Tag Archives: Melina Marchetta

SWF 2019: Friday

I was in England when last year’s Sydney Writers’ Festival broke away from its harbourside venue, so this is my first Festival at the Carriageworks. I miss stepping out of dim rooms full of bright words into the dazzle, or sometimes drizzle, of postcard Sydney. But I can walk there and back, which is something.


My SWF this year kicked off with a 10 o’clock session on Friday: Taking Flight: Stories of Expulsion and Migration

Julian Burnside chaired a conversation with German novelist Jenny Erpenbeck, and Omid Tofighian, translator of Behrouz Boochani’s No Friend but the Mountains, which is still on my To Be Read pile.

All three participants were interesting, more than that, compelling. Jenny Erpenbeck’s most recent novel Go, Went, Gone is based on a year befriending and documenting the experiences of migrants in Berlin – the kind of migrants who would be called refugees or asylum seekers in Australia, but have been defined out of that category in Germany. It emerged that the characters in her novel are all real people with changed names, except the main character, named Richard, who she admitted is herself. Asked by Julian Burnside abut the many references to classic Greek and Roman gods, she explained that part of her goal was to make it clear that northern African peoples aren’t the Cultural Others that mainstream media would paint them – that much of that ancient culture was shared by Europe and Africa. In the very brief Q and A, asked if sessions like this and perhaps novels like hers weren’t preaching to the converted, she said that migrants are generally portrayed as millions of displaced people deserving pity or stirring dread: what fiction can do is help us realise that ‘the millions are not millions’, but each one has a story, and these stories show our connection as humans.

Omid Tofighian has an impressive CV in his own right and a scholar and activist. He was on the panel as translator of Behrouz Bouchani’s book. He was fascinating about the process of translation from Farsi to English. (Incidentally, Farsi is an Indo-European language, with many similarities to German in how its sentences are constructed.) About 40 percent English version is in verse: this is because in many passages Behrouz’s long Farsi sentences had to be broken up into smaller sentences to make them work in English, and in that process what had been beautiful Farsi prose begged to be presented as English verse. Translator and author worked closely together on the translation. Replying to an audience member who asked for a practical solution to the problem of offshore detention, ‘the key word being practical’, he said two things were necessary: first to analyse and broadcast the financial dimensions of the detention industry, in particular what he and Behrouz call the horrific surrealism of Manus, which creates vast profits for a small number of people; and second to challenge the ideology that sees refugees as passive and not fully human. On the preaching to the converted question, he said that the thing about Behrouz is that he is holding a mirror up to Australian society in general, not pleading his own case as victim or seeking a benefactor: he is calling out Australians in general to reflect on our history of harshness towards the marginalised, from the beginning of colonisation.

Julian Burnside in the chair promised at the start that we were about to hear a conversation between the two others on the stage. In the event there was very little, if any conversation between Jenny and Omid. This seemed to be mainly because there was no obvious bridge between their subjects and were both giving us information, but also because Julian Burnside, admirable activist and advocate, had his own point of view and contribution to make.

The session was marred for me bursts of laughter and applause from the adjacent hall, actually part of the same vast space separated only by thick hanging curtains. And the man next to me should be given an award of some kind. He spent a lot of the time fanning himself with a newspaper, which tended to obscure my view of the stage, send a blast of air to the woman on the other side (we talked after the show), and make creaking sounds that disturbed the people in front of him as well as us. Every now and then he would reach down to a paper bag on his lap and rustle it a bit for no obvious reason. And then his phone rang, he answered it, he left by a gap in the curtain at the front left, and after a couple of minutes came back to rejoin his paper bag and his fan. I’m pretty sure if I’d asked him to tone it down he would have done so, but I was stupidly wimpy.


At half past eleven, Christos Tsiolkas chaired An Irrevocable Condition, a conversation with Melanie Cheng, Moreno Giovannoni (my review of his The Fireflies of Autumn here) and Melina Marchetta.

The title of the session came from James Baldwin, who wrote, ‘perhaps home is not a place, but an irrevocable condition.’ I don’t know how the quote related to the conversation, but it was a brilliant conversation. Tsiolkas kicked it off by asking, ‘Where are you from?’, a question he acknowledged is often rude or hostile, but can be a way to open connection. Certainly in this case that’s how it worked. The panel members told of complex relationships with the countries of their parents’ origins – sometimes their own birth or childhood countries, others experienced only in the communities in Australia.

Christos invited each of the others to read from their work. This is always the best thing in these panels, and in this case it was beautifully integrated into the conversation, as they were also invited to reflect on how the passages they read were part of developing an inclusive Australian language.

