Dianne Griffin’s From Cornwall to Moonta – Q&A

 

With the steady hand of ones family's history, in-depth research and invaluable experiences to guide her please read along as we interviewed author Dianne Griffin for a behind the scenes look of her new book From Cornwall to Moonta and more!

Q: How did you mediate between fact and faction in the process of producing From Cornwall to Moonta from your family history? 

 

A: I depended a lot on research. Over a 15-year period I interviewed all family members, especially old aunts and uncles who actually knew the central characters Ben and Emma—asking for their stories. I quoted many tales from my grandparents’ book, History of Agery. I searched thousands of old newspapers, acquired hundreds of books on the subjects of emigration, early South Australia, and books such as Life and Death in the Age of Sail. From the information I had, and some psychological profiling, I began to compose their personalities.

Example: William Trethowan emigrated first, and, looking at his choices, I deduced he was the more adventurous of the two men. Ben was more cautious. Ben’s wife was a bit like her brother, hyperactive.

I stayed as true to events as I could. There were a lot of stories that were true. And once my characters had been through one event, it was easier to follow on. I acquired British weather records to understand the extremely wet weather of the 1830s, 1840s, and 1850s. And I have a book of calendars that shows the full moons. Full moons upset some people, and yet it is great for a night out in the 19^th century when there were no lights. People scheduled events for the full moon. I travelled to Cornwall several times and visited the relevant addresses.  I spoke to local historians and cousins of Emma and Ben’s. I researched every inch of Helston where Emma worked as a servant. And I walked in their footsteps when we took the train from Falmouth to Plymouth.

Q: What was the most fascinating thing about British, Australian or your own personal history that you discovered in the years researching this project?

A: Hundreds of enthralling facts come to mind. It is one of the reasons I wrote the book. These fascinating insights could not be lost to time. 

E.G. Wakefield’s plan for South Australia was called A Cure for Pauperism. And the paupers weren’t treated exactly as promised. Wakefield wrote in his book, Letters from Sydney, (although he never was in Sydney), that land prices were to be kept high enough (one to two pounds an acre) to stop labourers from buying land immediately. Land in NSW was 5 shillings an acre. Ben and Emma’s rail journey through the glorious Cornish countryside from Falmouth to Plymouth, peppered with over 40 of Brunel’s fabulous tall wooden lacy viaducts (we made the journey for research purposes). Migrants staffed the ship throughout the journey. Some of the passengers (labourers) were even conferred Constable status for the journey. 

On a more personal level, I realised how differently each of us views our siblings, parents and grandparents, uncles, and aunts.

Example: my two old grandfathers were pleasant—fun to me as a child. A pat on the head, a few sweets. But don’t ask their children. That is a whole different story. Almost unbelievable. It helped me a lot, to understand their backgrounds.

Q: How did your experience working as a nurse assist you in understanding the health issues faced by migrants to Australia in the 19th century? 

A: Being a nurse is understanding medicine, and how it affects our patients. Probably most important is knowing about cross-infection. Even in the 2020s, non-medical staff still don’t know the simple basics of antisepsis, and how to prevent cross infection.

In the previous centuries, patients, especially women, were not listened to by most of their doctors. I could feel their frustration, their sense of inadequacy and the crushing self-blame, when their families, children suffered and or died.

Q: Regarding the legacy your grandparents and great-grandparents left behind mentioned in From Cornwall to Moonta, the kind of people they were, the life they lived, and the struggles they faced — what are you most proud of?

A: With both my great-grandparents and my grandparents, who were never wealthy, I am most proud of their generosity, particularly their anonymous donations to the poor. Even with their large families, during the great Depression they gave work and food to countless, homeless, jobless men. My aunt complained that she and her sister had no money, and that they paid rent for living at home. “Yet Dad gives money away” she cried. But even my aunt and her sister gave free music lessons to their anxious poorer students. And my grandfather succeeded as a responsible farmer, giving countless years to the committees of the district—schools, church, councils and organisations such as the Wheat and Barley Board.

Q: Having experienced re-immigration to both England and Australia in your own life, what were the biggest challenges you overcame? 

