Posts Tagged ‘Text Publishing’

BOOK REVIEW: The Mask of Destiny: The Billionaire Trilogy Book Three (Richard Newsome, Text)


Posted: 15 November 2011 at 8:34 am

In ‘The Billionaire Trilogy’, Richard Newsome has written an adventure series that has shades of Indiana Jones and a Dan Brown thriller, pitched at a level that is accessible for its younger audience. In this excitement-filled final instalment, our protagonist Gerald Wilkins finds himself smack in the middle of the answer to everything—but unfortunately, this includes a murder charge. When Gerald is framed for the murder of his evil nemesis Mason Green, he is forced to go on the run, along with his trusty sidekicks, twins Sam and Ruby Valentine. The trio needs to find the ruby casket, an unknown treasure, and prove Gerald’s innocence. This leads them on a fast-paced series of adventures through France, the Vatican City and Greece. Meanwhile, Mason Green’s niece Charlotte is striving for world domination. Will Gerald, Sam and Ruby stop Charlotte or will Gerald end up in prison? While the story might follow a predictable formula, the excitement level is high, and is bound to keep children aged 9-12 enthralled.

Anne Copeland is a freelance reviewer and education accounts manager for Dymocks, Collins St in Melbourne. This review first appeared in the August issue of Bookseller+Publisher magazine.

BOOK REVIEW: The Cook (Wayne Macauley, Text)


Posted: 12 October 2011 at 9:42 am

Zac is a teenager from the wrong side of the tracks sent along with a dozen others to Cook School, run on a country property by the famous Head Chef and his strict assistant Fabian. While most of the no-hopers drop out, Zac and his pal Hunter catch on to Head Chef ’s drive for foodie perfection, and farm manager Terry imparts his skills in raising and butchering fresh meat. Some readers may be challenged by the unpunctuated stream-of-consciousness narrative, but by sticking with it for a few chapters, you really get into Zac’s head. On the surface this novel plays on our obsession with reality TV, fame and in particular cooking shows such as MasterChef. But as you read on it becomes apparent that questions of class, aspiration and success are at the heart of this complex, nuanced book. Zac takes the individualistic, ultra-capitalist approach of Head Chef and his backer the Master to a darker, stranger place with his ruminations on ‘service’ and his obsessions with perfection in food. As the dreams of everyone involved begin to crumble in the inevitable boom/bust cycle, Zac’s final meal will be a Pyrrhic triumph. This is a black parable on contemporary society.

Tim Coronel is publisher of Bookseller+Publisher. This review first appeared in the September issue of  Bookseller+Publisher magazine.

BOOK REVIEW: Sarah Thornhill (Kate Grenville, Text)


Posted: 31 August 2011 at 1:55 pm

In 2005 Kate Grenville wrote the bestselling and multiaward-winning The Secret River. She followed it up with The Lieutenant, a novel inspired by the First Fleet diaries of William Dawes. Completing this loose trilogy is Sarah Thornhill. William Thornhill, the main character from The Secret River, is a man ‘sent out’ to Australia for theft, who is now a landowner on the Hawkesbury River—a river with a secret. This time it is his daughter’s turn to tell her tale. This book is told in first person, through Sarah’s eyes, and through her we meet Jack Langland, son of a white father and Aboriginal mother. Ultimately, this book is about blood ties, love that is blind, the ‘sins of the fathers’ and a family’s secret, which reaches across the Tasman to New Zealand. Sarah says it’s an account ‘of those things left undone that we ought to have done, and the things done that we ought not to have done’. Unashamedly romantic, Sarah Thornhill will appeal to lovers of colonial Australian fiction. Its themes of young love lost and the destructive power of secrets, and Grenville’s clear writing, will also make it attractive to younger readers.

Fiona Stager is co-owner of Avid Reader Bookshop & Café in Brisbane. This review first appeared in the August issue of Bookseller+Publisher magazine. Kate Grenville is a guest of the Melbourne Writers Festival and Brisbane Writers Festival.

