A couple of months ago, Nicky Pellegrino, who edits the New Zealand Herald’s books page, contacted me after seeing my two-part summary of my 2012 reading (Part 1 | Part 2) to ask whether I would be interested in writing an occasional “Book Watch” column for the Herald on Sunday: short comments on 3 or 4 books I’ve read recently, with no restrictions as to the genres covered.
That seemed to fit pretty well with the fact that I keep track of my reading on LibraryThing, so I said “yes” – and here is my first column. Only the first three of these pocket reviews were published in the Herald, but as I really enjoyed Wolves Eat Dogs I have posted that mini-review here too.
Book Watch Column 24 March 2013
The Glass Harmonica, by Dorothee Kocks, published by Rosa Mira Books (2011) – see http://rosamirabooks.com/books/index.html#tgh (US $7.00 ebook)
Flaubert’s Drum, by Sugu Pillay, published by IP (2012) – see http://ipoz.biz/Titles/FD.htm (NZ $15 ebook, $28 paperback)
The Aviator, by Gareth Renowden, published by Limestone Hills Publishing (2012), book 1 of The Burning World series – see http://burningworldbooks.wordpress.com/ (NZ $6.99 ebook, US $15 paperback)
Wolves Eat Dogs, by Martin Cruz Smith, published by Pan (2005), available from Amazon.com – see http://www.amazon.com/Wolves-Dogs-Arkady-Renko-Novels/dp/0671775952 (from US $10.88 paperback)
Credit note: The name of this poem is actually “For the picture, ‘The Last of England'”. Ford Madox Brown wrote it in 1855 to accompany his famous painting. It exists in a couple of versions; this version hangs in the Birmingham (UK) Museum and Art Gallery.
Tim says: Ford Madox Brown began work on this painting in 1852, when emigration from the UK was at its height – according to Wikipedia, over 350,000 people emigrated that year, from a country whose population is much smaller than it is now.
I have this painting as a black and white illustration in a book, and had always imagined that the couple in the foreground (modelled by Ford Madox Ford and his wife Emma; their children also appear in the picture) were staring back at England. In fact, the white cliffs of Dover are in the top right of the picture, and the couple are looking resolutely away. When my family and I sailed out of the English channel in 1961 on our way to New Zealand with a boatload of assisted immigrants, I imagine the emotions felt by the adults on board may have been somewhat similar.
The Tuesday Poem: Moves between cultures.
I’m looking forwards to taking part in this reading at Wellington Central Library tonight:
And I also enjoyed taking part in this interview with Sally Dunn for the Nelson Mail: Beyond Infinity: Writing Science Fiction.
Don’t try to sell your story. That would only remind the public
of the millions in bonuses, the failed investments, the workers
turned out on their ear. Don’t try to sell your story,
but make sure you have a story to tell.
It’s hard to appear contrite – we know. Think of yourself
as an actor playing a part. Mention a disabled relative you’ve
(quietly, anonymously) been helping out. A cause
you’re passionate about: animal rescue, flower shows.
That first interview is crucial. Show them
you’re not a monster but a man. A monster doesn’t care – a man
makes mistakes, has made mistakes. You admit mistakes were made.
You’re only human and you got things wrong.
And as for your latest bonus: you offered to return it,
but the company said no. So what you’re going to do is,
you’re donating it instead. (Animal rescue, flower shows. A hospital?)
But for this interview, you wouldn’t have told a soul.
Remember contrition? Now you have to show it. The interview
is hard for you, and by the end you’re dabbing at your eyes.
The public will swallow any grade of bullshit
that is packaged with a redemptive tear.
Credit note: This is a new and previously unpublished poem.
Tim says: You might think that this poem is inspired by recent events, but I couldn’t possibly comment.
The Tuesday Poem: Is ready to rock.
