John Elliott is Sharing the Shallows

Every week this year, I will be asking avid reader friends, family and their acquaintances to share their thoughts about their reading.

My first guest is my fabulous husband, John Elliott. He of the bare feet, witty repartee and deeply loyal and loving heart.

Yes, dammit! He is THE John Elliott in our house.

John Elliott

University Marketing maestro

Can you describe yourself:

John is the sort of man men want to be and women want to be with. A lover, and a fighter, one of the last true gentlemen. He is a man of wit, humour, mystery and honour. He is officer material. He enjoy’s quiet nights in, raucous nights out, romantic walks along the beach. He also enjoys burning stuff, beer and that weird mouth squirt thing that sometimes happens when you yawn.

 

What is your main reading medium (books, blogs, games, news, etc) and how much time do you spend reading a week?

Online news. The first thing I do in the morning, the last thing I do at night. I start a lot of books. All up I would spend about 15 to 20 hours per week reading Continue reading

Romance genre captivity narratives & Australia

Guest Post by Merrian Weymouth

@MerrianOW

Janet’s series of opinion posts over on Dear Author about historical North American captivity narratives and the antecedents of the romance genre have led me to try and think out what I know about Australian settlement history – a very general laywoman’s view and to wonder what our captivity narratives would be like. These are the three posts with discussion that form the background to this blog post.

“Life During Wartime” on Dear Author .

“Take The Long Way Home” on Dear Author

“Can’t Find My Way Home” on Dear Author

I started writing a comment to Janet’s “Life During Wartime” post but it became very long and Vassiliki kindly volunteered her blog as a place to share my ramblings.

I can describe three forms of captivity for women that arose from the way in which settlement happened here in Australia but I’m not sure we have equivalent Australian captivity narratives unless we count stories such as Henry Lawson’s fiction of the 1890’s “The Drover’s Wife” about a woman who is captive to her husband’s absence, the bush and the snake, and who does not have her own name.

Women Convicts

Male and female convicts arrived on the First Fleet in 1788 and the last convicts to be transported to Australia arrived in Western Australia in 1868. Female convicts made up 20% of the convict population. Nearly all white women who arrived in Australia in the late 18th and early 19th were convicts; that is, they were captives of the government. To grow the colony, women were needed to breed the next generation. This meant that in Britain women received the harsher penalty of transportation for offences. Women, especially those of marrying age were transported mainly for petty theft and property crimes. Their function was to give sexual gratification to the men of the colony and have babies. The government turned female convicts into unpaid sex workers. Crowds of men would meet the arriving ships to pick whom they wanted. Male convicts had the capacity to earn their passage back to Britain after their term had expired. The reality for women, especially once children were born, was that transportation was a life sentence.

Effectively any existing marriages of all female convicts arriving on Australian shores were set aside. Female convicts were initially sent to ‘factories’ and their way out of these harsh holding cells was to be taken as servants (often a euphemism for concubine) or directly into a co-habiting relationship. Men could go and view the women; there are descriptions from the Parramatta Factory of men dropping a handkerchief at the feet of the one they selected. The women had the choice as to whether they picked up the handkerchief but given the limited options they faced, was it really a choice? The female convicts’ agreeing to be one man’s partner obtained some protection for the importunities of the many, although even so they were still considered whores.  This attitude to women in the colony was so prevalent that even free women who settled in Australia before the 1830’s wore the same label. Legal marriage was very difficult to achieve for convicts due to the cost of the licence and the lack of Anglican clergy. If convict women had any bargaining power it was because of the scarcity of women, an issue in Australia throughout the 19th century.

Consequently, settler Australia grew into a very sexist, misogynistic culture with very distinct male and female worlds of opportunity and action. Men had great power over women; this made Australia a land where women waited for the man to claim to them and to change things for them where men despised them for this and even as they were desired as wives and de facto partners, they were seen as corrupting whores. The process of settlement built a greater power imbalance into male/female relationships than already existed in the British culture of the times. Free women migrating as potential wives and mothers were subsumed into this culture.

