New page on my blog for Read Me A Story, Ink

Delighted to announce that I’ve got a new page on this blog  featuring links to stories of mine that you can read and/or listen to at the fabulous site, Read Me A Story, Ink, a great, free resource for parents, teachers and children, created and run by booklover, bookseller and reader Robert Topp.

At Read Me A Story, Ink, you can find searchable lists of short stories for children by hundreds of authors, with the full text available for download and print out, and some stories also provided as appealing audio readings by Bob himself. A guide to reading age is also given, along with the name of the publication the story first appeared in, and all authors have given their full consent for stories to appear on the site.

Eight of my stories appear on the site. Have a look at my page where you’ll find links to all of them.

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Winter of the White Bear: a forthcoming picture book by Martin Ed Chatterton

Today I’m delighted to bring you a very interesting and thought-provoking interview with award-winning author and illustrator Martin Ed Chatterton, about an unusual project he’s been working on: Winter of the White Bear, an extraordinary picture book to be published by Dirt Lane Press this October. You can watch a compelling trailer for the book here.

Martin, I believe that Winter of the White Bear is a book that grew out of several inspirations: your PhD, your previous collaborations with Margrete Lamond, now publisher at Dirt Lane Press, and no doubt other things. Can you tell us something about how it came about? 

The starting point for Winter Of The White Bear was my PhD which I completed at the end of 2017. That had, at it’s core, a polemical examination of the toxic legacy of the Atlantic Slave Trade in my home town of Liverpool in the UK. I wrote my doctorate in part see if there was a way in which I could simultaneously access the slavery story in both a contemporary and historical way and the result was The Last Slave Ship, a novel with a dual storyline, one set aboard the Uriel, the final slaving voyage from Liverpool in 1809 and a narrative following a present day race hate crime which results in large scale rioting. The two storylines intersect at the end.

The PhD came about partly through curiosity about my family tree. On my wife’s side of the family, the maternal line is ‘black Liverpool’. The apparent ‘invisibility’ of ‘blackness’ in that side of the family got me asking questions and that led to (sadly) the growing realisation that I’d been raised in the most racist city in the UK and that my wife’s family had undoubtedly arrived in the city via Liverpool’s armpit-deep involvement in the genocidal Atlantic Slave Trade. In this case ‘we’ (white Liverpool) played the role of the Nazis, stocking, crewing and profiting hugely over 120 years by selling people. Over half of all the slave ships that sailed from Britain sailed from Liverpool. The city grew rich on the back of slavery. Present day Liverpool racism, both institutional and cultural is, I believe, directly traceable to residual guilt about the city’s blood-stained past, and denied thorough examination by an overpowering cultural ‘Scouse’ identity, described by American academic Jacqueline Nassy-Brown as ‘brutally localised, excruciatingly white.’ It’s not going too far to say that if the novel is published in the UK (as it is due to be), there could be trouble ahead. Liverpool does not take criticism well. If you’re interested, you can download the PhD exegesis here: https://epubs.scu.edu.au/theses/572/

Anyway…all that is by way of background. Winter Of The White Bear not only arrived because of my interest in slavery but because of the direct involvement of the very wonderful and most excellent, Margrete Lamond, my publisher (and editor) at Dirt Lane Press. Myself and Margrete go back a long way: to 2004 to be exact when I first moved to Australia. At the time she was working at Scholastic and commissioned me for my first Aussie book (I illustrated Ogre In A Toga by the lovely Geoffrey McSkimming). Margrete kept in touch when she moved to Little Hare books and she published The Brain Finds A Leg, a blackly comic surreal teen comedy set in a thinly disguised Byron Bay where I was living at that time. The book did decently, getting shortlisted for the NSW Premier’s Literary Award (where we lost to the picture book of Mao’s Last Dancer…still bitter, although I do love Anne Spudvillas’ work). And then we did other books: a follow up to The Brain, a series about William Shakespeare as a ten year old boy, a novelty book about a nude Santa. All the usual stuff.

Then, about six or seven years ago I wrote a crime novel on spec and Margrete was kind enough to do a broad structural edit on it before my agent shopped it around. A Dark Place To Die was published by Random House here and in the UK and was then optioned as a TV series (still ‘in development’ with Escapade Media/Mam Tor). The book led to a series, all set partly in Liverpool (and Byron Bay, Berlin, California…) and, to close the circle, The Last Slave Ship is also set in the city. When I met Margrete last year she suggested doing an offshoot from my PhD for Dirt Lane Press and I jumped at it. I’d been seeing what they’d been doing for a year or two and loving the social commitment and aims of the company. I do a fair amount of what you might call ‘mass market/commercial’ writing and illustration. Probably the best example of this are the co-writing gigs I have with James Patterson, the US publishing behemoth. So Dirt Lane and Winter Of The White Bear are as far from this as it’s possible to be (note: I am by no means sneering at the idea of White Bear doing well commercially!). And it’s the best/most satisfying thing I’ve done (in books) in a while.

What has the story’s journey been like? Did you need to do many drafts? Did you work with Margrete from the start on it, or has the process been different to that? 

I wrote the first draft very quickly. Having worked so much in the past with Margrete on so many disparate books we both have confidence in each other. That confidence gives me free reign to try things out, as I know Margrete will spot when it works and when it doesn’t. Perhaps the title (for Margrete) might be more accurately that of ‘producer’.

