Welcome to eNews. In this issue we preview
our Autumn Season with a special focus on the authors of our soon-to-be
released creative non-fiction titles. As this issue, and indeed
our growing list demonstrates, IP are firmly planting a flag in
Tilly Brasch, the author of No
Middle Name speaks in
depth on the subject of youth suicide. Barbara
Winter gets into a
bit of political intrigue in discussing the
subject of her book, The Australia-First
But to prove we haven’t abandoned one of our original “niche” areas,
that of poetry (despite the harsh commercial realities and appalling
state of funding in Queensland) we also focus on the Text + Audio release
of Jenni Nixon’s Café
Boogie. Jenni writes about the special relationship
between poetry and performance. In next issue, look for features on
Gold Coast poet/musician Liam Guilar and Sydney poet David Musgrave.
Out and About has all the details of our Autumn releases and a HUGE
programme of launch events in Brisbane and Sydney.
David again tackles the issue of funding
in his editorial. We’re
really hoping to stir some debate on this issue. For things to change
the better, those affected by government policies in the area of arts
funding must really find a voice. It seems to me those affected fall
at present into two categories: the few who benefit from bad policy
so have a vested interest in supporting it and the majority who feel
powerless so they say and do nothing, at least publically. This is
my two cents worth. Agree? Disagree? Let
We’ve added a new column to eNews, In Review,
where we feature all the latest reviews and comments on IP titles.
We also have a special tongue in
cheek feature for authors
hoping to get their manuscript rejected!
As usual we have some special deals to further entice you to purchase
See you at the launches!
Sara Moss, Editor, IP eNews
the Director's Desk
weather outside Treetop Studio may be cooling off, but the activity
no signs of heading toward hibernation. Autumn Season 2005 has
shifted into overdrive!
We have six new titles nearing completion, with an even
balance between print and digital works. The print titles include
Middle Name by Brisbane author Tilly
the inaugural winner of the Creative Non-Fiction category of IP Picks
2005; an intriguing exposé of the Ultra-Right during World War II
in Brisbane-based Barbara Winter’s The
Australia-First Movement and the Publicist,
1936-42; and On
Reflection, a second
poetry collection from multi-award winner David Musgrave, who lives
On the digital front, we’re releasing two new titles in our
Audio + Text Series: Café Boogie,
by Sydney performance poet Jenni Nixon; I'll
Howl Before You Bury Me, by Gold Coast resident Liam
Guilar; and a multimedia biography, If
These Walls Could Talk, by
Sydney writer Genevieve Cumming-Jaffé. You’ll want to
read the details to see
how IP Digital is taking advantage of the new mp4 format for
that’s another first for IP on the digital front!
Plans are confirmed for a joint launch of Café Boogie and On
Reflection on 14 May in Sydney, which will kick off the Season.
I missed the Sydney launch of Jenni’s print version, so I’m
looking forward to seeing her in action this time round. The
next day will see the launch of Genevieve Cumming-Jaffé's multimedia
These Walls Could Talk at the Sydney
Museum. I’m pleased to report that Nora Krouk’s fine collection,
for Comfort, which also has a strong
Jewish connection, will share the program at the Museum.
We’ll be having two Season launches in Brisbane, with Tilly’s
book being the first off the rank on 17 May, followed closely by
Barbara’s launch on 19 May.
Not long after, we’ll have an event for Gold Coast-based
Howl Before You Bury Me,
which will be Text + Audio with a difference. Liam, who is also
a musician in another guise,
has teemed up with composer and performer Chen Yang to provide
a rich musical texture to his CD.
Stayed tuned for a sneak preview of Spring Season 2005 next issue
as well as interviews and features with some of our other Spring
Dr David Reiter
[Editor’s Note: Since our
last newsletter, David has exchanged media releases and correspondence
with various Government officials about the policy governing
arts grants in Queensland. A special bone of contention has been
whether private arts companies should have a right to apply for
arts grants. We obviously think so, but the Queensland Government
doesn’t. Read IP’s most recent media release and
tell us what you think: we’ll publish extracts from the
best letters next time.]
