I've been thinking a lot recently about privacy and the fine lines that criss-cross over the whole idea. Recapping Women of Letters events has become somewhat of a habit, and there was totally that one time that Marieke Hardy read my recap and thanked me for it which made my life. But I read this article this morning and have had second thoughts. What goes down at these events is public in the sense that several hundred people attend and listen to the letters. But it is also intrinsically private. Some letters tell stories of unimaginable grief, some of childhood secrets, some detail personal relationships. All of them are touching and many of them are funny, even amongst sadness. But it's made me think twice about some of the detail I put into my recaps. Although the letters are often reproduced in anthologies or online, it is always with the writer's permission. Their stories are not mine to retell, however summarised they might be. So I'll keep going to these events, and I'll keep laughing and crying and appreciating, but I don't think I'll keep recapping.
I will say this: yesterday I went to my first ever Men of Letters event, and it was fabulous. 11 men - Casey Bennetto, Glenn Robbins, Gideon Haigh, Peter Russell-Clarke, Tony Wheeler, Richard Flanagan, Brian Mannix, Sam Cooney, Frankie J Holden, Bert Labonte and Derryn Hinch - were writing to 'The Woman Who Changed My Life'. Some wrote to wives, daughters, mothers, friends, some to women who were no longer with us, some who were sitting in the Regal Ballroom listening. One letter was written to the ocean, one to Marieke Hardy herself, and one to Brittanica - definitely three of the most enthralling letters I have ever heard.
I've already bought my ticket to next month's event, and I'm so excited to hear that this show is going even more global than before (Britain and Ireland yeow!). Also, the third anthology is being launched next month! Hopefully, there'll be plenty more to come.
Sunday, 27 October 2013
Sunday, 29 September 2013
Women of Letters recap
The sun was absolutely blazing when we walked down High St Northcote, and we had to wait for our eyes to adjust when we entered the cool, dim Regal Ballroom. This afternoon both Michaela McGuire and Marieke Hardy were present, along with a line-up of wonderful women who were writing to the theme 'a letter to the thing I lost'.
First up was singer-songwriter Rebecca Barnard, who wrote to her car, lost deep in the labyrinthine bowels of the Crown Casino carpark. She described perfectly the creeping, irrational anxiety we have all felt when losing our bearings in a sea of parking spaces, complete with thinking up various rapist deterrents, which in Rebecca's case included shooting them in the face with breast milk. She told us of her utter and desperate relief upon finding the parking attendant, and apologising to him for 'having no spatial awareness because I'm so hormonal at the moment'. A side-splitting letter to start off a potentially devastating topic.
Next up was the simply glorious slam poet Maxine Beneba Clarke. She performed her letter in a glorious mix of spoken word and song, and wrote to her fears, specifically to her fears for her children. Her voice sent shivers through me, and the ballroom was completely speechless as we listened. She spoke of the most terrible things she could imagine happening to them, and when juxtaposed with lines like 'the truth is we walked death row before we learned to crawl' and 'these fears will drift like powdered charcoal on the wind', it made for an almost surreal experience. The applause was long and loud.
Culinary queen Stephanie Alexander was next. She wrote to a beloved letter from her 'guru', the food writer Elizabeth David, who she tragically never met properly in the flesh. Stephanie is a Francophile who was heavily influenced by Elizabeth David's writings, but it was Stephanie's prose that had the audience completely and utterly drawn in. Her letter was articulate, masterful and clear, and there was an audible groan when she revealed at the end that she had lost the treasured letter from her hero!
Randa Abdel-Fattah, author and academic, wrote one of the most intense letters I have heard. She wrote to her composure, and put us in vivid context - travelling with her elderly father and her young daughter, trying to get through the checkpoints to the Palestinian West Bank to see her father's birthplace and her grandfather's grave. As Randa marvelled at the patience of the Palestinians she shared the bus with, knowing it was a normal, everyday experience that they had to deal with, she was infuriated by the treatment dealt to them. 'Those who are denied their human rights do not have the luxury of despair'. Thankfully, Randa and her father managed to obtain a 7-day pass, which was better than nothing. You could have heard a pin drop in the ballroom as she read.
Finally, Gorgi Coghlan brought the entire place to tears with her letter to the deceased child of a close friend. The bereavement was fresh, but Gorgi wrote with warmth and heart in the face of what was obviously the rawest of experiences. She acknowledged that while there was nothing good that could ever possibly come from such a tragedy, such things can help us remember to find the good in our own lives we're lucky enough to still have. Keeping a clean house pales in comparison with keeping a happy family. Stories and laughter and songs are more important than timetables and groceries. And on that note, the reading was finished, and we had a break to buy more drinks, write our own letters, and listen to a very entertaining Q & A!
I think my favourite thing about Women of Letters is that it exposes you to a range of people and experiences you would not otherwise have come across, all linked by a common thread. It really drives home the similarities we share, whatever someone's circumstances, and the understanding that transcends differences and binds us together.
Randa Abdel-Fattah, author and academic, wrote one of the most intense letters I have heard. She wrote to her composure, and put us in vivid context - travelling with her elderly father and her young daughter, trying to get through the checkpoints to the Palestinian West Bank to see her father's birthplace and her grandfather's grave. As Randa marvelled at the patience of the Palestinians she shared the bus with, knowing it was a normal, everyday experience that they had to deal with, she was infuriated by the treatment dealt to them. 'Those who are denied their human rights do not have the luxury of despair'. Thankfully, Randa and her father managed to obtain a 7-day pass, which was better than nothing. You could have heard a pin drop in the ballroom as she read.
