Monthly Archives: July 2016

2, 2 and 2: Sarah Drummond talks about The Sound

It’s a pleasure to welcome Sarah Drummond to looking up/looking down to talk about The Sound. 

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Photo: Nic Duncan

Sarah is a sublime writer. I was delighted to find that we both had pieces in the anthology Purple Prose (2015), and hers— ‘“Is a magnificent story”: Interviews with pigeon fanciers’—is one of my favourites.

Her first book, published in 2013, is the much lauded Salt Story (2013), a memoir of her time deck handing on the south coast of Western Australia. It was shortlisted for the Emerging WA Writer Award in the 2014 Premier’s Book Awards and longlisted for the prestigious Dobbie Award in the same year.

Sarah has also published essays and short fiction in Shadow Plays: an anthology of speculative fiction, Short Stories Australia, Creative Nonfiction, indigo journal, Best Australian Essays 2010, LINQ Journal, Overland and Kurungabaa.

Her new book, and first novel, The Sound, is based on the true story of the Aboriginal women and sealing crews who sailed from Van Diemen’s Land to Western Australia in the 1820s. Here is the blurb:

Wiremu Heke of Aramoana joins a sealing boat on a voyage from Tasmania to Western Australia. He is on a quest to avenge the destruction of his village but soon finds himself a part of the violent and lawless world that has claimed the lives of those he’s known. It’s a world inhabited by men from many nations. Men who plunder seal colonies and steal women and children from the indigenous communities who live on the islands and shorelines of Australia’s south.

Over to Sarah…

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2 things that inspired my book

1 Selkie stories have guided a lot of my historical fiction. For those who don’t know the tale, selkies are an old Orkney legend about the female seals who shed their seal skins to turn into women on the full moon. They sing and dance on the shore like sirens. When a man finds their shed skin, the woman has to follow him. Often she will spend years searching for her skin, yearning for her sea people. She may have children with him, she may love her husband, but she still wants to be beyond his control, to return to her people. Every day, she searches for her skin. I saw the Tasmanian women as searching for their skins after the sealers took them to the islands as wives and workers.

2 Working on small boats with Salt directly inspired my first book, Salt Story, of sea dogs and fisherwomen, but it also inspired and informed much of The Sound. (I was writing both books at the same time.) My boss, aka Salt, is descended from a sealer who died when he was accidentally shot through the neck in the 1850s. Fishing the south coast was rich with stories, experiences, landscapes and seascapes. There is nothing quite like being out on the water at night and seeing phosphorescent whale tracks.

2 places connected with the book

1 There are many places connected with The Sound. My favourite is the inlet Waychinicup. It is the setting for a scene in the novel where William Hook, Moennan and Tama Hine set a fishing net at night and they see phosphorescence, fire in the water. This scene is peaceful and sensual, a cultural meeting, and an intermission from the chaos and violence in their lives.

2 I say often that The Sound was written from the sea. A proofreader mentioned to my editor that, although many writers dwell on the Australian landscape, this was the first book she’d read where the landscape is experienced from the sea. I really liked that comment because I tried to write it that way. In the 1820s, European Australians were sea people and the Southern Ocean was their highway to transport goods and people.

2 favourite sources

1 The paper ‘Of Other Spaces’ by Michel Foucault helped me to explore how the Breaksea Islander community survived and negotiated living as a kind of separate society, lawless and away from the rest of the world. I think his final paragraph is quite magnificent:

Brothels and colonies are two extreme forms of heterotopia, and if we think, after all, that the boat is a floating piece of space, a place without a place, that exists by itself, that is closed in on itself and at the same time is given over to the infinity of the sea and that, from port to port, from tack to tack, from brothel to brothel, it goes as far as the colonies in search of the most precious treasures they conceal in their gardens, you will understand why the boat has not only been for our civilisation, from the sixteenth century until the present, the great instrument of economic development (I have not been speaking of that today), but has also been simultaneously the greatest reserve of the imagination. The ship is the heterotopia par excellence. In civilisations without boats, dreams dry up, espionage takes the place of adventure, and the police take the place of pirates.

2 And this is not a quote but a painting by Louis de Sainson, artist aboard the French exploration ship Astrolabe that was moored in King George Sound while the sealers were there. The day after the Astrolabe left King George Sound, the sealers marooned five Menang men on an island so that they could kidnap those men’s wives and daughters. I realised one day on looking at the image that it gave me a tremendous amount of information, including how a European could include a grass tree on a beach shore to give an ‘authentic’ vision of Australia to the folk back home! It also gives me a sense of immediacy, a sense of occasion.

