Indie Book Awards 2016

Charlotte woodThe 2016 Indie Awards presentation, hosted by Allen & Unwin in North Sydney, was filled with warm goodwill, packed with authors, booksellers, publishers and industry professionals.

Independent booksellers do an incredible job in reading and hand-selling Australian literature. They ensure that excellent books that could otherwise be overlooked, reach readers – and these books often go on to become best sellers and recipients of literary awards. Indie bookstores are regarded with great affection by authors and publishers, as are the staff of Leading Edge Books, led by Galina Marinov, who organise the awards.

Some former Book of the Year winners are The Narrow Road to the Deep North by Richard Flanagan, All That I Am by Anna Funder, The Bush by Don Watson and Jasper Jones by Craig Silvey.

The Indies are the annual vanguard awards and give a strong indication of which books are valued by both the experts and readers. The awards began in 2008 and are growing in stature. In a mark of esteem by the industry, booksellers announce the winners in each category.

The 2016 Fiction winner is Charlotte Wood for The Natural Way of Things (A&U), which I reviewed here. This portrayal of women who have been involved in sexual scandals and are mysteriously incarcerated in the Australian desert is generating vigorous discussion with readers. It is a unique and important novel and it also won overall Book of the Year. Elegant Charlotte Wood was clearly moved in her acceptance speech, recognising the encouragement of booksellers during her career and regarding the award as a high honour.

Magda Szubanski’s memoir Reckoning (Text Publishing) won the Non-Fiction category. There is much to ponder in this well-written book, including the impact of what happens in childhood on the years that follow: particularly in Magda’s case, the secret of her sexuality. Having a father as an assassin is also a fascinating angle.

Salt creekDebut Fiction was won by a very appreciative Lucy Treloar with Salt Creek (Pan Macmillan) from a strong field which included Rush Oh! and Relativity and the Children’s award was won by the prolific Aaron Blabey with The Bad Guys Episode 1  (Scholastic), a change from his extremely popular picture books such as Pig the Pug (which was shortlisted last year).

A new category this year is the Young Adult award. It is certainly worth separating this category from Children’s. The inaugural winner is the very deserving Fiona Wood for Cloudwish  (Pan Macmillan). See my review about Cloudwish in the Weekend Australian: Cloudwish

http://www.theaustralian.com.au/arts/review/ya-fiction-fiona-wood-rosanne-hawke-julie-murphy-rebecca-stead/news-story/adcead8f4a48206533f04d6789984d1f 

Both the Australian and the SMH reported on this year’s Indies Award.

And more can be found about the Indies Awards here.

Thanks to all the organisers and those involved.

#ByAustralianBuyAustralian

Great Australian Fantasy: Meet Jaclyn Moriarty, author of A Tangle of Gold

 

A Tangle of GoldJaclyn Moriarty’s ‘The Colours of Madeleine’ trilogy (Pan Macmillan), beginning with A Corner of White and The Cracks in the Kingdom (which I reviewed here) and now concluding in A Tangle of Gold, is one of Australia’s great fantasy series. Jaclyn has also written some other fascinating YA novels, in their own unique sub-genre.

Thanks for speaking to Boomerang Books, Jaclyn.

– Thank you for having me!

 Where are you based and how involved in the YA literary community are you?

 – I live in Sydney where there’s a strong YA community. (I think there’s an even stronger one in Melbourne, but we are catching up.) I see other YA writers at festivals, conferences and schools sometimes and, in the last few months, I’ve walked across the Harbour Bridge with Justine Larbalestier a few times, and had hot chocolate with Kirsty Eagar. I don’t believe in ‘networking’ at all: it’s very important to me that friendship and socializing be genuine, and not motivated by career goals.  Life is too short and friendship is too important. But there are so many lovely, funny, intelligent YA writers in Australia (and in the world generally), that it’s a real pleasure to mix with them, and to talk to them about writing and books. I’d like to go to more YA social events but I have a 9-year-old and getting a babysitter can be tricky.

What interesting thing is happening to you at the moment?

I’m sitting outside my 9-year-old’s electric guitar lesson. I just wasted five minutes trying to find an app on my phone to record a few seconds of the lesson so that I could use that as an illustration to this answer. But I couldn’t find it. I need the 9-year-old to tell me where it is.

Feeling Sorry for CeliaYour books have won and been shortlisted for numerous awards and are popular in Australia as well as overseas. Which of your books started making people pay attention?

