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Newcastle Short Story Award anthology 2018

2018 Newcastle Short Story Award finalists announced

By | Newcastle Short Story Award, News

 

Ryan O'Neill, 2018 Newcastle Short Story Award judge

Ryan O’Neill, 2018 Newcastle Short Story Award judge

We are thrilled to announce the authors selected to be published in the 2018 Newcastle Short Story Award anthology.

Join us at the prize ceremony to find out which of these authors (listed below) will win the prize pool valued at over $7000.

Hear the judge, author Ryan O’Neill, discuss short story writing and this competition.

When? On the eve of the Newcastle Writers Festival, at 5.30pm, 6th April, 2018 in City Hall, Newcastle.

 

In alphabetical order, the selected authors are:

Shaynah

Andrews

Not for Me to Understand

Sophia Helen

Barnes

Look Me In The Eye

Kate

Cantrell

We Caught Her in the Act

Edyn

Carter

Gyne

Jessica

Clements

Blackberries

Else

Fitzgerald

Felidae

Chris

Flynn

Fantasia

Jean

Flynn

Suffering is Universal

Marlish

Glorie

Red Dust & Pearls

Cassie

Hamer

Sculptures by the Sea

Rhona

Hammond

Socks

Nicole

Hodgson

Just One Night

Stephanie

Holm

Grey Gum

Elspeth

Ives

End of Lease

Roland

Leach

G

Beverley

Lello

Blue Day

James

McKenzie Watson

Twin Suns

Meg

McNaught

Fresh Dirt

Paul

Mitchell

A Belt for Buddha

Rashida

Murphy

Strands of Jupiter

Alexandra

O’Sullivan

Lucky

Jane

O’Sullivan

Red Belly

Hollen

Pockets

Water the Colour of Clay

M.J.

Reidy

Dachshunds on Antidepressants

Emily

Riches

A Bad Friend

Peter

Rodgers

The Right Call?

Dorothy

Simmons

Jupiter Rising

William

Stanforth

Animalia

Wayne

Strudwick

Postcard

Tanya

Vavilova

Excess Baggage

Sanchana

Venkatesh

Arranged Marriage

Joshua

Wildie

Saviour

 

 

 

person's hand holding an iphone showing rows of books

Spec Fic Writing Pt 4

By | News, Speculative Fiction

SpecFic for Fun and Profit

I’ve never bought into the genre writing vs. literary writing argument, because it doesn’t take too much research to find out which side makes most of the money.

You can’t eat accolades after all.

If you want to make a living from your writing, you have always had a better chance as a genre writer. But, until a few years ago, it was still only a slim chance.

If you are still pursuing the traditional publishing avenue, that slim chance is now next-to-no chance, as the sheer volume of work being submitted to the gatekeepers (publishers and agents) has got to the point that even high quality work doesn’t make it through the slush pile.

Yet the reports say that speculative fiction (SpecFic), especially science fiction and fantasy, are experiencing a renaissance; that more SpecFic writers are making a decent living than ever before.

So why the contradiction – why is it even harder to get published, but more and more authors are making a good living?

There isn’t a contradiction in my view – the renaissance is merely the traditional publishing world finally recognising what has been going on for about 10 years now – independent publishers have not only stolen the keys to the kingdom, but they have run away with the crown jewels too!

For clarity, an independent publisher, or indie, is a professional who self publishes their books either under their own name or through a publishing business they own. Not to be confused with the myriad small publishers who publish the work of multiple authors.

Indies account for half of all online book sales. In 2017 that added up to 113 million unit sales of digital books (eBooks) in North America alone. The so-called Big 5 (Random House et al.) were a distant second with 26% of total unit sales.

Of all the authors who debuted in the last five years, four out of every five authors making a decent living from their writing are indies.

Why is this?

The top reason is the difference in profit. Because indies cut out all the middlemen and sell direct to readers, royalties are much higher. In the science fiction and fantasy genre in 2018, the Big 5 publishers were ahead of the indies in terms of total dollar sales (41% vs. 35%), but the indies were taking home a whopping 3 – 4 times as much money as their traditionally published brothers and sisters.

Money isn’t everything, of course, your writing still has to be fun.

