Stella Prize 2014 longlist announced

The longlist for the second Stella Prize has been announced.

This year’s longlist features six works of fiction and six works of nonfiction. The longlisted titles are:

Letter to George Clooney Moving Among Strangers Burial Rites

Letter to George Clooney by Debra Adelaide (Picador)

Moving Among Strangers by Gabrielle Carey (UQP)

Burial Rites by Hannah Kent (Picador)

Night Games Mullumbimby The Night Guest

Night Games by Anna Krien (Black Inc)

Mullumbimby by Melissa Lucashenko (UQP)

The Night Guest by Fiona McFarlane (Penguin)

Boy Lost The Misogyny Factor Madeleine

Boy, Lost: A Family Memoir by Kristina Olsson (UQP)

The Misogyny Factor by Anne Summers (NewSouth)

Madeleine: A Life of Madeleine St John by Helen Trinca (Text)

The Swan Book Forgotten Rebels of Eureka All the Birds Singing

The Swan Book by Alexis Wright (Giramondo)

The Forgotten Rebels of Eureka by Clare Wright (Text)

All the Birds, Singing by Evie Wyld (Random House).

The shortlist for this year’s prize will be announced on 20 March, ahead of the winner announcement in Sydney on 29 April. The winner of this year’s prize will receive a cash prize of $50,000.

For more information about the Stella Prize, visit the website here.

Top ‘Books+Publishing’ junior reviews of 2013

In 2013 Books+Publishing reviewed 99 children’s and YA books. Here are some of our reviewers’ favourites:

Picture books

Only one picture book scored five stars from Books+Publishing’s reviewers this year and that was Bird & Bear by Ann James (The Five Mile Press, May). Natalie Crawford described it as a story about ‘the small moments of understanding that can change a young child’s life’.

bird-and-bear

Young readers
Once Upon a Slime: 45 Fun Ways to Get Writing … Fast! by Andy Griffiths and Terry Denton (Pan Macmillan, April) received five stars from Meredith Lewin, who said that while the book is aimed at junior readers, ‘aspiring writers of all ages take note—this is one of the most useful books on the market’.

Lewin also gave four and a half stars to Rosanne Hawke’s Shahana (A&U, June), which she described as ‘an outstanding first entry in the “Through My Eyes” series for readers aged 11-14, which aims to increase awareness of the devastating effects of war on children’.

Jarrah Moore was impressed with the ‘exceptionally rich’ world-building in Julie Hunt’s Song for a Scarlet Runner (A&U, April) and the ‘wonderfully realised’ world of Lian Tanner’s Ice Breaker (A&U, November), awarding them both four and a half stars.

Hannah Cartmel also gave The Four Seasons of Lucy McKenzie by Kirsty Murray (A&U, August) four and a half stars. She described the book as ‘a lovely and heart-warming story for pre-teen girls, especially those who live a rich fantasy life’.

Once_Upon_a_SlimeshahanaFour SeasonsSong for a Scarlet RunnerIce Breaker Book Cover

Young adult

Natalie Crawford gave five stars to Zac & Mia by A J Betts (Text, August), the winner of the 2012 Text Prize for young adult and children’s writing. ‘Zac & Mia should be mandatory reading for anyone dealing with cancer in their family. It is definitely a stand-out novel for 2013,’ writes Crawford.

Allyse Near’s Fairytales for Wilde Girls (Random House, June) scored five stars and comparisons with Neil Gaiman and Angela Carter from Bec Kavanagh. ‘This is a brilliant debut that will appeal to both adult and young-adult fantasy lovers,’ writes Kavanagh.

Meredith Lewin described Margaret Wild’s The Vanishing Moment (A&U, September) as a ‘riveting exploration of the measure of human life and happiness’ and said reading Kate Hendrick’s The Accident (Text, July) ‘brought back the raw sting of familiarity of reading John Marsden for the first time’. She gave them both four and a half stars.

zac and miaFairytalesThe accidentvanishing moment

Miles Franklin Literary Award 2013 shortlist

The shortlist for the 2013 Miles Franklin Literary Award has been announced, and this year it’s an all-female affair. Our reviewers were impressed with all five nominated titles, three of which are debut novels.

