What does success look like to an environmental activist?
Sometimes success is obvious, like the protests against the Tasmanian Franklin Dam project. The protesters there were directly responsible for preventing the dam from being built and so protected a unique wilderness area.
But sometimes success is less obvious. A battle is lost but, in the end, a war is won. Such was the case for the Daintree Blockade of the early 1980s.
The Daintree rainforest of far north Queensland is every bit as unique and beautiful as the Tasmanian wilderness. But since the 1950s pressure had been rising to build a road through the Cape Tribulation National Park, and through some of the last remaining low land tropical rainforest in the country.
In 1983 the local council, in defiance of the parks authorities and the state government agency in charge of roads, decided to bulldoze Read the rest of this entry
A guest post today, from my gorgeous eleven year old daughter Charlie, a competent but reluctant reader who is also “the most faboulousisitst in the world.”*
When the book arrived in the post I thought that it was just my mum hassling me to read more. But that night when I opened the book to start reading it I actually enjoyed it.
The first page was about a mathematician named Ada Lovelace, and I was hooked right away. I think my mum was very surprised when it took less than a week for me to finish the book (that’s really fast for me).
I think that the best books always have a hard cover and a ribbon: this one does. In this book each page is about a different woman, eg: ballerinas, suffragettes, architects, pirates, warriors, singers, etc. some people died in 1458 B.C and some are still alive to this day.
My two favorite pages in the book would have to be page 78 – Jacquotte Delahaye a pirate who was one of the most feared pirates of the Caribbean. My second favorite is on page 150 – Misty Copeland, a ballerina.
I really enjoyed this book.
*Or so says Charlie!
Hilary Mantel, a novelist rightly famous for twice winning the Man Booker prize with her historical novels about Thomas Cromwell, yesterday gave the first of her three BBC Reith Lectures.
In the first lecture (published here in this weekend’s The Guardian), Mantel explores the complicated relationship between history, fact and fiction.
You should really go and read the whole thing.
But if you still need prompting, try this excerpt…
Evidence is always partial. Facts are not truth, though they are part of it – information is not knowledge. And history is not the past – it is the method we have evolved of organising our ignorance of the past. It’s the record of what’s left on the record. It’s the plan of the positions taken, when we to stop the dance to note them down. It’s what’s left in the sieve when the centuries have run through it – a few stones, scraps of writing, scraps of cloth. It is no more “the past” than a birth certificate is a birth, or a script is a performance, or a map is a journey. It is the multiplication of the evidence of fallible and biased witnesses, combined with incomplete accounts of actions not fully understood by the people who performed them. It’s no more than the best we can do, and often it falls short of that.
Or this one
The pursuit of the past makes you aware, whether you are novelist or historian, of the dangers of your own fallibility and inbuilt bias. The writer of history is a walking anachronism, a displaced person, using today’s techniques to try to know things about yesterday that yesterday didn’t know itself. He must try to work authentically, hearing the words of the past, but communicating in a language the present understands. The historian, the biographer, the writer of fiction work within different constraints, but in a way that is complementary, not opposite. The novelist’s trade is never just about making things up. The historian’s trade is never simply about stockpiling facts. Even the driest, most data-driven research involves an element of interpretation. Deep research in the archives can be reported in tabular form and lists, by historians talking to each other. But to talk to their public, they use the same devices as all storytellers – selection, elision, artful arrangement.
What are you waiting for? Click here for the whole delicious thing.
Update: I do apologise! It seems I posted the same excerpt twice, instead of two different excerpts. The second one is now different from the first. Doh!
Her name is Winter. She’s a Scottish Deerhound. Yes, she’s very tall. Saves bending over to give her pats – she’s already at just the right height.
One day a week. That’s all I have for my own writing. And when I say ‘day’ I don’t mean a whole day, I mean a school day, between about 9:30 and 3:00pm.
