and London writers was beginning, our first publication, Island and Cities, launched to a crowd of hundreds in Tasmania and a new publishing house, with a clear bias towards Tasmanian writing, with international collaborations was born.
Transportation Press published the next international collaboration, The Third Script, with exemplary short stories from Tasmania, alongside work from the UK, and writers from the cradle of civilization, from a literary culture thousands of years old, Iran. We are now placing ourselves firmly in an international space with our first competition, Smoke, a microfiction competition and are planning our third anthology, working with writers from Iran, Tasmania and the world’s biggest market for English language books, India. It’s an incredibly exhilarating space, a slow burn and an opportunity for Tasmanian writing to be shared around the world. It also gives Tasmanian writers the opportunity for creative partnerships around the world. Entries for Smoke close on April 30.
The ability to tell your story is crucial to an awareness of self and of community. To read stories is to foster empathy and understanding, to be entertained, transformed and transported. In a state that is finally, deservingly in the international spotlight, yet also a state with a two tiered economy and the shocking figure of 50% functional literacy, to have our stories told and the written word celebrated for all its glorious power is crucial. Transportationpress.net



Tuesday, August 15, 2017

Review: Seven Stories and Australia Day





These two books capture a profound diversity in contemporary Australian short story writing.
Seven Stories is a collection of new short stories from seven Tasmanian writers, published by the elusive Dewhurst Jennings Institute. The stories in Australia Day, by Melanie Cheng speak of a middle Australia told through slow burn suburban tales, an examination of some quiet lives in contemporary Melbourne. The Seven Stories, by contrast are set around the world, the seven writers similar only by dint of being Tasmanian.
The stories included in Seven Stories vary distinctly in voice and style and they roam widely. Some are experimental, some blunt, some beautiful. This is writing from a vastly different island than the one Peter Conrad fled with such critical alacrity in 1968 and this collection celebrates a strong and active writing community. This is modern Tasmania, there are no hackneyed representations of the deepest wilderness, no fetishisation of the wild gothic island. These have long been traits in work coming from Tasmania, with the landscape as a character itself. Next to the realism of Cheng’s dusty suburbs, Seven Stories is effulgent. It also contains some of the most exhilarating voices in contemporary literature in Australia. Without exception these stories transcend the fads and fashions of Australian literature, which, from an island perspective can seem like a banal Sydney-Melbourne banter. Seven Stories houses the genius brigade of writing in Tasmania.
Cheng, on the other hand, offers up the unrelenting burbs. She cracks open the characters of people living undramatic lives. She teases out the ramifications and ripples emanating from all sizes of decisions. It is Cheng’s attention to detail that carry these stories, along with the occasional fine turn of phrase, robust dialogue and reasonably developed characters. While Seven Stories has a lushness, this collection is all suburban aridity.

Australia Day contains some marvelous dexterity with language and a deft use of description – the unease felt about “wads of dollars pressed deep into waiting palms,” or “Celtic skin-papery stiff destined to sprout cancers like tiny horns,” or the expression, “the computer expires with a melodious sigh,” are perfect. The very human manifestation of grief in the story Things That Grow is delicately drawn. It’s about a recently bereaved widow who discovers herself pregnant and it is a visceral description of the experience of loss. The character has withdrawn from the world, from her family, she is carrying the feeling that death often brings to the living; one of purposelessness.

Cheng’s realism and straightforward prose also reveal the ugliness and crassness of Australian behaviour, and so much of what the expression ‘Australia Day’ increasingly, and ironically, connotes- a racism. Racism shoots through these stories casually and sharply. In the eponymous story, Australia Day, like a dog snarling in the background, racism hovers throughout. The new boyfriend, who is Chinese, taken to the family farm in the conservative rural hinterland. It is a not a subtle account, and the small minded values couched in a rough humour and gruff fa├žades are a familiar presence in many Australian towns.