FlounderingReviewer Carody Culver describes Floundering as ‘a dark and lyrical tale of a family reunion that unfolds against a bleak rural Australian backdrop’, and says that the novel ‘deftly captures the fading innocence of a boy who witnesses more than he understands; what he leaves unsaid is as revealing as what he articulates’. … read more.


Beloved‘The Beloved is a vivid bildungsroman with believable characters and intense dramatic events’, writes reviewer Angela Meyer. Set in Papua New Guinea in 1955, the novel is ‘about two strong identities coming up against one another, the way passion (and art) can overtake a person’s very being, and the damaging effects of “wanting the best” for a child who already knows who they are and what they want’. … read more.


Questions of TravelQuestions of Travel combines the ambitious themes of Jonathan Franzen’s Freedom with the poetic details of Gail Jones’ Five Bells. And the prose will knock your socks off,’ writes reviewer Andrea Hanke. ‘Essentially this is a story about two common, but very different, experiences of modern travel—an Australian backpacker exploring the world and a Sri Lankan refugee adjusting to Australia—and de Kretser unpicks her characters’ experiences, motivations and emotions with great insight and skill.’ … read more.


‘Dutch photographer, Rika, and her English ethnologist husband Leonard arrive in Papua New Guinea at the end of the 1960s, when the Melanesian country is still under Australian colonial rule. He is to study the remote tribal community of the mountain, and she is along for the ride,’ writes reviewer Andrew Wilkins. ‘The Mountain is a book about the enduring relationship between European and Melanesian in all its complexity: the ties that can bring people together and the mysteries that can confound them on both sides.’ … read more.


Mateship with Birds follows the lives of Harry, ‘a divorced dairy farmer, living alone’, and his next-door neighbour Betty in post-WWII Victoria. Reviewer David Gaunt writes, ‘This is a splendidly poised and wryly funny novel: human nature and relationships are as beautifully observed as the rich, circadian rhythms (I’ve not read better prose about the intimate intricacy of dairy farming) of country life. It is clever, original and richly rewarding.’ … read more.

Bologna Children’s Book Fair 2013

Wild Dog Books publisher Andrew Kelly attended this year’s Bologna Children’s Book Fair, which ran from 25-28 March. You can read his report of the fair here. Australian children’s book illustrations were once again on display, with Ann James and Owen Swan attracting the crowds with their live demonstrations.


Pro-book sticker spotted on the streets of Bologna
image002
Owen Swan
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Ann James
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APA Book Design Awards 2013

The shortlisted titles for this year’s Australian Publishers Association (APA) Book Design Awards have been announced.

Here’s a look at the covers for the shortlisted titles in the categories of Literary Fiction, Nonfiction and Children’s Picture Books.

Literary fiction

 The Best 100 Poems of Les Murray  Cloudstreet
The Best 100 Poems of Les Murray (Les Murray, Black Inc.), designed by Peter Long Cloudstreet the 21st Anniversary Edition (Tim Winton, Hamish Hamilton), designed by John Canty
 lola_bensky1  Sufficient Grace

Lola Bensky (Lily Brett, Hamish Hamilton) designed by Laura Thomas

Sufficient Grace (Amy Espeseth, Scribe), designed by Allison Colpoys and Miriam Rosenbloom

 the-vivisector  The Voyage

The Vivisector (Patrick White, Vintage), designed by Luciana Arrighi and Midland Typesetters

The Voyage (Murray Bail, Text), designed by W H Chong

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BOOK REVIEW: The Holiday Murders (Robert Gott, Scribe)

The Holiday Murders is a new crime novel from Robert Gott, author of the ‘William Power’ crime novels as well as many children’s books. I hope it will be the first of many. The story takes place during Christmas 1943. Inspector Titus Lambert is head of the newly formed homicide section of the Melbourne police force. Two brutal murders have occurred and Titus, along with his young, inexperienced offsider Joe Sable and up-and-coming constable Helen Lord, are on the hunt for the killer. Featuring brownouts, war rations and the black market, The Holiday Murders brings to life a world not often written about by Australian fiction writers. Drawing on the political and social milieu of the time and name-checking some of Melbourne’s landmark streets and hotels, Gott’s story rings true—as well as being a real page-turner. It’s also a little grisly in parts. Fans of Kerry Greenwood, Sulari Gentill and any readers who like a little history with their crime will love The Holiday Murders.