There were a couple of things I knew I wanted right from the outset. The first was no comedy. In my children’s fiction I’m primarily, and proudly, comedic. However, there’s no room for that here. So, no funnies. Secondly, I wanted this to be absolutely international. This wasn’t about Liverpool, or about the Atlantic slave trade. At least not in the specifics. This was about stripping back slavery to it’s evil essence: coercion for gain. Margrete and I had a couple of arm-wrestling moments, most pointedly on the issue of making this a white bear against a black bear. My view was that there needed to be a stark difference in the two bears as this introduces, in simple form, the idea of ‘the other’. Defining another group as ‘other’ is key to being able to enslave. And the clearest, most unequivocal example we have of that is white enslaving black. Of course there have been multiple (and ongoing) examples of slavery where that ‘otherness’ is less clearly defined but I felt strongly that the ‘not all slaves were black’ argument has been hijacked (erroneously) by the right. Besides, the genesis for this book lay in a specifically white/black arena. I didn’t want anyone to be in any doubt.

There were quite a few drafts but all following a principle I knew would be there. I started big and went small. The first draft came in around 2000 words; clearly too many for a book of this kind. But, as I knew that at the outset, and, as Margrete was the editor, I was confident we’d whittle down. Which is exactly what we did. The final word count is around about 700 words.

How would you characterise the visual narrative of the book? 

Being a writer/illustrator often has it’s advantages, but nowhere more so than in a picture book. The visual narrative of this book emerged from two sources: the first are the paintings I do for pleasure. I don’t sell them or exhibit: they are for me and they are a long way from my ‘normal’ work. I began my professional life as an illustrator and that’s still very much an important part of what I do. Winter Of The White Bear is an opportunity for me to swing hard at the ball and make some of those gestural, free marks I make in the comfort of my own (secret) studio.

The second part of the visual thrust for the images is digital. Everything has been produced on screen. I’ve been drawing with the cursor, using collage, overlays, brushes, effects and photography to make the images. I forced myself not to draw anything and ‘import’ it as I would do normally. This has, I hope, resulted in a fresh approach, albeit using techniques honed over the years. I think this imagery will be seen as different for me…but it’s always been there.

With its fable/fairytale form and light touch, Winter of the White Bear can be read on many levels, and by readers of many ages: what do you hope people will take away from it?

I’m glad you think it has a light touch. It would have been easy to slip into a preachy tone so I think using fable helps prevent that. Allowing the reader to join the dots is something I try and do in all my writing. Using fable also helps blur the age lines. We’re so used to the fairytale form that it can become a Trojan horse in which we can smuggle in meaning. Another aspect of the fable/fairytale as form is that it allows darker themes and narrative. While Winter Of The White Bear deals with hard subjects it barely comes near to the horrors in, say, Hansel And Gretel.

I made the decision to echo the Atlantic Slave narrative in several key ways in the book. For example, when Little Bear reaches a point of desperation she chooses to allow herself to sink beneath the waves. ‘If she sank far enough she would no longer have to catch fish for White Bear.’ Slaves taken from West Africa frequently committed suicide as a means of escape. One of the first acts for the Liverpool slavers on arrival in Africa was the installation of suicide netting around the ships. Slaves were valuable and the more of them alive at the end of the voyage, the higher the profit. The hideous conditions aboard ship were finely calculated to ensure that as many slaves survived as possible at as low a cost as possible. Profit overruled morality at every turn. Slaves also saw suicide as an act of resistance so it was important for Little Bear to reach this point. Of course, I don’t make this explicit. This is a book for children so Little Bear’s ‘death’ is deliberately ambiguous. The appearance of her (murdered) father also speaks to the importance of ancestors in African belief systems. Little Bear’s subsequent ‘campaign’ and escape from her oppressor can be viewed as what happens to her in the afterlife, or as wish fulfilment, or simply as a magical reality.

I hope that young readers take one very simple message from this book. Namely that using force to enslave anyone is wrong and that we have to remain vigilant to prevent this happening.

 Winter of the White Bear comes out in October, but you are already performing readings of it in schools. What other events are being planned in the lead-up to its release? 

After starting work on Winter Of The White Bear I decided to make a ‘rough cut’ audio of it as a work in progress. I then showed that rough cut reading to schools I visited in Australia and China in late 2018. I always saw the book as something that would translate very well to the screen and I have made a full reading for the 2019 school visits.

I’m keen for Winter Of The White Bear to get ‘out there’ in as many forms as possible. I co-opted a French actor/producer friend of mine, Michel Duran, to do the reading for the video of the book. Michel is based in Vancouver and, I think, adds an extra flavour of ‘the international’ to the project. We have worked together on a number of film and TV projects (as Sugartown Media) and we are developing Winter Of The White Bear as a potential animated feature film. We’re also working with Angela Salt, another friend of mine in the UK who runs a creative children’s content company called Salt Content. Pat Davern, of Grinspoon, is also involved in writing a suite of songs for the project. He has provided the theme music for the project and we are at work on the ‘hero’ song, You Will Find A Way, right now. Pat and I have worked together on a number of projects beginning with Pat’s Alexander The Elephant picture/music book in 2015. We’ll be putting out a video for the song in the lead up to Winter Of The White Bear being published.

We have also partnered with The Freedom Hub (thefreedomhub.org) in Sydney for this book after meeting with Sally Irwin, The Freedom Hub’s founder. The Freedom Hub was formed specifically to combat modern day slavery in Australia. Using two cafes (one in Sydney, the other on the Gold Coast) as the ‘hub’ element around which programs of aid for people caught up in human trafficking are rolled out, the organisation is an important beacon of hope. It’s a real shock for many people to realise that there are an estimated 4,300 slaves in modern day Australia and The Freedom Hub are doing a fantastic job of raising awareness of this and giving practical help where possible. They are also committed to doing what they can to ensure slavery is eradicated around the globe. We are super proud to have them on board with Winter Of The White Bear and will be flagging them up at every opportunity. The book will be launched on October the 17th at The Freedom Hub by Benjamin Law who has kindly agreed to do the honours.

