Books for adults

MAD, LOVELY VISITORS: NEW SHORT FICTION

by Irma
1 July 201430 May 2017

In the last couple of years I haven’t had much time for writing short fiction. I’ve been focussing on other writing projects and short stories have mostly been sidelined. As Lorrie Moore says, ‘a story can be like a mad, lovely visitor, with whom you spend a rather exciting weekend’, and I’ve missed that. But recently, in small pockets of space, I’ve been able to reengage with the form. This has led to my stories appearing in three very different publications, all of which I admire for different reasons. So as a way of celebrating my renewed love affair with the short story I thought I’d tell you about them.

First up is a story called ‘The Little Things’ which will be published in Australian Love Stories, an anthology edited by Cate Kennedy. I was most chuffed to have my work selected by Cate, one of Australia’s finest short story writers. I have long admired her work, have devoured everything she has written, and the comments she wrote about my story (coming as they did on the back of two rejection letters for other pieces) meant more to me than she could have known. If that wasn’t enough the publisher, Donna Ward, emailed me to say: ‘It [‘The Little Things’] was the first on the list Cate sent me and has coloured, favourably, my whole experience of the book, and of life, really.’ Is there any more a writer could possibly hope for?

Australian Love Stories is out in October and features writers like Jon Bauer, Tony Birch, Carmel Bird, Lisa Jacobson, and fellow Long Story Shorts author Leah Swann. Its companion volume, Australian Love Poetry, edited by Mark Tredinnick, did extremely well when it was released earlier this year, so I’m thrilled to be keeping such talented company in the short story volume.

The second story, ‘Travelling Left’, will appear in a new anthology, the Grapple Annual, which is aiming to carve out a niche and reputation much like the Sleepers Almanac. (Lovers of the short form will know how successful Sleepers Publishing’s annual Almanacs have become.) The Grapple Annual is the first publication for Grapple Publishing, a new independent publisher founded by Duncan Felton, who also happens to be one of the Scissors Paper Pen founders, a team that puts on a program of some of the most interesting and dynamic literary events around Canberra.

The Grapple Annual will feature a mix of poetry and fiction, both short and long. It’s often difficult to find a place for longer stories; literary competitions typically require 2-3000 words, and literary journals are similarly inclined. So I was pleased to discover that the Annual was accepting longer pieces because I’d just finished ‘Travelling Left’ (at 5000 words) and was wondering what to do with it. The Annual has a quirky premise—each story represents a date on the calendar and the Annual is aiming to eventually cover every day of the year. I’m glad to be a part of their inaugural line-up because with Felton at the helm I’d lay money the Annual will go gangbusters.

Finally to a story that has already hit the shelves in Meanjin (vol. 72, no. 1, 2014) called ‘The Company of Birds’. Meanjin is one of my favourite literary journals. I love what it does—the mix of essays, fiction, poetry, creative non-fiction, etc—as well as the design and feel of the publication. But it’s more than that. Meanjin was the first major literary journal to publish me. As one of Australia’s oldest and most revered literary journals, I felt I’d hit the jackpot. (I recall there was much celebratory champagne.) Back then Meanjin was publishing themed editions, and my story appeared in ‘Meanjin Does Drugs’. (One to make the parents proud.) Brett Whiteley, who was referenced in my story, ‘Great Pisses of Paris’, featured on the cover. (That story was subsequently included in my collection Two Steps Forward.) This time round Meanjin chose a Katsushika print to accompany ‘The Company of Birds’ without knowing how much I adore his work. Meanjin just gets me!

As for what these three stories are about you’ll have to read them for yourself and make up your own mind. The Meanjin issue is out now in print and also online, so if you fancy a squiz at ‘The Company of Birds’ click here. You’ll have to wait for the other two.

And here’s hoping I get more time this year with some other mad, lovely visitors.

ADELAIDE WRITERS’ WEEK, PART 3

by Irma
11 March 20142 July 2017

Yes, I’m still talking about Adelaide Writers’ Week! It was my first time there and I couldn’t possibly cram everything into one, or even two, posts. And I do want to talk about Richard Flanagan. I was ambivalent about attending his session. I have read and liked Flanagan’s work before but I had little interest in reading yet another war story. That is until I sat down and began listening to Flanagan. He read from The Narrow Road to the Deep North at the request of interviewer Steven Gale, while insisting that he loathes readings because as a listener he finds his ‘eyes rolling into the back of the head’. But both his readings and the story behind the book moved me profoundly. He was extremely likeable and funny, too. A knock-out combination in the eyes of any festival programmer.

