Sunday, 22 July 2012

Memoir, Biography, History: 2012 Tally

Memoir/Biography/History: 2012 releases

The other day when the tally of literary books was posted, Text publishing tweeted that their biography of Elizabeth and Mary Durack by Brenda Niall should have been included.

Should more nonfiction titles be regarded as "literary"?

The follow is a list of books reviewed for the AWW challenge during January-June.

Disclaimer: If there are errors with release dates, please let me know - reprints make it difficult to judge original publication dates on publishers' websites.

Tally: 10 books, 11 reviewers, 12 reviews

Memoir
Biography
History
Are there other memoirs, biographies or histories published this year that haven't been reviewed for the challenge?
~ ~ ~
Shelleyrae from Book'd Out blog suggests:
Other suggestions from comments:
  • The Censor's Library: Uncovering the Lost History of Australia's Banned Books by Nicole Moore (UQP 2012)
  • Larrikins: A History by Melissa Bellanta (UQP 2012)
  • The Lone Protestor by Fiona Paisley (Aboriginal Studies Press)
Sue T from Whispering Gums blog suggests:
  • House of Fiction by Susan Swingler, about her parents, Elizabeth and Leonard Jolley, and herself. (Fremantle Press 2012

Saturday, 21 July 2012

Historical Fiction: 2012 Tally

Australia has produced a number of award-winning and best-selling writers of historical fiction, including Anna Campbell, Anne Gracie, Anna Jacobs, Stephanie Laurens and Isolde Martyn.While some historical fiction is meticulously researched and takes years to write, the authors don't often appear on lists for literary awards.

An exception is Kate Morton, whose fourth book, The Secret Keeper, will be released later this year. Kate's books have not only been best sellers, they have also repeatedly won Australian Book Industry awards. The Forgotten Garden was also longlisted for The International IMPAC Dublin Literary Award in 2010. 

In the following tally of 2012 releases reviewed between January and June for the challenge, a number of subgenres have been included among the historical fiction titles, including crime, fantasy, speculative fiction and and romance. Have any Young Adult historical fiction titles been missed?

Which of the following, if any, deserve to be included among the tally of "literary" books?

Tally: 17 titles, 22 reviewers, 32 reviews

Titles missed from above tally:
Upcoming releases:




Friday, 20 July 2012

Speculative Fiction, Fantasy, SciFi, Horror: tally 2012

Of the 70 books categorised by AWW reviewers during January to June as either Speculative Fiction, Fantasy, Science Fiction, Horror or Paranormal, 17 are 2012 releases.* These include a self-published novel, as well as several novels from small presses. Because the distinction between Young Adult (YA) and "adult" Speculative Fiction books is not always mentioned by reviewers, and both categories are equally likely to attract awards, both have been tallied here.

Should any of the following books have been included in the list of literary works posted previously? Are there other recent titles in this genre that have not yet been reviewed for the challenge? 

* Disclaimer: some books may be reprints of earlier editions. If that's the case for any of the following, please let me know.

Tally: 17 books, 16 authors, 44 reviews, 29 reviewers, 11 publishers.

Publishers: HarperCollins: 6 books; Allen & Unwin: 2; Pan Macmillan: 1; Penguin 1; Random House: 1; Text: 1; Twelfth Planet Press: 1; ClanDestine Press: 1; Orbit: 1; Walker Books: 1; self-published: 1.

Links to reviews appear on the line(s) after the title.

2012 releases
~ ~ ~
What do you think about self-published books like Doll House by Anya Allyn being reviewed alongside books by award-winning writers like Margo Lanagan?

Not reviewed for the challenge during this period:
More titles (suggested by Shelleyrae of Book'd Out blog):

Wednesday, 18 July 2012

Crime 2012 releases: What's being reviewed?

Last weekend the tally of reviews for newly released literary works was posted on this blog, and the question was posed whether "genre" books should have been included. The response from speculative fiction authors on Twitter was a resounding, "Yes!" Of course "genre" books should be included.
But which genres? And what do we mean by "literary" anyway?