 I understand that two other books came out of your PhD, including an adult novel and a graphic novel: can you tell us a little about them?

The Last Slave Ship, the novel I wrote for my PhD was due to be published last year but sadly the publisher went bust just prior. The nature of the novel (hard-hitting, experimental to a degree, polemical) meant that it wasn’t a good fit for my usual (commercial) publisher, Penguin Random House, so finding a good home for it has been a priority. My agent in London has been scrabbling around and we are pretty sure it will be out this year with Dead Ink in the UK who are another socially conscious independent publishing house. That’s by no means a given as yet but we think it will happen. I’m pretty keen on it being released as, along with Winter Of The White Bear and Archangel (the graphic novel I’ll discuss below), it would mean that three very different  ‘slavery’ stories have emerged from the research, covering all age ranges.

The novel itself tells the story of the doomed final slaving voyage from Liverpool in 1809, sailed by a hard-bitten crew conscious that this is their last opportunity for a big payoff. Slavery has been outlawed in Britain so it is a risky, but potentially profitable, business. Running parallel to this story is one that revolves around the aftershocks following a vicious race hate killing in contemporary Liverpool. The central idea behind the book can be summed up by my ‘pitch line’: ‘The last slave ship didn’t leave Liverpool in 1809, Liverpool is the last slave ship’. And another: ‘What do you do when you’ve witnessed a crime committed by an entire city?’

In a spot of cross-pollination, I’ve mixed in characters from my three previous  ‘Liverpool’ crime novels (A Dark Place To Die, Underland, Remission) and narrative themes of memory/amnesia, ‘saying the unsayable’, witness and guilt. There are intertwined sub-narratives in there too about Hillsborough, about Scouse identity and the importance of Antony Gormley’s Another Place as witness: a sculpture installation sited on a beach in north Liverpool which has been something of an obsession of mine (https://www.youtube.com/watch?v=Qw_WO8Y5a8s).

At the beginning of my doctorate, I was interested (and still am) in the notion of cross-media. Something that ‘fell out’ of that was me writing a piece of faux fan-fiction, imagining a fan response to The Last Slave Ship…which was, at that time, unwritten. That became a YA novel called Archangel which is a re-imagining of the slavery narrative, set in a future post-industrial north American hunter-gatherer settlement built on the remnants of a vast shopping mall centuries after Earth has been abandoned by the ruling elite. The climate is frozen for large parts of the year and the growing of harvesting of timber occupies much of the time for the ‘tribe’. This isn’t a dystopian vision: the population functions in harmony with their surroundings until the humans who had abandoned the planet return to ‘harvest’ labour. Dirt Lane Press asked me to develop Archangel as a graphic novel. As a first step I’ll be rewriting the story as a screenplay; the thinking being that will be a format more easily adaptable to the graphic novel format. I’ll let you know how we do!

Listen to a great reading of my story, The Neptune Clock

Over at Read Me A Story Ink, the wonderful site run by booklover, bookseller and reader Robert Topp, there’s a whole searchable treasure-house of short stories for children, each carefully chosen for their quality and readability. The stories are available as printable PDFs, and some also as audio files(all with the full consent of the authors, of course). And I’m very happy to say several of my stories are available there, including a couple which are available both as PDFs and audios featuring Bob’s warm and lively readings. The latest of these is The Neptune Clock, one of my favourite stories, first published quite some years ago in ‘Tales of the Deep’ edited by Paul Collins and Meredith Costain, and since published another couple of times. And now you can listen to it at Read Me A Story Ink! Catch it here.

An interview with author Marina Osipova

Today, I’m delighted to bring you an interview with award-winning historical fiction author Marina Osipova, whose first novel,The Cruel Romance, I read last year and loved. With its elegant writing, deeply evocative setting in wartime Russia, richly-drawn characters and tragic yet affirming story, it is an accomplished and memorable work. Marina has just released her second novel, How Dare the Birds Sing, and to celebrate I asked her a few questions about the book and her writing in general.

First of all, Marina, congratulations on the publication of How Dare the Birds Sing! It looks fantastic–I’ve just bought a copy and can’t wait to read it. Can you tell us about the novel and what inspired it?

Thank you, Sophie, for buying my book and for your readiness to allocate time in your extremely tight schedule to read it. I hope you’ll find the story interesting.

What inspired me? A difficult question for me to answer. It just happened. I was not yet done with The Cruel Romance when the story of Lyuba started germinating in my mind, or more accurately, in my heart. Unfortunately (you have to see me smile), it happens again and again. How Dare the Birds Sing was not published yet and already three other stories began pressuring me.

What was the road to publication like for this book? And how have readers responded to it so far?

The road to publication was not easy. First, and it was a month of thrilled anticipation, two editors from the Big Five requested The Cruel Romance and the ms of How Dare the Birds Sing for consideration. It was not out of the blue: one of my friends, an amazing author, recommended my work to them. Though they praised my writing and the stories . . . you can anticipate what their verdict was. Then, a small press publishing company from the UK expressed interest in How Dare the Birds Sing, but we did not agree on the terms. After spending tons of time researching possible publishers for my book, I chose Draft2Digital. Unfortunately, they help with e-publishing only. So, the process is not over for me. Despite that, I’m glad I decided to self-publish, which offers me more flexibility throughout the process. I like having control over all aspects of my career.