Flanagan’s father worked on the Thai–Burma railway, or Death Railway as it was known, and spoke of his experiences to Flanagan as a child. The conditions were unfathomable. Flanagan took 12 years and five different versions to find the right way into the story he wanted to tell. During research for the novel Flanagan visited Japan and interviewed one of the cruellest and most notorious guards at his father’s camp, known as The Lizard. He asked Flanagan to pass on to his father that he ‘was sorry’. When Flanagan did so during a phone conversation, his father fell silent, then hung up. From that moment on he had no memory of his experiences during the war and Flanagan felt that The Lizard’s apology had in some way released his father. Months later the manuscript of The Narrow Road to the Deep North was finished and Flanagan bundled it off to his publisher. That very night his father died. Flanagan considers this more than a coincidence. I don’t recall feeling close to tears at a festival before, but Flanagan took me there.

Then during question time, an audience member posed a question about asylum seekers, prompted by Flanagan’s piece in the new Saturday Paper (do read it here). Flanagan recounted how The Lizard had explained that they felt no compassion for these skeletal Australian men crawling around in the mud because ‘they didn’t consider them to be human’. In a similar way, we treat asylum seekers as if they are somehow less than human. This is dangerous territory. Like Indigenous Australians who were, until 1967, classified as flora and fauna, or the Jews in Nazi Germany (and any number of other examples), when we lose compassion for our fellow humans we commit terrible crimes. As Flanagan said, ‘It is a wicked poison for society to drink…that says it is good to be cruel.’ At this point in time both sides of politics are justifying their right to be cruel. No humane society should allow it.

While some authors — like Flanagan — shone more than others, the Festival organisers curated, without exception, a bunch of articulate, thoughtful and confident writers (bearing in mind Helen Dunmore’s truism: ‘None of the authors I’ve met are ever as confident as they appear…They are always more vulnerable and uncertain’). In fact, one of the authors I went to see — who is an old hand at festivals and exuded great confidence on stage — apparently threw up before going on, so terrible were this author’s nerves. This is somehow comforting for the rest of us!

Unfortunately the chairs were not as consistent as the authors, ranging from exceptional to pretty ordinary. A good interviewer brings out the best in their panellists so that the session flows and the interchange of ideas opens out. A poor interviewer results in a disjointed and awkward experience that authors must make the best of. Just because an individual is well regarded in the literary community and has an interest in the subject matter or the authors in question does not necessarily mean they have the skill to successfully chair a panel. For me, the two best interviewers at this festival were Steven Gale and Jeff Sparrow. Both were knowledgeable and relaxed in a way that set the authors and the audience (equally as important) at ease. They had notes but they referred to them in an unobtrusive way, rather than reading questions out word for word. (Of course, there were other good interviewers, too, but these two chaired multiple sessions.) Interviewing is a skill that is often underestimated. Except, perhaps, by authors. As Richard Flanagan noted, ‘Authors rise or fall on the strength of their interviewer.’

There’s still so much I haven’t been able to cover in these posts. New Zealand author and Booker Prize-winner Eleanor Catton was brilliant, managing to display both great intellect and great warmth. She gave us a detailed and fascinating insight into the research and structure of The Luminaries. I simply must read it now.

I am a long-time fan of Mandy Sayer’s work and she was both candid and funny during her session about her third memoir, The Poet’s Wife, which details her abusive relationship with Pulitzer Prize-winning American poet Yusef Komunyakaa. That one is also on the list.

Rabih Alameddine and Alison Bechdel were a riotous combination. Alameddine’s story about how he killed his five imaginary friends in a car accident was one of the more bizarre and hilarious stories I’ve heard at a festival. And Jeet Thayil and Christos Tsiolkas were delightful, often disagreeing in the most amenable ways. (And can I just say that the festival wrap-up party was like a Christos fan club. He is just the most genuine and likeable guy and not surprisingly everyone wanted to hang out with him.)

I came away from the festival buzzing, but now it’s time to put on the kettle and relax with my massive pile of festival books. The only question is, which one to start with?

ADELAIDE WRITERS’ WEEK, PART 2

by Irma
9 March 20143 July 2017

Festivals always afford writers the chance to talk shop, and Adelaide Writers’ Week was no different. There were so many wonderful conversations — both on and off the stage — about this industry that we’re all part of in one way or another.

On stage, the combination of English writers Margaret Drabble and Helen Dunmore resulted in one of the best sessions I’ve been to at any festival. Drabble and Dunmore covered a huge amount of ground but I’d like to pick up one particular strand of discussion. Both authors spoke about how difficult it is for new writers to get published these days. ‘It was easier for us,’ Dunmore said. ‘Now writers have to be so savvy. And I do think talent is missed.’ Drabble added, ‘Now novels never even get out of the slush pile.’

