WORD Writers & Readers Festival 2016 – Bringing the BIG names to town!

The biennial book binge that is the WORD Writers & Readers Festival is back for 2016, and the programme launched tonight at The Press building on Gloucester Street is bursting with authorial tastiness.

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Christchurch will play host to over 150 writers and speakers over four crazy, crazy days and nights on the 24th to the 28th August. The range of events embraces the standard hour-long author talk, panel debates, poetry readings, book launches, a comedy panel show, Pechakucha night, exhibitions, workshops, storytelling, the Ngaio Marsh Award Ceremony for Best Crime Novel, lectures, family events, a historical walking tour and a fringe festival. Blimey.

Literary Director Rachael King has put together a programme with themes that cover the full torrid schmozzle of humanity: life and death, gender, sexuality, indigenous rights, migration, the climate and yes, even the F-word …feminism.

image_proxySome stand-out events include:

No Sex Please, We’re Teenagers
Young Adult novelists David Levithan, Ted Dawe and sex-therapist Frances Young discuss with chair Mandy Hager the role of sex in literature. What are the risks and rewards?

2050
Tim Flannery, Mai Chen, Bronwyn Hayward and Shelia Watt-Cloutier chaired by Kim Hill paint a picture of earth in 2050 with reference to climate, diversity, indigenous rights and citizenship. Utopia or dystopia?

Busted: Feminism & Pop Culture
Debbie Stoller is the co-founder and editor of BUST magazine and authored the Stitch n Bitch craft series. She talks craftiness and feminism.

Oratory on the Ōtākaro (Avon River)
Join Joseph Hullen for a 40 minute tour and discover the rich shared Māori and European history of the river Avon.

The programme is positively bulging with energising, stimulating and inspiring book-ish events, so unleash the Christchurch culture vultures!

Spring is sprung!

Have an eyeful with this bouquet of blossom reads:

Book cover of Blossom street brides Book cover of Rose harbour in bloom  Book cover of The blossom sisters 

Dark and Chilling – Northern lights

WORD-Web-Event-DARKCHILLINGThe lovely criminal duo of  Yrsa Sigurdardottir (go on do have a try…ỨR-suh SIG-ur-dar-daughter..easy!) and Liam McIlvanney chatted with Crime Watch blogger Craig Sisterson.

Liam McIlvanney was scheduled to appear in the 2010 Press Christchurch Writers Festival but the Darfield Earthquake put the kibosh on that. Four years later he has published the second in his Gerry Conway trilogy Where the dead men go and recently won the 2014 Ngaio Marsh Award for Best Crime Novel.

The panel talked at length about the importance of setting in crime fiction. Liam uses Glasgow, the crime capital of Western Europe, as his backdrop and believes Scotland’s history of dour Calvinism has developed into a dark obsession with sin. Scotland’s complex relationship with England particularly prior to devolved power has also allowed crime writers to pose politicised questions about wider society without the necessity of providing answers.

Yrsa acknowledged Iceland’s unforgiving climate lends itself to the idea, if not the reality, of murder. With no real crime to speak of in the Iceland she has to work hard to make her fictional crimes seem authentic and uses social and political context “to add meat to the bone”. Yrsa also plunders Iceland’s long-standing fascination with the supernatural to great and creepy affect.

Cover of Where the dead men goAsked about memorable early reading experiences, Yrsa admitted to being fascinated by her father’s textbook on gruesome infectious diseases. Horrific but enthralling. Liam’s rather more pedestrian fare included Ray Bradbury and Robert Louis Stevenson. Current crime reading included Sophie Hannah for Yrsa while Liam mentioned David Whish-Wilson and Peter Temple, who he credited as the best crime writer in the English language.

Both Liam and Yrsa hold down day jobs; Yrsa is an engineer working in hydro-electric generation while Liam holds the Stuart Chair in Scottish Studies at Otago University, an academic occupation which could be viewed as “boring and nerdy” but which allows him time to write about evil and achieve cathartic release.