The question is timely because, as author P.A. O'Reilly tweeted yesterday, new prizes - including  The Stella Prize - are more open to "judging the work, not the 'genre'." So how do we identify the literary?
 
According to O'Reilly, literary books "reward a second reading with another layer of meaning". Author Claire Corbett goes further: "A literary book doesn't give you what you demand but what you never knew you wanted." Quality writing has subtext, according to Corbett, including non-fiction; too much writing has no subtext, she says, because such craft takes time.

Is it all a matter of craft and layers of meaning? Or are some genres more likely to be considered literary than others?

Clearly some Speculative Fiction titles have no trouble attracting the attention of major literary awards - Corbett's 2011 release, When We Have Wings, for one, was shortlisted for the Barbara Jefferis award, while Meg Mundell's Black Glass was Highly Commended by the judges of the same award.

But what of other genres, such as crime?

When crime writer Peter Temple won the 2010 Miles Franklin Award for his crime novel Truth, an expectation was set up that well-crafted crime novels would attract the attention of literary judges. Last year's inclusion of Kirsten Tranter's psychological suspense novel, The Legacy, and this year's inclusion of Virginia Duigan's The Precipice on the Miles Franklin longlists appear to support this view. Yet PM Newton's 2010 - in my opinion, equally brilliant - The Old School, didn't make the grade. Was it perhaps - being a detective novel - considered too generic?

Which crime novels released in 2012 - including detective, paranormal, YA, historical fiction, crime-romance and nonfiction titles - deserve to be considered "literary" in your view? 

Crime: 2012 releases

The following books released in 2012* and reviewed for the AWW challenge between January and June this year have been divided into subgenres:
  • general/thriller/psychological suspense
  • historical fiction 
  • crime/romance (sometimes referred to as "romantic suspense")
  • crime/paranormal
  • YA/Children's and 
  • True Crime.
*Disclaimer: The release dates on publishers' website don't always accurately reflect the year when the book was first published. If there are any errors, please let me know. EL


Tally: 18 books, 25 reviewers, 43 reviews, 10 publishers.

Publishers: Penguin: 4 books, 10 reviews; Random House: 3 book 7 reviews; ClanDestine Press: 3 books, 3 reviews; HarperCollins: 2 books, 5 reviews; Hachette: 1 book 6 reviews; Pan MacMillan: 1 book, 4 reviews; Pantera Press: 1 book, 3 reviews; Black Opal: 1 book, 1 review; EgmontUSA: 1 book, 1 review; Walker Books: 1 book, 1 review.

General/Thriller/Psychological Suspense

Historical Fiction
Romance
Paranormal
YA/Children's

True Crime

Short Stories
~ ~ ~

Guest author reviews

Of the above authors, Jaye Ford, Katherine Howell, YA Erskine and Helene Young have all reviewed for the challenge (that's why the covers of their recent releases are featured here).

Helene has written multiple reviews, including:
Do you think any of the above books deserves to be regarded as "literary"? Do you know of any other crime books released this year that haven't been reviewed for the challenge so far?

Other crime titles (some not reviewed during January-June period of tally):

Saturday, 14 July 2012

Literary works 2012 - what's being reviewed?

What contribution has the AWW challenge made to the reviewing books of literary merit published recently by women writers in Australia?

2012 releases(links to reviews/reviewers posted between January and June on second line)
Tally: 8 books reviewed, 17 reviewers, 23 reviews, 6 publishers

Publishers: Random House: 2 books, 7 reviews; HarperCollins: 1 book, 6 reviews; Pan Macmillan: 1 book, 3 reviews; Allen & Unwin: 1 book, 2 reviews; Text: 1 book, 1 review; UQP: 1 book, 1 review; Spinifex Press: 1 book, 1 review.

The above books were defined as "literary", either by their reviewers or the publishers.

How do you define the term "literary"? Should nonfiction books of literary merit be included, such as Jane Gleeson-White's creative nonfiction history, Double Entry: How the merchants of Venice created modern finance?

Published by Allen & Unwin; reviewed for AWW by historian Yvonne Perkins.

Or True North, by Brenda Niall (Text 2012), the story of Mary and Elizabeth Durack, also reviewed by Yvonne Perkins?