Arts Minister Fiddles While Publishing
Arts Minister Anna Bligh sees no problem with an Arts Queensland
(AQ) policy that prevents private companies from applying for grants.
The policy, which applies across all the arts in Queensland, says
that companies that are set up to be commercially successful
are not entitled to grant money. AQ says that the policy was
the result of “extensive research” into how other States
and Territories deal with private companies who want to invest
in the arts and nurture promising artists.
This suggests that AQ’s policy is in line with the practice elsewhere.
But nothing could be further from the truth. The fact is that no
other State or Territory arts agency shuts out private companies.
Queensland is clearly out of step.
When Dr David Reiter, Director of IP, a dynamic independent print
and digital publisher located in Brisbane exposed the lie behind
this “research”, Minister Bligh took more than a month
to put a positive spin on the policy. We did not say, she stated,
in a letter to Dr Reiter, “that Arts Queensland guidelines
accord with those of a majority of other States.” AQ’s
research found “a range of different approaches in use.”
Dr Reiter sees the facts differently. “While the other States
and Territories have their own ways of approaching the issue, they
all agree that private companies are an important part of the arts
funding equation. It’s not simply a question of Queensland according
with a few other States; Queensland is a minority of one!”
Aside from the numbers game, this is bad policy. It shows incredible
ignorance of how the publishing industry actually works. You’d
be hard pressed to find an Australian publisher of note that was
not set up to make a profit. IP is typical of a long list of publishers
that operate as private companies. Aside from the mainstream publishers,
who are ALL private companies, the independents include Brandl
and Schlesinger, Allen & Unwin,
Giramondo, Text, Hale & Iremonger,
Five Islands, Wakefield, Bolinda, Spinifex, Currency and Indra – all
of whom regularly get grants from their State arts agencies.
Apparently no one in Arts Queensland has briefed Minister Bligh,
who is also Minister for Education in her free time, on this and
on the looming crisis facing publishing in her State. The University
Press (UQP), the largest literary publisher in the State, sadly,
is going through hard times. Several of its senior editorial staff
have been given a golden handshake, after UQP’s lost more
than $3.6 million in a single year. Even with operational funding
of more than $100,000 from Queensland Government sources. UQP,
which ironically does operate as a “not-for-profit” organisation,
tactfully describes its rescue plan as a “restructure.” For
anyone with any commercial sense, this could be seen as merely
off the inevitable.
This should ring warning bells for Minister Bligh, but
AQ has apparently issued her with ear plugs. Old habits die hard.
UQP has long been
teacher’s pet in Queensland. And, as arts funding in the State
has quietly been diverted to more politically sensitive portfolios
like Education and Health, the screws have been applied to AQ.
For the past two years, UQP is the only publisher AQ has funded.
Dr Reiter concedes that IP received grants for several years before
that, although at most, $20,000 per year, which is less than many
individual artists have received for a single project.
Now, AQ seeks, in the Minister’s words to “maximise
its finite resources” by funding a single publisher. She
believes it is better to fund a not-for-profit publisher that has
than an innovative publisher like IP that has demonstrated its
commercial savvy in the most dramatic way – by making headway
without Government support.
Reiter underlines IP’s predicament in no uncertain terms.
“If we were based in any other State or Territory, we would
be up for
grants. And we doubtlessly would be successful.” He cites
IP’s record with the Australia Council, where, in competition
with other publishers Australia-wide, IP has received grants for
years running, “because the Council recognises and values
the contribution we are making to the arts in this country.”
If IP were to relocate, Queensland would be left with only one
major literary publisher, whose future is at best uncertain. At
a time when more and more Queensland authors are seeking – and
deserving – publication,
UQP has slammed the door on unsolicited manuscripts. IP is the
only publisher of note in this State that still accepts submissions
from unpublished authors. Most of the authors on its annual list
of 12-15 publications have published two books or less, and a large
percentage of them come from Queensland.