Not particularly dark or chilling but instead a rather cosy and engaging peek at the craft of crime writing.

WORD Christchurch:

Courting controversy: recalling and retelling the First World War – WORD Christchurch

WORD-Web-Event-HOWWEREMEMBERWriters and historians Anna Rogers, Paul Diamond and the totes delightful Harry Ricketts discussed the First World War, the individual stories of participants and the ways in which New Zealand has remembered, fabricated and re-imagined the events and legacy of the war.

Contributing essayists to How we remember. New Zealanders and the First World War Anna and Paul both related stories of individual Kiwis. Anna told the tale of Fanny Speedy, a Hawkes Bay nurse who saw over 4 years service in Egypt and Western Europe. Paul Diamond revealed the scandal of closet homosexual and “war shirker” Wanganui Mayor Charles E MacKay who in 1920 shot and wounded blackmailing poet Walter D’Arcy Cresswell. Yes, even more scandalous than Michael Laws!

Both writers subscribe to the view these individual vignettes can help illuminate the larger story of the war, the attitudes, fears and actions of the nation and wider world. Paul Diamond also praised Kirstie Ross and Kate Hunter’s book Holding on to home: New Zealand stories and objects of the First World War where “the objects unlock stories” both on the home and war front.

Paul Diamond drew interesting parallels between the First World War and the Canterbury/Christchurch earthquakes both with a vast diversity of experiences, attitudes and stories. Luckily for future historians these Canterbury memories and experiences have been handy-dandily captured in the UC CEISMIC digital archive. If only accessing primary sources for the First War World was so easy.

Harry Ricketts concluded by calling for controversy over the next four years of First World War focus. He and the panellists hoped for fresh eyes, new perspectives, and raw, not traditionally accepted and polished tales of the First World War. New stories and research that can help shape and evolve our understanding of warfare and its role in the history of New Zealand.

For more on the First World War:

  • Canterbury 100 – Telling the story and experiences of Canterbury people during the First World War.
  • WW100 New Zealand – The centenary of New Zealand’s participation in the First World War will be marked from 2014-2019 through commemorative events, projects and activities in all parts of the country
  • Christchurch City Libraries – First World War resources, events, booklists, postcards and links.
  • 100 Stories project at Monash University – The darker untold stories of returned  Australian soldiers and their families.

WORD Christchurch:

 

Sadly, I read it my way

Diary 1985Reading regrets, I’ve got a few…

As this diary page from my “yoof” clearly illustrates. Desmond Bagley! Alistair MacLean! Gavin Lyall! And the pièce de resistance Jeffrey Archer!

To be fair I was 15 when I was reading these über macho, high-octane thrillers but shame still stings my cheeks especially regarding the naughty Lord Archer. What was I thinking?

All of these authors have completely fallen off my reading radar and I suspect with the exception of Dick Francis and the perjuring Lord Archer of Weston- super- Mare most of these scribblers are largely unread today. Fiction is indeed a fickle mistress.

Cover of The Child that books builtI do love bookish memoirs recounting formative reading experiences, I’m thinking particularly of Francis Spufford‘s The child that books built. Spufford re-read his favourite childhood books discovering “both delight and sadness”. In my case this diary has triggered both profound embarrassment and amazement that I had the audacity to study English at university! If these are the books that build the adult I am today I’d be a gun-toting, flares wearing, libidinous space-rogue. Life on Mars’s DCI Gene Hunt in a spacesuit.

If I could re-write the past I’d display a more accomplished and precocious reading list, maybe a little Proust, James Joyce or Dostoevsky.

Or maybe I just need to be satisfied that the thriller and science fiction schlock I read of yesteryear was nonetheless sufficient fodder to set me up on a longer, more accomplished reading journey.

To help ease my humiliation please feel free to share your most shameful formative reading experiences in this public forum!