Women and settlement

This leads to a story I was told by a local man about life on the Atherton Tablelands in the hinterland behind Cairns in Queensland. Roads into much of the interior of Australia are an essentially 20th century invention; movement around Australia until around WW1 was mostly via coastal steamers and latterly railways. The vast distances (today it takes around 19 hours to drive 1704 km from Brisbane to Cairns) meant that regional areas could be incredibly isolated. Men who had taken up land in the Tablelands would go down to Cairns, Brisbane or Townsville to find a wife, woo her and marry her then bring her back to their properties. They would deliberately take a long and convoluted trip from Cairns into the Tablelands so the woman would not be able to find her own way back over the distance of several days journey. The isolation of life in these places was a known cause for women wanting to leave; the problem was solved by making sure she couldn’t leave because she didn’t know the way out.

White men abducted Aboriginal women as sexual and working slaves. This was a common practice of stockmen moving large cattle herds over great distances and particularly of Sealers working in Bass Strait who abducted women from Tasmania.

White women living with Aboriginal tribes was so rare as to be regarded as mythical and only potentially occurring when ships were wrecked on the coast, not because of abduction.

Beginning in the 1830’s, the Government assisted the immigration of single women between the ages of eighteen and thirty to work as domestic servants and to become wives. Migration to Australia boomed with the discovery of gold in the 1850’s. The population tripled in the next 20 years bringing migrants from countries outside the British Empire. It was not uncommon for migrant women from Europe to marry fellow countrymen by proxy who had already settled in Australia. They made long journeys alone to a new future with nothing but their hope that they were married to good men. Often not speaking any English, their point of contact with the wider Australian world was dependent on their husbands.

Women and the land

Female captivity in Australian historical terms cannot be considered without thinking about our relationship with the land and the great, absorbing silence of the bush. The dominant myth of 19th century settlement was that of the lost child who wanders into the bush never to be seen again. There are many sad stories of real events. Children traditionally represent the future in stories and poems. So these are stories about the harsh and alien environment and European uncertainties and fears about being swallowed whole by the realities of making a life here. Aboriginal people were never the abductors in real life or in stories, they were the ‘black trackers’ who searched for and hopefully found the missing; able to do so because of their relationship to the land and under the direction of white men leading the search parties and dominating their environment. Many free settlers were remittance men, disgraced in some way or unable to fit into British society so sent to, or escaping to Australia with the intention they vanish into the Terra Nullius; the empty land. The long sea journey to Australia meant that settlers were unlikely to see family or friends ever again e.g. until late in 19th century letters back to Britain could take two years to receive a reply, so the land and its distances itself was the captor.

What’s in a name…?

Female life in early settler Australia was determined by strong systemic, social and cultural imperatives implemented through government policy of the day and shaped by the geography of our silent landscape. A whole category of women whose sexual consent was neither needed nor required were created by government fiat. The actual process of settlement turned women as a group and as individuals into nameless objects. “The convict stain” is the colloquial term for having a family heritage of descent from convicts (1 in 7 Australians has convict blood). It was not until well into the 20th century that the stain was regarded without shame. It seems to me the shame wasn’t in the transportation for crime but in what happened on these shores. Australian women settlers were made nameless and silent and ashamed. Their self-reliance, loyalty to each other, determination and economic successes were hidden away by the general view taken of female convicts and inherent cultural misogyny. In the North American captivity narratives, women and children are named and have some form of individual agency in contrast to the nameless, silenced women of early Australian settlement.

Further questions

In her post “Take The Long Way Home” Janet says: “Romance, beyond its focus on a romantic relationship, is also very much preoccupied with the relationship between the individual and society, between freely chosen love and social obligation, between personal aspirations and social roles.” In the case of the female convicts – personal aspirations are likely to have been reduced to being raped less and their relationships primarily instrumental – what can you do for me and what must I exchange for it? Where is the romance?  Are any meaningful mutual obligations possible between individuals? If the state is your rapist what do you owe the social contract? Convict women and the Aboriginal women who survived these early years of settlement were seen as recalcitrant and always ready to battle authority, they were always other.

How does our Australian settler cultural history and mythology construct and engage with the romance genre? How do the captivity, marriage of convenience and ‘fated mate’ tropes of the romance genre then speak to our historical experience of convict and immigrant women and proxy brides for strangers?

If we accept the modern romance genre as seeded from the history and myth of the North American captivity narratives does this enforce markedly American approaches to thinking, writing and reading the romance genre even when readers and writers come from other cultures?