It was a wonderfully warm, generous conversation. The four panellists had had an interesting conversation in the green room, which they referred to frequently – the mutual appreciation of each other’s writing was palpable. Christos told of a recent visit with his mother to Richmond, where he was a child. She looked around and said, ‘Christos, it’s not the same,’ namong, as he said a kind of double migration: first from Greece to Richmond, and then from Richmond to a whole other suburb. This prompted someone to say that although they had been talking about the experience of being migrants, there was something universal there as well: the childhood home no longer exists for any of us. The panel members had a fabulous range of stories about their experience of the nominal home country.

The panellists all agreed that home is where their family and friends are: the family and community that they live among now. Cosmopolitanism is great, but hard for many people, and a local community gives something that meets our deep needs.

As the lights came up, before filing out into the lunchtime crowd, I had a chat with the elderly woman who had been sitting on my left. (Elderly in this case could mean younger than me, but hey!) After we’d told each other how much we’d enjoyed the session, she said, ‘I’m fro South Africa, and I love living here. But I realise I’ve been unfair to other South Africans who complain about Australia – I’ve just thought they should appreciate what they’ve got here, but now I feel I haven’t been understanding enough about their pain.’


4.30 pm Home Truths

 This session was nominally about home, and would have made a thematic hat trick for my festival so far, but after briefly covering their discomfort at being categorised as Western Sydney Writers, Fiona Wright (click here for previous mentions in this blog) and Luke Carman (ditto here) got the bit between their collective teeth and gave us a very interesting chat about mental illness. 

Like Carman has a great gift for deadpan comedy about uncomfortable topics – in this case a psychotic episode and its aftermath. By contrast, Fiona laughs a lot, cheerfully asserting that she’s allowed to use words like ‘crazy’, at least when talking about herself. (Incidentally, I tend to be with Raimond Gaita in preferring the scary word ‘mad’ over the blandly medical ‘mentally ill’ to name a truly scary phenomenon.)

Ashley Kalagian Blunt did an excellent, self-effacing job of enabling the conversation. The Western Sydney gambit didn’t lead to much, but asking them each to name a favourite piece in the other’s book of essays and to say why was a brilliant way of setting them free to enjoy each other, their literary friendship, and their experiences with the mental health system.

Fiona said her first book of essays, Small Acts of Disappearance, was about extremes; her second, The World Was Whole, which is on the pile beside my desk, is about the ordinary, and how the ordinary must be negotiated by someone whose health is fragile. She mentioned her poetry, adding with mock defensiveness, ‘Don’t judge me!’ (I do judge, and the verdict is beyond favourable.)

Prompted by Ashley, Luke gave a wonderful account of the genesis of one of the essays in his book: he picked ‘Getting Square in a Jerking Circle’, in which he set out to write something that would enrage some people he was feuding with. It did that, as well as pretty much alienating everyone who read it. He decided to include it in the book all the same, as it fitted with the madness theme of the collection – an example of something written by a person who was off the air. (I just found the essay inits Meanjin incarnation, here.)


We went home for dinner, and watched a little tele, including Ece Temelkuran on the Drum. We’re seeing her in Sunday at the Festival.

Then we were back at the Carriageworks for Story Club at 9 o’clock.

Story Club is a monthly event that’s been running for 11 years at the Giant Dwarf in Sydney, created and hosted by Ben Jenkins and Zoe Norton Lodge. This evening’s hour was supposed to have a theme, ‘Fool Me Once’, in keeping with the Festival’s over-all theme, ‘Lie to Me’. As everywhere else I’ve seen at the Festival so far, the theme was completely ignored. Well not completely: it was named. But as Ben, then Alex Lee (a regular on the now defunct The Checkout with Ben and Zoe), journalist Jacqueline Maley and fonally Zoe took the stage to read stories from their lives from a big red book, if a theme emerged it was in two mercifully separate parts: excessive consumption of alcohol and the tribulations of early motherhood. Breasts, sleeplessness, public humiliation and family reunions gave rise to much merriment.

And so home to bed.


NSW Premier’s Literary Awards Shortlist

The 2011 NSW Premier’s Literary Awards Shortlist seems to have been announced without the usual Macquarie Street gathering for PowerPoint and photo ops. That probably makes sense, given that the Premier has a lot on her mind just now, and barring a total windfall for the bookies she won’t be Premier when the awards are presented in May. Or maybe I just wasn’t invited this year. But I’m not bearing a grudge, and I was busy that day anyhow. For those who find it irritating to have to flick back and forth to read the different short lists on the Awards site, here they all are at the bottom of this post – the links take you to the NSWPLA website’s discussion of the title.