A: Saying goodbye, even when not forever, hurts. And on arrival not having your friends to help you through. Finding our way around in strange places. In Ireland I took my baby to the supermarket in a large pram. It was heavy work, a few hills. As soon as I arrived there was a terrifying announcement, someone had phoned to say there was a bomb in the store. Imagine the chaos as people exited the building! 

When we emigrated to Australia, it was much more relaxed for a while. Then there were the shopkeepers etc., who turned away from our strong accents and served Aussie speakers first. I was incensed. And we were endlessly plied with Irish jokes. The Australians just didn’t see they were basically saying we were stupid. My children were so upset, that I searched around for an “Australian” joke.  They didn’t so much as use it out loud, but it helped, until they made friends.

Q: Will readers who enjoy From Cornwall to Moonta be seeing more from you in future creative writing projects? 

A: Yes. I have begun to write about the next generation, (my mother) and the next, which is my story. As a nurse to the rich and famous I was flown to the Bahamas and also flew a patient who was in status epilepticus, from Adelaide to Greece. I travelled on the Orient Express, having booked for the wrong night. We followed an Easter procession in Italy of a bleeding Christ figure, hoisted on strong shoulders, and shared painted hard-boiled eggs with strangers in Greece. And then there was the search for my father’s story. And my own lifelong journey, silencing the critical little voice in my head.

Click here to Buy a copy of From Cornwall to Moonta now!

Jeremy Roberts' The Dark Cracks of Kemang - Q&A

Come journey with us as we interview and discover more about Jeremy Roberts, the avid performance poet, traveller, and the author behind The Dark Cracks of Kemang.

Q: What was the most surprising difference you found between writing poetry and writing The Dark Cracks of Kemang, a full-fledged memoir?  

  

A: The original intention was to construct a text halfway between prose and poetry, but I soon decided that the story – the narrative – demanded an accessible, highly readable, approach. The poems could be appended to the prose. I found that writing such a large volume of prose was, for me, just as challenging as writing poems. Just as lines in a poem go through many rewrites, so, too, did the paragraphs of Dark Cracks. I wanted to get the tone exactly right. 

Q: Do you have a certain chapter/memory that was the most enjoyable for you to write and relive?  

 

A: I’d rather say that the whole year – 2013 – was an enjoyable time to revisit, but that is avoiding the question. I suppose that this book might not exist, were it not for the formation of The Bajaj Boys, so I’ll say that recreating the gigs – the poems, music, dialogue, and camaraderie, were the most fun. I like how each of the gigs was unique and moved us a little further along the performance spectrum. I’ll also say that writing the guide to the Indonesian dating scene was highly enjoyable. 

Q: What advice would you give future expats who are travelling to Indonesia that you wish someone had told you?  

 

A: OPEN your mind, relax, and float downstream. Try to learn Bahasa Indonesia, too. 

Q: Any prospects for The Bajaj Boys to come together for a live concert for New Zealand or Australian audiences?  

 

A: A live concert? It’s only a plane ticket away! Would it be a free gig? Derek might want a Scotch; I’ll take a zero beer. A couple of slices of cheesecake or banana splits (see book) would probably seal the deal. 

Q: If you could add an opening soundtrack to your book, what song would you pick?  

 

A: 'Strange Days' by The Doors.

Q: As poetry is a big factor in this book, what in particular draws you to the art and what poem in The Dark Cracks of Kemang do you wish more people knew about?  

 

A: Writing poems is the best form of creative self-expression I know – or can do. Even though I am quite public about my commitment to poetry, it still feels like I belong to a secret society. (The number of people who actively engage with this ancient art is, by my estimation, 1-in-1000 in some locations and 1-in-5000 people in other locations.) The idea of a muse – an inspirational goddess, as defined by the Greeks, is addictive, and she sometimes delivers! I like spending time with pen and paper to find out how you exactly feel about something or somebody. The challenge – in the 2020s – is to be free and write about what you really want to, in a way that you really want to – and not be trumped or corralled by contemporary ideology or social values. Reading poems by others remains a pleasure and this also motivates me. Live poetry readings – in which I am heavily involved – is now possibly more important than printed-on-the-page poetry, which is a remarkable turn-around. I want to make more musical recordings of my poems (including as The Bajaj Boys), which also pushes me forward. And of course, I’d like to publish more poems. 