But if you do manage to get your first novel published, the difficulties are far from over. If your book doesn’t sell as well as the publisher expects, the second won’t be published. There are many authors out there now — prize-winning, critically-acclaimed authors — who can’t get their books published. As Malcolm Know once said, ‘Bad sales are the wall through which novelists can no longer ghost.’ These days an author can produce a novel a publisher considers to have literary worth and still not get published.

BookScan, introduced in 2001, tallies book sales from Australian stores and provides publishers with detailed data. In other words, everyone knows exactly how many copies your last book sold. And if it wasn’t ‘enough’ the next book won’t find a publisher. As Dunmore noted, the major publishers are ‘terrified’ of publishing short fiction collections ‘because your figures will go down. And next time your novel is published everyone will look at that and orders will go down’.

The result of all this is that sales and marketing departments wield great power. And they don’t take a long view. As Dunmore said, ‘We were allowed to develop from book to book and not have great success but for new authors now there’s a lot riding on that first book.’ She went on to note that some writers ‘need three or four books to find their stride’ and in the past were granted this license. The publisher invested in the author because they believed in them. Dunmore concluded that the current sales-driven approach ‘is bad for readers as well as writers’.

A session later in the week on ‘Reading in the Marketplace’ delved deeper into these issues. Rebecca Saunders from Little, Brown Book Group (UK) explained how Amazon and Goodreads inform their acquisition decisions. They look at the number of reviews an author has and their average rating. Given that Saunders is managing a commercial imprint, the authors she is interested in will typically have thousands of reviews with an average four- or five-star rating. She also looks at the most heavily borrowed books in libraries.

Even just ten years ago publishers didn’t have access to any of the data that is now collected via Amazon, Goodreads, Facebook, Twitter and eReaders (from which publishers receive very detailed information, right down to that sentence you underlined on page 108). All of this means that more than ever readers are driving publishing decisions. For example, Saunders said that prior to the success of Fifty Shades of Grey they would never have acquired a book of erotic fiction ‘because we wouldn’t have been able to get it into the supermarkets’, therefore limiting sales. Now, of course, they know that ‘there is definitely an appetite out there for erotic fiction so we have followed suit’.

However, there are clearly problems with simply following readers. As Daniel Crewe from Profile Books (UK) said, what about the books that readers ‘want to read that they don’t yet know they want to read’. Got that?! He cited Lynne Truss’ Eats, Shoots and Leaves, which has been a bestseller for Profile. ‘Prior to that book, thousands of people wouldn’t have said they wanted to read a book about punctuation.’ And yet 10 years after it was first published it is still selling.

When I asked the panel about those earlier points made by Dunmore and Drabble concerning newer writers Saunders admitted that ‘it can be a little bit brutal’. However, she mentioned Gillian Flynn as an example of an author that Little, Brown remained committed to during her first two books, which sold modestly, before Gone Girl exploded into a bestseller. ‘Bestsellers are one in 100, so if an editor believes in an author and sees a place for them on their list they will continue to support them through at least a few titles.’ Crewe said that Profile Books do invest in authors long-term but that ‘the majors tend to have less patience’.

So where does all this leave us? A question worth posing is, would a book like James Joyce’s Ulysses be published today? Certainly not by any of the major publishing houses. It’s an awful thought that so many books widely considered to be of cultural importance simply wouldn’t be published today. And we would be the poorer for it.

Are you feeling as depressed as I am? Well, there is a glimmer of hope and it lies largely with the smaller independent publishers. Even some well-established authors are now turning to the independents who are still willing to invest in writers they believe in. But that’s a story for another day.

The final installment, Writers’ Week, Part 3, will be along shortly…

ADELAIDE WRITERS’ WEEK, PART 1

by Irma
7 March 20142 July 2017

I have always considered Adelaide Writers’ Week to be the Mecca of Australian literary festivals, and last week I made the pilgrimage for the first time. It didn’t disappoint.

Set in the Pioneer Women’s Memorial Gardens under marquees and shade sails, the outdoor setting lends the event a relaxed, convivial feel. Combined with perfect summer weather (I’m told previous years have seen temps in the forties but this year we were blessed with 32 degrees tops) and a stellar line-up of writers, I was in seventh heaven all week-long.

The sessions I found most invigorating were the panels (as opposed to those where an individual author was interviewed about their recent release). By their very nature the panels allowed for a broader discussion of writing, publishing and converging thematic concerns.

I particularly enjoyed Hannah Kent and Elizabeth Gilbert in conversation with Kalinda Ashton. This proved to be an interesting discussion about turning history into fiction. Gilbert talked about the four years of research for The Signature of All Things, saying, ‘You know 20 times more than you reveal.’ She kept boxes and boxes of index cards but said she then needed ‘to have the confidence to forget’. And I loved this analogy: ‘Because I’d prepared so much it was like riding a bike downhill.’

