BookieMonster

Nov 102011
 

Just a couple of pics that have come through from the 27th Sunday Star-Times Short Story Awards ceremony, held on Tuesday night. Congratulations winners!

091111 Lawrence Smith/Fairfax Media<br />
The Sunday Star Times Short Story Awards winners were announced this evening in Auckland. Charlotte Grimshaw, Maria Ji, Emily Draper and Joy Cowley pictured(L-R).

Secondary School Division Winners

From left to right: Head Judge of the Open Division Charlotte Grimshaw, Third Place winner Maria Ji (Year 12, St Cuthberts School), First and Second Place Winner Emily Draper (Year 13, Epsom Girls Grammar), Head Judge of the Secondary School Divison Joy Cowley.

091111 Lawrence Smith/Fairfax Media<br />
The Sunday Star Times Short Story Awards winners were announced this evening in Auckland. Charlotte Grimshaw, Susanna Gendall, Brett Thompson, sasha Calhoun and Joy Cowley pictured.(L-R)

Open Division Winners

From left to right: Head Judge Charlotte Grimshaw, Third Place Winner Susanna Gendall (Wellington), Brett Thompson (accepted the Open Division First Place Awards and the Best Unpublished Writer title on behalf of Fraser Robinson – Wellington), Sasha Calhoun (accepted the Third Place Winner’s title on behalf of her partner Rajorshi Chakraborti).

Nov 102011
 

A Clean Sweep for the Nation’s Top Short Story Writers

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Three of the country’s top writers were recognised Tuesday 8 November at the 27th annual Sunday Star-Times Short Story Awards at Fables Gallery in Auckland.

Invercargill born Fraser Robinson (36) took out the Open Division supreme award and the title for Best Unpublished Writer, Emily Draper (17) from Auckland was awarded first and second prize while Maria Ji (16) also from Auckland walked away with both third and fourth place in the Secondary School Division.

Critically acclaimed New Zealand writers Charlotte Grimshaw and Joy Cowley found the judging process challenging this year given the high caliber of entries received.

Charlotte says she found a great deal to admire and enjoy about the finalists’ stories short listed for this year’s competition.

“The range of subjects was wide, the styles diverse and the voices fascinating,” says Charlotte.  “It’s a difficult thing to define ‘best’, but this year’s winning story “The Bus Terminal” by Fraser Robinson was outstanding.  It is smoothly written and full of vivid description.  It is a story that manages to convey a series of impressions and ideas in an economical and striking way.

“Fraser shows confidence in his reader to be thoughtful and engaged enough to draw his or her own conclusions.”

Fraser is a language translator who is currently based in Rio de Janeiro.  Earlier this year, he wrote a radio play for Radio New Zealand which will broadcast in 2012.

Joy who judged the short list of stories in the Secondary School Division was suitably impressed the finalists.

“All of these stories were so much better than the stuff I wrote in secondary school,” says Joy.  “Today’s students are very sophisticated. These stories have skill born from twin experience: life experience with awareness; and the experience of language that comes from the education system in this country.

“And, this was certainly the case for Emily’s stories,” says Joy. “This first prize story came directly from the experience of youth, yet its execution was the work of a mature writer, every word dropped into place with the weight of its meaning carefully calculated.

“This is a story I will remember,” adds Joy who was in awe of Emily’s writing.

It was a case of third time lucky for the Epsom Girls Grammar pupil who is in her final year of study.

The winning stories will be published in the Sunday Star-Times on Sunday 13 November.

Open Division winner and Best Unpublished Writer Fraser Robinson received a $5,000 cash prize, Random House experience including time with a Random House editor, and $700 worth of books from Random House.

Emily Draper won $1,500 cash for  both the first and second prizes in the Secondary School Division, a work experience day at Random House along with $800 worth of Random House books and $800 of Whitcoulls gift cards for her school.

The Sunday Star-Times Short Story Awards, in association with Whitcoulls and Random House, encourage and recognise the talents of published and unpublished New Zealand writers.

The awards are nationally recognised for championing and showcasing New Zealand short fiction. Some of this country’s leading writers, including Norman Bilbrough, Judith White, Barbara Anderson, Linda Olsson and Sarah Quigley have achieved success in the competition.