This is where I believe the true renaissance is. SpecFic writers have always explored the boundaries of the known (science fiction), dug deep into our psyches (horror and supernatural) and taken off into the realms of the impossible (fantasy).

Traditional publishing has always struggled with SpecFic, because much of the really good stuff is very hard to massage into a financial spreadsheet.

Indies have no such constraint. We can fly the depths of our imaginations without fear of what a publisher might think – we only have to care about what readers like. We don’t have to worry about shifting 10,000 units in the first week to cover our massive overheads, we just upload our book and start the next one. We don’t see numbers on a royalty statement every three months, we get to chat to real people every day; readers who are as passionate about our writing as we are. We get to make a living, and our readers get to read what they love.

We get to have fun.

And we all profit.

 

BIO:

Nigel George is a traditionally published author turned successful indie publisher. He splits his time between writing and self-publishing fiction and non-fiction books and teaching other authors how to become successful indie publishers. You can find him at indiepublishingmachine.com

cover of To End All Wars

Our members – 2018 achievements

By | News

Susan Francis began writing her memoir in 2015. It progressed well and she and her husband decided to move to Spain for a year so she could complete it. How wonderful is that? However, six months in, tragedy struck when her husband died. Susan returned to Mayfield and found writing a positive process to help her through her grief. 3 years later and Susan’s achievements show the process not only helped her grief but brought her rewards. In 2018: Winner,  Shelia Malady short story award; Highly commended, AAWP Emerging Writers’ Prize; Shortlisted for Varuna House Lit-link scholarship; Script performed, The Monologue Adventures Voices of Women; Longlisted E.J. Brady competition.

And the success continues into 2019: Long-listed, Margaret River short story competition, Published in the Hammond House Publishing (UK) International Anthology, Published in the Newcastle Short Story Award.

So what happened to the memoir? Well, just last month, Susan signed with Benython Oldfield, literary agent at Zeitgeist Media who has sent her memoir to some major publishers. Congratulations Susan!

 

Cassandra O’Loughlin released her wonderful collection Taking my Breath – a collection of ecopoems.

Taking My Breath a book of poems by Cassandra o'Loughlin
to end all wars book

Dael Allison, poet, HWC  member and secretary of HWC Board has had a very busy year completing much of our governance paperwork, writing her PhD and editing two books. What an amazing woman. One of the books she edited was To End All Wars. Here’s a review by one of the featured poets, HWC member Magdalena Ball.

Kit Kelen book of poems

Christopher Kelen has the rare gift of a voice that feels effortlessly, mesmerizingly, unique.

Poor Man’s Coat is a delight: a fresh and haunting mix of deep meditation, witty intelligence and the abundant wonder of poetry’s ‘wise surprise’. – Jean Kent

 

 

Kathryn Fry’s book of poems Green Point Bearings has been reviewed in The Compulsive Reader and by poet Brook Emery.

green point bearings a book of poems by Kathryn Fry

 

Storytime Lane have released two new books since their January launch: “Life is Not Fair When You Are Just a Chair” (E. S. Smith/Graham Davidson) and ‘”Hunter” which is book 2 in Graham Davidson’s Witches of the Cross-worlds series.

Books by HWC member Graham Davidson

Sutherland Shire Literary Competition

Congratulations Penny Lane

1st and 2nd Prizes Free Verse for her poems ‘Nothing Much Here’ and ‘How to Write a Waterfall’

Congratulations Catherine Moffat

Highly Commended for her story ‘The Lady Vanishes’

 

 

Karen Whitelaw won the Peter Cowan Short Story Award (WA) with Heat.

Karen Whitelaw HWC member

 

Hayden’s Bedtime by Wendy Haynes will be available late March 2019.  A crowdfunding event for this book starts soon. Please share and help families escape domestic violence.

reeds by river

 

Gillian Telford had two poems published in Not Very Quiet poetry journal: ‘Brisbane Water Estuary’ and ‘Midnight Lexicon’  and  2 poems in The Ghazal Page international online journal. ‘On being Alone’ and  ‘of belonging’

Jan Dean, Kathryn Fry and Magdalena Ball also had poems published in Not Very Quiet this year.