Can Queensland afford to lose what a reviewer in the Sydney
Morning Herald recently described as “one of the most innovative
publishers in Australia”? Obviously, Minister Bligh thinks
so. While the publishing industry in Queensland burns, she reiterates
Queensland will continue to monitor and assess the effectiveness
of its project grants programs and guidelines across the arts sector.”
Barbara Winter’s Australia-First
Movement and the Publicist, 1936-1942, covers a side of Australian politics
that many people would like to forget, and yet her book provides an insight
into some of the principles behind contemporary parties such as One Nation
and Family First.
LR: 1. One of
the issues raised in your book is how strong the anti-Semitic feeling was
in Australia at the
time. Can you explain, briefly, the part the Australia-First Movement played
BW: I don’t think it can be concluded that there was
wide-spread, strong anti-Semitism in Australia in the 1930s, but the Australia-First
this feeling in those who were already inclined that way.
LR: Another interesting aspect of your book is the AFM’s support of the
Japanese at a time when there would have been a great deal of anti-Japanese
sentiment. How would you explain the AFM’s feelings for the Japanese
even after the outbreak of WWII in the Pacific?
BW: The core policy of the AFM, as indicated by its name, was to create a strong
Australia, independent of both Britain and America in sentiment and by law.
Unfortunately, a clique at the head of the AFM decided that a National Socialist
Government would make Australia strong, and that the Japanese would magnanimously
help Australia to become independent of Britain and not demand a price for
LR: Your book deals with people you obviously viewed as unsavory. What drove
you, then, to explore their organisation in such depth?
BW: There were a lot of decent, well-meaning people connected with the AFM,
but they were politically naïve and gullible. Some were quite crazy and
a few were outright scoundrels. The setting is in the past, but the tendencies
exist everywhere and always. There are lessons to be learned from this.
LR: Australia now seems to be regarded as a religiously tolerant country. Do
you feel the AFM’s blatantly anti-Semitic views have died out in this
country or are the embers of their ideology still burning today?
BW: There are still small pockets of strong anti-Semitism,
with a wider spread of quiet wariness. If you take anti-Semitism in its widest
sense – that
is, opposition to Arabs as well as Jews – it is strong in places and
LR: The book deals with the Publicist newspaper, a publication that started
out with the aim of raising awareness of Australian literary culture, and promoting
nationalist views. Briefly, how did these good intentions go awry?
BW: The main influence behind the Publicist was undoubtedly Billy Miles, who
paid the bills. To a large extent, he believed what he was writing, but he
enjoyed hurting people’s feelings and demonstrating – as he thought – his
superiority. The vulgarity and aggression came from Percy Stephensen;
it seems he always had a taste for being offensive and shocking.
LR: Reading the book one gets the impression that Australia came perilously
close to falling under Japanese rule. How close did we come and do you think
the AFM members would have lived to regret their sympathy for the Japanese?
BW: Most of the AFM associates had no particular liking for the Japanese. Their
common aim was the construction of an Australian identity. Many, but not all,
supported some form of fascism or Nazism. The strongest support for Japan was
found among a few Western Australians, but they were not bone fide members
of the AFM. I don’t know if they had the emotional or intellectual capacity
to learn from their mistakes. While there was a possibility that the Japanese
could have conquered parts of Australia, there was no chance that, in the long
run, they could have defeated America, nor that the Americans would let them
stay in Australia.
LR: Given all the research behind the book, do you think it was worth all
the hard work and the long hours?
BW: The production of this book gave me a great deal of satisfaction. Only
time will tell whether it has any influence on the way people think about political
Tilly Brasch, the Winner of the inaugural
IP Picks Award for Creative Non-Fiction, comes right to the point about the
central to No Middle Name:
AM: Youth suicide is rising in Western Society. In Australia, what can be
done to reduce the incidence of this?
