Books & Writing

QUENTIN TARANTINO: THE EGO HAS LANDED

The quintessential Quentin Tarantino fanboy fait accompli in book form, the ubiquitously titled QUENTIN TARANTINO, is a slip cased celebration by Ian Nathan, one of Britain’s best known film writers.

From Reservoir Dogs to Once Upon A Time in Hollywood and detours into True Romance and Natural Born Killers, Nathan plots the rise and rise of the cinephile phenomenon who became the cult film maker who successfully blends art and commerce, show and business in movies that court controversy and unadulterated adulation.

Named after a character played by Burt Reynolds in Gunsmoke, Quentin famously didn’t go to film school, he went to films, shoring up a reservoir of cinema from all over the world that would inform his own distinctive work.

A self proclaimed and unapologetic film geek, Tarantino’s prodigious and encyclopedic knowledge of cinema fills every frame of his work, distilled into living, breathing, heaving film experiences, crisscrossing genres, appropriating with abandon and ambition.

Nathan’s book is rich in critical appreciation, behind the scenes information, and castings that could have been. Tarantino’s track record of resurrecting flagging careers is more astonishing in its entirety if certain wish fulfilment and scheduling conflicts had been realised.

As befits a visual artist, the book is also rich in pictorial splendour, a trove of Tarantino inspiration and composition.

Tarantino at fifty five is a survivor of the tectonic treachery of Tinseltown creating his own seismic impact that changed the complexion of cinema and continues to cram audiences into multiplexes.

“Whether it is that monumental self belief, or the insistence of that God given talent, combined with a skilful management of his own celebrity and bankability, the next film from Quentin Tarantino, his tenth and apparent final picture, remains an event still able to stop Hollywood in its tracks.”

Big, bold, and handsomely packaged, much like the man himself, QUENTIN TARANTINO is a must for any film buff or any aficionado of popular culture.

QUENTIN TARANTINO by Ian Nathan is published by White Lion through Murdoch Books.

IAN MCKELLEN THE BIOGRAPHY BY GARRY O’CONNOR

This is a captivatingly , warmly written ,fascinating biography of one of the theatrical greats of our times .The paperback version is of medium size and weight , divided into three parts and thirty eight chapters and includes a list of illustrations , a file of acknowledgements and a well researched and presented index at the back.

The author, Garry O’Connor, is a biographer and novelist, noted for his publications on theatrical and literary figures. He has written acclaimed biographies of Laurence Olivier, Ralph Richardson, Paul Scofield, Peggy Ashcroft, and Alec Guinness – and now McKellen. O’Connor has written and presented programs for radio, including Campion’s Ghost for Radio 4, adapted from his novel about John Donne. O’Connor has directed for the RSC (Royal Shakespeare Company) , acted with McKellen at Cambridge and has known him since 1958 , directing McKellen in some of his early roles. Continue reading IAN MCKELLEN THE BIOGRAPHY BY GARRY O’CONNOR

THE DEVIL’S GRIP: A TRUE STORY OF SHAME,SHEEP AND SHOTGUNS

The devil’s grip is an expression used to describe a genetic defect in sheep, considered to be a flaw on the show circuit.

Neal Drinnan has fleeced the term for the title of his compelling investigation and inquiry into toxic masculinity and mass murder.

On the surface, THE DEVIL’S GRIP is an examination of the events of Wednesday March 18, 1992, at Stanbury sheep stud, Ceres, when a revered sheep breeding dynasty came to a bloody and inglorious end in an orgy of violence wiped out three generations of the Wettenhall family.

While the triple murder forms the backdrop, Drinnan delves deep into the sheep-dip of secrets, lies and denials that infested the lives and fostered the deaths of the players in this epic tragedy.

Kindness is classless but it is said that manners come with breeding and might just as easily be a prelude to treachery as to altruism. Darcy Wettenhall had a chip on his shoulder the size of Uluru, feeling the brunt of being the runt. He was hell bent on raising himself up and positioning himself in the pivotal. The pursuit of pedigree and privilege and property paved the way to instil and install his own prejudice.