How about Speculative Fiction books like Margo Lanagan's Seahearts and Kate Forsyth's Historical Speculative Fiction novel for adults, Bittergreens - should these be included under the label of "literary"? (If the latter are included, the tally of reviews increases considerably: Lanagan: 9 reviews; Forsyth: 7.)
Are there other - broadened defined - "literary" books by Australian women published in 2012 that aren't on the above list?

Added suggestions via comments and Twitter:

Thursday, 5 July 2012

Are we letting them down? Indigenous women writers

To coincide with NAIDOC Week, ANZ Lit-Lovers blog is hosting Indigenous Literature Week. This post is the Australian Women Writers Challenge contribution.

Swallow The AirThis year's NAIDOC theme is "They dared to challenge: Spirit of the Tent Embassy: 40 years on." The theme "celebrates the champions who lived to renew the spirit of Aboriginal and Torres Strait Islander peoples through the establishment of the Aboriginal Tent Embassy in 1972. Forty years ago, the embassy became a powerful symbol of unity. Its founders instilled pride, advanced equality and educated the country on the rights of Aboriginal and Torres Strait Islander peoples. To move forward, we must acknowledge our forbearers, learn from their experiences and ask ourselves… what have their sacrifices meant for me and my family today?" (From NAIDOC Week website)

The sacrifice and struggles of generations of Indigenous activist have helped to create a growing community of Indigenous writers, including many talented women. But are these women achieving the recognition they, and their communities, deserve?

In January, an unpublished Indigenous writer from Katoomba, NSW, helped to launch the Australian Women Writers 2012 Challenge. On Australia Day the AWW blog celebrated by publishing an essay by Dr June Perkins on Indigenous Australian women's writing. Now that the challenge has reached the halfway point, it's a good time to assess whether it is helping to raise the profile of Indigenous Australian women writers.

This week, I went back over all the reviews that have been posted for the challenge and added a label of the genre to the Mr Linky box entries. I hesitated when I came across a book by an Indigenous author. Should I put "Indig" next to the link? Or would such labelling ghettoise these writers, when the strength of their writing and the interest generated by their chosen subject should be enough to attract attention? (It's the same question I faced when mounting a challenge dedicated to championing women writers.) Also, what if I missed a particular author who may identify as Indigenous but whose background is not known to me or made obvious in the review?

In the end, I didn't add the extra label: the 80-character limit for Mr Linky entries decided the issue. Instead, as a contribution to Indigenous Literature Week, I've listed below as many links to reviews of books by Indigenous writers that I recognised. (If I've missed any, please let me know and I'll add them.) From this list, we can judge how the challenge has fared so far in addressing the issue of recognising and promoting work by Indigenous women.

The result?

Books by Indigenous women reviewed for AWW challenge Jan-Jun, 2012 (alphabetical):
* Inadvertently left off original post.
Collected:

Southerly 71:2 (Literary Journal) Reviewed by Phillip A. Ellis: Special issue for Indigenous Writers

To put these results in perspective: so far, of over 900 reviews, only eight ten books by Indigenous/Aboriginal Australian women have been reviewed for the AWW challenge, representing the work of only five seven authors. Among 366 participants signed up for the challenge, only 10 12 reviewers have chosen to review work by Indigenous writers. Of these reviewers, at least two are non-Australian, M D Brady (US) and Ann-Marie (Sweden). Of the 13 15 reviews listed above, six were written by these two non-Australian bloggers.

Why so few reviews of books by Indigenous women?

In her Australia Day post, Dr June Perkins discussed a number of prominent Indigenous Australian women writers (read more here). At the end of Dr Perkins' essay was a list of Dr Anita Heiss selected "top 10" reads. They were:
    Butterfly Song
  1. Butterfly Song by Terri Janke (2005) ~ Young Adult
  2. Bitin’ Back by Vivienne Cleven (2001) ~ Contemporary/Humour
  3. Too Flash by Melissa Lucashenko (2002)
  4. Carpentaria by Alexis Wright ~ Literary
  5. Swallow The Air by Tara June Winch (2006)
  6. Every Secret Thing by Marie Munkara (2009) ~ Contemporary
  7. Purple Threads by Jeanine Leane (2011) ~ Short Stories
  8. Watershed by Fabienne Bayet-Charlton (2005)
  9. Legacy by Larissa Behrendt (2009) ~ Contemporary
  10. The Boundary by Nicole Watson (2011) ~ Crime
Of these, only Miles Franklin award-winner, Alexis Wright, and Dr Heiss herself have had books reviewed for the challenge.