Also minus the school holidays. And minus time spent hanging out the washing, catching up on my day job, making cups of tea and procrastinating by playing Tetris. I’m now very good at Tetris.
My routine, on my writing day, is to take the dog for a walk after I’ve dropped the kids at school. Apart from the many therapeutic benefits of the forest, I use the time to decide exactly what it is that I plan to work on that day. I’ve learnt the hard way that if I don’t decide before I sit down at my desk, then I invariably fritter my time away hanging out the washing, catching up on my day job, making cups of tea and procrastinating by playing Tetris. Did I mention that I’m very good at Tetris?
You’d think it would be easy to decide, each day, what to work on next. Maybe it is, if you have the privilege of working on the same thing for multiple days in a row. But when it’s been a week, or more, since I last looked at the manuscript, I find it valuable to be very clear about the task at hand. It’s not at all simply a matter of writing about ‘what happened next’. If only!
Maybe, for example, I want to Read the rest of this entry
With apologies to those who already know, via Facebook and Twitter – I sent the draft manuscript to my editor at Text Publishing late last week.
Subsequently spent a relaxing weekend in the garden, and celebrating Mother’s Day with my gorgeous kids.
No deadlines, no pressure – bliss.
Next steps? The editor edits the manuscript, sends it back covered in comments and I go back to working on it. And in the meantime I keep following up and trying to source all the images I need.
And yes, the champagne was delicious.
Young Woman Writing a Letter (detail), from a poster for Encre Marquet by Eugene Grasset, 1892. Image courtesy Library of Congress, Prints and Photographs Division.
Well, by not spending time writing blog posts, obviously.
The manuscript must go to the publisher (for editing) in about week, so the last little while has been just a teensy bit frantic.
I kind of finished working on the text a few weeks ago, and since then I have:
- drawn up a Macarthur family tree (thank you PowerPoint),
- included a list of NSW Governors from 1788-1855 (eg, in Elizabeth Macarthur’s lifetime),
- written an epilogue in which I discuss Elizabeth Macarthur’s legacy and her importance to Australia’s historical view of itself (including very brief biographies for each of her children and grandchildren – a sort of ‘what happened next’, if you like), and
- tidied up and made consistent all the footnotes (now endnotes) and the bibliography.
I’ve also been sourcing images. Naively, I learned upon signing with the publisher that all the images (including copyright permissions, if relevant) have to be sourced and, where necessary, paid for by me. Much daunted, I duly compiled a very long list of all the images I’d quite like to include and then discovered that some institutions are likely to charge me as much as $150 per image. My image list quickly became shorter! Others charge $45. And still others, like the State Library of NSW, charge nothing for digitised images that are out of copyright. Guess where most of my images will be sourced from…
For those of you who enjoy meaningless statistics, the draft manuscript currently has:
- 22 chapters
- 257 pages
- 121,791 words
- 842 endnotes
- 119 works/sources listed in the bibliography
- and a partridge in a pear tree (not really)
And of course, now that I’ve stepped back from the text, I keep thinking of things to add to it. My haphazard To Do list reads roughly as follows:
psychiatrist’s opinion of John Macarthur’s being bipolar (done)
- rum rebellion – more depth
Elizabeth Farm renovation, add letter from EM to her son. ‘The important improvements your dear father mentions’, Elizabeth explained in a letter to Edward, ‘are little other than delusions.’ (done)
- ‘Quarrels’ chapter – fix it.
Banks of Parramatta River – no mangroves! (done)
- ending, add EM’s comments about collecting sea shells at Bude and her comments re memories of Bridgerule.
Then all I need do is step back and look at the manuscript as a whole and completely revise and … who am I kidding? As a long time promoter of the saying that finished is better than perfect, perhaps I should start practicing what I preach. And I don’t quite have the chutzpah to imagine that I’ll ever achieve ‘perfect’ anyway, so best get the jolly thing off the editor to see what she thinks of it all.