Finally, Gorgi Coghlan brought the entire place to tears with her letter to the deceased child of a close friend. The bereavement was fresh, but Gorgi wrote with warmth and heart in the face of what was obviously the rawest of experiences. She acknowledged that while there was nothing good that could ever possibly come from such a tragedy, such things can help us remember to find the good in our own lives we're lucky enough to still have. Keeping a clean house pales in comparison with keeping a happy family. Stories and laughter and songs are more important than timetables and groceries. And on that note, the reading was finished, and we had a break to buy more drinks, write our own letters, and listen to a very entertaining Q & A!
I think my favourite thing about Women of Letters is that it exposes you to a range of people and experiences you would not otherwise have come across, all linked by a common thread. It really drives home the similarities we share, whatever someone's circumstances, and the understanding that transcends differences and binds us together.
Wednesday, 25 September 2013
Bronte
This blog is a little rushed, but I wanted to write something about my experience. It's been such an interesting ride, and a few piddly words on my piddly blog can't really convey that, but I'll try and sum it up quickly.
A couple of months ago I submitted a story to Voiceworks magazine, a superb li'l publication run by the good folks of Express Media (mainly staffed by people under 25). I've been reading Voiceworks for years, and I think I even submitted something a couple of years back, but I realised recently that I only had a couple more chances to get something in because I'll be 25 in June, and the magazine is published quarterly. So I wrote this piece, a dark little story about a girl called Bronte and her life, and Voiceworks got back to me and told me it had been shortlisted for publication!
Being edited professionally and collaboratively for the first time was a wonderful experience. It made me think so much harder about my story and the minutiae of character's and their decisions, as well as the structure and language. AND Voiceworks pay their contributors, which for young, unpublished authors is pretty special. I went to the launch on Saturday, met lovely people, drank some wine and picked up a fresh copy of the magazine which can be purchased easily for $10.
On Monday night I read at Debut Mondays, a monthly event run by The Wheeler Centre that involves readings by 4 'new' authors. Included in the line-up with me was Kirsten Krauth, Fiona McFarlane and Adam Browne, all of whom are published novelists and share illustrious careers including publication in The New Yorker (McFarlane), editing the NSW Writers' Centre magazine (Krauth), and winning the Aurealis Prize for best Australian short story (Browne). I have had a few reviews and features published online (unpaid) and 'Bronte' is my first piece of published fiction. To say I was intimidated is somewhat of an understatement.
Debut Mondays is held at The Moat, the cafe beneath The Wheeler Centre. I was so nervous I couldn't actually finish my hot chocolate (sheesh) before I went to meet Donica, the program coordinator. I was up last on the list of speakers, so my heart had plenty of time for a vigorous workout. Listening to the authors read their work was bliss. I have read The Night Guest and just_a_girl already, but hearing them read aloud by the writers themselves is always much, much better. And I have not yet had time to read Pyrotechnicon, but after hearing Adam Browne read an excerpt, I cannot WAIT. It was finally my turn, and with my heartbeat roaring in my ears, I introduced myself and started reading. Brilliantly, there was a bright light and a big microphone right in front of me which made it difficult to see the audience, and easy to forget them. I actually felt myself getting calmer as I read.
I got some really lovely compliments afterwards and stalked the other authors until they took pity on me and signed my copies of their novels. They were all so nice to talk to and I think I managed to come across fairly coherently - go me. I can't recommend these Debut Monday events enough. All my near and dear ones who came to support me said they enjoyed themselves, and it was a great opportunity to meet other literary-minded people.AND Debut Mondays pay their contributors also. I am so incredibly lucky and thankful for this opportunity. And now I need to sit down and write more, stat.
A couple of months ago I submitted a story to Voiceworks magazine, a superb li'l publication run by the good folks of Express Media (mainly staffed by people under 25). I've been reading Voiceworks for years, and I think I even submitted something a couple of years back, but I realised recently that I only had a couple more chances to get something in because I'll be 25 in June, and the magazine is published quarterly. So I wrote this piece, a dark little story about a girl called Bronte and her life, and Voiceworks got back to me and told me it had been shortlisted for publication!
Being edited professionally and collaboratively for the first time was a wonderful experience. It made me think so much harder about my story and the minutiae of character's and their decisions, as well as the structure and language. AND Voiceworks pay their contributors, which for young, unpublished authors is pretty special. I went to the launch on Saturday, met lovely people, drank some wine and picked up a fresh copy of the magazine which can be purchased easily for $10.
On Monday night I read at Debut Mondays, a monthly event run by The Wheeler Centre that involves readings by 4 'new' authors. Included in the line-up with me was Kirsten Krauth, Fiona McFarlane and Adam Browne, all of whom are published novelists and share illustrious careers including publication in The New Yorker (McFarlane), editing the NSW Writers' Centre magazine (Krauth), and winning the Aurealis Prize for best Australian short story (Browne). I have had a few reviews and features published online (unpaid) and 'Bronte' is my first piece of published fiction. To say I was intimidated is somewhat of an understatement.