Some Background:

“The Proposition” film set in the 1880’s http://en.wikipedia.org/wiki/The_Proposition

“Lost” painting by Frederick McCubbin http://www.artistsfootsteps.com/html/McCubbin_lost.htm

Books about female convicts http://www.femaleconvicts.org.au/index.php/resources/books

“Bush Studies” by Barbara Baynton http://gutenberg.net.au/ebooks01/0100141.txt

“The Drover’s Wife” by Henry Lawson (scroll down to find story)  http://gutenberg.net.au/ebooks/e00108.txt

“The Babies In The Bush” by Henry Lawson (scroll down to find story)   http://gutenberg.net.au/ebooks/e00025.txt

“WHITE WOMAN WITH BLACK TRIBES Believed To Be A Myth“  in Gippsland Times Thursday 7th February 1935 http://trove.nla.gov.au/ndp/del/article/62949799

Merrian Weymouth can be emailed at mezzky.mow@gmail.com

How much do I hate the romance “homage”…

It is a truth universally acknowledged, that a popular book written in days of old will be paid deserved accolades. There is also a further truth universally known that some of the accolade will be in the form of an homage, be this academic or fictional. The fictional is where an author or aspiring author wishes to continue the “story” of their beloved character and to take the reader beyond “The End”.

I cannot strongly impress on you, gentle reader, how much I loathe the “homage” novel. I don’t want to know what Darcy & Elizabeth are having for breakfast, or that Jane & Rochester are sojourning in Bath or that Cathy has come back to life and searching for Heathlcliff, or that the Bronte siblings are now zombies terrorizing their village,  or that Marguerite and Percy are separated and seeing other people…

Why such a market for these “classic” updates is beyond me. A book ends and that’s all folks, done, finished, complete. The charm or wonder of a book is that you don’t have to read about the mundane or minutiae of daily existence. The wonder of a story is the unknown future in the happily ever after. Do we really need to to make these wonderful and yes, even dull stories into more than they need to be.

It is actually quite fascinating – the psyche where some readers don’t care about “the after” of a books story resolution  and those that are really interested in the “what happens”. I wonder if any studies/papers have been done on this?

Why can’t a man, sound more like a man…

OK I have another soapbox moment, yes another one, (an aside – I love how Twitter has become my soapbox of choice, so many people get to hear about my idiosyncrasies and likes and dislikes – bliss!!) – female authors who write male characters that “think” and talk like “chicks”.

I don’t want to read about male characters who only belch, put their hands down their pants or just grunt monosyllabically but what I would like is a guy to sound like a guy.

It is jarring and completely annoying when a male (of all sexual persuasions) character spouts out something so incongruous that it makes me scratch my head and say “Huh”

What guy would:

  • Check out a girl and think about how her accessories really compliment her overall theme: “Her pencil skirt looks really wonderful with chartruese pintucked sheer blouse and finished off beautifully by the stiletto slingbacks”; or “Her violet eyes glimmered and cornsilk hair blew softly in the wind”
  • Utter the following lines: “It stirred my loins into fire” or even better “This is all such sweet sweet torment” or  “Goody’ or my fav “What you needed was someone to meet you where you are emotionally”
  • Sit around a pub/bar/club talking about their requited and unrequited feelings in the romance stake. This point has caused some dissent (well amongst 3 of us) Vaveros & her Huzbah disagree with me and believe that guys do this, I on the other hand must only know troglodytes who would prefer to chew off an arm than ‘talk’. So let’s leave it up to you all to decide.

Really? Really , truly? I am not saying that guys are emotional pygmies or don’t have style or don’t love, they just don’t talk or think like females.

To me a sign of a good author is one that can write internal and spoken dialogue of both the male and female characters so well that you can’t tell if the author is male or female – they are just a writer.

Not so successful authors are the ones who wrote the lines or concepts that I pointed above – no I am not naming, not only am I a shallow reader I am a scaredy cat and don’t want to be flamed or hated on by fans.

Successful writers in this: PD James; Elizabeth George; Minette Walters; Linda Howard; Jaci Burton; Robin Hobb; Victoria Dahl;  Anne Stuart; Laura Kinsale; Loretta Chase and so many others.