 – I was lucky that my first book, Feeling Sorry for Celia, was a number 1 bestseller in Australia and won the NSW Premier’s Award (Ethel Turner Prize), so I had a kind of crazy start. But I think it was my second book, Finding Cassie Crazy (published in the US as The Year of Secret Assignments) that seemed to catch people’s attention both here and overseas.

Your recent trilogy ‘The Colours of Madeleine’ which now concludes with A Tangle of Gold is fantasy with ‘realism … ingeniously wedged’ into it but even your realist novels have an elated sensitivity and glee. Do you recall any examples?

Bindy Mackenzie – (I like that ‘elated sensitivity and glee’ phrase very much – thank you!) I never really like the idea of writing straight realism. It’s kind of like photorealist art: it’s very skillful but what’s the point? You can just take a photo. Also, I don’t like rules. I get restless and want to go outside the borders. So you are right that even my realistic books were never very realistic. In Feeling Sorry for Celia, the main character gets letters from imaginary organisations like the Cold Hard Truth Society; in Bindy Mackenzie, there’s a highly unlikely murder mystery; and in Dreaming of Amelia, there’s a ghost.

 ‘The Colours of Madeleine’ trilogy is set both in the Kingdom of Cello and the World – particularly in Cambridge, England where Madeleine lives. Why Cambridge – you seem to know it well?

 – I lived in Cambridge for three years in the late 90s when I was doing a PhD in Law. It was a strangely dreamy time: punting on the river, going to classes in castles, deer crossing my lawn, owls in the tree outside my bedroom window, tulips in the marketplace, being able to go to Paris on the train for a weekend for a few quid…

Madeleine receives letters from Cello through a crack in a parking meter. We find out about the fascinating places in Cello such as Bonfire in the Farms, Nature Strip, Cat Walk and Jagged Edge. Do you imagine yourself inside the Kingdom of Cello? Where would you live?

– I spend a lot of time imagining myself living in the Kingdom of Cello. If I did live there I think I would move around a lot. When I felt like a party I would go to Jagged Edge, when I wanted magic and snow, to the Magical North, and when I was hungry, to the Farms. They are very good bakers in the Farms.

A Corner of WhiteYou also invite us into this beguiling world through descriptions of its Living Colours such as Colour storms caused by vicious Greys and Purples; Lime Greens and Spitting Fuchsias. Are there some details about the Colours that you would have loved to include in the trilogy but couldn’t fit in (this will also be some solace for those of us who want to live in Cello)?

– I made a giant table of colours and their effects, so a lot of them missed out on making it into the book. I would have liked to use a very Pale Apricot. It floats through towns making everybody smooth-skinned and dewy-eyed. Although now that I think about it that sounds a bit like an ad for a skin product.

Spaces between Worlds are intriguing. What interests you about spaces in-between?

– My earlier books were written in letters and notes, and I was always intrigued by the space between those letters and notes. There is so much story in silence and in expectation. So when I started this trilogy, and the two characters started exchanging letters between worlds, I was drawn to the fact that the space between their letters had actual substance. It was also the space between their worlds: they were right beside each other and a universe apart, and it was this impossible space that was preventing their connection.

Can you tell us something about one or more of the historical figures you’ve written into the trilogy?

-I liked the fact that Byron spent some years sleeping all day, riding through the forest in the evening, then talking to friends all night long. Conversation in the night with close friends is very appealing to me: it can be a perfect way to connect. I also liked the fact that Leonardo da Vinci used to go into pet stores, buy all the birds, and set them free.

How would you describe your writing style?

– My writing always seems determined to turn itself into letters and notes, even when I’m determined that it won’t.

A Tangle of Gold is structured into Parts. Could you share how you’ve formed these?

– I spent a year planning the trilogy overall, and then about a year between books re-planning each. There were many different versions of each plan. I wanted Elliot, Madeleine and Keira to have room to move in this novel, so I let them take turns having their own Parts.

Your plot pacing bends boundaries in novel writing. Could you give us an example?

– Thank you! I’m too modest to answer this question.

Quick questions to answer without thinking too much:Moriarty Jaclyn med[1]

 Your favourite colour? yellow

Favourite word? bewildered

Introvert of extrovert? introvert

Do you get your ideas while speaking or writing? A bit of both but mainly I get ideas while I’m half-asleep or looking at the sea. Also I get ideas by drawing pictures, and writing down questions addressed to myself using coloured texas and big bubble letters, and as a consequence of eating chocolate.

Madeleine or Keira? They’re both different parts of me but if I had to choose, Madeleine

Science or magic? Magic.

Light or dark?   I want to say dark because I like stars, moon, shadows and so on, but I’m mostly an extreme optimist so I think that means light.