Debut Mondays is held at The Moat, the cafe beneath The Wheeler Centre. I was so nervous I couldn't actually finish my hot chocolate (sheesh) before I went to meet Donica, the program coordinator. I was up last on the list of speakers, so my heart had plenty of time for a vigorous workout. Listening to the authors read their work was bliss. I have read The Night Guest and just_a_girl already, but hearing them read aloud by the writers themselves is always much, much better. And I have not yet had time to read Pyrotechnicon, but after hearing Adam Browne read an excerpt, I cannot WAIT. It was finally my turn, and with my heartbeat roaring in my ears, I introduced myself and started reading. Brilliantly, there was a bright light and a big microphone right in front of me which made it difficult to see the audience, and easy to forget them. I actually felt myself getting calmer as I read.
I got some really lovely compliments afterwards and stalked the other authors until they took pity on me and signed my copies of their novels. They were all so nice to talk to and I think I managed to come across fairly coherently - go me. I can't recommend these Debut Monday events enough. All my near and dear ones who came to support me said they enjoyed themselves, and it was a great opportunity to meet other literary-minded people.AND Debut Mondays pay their contributors also. I am so incredibly lucky and thankful for this opportunity. And now I need to sit down and write more, stat.
Saturday, 24 August 2013
MWF 2013: No Safe Place
Okay, so yesterday when I said I would be going to Women of Letters today, I meant it. Except that my dementia-riddled cat kept me up half the night and I had a very uncomfortable sleep punctuated with weird dreams and when I dragged myself out of bed this morning I felt a bit sick. I went to the Writers Festival, because Writers Festival, but I'm not quite feeling up to driving anywhere this afternoon as there is a high chance I may fall asleep at the wheel. So you get this blog early! And I get to take a nap this afternoon.
This morning I was back at ACMI for No Safe Place, an event hosted by Clare Renner. She was interviewing Morris Gleitzman and Deborah Ellis about their books written for children, and more particularly, their books that focused on young characters in danger. I was drawn to this event because of the subject matter, but also because I am a massive Morris Gleitzman fangirl and I like hearing him speak about his books and readership. However, I hadn't done much research on Deborah Ellis, and was pleasantly surprised to realise I had actually read some of her work before.
Morris Gleitzman spoke about how he still uses humour in his stories, no matter how bleak the setting/plot because the more he puts his characters in jeopardy, the more he wants to give them tools to cope with it. He enjoys starting with a character, then getting to know them and the biggest problem in their lives. He focused particularly on friendship in his Felix series (After, Once, Then and Now) because he likes to believe that maybe, MAYBE, a friendship could provide some kind of safe place, despite the worst of human circumstances surrounding it. He maintains that innocence is not the same as ignorance; rather, innocence is a lack of cynicism, and therefore she be preserved as much as possible. He thinks his target readership of 8-12 years old is the perfect age to believe in your own power to influence change - kids of that age are often old enough to know how to question things, and not blindly accept everything the adults around them say and project, but young enough to predate the rush of hormones and cynicism that can often accompany adolescence.
Deborah Ellis believes that children have a really strong sense of justice and injustice, and that 'safety' is an illusion, no matter how much we would like it to exist (which I agree with also). She was also quick to remind the audience that the present that happens today only happens because of decisions made in the past. Too easily we forget this, and lose the chance to make the right decisions for the future. Clare Renner also quoted Malala Yousafzai's UN speech when she thanked the writers for using pens and paper as their most powerful weapons, which was a really lovely way to finish off the talk.
There were heaps of questions asked, a few from some really articulate kids. I joined the line to have my book signed, and this boy in front of me was sort of hopping on the spot as he saw the authors come to sit down in front of the signing queue. 'I can't believe I'm really here!' He said, and I melted into a puddle of book appreciation. It's moments like these that I love best about the Writers Festival, and I wish, wish, WISH I'd bought tickets to more events.
This morning I was back at ACMI for No Safe Place, an event hosted by Clare Renner. She was interviewing Morris Gleitzman and Deborah Ellis about their books written for children, and more particularly, their books that focused on young characters in danger. I was drawn to this event because of the subject matter, but also because I am a massive Morris Gleitzman fangirl and I like hearing him speak about his books and readership. However, I hadn't done much research on Deborah Ellis, and was pleasantly surprised to realise I had actually read some of her work before.
Morris Gleitzman spoke about how he still uses humour in his stories, no matter how bleak the setting/plot because the more he puts his characters in jeopardy, the more he wants to give them tools to cope with it. He enjoys starting with a character, then getting to know them and the biggest problem in their lives. He focused particularly on friendship in his Felix series (After, Once, Then and Now) because he likes to believe that maybe, MAYBE, a friendship could provide some kind of safe place, despite the worst of human circumstances surrounding it. He maintains that innocence is not the same as ignorance; rather, innocence is a lack of cynicism, and therefore she be preserved as much as possible. He thinks his target readership of 8-12 years old is the perfect age to believe in your own power to influence change - kids of that age are often old enough to know how to question things, and not blindly accept everything the adults around them say and project, but young enough to predate the rush of hormones and cynicism that can often accompany adolescence.