“Feminists and snags can say what they like but in the western district when the farmer wants a wife she needs to be a looker or a cooker preferably both. The workers need to fed and well fed at that and in traditional set ups a farmer marries a woman who will bear his heirs and spares and see to all the catering required. End of story.”

Darcy dated and mated with a woman that produced an heir, but that was as far as his heterosexual duty took him. Breeding completed, he was free to furtively go in search of mutton dressed up as ram, and she was cold shouldered out of the picture.

Drinnan posits that misogyny is endemic in homosexuals, the simmering hatred between men and women is never far from the surface. Perhaps its as much about envy as disdain.

With the help of Bob Perry, Darcy Wettenhall’s secret lover for a decade before the murders, Drinnan combines true crime and memoir weaving personal and intimate insights into a narrative that will silence naysayers that truth is stranger than fiction.

On Darcy’s dark personality, Drinnan writes “I understand how a homosexual man who learns early that he has no place in his family or the world and has experienced deep visceral sexual brutality might choose to own brutality than die at its hand.”

Similarly, “The Wettenhall murderer Wayne Walton simply possessed the distilled pathology of twenty four years of poverty, violence, sexual stigma, class inequality, ignorance and blind injustice – a heady concoction of venom and woe.”

The elephants in the room far outnumber the sheep in THE DEVIL’S GRIP, and the second half of the book is as much about reflection as response.

The author hath borne himself beyond the promise of his page, doing, in the figure of a lamb, the feats of a lion.

THE DEVIL’S GRIP by Neal Drinnan is published by Simon & Schuster

DOWN AND OUT IN PARADISE: EAST WEST SEX DEATH

Gonzo journalism is alive and well in Luke Williams’ DOWN AND OUT IN PARADISE.

Escaping a harrowing head space as much as the homophobic hometown of Bundaberg, Williams first flees to the putrid Grandma-burnt-her-filtyhy-eggs-again halfway house in Melbourne then escapes Australia, Australians, an Australian Community Service Order, his sister, his former psychology clinic which was trying to sue him, and the high culture of lumpen koalas for Kuala Lumpur.

And so begins three year labyrinthine libertine thoroughfare through Malaysia, Thailand, Indonesia, India, Vietnam and the Philippines, where he meets and mingles with sex addicts, opium smokers, money boys, lady boys, ghost whisperers and tarot readers.

Here are morally lapsed ex pats that went east to break taboos or break the law, to get rich, feel rich, work less, spread their cheeks, spread Christ, turn the other, free slaves or find one, DOWN AND OUT IN PARADISE examines the empowerment of the pathetic.

Luke Williams puts the mad into nomad with hereditary mental illness his travelling companion as he traverses geographical and emotional terrain that is humid, fetid and fecund.

Dreams and disappointments, agonies and ecstasies, all enthrallingly and appallingly enlarged and magnified by the acid tripped, acquisitive addictive personality, a schizoid affective with meth in his madness.

More or less, more is less on a mind altered quest for less is more with a moral compass constantly pointing due south to a dark as molasses destination.

Three years later, back in Bundaberg, Luke starts seeing someone with the curiously titled job position: Suicide Aftercare Worker.

DOWN AND OUT IN PARADISE is a homage to vagabondia an experimental, innovative, fast-paced and ever-surprising travel-guide, a complex mix of memoir and reportage, a rag tag assortment of crazy characters and nutty situations.
DOWN AND OUT IN PARADISE by Luke Williams is published by Echo

TOI TOI KIM CARPENTER’S THEATRE OF IMAGE :  30 YEARS IN 2019

This book is medium to large size in format and just on a hundred pages .It is beautifully illustrated and is both poignant , sad and a celebration.