TB: Although a great deal of research is being done into the causes of suicide,
the findings are not readily publicised for fear that this will be seen as
publicising or promoting suicide. Suicide continues to be a whispered and taboo
subject that only happens to ‘other’ families; but while this cautionary
attitude persists, suicide will continue to be a major, but silent killer of
our young people. Contributing factors in the incidence of suicide which need
to be openly discussed seem to be:
• a break-down in traditional values and family structure;
• school-yard bullying;
• experimentation with drugs;
• lack of employment opportunities; and
• mental illness.
AM: How can we improve the support systems for families and friends of victims
TB: First, the bereaved must be permitted to grieve in a manner that
is cathartic to each individual instead of feeling compelled to comply with
expectations of a brief and stoic grieving period. Nor should a suicide be
treated as a ‘tainted’ death but rather, spoken about as openly
and empathetically as any other death. Specific support organisations do exist
for those grieved by suicide, but some people are not comfortable with ‘group’ grieving.
AM: Queensland’s mental health system is in an appalling state, not least
of all because of the closure of beds at Princess Alexandra hospital. Is more
money the key solution to providing more facilities to assist those in need
of mental care?
TB: Significantly increased funding, efficiently administered
and managed, is the core issue which will improve services in the mental health
system. The Royal College of Australian and New Zealand Psychiatrists estimates
that Australia’s mental health sector is underfunded by $2 billion.
AM: In No Middle Name, you lament that health professionals and police never
notified you when Riley came under their responsibility. Is there a better
way for them to handle communication with concerned parents regarding their
TB: Privacy laws rightfully protect the rights of citizens. However,
when a mentally ill adult lacks the capacity to make objective decisions and
parents have clearly demonstrated their commitment and support, communication
between health professionals, police and the parents should be automatic as
a humane procedure for both patient and parents. Perhaps the Mental Health
Tribunal that regulates mentally ill patients could also assess parents and
grant them the right to be informed on matters pertaining to their adult child.
AM: Health agencies, legal agencies and governmental agencies did not provide
enough support for Riley when he needed it the most. Is there anything they
can do to prevent similar tragedies in the future?
TB: The mentally ill are the
invisible minority in our society, relegated to the lowest priority in the
health system, and stigmatised at all bureaucratic levels of health, legal,
and government agencies. Tony Abbott MP, Minister for Health and Aged Care,
commented in January 2004 that, “Australians with mental health problems
already have a reasonable range of services available to them.” While
attitudes such as this persist at the top level of government, tragedies will
AM: Bullying at schools is often spotlighted in newspapers and social commentary,
yet the problem is still critical. In your book, you suggest that this contributed
to Riley’s depression? What is the main thing you think could be done
to improve this problem?
TB: Despite education programs and anti-bullying policies,
bullying continues to be rife in schools, and indeed, throughout life in general.
It would seem that parallels can be drawn between bullying and alcoholism:
until the individual acknowledges that a problem exists and a personal commitment
is made to reform, there is little that others can do to eradicate this anti-social
behaviour that can have tragic consequences.
< title>IP eNews </title>
[Jenni Nixon talks about writing for performance
and for the page and where she and Café Boogie fit in]
Is the performance in the writing or in the way it is performed? Poetry
written for performance may use repetitions, echoes, strong rhythms
to make the language memorable. Written to be heard by a crowd or by
a solitary reader, reading aloud - to her cat? Ear ink may be words
spoken to empty seats. Poetry doesn’t rack up the numbers. Slams
draw a bigger crowd.
Live performance can change a text, allowing a modulated response or
an over-the-top through-the-roof display. When the atmosphere is intimate,
the writer-reader relaxed, a rapport can develop. If the coffee machine
is too loud, the crowd restless, drunk, bored, then variations occur,
shifting tones, altering emphasis. It is theatre, the shared moment,
unique experience of this live NOW.
The sound of words delights me. Music influences my writing, seduces
and challenges me. Joni Mitchell, Bob Dylan, Leonard Cohen, Antony.
Singer poets. The dramatic narrative of a rock song, jazz riffs or
sentimentality can flood a response.