Deborah Ellis believes that children have a really strong sense of justice and injustice, and that 'safety' is an illusion, no matter how much we would like it to exist (which I agree with also). She was also quick to remind the audience that the present that happens today only happens because of decisions made in the past. Too easily we forget this, and lose the chance to make the right decisions for the future. Clare Renner also quoted Malala Yousafzai's UN speech when she thanked the writers for using pens and paper as their most powerful weapons, which was a really lovely way to finish off the talk.
There were heaps of questions asked, a few from some really articulate kids. I joined the line to have my book signed, and this boy in front of me was sort of hopping on the spot as he saw the authors come to sit down in front of the signing queue. 'I can't believe I'm really here!' He said, and I melted into a puddle of book appreciation. It's moments like these that I love best about the Writers Festival, and I wish, wish, WISH I'd bought tickets to more events.
Friday, 23 August 2013
MWF 2013: History's Script and This Is Scotland
It's that time of year again - Melbourne Writers Festival! I really regret not buying my tickets earlier this year - three of the events I wanted to attend were booked out when I got my act together (Tavi's World, Book Club and Lucrezia Borgia). I have booked tickets for four events now - not nearly as many as I would like to attend, but money and time are two issues that I can't really compromise on at this stage of my life, so it is what is is. Today, however, was my first of three festival days!
I took the tram in to ACMI at Fed Square and fronted up for History's Script at 11.30. Michael Cathcart from Books and Arts Daily on Radio National was interviewing Sarah Dunant and Jane Sullivan, and recording the whole session to broadcast on Tuesday. Before I even talk about the session, I just have to say that it made me even more ticked off that I'd missed the Lucrezia Borgia session. Like, ragey. It would have been so good (especially as Sarah Dunant was involved, and has just written a novel on the Borgias called 'Blood and Beauty').
Sarah Dunant is a well-known historical fiction and thriller author who studied history at Cambridge, but her interest was really piqued from reading historical fiction. She feels that gender affects people's approach to history and her obsession and specialisation in the Italian Renaissance was influenced by Florence, where she now spends a lot of her time.
Jane Sullivan is a journalist who has written two novels, the most recent of which is called 'Little People' and set in Melbourne in 1870. She came to Australia in the late 1970's and found out that Melbourne used to be known as 'the Chicago of the South'. She has not studied history beyond high school (she studied literature at university) but came to history through her love of stories.
Both of these women were excellent speakers, and their passion and enthusiasm was evident. Sarah Dunant likes to put the 'soil' in place in her manuscript first - the politics, culture etc - then create a character from that, and stick to the character the stuff that she knows. There was much discussion of the 'licence to invent' when writing historical fiction and where the lines are drawn, and the existence of different truths - after all, 'the victors write the history' that is most commonly known/accepted. Sarah Dunant in particular talked about her disagreement with the Showtime series of 'The Borgias' - why add sex and violence and nudity and sensationalism, when the real truth of the history is just as crazy and exciting? Jane Sullivan pointed out the importance of afterwords - how they can acknowledge what's true, what's untrue and what the author/historians are still not sure about.
Michael Cathcart spoke about 'pluralising' history - how history is inclusive of lots of different versions of truth and we know have British histories instead of British history and Australian histories instead of Australian history. Sarah Dunant also expanded on her theory of gender and historical fiction - men are now coming to read historical fiction more and more, so have the men changed, or has the historical fiction changed? It's also important for women, particularly young women, to read about times (often quite recent) where women didn't enjoy the same rights we do. It shows us how carefully we need to protect what we do have.
Having thoroughly enjoyed myself, I inhaled some caffeine and went to the Deakin Edge simply stunning Atrium for the This is (Sparta) Scotland panel. Liam McIlvanney was chairing, and the Scottish writers taking part were John Burnside, Kirsty Gunn and Doug Johnstone, which pretty much meant it was an hour of auditory bliss with that many accents floating about. They read pieces of their work to us, and then discussed what it meant to be a Scottish writer, and the literary backdrop of the country. There was particularly interesting mention of different brands of nationalism and the discomfort of being appropriated into it, being known as the 'voice of a nation'. Coming from a nation famous for their crime writers, Doug Johnstone deliberately includes family life and mundane domesticity in his high-octane crime dramas in order to explore those contrasts. John 'bleak is my middle name' Burnside expressed delight that here at the Melbourne Writers Festival 'you can walk from one cultural experience to another without getting drunk along the way', and they all mentioned other writers who had influenced them in various ways - Iain Banks and Irvine Welsh (Doug Johnstone), Neil Gunn (Kirsty Gunn - no relation!) and Hugh MacDiarmid and John Muir (John Burnside).
I came home to blog about these sessions in preparation for tomorrow, when I'm going to No Safe Place, and also a Women of Letters salon. Expect another blog in the next 48 hours! Meanwhile, I have some reading to catch up on.
I took the tram in to ACMI at Fed Square and fronted up for History's Script at 11.30. Michael Cathcart from Books and Arts Daily on Radio National was interviewing Sarah Dunant and Jane Sullivan, and recording the whole session to broadcast on Tuesday. Before I even talk about the session, I just have to say that it made me even more ticked off that I'd missed the Lucrezia Borgia session. Like, ragey. It would have been so good (especially as Sarah Dunant was involved, and has just written a novel on the Borgias called 'Blood and Beauty').
Sarah Dunant is a well-known historical fiction and thriller author who studied history at Cambridge, but her interest was really piqued from reading historical fiction. She feels that gender affects people's approach to history and her obsession and specialisation in the Italian Renaissance was influenced by Florence, where she now spends a lot of her time.