I haven’t read, or in the case of the plays seen, very much from the list at all. Speaking from the heart of my prejudice, I don’t much want to read any of the Christina Stead titles except Utopian Man and Night Street, both novels about eminent Victorians (the State rather than the era). I’m tempted by all the Douglas Stewart titles – this is where literary awards really do serve a purpose, by drawing attention to books like Tony Moore’s history of political prisoners among the Australian convicts, Death or Liberty, which might otherwise have gone unnoticed, at least by me. I’m glad to see Jennifer Maiden’s book on the Kenneth Slessor list, but I haven’t read any of the others. In the past the NSWPLA lists have led me to interesting poets, so I’m inclined to go in search of Susan Bradley Smith, Andy Jackson, Jill Jones (of whom I’m ashamed to say I’ve yet to read a book), Anna Kerdijk Nicholson and Andy Kissane.

Of the remaining lists, what can I say? I’m out of touch with writing for ‘young people’ (a term I understand here as designating teenagers), but my friend Misrule was an Ethel Turner judge, and I’m confident in her judgement. Though I’ve only read one from the Patricia Wrightson list,  I know the work of five of the six writers, and will be delighted whichever of them becomes several thousand dollars richer come mid-May. If the other books are as good as The Three Loves of Persimmon, it’s a vintage year. I’ve seen four of the six scripts produced for the big or little screen, and wouldn’t know how to choose between them for excellence – another vintage crop. I heard Ali Azadeh read from Iran: My Grandfather at last year’s Sydney Writers’ Festival, and it’s been on my TBR list since then.

Here are the lists:

The Christina Stead Prize for Fiction
Peter Carey – Parrot and Olivier in America
Stephen Daisley – Traitor
Lisa Lang – Utopian Man
Alex Miller – Lovesong
Kristel Thornell – Night Street
Ouyang Yu – The English Class

The Douglas Stewart Prize for Non-fiction
Malcolm Fraser and Margaret Simons – Malcolm Fraser: The Political Memoirs
Anna Krien – Into the Woods: The Battle for Tasmania’s Forests
Tony Moore – Death or Liberty: Rebels and Radicals Transported to Australia 1788-1868
Ranjana Srivastava – Tell Me The Truth: Conversations With My Patients About Life And Death
Maria Tumarkin – Otherland
Brenda Walker – Reading By Moonlight: How Books Saved a Life

Kenneth Slessor Prize for Poetry
Susan Bradley Smith – Supermodernprayerbook
Andy Jackson – Among the Regulars
Jill Jones – Dark Bright Doors
Anna Kerdijk Nicholson – Possession
Andy Kissane – Out to Lunch
Jennifer Maiden – Pirate Rain

Ethel Turner Prize for Young People’s Literature
Michelle Cooper – The FitzOsbornes in Exile: The Montmaray Journals – 2
Cath Crowley – Graffiti Moon
Kirsty Eagar – Saltwater Vampires
Belinda Jeffrey – Big River, Little Fish
Melina Marchetta – The Piper’s Son
Jaclyn Moriarty – Dreaming of Amelia

Patricia Wrightson Prize for Children’s Literature
Jeannie Baker – Mirror
Libby Gleeson and Freya Blackwood – Clancy and Millie and the Very Fine House
Cassandra Golds – The Three Loves of Persimmon
John Heffernan – Where There’s Smoke
Sophie Masson – My Australian Story: The Hunt for Ned Kelly
Emma Quay – Shrieking Violet

Community Relations Commission Award
Ali Alizadeh – Iran: My Grandfather
Anh Do – The Happiest Refugee
Maria Tumarkin – Otherland
Ouyang Yu – The English Classm
Yuol Yuol, Akoi Majak, Monica Kualba, John Garang Kon and Robert Colman – My Name is Sud

UTS Glenda Adams Award for New Writing
Stephen Daisley – Traitor
Ashley Hay – The Body in the Clouds
Lisa Lang – Utopian Man
David Musgrave – Glissando: A Melodrama
Kristel Thornell – Night Street
Gretchen Shirm – Having Cried Wolf

Play Award
Patricia Cornelius – Do Not Go Gentle…
Jonathan Gavin – Bang
Jane Montgomery Griffiths – Sappho…In 9 Fragments
Melissa Reeves – Furious Mattress
Sue Smith – Strange Attractor
Anthony Weigh – Like a Fishbone

Script Writing Award
Shirley Barrett – South Solitary
Glen Dolman – Hawke
Michael Miller – East West 101, Season 3: The Hero’s Standard
John Misto – Sisters of War
Debra Oswald – Offspring
Samantha Strauss – Dance Academy, Episode 13: Family