 

Q: Is there a poem from Dark Cracks that I would love more people to know about? 

A: All of ‘em! – is the poet’s honest answer. But since you asked, I will say the five-part Bali poem. It’s a circular, micro philosophical novel!  

Click here to get your copy of The Dark Cracks of Kemang

Click here to watch The Dark Cracks of Kemang book trailer

James Gering's Staying Whole While Falling Apart - Q&A

  

We interviewed Staying Whole While Falling Apart's author James Gering to find out how he stays whole while falling apart and more!
 

Q: Your main protagonist is a character called Aaron Auslander but it's hard to look past the parallels... are any of these poems based on your own experience? 

A: Many poems, yes - we are each great repository of experiences to draw on. The skill lies in converting experiences to art. Sincerity in poems is about emotional truth not literal truth. The writer reflects on his material, finds the fresh angle, and strives for an artistic conversion. Letting ample time pass between a life event and its poetic rendering is important so that artistic judgement is not compromised. 

Q: How do you manage to stay whole? 

A: By living outside the city, far from the maddening clichés. I live in the Blue Mountains. My backyard is a world heritage wilderness, and after a day's writing I like to get physical. I run a mountain trail, swim laps, rock climb or ride my mountain bike - something different every day. I wouldn't like to bore myself or the exercise would fizzle.

I like to find the balance between my imaginative world and the real world. As a writer, there is a real danger of disappearing down an imaginary rabbit hole. Us humans are social creatures with an urge to love and be loved. We also need material for our writing. Hooray for the human canvas and the settings the real world provides. 

At the moment I am writing full-time. This can be dangerous in terms of rabbit holes, but I think I have enough hard-won ploys to manage. One ploy is consciously moving between states of intensity and insouciance. Twenty-five years ago I was the intense moth getting singed.

Q: Do you have any advice for readers on how to stay whole while falling apart? 

A: Strike a balance between your emotional, intellectual and physical needs. Embrace the natural world, doubly so if you live in a big city. Flora and fauna are a wonderful salve. Additionally, animals are more genuine than us humans will ever be. Remember your childhood and to sometimes see the world through childish eyes for a fresh take. Beware community - it can be two-edged. Only conform to a group sympathetic to your character. Listen to The Sunscreen Song, its sage advice, like doing one thing a day that scares you. 

Q: What would you say was the hardest topic to explore and why? 

A: It's tricky to get depresion right on the page - clichés abound and the writing can easily slip into mawkishness or melodrama. You also have to find points of connection to the reader, regardless of whether they have ever been depressed. 

Q: What life changing experiences have helped you as an author and how? 

A: Learning from my mistakes has been useful. Adversity also - the  humility it brings. I came to Australia from South Africa when I was 16 after a family trauma, and I struggled to find my place as a sensitive person with an inquiring mind. Enter poet, John Berryman, stage left. He gave simple advice for metamorphosing into a poet. He said that when you are young, you need to survive a life-threatening trauma, only by a whisker, and then you are in business. I agree. but perhaps there are other ways too. Parenthood was also life-altering for me, so wonderfully enriching. Suddently you are serving others in a loving manner every day, and it opens a treasure box of raw material for stories. 

Q: Touching on your Judaism, what do you think are the defining features of Jewish life today and how has it influenced Aaron Auslander's character? 

A: There are many ways to be Jewish - from ultra religious to atheistic, from cultural heritage to Israel, a country that punches well over its weight in many fields of human endeavour, whether technological advances or the embracing of diversity. Few countries in the Middle East have the vision and inclusivity to host the Eurovision song contest. 

I like to think that Judaism helped Auslander to develop an inquiring mind, and helped develop his self-deprecatory humour, not to mention his Houdini-like talent for rising above adversity. 

Click here to get your copy of Staying Whole While Falling Apart 

Click here to watch James Gering's virtual launch of Staying Whole While Falling Apart

Kate Maxwell's Never Good At Maths - Q&A

 

With her recent release of Never Good at Maths, we wanted to know more about Kate Maxwell beyond her inability to do maths...so we interviewed her.