Toss it all in. The smoke
They’re heeeere! Cross-posted from my co-editor’s blog, here are the full submission guidelines for forthcoming anthology The Stars Like Sand: Australian Speculative Poetry. Australians, and expatriate Australians, are welcome to submit up to three poems for the anthology. The closing date for submissions is 4 June 2013. Make sure to read the full guidelines before you submit, and have fun out there!
The Stars Like Sand is a planned anthology of Australian speculative poetry. Speculative poetry is poetry in the science fiction, fantasy, horror and related genres. (Please see below for a fuller definition.) It is intended that the anthology will include both new and previously-published poetry, and include a historical survey of the field. The anthology is intended for publication in 2014.
The anthology will be published by IP (Interactive Publications Pty Ltd) of Brisbane, a leading Australian poetry publisher. IP previously published Voyagers: Science Fiction Poetry from New Zealand in 2009 (see http://www.ipoz.biz/Titles/Voy.htm). Further information about IP is below.
The editors are New Zealand poet Tim Jones, who co-edited Voyagers, and Australian poet P. S. Cottier. Please see the editor bios below.
SUBMISSION GUIDELINES
Please note: Submissions do that not follow the guidelines below are unlikely be successful. In particular, attachments will not be read.
1) Submissions are now open. Please submit your poem(s) by midnight on 4 June 2013. Any submissions received after the editors check their email the following morning will not be considered.
Submission format
2) Send no more than three (3) poems in an email message to starslikesand@gmail.com with the subject line “Submission to The Stars Like Sand”.
If you submit more than three poems, whether in one message or in separate messages, we will read only the first three you submit. You are welcome to send fewer than three poems.
3) Include your poem(s) in the body of your email message. Do not send attachments. Attachments will be not be read.
If your poem has special formatting requirements which cannot be reproduced in the body of an email, please send it anyway within the body of your email, but include a note about the formatting requirements. If necessary, we will get back to you to request a copy in the correct format.
4) Due to space limitations, we prefer to be sent poems of 50 lines or less. While we will still read longer submissions, they will have to be exceptional to be included. There is no lower limit on lines, so you are welcome to send haiku and other short forms, provided you send no more than three poems in total.
5) You are welcome to submit both unpublished and previously-published poems:
a) Unpublished poems: Unpublished poems selected for inclusion will be eligible for the Rhysling Awards: see http://www.sfpoetry.com/rhysling.html
b) Previously-published poems: Please supply full details of previous publication, including online, magazine and book publication. If permission is required from a publisher for your poem to be reprinted, we will ask you for the publisher’s contact details, and for your help with securing permission to reprint the poem in “The Stars Like Sand” should your poem be selected for inclusion.
6) If you are unsure what speculative poetry is, please see the notes below. If you are still not sure whether your poem fits, please send it anyway – we would rather read some poems that don’t fit than miss out on good but “borderline” poems.
7) After your poem(s), please include a biography of no more than 100 words in the body of your email message. Your biography may be edited for reasons of space.
Responding to submissions
8) We will respond to all submissions as quickly as possible. However, the time taken to respond depends on the volume of submissions received. Please be aware that, due to size limitations on the anthology, many submitted poems of merit will, unfortunately, have to be rejected.
9) Previous experience suggests that we are unlikely to be able to include all the previously-published poems we initially select for inclusion, due to difficulties obtaining reprint permissions. Should this occur, we may return to some poems that we were unable to include in our initial selection and ask the poets whether we can now include these poems in the anthology. We will do this only as and when necessary, so please do not resubmit poems which were initially rejected, or submit new poems, unless we ask you to.
Payment
10) All poets included, or their estates in the case of deceased poets, will receive a free copy of the anthology. There will no monetary payment for included poems.
Who can submit?
11) Residents of Australia, and Australians not currently resident in Australia, are eligible to submit. If you are unsure whether you are eligible to submit, please include a note in your email submission letting us know your situation.
WHAT IS SPECULATIVE POETRY?