Learning to love fiction

Search catalogueWhat is not to love about fiction…I am hoping to hear you ask…?

Horrifingly, several times in my library career I’ve been utterly dumbfounded to hear customers say they don’t read novels. What?!!! After several breathless squeaks  followed by a bout of dismayed spluttering, I’ve asked why ever not?

The puzzling reply has always been that they read for knowledge, want real facts and don’t have time to waste on make-believe or fantasy (I feel a panic attack coming on just writing these horrid words).

Search catalogueGoodness me, do real facts even exist? There has to be some room for doubt given all we’ve heard about fabricated memoirs ( Yeah, you James Frey), optimistically embellished science and medical research (Ben Goldacre) and if we accept history is written by the victors, the whole truth schtick is looking a bit shaky.

I am on a mission to convert non-fiction readers to fiction.  Throw away your computer manuals, biff  interpretative history and say adiós to self-help bibles, but I need you, our faithful blog readers, to provide the compelling and irrefutable reasons for why fiction does matter.

To get you started here is my 10 cents worth:

  • Novels are steeped in human truths, often with immaculately researched and detailed plots embedded in real events.
  • Good novelists provide the creative spark which can allow fact to take flight, taking readers into the interior lives of both real and imagined people.
  • And finally, isn’t it healthy to walk in other people’s shoes ( Jimmy Choos and Hush Puppies) and attempt to see life through other people’s eyes, or from another perspective?

Fiction lovers bring it on … why should we all read fiction?

More: Why I still love reading fiction Roberta

Writing from the heart: An hour with Chris Cleave

What has been the best day of your life?

What has been the worst day of your life?

What do you hope for?

What do you fear?

These are the questions Chris Cleave poses hapless interviewees during the exhaustive formal research he conducts for each of his novels.

His informal research he characterises as “quite creepy” and involves stalking innocent members of the populace foolish enough to have heartfelt conversations on public transport.

Like any great hunter, Chris uses disguise and cunning, he sits behind his targets wearing unconnected ear buds, nods his head in time to the imaginary beats and captures their vocabulary, grammar and idiom. You have been warned. Stay alert for insanely grinning Englishmen, they want to pinch your charming Kiwi-isms.

Host Kate de Goldi, who described Chris’s books as “politicised, moral and completely readable”, asked Chris about his debut novel Incendiary. Written as an open letter to Osama Bin Laden from a grieving mother whose child died in an imagined London terror attack, it was due for release on 7/7/2005. Two thousand pre-publication posters depicting a smoking London city-scape and the words “What if?” were plastered all over the London Underground. Then that same day, the real London attacks kicked off, and Cleave, with his publishers, had the novel pulled from the shelves. This was for him a “fraught, frantic and complicated decision” but he still believes it was the right one.

The Geodome audience then paused for a few minutes while a bumble-bee drunk on the aroma from some onstage freesia was corralled and dealt to by festival organiser Morrin “No8 wire” Rout.

Chris next talked about the influence of parenthood on his work. Incendiary was written to mark the occasion of the birth of his first child and engaged with themes that previously had been purely abstract: grief at the loss of a child, injustice and the task of keeping loved ones safe in a potentially volatile and dangerous world.

Chris now dislikes his pre-fatherhood writing and characterised it as smug, self-reverential, full of ridiculous pyrotechnics and hubris. His youthful writing was in the pursuit of glory and was as a result terrible.

This self-analysis prompted New Zealand product design writer Michael Smythe to ask whether this was exclusively auto-critique on Chris’s part or whether another party had nudged him towards this realisation?

Cleave gleefully admitted that yes, several rejection letters for at least two full length manuscripts had eventually caused him to reconsider the direction of his writing. The fate of these rejected masterpieces, The Roadkill Cookbook and Tequilla Mockingbird, was not alluded to but the “rather charming” publishers’ rejection letters are filed in Chris’s big envelope of bitterness.