BOOK REVIEW: The Bridge (Jane Higgins, Text)


Posted: 4 August 2011 at 1:50 pm

The Text Prize is going from strength to strength, as the publisher continues to choose winners that push the boundaries of young adult fiction. The latest winner, The Bridge, is brilliant. Every sentence is skillfully crafted, with just enough left unsaid that the reader is always hungry for more. In a futuristic world, Nik and his friends must choose their loyalties in a war that is not as clear as they were brought up to think. Nik has spent his life training to join an elite group fighting the hostiles across the eponymous bridge. But when his college is blown up, and his friend kidnapped, Nik must venture into hostile territory, where he finds answers to questions that he never thought to ask. With YA dystopia still going strong, older readers of the genre will love this latest offering. Like all good dystopian fiction, there are plenty of parallels between the book and issues in our own society: racism, loyalty, fear and the futility of war are all themes that are addressed in a thoughtful and considered manner by the author. Importantly, the issues in The Bridge do not come at the expense of the action, and a fast pace is maintained throughout, while the characters are complex and interesting enough that it is virtually impossible to leave their side as the story crashes on. This is a breathtaking first novel.

Bec Kavanagh is a Melbourne-based writer and reviewer and an ex-bookseller. This interview first appeared in the the Junior Term 2 supplement of the June issue of Bookseller+Publisher magazine. Read Junior Term 2 online here and sign-up to The Junior Newsletter.

Why the world needs editors, even if it doesn’t need books: Mandy Brett


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Posted: 8 June 2011 at 10:54 am

This edited extract from a talk Text Publishing editor Mandy Brett delivered at the Wheeler Centre first appeared on Crikey’s Culture Mulcher blog by W H Chong. You can also watch it online here.

My claim to fame is that I’m a book editor. It is in fact a pretty anaemic claim, and 95-97% of the time that’s the way I like it. Editors work with writers and we work out of the public eye. The spotlight is, as it should be, on the people who actually do the creative work. But sometimes obscurity can be a problem and that’s one of the things I want to talk about today—we’ll get to it a bit later.

I assume you’re all book lovers here today—I think they scan you at the door as you come into the Wheeler Centre—so you don’t need me to tell you this is a book. [Holds up the prize-winning Traitor, which she edited.]

[Holds up devices.] So is this iPad, and this iPhone, and these e-ink readers (Kindle, Sony Reader): they are devices for reading long-form narrative, or short-form if that’s what you choose to put on them. If we were in America right now, you would be very familiar with these. Current figures suggest US sales of electronic books are doubling year on year, and in January ebooks sales surpassed those of mass-market paperbacks.

Of course, paper books aren’t going anywhere for a while yet. However, if you don’t use an electronic reader now—and the figures suggest that as an Australian reader you probably don’t—at some stage you’re going to find the weight to information ratio or the instant download capacity compelling enough that you can get used to the different form factor. And then you’ll be part of the ebooks upward curve.

Or you won’t, and you’ll be part of a dwindling minority.

So there are big changes coming for how we read.

Not necessarily for what we read: if you look at the Kindle-style products in particular, they are dedicated book-reading devices that don’t do anything else but allow you to carry around a lot of texts in a convenient package. The makers of these devices are assuming there will continue to be a big market for conventional long-form narrative, and I agree. We readers aren’t suddenly going to lose our taste for the absorbing way the written story works on the human imagination.

I do think our numbers will dwindle as time passes, though. I think kids growing up now, with their social media and online games, will still read, but they will do less reading than we did, and fewer of them are going to feel devoted to it in that passionate way of: ‘This is what I do, this is who I am.’ They’ll grow up surrounded by interactive forms, too, expecting to comment and co-write and in other ways contribute to the development of written work. I think over time that will probably shape the nature of writing and reading: how they are made, and how they play out together.

In the short term, however, the changes are to do with the way people shop for, and buy, and pay for their books. The growth of on-line purchasing and the low retail price that’s become standard for ebooks are big problems for the book trade. It’s a challenge even to produce an ebook for the price set by Amazon’s aggressive pricing regime, and a bigger one to make a businesslike profit. We’ll deal with the changes in the end I think, but it is all going to take a while to shake itself out. In the meantime, it makes for uncertainty and insecurity and loss of confidence in bookselling and publishing. And you know how business hates uncertainty.