 

Malcolm St Hill’s essay on Australian Frederic Manning and his novel, ‘The Middle Parts of Fortune’, (the greatest war novel of all time) was published in Overland in November

Picture for Essay by Malcolm St Hill
HWC member Laura Brown

 

Laura Brown’s short story ‘My Brave New World’ features in A Patchwork of Stories, the best stories from the 2018 Birdcatcher Books Short Story Competition.

louise berry book on Dora Creek Hall

News from the Lake Macquarie Poetry Group:

Louise Berry had a poem published in the New Shoots Poetry Anthology 2017 and published her second book on Dora Creek history

Diana Pearce had a poem published in Valley Micropress in 2017, and several poems published in The Mozzie in 2017 and 2018 (print only journals).

Black Crow Walking received a 2017 HWC grant to write about homelessness in the Hunter.

Nicole Sellers had a poem published in Plumwood Mountain in 2017 and a poem published in Grieve Volume 6 Anthology in 2018.

HWC Member Laura Taylor

 

In November, Laura Taylor celebrated her 100th post on Planet Picture Book, a blog where she explores children’s literature from every country in the world.

midnight on a clock

 

Michael Tippett won First Prize in the NYC Midnight Short Story Challenge with his short story Crawlers. Read Michael’s story here.

The horizon shimmers, a quivering line of gel squeezed between the immense blue sky and the hard dun-coloured earth.

Mark Maclean is currently living and teaching in Lightning Ridge. He blogs about his experience in and around the town and his latest blog entry is about the time Bowie came to a nearby town. Read more

From Mark Maclean's blog 'Learning About Lightning'

Congratulations Katrina McKelvey on the signing of a contract for her 5th published picture book, Isla’s Family Tree to be illustrated by Prue Pittock and published by EK Books in 2020. Read all about it here.

katrina mckelvey member

Jan McLeod’s book, Shadows On The Track: Australia’s Medical War in Papua 1942 – 1943 is scheduled for release by Big Sky Publishing in February 2019

Book cover by Jan McLeod

Judy Johnson had a poem published in The Sydney morning Herald during 2018.

Judy Johnson poem

 

 

HWC Newcastle poetry group has reprinted its collection The Olley Poems. Hunter Writers Centre funded the publication of poems that pay tribute to Margaret Olley. Olley was an iconic figure in Australian art whose main focus on landscapes and interiors turned everyday objects and scenes into bursts of colour. Congratulations, HWC poetry group on a second print run! Purchase the book from the Newcastle Art Gallery for $15.

HWC poetry group
book cover of Seven Little Australians

Australian Literature Part 1

By | Australian Literature, News

Pages of Us – Introduction  – blog article by Susan Francis

Australian Literature. Does such a thing exist? That was the response from my Head Teacher at the UK school where I taught English. ‘Christina Stead . . .’ , I began to respond but, in the face of her hoots of incredulity, I stopped. Any feelings of inadequacy I may have been experiencing, in the face of teaching the English canon to the English, did not require further reinforcement.

Smarting as I was, my passion and my curiosity for our national literature never dimmed. To this day, I still become excited introducing Garner or Harrison or Winton to the students I tutor. My words speed up, my hands fly in front of my face because it is ‘us’. Us on the page. Us in the images. Us in the colloquial. ‘So what?’ they ask me. So what?

Growing up as a teenager in the 1970s in Newcastle was an uneasy time for me. Overweight and still wearing the cat’s eye glasses on trend at the time (there were no other options) my fit on the wide sandy plains of Nobby’s Beach was not organic. I don’t think I ever ‘fitted’. But I did find acceptance of myself in the books I read. There, between the pages, existed other plain girls, other girls who liked to read and found it difficult to make friends. I discovered my ‘unfitted self’ amongst the personalities and, therefore, I was. I was George in The Famous Five, I was Judy from Seven Little Australians, Laura from The Getting of Wisdom and Jo from Little Women. While these novels were chosen from various western cultures, the point is, through the reflection of my own character in those texts, I determined I wasn’t the only one who preferred a library to a netball court. And this of course is not an uncommon experience.

I draw the same analogy about our sunburnt nation. Our identity developed from and alongside the literature that reflected our unique environment, our vernacular and our irrepressible character. Charles Harpur, our first genuine Australian poet, who lived for more than a decade in the Hunter Valley, is renowned for being the earliest writer creating images inspired by the Australian landscape. John Miller writes he was ‘the only poet of the time who achieves an original Australian voice’. While other poets imagined nymphs and the green rolling hills of the old country, Harpur deliberately wrote what he saw.

