just_a_girl Christmas competition: win a book-hamper

I thought I’d get in the Christmas spirit and hold a little competition …

So … I have a prize pack on offer of 10 BOOKS from some of the fabulous writers who’ve shared their stories on Wild Colonial Girl over the past year. The winning Christmas book-hamper features SIGNED copies of:

• Simmone Howell – Girl Defective
• Walter Mason – Destination Cambodia
• Jon Bauer – Rocks in the Belly
• Jenn J McLeod – House for all Seasons
• Jessie Cole – Darkness On the Edge of Town
• Annabel Smith – Whisky, Charlie, Foxtrot
• Dawn Barker – Fractured
• Angela Meyer (editor) – The Great Unknown collection
• Jo Case – Boomer and Me
• Wendy James – The Mistake

TO WIN?

My novel, just_a_girl, has just been listed as an e-book at Amazon.com.au and it’s looking a wee bit lonely.

Simply write a review (2 words, 2 sentences, 2 paras, a thesis – I don’t mind) and put it on Amazon here by 31 December (gives you a bit of time to do some holiday reading).

I’ll be choosing the winner (most unique response) on 1 January, and will announce it on the blog early in the New Year when I’ve recovered from staying up to 9pm to watch the fireworks (it’s never the same after you have kids).

I’ll also feature some of the reviews I love on Wild Colonial Girl next year.

THE BOOK-HAMPER: here’s a spotlight on the books you might win

Simmone Howell, Girl Defective

“It was just Dad and me and Gully living in the flat above the shop in Blessington Street, St Kilda. We, the Martin family, were like inverse superheroes, marked by our defects. Dad was addicted to beer and bootlegs. Gully had ‘social difficulties’ that manifested in his wearing a pig-snout mask 24/7. I was surface clean but underneath a weird hormonal stew was simmering. My defects weren’t the kind you could see just from looking. Later I would decide they were symptoms of Nancy.”

This is the story of a wild girl and a ghost girl; a boy who knew nothing and a boy who thought he knew everything. And it’s about life and death and grief and romance.

All the good stuff.

From the award-winning author of Notes from the Teenage Underground, and Everything Beautiful.

Walter Mason, Destination Cambodia

The ancient and mysterious ruins of Cambodia have long captured the imagination of visitors, more so now than ever before. In Destination Cambodia, Walter Mason charts an affectionate, intimate and deeply personal look at a Kingdom that has drawn him back again and again since his youth.

Whether he’s watching young monks recite the Buddha’s life stories, visiting shamans and fortune tellers, or discovering the darker alleys of Phnom Penh with a romantic novelist and a world-weary street hustler, Walter takes the reader straight to the heart of this famously unknowable country. As heat, dust and weariness take their toll, he remains alive to the charms, and even seductions, of a place that was once a byword for misery and human suffering.

Destination Cambodia takes us on a joyful and constantly fascinating literary journey in which Cambodia is vibrant and its people excited about the future while never denying their haunted past.

Jon Bauer, Rocks in the Belly

How far can you push a child?

Rocks in the Belly follows a precocious eight-year-old boy and the volatile adult he becomes. During childhood his mother fosters boys despite the jealous turmoil it arouses in her son. Jealousy that reaches unmanageable proportions when she fosters Robert, and triggers an event that profoundly changes everyone. Especially Robert.

At twenty-eight the son returns to face his mother. He hasn’t forgiven her for what happened. But now she’s the dependent one and he the dominant.

Jenn J McLeod, House for All Seasons

Bequeathed a century-old house, four estranged friends return to their home town, Calingarry Crossing, where each must stay for a season to fulfil the wishes of their beloved benefactor, Gypsy. Here they finally face the consequences of the tragic accident that occurred twenty years ago and changed their lives forever.

Sara, a breast cancer survivor afraid to fall in love;

Poppy, an ambitious journo craving her father’s approval;

Amber, a spoilt socialite looking for some purpose to life.

Jessie Cole, Darkness On the Edge of Town

My dad, he collects broken things … Where other people see junk he sees potential … My dad collects broken people too …

Vincent is nearly forty years old, with little to show for his life except his precious sixteen-year-old daughter, Gemma: sensitive, insightful and wise beyond her years.

When a stranger crashes her car outside Vincent and Gemma′s bush home, their lives take a dramatic turn. In an effort to help the stranded woman, father and daughter are drawn into a world of unexpected and life-changing consequences.

DARKNESS ON THE EDGE OF TOWN is a haunting tale that beguiles the reader with its deceptively simple prose, its gripping and unrelenting tensions, and its disturbing yet tender observations.

Annabel Smith, Whisky, Charlie, Foxtrot

Whisky and Charlie are identical twins. But everything about them is poles apart. It’s got so bad that Charlie can’t even bear to talk to his brother anymore – until a freak accident steals Whisky from his family, and Charlie has to face the fact he may never speak to his brother again.