In café boogie I write about other performances. A play
at the Belvoir, “conversations”, film, “Russian
Ark at the Valhalla”, in “time-warp” music
at “The Harp”, dance in “Aeros” and “Alibi”.
In “xpression/digression on seeing Def Poetry jam
‘I want to be them strut and spit and shout
spell passion anger out buckshot doubt…’
Is the work best received in print or when I read it out? I was pleased
to hear that a friend read my poem ‘elsewhere in the
city’ to her dinner party guests. She said when read aloud the
poem ‘came alive’ and she liked it more.
I tend to get good responses from people who hear my work. They may buy
the book on the strength of a particular performance. I came after the ‘happening’ -
random creativity - out of Queer. I’m not into slam or hip-hop.
Often I work a rhythm by breaking up lines.
‘lovers hold hands exchange hurried kisses
beer slops over middy glasses as mates prop up the bar
pokies chirp musical loss.’
“top sorts” – café boogie
Not all the poetry I write is performance driven, some is more for quiet
reflection. A play of words on the page.
‘her voice stark yellow flowers in cerulean blue
aerial turns on a sunlit stage tethered to a clothesline
wooden peg spinning off releases shoulder sleeve
round and round in red dust drags the hem’
of flight” – café boogie
During a pub reading, a fellow interrupted my emoting, enquiring, ‘What
should I do? I don’t
understand poetry. No one read poetry to me as a kid.’ I told
down, shut up and listen.’
Live poetry can be dangerous.
< title>IP eNews </title>
[Editor’s Note: We’re
repeating this item from our previous issue, just in case you missed
More and more publishers
these days are refusing to even consider unsolicited manuscripts.
It costs money to review material, and these publishers prefer
to allocate their resources to authors they already know.
Recently, the University of Queensland Press (UQP) announced
that they were “temporarily
halting [their] policy of accepting unsolicited manuscripts” and
requiring prose authors to submit via agents.
Given the current financial problems at UQP, don’t hold your breath
for the new policy to change.
Since our inception, IP has been open to unsolicited manuscripts,
but we too have to deploy our scarce resources as effectively
as we can. Rather than close
down the “slushpile”, or require authors to get an agent, IP will
now charge a reading fee of $165 (GST-inclusive) for the review of complete manuscripts.
This means you can still send us a query (see our guidelines for
further information what we require for this) for free, but if we invite
you to send a complete manuscript
the sample, you will be asked to include the reading fee with that submission.
If we then offer to publish you, your investment will have been repaid. If
we ultimately turn your project down, we’ll tell you why. Effectively, this
will amount to a short assessment of the work’s strengths and weaknesses,
so even then you will get something for your investment.
We’ve resisted imposing a reading fee for as long as we could,
but at least this will allow IP to continue accepting unsolicited manuscripts. And
it may slow the ever-increasing tide of unsolicited manuscripts that
we are receiving.
For those authors who cannot afford to pay this reading fee, another option
is for you to enter our annual IP Picks competition for unpublished fiction,
non-fiction and poetry. There is a modest entry fee, but you get a free IP
title of your choice. The competition closes 30 November each year, the winners
guaranteed full royalty publication and many of the commended entries are offered
publication, too. The downside is that only the winners and commended get feedback
on their entries.
Here are 10 rules, tried and
true at IP, to ensure you never get past a publisher’s slushpile.
Rule 1: Send Your Manuscript to Whomever
Nothing impresses a publisher more than a prospective author
who’s done her homework, so if you want to be rejected don’t
bother researching the publishing house’s interests and strengths
– just submit it on the chance that they’ll be interested
in your life’s work on Weaning Camels in New Jersey.
Don’t forget to address your submission to “The Editor” or,
even better, just “Hi”, so the editor will know that you
couldn’t be bothered to find an actual name.
Rule 2: Save the Environment!
By all means recycle that manuscript.
Publishers hardly notice if you flout the fact that they are 26th
on your list of Preferred Publishers. The more coffee stains, bent
and marginal comments your manscripts displays, the better.