It is thirty years since the establishment of Kim Carpenter’s Theatre of Image, (TOI) a majorly important company in the Australian theatre world, and it is a retrospective of all the past productions, some of which have toured internationally. It was founded originally as a Theatre in Education company but is by no means ‘just’ for children and has evolved to become Australia’s premier visual theatre company.                             Continue reading TOI TOI KIM CARPENTER’S THEATRE OF IMAGE :  30 YEARS IN 2019

THE RICH MAN’S HOUSE: ANDREW McGAHAN’S FAREWELL NOVEL

Monoliths and mansions, Andrew McGahan’s posthumously published novel, THE RICH MAN’S HOUSE, features both, and in its size and complexity, mirrors both.

A mountain of a book, THE RICH MAN’S HOUSE is a mansion of rooms – geographical, geological, psychological, architectural, historical and supernatural – with mantles of mystery and thresholds of suspense.

The novel begins with a couple of prologues of faux fact, giving an historical preface to the multi storied edifice of the narrative. Then the first line of the narrative proper -, “Death is the great invigorator” hits us “like the slap across the face of the sleeper.”

The death that invigorates this opening chapter and that of the ensuing six hundred pages is that of architect, Richard Gausse, found deceased at age 78 in the newly completed home of billionaire Walter Richman.

Gausse designed Richman’s remarkable residence, The Observatory, on Theodolite Isle, in the cold Antarctic waters south of Tasmania. Gausse is famous for his so called “buried” style of design and McGahan has fun exhuming, excavating and uncovering much of what lies beneath his death in this strange monolithic and mythic geographical and geological anomaly.

A daughter from Richard’s first marriage, Rita Gausse, is surprised, upon herfather’s death, to be invited to the Observatory to meet the famous Richman in person. Turns out that her practice as a paranormal medium is the reason, as Richman is convinced a presence from the peak is pitted against him.

Secluded location, ulterior motives at high altitude, THE RICH MAN’S HOUSE at times reads like Agatha Christie on crystal meth with a touch of Lovecraft. It’s not an easy journey to the summit, an avalanche of verbiage detours the ascent, and when the top is reached, you don’t really get to the bottom of the story.

As in keeping with the two prologues, THE RICH MAN’S HOUSE is braced and book-ended by two epilogues, projected histories and anniversaries of the events depicted in the main body of the narrative and supply conjecture and rumour rather than conclusion.

In his author’s note, McGahan insists that THE RICH MAN’S HOUSE is a finished novel but can’t deny that his abrupt decline in health hastened the rewriting and editing process extremely and that it’s not quite the book it would have been had cancer not intervened.

THE RICHMAN’S HOUSE by Andrew McGahan is published by Allen & Unwin

LITERARY LECTURES : MEN, GLORIOUS MEN, HAMLET TO JAMES BOND

Susannah Fullerton says it’s time to discuss the wonderful variety of men in literature – romantic heroes, dastardly villains, schoolboys, men of action, serving men and their masters, cads and fools. She’ll talk about sexy men, muddled men, men who are treacherous, confused, cool under fire, or the ‘strong and silent’ types. And the literary works in which they appear will provide you with comedy and tragedy, adventure and violence, piety and devotion. Come along and hear about some well known literary men and the writers who created them. Hopefully you’ll meet some interesting new ones too. Continue reading LITERARY LECTURES : MEN, GLORIOUS MEN, HAMLET TO JAMES BOND

MINOTAUR: BLIND MAN’S BUFF

“Like any cop, I’ve seen enough evil to believe in the category. Or at least suspend my belief in it, on a practical, daily level.” says Rick Zadow, the protagonist of Peter Goldsworthy’s MINOTAUR, an existential super sensory detective story.

Bull headed Detective Sergeant Rick Zadow has been left blind by a bullet to his brain-pan and is caught in a battle between two shrinks as to how much compo he is entitled to.

His medico Mrs., Willow, has left him and his hermitage is shared by his guide dog, Scout, in peril of being repossessed by the appropriate authority, and his voice controlled personal assistant, Siri.