Muse, which was included in Earthly Delights, Griffith Review’s Novella Project IV, is the best story in the collection. It is a gentle depiction of aging, and loss, the latter a recurring theme. These characters are wonderfully human, and the story beautifully carved, it is also a gentle depiction of a sweet sexual reawakening of an old man. It is also considerably longer than the others, and has more satisfying character development.
The subject matter and styles included in Seven Stories vary wildly. The Shy Birds by Emma L Waters exhibits an acute suspenseful realism in which she takes the reader alongside a couple walking on an East Coast beach. They meet an old fellow who offers to show them a nest, a beautiful nest. Is he genuinely friendly, or malevolent? The tension ebbs and flows with a perfect foreshadowing from the sound of gunshots (unrelated), and the nervous “pip-pipping” of the black and white birds.

Susie Greenhill was awarded the 2016 Richell Prize for her manuscript, The Clinking. She is back with her delicate prose, this time in a story that speaks of love and loss in a European war zone. If that seems like too big a theme for a short story, Greenhill’s increasingly deft hands handle these big subjects confidently and with beautiful use of language, especially when describing the sea and water ways. The Chaos of Life Beyond Death in the Outback by Adam Ouston is a rambunctious and exhilarating story of a man hitchhiking in the Outback, picked up by a zombie film making crew, who he eventually murders. Both Tasmanian stories, with nary a mention of horizontal scrub.

Also included is Michael Blake’s ‘Donny and Bucket on the Treeless Plain’ which completes the anthology. It is about two teenage boys making the break from their home town Ceduna, making a run for it. It is a liminal story, one that does not cover a journey, but a decision. Completing the seven are Ruairi Murphy, Robbie Arnott, who won the Scribe Non Fiction Prize 2014 and Ben Walter, an increasingly recognised writer of poetry and prose, as well as the editor of this collection, and the brains behind the Dewhurst Jennings Institute. The institute consisted of occasional gatherings of writers to share ideas. Invitations were by postcard only.
Different parts of the short story spectrum are represented by these two collections. Cheng’s Australia Day, with its clear, sometimes crystalline prose offers up the mundane and the middlebrow, which is not always a bad thing. The stories are tightly constructed with the company of some well drawn characters, but they are all in the same key.
Seven Stories, was called by Richard Flanagan at the recent Tasmanian launch “a significant book in Tasmanian letters”. This understates the importance of these writers in the national short story conversation. At least three of these writers have novels with major Australian publishers. This is a pivotal moment in Tasmanian letters.




Wednesday, August 9, 2017

Open Letter to the Tasmanian Premier; Reconciling takayna

The Honourable Will Hodgman
Hon Will Hodgman,
Premier of Tasmania and Minister for Aboriginal Affairs,
Parliament House,
Hobart 7000.                                                                                                                                                                                                                                                                                                                       9 August 2017
  
Dear Premier,

We the undersigned are Tasmanian writers, historians and publishers, with works drawing on Tasmania’s past, present and sense of place.

As non-Aboriginal people, we unconditionally support steps to progress reconciliation with Aboriginal Tasmania. While some of us have direct ancestral links to figures and families involved in the colonisation of Tasmania, we all feel the heavy weight of this history, how it was told and its ongoing impact on a proud and independent people.

Tasmania’s Aboriginal people, the Palawa, have lived here since time began. Their culture, community and connection to Country lives on despite the dispossession and injustice inflicted.

Injustice continues to this day, making the task of reconciliation multi-layered and urgent. Reconciliation is more than atonement for the past. Reconciliation requires action, equality, respect, celebration and support for Aboriginal people and their heritage, today.

Reconciliation requires leadership.

Reconciliation requires good faith.

Premier, the takayna/Tarkine is Aboriginal land. It displays some of the most powerful and precious sites of Aboriginal heritage significance and is an Aboriginal cultural landscape, a direct link to Palawa ancestors. This tangible link to one of the planet’s most ancient cultures merits a formalised level of official recognition and Aboriginal involvement, far beyond that which currently applies. Land justice is central to reconciliation.

Your intention to expand 4WD access across the takayna Aboriginal cultural landscape is entirely inconsistent with a good faith attempt to progress reconciliation.

It will be impossible for you to move beyond statements of intent, whilst the Government you lead continues to impose one culture over another, remains deaf to the wishes of the Aboriginal community and pushes for increased vehicle access across a sacred land.

In the interests of reconciliation, unity, equality and respect, we urge you to withdraw your plan to expand 4WD access on the takayna coast. In its place, take steps to properly protect this landscape through collaboration, cooperation and land justice.