You would have seen the reports in the newspapers recently about Fairfax getting rid of their entire sub-editing staff and outsourcing the work to an outfit called Pagemasters, owned by AAP. I believe there was also a statement made at some point to the effect that it would all be OK; journalists would just have to submit cleaner copy.

This resonated for me. Newspapers of course run on a different business model from book publishers, and news sub-editors do a different job. But there are some relevant points to be made. (more…)

AUTHOR INTERVIEW: Rebecca Stead


Posted: 16 May 2011 at 9:58 am

REbecca Stead

Rebecca Stead, author of First Light (Text) answers a few questions…

 What would you put on a shelf-talker for your book?

An end-of-childhood story that won’t read the same way twice.

If you had to spend the rest of your life on a book tour, where would you go?

Ouch, painful thought. The US, I suppose—plenty of variety, and I could see my kids.

What is the silliest question you’ve ever been asked on a book tour?

‘Where do you do your grocery shopping?’

And the most profound?

‘What is the nature of time?’

What are you reading right now?

The Best American Short Stories 2010 (ed by Richard Russo, Mariner Books).

Adult: Let the Great World Spin (Colum McCann, Bloomsbury); Children’s/YA: Dreamhunter (Elizabeth Knox, Fourth Estate).

What was the defining book of your childhood?

‘Defining’ is an interesting word. To Kill a Mockingbird (Harper Lee, various imprints).

Which is your favourite bookstore?

Bank Street Books, my neighborhood indie [in New York City]. Because the booksellers there read books and care about them.

Who would you like to challenge to a literary spat?

No one. I worked ‘confrontational’ out of my system when I was a criminal defense lawyer. Now I’d rather bond.

Facebook or Twitter?

Facebook. Twitter requires too much babysitting.

If I were a literary character I’d be …

A sister in a family of sisters. Elizabeth Bennett, maybe.

In 50 years’ time books will be …

More precious than they are today.

Rebecca Stead is the author of First Light (Text). She is touring Melbourne and Sydney in May.

AUTHOR INTERVIEW: S J Watson on ‘Before I Go to Sleep’ (Text Publishing)


Posted: 9 May 2011 at 2:48 pm

Andrea Hanke spoke to S J Watson about his experience as a pupil in the Faber Academy’s first novel-writing course in the UKand the resulting novel Before I Go to Sleep, out this month from Text Publishing.

 

S J Watson doesn’t have a conventional background as a writer, if indeed such a thing exists. The UK physics graduate worked for many years for the National Health Service in London while dabbling with writing on the side, until he decided ‘that to be truly happy in myself I would need to stop thinking of my writing as a hobby and give it the space and time that increasingly I thought it deserved’.

In 2008 Watson was accepted into the Faber Academy’s first six-month-long ‘Writing a Novel’ Course, a program that covers all aspects of the novel-writing process, and offers guest seminars by well-known writers, agents and publishers. The program is due to begin in Australia this year.

‘I loved every moment of being on the course, and really can’t praise it highly enough! I met, and learned from, some wonderful writers, and I made some lifelong friends. I learned so much—everything from how to capture the essence of a character to how to write a synopsis and pitch your book to an agent—but it was also incredible just to be surrounded by people who took their writing as seriously as I did, and who understood what the writing life involves.’

On the last night of the Faber course Watson was introduced to literary agent Clare Conville (of Conville & Walsh in London), who had been invited to speak to the class on what she looked for in a manuscript. ‘We chatted afterwards and Clare asked me what my book was about. Luckily we’d been working that week on a “25-word pitch” to use in just such a situation! Mine was, “My book is about a woman with no memory who has to rediscover her past every day …” (There was more, but I don’t want to give away the plot!) She said she’d like to read it, and so when I finished I sent it straight to her. She liked it and, after a few more weeks editing, sent it out to publishers she thought might be interested.’

The amnesiac character is a familiar trope in soap operas, the source of mirth in the romantic comedy 50 First Dates and the subject of the psychological thriller Memento, which bears the closest resemblance to Watson’s novel. But Watson says his story came to him after reading the obituary of a man who had undergone surgery for epilepsy in 1953, which left him incapable of forming new memories, living constantly in the past.