ClarielWhat else are you enjoying reading? At the moment I’m reading Girl Waits with Gun by Amy Steward, which I am loving. And recently I have read and loved The Guy, the Girl, the Artist and his Ex by Gabrielle Williams, The Burning Elephant by Christopher Raja, Cloudwish by Fiona Wood, Clariel by Garth Nix, and the manuscript of my sister Liane’s latest book, Truly, Madly Guilty. Next I’m going to read My Sister Rosa by Justine Larbalestier and Summer Skin by Kirsty Eagar.

Thanks very much for your responses, as well as your wonderful writing, Jaclyn.

– Thank YOU so much for your kind words, and your unique questions!

#ByAustralianBuyAustralian

Best YA Novels for 2015 and looking into 2016

a single stoneAustralian YA writing is powerful, fresh and imaginative, creating spaces for thought and wonder. The finest novels from 2015’s field in my view are Meg McKinlay’s A Single Stone, an exquisitely written dystopia about lean girls who tunnel through stone. Younger readers in upper primary school can also read it and I hope that it finds a niche as a contemporary classic.

Lili Wilkinson’s Green Valentine is a hilarious tale about popular girl Astrid and how she and Hiro transform their ugly suburb through guerilla gardening. Humour is difficult to write and Wilkinson shines in this, as well as inspiring readers to beautify their surroundings with nature.

The Guy, the Girl, the Artist and His Ex by Gabrielle Williams is another urban caper loosely based on the real-life theft of a Picasso painting. Books about the arts often rank highly with me, as do books with an interesting structure.

Fiona Wood’s Cloudwish centres on Vietnamese-Australian scholarship girl Vân Uoc Phan who adores Jane Eyre. The story becomes magically surreal when she wishes that she “fascinates” Billy Gardiner.

Truth about Peacock BlueRosanne Hawke (interviewed here) writes hard-hitting yet compassionate stories based on young people in dire situations, often in Pakistan. Her latest, The Truth About Peacock Blue follows Christian girl, Aster who is accused of blasphemy by her Muslim teacher. Her life is at risk. A number of topical issues are raised with sensitivity and balance.

Trinity Doyle’s Pieces of Sky is an exciting debut. Doyle is part of a group of female Australians who debuted with a splash in 2015. (I’ve interviewed many Australian authors on the blog.)

My international picks are award-winner Patrick Ness’s The Rest of Us Just Live Here, which follows the kids who aren’t in the cool group.

Goodbye Stranger by Rebecca Stead is about Bridget whose friends seem to be growing up faster than she is. Stead always does something to surprise and parts of this novel are told in 2nd person. It’s clever and intriguing.

Dumplin’ by Julie Murphy is a (mostly) feel-good story about a big girl who enters a beauty pageant.

Cat with the coloured tailHighlights for younger readers are Molly and Pim and the Millions of Stars by Martine Murray, The Cat with the Coloured Tail by Gillian Mears, illustrated by Dinalie Dabarera, and Star of Deltora by living “imaginarium” Emily Rodda.

I can’t wait to read novels coming for young people in 2016, including Iris and the Tiger by Leanne Hall, A Most Magical Girl by Karen Foxlee, Lady Helen and the Dark Days Club by Alison Goodman, A Tangle of Gold by the luminous Jaclyn Moriarty and James Roy’s new YA novel.

Australian YA: Meet Lili Wilkinson and Green Valentine

 

Thanks for speaking to Boomerang Books, Lili

Where are you based and how involved in the YA literary community are you?

I’m in Melbourne, and I’m as involved as a lady with an eleven-month-old baby can be! I used to work at the Centre for Youth Literature at the State Library of Victoria, where I helped establish insideadog.com.au, the Inky Awards and the Inky Creative Reading Prize. I’ve just finished my PhD in Creative Writing, and I’m part of the #loveozya movement, as well as just being generally around on social media.

ScatterheartI’ve followed and admired your work for many years, in the past reviewing Scatterheart for the former version of Books+Publishing and writing teacher notes for Joan of Arc.

How has your writing changed over time?

Thank you! I’d like to think my writing has gotten better – I certainly feel like I’m always learning and trying to improve. I’m more confident now, and my writing process is more streamlined. I’m also becoming much more aware of the gaps in literature (my own and more broadly), particularly in the areas of feminism and diversity, and am trying to do a better job of filling those gaps.

What is the significance of your title, Green Valentine (Allen & Unwin)?