Rule 3: Empty Your Drawer
If the publisher’s never heard of you, send him everything relating
to the manuscript. The thicker your initial submission, the more likely
it is to stand out from the others in the slushpile.
Don’t bother providing a roadmap of the contents. If the material
is good enough, the editor is sure to find it.
Rule 4: Let the Work Speak for Itself
If your manuscript is destined for the
best seller list, why should the editor want to know anything about
Publishers are always keen to discover raw talent, so be sure to
leave the impression that this is your first attempt to write a novel.
Rule 5: Lay on the Testimonials
Remember to quote kind words from
anyone who’s seen the manuscript at whatever stage, especially
superlatives like “This book MUST be published!” The
fewer credentials they have in the publishing industry, the better,
because these relatives of yours represent the unbiased and unwashed
– the very market you had in mind for your book.
Rule 6: Pinpoint
While thinking of markets, be sure
to use a scattergun approach in defining what groups will be clamouring
to buy your book. There are lots of camels in Australia, so people
in Sydney and Melbourne are certain to want to know how to wean them.
If one out of ten people living in our urban centres can, from a conservative
estimate, be expected to buy your book, that should justify a print
run of at least
Rule 7: Include THE Cover
One thing that’s bound to make
a difference between you and the others languishing on the slushpile is
the mock-up of the cover you knocked up in your shareware drawing
package the weekend before sending in your submisson.
Put it to the editor as a fait accompli. After all, what does she
know about high-impact art?
Rule 8: Experiment!
The last thing you should do in writing your first book is to stifle
your creativity, so experiment with form, style – in fact any fictional
technique you’ve vaguely heard of. Disdain for the tradition
never kept Dickins or Patrick White from getting published. Clearly,
most published authors out there make it up as they go along.
The harder it is to classify your manuscript, the more likely the
publisher will be to accept it. Why should she care if bookshops
won’t know where to stock it?
Rule 9: Remind the Publisher...
True, some publishers are busy people,
but they can always make time to chat with people they’ve never
met about manuscripts they haven’t yet read.
Phone them cold, and don’t be afraid to ask them exactly when
you can expect a contract.
Rule 10: Try, Try Again – but not with Them
He’ll live to regret it for turning
you down. When the manuscript comes back to you with nothing more
than a polite rejection letter, who could blame you for bearing a
Spread the bad word about this third-rate publisher to everyone you
know – to spare them the pain and suffering you went through. Then
spill a little coffee on Page One and send the bundle back on its
way – without an SASE!
After all, JK Rowlings was rejected how many times before she hit the
In what could well be a first in Australia, IP Digital will
be releasing its first title using mp4 format.
Without getting technical about it, we can tell you that the best
way to imagine mp4 audio is to think CD quality sound with mp3 compression.
All IP Digital Audio + Text titles are
“burned” in two sessions. One contains the e-book of the text, with
accompanying audio files, so you can hear the work as you read it on your PC.
The other session is a pure audio file, which allows you to listen to the same
audio anthology on a portable CD player, in your car, or wherever.
In our first Audio + Text titles, we
used mp3 audio for the data session and an uncompressed .aif anthology
(similar to what you get on a conventional music CD) for the audio
session. This meant that the best sound would be heard from the audio
But now, with mp4 format preserving the audio quality at a fraction
of the space taken by .aif files, we can now give you the same high
quality audio as you hear on your portable CD Player while you read
the files on your PC.
Let’s hear it for mp4s!!
We may be getting a wee bit
ahead of ourselves here, but we’re waiting, with baited breath
(along with tens of millions of other people world-wide) the release
Tiger operating system.
from all the other you-beaut gizmos that will be onboard the new OS, Tiger (OSX.4)
will sport a new version of Quicktime Pro, which in turn will have
to play, via the free Quicktime Player, video created with the H.264
Don’t be confused by this. Think of our analogy above. H.264
technology will allow film producers to compress their work down to
a fraction of its normal size, with no noticable loss of quality.