I am very pleased with the readers’ response to my newly published book. And the reviews are great. I’m humbled by praises from readers like: “A riveting WWII novel,” “A truly fascinating tale,” “The writing is excellent,” “Hard to put down.”

Your earlier novel, the wonderful, bold, memorable and tragic novel, The Cruel Romance, is also set in wartime and about the dreadful effects of war and occupation on people’s lives and potential–in all kinds of ways, including the possibility–or impossibility–of love in such circumstances. What draws you to tell these stories?

I hear this question time and again. It is known that wars are the most dramatic time in the history of humankind and WWII was the most brutal of them, full of universal and single-person drama. That’s what readers expect from fiction books—drama, right? Why WWII? I think, as a Russian, I inherited the horror and memory of that time. It’s in my blood. Besides, in the Soviet Union, preservation of the memory about the heroism of its people was a part of the broad propaganda. I, though, would call it nurturing patriotism and am thankful that the official policy of the state was to instill in the youth the feeling of respect and appreciation for what the prior generation sacrificed to preserve our life as an independent nation.

There is another reason for me to write about the Great Patriotic War: Thanks to The Nightingale, Lilac Girls, The Indigo Rebels, and other brilliant books, the stories of European women in their fight against the occupation of their countries has become broadly familiar. I believe ordinary Russian women who had to endure four years of Nazi invasion deserve the same.

Telling stories of unsung heroines is my humble tribute to the women who worked on the home front producing armaments, like Serafima from The Cruel Romance, or who were fighters on the front or partisans, like my heroine Lyuba from How Dare the Birds Sing who, after being captured by Germans, was subjected to slavery in the Nazi labor camp as hundreds of thousands of others were.

As a writer of Russian origin, you are no doubt influenced by the extraordinary literary heritage of your native country—how would you characterise that influence in your own work?

The influence was and is enormous. Starting with Alexandr Pushkin, Leo Tolstoy, and Fyodor Dostoevsky, Aleksandr Ostrovsky and Ivan Turgenev, Anton Chekhov and Maxim Gorki and the writers who wrote about the Great Patriotic War, like Aleksandr Solzhenitsyn, Vasily Grossman, Lev Kopelev, Konstantin Simonov, Yuri Bondarev, to name a few, all of whom shaped (and continue shaping) me as a writer with their brilliant ability to look beyond the time and human psyche.

You have also lived around the world, both as you were growing up, and as an adult–how do you feel that cosmopolitan experience has influenced your work?

This is another highly interesting question of yours, Sophie. Living abroad gave me not only the factual knowledge and experience of different cultures and political systems but also the feeling of how much unites us—the same everyday problems, the same sources of joy and love. But most importantly what influences my work is that I can feel for both protagonists and antagonists in my stories. As one reviewer of The Cruel Romance said, “There are no good liberators or bad invaders—there are good and bad people.” This is my credo as a writer—no prejudices.

Did you always want to be a writer, even as a child? And how did you get started on your writing career?

To be a writer? No, as a child I wanted to be a doctor, maybe because my dolls didn’t object to my sticking them with needles; then a fisherman (that is a fisherwoman)—I lived with my parents on the Volga River then—later, an operetta singer-dancer (without having any ear for music at all although I endured three years in a music school); then my small child’s interest in learning German and the love of this language overwhelmed all my other numerous interests and I decided my future profession must be related to anything that would involve the German language. And it did until I immigrated to the United States in 2001. That’s when I started writing (first, some flash fiction). My English language teacher, who I fed a story to every week, was impressed and suggested I “must publish” them. I published my first book in 2016.

You have won many awards for your writing–can you tell us more about them?

Yes, to my delight, my first submissions to literary contests, most of them to Romance Writers of America, were well received. Every one of them, big or small, are dear to my author’s heart. The list of them can be found on my website, www.marina-osipova.com.

But I’d like to tell you briefly about one in particular. It was my very first manuscript, which title had undergone several transformations from Margarita and her Master to Ark of Hypocrites to Garden of Weeds. I sent it to Pacific Northwest Writers Association literary contest and, surprisingly, happened to find myself among the finalists in the mainstream category. At the conference in Seattle, in the huge hall during the announcement of the winners, the chair asked the finalist to rise to their feet one category after another. Mine was the very last. Eight finalists stood up. The chair congratulated us and offered us our seats again but immediately changed her mind. “Wait, get up again.” We stood up. “All men and only one woman among the finalists!” I remember she sounded incredulous. When my category came up, I held my breath. Then, “And the first-place award goes to Marina Osipova.” Later, another finalist told me I exclaimed loudly.

What’s coming next? What new projects are you working on?

There are so many stories I want to tell! After my WIP, which is the sequel to How Dare the Birds Sing with the working title, I’ve Got to Know Who I Am, there will be a third book, and I already have a clear idea about another story outside of the series.

Thank you, Sophie, for inviting me to participate in your interview. A big honor for me. I can’t help but express my admiration of you as a brilliant writer and a wonderful person who helps other writers achieve their goal—to be a good author. Congratulations on your astounding and well-deserved achievement, the Order of Australia for services to literature.

 

‘Going over to the other side’ available on open access now

For anyone interested, my book chapter, ‘Going over to the other side-the new breed of author publishers’ which was published in the book ‘Publishing Means Business’ (Monash University Publishing, 2017) is now available through Monash on open access.