Titles are the absolute worst. Green Valentine was originally called Garden Variety, then Bewildered, then Bewildering, then Lobstergirl and Shopping Trolley Boy. Then the wonderful Penni Russon suggested Valentine, and it ended up Green Valentine. Valentine is the suburb where the protagonist Astrid lives – it’s an awful, grey, ugly suburb where nothing grows and everything is shabby and run-down. Astrid’s interest in environmental issues inspires her to bring some green back into Valentine. It also works on a couple of other levels – the name Valentine suggests at some romantic possibilities, and the ‘green’ part refers not only to actual green growing things, but also the environmental activism movement, as well as signifying jealousy.Green Valentine

I love Green Valentine, not least because it’s very funny. Humour is difficult to write. How have you done it?

I love humour, and it is tricky to get right. Mostly I just try and make myself laugh. You feel extremely conceited sitting there at the computer chuckling away at your own jokes. But it has to be done! For me humour has to be paired with heart – I think humour and romance go hand-in-hand.

Which of your other books have humorous elements?

The Not Quite Perfect Boyfriend, Pink, A Pocketful of Eyes, Love-Shy and The Zigzag Effect. I’ve been on a bit of a funny bender. My next book won’t be funny at all! It’s going to be dark and sad, which is actually quite a fun change of pace for me.Pocketful of Eyes

In Green Valentine you have paired Astrid with Hiro. How unlikely is this match?

I love unlikely matches. For this pairing I wanted to mess with a few tropes – the Romeo/Juliet starcrossed lovers thing, a comical take on the masked-ball-mistaken-identity thing, and a sort of genderflipped Cinderella, where the girl is in the position of privilege. And I really wanted to take that well-worn trope of the Popular Mean Girl and make her the protagonist of the story, instead of the villain. I like writing stories about how putting people in boxes is stupid.

How have you used other texts in the novel?

Being a reader, so many of my experiences are shaped by the books I’ve read and loved, and it makes sense for me to extend that to my writing. Green Valentine references heaps of different kinds of texts – from Pride and Prejudice to Tom’s Midnight Garden. But probably most significant is the use of comic books and superheroes. Hiro is a comic book fan, so he and Astrid frame their guerilla gardening activities through a superhero lens, using those characters as a kind of tool to interrogate their own actions and emotions. This was inspired by activist fandoms like the Harry Potter Alliance, who are motivated by literature to try and make the world a better place. I love the idea that stories can act like a kind of blueprint of how to change the world.Tom's Midnight Garden

Greening a community is such a wonderful premise. Is this something you try to do also, maybe even at home?

The whole book came about because I started a veggie garden and was so excited about growing my own food that I wanted to write about it. I have a relatively small little patch of backyard, but manage to grow a lot of fruit and vegetables due to careful planning and some solid permaculture principles. Next, I want chickens.

In the novel you refer to the Cuban Garden Revolution. What is it?

Cuba used to grow lots and lots of tobacco and sugar, and sold most of it to other countries. But to grow a whole lot of just one thing is difficult, so you need lots of pesticides and synthetic fertilisers. After the Cold War, Cuba couldn’t get that stuff from the US any more because of the trade embargo, and when the Soviet Union collapsed in 1989, Cuba’s whole economy collapsed too because they had nobody left to trade with. They didn’t have enough food, medicine or petrol, which meant that all that sugar and tobacco just rotted away in fields, because there was no one to harvest or transport it. Plus, none of those fertilisers or pesticides for the next crop. They couldn’t import food the way they used to, because they weren’t earning any money from their exports. People were starving to death.

So in Havana, they started growing food in the city. They turned vacant lots and rooftops into gardens. Every school and small business had a little veggie garden. No more big petrol-guzzling tractors required, just people, wheelbarrows and a few oxen. When you grow lots of different things together, your biodiversity increases, and you don’t need any pesticides or fertilisers. They went back to ancient traditions of crop rotation and companion planting. They made compost and harvested animal manure. Today, nearly all the seasonal produce consumed in Havana is grown within the city, as well as all the eggs, honey, chickens and rabbits. They’re a world leader in worms and worm farm technology.

It’s really inspiring stuff, and as large-scale agriculture becomes more and more difficult as we face the challenges of climate change, these small-scale intensive urban farming projects are going to become more and more vital to our survival.

What are you enjoying reading?Cloudwish

I’ll Give You the Sun by Jandy Nelson, a stunning exploration of love and family and art. I read it when my baby was very small, and I actually looked forward to him waking up in the middle of the night so I could tiptoe into his room and feed him while reading it on my phone.

