A Salvage interview, reviews, and a copy up for grabs

Salvage by Jason NahrungSome Salvage washing up on the interwebs:

  • Sean the Bookonaut has reviewed Salvage, most kindly, and it’s so pleasing to see reviewers respond to the relationship drama of the story and treat the narrative with such sensitivity, for it is a slow-build, this one, and it is anchored in matters of the heart. And of course, it’s very pleasing indeed to see reviewers enjoying it!
  • The Galactic Suburbia podcast has also mentioned Salvage, again kindly, in the reading lists of both Tansy and Alex, and again focusing on the relationship of the heroine with her husband and the woman who gives her pause for thought. Favourite quote courtesy of Alex: ‘compassionate and cold-blooded’. You probably need to hear it in context, but it made my ears warm with satisfaction.
  • Rowena Cory Daniells has been running an informative series of blog interviews with women fantasy writers — Australia is privileged and perhaps, the suggestion is, unusually blessed, with a high ratio of talented ones. But now she’s branching out, kindly inviting me in with some thoughtful queries about writing and publishing. She’s also giving away a copy of Salvage, so let’s read who you’re favourite vampires are: my money’s on Bram Stoker’s version of Dracula, simply because he blew my 16-year-old mind. I’ve listed 15 of the best movie vampires here, in case you need some inspiration, and top 5 vampire and werewolf movies to chew over.
  • Which is as good a time as any to mention again the forthcoming launch in Brisbane, on August 10 at Avid Reader, and the Twelfth Planet Press Showcase at Melbourne Writers Festival on August 26, at the Yarra Building.
  • Words of writerly wisdom

    Recent common sense from writers wot know:


    Two-million-word writer Kim Wilkins:

    Write the fucking fiction! Don’t write blogs and marketing plans and twitter yourself in front of everyone in hopes of building a platform. Write the fucking fiction FIRST. The rest is just white noise until you have a good finished product. And it must be good.

    Read the rest here. It’s fucking gold. You can have a ‘cosy chat’ with Kim at the Brisbane Writers Festival on 9 September.


    Justine Larbalestier, whose blog is informative and entertaining, on YA writers doing it for the money:

    If someone really decided to become a YA novelist solely to make big money then they’re an idiot with incredibly poor research skills. Choosing to write novels—in any genre—as a path to riches is about as smart as buying lottery tickets to achieve the same.

    And to complete the trifecta, Joe Abercrombie offers an overview of planning, something I’m going through at the moment with a similar process to this:

    I’ll know the setting and the rough plot for each part, some idea of what each point of view character needs to do, but usually I only plan the first part in any close detail, working out exactly what each chapter is going to contain.

    Abercrombie and Wilkins are guests at GenreCon in Sydney in November, which should be a hoot.

    Blake’s 7 remake: liberating, or a Federation of dunces?

    logo for tv show blakes 7No sooner had we just finished watching the last episode of Blake’s 7 than the announcement hit the interwebs that an American outfit was interesting in remaking the cult British television show. First thought: this could be wicked, what with modern special effects and all. Second thought: another UK show mangled by Americans missing the point. Verdict: torn.

    I loved Blake’s 7 as a kid; the 1978-81 show offered something different. A crew who were together by desperate convenience, who weren’t jumping each other’s bones but rather each other’s nerves, and who could lose just as easily as win. And, as io9 points out, led by someone who might just be a zealot dangerous to all around him.

    servalan from blakes 7

    The villain wears white … Servalan

    The effects were hokey, the gender politics at times ghastly, the episodic plots sometimes dodgy, the fight scenes lamentable. We now have a ‘Blake punch’ in our house, whereby the merest tap on the shoulder will cause instant collapse. And yet, with the friction between said zealot Blake and self-serving computer whiz Avon, the equally self-preservationist thief Vila and the mercenary smuggler Jenna who found something — or someone — to believe in, the show is still enjoyable. There are the witty one-liners and put-downs, acerbic sniping all round. Dayna and Soolin can shoot straight, too; even Vila has his hero moments. And there’s Servalan, of course, a stylish, three-dimensional villain who has her share of travails. Talk about leave Buck Rogers for dead!

    Add in some bold decisions: killing off a cast member mid-season, dropping the titular character for two seasons, destroying the uber-starship Liberator and replacing it with a far less ostentatious and well kitted out ship… Indeed, by the end of the final, fourth season, only two original cast members remain on the bridge. And then there’s the conclusion, of course: it’s hard to imagine an American television show in which the heroes totally and utterly lose.

    If it does get up, it will be interesting to see in which direction the remake goes. Let’s just hope it doesn’t poke science fiction in the eye the way the remade Battlestar Galactica did.

    Hysteria: at the movies and in Emilie Autumn’s Fight Like a Girl

    hysteria movie posterTHERE is a moment in the newly released movie Hysteria, which traces the invention of the vibrator in the late 1800s, where the humour to be extracted from doctors masturbating women to release their ‘hysteria’ runs into the horror wall: the feisty heroine, played brilliantly by Maggie Gyllenhaal opposite the rom com’s leading man Hugh Dancy, faces institutionalisation and forced hysterectomy. The engine of her dire straits is her father.