The other legend to whom I believe we owe so much is Henry Lawson. Perhaps now out of fashion, he is undoubtedly the poet who, for me, best tries to capture the spirit of the early settlers. His beautiful and profound depiction of the resilient drover’s wife, who alone ‘rode nineteen miles for assistance, carrying [her] dead child’, still quietens the 21st century noise around me. Reading Lawson’s work reminds me of how tough it was in Australia not long ago and from where our empathy for the underdog originates. But more than that, these early Australian writers placed us on the page and provided every European Australian the opportunity to be. The magnificent aspect of reading is that, as F. Scott Fitzgerald says, ‘you discover that your longings are universal longings, that you’re not lonely and isolated from anyone. You belong.’ So, for a country as isolated as we are, our own literature is profoundly important.

Of course I cannot finish without stating that the mirror Australian literature holds up for me is different to the First Australians’ experience or the experience of those living with a disability or the LGBTQIA experience. And I do not attempt to represent that experience. But I can begin to hope that, for all Australians, our literature starts to reflect more varied experiences because accepting oneself partly requires recognising oneself on the page.

Identity is linked inextricably to Australian literature.

Susan Francis , blogger, member of HWC

Susan Francis’ memoir is to be published by Allen and Unwin and will be available early next year. She discussed a brief part of this book on ABC Conversations. You an listen to that here:  https://www.abc.net.au/radio/programs/conversations/susan-francis-rpt/10467926

Susan has been published in various anthologies, most recently The Newcastle Short Story Award 2019. Her work has been short and long listed for competitions around Australia, including the E.J. Brady Award and the Margaret River competition. Susan has a Masters Degree in Australian Literature and a half finished PhD sitting in her garage. She is a former High School English teacher. Susan is currently working on her second book.

close up of an elderly person's hand

Writing About Significant Loss

By | Grieve, News

Sometimes writing about the loss of a close family member can feel too hard because the enormity of all you have lost might stop you even starting. You may feel that in trying to describe it all you lose the sense of the person. What about writing about one aspect of the person? Start with a small physical characteristic or a small feature you loved about him or her – their smile, the way he sat to read, chat, write; the way she dressed or cooked or performed a regular chore. Below, Maree Reedman writes (in Grieve Volume 5) about hands as a recurring image which creates a clear and intimate portrait of her father. Enter your poem or story/essay into the Grieve writing competition.

My Father’s Hands
Maree Reedman

Long, tapered fingers,like candles.
Not a musician,though your sister
tried to teach you the piano.

A gardener
of fruit trees and roses
until you toppled over
the rosemary; the builder
of a mustard bookcase for my childhood
and my adolescent home;
a maker
of home brew
and pongy dog stew.

Your half-moons purpled
with blood as I held
your hand
while you snored,
mouth open
you always slept
easily.

My brother tried to close your lips
when you left,
off to go on that long-awaited
honeymoon with Mother,
the one you never took.
Man's hand in his lap
for love alone Christina Stead

Australian Literature Part 2

By | Australian Literature, News

Something Novel – Australian Novelists – blog by Susan Francis

In my mid-twenties I formed an attachment to an extremely astute young man: a poet who would invite me ice skating in Prince Alfred Park on Friday nights. Skating in the dark, beneath strings of fairy lights hung from the gum trees – there was nothing more magical. The swish of the blades cutting across the ice, the warmth of my hand held in his, it was all impossibly romantic. So, when the boy took pains to explain to me that he’d noticed every novel on my bookshelf was written by a woman, I experienced an epiphany of sorts. I remember trailing my finger along the spines: Stead, Lohrey and Lette. Ruth Park and Shirley Hazzard. Baynton and Bedford. Grenville and Franklin. There, too, the non-Australian fiction of Atkinson, the Brontes and French. Woolf, Lee and Lessing.