‘I wondered how it must feel to look at oneself in a mirror in 2008, expecting to see the same person as 55 years earlier, and straight away the character of Christine came to me. After that, it was just a case of working out her story, and how a woman in her position might tell it.’

Before I Go to Sleep has made headlines for the Faber graduate after it was sold into over 30 languages and acquired for film by Ridley Scott’s production company, ‘an absolute dream come true,’ says Watson. ‘I met with the producer and writer/director and straight away could see that they understood the heart of the book and would make a film that reflected that. It’s going to be weird to see my book on the big screen, but I can’t wait!’

Andrea Hanke is editor of Bookseller+Publisher magazine. This interview first appeared in the April issue.

Most mentioned this week


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Posted: 4 April 2011 at 1:09 pm

Imagine if Jesus had a rebellious, clever sister. Such is the world that author Leslie Cannold as created in her new novel The Book of Rachael (Text). Elisabeth Holdsworth’s novel Those Who Come after (Picador) is about a girl who learns in her adulthood how to pass on the stories from her history. She learns to speak about her father, who was part of the French Resistance and her mother, a Holocaust survivor. The Troubled Man (Harvill Secker) is the tenth and final book in Henning Mankell’s Kurt Wallander series, where Wallander hears about a cover-up of Russian submarines in Swedish waters in the 80s from ex-Navy officer Hakan, who then mysteriously disappears. These three books topped the most mentioned chart with equal mentions this week—Media Extra.

INTERVIEW: Lloyd Jones on ‘Hand Me Down World’ (Text Publishing)


Posted: 4 November 2010 at 7:46 am

Matthia Dempsey spoke to Lloyd Jones about his new novel Hand Me Down World (Text Publishing).

Mister Pip was shortlisted for the Booker and won the Commonwealth Writers Prize, obviously earning you a whole new readership—and making this next book an eagerly awaited one. What would you tell a reader who appreciated Mister Pip about Hand Me Down World—where are the differences and what do the books have in common?

Mister Pip, among other things, concerns itself about mistaken identity. The identity of Dickens, Mr Watts, even the book Great Expectations doesn’t settle into one version or another. Identity is one of the constant riffs in Hand Me Down World. No-one turns out to be who we thought they were, especially so in the case of Ines who swims ashore in Sicily to begin her quest to hunt down the whereabouts of her boy. This book can’t really be compared with Mister Pip. It is a different beast altogether. Whereas Mister Pip had a single narrator, Hand Me Down World has a multiplicity of voices and offers a bigger bite of the world.

You’ve said the conception of Mister Pip began with the image of Grace being pulled along on her cart. Was there a similar starting point— an image—for Hand Me Down World? If not, what was its genesis? And how long did the book take you to write?

I don’t think it had any one starting point or eureka moment. I had been reading about the African boat people, thinking about lung fish and the Antarctic; I was in Berlin, and much of the landscape of the book was part of my daily beat. As often happens with fiction, these disparate things eventually found one another, and from there the novel emerged. The character of Ines holds the book together. I have no idea where she sprung from. But I’m glad she did— and I do remember writing by a desk lamp in the gloom of a Berlin November about a woman swimming ashore in Europe and feeling—Yes, this is interesting. This is vital. I began writing the book in Berlin over 2007-2008 and finished it in the early part of 2010.

Apart from the setting, how did your time in Germany influence the content of your writing?

Had I not spent the time that I did in Berlin I would not have felt sufficiently confident for it to be the landscape for much of the story. On the other hand, had I not been in Berlin I probably wouldn’t have written this particular novel. I don’t think that the style of the novel is influenced by place as much as a desire to find a form that would release the story.

Mister Pip had the strong voice of Matilda taking readers through the story, whereas Hand Me Down World has many voices. Did this make writing harder or easier? And how did you choose your characters?

I couldn’t begin to say how I chose the characters. I’m not sure the question will lead to the explanation you are after. Generally, I go with voice—I am led by what I hear, and I go from there, and gradually the ‘character’ emerges through incident and to some extent willed into existence. In Hand Me Down World the story of Ines is shared around. The characters, for most part, live in the margin of one another’s lives.