By doing so, you will create a platform of trust and credibility upon which to build the reconciliation all Tasmanians want you to achieve.

Yours sincerely,

Pete Hay
Rachel Edwards
James Boyce
Lyndall Ryan
Heather Rose
Don Knowler
Henry Reynolds
Bob Brown AM
Bert Spinks
Clive Tilsley
Hamish Maxwell-Stewart
Alison Alexander
Nick Brodie
Kristyn Harman
Jesse Shipway
Danielle Wood
Susie Greenhill
Geoff Law AM
James Dryburgh
Katherine Scholes
Stephenie Cahalan
Amanda Lohrey
Andrew Lohrey
Lindsay Tuffin
Rachel Leary
Chris Champion
Lucinda Sharp
Jamie Kirkpatrick AM
John Biggs
Rees Campbell
Ralph Wessman
Adam Ouston
Rohan Wilson
Scott Millwood
Tim Thorne
Gina Mercer
Sarah Day
Rachael Treasure

Thursday, July 27, 2017

Paige Turner - August

Rug up your heads, there still many reasons to head out into the world of books and writing, even as we wade through the dankest Winter. First up some good news. Ben Walter, writer of the lyric, poet and editor Seven Stories from the Dewhurst Jennings Institute, has been longlisted for The Lifted Brow & RMIT non/fictionLab Prize for Experimental Nonfiction for his work ‘Atlantic Minor’. The Experimental Nonfiction Prize seeks to ‘unearth new, audacious, authentic and/or inauthentic voices’ from Australia and around the world. Almost 300 entries were received for the award. For more information about the award, click here. Announced September, in the next edition of the mag.

Hobart Bookshop is having short break from hosting events in August and Fullers’ event program is not as crazy busy as it has been. They are seeing the return visit of Roshi Susan Murphy who. There is a sense of fearless learning and fearless wisdom about this woman. She’ll be there on the 7th August discussing her book Red Thread Zen: Humanly entangled in emptiness. On the following day Jock Serong will be discussing his new book On the Java Ridge. I really enjoyed his thriller Quota which was set in coastal town Vic and had elements of Peter Temple.

Important reading material announcement. The Van Diemonian War by Nick Brodie is being launched at Fullers on August 3. I’ll be in conversation with Nick about this book which brings to light an important new perspective on this history of Tasmania and one that goes where no one seems to have gone in the archives, places that have revealed active warfare, alongside details of campaigns and tactics. Nick’s research and work is increasingly recognised and the man can put a tale together too.

The Society of Women Writers, who meet on the first Monday of each month at the Launceston State Library are running two competitions at the moment, one for poetry and one for short stories. Either 40 lines or between 1200- 1500 words and each of them on the theme ‘journeys’. To check the details and whether it’s a poem or story of 1500 words they seek head over to their website.

It’s kind of freaky to think that there has only been one book published on radical skater girls but apparently It’s Not About Pretty by ex-professional skateboarder Cindy Whitehead is it. Skate legend Jimmy, of Jimmy’s Skate and Street has just exclusively imported the book which is in stock now at the Hobart store.

On August 13 in Spreyton in the NW, poet Kristen Lang is launching her collection, SkinNotes, poems about family, love and being human, at Hans Vonk Music House at 2pm. There will be a short workshop after the launch. Please contact kristenjanelang @ gmail for more details.

At Private in Moonah, Sydney based artist MP Hopkins’ Collusion Personnel will bring together a number of text works. Using video, sound, drawing, objects and photography Hopkins rejigs, redacts and refocuses the language of social media, politics and advertising in odd ways; political rhetoric is refashioned into dissenting anagrams; targeted advertising is lampooned through altered, out of date fax offers; and the conflicted nature of social media postings are dissolved via a video poem that absorbs the inconsistencies into a chalky abyss. In conjunction with the exhibition Hopkins will launch a new book of poetry Upright in the Field published by Sydney based imprint Ruin Press. http://shop.ruinpress.com/ A reading from the book will occur at the opening of the exhibition. From 4pm, August 5. PS can you tell I didn’t write that blurb? Phew. Looking forward to checking it out.