Cloudwish by Fiona Wood. Just finished this and adored everything about it. Beautiful writing, beautifully crafted story and character, handling diversity with a very sensitive and respectful touch.

Thanks very much, Lili. I hope Green Valentine finds an enormous readership.

Australian YA: Meet Frances Watts, author of The Peony Lantern

Thanks for talking to Boomerang Books about The Peony Lantern, Frances.

It’s my pleasure.

Where are you based and how involved are you in the world of children’s and YA lit?Raven's wing

I’m based in Sydney. I’ve been involved in the children’s lit world for many years now, through membership of the Children’s Book Council of Australia NSW, IBBY and the Australian Society of Authors – and of course I love the opportunity to meet authors, illustrators, teachers, librarians, booksellers and (most importantly) the readers – i.e. kids – at festivals, libraries and schools. I’m new to YA lit, with my first YA book (The Raven’s Wing reviewed here) published last year, and I’ve been really inspired by the passion, commitment and support of the YA community for each other and the genre. The #LoveOzYa movement is a great example of this. (And it’s introduced me to some great books!) I’m also involved with Books in Homes (as a Role Model) and the Reading Hour.

What is the significance of your title, The Peony Lantern?

The Peony Lantern’ (ABC Books, HarperCollins) is actually the title of a traditional Japanese ghost story; Japan has a rich tradition of ghost stories which I drew on in the writing of The Peony Lantern. I can’t say much more than that without spoiling a big twist!

How did you create the Japanese historical setting?Peony Lantern

I began by reading about the historical period – the book is set in 1857, which was a particularly tumultuous time in Edo (now called Tokyo) – to establish the social and political background for the book, before gradually narrowing my focus down to the specifics of setting: a samurai mansion in Edo, an inn in the remote Kiso Valley. Then I moved on to dress, architecture, cuisine, culture. What I really want to convey – because it is what I am interested in myself – is the daily life of the characters. Once I had a general idea of the main settings, I then travelled to Japan and visited the places I intended to write about. That gave me a richness of detail; the scent of the trees in the Kiso Valley and the number of steps to the village shrine, local legends and culinary specialties…In Tokyo there are a few museums that recreate the streets and buildings of the Edo period, so visiting them was invaluable. The research is one of my favourite parts of writing historical fiction. I’m completely obsessed with Japan now!

How did you create the character of Kasumi?

I wanted a character who was observant and to put her in a situation in which she was a ‘fish out of water’ as it were – in this case, a girl from a humble background who finds herself living in a samurai mansion. So she is in a position to observe differences in class as well as the differences between urban and rural lifestyles.

How important is writing about girls for you?Sword girl

It’s extremely important to me; in writing about girls from different times and places – whether it’s Claudia from Rome 19BC in The Raven’s Wing, Kasumi in The Peony Lantern or even Tommy from my junior fiction series ‘Sword Girl’, set in a medieval castle – I’m hoping to inspire readers to consider the position of girls and women in our own society.

Ikebana is a feature of Kasumi and Misaki’s time. Can you do it?

I’m afraid to say my attempts were rather embarrassing! I did a class at a famous ikebana school in Tokyo. I love flowers, so I was rather hoping I might display some hitherto-undiscovered flair, but…no. It was definitely a useful experience, though; it turns out that Kasumi’s own efforts at flower-arranging also lack that essential refinement!

Tell us about your other books.

Goodnight, MiceI began my writing career with picture books (including Kisses for Daddy and Parsley Rabbit’s Book about Books, illustrated by David Legge, and Goodnight, Mice!, illustrated by Judy Watson). [Frances modestly hasn’t mentioned that Goodnight, Mice! won the 2012 Prime Minister’s Literary Award for Children’s Fiction. Her other books have also won awards.]  I then started writing junior fiction (such as the Sword Girl series), also extending the storytelling to upper primary (with the Gerander trilogy), and now I’m writing YA historical fiction. I’m still writing in each of these genres – I love them all – so I’m covering from birth to young adult. I sometimes joke that my motto should be: Grow up! with Frances Watts.

How else do you spend your time?

It probably won’t surprise you if I say reading. I also love travelling, cooking and running.

What have you enjoyed reading?

Fiona Wood’s new book, Cloudwish. Tegan Bennett Daylight’s Six Bedrooms (reviewed here). And I’m currently devouring Elena Ferrante’s Neapolitan quartet. I’ve just started the third book, Those Who Leave and Those Who Stay, and I am completely in its thrall.

All the best with The Peony Lantern, Frances. I feel like reading it all over again after hearing your responses.

Parsely rabbit