Jane Sullivan is a journalist who has written two novels, the most recent of which is called 'Little People' and set in Melbourne in 1870. She came to Australia in the late 1970's and found out that Melbourne used to be known as 'the Chicago of the South'. She has not studied history beyond high school (she studied literature at university) but came to history through her love of stories.
Both of these women were excellent speakers, and their passion and enthusiasm was evident. Sarah Dunant likes to put the 'soil' in place in her manuscript first - the politics, culture etc - then create a character from that, and stick to the character the stuff that she knows. There was much discussion of the 'licence to invent' when writing historical fiction and where the lines are drawn, and the existence of different truths - after all, 'the victors write the history' that is most commonly known/accepted. Sarah Dunant in particular talked about her disagreement with the Showtime series of 'The Borgias' - why add sex and violence and nudity and sensationalism, when the real truth of the history is just as crazy and exciting? Jane Sullivan pointed out the importance of afterwords - how they can acknowledge what's true, what's untrue and what the author/historians are still not sure about.
Michael Cathcart spoke about 'pluralising' history - how history is inclusive of lots of different versions of truth and we know have British histories instead of British history and Australian histories instead of Australian history. Sarah Dunant also expanded on her theory of gender and historical fiction - men are now coming to read historical fiction more and more, so have the men changed, or has the historical fiction changed? It's also important for women, particularly young women, to read about times (often quite recent) where women didn't enjoy the same rights we do. It shows us how carefully we need to protect what we do have.
Having thoroughly enjoyed myself, I inhaled some caffeine and went to the Deakin Edge simply stunning Atrium for the This is (Sparta) Scotland panel. Liam McIlvanney was chairing, and the Scottish writers taking part were John Burnside, Kirsty Gunn and Doug Johnstone, which pretty much meant it was an hour of auditory bliss with that many accents floating about. They read pieces of their work to us, and then discussed what it meant to be a Scottish writer, and the literary backdrop of the country. There was particularly interesting mention of different brands of nationalism and the discomfort of being appropriated into it, being known as the 'voice of a nation'. Coming from a nation famous for their crime writers, Doug Johnstone deliberately includes family life and mundane domesticity in his high-octane crime dramas in order to explore those contrasts. John 'bleak is my middle name' Burnside expressed delight that here at the Melbourne Writers Festival 'you can walk from one cultural experience to another without getting drunk along the way', and they all mentioned other writers who had influenced them in various ways - Iain Banks and Irvine Welsh (Doug Johnstone), Neil Gunn (Kirsty Gunn - no relation!) and Hugh MacDiarmid and John Muir (John Burnside).
I came home to blog about these sessions in preparation for tomorrow, when I'm going to No Safe Place, and also a Women of Letters salon. Expect another blog in the next 48 hours! Meanwhile, I have some reading to catch up on.
Thursday, 15 August 2013
An unexpected fall into Sydney
Long time readers of my blog (hello, three or four people that you number!) might recall my last dealings with Jetstar, when I went to Japan with family. Due to the 18-hour delay on our flight to Narita, we were each issued with a $100 Jetstar voucher. It was set to expire in September, and I hadn’t given it too much thought, because I figured I wouldn’t have the time to go anywhere. But after receiving my August roster, and noting that I had a spare two days, I thought I’d check it out regardless. $77 later (plus the voucher money), I had plane tickets to Sydney. I didn’t get too excited until I realised it had probably been a good thirteen years since I had been there, and started to realise how much I had forgotten about it. I was able to stay with Margi (Mum’s cousin) and it was so good to catch up with her and see Padstow again.
Dad and Riley drove me to the airport, and as we turned into the carpark, I got an email from Jetstar to say my flight had been cancelled. Ah, Jetstar. Not that it surprised me, but I figured I may as well go inside and talk to someone at the desk. Luckily they were able to fit me onto a flight that only left half an hour later, so we all sat in the food court and waited. Ever since my first European trip, when I was 18, I have simply loved being in airports. I don’t even know why. I think I just associate them with traveling and all the great experiences that go along with traveling. Either way, I get really giddy and excited in airports. I’ve even managed to get over my fear of flying. I mean, no one likes flying (and if you do, you’re weird and I don’t want to talk to you about it), but I’m over that phobic sense of doom that comes from being in the air in a big metal box.
Margi picked me up from Sydney Airport because she’s awesome, and I had the best night’s sleep in one of the comfiest spare beds I’ve ever slept in. Perfection.
I got up early on Tuesday (well, 7.30, but that’s pretty early considering I was on holiday) and walked to the train station. The sun was already warm and delicious and there were no clouds, and I was listening to a Sonya Hartnett audio book and Padstow is gorgeous, and it really was such a gentle and perfect start to the day. It took about fifty minutes from Padstow Station into Town Hall Station, because luckily enough, Sydney Airport is on the same line as Padstow, which is handy for visitors. I bought a hot chocolate and a bacon and egg muffin and sat in this cute little cafe to wait for the walking tour to start (I was way early). The walking tour I went on was run by I’m Free Tours, and most of you will know that I was a guide for this company in Melbourne for about five months this year. Annoyingly, I had to give it up because uni was too demanding of my time, but I wanted to do the Sydney tour, which has been running for four and a half years! My guide, Justine, started the tours with her boyfriend Ross, and was really interested when I told her I had worked with the tours in Melbourne.