Open Division Winners

First Prize Winner: Fraser Robinson (Invercargill)

The Bus Terminal

Second Prize Winner: Rajorshi Chakraborti (Wellington)

Knock Knock

Third Prize Winner: Susanna Gendall (Wellington)

A Mistake

Secondary School Division

First Prize Winner: Emily Draper (Epsom Girls Grammar, Auckland, Year 13)

Smoke Rings

Second Prize Winner: Emily Draper (Epsom Girls Grammar, Auckland, Year 13)

The Climbing Tree

Third Prize Winner: Maria Ji (St Cuthberts, Auckland, Year 12)

A Letter’s Difference

Best Unpublished Writer

Fraser Robinson (Invercargill): The Bus Terminal

What the judges had to say about the winning stories:

Open Division: The Bus Terminal

A couple is on holiday in South America when one of them goes missing.  It’s smoothly written and full of vivid description and it manages to convey a series of impressions and ideas in an economical and striking way.  This story has what the less successful ones don’t – a relatively light touch.  It takes a degree of command and skill merely to suggest ideas where you could be explicit.  The willingness to be oblique implies trust: that the reader will be thoughtful and engaged enough to draw his or her own conclusions.  And, it shows confidence that the reader will pick up the signals, and enjoy the challenge of a narrative that seems partly hidden.” Charlotte Grimshaw, Head Judge of the Open Division.

Secondary Division: Smoke Rings

“Near perfect, this story describes the relationship between two brothers whose awareness is sharpened by fear.  Their parents are out.  In the dark night, the boys lie on the pavement, passing a cigarette between them.  Their parent’s car returns and there is a scramble to get back in their bedroom window.  That is the skeleton of the plot.  The living flesh on those bones, comes from superbly executed characters and dialogue.” Joy Cowley, Head Judge of the Secondary School Division.

Nov 012011
 

The Tiny Wife

The Tiny Wife by Andrew Kaufman, illustrated by Tom Percival, The Friday Project, RRP $19.99, ISBN 9780007429257, Available 4 November.

Some books you just have to describe as whimsical, and that should never be taken as a bad thing.

Such is The Tiny Wife. It’s whimsy, with a good helping of extra-whimsy and a whimsy sauce on top. And some whimsy on the side. And, possibly, you may be given some whimsy to take home with you. You see what I’m saying.

But, oh, that is not a bad thing! Just look at the cover, which I have helpfully produced here in a larger-than-usual size. It looks gorgeous, it feels gorgeous, and you want to put it somewhere public so people will go “Oh what’s that?” and pick it up and then you can bore them silly on how they should read it because of, yes, whimsy.

And so you would probably like me to describe the book to you?  The story follows the victims of a bank robbery (not the most charming setting) where what is stolen is not money, but sentimental items from the victims themselves. Strange goings-on then begin to happen to each victim… including the shrinking of our eponymous Tiny Wife. Said goings-on involve lions, tattoos, snowmen and money-poos (yes, you read that right) and how to fix the things that start happening – some of which are good and many of which are bad (like the shrinking wife) and a few of which are downright nightmarish? Underneath it all, The Tiny Wife seems as much a gentle fable about relationships and marriage, as it is a tale of money-poos. Because when you get married you hand over the most sentimental thing you have – your heart – and what happens may be thrillingly good or thrillingly bad but somehow you have to come to terms with it.

Well, that’s my interpretation anyway. The good thing is The Tiny Wife is the sort of book where everyone will have their own interpretation and all of them will be right. It’s fun to read, it’s quite funny, quite absurd, quite human and quite, quite perfect. I stayed up all night to read it in one sitting and it was worth every yawn.

I couldn’t let this pass without also commenting on what a beautiful object this book is. The illustrations (by Tom Percival) are beautiful – silhouette style with amazing tiny details. In addition, rather wonderfully, the physical act of reading The Tiny Wife poked a long ignored recess of my brain and reminded me of reading Ladybird books as a child. Ahhh. This isn’t surprising because it happens to be almost exactly the same size and feel as a Ladybird book.

The author has had a previous book called All My Friends are Superheroes which I have never heard of but will now seek out. As should you with The Tiny Wife. Go to it!

Oct 262011
 

Byatt_Raganarok

Ragnarok : The End of the Gods by A.S. Byatt, Text Publishing, RRP $27, ISBN 9781921656835, Available now.

In all the general flarff about the Booker Prize* judging this year and the on-going debate about readability there’s one truth that’s been overlooked: authors such as A.S. Byatt may not always be easy to read or have mass appeal but, by god, reading their stunningly well-crafted confluence of words can be immensely satisfying. Reading Ragnarok is like drowning in a huge sea of language, a rich, wild, smelly and bloody sea.

Ragnarok is part of the Canongate “Myth series” (of which I’ve been fortunate to read The Penelopiad by Margaret Atwood and The Good Man Jesus and the Scoundrel Christ by Philip Pullman) which has top writers from around the world retelling myths. To state the obvious, the myth A.S. Byatt is retelling is Ragnarok – the end of the world of the gods in Norse mythology.