‘It is rare to encounter fiction that will appeal to adults and Young Adults alike that so intelligently explores the downright messiness of family relationships through adult characters; rarer still to find an author who writes of traumatic injury and the looming shadow of death with such verve and sensitivity.’ Australian Book Review

‘… by far the enduring sense of this novel is of having been in the hands of a storyteller with more than just a good story, one with something to say about how to live, and the energy and pluck to say it.’ The Australian

Dawn Barker, Fractured

An unforgettable novel that brings to life a new mother’s worst fears.

Tony is worried. His wife, Anna, isn’t coping with their newborn. Anna had wanted a child so badly and, when Jack was born, they were both so happy. They’d come home from the hospital a family. Was it really only six weeks ago?

But Anna hasn’t been herself since. One moment she’s crying, the next she seems almost too positive. It must be normal with a baby, Tony thought; she’s just adjusting. He had been busy at work. It would sort itself out. But now Anna and Jack are missing. And Tony realises that something is really wrong…

What happens to this family will break your heart and leave you breathless.

Angela Meyer (editor), The Great Unknown

The imaginative stories in The Great Unknown take inspiration from vintage American TV programs such as The Twilight Zone and The Outer Limits—and their contemporaries and successors—paying tribute to the cultural influence these shows have had on lives ‘down under’.

Episodes of these programs were often metaphors for equality, justice, the nuclear threat and other issues, while being memorably spooky and fun. Editor Angela Meyer wanted to see what themes might seep into the writing of contemporary Australian writers working with the spooky, the strange, the eerie, the fantastic, the speculative, the macabre and the absurd.

Jo Case, Boomer and Me: a memoir of motherhood, and Asperger’s

Leo is having trouble fitting in. Whether it’s pulling his pants down in the schoolyard or compulsively saluting Mazdas because the company sponsors his football team, Leo can never seem to say or do the right thing. And Jo is struggling to help him find his place as she juggles work and the ordinary demands of motherhood. But her beloved only child has been reading novels since he started school, amazes strangers with his encyclopaedic knowledge of sport statistics, and displays a wit sharp beyond his years – could he be gifted? In fact, it turns out Leo has Asperger’s Syndrome.

This is the bittersweet, blackly funny story of a boy and his very twenty-first-century family, and why being different isn’t a disability – it just takes a bit of getting used to.

Wendy James, The Mistake

The past isn’t dead. It isn’t even past …

Jodie Garrow is a teenager from the wrong side of the tracks when she falls pregnant. Scared, alone and desperate to make something of her life, she makes the decision to adopt out her baby – and tells nobody.

Twenty-five years on, Jodie has built a whole new life and a whole new family. But when a chance meeting brings the illegal adoption to the notice of the authorities, Jodie becomes embroiled in a nationwide police investigation for the missing child, and the centre of a media witch hunt.

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Meet the locals: author Jon Bauer

Author Jon Bauer

I remember first encountering Jon Bauer in a session, with Fiona McGregor, at the Melbourne Writers’ Festival on writing about mothers. As you know, this is a topic that continues to engage me (on many levels) and I was intrigued because it was unusual to have a male panellist (a refreshing change, actually), and he spoke eloquently about writing female characters.

After his debut novel, Rocks in the Belly, was shortlisted for the International IMPAC Dublin Literary Award (2012) and won the Indie Award for Debut Fiction (2011) it became one of the first books I downloaded onto my Kindle. A mistake, I now realise, because I want to share the damn thing with everyone!

It’s a stark and brooding novel with a mesmerising and seductive mix of young boy and adult male voices. Reading through responses on Goodreads, it’s one of those love/hate books, the kind I think I want to write. I mean, really, does anyone just want an indifferent response? If you’re willing to trust the author to take you on a dark journey, this one is beautifully structured and carefully constructed. As Jon intended, it embraces and then repels you.

Jon has written a couple of great articles for Newswrite magazine — on the author Ray Bradbury (who recently passed away); and on the art of researching the second novel — and shortly after moving here, I heard he was also heading to town, to a little village called Chewton just out of Castlemaine. I spoke to him about the move (he started off in the UK) and how he goes about writing such memorable fiction.

You’re originally from the UK and have recently moved to Chewton. What attracted you to the area?

I think living in rural England. Australia is home now (Melbourne for the last 11 years) but I was always going to need some nature and space around me. Castlemaine isn’t far from Melbourne, but far enough that it has its own vibrant community. A garden and veggies and animal life, and a full view of sky makes me happy in a way that lattes and hipsters don’t.

Do you find living here has helped your writing?

Nope. Yes. Sort of. I’m busier here, where I thought I’d be ensconced in privacy. But knowing I can retreat whenever I want gives me a lot of comfort. I’m writing a lot right now though because I’m coming to the end of my second novel and can’t keep my hands off it.

How did you come up with the idea for ‘Rocks in the Belly’? Was it shaped by your own family at all?

Rocks is based on a picture I saw on a mantelpiece years ago. The image was of a young foster child with an intellectual disability. She had died, and the family who took her in really missed her.

I kept that image in my mind for years and it bubbled up again one morning while I was lying in bed looking up at clouds. In terms of the shape of my own family, I suppose Rocks has an emotional authenticity, in that I was completely befuddled by the family I found myself in, and very aware that I was bottom of their list of priorities. Do you hear violins? But otherwise, it is that fictional weave of authenticity and invention.