We started at the Town Hall, and walked through the Queen Victoria Building. We saw the Pitt St Mall, and Hyde Park, including Raymond the dancing pensioner, made famous in a Tropfest film! Woo! We walked along Macquarie St and saw the old rum hospital and the Hyde Park Barracks Museum, and Sydney’s oldest church, St James. The little cross on top was once the highest point in Sydney....
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| St. James' Church - formerly the tallest building in Sydney |
We walked down Martin Place, peeking in at the anchorwoman reading the news, and saw the enormous GPO, with the ANZAC cenotaph in front. We saw Sydney’s sweet attempt to compete with Melbourne’s street art/laneway culture - in Angel Place, they’ve suspended a canopy of 110 empty birdcages as a tribute to the many species of birds driven out of their natural habitat by the building of the city. It was quite beautiful. We had a break in Australia Square, with the charming sculpture of the ‘Waiting’ businessman, by Seward Johnson Jr. After our break we kept walking, heading up to Customs House with it’s scale model of Sydney beneath a transparent floor. That was pretty impressive. Customs House also had a number of swastika-like symbols in the foyer, and a sign up explaining why they had chosen to keep them there, despite the very negative Nazi connotations associated with the symbol. The swastika, at some point or other during history, has been appropriated by most major religions and stands for peace and Customs House says it’s important to remember it’s lovely origins, and try and reclaim them.
We headed through the beautiful Circular Quay, past buskers and holiday makers, saw Cadman’s Cottage and walked up through the Rocks. I’m Free Tours also offers a night tour of the Rocks at 6pm (all nights except Christmas Day and New Year’s Eve) that goes into more detail about it’s crazy history full of mystery, murder and mayhem. I had planned to do it, but found myself far too tired, so I’ll save it for my next trip. We did, however, see some parts of Rocks on the normal day tour that were interesting: the only roundabout in Sydney where it would be legal for me to graze my sheep; the Hero of Waterloo pub, famous for getting sailors drunk, waiting for them to pass out, then kidnapping them and forcing them into slave labour on ships; and a view and explanation of the history of Fort Denison. The tour finished at the Overseas Passenger Terminal, with a perfect view of the Opera House. The tour was chock-full of interesting history and trivia about the city, much like the Melbourne tour. It’s such a good way to spend a morning, and includes heaps of useful info about what to do during your stay. It also includes a free map with info on free stuff, cheap eats and attractions, and transport. Most importantly, make sure you TIP. Yes, it’s free, but it is the guide’s job. They make no wage or salary, so they live off their tips. As a former guide, take it from me. TIP DECENTLY.
After I’d finished the tour, I stopped for lunch of roast pumpkin, apple and chestnut winter salad and a cider and I sat outside and basked. I headed to The Rocks Discovery Museum which provides a pretty comprehensive history of the area divided into four ‘eras’ - pre-European colonisation, as a convict settlement, as a port, and the 20th century history. I had a huge chocolate ice-cream and went back to Customs House and lurked around their library trying not to spend all my spare time indoors. By the time I hopped on a train back to Padstow, I was nearly asleep on my feet. I accidentally power-napped when I got home and lay down on the uber-comfy bed, but half an hour later I was up again, and spent the night catching up with Margi and eating pizzas. Bliss!
The next day I let myself sleep in for an hour, but I was still on the train and in the city by 10.30am. After breakfast, I did the Writer’s Walk around Circular Quay, which comprises about 60 plaques set into the ground stretching all the way from the Opera House, round Circular Quay nearly to the Overseas Passenger Terminal on the opposite bank. I think I managed to miss a few plaques (I don’t think I quite reached 60) but I took photos of some and read every word. They encompass both living and deceased writers, who are with Australian or who have visited Australia. For instance, May Gibbs and Banjo Paterson are obviously mentioned, but so are Charles Darwin and Arthur Conan Doyle. It was a real eclectic mix.
I headed into the Museum of Contemporary Art because it was so close by, but, embarrassingly, I didn’t look at any of the art. Instead, I spent lots of money on presents at the gift shop. I was waiting to start a guided tour, but I was investigating my map of Sydney and thought I’d try the Art Gallery of NSW instead, so I walked from Circular Quay, through The Domain, to the Art Gallery. I stopped for lunch and had a grilled chicken burger with avocado and Swiss cheese and then spent an hour wandering around the European collection at the Art Gallery. It’s handy knowing what I like to look at most - pre-20th century European art - because it means I can be in and out of an art gallery quickly, particularly if I’m pressed for time. The Art Gallery of NSW has some really beautiful sculpture as well.
 |
| ANZAC memorial at Hyde Park |
I walked from the Art Gallery, back through The Domain and down into Hyde Park and went to the ANZAC memorial. It’s a really solemn place, but strikingly beautiful with a really moving ‘sacrifice’ sculpture in the middle. There’s also a little museum on the bottom floor which is free to look at (as is everything I did today!). My legs felt like someone else’s, so I headed back to Padstow, stopped for an orange juice at a nice cafe near the station, and walked back to Margi’s. Margi really kindly drove me to the airport and I was on a plane, with a stomach full of airport pad thai by 6.30. Sean picked me up in Melbourne and I went home to unpack!