What about the others?

One possibility for the lack of reviews is the date of release. At a cursory glance, many of the books reviewed for the challenge appear to be new releases, reviewed by established book bloggers. (This, incidentally, begs the question as to whether these books would have been reviewed in any case, with or without the challenge, but that's for another day.) Perhaps there has been a scarcity of books published by Indigenous women this year? Participants in the challenge might already have reviewed some of the above books in previous years (e.g. Whispering Gums' March 2011 review of Marie Mukara's Every Secret Thing and review of Carpentaria). Without further research along these lines, it's difficult to say.

Another possibility is that the preference for popular or "genre" books exhibited by challenge participants - something the list of "genre" alongside the books reviewed has helped to identify - may be working against Indigenous authors. There could be a perception that Indigenous women writers, apart from Dr Heiss, don't write "popular"-style books. If so, is this perception justified? At least a couple of books challenge such a view. As an avid reader of crime, I've long been looking forward to reading Nicole Watson's The Boundary, which I've heard is a great read. (If the library queue doesn't shorten soon, I might have to buy myself a copy.) So why has Watson's book not received the attention of other 2011 releases such as, say, debut author PM Newton's The Old School (reviewed five times) or Sulari Gentill's A Few Right Thinking Men (twice) or any number of novels by Kerry Greenwood (eleven reviews)?

Could we be letting our Indigenous women writers down? If so, there's time to rectify the matter. The challenge has another six months to run.

BitinAs a start, if you have read or reviewed any book by an Indigenous Australian woman - even if it wasn't read for the AWW challenge - perhaps you could leave a comment below? Or if you can recommend any books not listed here, please do. (I'd love to know if any Indigenous authors are writing Fantasy, SciFi or Speculative Fiction.) Alternatively, please join Lisa Hill and others at ANZ LitLovers blog for Indigenous Literature Week, even if it's only to read and comment on their reviews.

If you do decide to read an Indigenous author and the above books don't appeal, check out Anita Heiss's 100 Black Books Challenge, or Yvonne Perkins' compilation of Indigenous Australian Histories and Biographies for inspiration.

Let's add another dimension to the challenge and see whether, by the end of 2012, all the books above have at least one review.

 

From comments:
Readers' recommendations:
Don't Take Your Love to Town - Ruby Langford Ginibi (Memoir)
Interrogation of Ashala Wolf - Ambelin Kwaymullina (Book 1 of SF/Psych Thriller series)
Is that You, Ruthie? - Ruth Hegarty (Memoir)
Am I Black Enough For You? - Anita Heiss (Memoir) 
Black Chicks Talking - Leah Purcell (reviewed by Heidi Reads
Grace Beside Me - Sue McPherson (reviewed by Emma) Debut YA novel

Other finds:
An Aboriginal Mother Tells of the Old (Penguin 1984) - Elsie Roughsey; edited by Paul Memmott and Robyn Horsman 

More reviews:
Every Secret Thing - Marie Munkara (Heidi Reads
Bitin' Back - Vivienne Cleven (Heidi Reads)
Skin Painting - Elizabeth Hodgson (Heidi Reads) ~ "Poetry as memoir"
Swallow the Air - Tara June Winch (Heidi Reads)
Love Poems and other Revolutionary Actions - Bobbi (Roberta) Sykes (Heidi Reads)
My Bundjalung People by Ruby Langford Ginibi (reviewed by M D Brady) 





Other authors:
Fiona Doyle


If you're a GoodReads user, you can find a list of the above books on a special GoodReads AWW challenge group page (care of Shelleyrae of Book'd Out blog).
 