Pip Newling is a freelance writer and former bookseller. This review first appeared on the Books+Publishing website in October. View more pre-publication reviews here.

INTERVIEW: Katherine Dorrington, program manager of the Perth Writers Festival

With the Perth Writers Festival just around the corner (21-24 February), Bookseller+Publisher spoke to program manager Katherine Dorrington about the festival’s highlights, its focus on literary writing, politics and journalism, and her favourite sessions.

What do you anticipate will be the highlights of this year’s Perth Writers Festival?
There are almost too many to mention, but I’ll give it my best shot! Without a doubt my number one highlight would be Margaret Atwood. She is such an influential writer and brilliant storyteller. I’m also really looking forward to hearing China Miéville speak. I’m a huge fan of his writing and I’ve never had the opportunity to hear him live.

I think Kevin Powers will be a big hit with our audiences. His book The Yellow Birds (Hodder) was on numerous ‘best of’ lists for 2012, and I’m looking forward to hearing him speak about his remarkable novel. Lawrence Norfolk is also high on my ‘must see’ list; his brilliant depiction of 17th-century England, John Saturnall’s Feast (Bloomsbury), astonished me with the amount of historical research he undertook.

The other major highlight for me is a series of events called ‘Out of the Box’, which focuses on television drama as serious form of storytelling rivalling cinema and literature.

What sessions or which authors do you think will attract the big crowds?
Margaret Atwood, China Miéville, Anna Funder and Phillip Adams are the authors I think will attract the biggest crowds, but I also think some of our events such as the Poets VS Novelists Debate, The Stella Prize Trivia Night, and the Family Day will also be really popular.

What about your personal picks? Which authors are you most looking forward to hearing talk about their work?
From our international line-up I loved Peter Heller’s The Dog Stars (Headline), so I’m really looking forward to hearing him speak, and also Steven Poole whose new book, You Aren’t What You Eat (Scribe), should generate lots of debate, which is always great for a festival. I’m really excited about our opening address, On Art and Politics with Ahdaf Soueif—it’s a great way to start a writers’ festival and epitomises what the festival is about, the place where storytelling and art inform and examine real life. The other international author I’ll be making sure I’m in the front row to listen to is Edward St Aubyn as I find his prose very polished and witty.

Australian authors I’m keen to listen to include Andrew Croome, Graeme Simsion, Benjamin Law, Anna Funder and Michelle de Kretser among many others.

What is the theme or inspiration for this year’s festival?
This year some of the threads running throughout the festival include a return and focus on literary writing with authors such as Edward St Aubyn, James Meek, Michelle de Kretser, Kevin Powers and Anna Funder. There is also a strong focus on politics and journalism with writers such as David Marr, Laura Tingle, Maxine McKew, James Button, Phillip Adams, David Uren, Chris Uhlmann and Steve Lewis. I’m also interested in exploring the changing nature of the modern soldier with Chris Masters, Kevin Powers and Major General John Cantwell.

Australian literature is often dominated by the Eastern states. How do you plan to highlight talent from the West?
To be honest I don’t think of it in those terms. We have a wealth of talent here in the West that includes authors who are recognised internationally as well as nationally. I would imagine that most book lovers appreciate good writing no matter where it’s from. However, I’d like to highlight just one key partnership we have with writingWA and Wines of Western Australia. This year we are featuring a number of WA writers in an event called ‘A Glass of Wine and a Good Book’, involving two of life’s great pleasures, reading a book and drinking wine!

Will the festival be using digital programming to reach audiences online?
While we are very active online in the way we interact with our audience, we don’t have any specific digital programming planned for this year. However, the festival is planning on employing a digital producer for 2014 and I think there could be some exciting developments in this area for future festivals.

CBCA Book of the Year Award winners 2012

The winners of this year’s Children’s Book Council of Australia (CBCA) Book of the Year Awards were announced today, marking the official launch of Children’s Book Week.