It was a great mini-break, and a wonderful way to rediscover Sydney. I’ll definitely be back soon, but I still maintain that Melbourne is better. I also really enjoyed sightseeing on my own - moving at my own pace, doing only the stuff that really interested me, eating HUGE amounts of food...yeah. Loved it!
Sunday, 28 July 2013
Women of Letters recap
Okay, so I lied in my last recap when I said it would probably be my last recap for a while. As soon as I found out the lineup for this event, I jumped online to find it had already sold out, and my couple of days of hesitation had cost me a ticket to the lineup I was perhaps looking forward to more than any other WoL event I had attended, ever. So, I moped for a month, then in the days leading up to the event I stalked the Facebook and Twitter pages obsessively hoping someone would have a spare ticket to unexpectedly get rid of. Thanks to Elyse, best person in the world, she found some this morning and promptly snapped me one up. So I headed to the Regal Ballroom, in my new and improved traffic-free route (ie. NOT Punt Road) and met up with Elyse and co!
Marieke Hardy and Michaela McGuire were at Splendour in the Grass (half their luck!) and our wonderful host today was musician and actress (and WoL alumni), Clare Bowditch. The host plays such an important part in these salons, and she did not disappoint, introducing each guest and giving us some kind of insightful comment that tied back to the letters that had been read. And she looked beautiful, as usual. The theme today? A letter to my temptation.
First up was Estelle Tang, writer, bibliotherapist (ahem, awesome!) and personal hero of mine. Estelle wrote to Gwyneth Paltrow, and the weekly newsletter sent out by Paltrow's company- Goop. This was a cheeky letter, relishing in the more outlandish statements made by Paltrow - including the phrase 'I would rather die than let my kids eat Cup-A-Soup' - and poking fun at the ludicrously expensive items on the weekly newsletter available for purchase. Estelle has subscribed to Goop, and continues to read the newsletter every week, and I must confess, I am quite curious myself. Estelle's timing and delivery was flawless, and it was an riotously good letter to kick of the salon with.
Next up was musician Joanna Nilson. She listed a number of temptations throughout her letter, trying to decide what was her biggest one. Her letter was 8 parts hilarious, 2 parts utterly devastating, and included musings on smoking ("a more thrillingly dangerous version of chewing my nails"), booze, marijuana and other, harder drugs (though her paragraph on heroin and its utter shitness was sobering after all the laughing we'd been doing), food (chocolate, cheese...basically everything I enjoy as well) and a glowing reference to the town she was from as "a herpes sore on the twat of the nation". Eventually she mentioned her final temptation - bad men - and listed a Greatest Hits of her "man-baby boyfriends" which, again, had us in stitches. Her accurate and painful description of the depression she experienced after a particular break-up really hit home, and it was this which made her decide she needed to avoid terrible boys above all else.
Judith Lucy, comedian and author, began her letter with the sentence "Annoyingly, I don't have many temptations left". She then went on to wax lyrical about her oldest and dearest temptation - television. Her letter was, predictably, gut-bustingly hilarious and included phrases such as "Mum would have to physically lock me out of the house so I could get some sunshine". Her reading included singing, and a demonstration of how she used to watch a wall-mounted, fridge-sized television (hint: it involved lying flat across the WoL table with her legs crooked as though she were "watching Gilligan's Island with [her] genitals". Impressions of Days of Our Lives (her favourite soap) and the mention of something called 'Dr Feather Weather's Wonderful Workshop' rounded out one of the funniest letters I've ever had the privilege of hearing.
An audible ripple ran through the ballroom as Kat Stewart took the mic. Was it because her character on Offspring is making crazy storyline waves in the show, or was it just because she's amazing? It didn't matter. Kat's letter was an ode to motherhood, and trying to achieve a work/life balance. It was honest, and it was touching. Her love for her son cannot be contained in words, but she did her darndest to communicate it, with phrases like "his laugh makes me euphoric". She spoke about the longing she felt for another baby, a sibling for her son who she adores unconditionally, and the simultaneous longing to continue working, and creating and being artistic, and having a life that was hers, and not held in place by a baby. She mentioned a book, The Divided Heart: Art and Motherhood, which sounds amazing (and includes a contribution from Clare Bowditch) that elaborates on the topic. I don't think she knew which longing (temptation) would win out, but it was obvious that this is a subject close to many women's hearts.
Finally, we had Libbi Gorr, broadcaster and author. Libbi wrote to Kate Middleton. More specifically, she wrote to the temptation she continually gives into - wishing she was Kate Middleton. In fact, one of the only times she didn't want to be Kate Middleton, was when she wanted to be her sister, Pippa, instead. And one of the strongest reasons for wanting to be Kate Middleton, is because her mother is Carole Middleton. The tongue-in-cheekness of this letter was countered by the rather sweet and poignant realisation, that she didn't really want to be Kate Middleton, because wishing to be Kate Middleton means wishing away her own life, and all the richness of it. (Also it would mean wishing away her other temptation of wanting to be Jane Kennedy). She finished by acknowledging how difficult it would be to be Kate Middleton, and how Kate Middleton probably wishes at times that she could be Libbi Gorr - being allowed to tell people to 'fuck off' for example. She listed some affirmations for Kate which we had to repeat back to her, and took her seat amidst of shower of laughter and applause.