The book seems very carefully structured. Did it require detailed planning or did the structure and plot emerge as you wrote?

There was no planning. The voices came to me in quick succession, and after the third or fourth one I realised that this was the perfect structure for a story that is handed on. In terms of the book’s structure I like to think of it a system of echoes.

In both Mister Pip and Hand Me Down World you render in fiction the lives of characters without powerful voices in the world. Do you think fiction/long form can broadcast these marginalised voices better than journalism (where it might be harder to build the reader’s empathy)?

The opportunity to inhabit the other is fiction’s great attraction. Whereas, the extent to which the ‘other’ can be inhabited is a thorny and contentious area for conventional journalism. Having said that I don’t like to subscribe to hard and fast rules.

What’s next?

It’s too early to say. Except to say, I hope there is a ‘next’.

Matthia Dempsey is editor-in-chief of Bookseller+Publisher magazine. This interview and her review of Hand Me Down World first appeared in the October 2010 issue of Bookseller+Publisher.

INTERVIEW: Kate Holden on ‘The Romantic’ (Text)


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Posted: 23 September 2010 at 9:31 am

Andrea Hanke talks to Kate Holden about her new memoir The Romantic, a follow-up to In My Skin.

I read that The Romantic originally started out as a novel. How did it evolve and how do you think this has influenced the style of the book—for example, the decision to write it in the third person?

The memoir was originally going to be the last third of a tripartite novella work, but soon took on the dimensions of a full-length book which put paid to that idea. Even after the first full draft I was considering how to fictionalise the protagonist, give ‘her’ a different character and borrow the real-life events for a narrative contrived on the themes of my real experience. But it wouldn’t work: skewing even one element threw the whole thing out of balance, particularly the emotional truth. However the third-person perspective remains and presents a critical distancing which is, I’m told, unusual in a memoir.

In The Romantic you travel to Europe to discover yourself—a rite of passage for many Australians. Do you think this experience—which can often be a lonely one, so far away from family and friends—is an effective way for people to gain a better understanding of themselves? Do you think you could have made the same discoveries about yourself living in Melbourne?

In In My Skin I was alone in Melbourne, and often fugitive—in Italy I was alone too, still looking for a safe place. I needed freedom from the humiliation I’d felt as an addict, and a chance to re-make myself. The amnesiac anonymity of overseas is attractive to many travelers.But it is frightening also. I do think solitude is clarifying, though it reminds us all the time of how much we need other people. Travel is a test as well as a solace, but one well worth taking.

Most of the sexual encounters you describe in In My Skin were in the context of your profession as a sex worker. Was it harder to write about personal encounters and relationships in The Romantic?

I was terribly, terribly conflicted about portraying my personal relationships, not for my own sake but for that of the privacy of my ex-partners. Fortunately they gave me permission—or at least forgiveness. I am a compulsive over-sharer and already used to having exposed my sexuality in writing but there were moments when I wondered if I should just skip over something truly intimate—and then realised that that instinct meant I should probably share it, because that’s where the good—and empathetic—material is. Everyone’s had relationships so I try to present mine as candidly as possible in the hope that others can relate.

Through your Age column and various public speaking events, you’ve developed a public profile—particularly in Melbourne. How does it feel to encounter strangers who know such intimate details about your life?

Just today I was recognised by my postman! I never know what to say when strangers say they’ve read my work, but I suspect I am more disconcerted than they are, and I try to remember why I chose to be revealing in the first place. Readers seem to be able to separate my writing persona from my real one. And I am always amazed how warmly people respond to my written character. Those who don’t like me don’t bother to say hello. But I am humbled by the sweetness of readers, and how my candour seems to invite their own.

What are you working on now?

I’ve got my Age column to write, and I’m prodding away at a draft of a novel, and making notes on a possible non-fiction book. I’d also like to do more short stories. But right now I’m preparing to do promotion for The Romantic, and I know I’ll have little concentration for writing while that’s on. I feel lucky, excited, and anxious all at the same time!

Andrea Hanke’s review of The Romantic appears in the current issue of Bookseller+Publisher magazine.