If, like me, you spent a good part of your reading in childhood immersed in any form of myth anthology (in my case the Greek and Roman myths along with an old copy of the quaintly titled Wonder Tales of Maoriland) then you will immediately relate in some way to the background story of Ragnarok – The Thin Child** is evacuated during the Blitz to the countryside where she immerses herself in the world of Asgard and the Gods (a 19th century volume of Norse mythology). As she reads, Byatt retells the story of Ragnarok for us, in marvellously rushing floods of words.

The tree was grazed by wandering snails and sea-slugs, rasping up specks of life, animal, vegetable. Filter-feeding sponges sucked at the thicket of stipes; sea-anemones clung to the clinging weed, and opened and closed their fringed, fleshy mouths. Horn-coated, clawed creatures, shrimp and spiny lobster, brittle-stars and featherstars supped. Spiny urchin-balls roamed and chewed. There were multitudes of crabs, porcelain crabs, great spider crabs, scorpion and spiky stone crabs, masked crabs, circular crabs, edible crabs harbour crabs, swimming crabs, angular crabs, each with its own roaming-ground. There were sea-cucumbers, amphipods, mussels, barnacles, tunicates and polychaete worms. All ate the wood and fed the weed with their droppings and decay.

It’s easy to get completely lost in this language and be carried away with the story – which is very much how I always felt reading myths.

As well as this exploration of how myths make us feel as readers, Byatt also questions how myths cross from belief to story.

Puss in Boots, Baba Yaga, brownies, pucks and fairies, foolish and dangerous, nymphs, dryads, hydras and the white winged horse, Pegasus, all these offered the pleasure to the mind that the unreal offers when it is briefly more real than the visible world can ever be. But they didn’t live in her, and she didn’t live in them.

The story of Ragnarok becomes increasingly dark and gory and mean, with Loki and his love of chaos causing violence, and we are carried along in the mess of things. Byatt makes a connection though between the end of the world of the gods and the end of our world (at least our potential destruction of our own environment) but to be honest by the end of the book I was just so in love with the language that everything else felt swept aside.

It takes a very special kind of writer to do what A.S. Byatt has done with Ragnarok: immersing us in a story about being immersed in a story. Ragnarok is a wonderful book of feeling and intensity, and language which speaks to one’s heart.

*Originally I typed “Bookie Prize”! Hmmm…

**Actual character’s name.

Oct 212011
 

Brother Sister

Brother/Sister by Sean Olin, Penguin, RRP $26, ISBN 9780141338453, Available now.

I’m not going to lie, I was rather nonplussed by Brother/Sister. Perhaps I am entirely the wrong audience, perhaps I am more nana-ry than your nana-riest nana on World Nana Day but I had a lot of trouble with Brother/Sister – I found it glib when it was trying to be deep, and predictable when it was trying to be suspenseful.

Brother/Sister is written for a Young Adult audience and is bound to elicit gasps of horror from some more right-thinking folk regarding the “crime spree” plot along with some interesting language.

It’s hard to discuss specifics without spoilering so apologies if this seems a bit light on plot detail . Asheley (Asheley? Asheley? I don’t even) and Will are brother and sister, living with their alcoholic mother and the memory of their absent father. In one day their whole lives change, and we get the story through alternating versions and (of course) it all gets twisty-turny.

Except it doesn’t really because here’s the thing that annoys me: twisty-turny doesn’t work when you just think of the biggest twist you can and throw it in there. It would make no sense, for instance, for me to write this review and then end it with “BUT I LOVED IT”. It would be a great twist, sure, but convincing and truly shocking twists require subtle build-up, and using unreliable narrators takes a huge amount of authorly* skill, and I just didn’t see that at work in Brother/Sister.

In particular I felt at the end that I was as clueless about character motivation as I was at the beginning, which just isn’t good for a story where the plot is really being pushed forward by motivation.

Final verdict? The PR on the back sums this up as “It’s Flowers in the Attic meets Natural Born Killers”. Brother/Sister really fails to measure up on both counts, which is rather sad when you consider the originals weren’t that great** to start with.

*Made-up word.

**Fairly awful.

Oct 212011
 

You MUST read this article on one of my favourite authors, Joan Didion, from New York magazine:

http://nymag.com/arts/books/features/joan-didion-2011-10/

“Writers are always selling somebody out,” Didion wrote at the beginning of her first essay collection, 1968’s Slouching Towards Bethlehem. That warning, later echoed infamously by Didion’s contemporary Janet Malcolm, is a statement of mercenary purpose in the guise of a confession: not a preemptive apologia but an expression of grandiose, even nihilistic ambition. We think of memoirs, especially memoirs of grief, as a soft art, one that necessarily humanizes the writer. And Didion the memoirist is painfully human—heartsick, vulnerable, and honest about her fears. But she’s also as ruthless as she’s ever been, tearing down the constructs she’s built to protect herself and her family. If she’s selling anyone out with Blue Nights, it’s Joan Didion.

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