This was a delightfully wise and witty session from an author of compassion and curiosity, and from a man who isn’t afraid to wear his heart on his sleeve. I’m going to ask myself some of Chris’s questions but I suspect they will, rather like his novels, make my heart hurt.

Two tales of Afghanistan

Marianne Elliott and Nicky Hager‘s books at first sight appear to be quite different beasts. Investigative journalist and author Hager needs no introduction, he has been illuminating New Zealand’s political, military and intelligence underbelly since 1996. His books are weighty tomes (metaphorically if not literally) replete with formidably detailed research. Zen under fire by Marianne Elliott, former United Nations’ human rights officer and lawyer, uses a more personal tale-telling technique to describe her time in Afghanistan and its impact on her, her nearest and dearest. Surprisingly the books taken together are complementary and sympathetic, providing a picture of Afghanistan, big and small.

Both Hager and Marianne felt compelled to write due to the lack of information on Afghanistan despite New Zealand’s involvement there. Further Marianne wanted to tell the stories of her Afghani colleagues, “to use the location and time in history to inform people”, to give context and reveal the discrepancies between the theory and practice of humans rights in Afghanistan.

For research Marianne relied on the almost verbatim notes she’d kept of interactions with warlords and non-governmental organisations. Her own “tenacious memory” informed the rest. Hager spoke to serving soldiers, senior officers and collected intelligence and military documents in the tens of thousands. The sheer volume of evidence “nearly melted down his brain” and Hager initially struggled to reduce this mountain of paper and find the essence.

Finding the “voice” of their respective books had challenges for them both. Hager didn’t want a critical, nagging voice. He wanted Other people’s wars to be a nation building book explaining who we are as New Zealanders, and to be read by the military, military families and the wider New Zealand public especially the young. Marianne wrote for her friends, women she knows and loves but who sometimes struggled to understand her experiences. She also felt strongly that most New Zealanders wanted to understand Afghanistan and be able to access nuanced information. The personal story was for her the best vehicle

Asked about what the next five years held for Afghanistan neither author was optimistic. Nicky Hager believes the slow collapse of Afghani society is inevitable once the West withdraws. Marianne likewise, despite her reservations about the West’s original involvement in Afghanistan, fears the lack of long-term political commitment will result in hardship for the many people who have experienced improved lives since Western forces entered Afghanistan. The transition needs to be slow and thoughtful and she hold real reprisal concerns for the many Afghani who have worked alongside the West.

This was a carefully structured and sensitive exploration of the writer’s craft rather than a febrile, political polemic. Well attended, the audience provided some thoughtful and topical questions.

Fatal Attraction: Murder, mayhem and bunny boilers

Fatal Attraction: A manly panel of Michael RobothamJulian Novitz, Ben Sanders and local lad Paul Cleave at The Press Christchurch Writers Festival talking about writing crime fiction. Host Craig Sisterson noted the abundance of testosterone and I can also report lots of hairy bits. Beards, stubble and sideys are IN with the crime scribes. I don’t think the issue of what to wear on-stage had been filling the panel’s every waking hour, minute or even second, but slightly rumpled casual is oh-so-wearable and bang on-trend for Spring 2012. Likewise the shoes were solid, macho and in need of a good polish. No flak jackets or commando trews which I was disappointed by but points perhaps to the fact that these guys write crime not thrillers. I was amused to hear one festival helper/author wrangler had chided 22 year-old Aucklander Ben Sanders on wearing just a cotton shirt for a day in chilly Christchurch. No layers. The madness!

Now, the questions:

Why write crime?

For most of the panelists this was not a conscious choice. Michael Robotham didn’t initially see his novel Suspect as crime writing. However his publishers marketed it as such and his book-deal stipulated that he had to write subsequent book in a similar style. So crime it was. Likewise Julian Novitz’s Little Sister has a murder at the centre of the novel but it was his publishers who wanted to promote the literary crime elements. Paul Cleave wanted to write horror but his publishers marketed The Cleaner as crime. Only Ben Sanders identified crime as his target genre, wanting to emulate his favourite writers such as Lee Child, Michael Connelly etc. Michael Robotham and Julian Novitz were respectively prosaic and intrigued by the marketing decisions around genre but Novitz added he was “happy to be in any section, in any bookstore”.