The rest of the book is also available, see here. You might also be interested to know that Chapter Two, by Dr Jan Zwar, explores some of the research findings from my 2014 book, The Adaptable Author. 

 

 

Small but beautiful: the myriad possibilities of folk and fairy tales

Today I thought I’d republish an updated piece that  I originally wrote for a presentation a couple of years ago, and which focusses on my love of folk and fairy tales, as a child reader, an adult writer, and a new small publisher!

Small but Beautiful: The Myriad Possibilities of Folk and Fairy Tale

By Sophie Masson

Three is a powerful number in fairy tale and folklore. And so in this piece I’m using it as a motif, to speak to you in three guises: as a young reader, an adult writer and a new publisher.

Once upon a time…

As a child, at my grandmother’s Toulouse apartment.

I dearly loved fairy and folk tales as a child. I was very lucky in that my very first literary mentors were oral, in fact, the very tradition fairy tale comes from: for I was told stories from a very early age. First by my paternal grandmother in Toulouse: as a baby, after I got very sick in Indonesia, where I was born and my parents were working, my parents took me back to France and left me with Mamizou(Marie-Louise), my glamorous, kind grandmother, and my two lovely, and lively, aunts, dark-haired Betty and blond Genevieve.  In that fairytale setting of the ancient city of Toulouse, surrounded by stories held in its very stones, I was nurtured on tales of fairies and witches, monsters and heroes, tricksters and innocents. The tales of Perrault and those of Grimm jostled those from local folklore and those from far away: from the beginning, fairy and folk tales from around the world featured in my imagination. Then, after I’d left my grandmother’s home at five years old, with my parents and siblings and we arrived in Australia, the fairy tale tradition continued, for we had so many illustrated books based around tales from across the world, and my father used to make some up for us too, and give his own(sometimes scary!) retellings of famous ones. Our mother also took us to see Disney animations such as Cinderella and Sleeping Beauty and I still love those Disney films–they are made with such delicate, sparkling artistry, they are little gems in themselves. But of course, given my deep background in the original fairy tale, they were never the be-all and end-all for me, just another way of entering into that enchanted world. And the very first book I read by myself in English, at the age of six or so, was a beautifully illustrated Little Golden Book called The Blue Book of Fairy Tales, which included Rapunzel, Beauty and the Beast, and Toads and Diamonds. I found a copy of that book in a garage sale a few years ago—and as soon as I clapped eyes on it, I was instantly transported back to that childhood reading experience! I knew the stories already, having heard them; but to decipher them for myself, in a language that wasn’t my native tongue, added an extra dimension of magic…Later still, I read more collections of fairy and folk tales from all over the world, both in English and French, in gorgeous illustrated editions. I couldn’t get enough of those sorts of stories. They were both consolation and escape; helped me to disappear into enchanted realms when frequent family melodramas made life difficult and painful; but also helped me to make sense of the world on my return. I loved myth and legend too, but in a different way.

Fairy and folk tales are less grand than myth, and less ‘serious’ than legend, but they are, in a way, more approachable. More human. And yet more magical. More geared towards not the great ones of this world, but the little people. They privilege the world of the village, the cottage, the everyday, transformed by luck, wit, kindness, courage…Most of all, they offer possibility: of escape, of justice, of hope. And of course of adventure. People say sometimes that it’s a pity fairy and folk tales are ‘only’ seen these days as suitable for children. While I understand what they mean, I think that it’s a patronising mistake to imply that something ‘only’ for children has no intrinsic value, in itself. Children understand folk and fairy tales, instinctively, without analysis. They understand without articulating it what it is that is so rich and nourishing in these ancient tales. Going from light to dark and all shades in between, managing all emotions from love to hatred, joy to sorrow, dread to excitement, laughter to grief, they are humble yet powerful, full of meaning yet full of adventure, and all in one concise and distilled package, for the tight framework of folk and fairy tale allows the imagination to run free. They also impart extraordinary and complex truths about human life and human nature in ways that are much more potent than if they were expressed baldly. You understand them with your subconscious, with your imagination, well before you are able to articulate them.

Turning the page, to adulthood…

I’ve never lost that love, that instinctive attraction to fairy tales–to me they are both intoxicating and refreshing, they lodge in your bones and your blood and in your dreams. And for a novelist, they are just a gift! As a writer, I love taking fairy tales and myths from around the world and playing around with them, re-inventing them to create fresh and lively new stories which whilst staying true to their essential core. I’ve explored quite a few fairy tales in my books: Aschenputtel(German form of Cinderella) in Moonlight and Ashes; The Scarlet Flower(Russian form of Beauty and the Beast) in Scarlet in the Snow; Rapunzel in The Crystal Heart; Snow White in Hunter’s Moon; Sleeping Beauty in Clementine; Puss in Boots in Carabas; (Tattercoats(English version of Cinderella) in Cold Iron; Breton fairy tales and the Arthurian fairytale of Dame Ragnell in In Hollow Lands; Celtic stories of underwater realms in The Green Prince; and the Russian story, the Tale of Prince Ivan and the firebird in my novel, The Firebird, as well as the Arabian Nights in my four-volume El Jisal series: Snow, Fire, Sword; The Curse of Zohreh; The Tyrant’s Nephew and The Maharajah’s Ghost. I chose each of those tales as inspiration because I felt they each had wonderful paths to explore, characters I could embroider on, magical backgrounds that were enticing…And so it proved to be!