So when someone these days asks me that impossible question: what’s your favourite Australian novel, I make sure to mention Tim Winton. The lyrical descriptions of the Australian landscape discovered in Peter Temple’s crime fiction. Christopher Koch and the evocative picture he painted of Jakarta. I talk about Martin Boyd who has a favoured place stacked beside Peter Carey. There is Stow and Maitland and McGahan. These days my bookshelves hold a more even gender mix. But one thing still holds true; maybe a dirty secret of sorts? For an Australian novel to make it onto my top twenty, somewhere amongst the pages I like to recognise a reflection of a world I know or an individual who strikes a chord. I read Australian fiction to be assured I’m not the only player on the stage.

What’s your favourite Australian novel? I’m reluctant to alight on any one text because the range of Australian fiction is vast. The list is as long as our country is wide. And each work positively enunciates our poignant flaws. And I love that! Australian fiction informs so much about who we are, where we’ve been and where we’re going. But, if pressed, I admit, it is to Christina Stead’s novel, For Love Alone, that I always return.

Written in 1944, I studied this broad, brown land of a book for my Masters degree, drawn by Stead’s particular understanding of what it means to be an Australian woman. The book was panned by any number of academics for its introspectiveness and realist style. Many preferred the magic realism of The Man Who Loved Children. But when I read this book for the first time, I fell in love with the determined and homely Teresa. The link formed between this character and Lawson’s The Drover’s Wife was due to the values held by both: a shared focus on getting on with things and a singular toughness; a determination to make sense of the world around them. Hazel Rowley wrote in her biography: ” . . . Stead’s earliest memories were all associated with a sense of rejection, which she attributed to her physical unattractiveness. In all her stories about her childhood, she is acutely conscious of personal appearance . . .” And this, of course, is another reason I am so captivated by the book.

Melbourne University Publishing reissued the novel in 2011 and maintain: For Love Alone is the story of the intelligent and determined Teresa Hawkins, who believes in passionate love and yearns to experience it . . . [Stead] superbly evoking life in Sydney and London in the 1930s. 

 Soon, in 2020, my own book will be published. Yet another story of a plain, single-minded Australian woman who gives up everything to travel overseas, following the love of her life. And despite the tragedies and the awful revelations my journey revealed, there is a pattern I like here, a pattern I have only recently identified by revisiting Stead’s work. Independent, brave, raw. A little gauche. The Australian female protagonist who travels far to discover herself. She is a reflection of the landscape from where she originates. A reflection of her nation’s blunt, unattractive prejudices. A protagonist decided to succeed.

Recognising that woman, recognising myself, makes For Love Alone one of my favourite Australian novels.

Susan Francis’ memoir is to be published by Allen and Unwin and will be available early next year. She discussed a brief part of this book on ABC Conversations. You can listen to that here:

https://www.abc.net.au/radio/programs/conversations/susan-francis-rpt/10467926

Susan has been published in various anthologies, most recently The Newcastle Short Story Award 2019. Her work has been short and long listed for competitions around Australia, including the E.J. Brady Award and the Margaret River competition. Susan has a Masters Degree in Australian Literature and a half finished PhD sitting in her garage. She is a former High School English teacher. Susan is currently working on her second book.

Susan Francis , blogger, member of HWC
Shaynah Andrews Ryan O'Neill

2018 Newcastle Short Story Award prizewinners

By | Newcastle Short Story Award, News, Uncategorized

The 2018 anthology is now on sale

Congratulations to all the prizewinners:

First Prize – sponsored by the University of Newcastle, awarded to Shaynah Andrews (pictured R with Prof Darrell Evans and Ryan O’Neill, judge)

Here is an excerpt from her winning story ‘Not for Me to Understand’:

My blood feels too hot. I want to beat my fists against Dad for treating me like a kid. I smash a cup on the kitchen tiles, half on purpose. There are little bits of glass all around me. Dad and Linda rush into the room.

‘I’m sorry, it was an accident,’ I say.

‘It’s OK, possum,’ says Dad. I want him to yell and scream at me but he is gentle. ‘I’ll clean this up darlin’, just get away from all the glass. Careful now.’

Dad and Linda hover over plastic dustpans. I walk out the front door and ride my pushie to the beach with Ellie behind me.