Is genre fiction perceived as inferior?

Yes and erroneously seemed to be the consensus. Ben Sanders pointed to the misconception that crime writers have the same goals as literary novelists, he sees them as different creatures entirely. Michael Robotham said it was important to compare like with like and that often he sees the worst of crime being balanced against the best of literary. Julian Novitz wanted any novel he read to be fresh and not formulaic regardless of genre, while Paul Cleave felt that the general standard of crime writing was rising all the time. Host Craig Sisterson used Ian Rankin’s Rebus novels as an example of crime fiction using real-life themes and providing valuable social commentary. Likewise Michael Robotham and Paul Cleave have used a variety of real themes is their work: People trafficking, the global financial crisis, racism, youth drinking etc

Can you write a crime novel without a murder?

Ben Sanders’s gave an emphatic no, adding “homicide lends crime fiction its sizzle”. If nobody died in one of his books Paul Cleave would expect a lot of concerned calls from his friends and family about what was up with him. He added that the choice of victim not the murder per se was the critical issue in writing crime. Michael Robotham’s wife finds his tendency to bump off characters she likes infuriating, she’ll put the book down and punch him saying “bring them back you bastard”! Like Sanders he sees murder as the ultimate transgression and one that most crime novels must address.

Fun and relaxed, this session had a skimpy audience. It deserved more.

New Zealand design has no bullshit and a twinkle in its eye: Michael Smythe

The Design of delight? at The Press Christchurch Writers Festival was a smörgåsbord of New Zealand product design spanning the 1800s through to the modern-day, the sublime and the mundane: Edmond’s “Sure to rise” baking powder, Christchurch ceramist Mark Cleverley’s Crown Lynn designs, David Trubridge’s unique lighting and furniture, the Fisher & Paykel SmartDrive and DishDrawer, the Mountainbuggy, John Britten’s V1000, the Zespri “Cut and Scoop” designed by Peter Haythornthwaite and the undisputed champion of Kiwi design, Buzzy-bee designed by Maurice Scheslinger circa 1940.

The range, for a design ignoramus such as moi, was astonishing but this litany of design achievements was also tinged with nostalgia. The glory days seem to be locked in the “Pavlova Paradise” of the past and the challenges facing modern-day New Zealand product designers operating in the global marketplace are massive. Michael Smythe’s prescription for Kiwi design success was to foster “a self-confidence with minimal self-consciousness” and to remember New Zealand’s secret weapon, our unique capacity for cross-disciplinary team-work.

Smythe identified design personalities unique to their country of origin i.e. clean and wholesome Scandinavia, Italian flair and style , German rationality, robustness and reliability and The Dutch? Dry and wry! But what of New Zealand design? He characterised it thus:

  • Neither opulent nor sterile
  • With a light touch, not a heavy hand
  • Direct and honest
  • No bullshit with a twinkle in the eye
  • With a delight in what it is, who it is for and how it is made

Smythe also linked in the Maori tradition of ihi, wehi and wana; utility, impact and physical thrill or awe. Smythe looked in some detail at early Maori design, identifying a basalt toki as being one of the first Maori design pieces to give him a tingle up his spine.

While Smythe has put much deep thought into how to frame New Zealand’s design persona, as evidenced by his NZ Post Award winning title New Zealand by design, he was clear that he wanted to generate discussion and the question mark attached to the phrase “Design of delight?” leaves room for alternative encapsulating concepts.

This was a lovely, low-key session with a very engaged audience which included high school students, industry professionals (I saw my first hi-vis vest and hard hat of the festival!) and interested lay-people. The Q&As at the end of the session both expanded and rounded off the topic nicely.