The winning books in each of the categories are:

   
Older Readers
The Dead I Know (Scot Gardner, A&U)
Younger Readers
Crow Country
(Kate Constable, A&U)
   
Early Childhood
The Runaway Hug (Nick Bland, illus by Freya Blackwood, Scholastic)
Picture Book of the Year
A Bus Called Heaven (Bob Graham, Walker Books)
   
Eve Pownall Award for Information Books
One Small Island: The Story of Macquarie Island (Alison Lester & Coral Tulloch, Penguin)
Crichton Award for Illustration:
Ben & Duck (Sara Acton, Scholastic)

To see a list of all the winners and honour books, visit the Bookseller+Publisher website here.

Interview: Felicity Higgins on ‘The Mothers’ Group’ (A&U)

Fiona Higgins’ debut novel The Mothers’ Group (published in excellent time for Mother’s Day) follows the lives of six very different mums in Sydney’s Northern Beaches. It covers some ‘dark territory’ but is no ‘misery mumoir’, writes reviewer Felicity McLean. She spoke to the author.

The Mothers’ Group is your first novel (following your memoir, Love in the Age of Drought). How did you find the shift to fiction?
Liberating. With Love in the Age of Drought, I was constrained by the truth. It was my life I was writing about—and if I didn’t tell the truth, a bunch of witnesses (including my husband) would be holding me accountable! The Mothers Group freed me up to explore themes about parenting and relationships in a really creative way, taking my ideas and storyline in almost any direction. It was such a different and satisfying experience. That said, I think the characters in the novel are all very real. In fact, it was as if this group of real people just came and plonked themselves inside my head while I was writing! And their issues are real: they’re striving so hard to be the mothers they want to be, yet so often they fail (in their own eyes, mostly) to achieve that goal. This is the experience of many mothers I know, including me.

You cover some dark territory in The Mothers’ Group, exploring issues such as infidelity, substance abuse and birth deformities. Was any of this content based in your own experiences of motherhood?
I’ve chosen to explore some of the hardest issues about mothering that people rarely talk about, that’s true. The thing about taboos is, you’ve got to give them a decent airing before you can start tackling them. But the novel is equally about love, friendship and commitment—all of which I’ve experienced intensely since becoming a mother myself. None of the content in the novel is a direct replication of my own experience of motherhood, but certainly there’s an aspect of myself in all the characters. So, for example, there’s quite a tough, brittle character in the novel called Ginie, who is almost diametrically opposed in temperament to a gentle and generous Balinese character called Made (pronounced Mar-day). Well, on a bad day in my household, I’m Ginie. On a good day, I’m Made. And I think this is the experience of many mothers—they have good days, bad days, and everything in between. The question is—can society, and can women themselves, be generous enough to accept this reality: the imperfection of the flawed mother?

Who do you see are readers for The Mothers’ Group? Fathers not just mothers? Women beyond just those with children?
While I think the book will appeal most directly to women and men who are parenting younger children, there’s plenty in it for anyone interested in human relationships and family dynamics—dads, grandparents, aunts and uncles, or women who are childless by choice or circumstance.

What was the last book you read and loved?
The Life
by Malcolm Knox. I was hospitalised at the time, just before Christmas, so had this unexpected window to read it. I’d picked it up before but had been daunted by its style. But this time, once I was in, I was hooked. The main character—a washed-up former champion surfer, living with his mum in a retirement village—was so poignant and compelling. I found the style and language utterly engaging and, living on Sydney’s northern beaches, I felt like I’d met a few of the characters. Once I was discharged from hospital, I went out and bought copies for surfer mates of mine.  And funnily enough, it’s a book where maternal power is brought to bear with devastating force. Once again, it’s all about mum!

Andrew Wilkins: Literary awards – what are they good for?

As it’s been a while, regrettably, since Wilkins Farago published a book eligible for any of the state premiers’ awards, I don’t feel I have a vested interest in the future or otherwise of the Queensland Premier’s Literary Awards, which were summarily axed this week by incoming Queensland Premier, Campbell Newman.

However, one is bound to feel regret at the passing of any government support for the literary arts, given how meagre that support is in the first place.

But politics and state premier egos aside (Stuart Glover has written a helpful background to the Queensland awards), what are such awards good for?

We have a lot of literary awards in this country. One hundred and thirty three, according to the last edition of Thorpe-Bowker’s Australian Literary Awards and Fellowships (2007). Everything from municipal poetry prizes to short story competitions. Some offer a book voucher or medal; others offer cash, ranging from enough to buy you lunch to enough to buy you a decent new car.