The implications for video are obvious.
It could be feasible to produce short films on CD rather than DVDs,
or to produce longer films, with extra content and interactivity,
Excited? We are. And we already have a project in the pipeline that
will be purr-fectly suited to Tiger. Bring it on!
Thornton was the key speaker in Brisbane on 2 March, during International
Week, at the Regatta Hotel in an event sponsored by Ernst & Young,
Allens Arthur Robinson, and Westpac Bank.
The event organisers provided a copy of Merle’s
book After Moonlight to
all who attended, which was appreciated by IP and the author, as well, we’re
sure by the throng in attendance.
Merle will be in Brisbane in mid-May to attend the launch by Minister Desley
Boyle at Parliament House on May 18 of the Office for Women book Great
Queensland Women as part of the Queensland Government program celebrating
100 years of the vote for women in Queensland. It has profiles of twenty women
of whom Merle is the only living one. She’s then the speaker at The
Griffith Review literary
lunch at the Logan campus of Griffith Universtiy on May 20.
In Melbourne on May 25 she and daughter Sigrid will dialogue at
Readers' Feast bookshop in the city as one of their regular series of book
events in the bookshop.
Autumn Season 2005 is about
to get under way, with launches in Sydney followed by Brisbane.
All these events are free, with complimentary refreshments.
David Musgrave and Jenni
Nixon will join forces with David Reiter at The
Friend in Hand in Glebe on Saturday, 14 May, from 3 p.m. to offically
kick off the Season in poetic style.
Musgrave’s title On Reflection was accepted by IP
some time ago, but we decided to give it some breathing space after
the publication of his first book, To Thalia,
which appeared in the Five Islands New Poets 10 chapbook series.
(IP has published other authors from the New Poets group, including
Brett Dionysius and Cate Kennedy, with yet another one tentatively
scheduled for Spring Season – our secret for the moment.)
After getting his PhD in, of all things, menippean satire and the grotesque,
and winning or being short-listed for a swag of poetry prizes such as the Somerset,
Newcastle, Bruce Dawe and Broadway, David has quietly pursued a career as an
IT specialist for a private health fund.
Jenni’s CD version of her Café Boogie
book has been an exercise in what can be accomplished by remote collaboration.
Jenni, who is a seasoned performance poet, recorded the 18 tracks
on the CD in Sydney and Lisa Reynolds completed the post production
at Treetop Studio here in Brisbane.
the previous titles in our Audio + Text Series, Café Boogie contains a full e-book of the print version, plus two audio anthologies,
one of which you can hear as you read the poems on your PC, the
other of which you can hear on a portable CD Player – no
As a special bonus, the CD contains some new poems and some of Jenni’s
artwork – yes, she’s a visual artist, too!
Launch details: Saturday, 14 May, from 3 p.m.
The Friend in Hand
58 Cowper Street, Glebe RSVP (11 May)
The very next day, Sunday, 15 May, David
will join authors Genevieve Cumming-Jaffé and Nora
Krouk for what promises to be an exciting event at the Sydney
work has important Jewish content. In If
These Walls Could Talk, Genevieve
has compiled an interactive CD-ROM that traces the life of her
who was one of the few survivors in his family of the Holocaust
during Word War II. The work is a model of what is possible in
family histories, using multimedia.
The CD will be launched by Dr Suzanne Rutland.
Genevieve becomes the youngest IP author
to date. In fact, the same weekend, she’ll be celebrating her
twenty-first birthday, so it’s bound to be an emotionally charged
time for her!
Krouk will also give a reading of her fine book, Skin
for Comfort, which Peter Boyle described, at the sell-out
launch at the New South Wales Writers Centre as
gather[ing] a great stretch of the twentieth
century with its horrors, its wars, its violence, its lies.
and comparing her work to the great
Russian poet Anna Akhmatova.
The book will be launched by Dr Andrew
Launch details: Sunday, 15 May, from 3 p.m.