Q: Your book doesn't actually explore math. How and why did you choose to title it the way you did? 

A: There's some truth in the title that maths has never been my strength, but I chose the title primarily to express the way it often feels to be pigeonholed as a 'type' of person. As a predominantly right-brain thinker, it's also a tongue-in-cheek way of dealing with a fairly dismissive label. Mathematicians are often very creative, and creative poets are often good at maths. I'm just not in either group. The title is my quirky introduction to a level of satirical and self-deprecating humour I sometimes use in this book. I'm trying to tap into the self-conscious feeling many of us have when we are conflicted about our abilities and the way in which we are perceived.

Q: You cover a lot of different themes in Never Good at Maths, how did you choose what to cover, what inspired you to cover so many themes and did you have to do a lot of research? 

A: Many of the poems span decades and original versions have been tweaked over time. Some themes are of the simple every day, little curiosities, character portraits, and more global and political themes. Most of the time, if my interest is sparked in something, then it leads more naturally into forming images and builds into a stronger piece. Unless I'm writing to purpose; for a competition or special journal issue, I don't usually pick a theme first. It usually comes as I build the poem. A few poems do require research if I'm describing something historical or quite specific e.g., White Man in a Hole or Katy, Bar the Door and many poems are inspired by what I read, watch, and observe. 

 

Q: Did you face many personal challenges when addressing the various themes when writing Never Good at Maths?

A: Some topics are inspired by road trips, emotions, the news, literature, art, or characters I find interesting. If I write in somebody else's voice, then I can remove myself a little from the poem. A few of the more personal and biographical poems can pose personal challenges as it's not easy admitting who you are, or how you've felt at times, but it can also serve as free therapy. Obviously, not everyone will agree with the messges portrayed or political stnce I take but that's why it's called freedom of expression.  

 

Q: How and why did you get started as a poet? 

A: I don't know if I can answer that as clearly as I'd like. As a child, I think I liked playing with rhyme and the sounds words make. When I worked out that you could make a succinct and powerful little package with words and messages, then I started to become entranced with poetry's power. I still love the puzzle of placing just the right word or phrase but am not always as keen on the frustration when I know I'm still missing pieces in my self-made puzzles. 

 

Q: From the Poet's point of view, how important do you think it is for readers to be able to understand the meaning of a poem? Are some better left unsolved, or do you believe that readers should work to know the underlying meaning/s?

A: I am not an obtuse poet. I love writing stories as much as poetry and find the narrative very important. I love to paint pictures with my words, take on other voices, and tell stories. It's important to me that my poems are relatable and strike a chord with readers. My favourite poems are ones where language and emotion blend to bring you a slice of life that you can almost se and feel. I know many talented poets who embed their poems with oblique layers that make meaning either unclear or reliant on prior knowledge. I can often enjoy these poems too, even though I may not always be able to access what the poet really intended. Sometimes the beauty of the words, or strength of the mood is more important than the narrative. But that is their skill set, and not necessarily mine.  

 

Q: This is your debut release, what were the biggest lessons you learned and what do you plan and hope for the future? 

A: I supposed the lessons learned werethat you should always let your work rest for a while and return to it with fresh eyes before editing again. On the other hand, poems never quite seem finished but at some point, you have to let them go. Also, an editor's eye on your work is so valuable. You get to close to your work and can become blind to flaws and repreated ideas. I'm hoping this is my first of many anthologies. I'm writing quite a lot right now. I also have some children's book manuscripts that I'd like to see out in the world.  

Q: Your debut covers a lot from personal recounts to views and belieds, do you think you'll take the same approach for your next book? Why or why not? 

A: Yes and No. I have enough collected works for another book of poetry and a short story collection. Both have no obvious unifying threads but there are patterns and repeated themes. Following that, however, I would like to attempt to write more poem suites in order to flesh out veryin perspectives, voices on theme or topic. As my experience grows, I'm hoping my breadth and voice will also develop.  

 

Click here to get your copy of Never Good at Maths

Click here to watch the vitural launch of Never Good at Maths