Apart from the big international awards like the Man Booker, local awards that actually stimulate people to go into a bookshop and buy the prize-winning book are actually few and far between. The Miles Franklin Award (the ‘longlist‘ for which was announced last week) has an impact. So too do the Children’s Book Council of Australia‘s Children’s Book of the Year Awards (the shortlists for which were released this week). Most others are scarcely noticed by the general public, and do little to sell books.

Do actual sales of books matter if an award ends up putting some money in the pocket of a deserving (and generally impoverished) writer? I think they do.

While a cash grant or an award may buy valuable time for the writer, and give them vital encouragement and validation, ultimately what will give someone a long-term career as a writer is a readership for their work. That’s people buying, reading and discussing their books.

As Heather Dyer of Fairfield Books observed in the July 2011 issue of Bookseller+Publisher Magazine

An award will help a book stand out, and it might penetrate the consciousness of the customer, but that in itself isn’t enough. A book still needs all, or some of: prominent shelf space, marketing, a ‘saleable’ author and endorsement from friends or a trusted bookseller.

Often, in the rush to bestow prestige on the recipient (and benefactor), administrators of literary awards can forget that giving out an award is only half the job; it also needs to be promoted. If an award falls to a writer and no-one notices, was it actually given?

This isn’t an argument for cutting awards, but more for funding them properly. $244,000 for the Queensland Premier’s Literary Awards sounds like a lot (not really when its divided between 14 winners), but think what could have been achieved if, alongside the prize money, an equal amount or more had been spent, with the involvement of publishers, booksellers and libraries, promoting the work of the prizewinners to the people who ultimately finance the award: Queensland’s taxpayers.

Books would have been sold and read in numbers, readerships created, communities stirred. (One could argue also that more marketing would have increased the Awards’ profile in the community, making them harder to axe.)

Actually, matters have improved since the days when, as a book publicist, both myself and an author heard through the grapevine a week after the announcement that they had won a Western Australian literary award. Some money is being directed towards marketing and I note that the current review of the New South Wales Premier’s Literary Awards is considering how to ‘maintain and enhance the prestige and authority of the awards’. Let’s hope the newly authoritative and prestigious NSW awards will take into account the importance of building an audience for the writer. That’s what will ensure they get publishing deals at home and overseas into the future.

Here, in no particular order, are just some of things that Australia’s literary award givers could consider doing to promote their prize winners. There are no particularly original ideas here, and some are already being employed by some awards already, but the point is to do things that develop readers, have long-term benefits and are properly resourced. I’m sure you’ll have your own ideas.

  • Author tours across the state or country
  • Wheel out the award judges for public talks, blogs and podcasts
  • Employment of a publicist to generate media interest in the award winners
  • Payment for prominent displays in bookshops (e.g. window displays)
  • Special promotional editions of the winning books to be sold at a special low price
  • Provision of stickers, bookmarks and shelf-talkers
  • Posters for display in bookshops, cafés, public transport and libraries
  • Advertising in local papers
  • Social media advertising
  • Travel, translation and promotion grants to assist with the promotion of the work overseas (this would help the development of an international audience for the authors’ work and amplify the work already being done by the under-resourced Australia Council)
  • Conditional marketing grants to publishers to encourage them to give the book another marketing push
  • Free sample ebook chapters
  • Order copies of the winning book(s) for every library in the local area/state/country
  • Pre-order copies of the author’s next book for every library in the local area/state/country

Finally, a thought on the funding for awards. Some Newman-applauding Queenslanders have helpfully suggested that if the literary community values such awards, it should finance them themselves. It’s actually the model followed by the two successful awards I mentioned at the top of this post: the CBCA awards and the Miles Franklin. After years of chasing transitory patronage and sponsorship, in the end the CBCA decided the only way to ensure its awards were sustainable was to set up a million dollar trust fund, which it built up painstakingly over many years. Of course, we owe our major literary award to the generosity and vision of Stella Maria Sarah Miles Franklin herself. This point was obviously not lost on the founders of the new Stella Prize for women’s writing, who have been busy raising money for their award.

Andrew Wilkins is the director of independent publisher Wilkins Farago. This post first appeared on Wilkins Farago’s blog.