 

Shaynah Andrews Ryan O'Neill
Sally Davies and Cassie Hamer

Cassie Hamer (R) won second prize donated by Newcastle Law Society represented by Sally Davies (L)

Megan Buxton Ryan O'Neill and Kate Griffith (sponsor from Westfield)

L to R: Megan Buxton, HWC President, Ryan O’Neill, judge, Kate Griffith from sponsor Westfield Kotara

Wayne Strudwick - award winner NSSA

Wayne Strudwick, Commended award winner for his story ‘Postcard

Shawn Sherlock and Jane OSullivan

Shawn Sherlock, Foghorn Brewhouse donated the Highly Commended awarded to Jane O’Sullivan

Tanya Vavilova and Amanda Shirley

Amanda Shirley from MacLean’s Booksellers donated the Highly Commended awarded to Tanya Vavilova

Author Ryan O'Neill and MJ Reidy - Newcastle Short Story Award

M.J. Reidy (pictured here with judge Ryan O’Neill) won a Commended award donated by Dymocks, Charlestown.

Derice McDonald and Rhona Hammond

Derice McDonald from Macquariedale Organic Wines donated a $120 wine pack awarded to Rhona Hammond, local writer’s award.

writers - local winners within the Newcastle Short Story Award 2018

Local Award Winners Shaynah Andrews, Edyn Carter and Stephanie Holm

True Crime Writing Part 1

By | News, True Crime

True Crime by Ted Bassingthwaighte

See It, Touch It, Smell It, Taste It

True crime was my passion and occupation for 22 years. I joined the NSW Police Force on May 18th 1987. In the first 12 months of my probationary period at Wyong police station on the NSW Central Coast I experienced the dark side of life on a daily basis. The first deceased person I met was an infant female child who I believed at the time was a victim of Sudden Infant Death Syndrome. (SIDS). I knew nothing about how to question witnesses or develop an alternate hypothesis to the version of events given to me during the interview. My inexperience and the stark, cold horror of the next day handling her body at autopsy, always left me wondering if that child died of natural causes or was she murdered by her desperately poor, uneducated parents. I’ll never know.

When I see news about the convicted child killer Kathleen Megan Folbigg images and odours of my first dead child investigation way back in 1987 flood from my memory and it makes my heart sink.

But what that death did do was to spark my ambition to become a detective. A detective who would have the skills, the time and the organisational support to properly investigate crimes . . . or so I thought.

That child, whose name I remembered for years but now cannot, was not the first dead body I ever handled. I was a registered nurse before joining the cops and had watched people die in A&E and had participated in an autopsy as part of my training.

So, I wasn’t shocked. In actual fact I was fascinated. A fascination that holds true today even after I succumbed to chronic PTSD as a result of seeing too many dead people and from investigating too many child sexual assault matters.

I suppose in some way I’m ‘lucky’ to have experienced death and crime firsthand. By lucky, I mean the experience, I feel, was a privilege. How many others with an interest in true crime can actually smell, taste, and touch it?

But that is not to say the avid fan of true crime is not able to envelope themselves wholly in the stories they read in books or blogs or listen to in podcasts or watch on television or online because today there is so much true crime available, encompassing all types of nefarious behaviour, it seems endless.

Crime scene at 75 Barnhill Rd, Terrigal. Credit: Daily Telegraph

On Tuesday October 27, 1992 at about 9pm Malcolm George Baker started a murder spree stretching from Terrigal to Bateau Bay to North Wyong, that would only end after six unarmed and defenceless men and a woman were dead. I knew Baker and some of his victims. I was part of the large team of detectives to investigate the murders.

My interest in the case and labyrinthine motivations of Baker and his victims stayed with me all my career and beyond. After 27 years of that case fermenting in my mind I have completed a manuscript titled, Bloody Odyssey, a story of domestic violence, jealousy, greed and fear. Here is a short extract.

He moved with purpose across the road and down the slight incline of the front yard, avoiding the glare of a street light at the end of the driveway. A large evergreen tree near the footpath shadowed a vacant plot of land on the left of the house and gave him perfect cover.

Pic 2: Malcolm George Baker Credit: Daily Telegraph/Baker family

Upstairs in the two-storey brick house a television screen flickers in a darkened lounge room. The empty stairs inviting Baker forward. He slivered up the steps and onto the long, wrought iron fenced balcony protecting the front of the house. In an instant he stood at the closed timber front door, the first obstacle to his progress. He looks through a small coloured glass window in the door. Listening. Waiting.