Smoke One, a collection of international microfiction from Transportation Press was launched last month, a glorious intimate event in the swarthy surrounds of Hobart’s Quartermasters. The collection, which includes work from notable Tasmanian writers alongside randoms and respecteds from the mainland and around the world, is bound loose leaf a story a page is available via their website.  All profits go back the writers. (Full disclosure, as editor at Transportation Press I spent many administrative hours on this competition, filing stories and spreadsheets and personal thank yous, the like. We got over 100 entries and I thanked every single one personally. We are mostly very polite). We are also delighted to be bringing the comp back again next year, again with the support of Fullers Bookshop.

The Story Island Project is exhibiting the outcome of their lovely, slow burn gathering of history, Stories of the Brooker Highway. These stories have been collected from and created by communities across Hobart’s northern suburbs during early 2017 and include creative works by students attending schools located along the Brooker Highway itself. Stories of the Brooker Highway will be launched by Eileen Brooker at 1pm on Thursday 24 August at the Moonah Arts Centre. The launch will feature readings and reflections by author Danielle Wood and students from local schools. The exhibition continues until 16 September. The exhibition has been devised by The Story Island Project, a non-profit organisation based in Hobart's northern suburbs that is dedicated to supporting young people to improve their literacy skills through storytelling. I just can’t sing their praises enough.

On August 6th at the Republic Bar in North Hobart poets Anne Morgan and Heath Smith Freedman are the invited poets of the month's Republic Readings. This is a free event and also provides an open-mic opportunity for all you with a yen to read your poems to an audience.
Anne will also be reading at the Women's Poetry Oasis, Mathers House, Barrack Street in Hobart between 1.30 - 3.30pm on 17 August  and then host a hands on workshop where people can work together putting together fragments of poems to form a whole.

Cut Commons is running a competition for young writers who are interested in classic music journalism. More information can be found here. 

The Writers Centre are full steam a-festival-head though in August are still running the first Twitch event with new coordinator Cassandra, a workshop on blogging on August 8. Participants can apply for the opportunity to blog at festival. In exchange they would get free entry to a panel or forum and in return they would blog about it for the website. The Centre are also hosting a workshop with Anna Krien about environmental writing. Krien is author of the book Into The Woods, which provides an incisive character study of those involved in the Tasmanian forest wars during the time of the Flozza campaign, and most recently a Quarterly essay The Long Goodbye: coal, coral and Australia’s climate deadlock. More information for both of these events can be found here. 
Here is a podcast of an interview I did with her in 2010 when Into The Woods was released. beware! It starts off with her in the middle of answering an unknown question -

The State Cinema Bookshop is hosting Michael Holmes, author of Vanishing Towns, to launch his new book in the series. The launch will be on Aug 24th at 6pm and tickets are $5. Homes will be chatting with Warren Boyles, founding editor of Forty South. Check out the details here.
August 24th is also my little sister Pippy’s birthday HAPPY BIRTHDAY PIPS.

The Children’s Book Council of Tasmania are hosting a celebration dinner for the Book of the Year awards and the presentation of the Nan Chauncy award on 18 August at the Hobart Function Centre down at the docks in Hobart. Tickets are available here.

Poets and Painters is a wonderful partnering and in its most recent iteration, curators Carol Bett and Pete Hay teamed up with the Tasmanian Land Conservancy to host eighteen artists at the TLC’s Big Punchbowl Reserve on Tasmania’s east coast. This is the first time in the history of Poets and Painters that artists have been taken ‘on retreat’ into a natural area and the exhibition of the work will be on display at the Moonah Arts Centre until August 19. The accompanying book looks absolutely beautiful and will have a mainland celebration at the Melbourne Writers Festival in early September after its launch tomorrow night (Friday 28th July) at MAC.

Poet Musing, aka Stephen Johnstone is hosting Poetry, Music and You, a Suicide Prevention event in Launceston on August 6 at the Greenwood Bar. There will be poetry and music and plenty of resources from Beyond Blue. For event information check out Poet Musing on FB.
Beyond Blue.