The relationship between the sightless sleuth and his cyber secretary provide much of the comic that runs through this Adelaide set neo-noir.

Conversely, the serious side of MINOTAUR is shouldered by his sessions with a psychiatrist known as The Prof.

Suffering early onset inertia, slovenly, smelly, sarcastic, Zadow is a misery guts, and, as misery loves company, right on cue and with due diligence, it walks up to the door in the form of his ex partner in the police force, bearing the bare faced truth that the perpetrator responsible for his loss of sight has escaped from incarceration.

Zads, as Rick is affectionately known as, is a crumpled Camel smoking shamus with a chip on his shoulder and a mote in his eye, just itching to smote the vision extinguishing villain – an eye for an eye and all that Biblical brouhaha- to cast out the beam from the thug’s own eye.

Despite its classical pre-Christian title, MINOTAUR is awash with Biblical allusion, both Old and New Testament. The bikie gang Zads infiltrated is called the Golgothans, for instance, and his undercover work sees him running their prostitution ring, becoming somewhat of a saviour to the girls.

And, like the Bible, MINOTAUR is certainly a tale of revenge, retribution and redemption.

Revenge becomes a bloody renovation, nail guns at six paces, glue guns at closer quarters.

Looking can get in the way of seeing but in Peter Goldsworthy’s blind man’s buff, a vision splendid is revealed in lyrical, literate layers, in language that is larrikin laureate.

MINOTAUR by Peter Goldsworthy is published by Penguin Viking.

SEE YOU AT THE TOXTETH: CLIFF HARDY REVISITED

 

Next year will mark the 40th anniversary of the emergence of Cliff Hardy, the Sydney private detective created by Peter Corris.

To celebrate and commemorate, his publisher Allen & Unwin s releasing SEE YOU AT THE TOXTETH, the best of the Cliff Hardy short stories as selected by Jean Bedford.

Hardy proved true to his name, hero to forty-two books and countless stories.
Hard to imagine the first Cliff Hardy novel, The Dying Trade was made an orphan when the American publisher McGraw-Hill cancelled ts Australian fiction list.

Happily, it got positive reviews from all quarters and was picked up, along with the next two in the series, as a paperback by Pan, and later by Allen & Unwin, and the rest, as they say is history.

Historically, the Hardy novels and short stories can be seen as a renaissance of the home grown crime novel and opened up critical acclaim and public appetite, an appetite that was insatiable, an appetite that Corris was happy to feed.

The prodigious output and unfaltering quality of writing earned him the title ‘the Godfather of Australian Crime’, senior statesman in the genre he was instrumental in resuscitating, if not resurrecting.

Creating a credible, endearing and enduring character like Cliff was only ever part of the equation. The sense of place was always meticulous and revealing. As R.S. Brissenden wrote in The National Times, “Corris’ presentation of Sydney – blowsy, rough, vital and corrupt, but still sprawling indolent and beautiful, is one of the most distinct and satisfying things in his fiction.”

Diving into the dozen stories selected here, spanning the period 1984 to 2007, the blowsy, rough, vitality of Sydney is there in all its sprawling beauty.

Further celebrating Corris’ coruscation, SEE YOU AT THE TOXTETH also contains a selection of his columns, along with his ABC of Crime Writing, a miscellany of mayhem, an index of detection and deduction, a compendium of crime, stock, plot and two smoking barrels.

SEE YOU AT THE TOXTETH by Peter Corris, selected by Jean Bedford is published by Allen & Unwin.

WRITING NSW HONOURS SUMNER LOCKE ELLIOTT

 

In its annual Honouring Australian Writers series, Writing NSW pays tribute to writers who have made an important contribution to our literary culture.

This year Writing NSW honours Sumner Locke Elliott (1917-1991), internationally best-selling author, playwright, and scriptwriter. Elliott is best known for Careful, He Might Hear You, which won the 1963 Miles Franklin Award and was adapted into the 1983 film.