Inside a large round cane chair with bright red and yellow pillows dominates the middle of the lounge room. A brown velour modular couch fills the whole left side of the room. Two fish tanks full of tropical fish and a dozing canary in a cage stand along the wall to the right. The noise and light of the TV fills the room. Voices. Mumbling. A human shape moves about at the back of the room.

Crunch!! Baker raises his foot and kicks the door. It flies open and crashes into the plaster wall behind it as the door jamb splinters from the hinges. Baker steps through the door, a loaded Remington 12-gauge double barrel shotgun at the ready on his hip.

Next week: Why do people love true crime?

 

Ted Bassingthwaighte is a retired NSW police detective living in Newcastle with his wife and dog. Since his retirement in 2009 he has been writing. He reviews books for the NSW Police news magazine, has entered HWC short story competitions, winning a prize in the HWC 2014 Grieve competition. He plans to have his true crime manuscript ‘Bloody Odyssey’ edited and ready for publication in 2019.

Doris Zagbanski judge of grieve with one of the prizewinners

Grieve Anthology Winners 2017

By | Grieve, News

Such beautiful poems and stories were entered into the 2017 Grieve Writing Competition. Over 100 captivating, brave and compelling works by Australians were chosen to be published in the anthology Volume 5. Buy the anthology either in ebook or printed book form here

Submit your poem or story into this year’s competition open to all Australians

Congratulations to the 2017 prizewinners:
Rachael Mead Powerless
Joel McKerrow On Saying Goodbye
Ky Garvey Deep Breaths and Heartbeats
Janet Holmes Carpet Beetles
Fiona Murphy Our Small Kingdom
Kathryn R Bennett Numbers
Josh Wildie When One Door Closes
Kaylia Payne I Miss You, Kid
Laura Jan Shore First Anniversary
Kathy Childs The Man in the Mirror
Ellen Shelley Failed to Provide
Vicki Laveau-Harvie Seasons of Grief
Undine Kanowski Okay
Cheryl Parker My Truth
Melanie Zolenas-Kennedy Scraps
Donni Hakanson The Ghost of A Mother
Edwina Shaw Thirty Years Gone
Sarah Bourne The Sounds of You
Gail Hennessey Message to My Mother
Kathryn Fry There She Is, My Mother

Poetry Writing Part 3

By | News, Poetry
Poetry process by Professor Christopher (Kit) Kelen 
 
and what a week it’s been, poetry process enthusiasts… there we were, up above the Arctic Circle, experiencing the midnight sun … first on land (over the water)

… so mainly I was inspired to draft just from where I was, just writing things as they were in the moment for me:
1286
midnattsol
we went to see the midnight sun
8.vii.19
Teigan - Hadsel Øye, Vesterlån

we went to see the midnight sun
on the other side of an island nearby
we went to Teigan - on Hadsel Øye,
in Vesterlån it is

so much brighter than you’d imagine
bounces along
runs a ring
delivers pinking stillness
like breath held for a non-event

flowers make the most of it
especially tiril tunga
somebody’s tongue
caught the colour

this sun leaves winged ones wondering
but a traffic in fish goes on

throws shadows on turf roofs, on the water
fields of fresh mown, lit green, yet to yellow
such shadows in the mountains
tree casting this way, that

this is the everyday unending
one cannot but be awed

the moon was up for company
paled at the very thought

and must not look at the main attraction
or see it in everything seared

of course I forgot sunglasses
ironic at the time because
I was writing a story about them
but it’s well past eleven and you wouldn’t think

here comes the Hurtigruten/ Coastal Express
in night that is not

and there’s another little vessel
flag of a country no one will know
comes chugging into view
what luck to have set sail in this

a herringbone calligraphy
feint moon ended

this is the way beyond the world

in through windows hereabouts
and shone along a beach

as if this last first searing
set islands here on fire

now east and west were rise and set
in all the innocence I knew

it’s not as if this makes any sense
but somebody knows how it goes
anyway everyone here’s up and doing

still there’s so much to do!
so many falling down farms and houses
embarrassed, all hours show
this sun still stands
makes spectacle
of itself
and of us all

part of the village came out specifically

lazy grass bears lounge under their ledges
the old troll woman high over scree
is still trying to get some sleep

it was the sun would never set
rising for us now

as if a fire were lit beyond
to dip and lift
that we’d behold
sky of changes

as if
as if
the sea was set
the sky was cast a mood

and some for mauve
for azure
run out of colours to call

a little east west bounce along
to run a little world around

how few were watching this
and did the midnight sun see us?