Also up in Launceston, on August 16, at 1.15 (lunch 12.45) is a discussion about Dr Thomas Gunn’s book 366 Days in Tasmania. Gunn has also written From Reel to Disc, A History of the Launceston Film Society and he wrote entries for Alison Alexander’s pivotal The Companion to Tasmanian History which is still one of my favourite Tasmanian book covers (and the content is endlessly fascinating too). Launceston LINC.

On August 23rd at 7pm the Tasmanian Society of Editors, or the Society of Editors, Tasmania is hosting a panel discussion on ‘Plain language, writing for disability and related topics,’ at the Rosny LINC. Information can be found here.

Spaces on the Flit program are filling fast. If you’ve got something you’d like to share as part of this fringe lit festival happening 6-10 September, touch base before August 15.


If you’ve any news or questions drop me a line racheledwards488 @ gmail dot com

Tuesday, July 18, 2017

Review - The Memory of Genocide in Tasmania, scars on the archive by Jesse Shipway

The Memory of Genocide in Tasmania is a daunting, exhausting and devastating book that examines genocide and modernity and the attempt to desecrate Aboriginal culture in Tasmania. It looks at the delusions that have led generations of Tasmanians to consider that the palawa people were extinct and sharply interrogates how Tasmanians interpret the island and its myriad cultures.
The only thing this review can do though, is to skim the surface and to over-simplify the hard wrought arguments. This book, as a result of the dense academic language, is destined for a small readership. Despite that, it is an incredibly important book. It includes a consideration of Tasmania as a collective noun, a challenge to “imaginary imputations of islandness,’ and a thorough exploration of the theories of genocide. There are moments of deliciously acerbic turns of phrase and it is shot through with profoundly detailed analysis. It is often the most difficult books that afford us the most change.
Shipway questions why we believe we should have a history that we should feel good about, he names Tasmanians as having an “exorbitant frontier privilege,” an “unjustified belief in our own innocence,” and a “a schmaltzy fondness for cozy smallness”. There are close readings of Richard Flanagan’s novel Gould’s Book of Fish, which he slices through a Freudian filter, explaining how the novel echoes a move towards modernity. He challenges the notion of modernity as being endemic to larger, progressive cities and he closely examines the 1978 film, The Last Tasmanian. This is a film whose offense has rightly endured, as its conveys the archaic belief that there was no living aboriginal culture in Tasmania.
There is a rigorous intellectual debate around whether genocide occurred in Tasmania and much of this is around semantics and technical definitions. It is also the site of what appears to be an academic stoush, where Shipway takes on Henry Reynolds and Nicholas Clements and their interpretation of the history of this island and their claims that it was not genocide. While the extent of Reynold’s work is considered and lauded, there are some fairly acute barbs.
It is lamentable that we must have the conversations this book forces on us, though it is necessary. Tasmanians must face the past to move on, and face it with a fearless and honest desire to probe and question. I also lament that this book is so densely theoretical and at times, difficult to read, as it is seminal. While it may be an insult to the author, I sincerely hope he can bring these deeply considered and researched notions to a more general readership, with the same succulent writing that often shines through.

Tasmanians still have a long journey ahead in terms of true reconciliation, especially with the incumbent generations of leaders having grown up being fed misinformation by the education department, heirs to a lazy acceptance of the 18th century historians who presented the traditional owners as past, whereas the reality is they have been present on this island for around 2000 generations. 

The Memory of genocide in Tasmania, 1803 – 2013,
Scars on the Archive
Jesse Shipway
RRP $135
Palgrave Macmillan

Wednesday, June 28, 2017

Paige Turner - July

Lugubrious and lubricious are two wonderful words I’ve recently been rolling around my tongue. I set myself a challenge to include at least one in this month’s column and have exceeded even my own expectations and it is only the first paragraph. Auspicious.

Good things ahead include the Poets and Painters Exhibition which opens on July 18 at the Moonah Art Centre. Featuring nine poets paired with nine painters, this exhibition is part of a wonderful continuum in a long series of these creative fusions. I look forward to seeing and reading this work.

Adam Ouston was the judge of the inaugural Smoke international microfiction competition from Transportation Press. A collection of the winning work will be launched at Quartermasters Arms in Elizabeth St Hobart from 5.30 on July 19. Readings, and a chance to have a yarn with Transportation Press’ International Guard Tadgh Muller, meet the writers, the judge and me too, delight of delights that I am. Fullers Bookshop are the generous sponsors of Smoke. The stories will be printed on individual pieces of fine paper, available in bundles and by PDF, direct from the press.