The Sydney Jewish Museum
148 Darlinghurst Road, Darlinghurst RSVP (11 May)
The following week, IP will launch the
Season on 17 May, with Tilly Brasch’s
emotionally charged book No Middle Name. The book, which has already
won endorsement from SANE, Australia, tells the story of her son
Riley’s tragic end in a way that
anyone who has been touched by the suicide of a loved one will find
compelling. But it also confronts the various agencies that could
have made a difference in avoiding Riley’s
fate if they had been there when he needed them.
than a simple complaint on the subject of our society’s
seeming indifference to mental illness and youth suicide, the book
offers insights into how the system can be improved. In fact, the
book is being launched at Stepping Stone
Clubhouse, one of the
few places Riley found help in his final days, which we think is
We’re pleased to have Arch
Bevis, MP in
attendance to launch the book, which we’re
sure will quickly find a national audience.
Launch details: Tuesday,
17 May, from 6 p.m.
The Stepping Stone Clubhouse
9/61 Holdsworth Street, Coorparoo RSVP (13 May)
A mere two days later, we move on to
the launch of a very different, but no less intriguing, book. Barbara
Winter is a seasoned author with several books already to her credit,
but her latest could be fairly described as her obsession.
Australia-First Movement and the Publicist, 1936-1942 exposes
the truth behind the Ultra Right movement in Australia during World
War II and how a group of well-meaning nationalists ended up as
Nazi and Japanese sympathizers. Some even had plans to install
a fascist government here when Germany won the War!
A thoroughly researched and indexed book, The Australia-First Movement is the
basis for Barbara’s Master’s
Degree, which she’s nearly finished at the
University of Queensland.
Dr Andrew Bonnell from UQ will be launching the book.
Launch details: Thursday, 19 May, from 6 p.m.
The National Archives of Australia
16 Corporate Drive, Cannon Hill RSVP (15 May)
Hot on the heels of all this
launch activity, David will be guest speaker at the May meeting
of the Gold Coast Writers’ Association.
The group, which was set up back in 1990, is doing its best to dismiss the
view of the Gold Coast as a Tinsel Town. It boasts quite a few members, and
subdivides into “support groups” who help members with feedback
on their work in areas such as the novel, short story, adults writing for children,
and children writing for children.
David will speak on the latest innovations at IP, especially in our rapidly
growing digital imprint, IP Digital.
a special treat, we’re hoping
to have copies available of the last of our Autumn Season titles, I'll
Howl Before You Bury Me, a collaboration between writer/musician
Liam Guilar and composer/musician Chen Yang. Another in our Text
+ Audio Series, this pushes the boundaries a bit further for IP
Digital. The music on the CD is more of a partner with the text
rather than merely a background.
Event details: Saturday,
21 May, from 1:45 p.m.
Fradgley Hall, Park Avenue
No RSVP required
[Editor’s Note: To
keep you up-to-date on reviews of our titles that have come in
since the last issue, we decided to start this new column. We’ll
include a line or two to whet your appetite, plus a link to the
“Joel Deane's first novel, Another, has just been
published and is, in a word, compelling.” — Bob Hart, Herald
“This winner of the IP Picks Fiction Prize represents a fresh, compelling
voice in contemporary Australian fiction.” — Jen Jewel Brown, Melbourne
“Another is a cleverly-structured
piece of dark realist literature, portraying the harsh realities of everyday
a most visual manner.” — Rachael Blair, Journal of Australian
“Deane’s achievement is to
humanise people most Australians don’t believe in, or perhaps
only see in television caricatures or in video footage of service
station robberies.” — Maria Takolander,The
Australian Book Review
“I was entertained and not a little moved by such an intelligent observer
nitty-gritty in the city.” — Robin Fry, New Zealand
“Cafe Boogie is an emotionally literate trip through some of
the small-and-larger-scaled battlegrounds of contemporary life; it's big-hearted
enough to laugh at some
of the furies driving it – and bounce on.” — Kerry Leves, Overland