In the break I wrote a question for the panel (as we are invited to) without really expecting it to be read. But it was read! Yay! But it wasn't answered, because my question was "Will Billie die on Offspring?" and that would violate the terms of Clare Bowditch and Kat Stewart's contracts to tell us. Boo. It's probably for the best. Because if the answer was "yes", I'd be inconsolable and avoid the show, but if the answer was "no", I'd work myself into a knot of anxiety wondering if it will be Jimmy or Patrick instead, and I really don't want any of them to go. Sigh.
Marieke Hardy and Michaela McGuire were at Splendour in the Grass (half their luck!) and our wonderful host today was musician and actress (and WoL alumni), Clare Bowditch. The host plays such an important part in these salons, and she did not disappoint, introducing each guest and giving us some kind of insightful comment that tied back to the letters that had been read. And she looked beautiful, as usual. The theme today? A letter to my temptation.
First up was Estelle Tang, writer, bibliotherapist (ahem, awesome!) and personal hero of mine. Estelle wrote to Gwyneth Paltrow, and the weekly newsletter sent out by Paltrow's company- Goop. This was a cheeky letter, relishing in the more outlandish statements made by Paltrow - including the phrase 'I would rather die than let my kids eat Cup-A-Soup' - and poking fun at the ludicrously expensive items on the weekly newsletter available for purchase. Estelle has subscribed to Goop, and continues to read the newsletter every week, and I must confess, I am quite curious myself. Estelle's timing and delivery was flawless, and it was an riotously good letter to kick of the salon with.
Next up was musician Joanna Nilson. She listed a number of temptations throughout her letter, trying to decide what was her biggest one. Her letter was 8 parts hilarious, 2 parts utterly devastating, and included musings on smoking ("a more thrillingly dangerous version of chewing my nails"), booze, marijuana and other, harder drugs (though her paragraph on heroin and its utter shitness was sobering after all the laughing we'd been doing), food (chocolate, cheese...basically everything I enjoy as well) and a glowing reference to the town she was from as "a herpes sore on the twat of the nation". Eventually she mentioned her final temptation - bad men - and listed a Greatest Hits of her "man-baby boyfriends" which, again, had us in stitches. Her accurate and painful description of the depression she experienced after a particular break-up really hit home, and it was this which made her decide she needed to avoid terrible boys above all else.
Judith Lucy, comedian and author, began her letter with the sentence "Annoyingly, I don't have many temptations left". She then went on to wax lyrical about her oldest and dearest temptation - television. Her letter was, predictably, gut-bustingly hilarious and included phrases such as "Mum would have to physically lock me out of the house so I could get some sunshine". Her reading included singing, and a demonstration of how she used to watch a wall-mounted, fridge-sized television (hint: it involved lying flat across the WoL table with her legs crooked as though she were "watching Gilligan's Island with [her] genitals". Impressions of Days of Our Lives (her favourite soap) and the mention of something called 'Dr Feather Weather's Wonderful Workshop' rounded out one of the funniest letters I've ever had the privilege of hearing.
An audible ripple ran through the ballroom as Kat Stewart took the mic. Was it because her character on Offspring is making crazy storyline waves in the show, or was it just because she's amazing? It didn't matter. Kat's letter was an ode to motherhood, and trying to achieve a work/life balance. It was honest, and it was touching. Her love for her son cannot be contained in words, but she did her darndest to communicate it, with phrases like "his laugh makes me euphoric". She spoke about the longing she felt for another baby, a sibling for her son who she adores unconditionally, and the simultaneous longing to continue working, and creating and being artistic, and having a life that was hers, and not held in place by a baby. She mentioned a book, The Divided Heart: Art and Motherhood, which sounds amazing (and includes a contribution from Clare Bowditch) that elaborates on the topic. I don't think she knew which longing (temptation) would win out, but it was obvious that this is a subject close to many women's hearts.
Finally, we had Libbi Gorr, broadcaster and author. Libbi wrote to Kate Middleton. More specifically, she wrote to the temptation she continually gives into - wishing she was Kate Middleton. In fact, one of the only times she didn't want to be Kate Middleton, was when she wanted to be her sister, Pippa, instead. And one of the strongest reasons for wanting to be Kate Middleton, is because her mother is Carole Middleton. The tongue-in-cheekness of this letter was countered by the rather sweet and poignant realisation, that she didn't really want to be Kate Middleton, because wishing to be Kate Middleton means wishing away her own life, and all the richness of it. (Also it would mean wishing away her other temptation of wanting to be Jane Kennedy). She finished by acknowledging how difficult it would be to be Kate Middleton, and how Kate Middleton probably wishes at times that she could be Libbi Gorr - being allowed to tell people to 'fuck off' for example. She listed some affirmations for Kate which we had to repeat back to her, and took her seat amidst of shower of laughter and applause.
In the break I wrote a question for the panel (as we are invited to) without really expecting it to be read. But it was read! Yay! But it wasn't answered, because my question was "Will Billie die on Offspring?" and that would violate the terms of Clare Bowditch and Kat Stewart's contracts to tell us. Boo. It's probably for the best. Because if the answer was "yes", I'd be inconsolable and avoid the show, but if the answer was "no", I'd work myself into a knot of anxiety wondering if it will be Jimmy or Patrick instead, and I really don't want any of them to go. Sigh.
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