Speculative poetry is poetry that falls within the genres of science fiction, fantasy, and horror, plus some related genres such as magic realism, metafiction, and fabulation. It is not easy to give precise definitions, partly because many of these genres are framed in term of fiction rather than poetry.
A good starting point is “”About Science Fiction Poetry” by Suzette Haden Elgin, the founder of the Science Fiction Poetry Association, which you can read here: http://www.sfwa.org/members/elgin/SFPoetry.html
Despite its title, this article is applicable to all forms of speculative poetry.
ABOUT THE EDITORS
P.S. Cottier’s third poetry collection is the suite of poems “Selection Criteria for Death”, published inTriptych Poets Issue Three, Blemish Books in 2012. She has shared the David Campbell Award, given for the best unpublished poem by an ACT region writer. Her prose poem “Pod, cast”, originally awarded first place in a US science fiction competition in 2008, was included in The Indigo Book of Australian Prose Poems (2011). Penelope has had many fantasy and science fiction poems published in non-genre journals and newspapers, such as The Canberra Times and Eureka Street.
Penelope is also widely published in speculative journals in Australia and elsewhere, such as Star*Line(US) and Chiaroscuro: Treatments of Light and Shade in words (Canada). Her poem “Fingernails” was recently nominated for the Rhysling Awards, and her magic realist poem “Eight things you may not know about Vladimir Putin’s dog” was included in the inaugural Australian Poetry members’ anthology.
She wrote her PhD in literature at the Australian National University.
Interactive Press is one of four imprints of IP. Interactive Press is one of the leading poetry imprints in Australia, publishing up to eight titles each year. Interactive Press titles are generally released via conventional print, as well as in print on demand (POD) and various eBook formats for outlets such as Amazon, Apple, Google, Kobo, Overdrive, eBooks Corp and Wheelers, making them accessible to audiences world-wide.
An unrelated note: I attended the first New Zealand Poetry Society Wellington meeting of the year last night, where there were two guest poets: Andrew Nance, a recent graduate of the Iowa Creative Writing programme, who is currently teaching at the International Institute of Modern Letters in Wellington, and Colin Patterson from Leeston: “Colin is a retired farmer and unlikely poet, who entered his writing career late but with gusto. He is well-known around the South Island for his hearty performances.”
It would be almost impossible to imagine two more contrasting male poets in genre, style and presentation – the witty, sophisticated, drawling American with his retinue of poetry students in summer frocks, followed by Colin Patterson’s archetypal (and beautifully-performed) bush poetry – but I enjoyed them both. It was a great way to kick off the Poetry Society’s year.
A couple of months ago, I helped out student Shannon Patraj with the first part of a research project on blogging. Now Shannon would like the help of readers of this blog with the next part of this research – by filling in this short five-question survey. The questions in it are especially applicable to writers:
http://www.surveymonkey.com/s/KNFVYLX
The deadline for responses is Wednesday 20 February,* so it’s close – sorry for the short notice!
Shannon has provided the following context for the survey:
Dante and Isaac Asimov
agree to divide up the world.
“You can have the facts, Isaac,”
says Dante, waving his bagel,
“and the fiction. Just leave me the poem, O.K?”
Isaac thinks about that. He’s
unsure of this underfed stranger.
“The poem?” “Inferno and so forth. It’s
all the fame I need.” “That’s fair,” says Isaac.
Dante spreads his hands and smiles.
“Write all you like, my friend.
They’ll still remember me
when you are long forgotten.
Don’t you agree?”
Isaac shrugs. “You’re too
concerned about such things.
Ten books a year and I’m happy-
it doesn’t matter much what on.”
He sees that his plate is clean,
shoves back his chair. “Excuse me, please.
My typewriter calls. Perhaps
we’ll meet again?”
“Perhaps. Enjoy your work, my friend.”
Isaac is swallowed by the wind.
The poet lingers, looking at faces
swirling by his window.
“Always hurrying,” he says.