The sign of a not so good author is one that can’t make their characters ‘believable’, we know they are fictional but to be remembered and to be talked about, characters have to somehow come to life for the reader.

Room by Emma Donoghue (you will need to wear sunnies if reading in public)

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Room

by Emma Donoghue

a shallow reader review

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Please avert your eyes and ears if you can’t bear to see a grown woman sob…

I just finished this book after a number of starts (picked it up, put it down, picked it up, put it down) because I knew it would be a devastating read.

Emma Donoghue, wow wow wow!!

I read through the story with a constant dread, aware of the pain and horror both in the concept of Room and the freedom from Room.

She has created an exceptional  book with the construct of the story emotive and concise. The characters of Room are very real to me in the pacing and the voices of each. There is a liveliness and happiness despite the horror scenario.

Ms Donoghue’s characters inhabit a world where her characters  react and speak in a manner they have developed for themselves – their constructs of language; imagination; reality.

I am simply in awe of everyone inhabiting the novel:

Jack – a boy who knows nothing other than Ma, Room, television and Old Nick (shudder) but who is loving, joyful , smart and inquisitive, Jack is simply a delight

Ma – her depiction was delicate and respectful. The author didn’t make her a superhero, just someone who found strength to cope in a unbelievable nightmare scenario. For her to survive her ordeal but still have the capacity to love and nurture is beyond incredible, for real for real.

Extras – the rest of the characters seem to react in an honest way, unsure, awkward, ultimately normal.

I don’t want to reveal too much, for despite it’s emotional depth and complexity the story is written simply but I will say that the “ending” was very impressive – 3/4 of the way through the book I worried how she would finish (as we have all read books where the story seems to overwhelm the author) – and was really anxious but nope she kept it consistent and honest.

I simply loved this book and think it’s one of those stories that will resonate with me for a very long time.

TBR…the never ending

How can I have so many books to read but yet keep buying or wanting to buy more? Seriously, I have 35 ebooks, and at last count, 22 hard copy books to read. These are books I ‘desperately wanted’ So, logically you would assume I would READ them…

But, oh no! That isn’t the case – but why is this so?

I have thought about this and decided there are a number of reasons:
* Sometimes it’s because I need to be in the ‘mood’ for certain books (f the ‘mood’ to read a particular genre isn’t there then the book is a no-go zone),
* Sometimes I am saving a book, especially if it is a special read for me (you know who you are),
* Sometimes I am in a glomming mode and will only read a particular genre/story line. I love glomms! Thankfully, I have no partner, children or pets to get in the way,
* Sometimes I have just lost interest and will get around to it at some point (yuh, like that is ever going to happen and we all have those books)

So what do other people ‘do’ with their TBR books? Or do people just ‘do nothing’ and let the pile get higher and wider?

Everything is new again

When you read a great deal, you are very aware that fictional genres have a precept or process that they adhere to and ideas and story lines get re-constructed. yet a clever writer can take any ideas or concepts and make theme evolve and fluid.

I read fiction because the thrill for me is seeing  how an author approaches a standard construct and makes it their own. There are two authors I am currently loving – their voices and world building are extraordinary – but their ideas are to me, ones I have read before. I don’t mean a vampire or plucky heroine or a moody ennui’d hero etc, I mean, what appear to me to be obvious story arcs and character profiles – let me clarify though I don’t think they are copying or plagiarizing the previous books. In my mind they are “refreshing” the storyline.

I don’t demand “all shiny, all new” (in fact, I love the downtrodden plain jane heroine or the skanky evil hero turns sort of good (in fact there are not enough around) or the really smart and sharp detective or the youth who is born with a destiny to slay the evil overlords!!)

The fascination for me (and awe) in how a concept can be re-used to completely create a new story.

Hypothetical dilemma

You purchase an ebook from the publisher and you don’t realise that the format is not compatible to any of your portable reading devices other than your pc.

But someone tells you where you can find a pirated copy of said ebook.

  • Do you grab this book – remember you have paid for it (receipt & proof of purchase etc)?
  • Do you contact the publisher and start them thinking about multi-format options?
  • Do you report this pirate site?

My 2 bob worth is that until a multilateral model is developed covering format and regional restrictions there will be more “greying” of peoples’ ethical stance.

What would you do?