Saturday, 30 June 2012

"Strong female personalities": Poet's Cottage by Josephine Pennicott


After a long break battling a computer virus and unreliable internet connections, this blog is finally able to post another review. Today's guest blogger is novelist Elisabeth Storrs. She chose to review Josephine Pennicott's Poet's Cottage. 

Elisabeth Storrs writes:

If you ever have doubts as to whether ghosts exist, then you should visit Tasmania. With its convict and colonial past there are buildings a plenty where phantoms reside. Poet’s Cottage by Josephine Pennicott is set in one such haunted dwelling - a house whose walls hide the clues to solving a crime committed decades ago.
Sadie and her daughter, Betty, leave Sydney for the small seaside village of Pencubbitt in Tasmania. Sadie has inherited Poet’s Cottage where her grandmother, Pearl Tatlow, was brutally murdered in 1936. Pearl was a ‘free spirit’ whose bohemian behaviour constantly challenged the morals and sensitivities of her neighbours. Acclaimed as an author of children’s books whose characters themselves have dark undertones, Pearl was charismatic, promiscuous, vicious and on the verge of madness.
The novel swings between the current day and the year of the murder. Sadie leaves behind the trauma of a divorce and the recent death of her mother, Marguerite, to write a book about her famous ancestor. Soon she is trying to uncover both the mystery of Pearl’s character and her demise. Sadie’s views are coloured by the fondness of Marguerite’s memories for her mother while Thomasina, Pearl’s other daughter, tells a different story of physical and mental abuse. Sadie learns more about the circumstances leading up to her grandmother’s death through a manuscript written by Birdie, one of Pearl’s friends. However the reliability of this account is thrown into question given Birdie’s relationship with Pearl’s husband.  
Poet’s Cottage is a story with strong female personalities but the house itself has its own character too. Its aspect is charming but a visceral foreboding pervades it which gives the story a gothic feel. At times I found the accumulation of ghost stories concerning both the house and the village to be overplayed, particularly when coupled with the presence of a sinister cloaked woman. Pennicott is skilful, though, in drawing the reader through the maze of various versions of Pearl while building up the undeniable presence of the dead woman’s spirit as the threads of the mystery are unravelled.
There is another spectre that looms over Sadie and Betty – that of insanity. Birdie tells how the temperamental Pearl’s mood would swing between elation, obsessiveness and despair. There is also evidence of a deeper history of mental illness in the family. While Pennicott hints of this legacy, she never fully develops Sadie’s fear that she might not only have inherited Pearl’s beauty and writing talent, but also her madness. Nor does she fully explore Sadie's apprehension that seeds of instability might have been sewn in her teenage daughter as well. And while Thomasina’s tortured childhood is vividly depicted, I would have liked to know a little more about Marguerite, the favoured child.
Poet’s Cottage is an accomplished, engrossing novel with fine language and powerful descriptions of the small town inhabitants of Pencubbit in both past and modern times. Most of all, in creating the damaged and damaging Pearl, the author has created a character so compelling and complex that the image of her lingers just as surely as the strains of music from her gramophone drifted through Poet’s Cottage both before and after her death.

Details: 
Publisher: Pan Macmillan Australia
Released: 20 March 2012
ISBN: 9781743345535

Currently available for the following AWW participating ebook stores for $14.99: Avid Reader, Readings
 
Elisabeth Storrs is the author of The Wedding Shroud, the first book in a trilogy set in early Roman times. She was inspired to write the novel after seeing a C6th BCE sarcophagus depicting a man and wife in a tender embrace. Discovering the story behind the couple led her to the mystical Etruscan civilisation and the inspiration for her story.

Elisabeth lives in Sydney with her husband and two sons. She blogs at http://elisabethstorrs.blogspot.com.au/.

The Wedding Shroud was published in Australia/NZ by Murdoch Books and is available as an ebook worldwide, including at the following AWW participating e-bookstores (currently listed for $9.99): Pages and Pages Booksellers, Shearers, The Book Shuttle, Fosters Little Bookshop, Abbeys, Better Read Than Dead, The Avid Reader, Readings, Australian Online Bookshop. The sequel is due to be published in 2012/13.