The day after this, Ouston will be in conversation with Robert Dessaix at Fullers. They will be marking the launch of Dessaix’ reissued backlist. His books are a such a special treasure and while I’m yet to lay eyes on these editions I am sure they will be beautiful publications; it would be a waste otherwise. They will be
talking about each of Dessaix’ books, piecing together an overarching narrative of his work.

Australian Slam Poetry heats are au go go in July. Slamduggery is presenting "Words of Winter" on Tuesday 18th at the Oak in Launceston. Consider it a chance to warm your vocals and our cockles before the Tasmanian heats of the Australian Poetry Slam. The Launceston heat is on 1 August at the Oak, Hobart at World’s End on 8 August, Deloraine at the Empire on 16 August and Ulverstone on 11 August at The Gnomon Pavillion. Check them out on Facebook.
The final will be held at the Launceston Workers Club, 30th August. from 7pm.

Releasing the Genie is an anthology of erotic poetry edited by Marilyn Arnold and Evie Wood. It will be launched by Tasmanian author Robyn Friend at Petrarch's Bookshop, Launceston, on Friday 7th July. The poets will read from their work. Also at Petrarch’s, on July 6 is the launch of
Transported by Brian Harrison-Lever.

On July 8, Launceston based Poet Musing will be reading at MellowFest. Poet Musing, aka Stephen Johnstone is a mental health advocate and he is performing at 4.30pm that day,.
The illustrious Hobart Bookshop has two events lined up for July, firstly Monica McInerney, an event they are very excited about. This event will celebrate the release of her new book The Trip of a Lifetime. The second event is the launch of the effervescent Eugenia Williams’ The Stone Fiddler on 21st July.

Flit is a fringe literary fest with an open call happening in Hobart in September. Click here for more details 

The Society of Women Writers Tasmania presents The Robyn Mathison Poetry Prize 2017. With a first prize of $200.00, second of $50, and a variety of acknowledgment certificates up for grabs and a closing date of August 31, you still have time. It is open to all poets and more details can be found here.

Also up for grabs is the Margot Manchester Memorial Short Story Writing Award. This gets my prize for alliteration. These guys are seeking short stories between 1200- 1500 words in length, no theme with cash money up for grabs for the winning authors. This also closes on August 31st and more information is available here.

Lesley Harrison has launched her first book, Behind the Boomgate, which is about what it’s like to live in caravan parks. She utilised a broad range of sources when writing the book, ranging from doctorates on the subject, government reports as well as lived experience. Books can be purchased from Foot and Playsted and Petrarch's Bookshop or the author on lharriso2 at bigppond.com.

Award winning Tasmanian musician and writer Sofi Chapman's lesbian romance 'Untitled, or The Seat of Narcissa' returns to the stage for the celebrations of Melbourne’s legendary La Mama theatre's 50th birthday Mini-Fest Weds. 26-Fri 28 July at Carlton Courthouse, Melbourne.

The Tasmanian Writers’ Centre are soon to release the program for the Writers and Readers Festival in September, I am seriously tantalized. In July they are hosting an essay writing workshop with James Dryburgh. Creative Non Fiction and the Art of the Essay is happening on July 23rd.  Pictured is James' first book, Essays From Near and Far.

On July 24th, Seasonal Poets winter readings at Hadley’s will feature Louise Oxley, Pete Hay and Kristen Lang. More info here.

Tansy Rayner Roberts is offering writing workshops for kids during the school holidays at Kingston Linc (July 14, Exploring Fairyland & July 18, Hero Quest). More details on Tansy’s website

On Saturday 29th between 1-3pm, Poems for Peace will be read at Collins Bookshop, Launceston. This is part of the Tamar Valley Peace Festival

And that’s a lovely way to end this month’s column. Drop me a line Racheledwards488 at gmail.com


PS I think you should look at this artist. He is my cousin and I love him fiercely, and his work takes my breath away. Will Whitehouse.

Happy 150th Island Magazine

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