a question you’d sleep off

all along it was behind us
following the car
except when out in front
alongside

and on the up and up from now

a magic in the golden glow

rests on a roof as good as sleep
brighter than the dream

*

then a few days later at sea, though the sun seemed higher at the lowest there
 
1290
midnight sun at sea
11.vii.19
on the Hurtigruten’s MS Richard With
Svolvær (Lofoten) and onto the Norway Mainland

The sun was shining on the sea, 
It made the billows bright, 
And this was odd, because it was 
The middle of the night.
        Lewis Carroll

aboard and in pyjamas
now we have 360°
waving shores smell fish

up all night first time for years
for this beyond romantic

slow coasts in a shining

we of the underwisp
called to cloud
among mountains
see

first come so far was young Pytheas
now the ancients have come to bucket this too

midnight on deck
moment seared into seeing

the pinking dip
and up sun daisy
call it day again

morning, so to say, dozes with fog
an hour of breakfast still

come through Pillars of Hercules

which of us
will be so remembered
from a text forever lost?

how many cameras will fall overboard?
that’s luck in a wishing sea


*

travel is important to the process of poetry, but perhaps ironically in the sense of demanding presence to one’s here-and-now

and now I’m in Macao, on my way home, and a little jetlagged on the way…. more later on jetlag and Macao and how these inspire poetry…

but meanwhile Geoff Page’s review of my Poor Man’s Coat Hardanger Poems appeared in a place I will not mention, so I drafted Geoff a poem about my process in response:
1293
my déjà voodoo
 
a little poem for Geoff Page

won’t ever be finishing itself
a piece of work one might say
but cut and come again
head like the song you know already

tree and stone and stream and sky
out of the blue clouds come over
just for instance or music sets off
hard line through a fog of chord

all the familiar crew
these rag and bone creatures
were sometime my pets
run the circus now

it’s only in echoes we live
only through the mirror we find what’s to give

midnight’s that glimmer
where the dream forgets me
leave inklings where I’ve been, will be
I can’t remember here

a stretch so slow of the imagination
might not notice you’re among
the most familiar things
where always you have been before

in picnic woods of somebody’s porridge
old friend sunlight shows
glad that you’ve already met so many
I hope you’ll come again

all of us are waiting here
that the journey might begin

*
There were also pieces last week about Norway and the oil (before and after), a kind of a long life cycle poem about a Norwegian (Nynosk) kids’ rhyme, a picture book text for kids about magic sunglasses and going through a troll and coming out the other end, and also a little piece for my field guide to Australian clouds…

and then there’s the list of what I thought I had been supposed to be doing at the beginning of the week…

perhaps also I should say more about drawing and painting and how these relate to writing on a daily basis…

but obviously we don’t have space for that here right now
… the point is that the process is full of surprises!

Christopher (Kit) Kelen (客遠文) is a well-known Australian poet, scholar and visual artist, and Emeritus Professor of English at the University of Macau, where he taught Creative Writing and Literature for many years. Kit Kelen’s poetry has been published and broadcast widely since the seventies, and he has won a number of prestigious awards over the years, including an ABA/ABC Bicentennial Prize in 1988; and in 1992 an Anne Elder award for his first volume of poems The Naming of the Harbour and the Trees. He has also won Westerly‘s Patricia Hackett Prize and placed second in Island’s Gwen Harwood Prize. In 2012, his poem ‘Time with the Sky’ was runner up in the Newcastle Poetry Prize, an award for which he has been frequently shortlisted. In 2017, Kit was shortlisted twice for the Montreal Poetry Prize and, for the second time, won the Local Award in the Newcastle Poetry Prize. In 2018, he was longlisted for the ACU and University of Canberra’s Vice Chancellors’ prizes. Volumes of Kit Kelen’s poetry have been published in Chinese, Portuguese, French, Italian, Spanish, Swedish, Indonesian and Filipino and Norwegian. The most recent of Kelen’s dozen English language volumes is Poor Man’s Coat  Hardanger Poems, published by UWAP in 2018.