What to me makes traditional fairytales particularly suitable as a basis for modern fantasy fiction is that in themselves they mix both enchantment and pragmatism, the world of the everyday and a realm of pure magic. And it’s all done in such a matter of fact yet also profound way. You can never get to the end of the meanings of fairytale; and the fairytales of a people reveal their essence, their soul, if you like, in a moving yet also funny and beautiful way.

And it’s not just the folk-based fairytales such as the Arabian Nights, Grimm’s collections and Perrault’s that are so inspirational. Original fairytales can also work this way: think of Hans Christian Andersen and Madame Leprince de Beaumont, who wrote Beauty and the Beast, a story which has inspired countless writers, including me with Scarlet in the Snow!

The biggest challenges of basing your original work on such well-known tales is that, of course, people have certain assumptions about the characters and the way the story goes. But though in my fairytale novels,  I keep to the basic inspiration of the tale, it’s my story I’m creating and I make it  very much my vision of the central character, the story arc etc. In fact the challenges are what makes I think the story so good to write as you are constantly open to the unexpected that will transform familiar territory into surprising discovery. In the classic fairytales of course, things just happen–because they do, and that’s the meaning of them in the tale if you like–but in a novel of course you do need to ask, why? who? what if? And so on. And that is exciting. It’s like following a detective trail, burrowing deeper into the heart of the tale, and finding your own new meanings within them.

And finally:

My love for these traditional tales has led me recently into a wonderful new adventure.

In January 2013, working in partnership with two other creator friends in my home town of Armidale in northern NSW, illustrator David Allan and author/artist/designer/dollmaker Fiona McDonald, I became one of the founders of Christmas Press, a new children’s publishing house. Why did we do that? Well, we all love the gorgeous classic picture books that we grew up with, the kind which featured retold traditional stories and beautiful illustrations, opening children–and their families–to a wealth of wonderful tales from around the world, and we felt that such books were now difficult to find. But rather than complain about it, we decided to do something about it–and so Christmas Press was born! And why Christmas Press as a name? Well, we all remembered the special excitement of getting those beautiful books under the Christmas tree. But our founding motto, ‘Books to cherish every day’, also tells you that these books are certainly not just for special occasions!

Though our first title Two Trickster Tales from Russia featured my retelling of two fabulous Russian folktales, David’s illustrations and Fiona’s design, we only started with our own work as we knew we were taking a risk dipping a toe into the publishing water at all, and it was better to take that risk with our own work than gamble with someone else’s!  The first book was certainly a lot of work and a very steep learning curve. But it was great to work through the process, first of concept, then layout, then design, over many lively working meetings. The printing costs for the first print run were partly funded by an Indiegogo crowdfunding campaign, which received fantastic support from fellow authors, illustrators, librarians, teachers, readers, booksellers—and even other publishers!

Since then, we have published seven other books in the ‘Two Tales’ series. The wonderful authors who have worked with us to create these retellings of classic stories include Ursula Dubosarsky, Kate Forsyth, Duncan Ball, John Heffernan, Adele Geras, Margrete Lamond, and Gabrielle Wang. We were thrilled that they enjoyed working with us, and that they didn’t mind that as a tiny press, our advances are very small—though we pay standard royalties. The opportunity to work in an area they really love but find difficult to interest big publishers in, was often mentioned as a great drawcard by authors. A big plus for us in attracting such talented and well-known creators!

Though most of our illustrations for the Two Tales series were done inhouse by David or Fiona, we also worked with other emerging illustrators: Kate Durack, whose powerful work illustrates John Heffernan’s magisterial retellings of Mesopotamian tales; and Ingrid Kallick, whose magical pictures illustrate Margrete Lamond’s engaging retellings of Norwegian tales.

In just five short years, Christmas Press has acquired a reputation for beauty, fun and high quality, with excellent reviews in national publications, shortlistings for awards, international sales, and even a mention for one of our titles, Kate Forsyth and Fiona McDonald’s beautiful Two Selkie Stories from Scotland, in the most recent edition of the very prestigious Oxford Companion to Fairy Tales.

Christmas Press also publishes anthologies of original Christmas-themed stories, poems and illustrations, and in 2016 we debuted two new imprints: Second Look, for republications in print on demand form of out of print titles by well-known Australian children’s author; and Eagle Books, which concentrates on adventure fiction for readers 11 and up, whose launch title, also in 2016, was the first translation in over a hundred years of Jules Verne’s great classic adventure novel, Mikhail Strogoff, and was followed by, to date, two other fabulous adventure novels by contemporary authors, with more to come.

But although, after eight titles published in the Two Tales series, we have decided to concentrate on other types of books, we are immensely proud to have helped to bring these small but beautiful tales to a new generation of readers. That is truly something to celebrate!

www.christmaspresspicturebooks.com

 

Ho, ho, Hippo–an interview with Hazel Edwards

Today, I have the great pleasure of presenting an interview I did recently with Hazel Edwards, to celebrate the publication of a very special picture book: Ho! Ho! Ho! There’s A Hippopotamus On Our Roof Eating Christmas Cake. It’s the seventh and final title in the well-loved Hippo series, written by Hazel and illustrated by Deborah Niland, which since the publication of the very first Hippo book in 1980 has been a firm favourite with families all over Australia–and well beyond (even royal families, as you’ll find out!)