Kent spoke about knowing when to stop researching and get on with the business of writing: ‘When I realised I didn’t need to refer to my notes I was at the point of saturation…That’s when I knew I had granted myself the license to write fiction.’ Kent’s Burial Rites is a book that warrants the clichéd but entirely true ‘unputdownable’ endorsement, and Gilbert’s The Signature of All Things is now on my ever expanding To Read List.

Kalinda Ashton, Fiona McFarlane & Louise Doughty

I am always fascinated by other writers’ processes and Louise Doughty (who was generally marvellous) spoke most candidly about hers. Doughty explained that she doesn’t write sequentially. Every morning she gets up and writes whatever scene comes to her. ‘It gets to the point that I have a mass of mess,’ she said. ‘It looks not so much like a novel that’s being written, but a novel that’s being regurgitated. At that point I panic…and go and have a little cry.’ However, Doughty explained that she quickly gets over herself and begins spreading everything she’s written across the floor. She plots out what happens sequentially and then puts scenes in order. Once the paper trail is complete, she cuts and pastes on her computer accordingly. Doughty recounted how she arrived at Adelaide airport with her latest novel in her handbag. She had already ordered the sheaf of papers but not made the corresponding changes on her computer. Consequently she was clinging onto her handbag!

I also liked the idea of Fiona McFarlane’s document with its clever title, ‘The Moves’ (interviewer Kalinda Ashton — incidentally, an author whose work I also love — said she might have to appropriate this title, and I may too!). ‘The Moves’ was written entirely in red pen (‘to frighten myself,’ McFarlane said) and outlined every plot point. McFarlane used this document to work through ‘many, many drafts to get it [her novel, The Night Guest] right’.

Incidentally, the session with Doughty and McFarlane was a cracker, delving into issues of trust, both within their novels and the reading process itself. Doughty expounded on the idea that we all experience a novel differently, according to our experiences in life and where we are at that particular moment in time. ‘Novels are mirrors in which we see ourselves reflected,’ she said. Doughty illustrated this point by talking about a male friend’s reaction to Apple Tree Yard. He said that for him the book reinforced that ‘it’s possible to love two people at the same time’. As the only person to take this ‘message’ away from her book, Doughty thought, ‘Should I take him out for a drink and find out what’s going on in his life?’ We take from a novel what suits our narrative about our own lives.

Asphyxia with Martha from The Grimstones

Let’s end this post with a bit of fun (I can’t cram everything in here, so Part 2 and 3 will be along shortly). Hanging out in the tinsel-covered kids’ tent was a blast. Sadly, my children were back in Canberra but I joined the merry chaos regardless. Mem Fox is an absolute pro and immediately got the audience laughing. I thoroughly enjoyed watching her in action (kissing the illustrator’s name on every book she read).

Seeing Andy Griffiths talk I wished Master Seven could have been there. He would have been starry-eyed. And it was really something to see the tent overflowing with boys all there to talk books. Many boys are reluctant readers, but Griffiths makes all the right moves to get them hooked. There was lots of laughter and lots of ‘gross’ stories. My favourite moment: when Griffiths revealed that Jill from theTreehouse books is his wife in real life. A noise along the lines of ‘ewwwww’ rolled through the tent. Apparently this was categorised as ‘gross’ humour!

I also got to meet one of my childrens’ favourite authors, Asphyxia. They have exchanged letters and emails, and Master Seven long ago converted our cubby house into a Grimstones-inspired apothecary. He is still in there most days mixing up new potions, a very real example of the way books can fire the imagination.

Writers’ Week, Part 2 will delve into darker territory, namely the commercial side of the industry and how it is shaping publishing lists.

SOMETHING SPECIAL

by Irma
13 December 201329 August 2017

Some days everything falls in a heap, and that’s what happened to me yesterday. Plans went awry and I scrambled to get to the announcement of the ACT Writing and Publishing Awards. I arrived as they were announcing the last award. Massive fail. Most particularly because they had created a special award just for me. And I missed it.

Thanks to much hand waving and pointing by the likes of Penelope Cottier and Craig Cormick I was invited on stage to receive my award. Here’s a little of what was apparently said earlier (which I only read via email today): ‘In a one off, the Writers Centre has decided to present the Outstanding Service to Writing and Publishing in the ACT and Region Award to Irma Gold for her work with The Invisible Thread anthology…Irma has shined a light on the incredible literary scene that Canberra has had and still has today.’

What an incredible recognition of the last four years work. I feel so honoured that I am really at a loss for words. But it also doesn’t feel quite right accepting these awards (last month I was awarded a Canberra Critics Circle Award for The Invisible Thread) when there are so many others behind the scenes who have made the publication such a success. So I’d like to take this opportunity to name just a few of those who should share in this award.