There are many confronting moments in the book where the reader wants to look away, step back. How did it feel going to those dark places, entering into moments of violence, brutality, cruelty, misogyny (and pain)?

At times my hands were shaking as I typed. But I felt purged afterwards. I think, early on, I wanted to punish the reader. The book softened a great deal though as I redrafted it. People are so multi-faceted, and all too often characters are polarised in films and in literature. It’s important to me to write the essence into my characters that we are all capable of almost everything. How else would murder, war, rape and brutality transcend time, geography, and culture?

As for misogyny, that was something I watched extremely closely in the book. It is important for me to go to the places in society that are unacceptable. I am writing about child abuse now, among other themes. What mattered to me with Rocks, is that it was not a misogynistic novel. Which I steadfastly believe it is not. Chauvinist characters, evil characters, racist characters, they’re all okay in my book, and can sometimes do more to highlight injustice and bigotry than writing an idealised character. But there are writers who write chauvinistic books, and racist books, and don’t even realise they’re doing it.

You mentioned that when you were writing the novel, you did an acting course where you were encouraged to improvise. How did finding your voice and experimenting with it here affect the way you were developing characters?

That is a big part of why the protagonist is less likeable than he might be. That acting course (Meisner) was a permissive space where I could explore my darker side. There was a moment in the writing where the protagonist did something small, like drop a piece of litter. But feeling anxious of keeping the reader sweet, I sent him back to pick it up. Then I thought, bugger it, drop the litter. It sounds small, and the moment isn’t even in the book anymore, but it was a turning point.

I wrote Rocks to walk a tricky line between compelling and repelling the reader. It’s a heady mix, kind of like doing the splits. I won’t have got the balance right for all readers.

‘Rocks in the Belly’ mixes the voices of a young boy and his adult self beautifully. How did you conjure up these two versions? Who emerged first?

Rocks is based on a short story I wrote, so the adult came first, but at times in the story, you can hear his voice lapse into younger language as he recounts the past. When I was coming to write the novel, I knew I had to try the younger voice. I wasn’t confident I could do it, but once I started it poured out. Kids are easy to write, I think. Just bring out your most narcissistic and associative side.

The book is essentially about vulnerability masked as something else — all the characters (and all of us) share these traits to some degree. Do you find as a writer you are stripping off the mask in some way?

Fiction is a safe place, so there’s no unmasking. But I am shining a light on the fact we’re multi-faceted, as I said. And that ultimately, most violence and anger comes from pain and woundedness. Also that childhood is brutal, no matter how happy you think yours was.

People don’t like you to talk negatively about the halcyon world of childhood, but it’s important to normalise the ambiguity and complexity of all spaces: religion, parenting, family, marriage, love, childhood, sex … We like to simplify things, and usually for the better. But they aren’t simple. Ambiguity is a larger place, and allows a lot more freedom in life, and in story.

You’re currently immersed in your new novel. What’s the process? Do you research extensively? Or do you hit the ground running once you’ve found a character?

Both. This novel took a long time to find the story. I knew I wanted to write about a man. Then he became a man going blind. That led to a period of research, which was long and interesting, and confronting, but ultimately inspiring. Then just writing the words. Lots of them. It ended up being 160,000. I’m now stripping it back and shaping and grooming it. Down to 116,000, but I want it lower, if it’ll let me.

Are you a writer who likes to stick to a routine, who finds comfort there, or do you embrace spontaneity?

Routine shmootine.

We’ve talked in the past about the importance of play. Is this something you incorporate into your writing process?

Creativity IS play. Certainly initially. If you aren’t largely enjoying it, you’re doing something wrong.

You seem to be always drawn to the psychology of young boys? What is your interest in psychology and this particular age group?

The more I write the more I see themes. The key ones, I think, are that I write children (of both genders) as brutalised heroes. I tend to write the elderly as vulnerable, and the adults as flawed and negligent. That seems to be the over-simplified gist. And children make great narrators, and compelling protagonists. Who can’t cheer on a child character?!

In a ‘Newswrite’ article (‘Writer on Writer’) you wrote of how you were inspired by Ray Bradbury. What other writers do you go to for inspiration?

Susan Sontag described writing best when she said that, ‘It feels like leading and following at the same time.’ I try to live life like that too. Otherwise, I’m a buffet reader — dipping in and out of many writers. Mostly, I read non-fiction: psychology and ontology. I think I’ll be a therapist one day, and am hellbent on gathering more and more information on that unassailable thing — life. Fiction is a good place to do that, both writing it and reading, but I devour books on how to live betterer.

HAVE YOU READ ROCKS IN THE BELLY? OR ANY OTHER FICTION THAT IS BOTH REPELLING AND COMPELLING? WOULD LOVE TO HEAR YOUR THOUGHTS.

If you enjoyed this, you might also like to meet another local writer: Adam Ford. As Castlemaine has such a vibrant artistic community I’ll be doing more of these interviews in the coming year.