This book’s as warmly and engagingly written as ever, with the familiar charm of the bold, colourful illustrations and a sparkly Christmassy feel as well. You can also get an activity pack which includes all sorts of fun Christmas activities–and cookie cutters, including one in the shape of Hippo of course, to make gingerbread biscuits just like the little boy does with his grandmother in the book. Indeed, Hazel’s dedication in the book is to her grandson Henry, the third generation to make friends with Hippo, as she explains in the interview. Read on!

First of all, Hazel, congratulations to you and Deborah Niland on the publication of Ho ho ho, there’s a hippopotamus on our roof eating Christmas Cake! It’s the seventh and final book in the much-loved Hippo series which have enchanted generations of children and their parents. Can you tell us a bit about how this new book came about?

Extract from Santa Skylight gift book page

 Grandson Henry Garnet  ( to whom “Ho! Ho! Ho !…is dedicated) inspired this hippo story. Henry had just moved with his parents and big brother to an older house which has two chimneys. He was concerned that his grandparents’ house had only skylights, and the lack of chimneys would mean Santa might miss us on Christmas Eve.  Since I write a story gift of the imagination for him each Christmas, that became his photographic story, with his older brother suggesting a webcam and GPS to redirect Santa.

As with many picture books, the story was later ‘tweaked’  but is still about the logic of fantasy, especially when you have a ‘fantastic’ hippo and a Santa who might co-exist on a roof. And I especially wanted Hippo to strut a cake-walk on the roof , which later became a dance and carols by cake-light. So all ideas are moderated in the creation of a picture book like ‘Ho! Ho! Ho!…’

The hippo biscuit cutters have attracted the attention of reviewers , who are avidly baking gingerbread hippo biscuits.  I feel a bit of a fraud as I’m not a great cook, but the grandkids and I will make hippo biscuits this weekend.

I wanted the emphasis to be upon the ‘giving’ of creativity at Christmas, not a ‘gimme presents’ attitude.  So within the text and illustrations are many ideas which readers and families can create for themselves.

Hazel’s grandson Henry reading Ho Ho

Instead of a ‘launch’, readers are making the other ideas Deborah Niland has hinted at in the visuals.  And hopefully next year will be the touring musical again with Garry Ginivan productions. Last year’s  national ‘Hippo Hippo the Musical’ inspired from the books, was one of the most satisfying aspects for me of this history of the imagination. To sit in the audience with enthralled children who were the third generation of the original readers of the 1980 edition was special.

And they were all reacting to the hippo character on stage as if he were part of their own imaginative world.

Lovely as it is to see a new Hippo book out, it must also feel rather poignant for you and Deborah, as this is to be the last. Tell us a bit about the journey of Hippo, from the start to now. Where did the idea for Hippo originally come from? Did you imagine 38 years ago that Hippo would capture the hearts and imaginations of so many people? And why do you think young readers take so warmly to Hippo?

 Originally our new roof leaked and our then 4 year old thought the workmen fixing it were the cake-eating hippo thumping around.  Now the nephew of the original 4 year old has been concerned about the same roof: only this time , the skylights being a Santa -barrier is the worry.

The original ‘Hippo’ trio in 1978 when Hazel first wrote the story: Kim (Henry’s mother) Lani (neighbour) & Trevelyan (Henry’s uncle)

Because the big friend has all the answers, especially when you are doing something for the first time and are apprehensive, the hippo books are reassuring. Situations like starting school, going to hospital or acquiring a new baby in the family are easily identifiable.  Christmas is also shown as a time of family sharing of traditions and is Australian, rather than snow laden.

I remember you saying in an interview that for the anniversary edition of the first Hippo book (There’s A Hippopotamus on Our Roof Eating Cake) you chose to tweak a couple of things in the text. Can you talk a little about that? And how has the reception of the Hippo books changed over time?

 Food is the sex of children’s books, so the sensual delight of adding a themed food to a book for literary events is on-going.

Most readers enjoy the absurdity of juxtaposing cake with hippos who are actually bad tempered in real life, not cute and cuddly. But across the years I’ve had requests  to make the cake gluten –free or a healthier alternative like celery sticks. Real hippos do eat carrots, so I’ve suggested carrot cake as a compromise, but generally the cake is a chocolate mud one which is apt for muddy hippos. Or even just roof tiles, which are easier to design than the challenging hippo cake shape.

The original ‘smack’ was edited out at the publisher’s suggestion but many readers, especially young dads had firm views on retaining the original wording as a point for discussion with their families. I tend to agree that stories should remain in the cultural context in which they were written and that readers are intelligent enough to discuss interpretations. I do NOT favour child abuse, but ‘smacking is a highly emotive issue for some parents. The publishers changed the wording to ‘Daddy growled’…so earlier editions are now collector items.

Picture books are of course always a collaboration between words and pictures, author and illustrator. Can you tell us a bit about your own collaboration with Deborah Niland over the years?

We live in different states.  Deborah adds her visual interpretations to the text and I’m always willing to change the wording if the picture already conveys the concept. But I keep the rhythm of the reading. I love the ‘joyous’ aspect of the ‘Ho! Ho! Ho!…’ illustrations due to Deborah Niland’s ability to draw so appropriately for this age group. But it’s also a book which can be shared within families and many nostalgic readers love collecting copies, even if they are no longer children.

Hippo has become a classic figure in Australian children’s literature. What are your favourite anecdotes about how readers from 1980 to 2018 have responded to him?

Literary Speed Dating in my memoir ‘Not Just a Piece of Cake; Being an Author’ is where the hippo (via Hazel) answers fan questions  in character.There’s also 100 things which have happened in the history of the cake-eating hippo friend.  Readers’ responses are often poignant. And some children with health issues have responded to the books, using them as a kind of therapy, that if the hippo can cope, so can they.  A book can offer reassurance that others survive, just like the young person in the original book (whose family has grown across the decades) but who is sort of in charge, with the help of hippo.

