Circumstances made me miss Friday morning at the Sydney Writers’ Festival. The Emerging Artist, however, got two sessions under her belt.
10:00–11:00 am: Sri Lanka: This Divided Island. She said this was marvellous. Samanth Subramanian, an Indian Tamil journalist, spoke with Michael Williams from Melbourne’s Wheeler Centre. Quite apart from its main thrust, an account of the recent three-decade war and its aftermath, the conversation helped her think about the ethics of her own current art project, which involves many people making small terracottta hearts.
11:30 am – 12:30 pm: Jonathan Franzen: My Reading Life. The main things she reported was that he enjoyed the famous German sense of humour, and was influenced by a number of women writers.
At 3 o’clock the Emerging Artist went to Migration: A World Without Borders? and pretty much fell in love with Aleksandar Hemon. She bought two of his books, even overcoming her vehement dislike of zombie stories to buy his novel, The Making of Zombie Wars.
At 4:30 she went to hear Starlee Kine: From This American Life to Mystery Show and discovered a new podcast to subscribe to, dealing in ‘mysteries that can’t be solved by Google’.
Meanwhile, apart from sitting and chatting over lunch, my Festival day began at 3 with The New Australian Poetry. Unlike previously, this year’s poetry events are in largish rooms and mostly aren’t free. This one was a book launch – of an issue of the US journal Poetry devoted to Australian poets.
As we queued in the scorching afternoon sun (yes, scorching in mid- May), we were regaled by the booming opinions of a youngish man who had evidently been all over the world (perhaps his time in the US accounted for his LOUDNESS) and wanted the world to know that poetry is held in lower esteem in Australia than anywhere else.
The room was filled to capacity. After brief remarks from Don Share, soft-spoken editor of Poetry, and Robert Adamson, guest editor of this issue, we were read to by Ali Cobby Eckermann, Lionel Fogarty, Lisa Gorton, Michael Farrell and Robbie Coburn. In response to an audience request, some of them read poems by other people that appear in the anthology. Then two poets – Susan Fealy and Petra White – were drafted from the audience. Taking a cue from David Malouf the previous day, I asked if any of them would read the same poem a second time – I named Lionel Fogarty and he obliged.
There were two questions, both from the same person, one for each of the Indigenous poets. Don Share made that’s-a-wrap noises, and we were gathering up our stuff when Lionel Fogarty stepped up to his mic again and called on us to break out of our individualism and think in terms of community.
Ali Cobby Eckermann took a turn at the mic and told us, shockingly, that when she was at an international gathering of poets recently some Syrians had asked her how come she writes war poetry. They recognised in her poetry about Aboriginal Australia striking similarities to their own war-torn lives, and she realised that, however deep and strong the denial, the Australian war of dispossession is still going on.
Don Share rose beautifully to the occasion: ‘The difficulty we have in understanding a poem,’ he said, ‘is the same as the difficulty in hearing another person.’
I went home to deal with various animals, then rejoined the EA in the evening for Magda Szubanski and George Megalogenis: Rated PG (Polish and Greek), an entertaining conversation between two children of immigrants.
Haha, I love you report that the Emerging Artist “pretty much fell in love with Aleksandar Hemon. She bought two of his books, even overcoming her vehement dislike of zombie stories”. That’s the thing about hearing writers – they can really inspire you to read books that you may not have read or that were perhaps on your radar but you hadn’t quite got around to yet. It would be interesting to know how MUCH of a difference it makes to sales but it clearly makes some.
The poetry session sounds great too. I really don’t read enough poetry and found the idea that “The difficulty we have in understanding a poem is the same as the difficulty in hearing another person.” somehow reassuring. Hmmm …
Sue, you are a champion commenter. The real test will be if she actually reads the zombie book. I’m not holding my breath. It does seem that the industry these days works on the assumption that personal appearances is important to sales. Which must be hard on some authors. Some of the poets looked pretty uncomfortable, come to think of it.
Yes, I do feel very sorry for authors who are not comfortable with public speaking. Must say, I’d hate it. I’m more extravert than introvert, but I like my people in small groups not crowds – and I’m more articulate, comparatively speaking, with pen than with voice!