    While the movie has its laughs, its social commentary, both of class and sex, is telling. The medical condition of ‘hysteria’ was only dismissed in the 1950s, the movie’s afterword tells us. It takes a lot of Rupert Everett’s hijinks as electrical experimenter and comic moments with mating ducks to relieve that uneasiness.

    emilie autumn album fight like a girlSURGICAL maltreatment of women as a way of dealing with perceived hysteria, or lunacy, is very much to the fore in Emilie Autumn‘s new album, Fight Like a Girl, which landed this week. It offers a narrative, musical arc set in an asylum for women — some of the music is from a planned Broadway show — but this is not the home for wayward girls so endearingly and sexily brought to the stage in her previous live show. Rather, this is the surgery where those ‘wayward’ girls are locked away to keep their brash sense of self and identity from unbalancing the patriarchy. Women as objects to be used, as threats to be neutralised, is the theme.

    The ranging styles of the songs, from the upbeat defiance of the titular single to the violin ballad of ‘What Will I Remember?’, the vaudeville of ‘Girls! Girls! Girls!’ to the funereal ‘Goodnight, Sweet Ladies’, is clearly rooted in the dramatic production. And what a dark show it promises to be, with drug therapy and incarceration, and threats of sterilisation, rape, mutilation and murder among the offerings.

    Tellingly, the album opens with the strongest, most strident songs, giving the impression of a revolution being quashed as the songs then travel into the asylum. A number of shorter tunes, some instrumental, suggest bridges between scenes, before the album draws to a close with the military beat of ‘One Foot in Front of the Other’, a hint of recovery and the promise of round two.

    Along the way, there are treats in the minimalist electro of quite terrifying ‘Take the Pill’, harpsichord-driven ‘If I Burn’ and the seven-minute menace of ‘Scavenger’.

    She’s quite the multi-talented artist, Ms Autumn, and this album, a different beast with some familiar stripes to her breakout Opheliac, suggests, even after just a couple of listens, further rewards in store.


    Salvage in Twelfth Planet showcase at Melbourne Writers Festival

    twelfth planets press melbourne writers festival showcaseAugust is a big month for Salvage, having an outing in Queensland and now, bobbing up at the Melbourne Writers Festival!

    Twelfth Planet Press presents a free showcase event at the festival, with Kerry Greenwood of the Phryne Fisher mysteries fame launching the Twelve Planets series. On hand to present their titles already released and forthcoming will be Kaaron Warren, Cat Sparks, Deborah Biancotti, Narrelle M Harris, Deborah Kalin, Rosaleen Love, Kirstyn McDermott, Lucy Sussex … and me*.

    There will be drinkage, and music, and all Twelfth Planet books will be available, including the newest releases of the Twelve Planets range: Through Splintered Walls by Kaaron Warren and hot-off-the-press Cracklespace by Margo Lanagan (previewed at Continuum in June).

    I’ve just read these two titles, and they are spectacular: Margo has brought her touch of the fantastic closer to home, while Kaaron raises the chill factor, especially with the longest story of her collection, ‘Sky’: you might want to have a bath after reading it.

    Kerry will be joining the Twelfth Planet authors for signings.

    The showcase is on Sunday August 26, at 5.30pm, at the Yarra Building in Federation Square. It’s a free, non-ticketed event, which means you can just turn up and enjoy. An ideal pre-dinner outing, neh?

    May there be Hammonds in Heaven for Jon Lord

    Very sad to hear of the passing of Jon Lord, who rose to fame as the keyboardist for Deep Purple, pumping the instrument through the Marshalls to help make the band, in 1972, the loudest in the world. Lord finally quit the band in 2002. Classically trained, a composer as well as a rock pioneer, he was also a charming, gentlemanly person. I think myself lucky to have seen him with Deep Purple, sans Blackmore unfortunately, and with the Hoochie Coochie Men at an amazing pool-side blues gig on the Sunshine Coast. A true legend.

    My 2003 interview with Lord is here

    The Tea Party brew up a storm at Melbourne’s Palais

    tea party band jeff stuart chatwood jeff martin jeff burrowsHow good was it to see Stuart Chatwood caressing those keyboards? Jeff Burrows going restrained Animal on the drums up the back, silhouetted by that spectacular backlighting beaming out across the Palais like some kind of mystical door opening? And Jeff Martin, being Jeff Martin, up the front of the Tea Party for the first time since they called it a day seven years ago?

    Very bloody good.

    Sure, the sound was always a pain with the feedback buzz and increasing muddiness. The lighting at times a little overbearing. The medleys a little ad hoc, not quite as smooth in the transitions as we’re used to.

    Oh, there might be a few cobwebs still hanging off the trio, but after two hours of blasting out hits such as ‘The River’, ‘The Bazaar’, highlights in ‘Fire in the Head’ and ‘Psychopomp’, and on, to an encore culminating in ‘Sister Awake’/’Paint It Black’), they proved they’ve still got IT.

    Throw in the theremin on ‘Lullaby’ (if memory serves), ‘Shadows on the Mountainside’ and a wee slice of ‘Hallelujah’ — more Cohen than Buckley — with ‘Heaven Coming Down’, ‘Release’, ‘Temptation’ and more, and last night’s opening gig of the Reformation tour in Melbourne was quite the emotional rollercoaster. More fun than Luna Park next door. And somehow, walking out into a cool, light shower of rain was the perfect end to what might be a new beginning for the Canadian trio.

    They’re recording this Australian tour for a live album; will the studio follow?