Here are a dozen memories:

  1. Knock at my front door. Small child. ‘Excuse me. Is this the house where the hippo lives on the roof?’ Answer. ‘Have a look.’
  2. Danish Palace note of thanks (with gold crown) from Princess Mary for autographed Hippo book Australia Government sent as official gift of the imagination for the birth of her daughter.
  3. Fan letter addressed to: The Hippo, Blackburn South, and delivered in person to author by the smiling mailman.
  4. Principal, an ex rugby player, accepted challenge to eat cake on school roof, in hippo costume, and read the book aloud if his students surpassed their reading quotas. They did. And despite being scared of heights, he kept his promise.
  5. Hippopotamuseum created by gifted educator to demonstrate physics principles e.g. falling, related to Hippo character.
  6. Rural prep mother who could not read, but wanted ‘Another easy book like Hippo which I’m learning to read with my 5 year old.’ Brave woman to ask in front of other parents.
  7. Parent’s letter from children’s hospital, thanking for the reassurance of ‘ Hippo on the Hospital Roof’ read in casualty waiting room and in ambulance en route.
  8. In Nepali Montessori School, in Kathmandu reading through interpreter, with hippo music and dancing, and Himalayan mountains as a backdrop.
  9. Feelix suitcase of book and stimulus for blind pre-schoolers. Also had hippo cake tins, an audio and Braille copy. Helped name Feelix project. Felix means happy and ‘feel’ related to the textures felt by blind children.
  10. Collage of memorable fan letters touring as ‘Corridors of Characters’ with Hippo responses by ghost-writer Hazel exhibited at the former Fremantle Maximum Security Jail.
  11. ‘Us mob like your stories. We laugh at the funny bits.’ from an online webchat with a remote outback school.
  12. After a literary festival, the over-loved hippo needed cleaning. Dry cleaners wouldn’t touch it because the head had paper inside. Too big to fit in washing machines, hippo had to be ‘emptied’ of the filling of polystyrene balls and the ‘skin’ washed by hand in baby soap flakes. Experts advised removing the filling either in the carpark or in the bath. …I found out why. The polystyrene balls went everywhere, even clung to our underwear. I handwashed ‘skinny’ hippo in our bath and a visitor freaked on opening the bathroom door to discover hippo hanging from the shower, to dry.

One of the most heart warming aspects of being a long term children’s author is having a three generational readership. ‘Ho!Ho!Ho! There’s a Hippopotamus on our Roof Eating Christmas Cake’ is being shared by the grandparent generation too. And I also have grandchildren who are reading books inspired by their parents when children. And even learning to read from Hippo books.

Henry Facetime-reading with Hazel

Another special moment with grandson Henry was when I gave him the advance copy and he read it through with expression. Earlier we used to read on Facetime each night, (he taught me Facetime and I helped with his reading) but he always chose the books we shared.

The first Hippo book was adapted for a musical recently--what was it like, experiencing your characters on the stage? And will Hippo pop up in other adaptations, whether for stage or screen?

While children’s theatre is my greatest love, I’d like the cake –eating hippo to have his own television program. In that way he could reach more children and also encourage them to pick up the books too. Although there have been translations into Mandarin, Japanese and other languages, the one I value most is the Braille translation in Vision Australia’s ‘Feelix project’ for children who are sight impaired.

Hazel at a performance of ‘Hippo! Hippo!’ the Musical

Note from Sophie: As Hazel’s publisher Penguin Random House kindly sent me the Hippo cookie cutters with a review copy of the book, I had a go at making some biscuits myself, as a trial run for the visit of certain special little people who are coming to see us in a couple of weeks’ time! I didn’t make gingerbread biscuits as I’m not keen on gingerbread., instead making a vanilla butter biscuit mixture which has a similar consistency and is easy to shape and cut out. Here, below, is the result–the biscuits just made, before they went into the oven, and the final, brightly decorated product with some bonus stars! Fun to make and taste pretty nice too–and I know some little people who will love making them too 🙂

 

 

 

 

 

 

 

 

 

More about Hazel Edwards:

Hazel Edwards writes quirky, thought-provoking fiction and fact for adults and children. Coping successfully with being different is a common theme. Co-written ‘junior novel ‘Hijabi Girl’ and YA novel ‘f2m;the boy within’ explore cultural diversity.

Best known for ‘There’s a Hippopotamus on Our Roof Eating Cake’ series, recently touring as a musical, Hazel has grandkids for whom she writes a story each birthday. ‘Outback Ferals’ her YA novel set in Darwin, is a sequel to ‘Antarctica’s Frozen Chosen’, researched during her 2001 Antarctic expedition.

Hazel runs book-linked workshops on ‘Authorpreneurship’ and ‘Writing a Non Boring Family History’.

’Trail Magic; Going Walkabout for 2184 Miles on the Appalachian Trail ’ with her son Trevelyan is an adventure memoir. He did ALL the walking.

A National Reading Ambassador, in 2013 Hazel was awarded an OAM for Literature. Her memoir ‘Not Just a Piece of Cake-Being an Author’ explores long-term creativity.

‘Celebrant Sleuth;I do or die’ an adult mystery with an asexual sleuth is her latest fiction and ‘Almost a Crime’ , short crimelettes are available on Kindle.

Hazel’s website is here.

You can find her on Facebook here.