The event will include conversations, readings, and archival material. Sharon Clarke, Kimball Knuckey, Margaret Fink and Walter Mason will be speaking on the life and work of Sumner Locke Elliott.

DATE FOR THE DIARY

Saturday 17th August | 2:30-4:00pm

Metcalfe Auditorium, State Library of NSW

Free entry | RSVP required

Tickets are available via Eventbrite.

Speakers include:

Sharon Clarke is an academic and a writer who recently moved house from Sydney to the NSW south coast.  She gained her BA (Hons) and Ph.D. at University of Wollongong and was the Academic Director of Boston University Sydney Programs for over 20 years until she began the road to retirement in January 2017. Her authorised biography of Sumner Locke Elliott was published in 1996 and short-listed for the inaugural Australian Biography Award.

Kim Knuckey is a Sydney actor and director with a keen interest in the stage work of Sumner Locke Elliott.  He compiled an event for New Theatre which celebrated Locke Elliott’s most famous (and notorious) play, Rusty Bugles.  Knuckey has been acting in Sydney, Melbourne and the UK for 30 years. Kim was in the films The Great GatsbyA Few Best Men and Don’t Tell.  He is the ineffectual local policeman in ABC tv’s Rosehaven and was in ABC’s Rain Shadow and Kokoda.

Margaret Fink is an Australian film producer, noted for her important role in the revival of Australian cinema in the 1970s. Her productions include The Removalists (1975), My Brilliant Career (1979), For Love Alone (1986), Edens Lost (1988) (for TV), and Candy (2006).

Walter Mason is the author of Destination Saigon and Destination Cambodia. He is the Vice President of the NSW Dickens Society and a well-known travel writer and speaker. Walter is also a popular teacher of writing, mindfulness and creativity. As well as leading tours to Vietnam, Walter teaches Cambodian, Vietnamese and Buddhist history.

writingnsw.org.au

 

 

 

JOE COUNTRY: PAGE TURNING MURDERER OF SLEEP

Consider yourself kidnapped, held hostage, spirited away, your time ransomed.

Welcome to JOE COUNTRY where you are kept captive by a compulsively readable narrative that sweeps in like a rattlesnake and fangs it for over four hundred fabulous pages.

The sixth in the series of so called Slow Horses thrillers, JOE COUNTRY starts ominously with the death of operatives that have so far managed to survive the series. Their identities are kept secret, however, another layer of suspense heaped on by author Mick Herron, that wicked agent of insomnia and page turning acceleration.

The surging confidence in its storytelling swathed in bright shafts of dry wit makes JOE COUNTRY the equal of its predecessors, a sustained and seething thriller that walks both sides of Spook Street on a tightrope of intrigue, espionage and subterfuge.

I could divulge the plot but then you would have to kill me for spoiling the exhilarating thrill of the story, a narrative that capers, strides, bucks and gallops through every provocative page, peppered with acerbic, sometimes appallingly politically incorrect diatribes by the Slow Horses squadron leader, the incongruously named, Jackson Lamb.

Lamb leads to the slaughter any vestige of sensitivity to his employees, his diatribes unfiltered truth serums roughly injected by needle sharp invective.

In JOE COUNTRY, the bread of espionage is leavened with the circuses of violent spectacle, hazard seasoned with humour, real world politik enlivened with a pervasive imagination.

The CWA Ian Fleming Steel Dagger is an annual award given by the British Crime Writers’ Association for best thriller of the year. It is given to a title that fits the broadest definition of the thriller novel; these can be set in any period and include, but are not limited to, spy fiction and/or action/ adventure stories. Ian Fleming said there was one essential criterion for a good thriller – that “one simply has to turn the pages”; this is one of the main characteristics that the judges will be looking for.

Judges look no further.

JOE COUNTRY by MICK HERRON is published by John Murray.