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The Sound is in bookshops now
Visit Sarah’s website here
Find out more at Fremantle Press

 

 

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2, 2 and 2: Dianne Touchell talks about Forgetting Foster

Author PhotoDianne Touchell is one of my favourite writers of young adult fiction. Among the many things I admire in her work are its fearlessness, its compassion, its humour, and the respect she so obviously has for her young characters. It comes as no surprise to me to hear that she thinks young adults are far more interesting than grown-ups.

Dianne’s debut, Creepy & Maud (Fremantle Press, 2012), was shortlisted for the Children’s Book Council of Australia’s Book of the Year Award in the Older Readers category. Her second, A Small Madness (Allen & Unwin, 2015), was a Notable book in the CBCA Book of the Year Awards, and you can read her 2, 2 and 2 interview about A Small Madness here.

I am delighted to be featuring her new novel, Forgetting Foster. Here is the book’s blurb…

Foster suddenly recognised the thing that rolled over him and made him feel sick. It was this: Dad was going away somewhere all on his own. And Foster was already missing him.

Foster Sumner is seven years old. He likes toy soldiers, tadpole hunting, going to school and the beach. Best of all he likes listening to his dad’s stories. But then Foster’s dad starts forgetting things. No one is too worried at first. Foster and Dad giggle about it. But the forgetting gets worse. And suddenly no one is laughing anymore.

A heartbreaking story about what it means to forget and to be forgotten.

Over now to Di…

Forgetting Foster Cover

2 things that inspired the book

1 Two people I loved were affected by Alzheimer’s disease and psychotic dementia. Strong, opinionated, charismatic women with large personalities and a lifelong interest in their internal and external worlds. The sort of women you can never imagine would die at all, let alone slowly walk out of their own bodies long before death actually took them. It does something to you, watching them slowly leave you, watching them slowly leave themselves. It did something to me.

There’s the denial that anything is actually wrong, then the anger that you’re now caring for someone who should be looking after you, then the guilt about that anger, then the exhaustion of that caring, and then the fear that as this godawful illness seems to have its teeth in the women of this family I might go the same way. Every time I misplace my keys or walk into a room and forget why I’m there I laugh and then I panic.

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2 I began to wonder what makes a relationship. If a relationship is created and sustained through shared memories, mutual histories and love, what happens when one person in that relationship begins to lose their memory, their history. What happens the first time they look at you with fear instead of love. I struggled with this. I still struggle with this even though both these women are dead now and it doesn’t make a lick of difference.

2 places connected with the book

1 The grown-up mind, which hides in practicalities, logistics, rosters, medical jargon and medication regimes. The mind that takes comfort in turning emotional chaos into an Excel spreadsheet of what time this pill has to be taken and what time this doctor has to be seen. The mind that doesn’t breathe much because too much down-time will create a space for pain. An impractical landscape where I chose to pitch my tent. I spent a lot of time there.

2 The child mind, which hasn’t learned to prevaricate, hasn’t learned to white-knuckle things, hasn’t learned the need to control everything. The mind that acknowledges being frightened and feeling hurt and does both things loudly. The mind that can separate love and fear and can express frustration in words and in play. Their feelings are just as big and confusing but can be relieved by one big long scream. I spent time there too.

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2 favourite things about the book

1 Foster’s father loves stories and has created a love of stories in Foster that enables him to retreat to toy soldiers and dragons and myth as a way of interpreting and coping with confusion and grief. This gives Foster a lovely perspective, an understanding that the world is big and full of bravery. I particularly like this response from Foster when someone takes the time to ask him what he has learned from his dad:

He said stories are the most important thing. He said people don’t tell stories or listen to other people’s stories enough. He said people are mad as March hares but to love them anyway. He said battles are won or lost before the first shot is fired. He said babies need to get the finger of God on them. He said if God is real then so are Dragons. He said the brain is a super-hero and he said Mum is a princess. Oh, and he said an unkind word can clear a room quicker than a fart.

2 Foster has a way of making things that aren’t funny…very funny. He hasn’t learned to be self-deprecating or cynical yet, which means much of the humour comes directly from bald honesty. I like the scene where Dad takes all his clothes off because they are ‘itching’ him. Fossie simply announces that Dad has his Christmas socks on, without mentioning they are the only thing he has on. The grown-up response is shock, embarrassment, defeat. Mum is so appalled that she drops her phone mid-conversation into a bowl of cereal. Throughout the book I could always rely on Fossie taking the sting out of desperate situations by speaking his mind without fear of the consequences, the result of which is often very funny.

Forgetting Foster is available in bookshops now
Visit Di’s website
Find out more at Allen & Unwin

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