Looking forward to the HNSA Conference!

I’m really looking forward to the 2019 Historical Novel Society of Australasia Conference, which this year will be held in Sydney, 25-27 October.

I’m delighted to have been asked not only to be a presenter and judge of the short story prize, but also Conference Patron. 

With a theme of ‘History Repeats’, and a packed program full of interesting panels, great workshops and masterclasses, pitching sessions and more, this promises to be absolutely fantastic for anyone interested in historical fiction.

Early bird registrations are open now, so head on over and have a look!

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The Hollow Bones : an interview with Leah Kaminsky

Today I’m delighted to bring you an interview with Leah Kaminsky. Leah is an award-winning Australian writer whose published work includes fiction, non-fiction and poetry. Her second novel, The Hollow Bones, has just come out with Penguin Random House Australia. Set just before World War Two, The Hollow Bones tells an extraordinary, gripping story of obsession and ambition, recreating a bizarre SS-sponsored expedition made by German scientists to Tibet, aimed at proving the Himalayan origins of the ‘Aryan race’. With its beautiful evocations of nature and complexity of characterisation juxtaposed with chilling depictions of Nazi racism and lunatic ideas in action, this is a potent novel which explores many disturbing themes, with a light yet deep touch.

First of all, Leah, congratulations on the publication of The Hollow Bones! It’s an amazing and memorable novel and must have taken a great deal of work. Can you tell us something about its genesis, and how you went about researching the background of the novel?

Thanks for those kind words, Sophie. It really has been an interesting journey researching and writing THE HOLLOW BONES over the last 3-4 years. I first came across the material that sparked the idea behind the book while researching my last novel, THE WAITING ROOM, in which I touched on the critical role physicians played in the Third Reich during WWII. As a doctor myself, I have always been fascinated by the beauty of science, so I was gobsmacked when I stumbled across World Ice Theory, or Welteislehre, a pseudoscientific idea postulated by a steam train engineer, Hanns Hörbinger, that became the platform of the Reich in the 1930s, embraced by the German populace as well as high ranking politicians such as Himmler and Hitler. The Nazis banned the teaching of Einstein’s Theory of Relativity on the basis that it was considered ‘Jewish science’. The ice crystal became known as the building block of the universe, based on a bogus belief that the sun was the only star in the sky. Hörbinger postulated that an icy moon crashed to earth thousands of years ago, destroying the civilisation of Atlantis, which lay buried under the Himalayas. I was fascinated and horrified to learn of a German expedition to Tibet of a group of SS scientists, sponsored by Himmler himself, sought to uncover the true origins of the Nordic Aryan race amongst the Tibetan peoples. This little-known story of their leader, 26- year-old zoologist Ernst Schäfer, drew me in as I tried to imagine what sort of man would go to such lengths in the pursuit of academic success and admiration of his peers.

Main character Ernst Schäfer is a complex person—a lover of nature and a ruthless hunter, a man who can show a kind of tenderness towards people like his wife’s disabled sister Margarete, yet whose cold ambition leads him to appalling acts; a man of science who dissents privately about the ridiculous ‘scientific’ theories of the Nazis yet who is quite prepared to serve the regime for his own benefit. Tells us something about how you created his character.

I wanted to look at the complexity of someone growing up in pre-War Germany, and the inherent moral choices confronting individuals as they witnessed the dramatic changes taking place around them. Ernst Schäfer, a forgotten character in history, spent most afternoons of his childhood exploring the forest of Thuringia which lay on the edge of his tiny village. Early on, he became a keen collector and hunter, filling his room with a menagerie of creatures. I was interested to see how this childhood innocence and passion for nature could go so terribly wrong. I read widely, looking at the history of the Third Reich and the SS through personal stories. I painstakingly translated Schäfer’s books, field diaries and letters from the original German, my research taking me to dark places I have always been fearful of exploring. As the daughter of a Holocaust survivor, I went way past my comfort zone in an attempt to examine what leads a man to tread the treacherous terrain of moral compromise. I trawled the archives of the Academy of Natural Sciences in Philadelphia, finding photos, documents and even detailed equipment lists and invoices for Schafer’s earlier expeditions to Tibet.

‘Science is pure and elegant in itself, not a pony to be ridden around a circus ring,’ Ernst tells a scoffing Bruno, a fellow researcher and member of the expedition, at one point. Yet despite this lofty private attitude, Ernst publicly kowtows to Nazi pseudoscience to further his own obsessions and ambitions. It’s a perfect example of what happens when the line between science and politics is blurred too far. Can you expand on that?

Yes. I think that’s what struck me so much about these little-known events. Even though it all happened in pre-war Germany and Tibet, it is so relevant today. The story of the corruption that occurs when science and politics become bedfellows is still palpable today, with contemporary debates raging around climate change and sustainability, as well as animal rights. 

The juxtaposition between Nazi Germany and traditional Tibet is very striking: how did you go about evoking those very different settings and atmosphere?

I initially applied for funding that might enable me to travel to Berlin and Tibet to help with research. When the funding didn’t come through I thought I might need to drop the project. Then I remembered the words of my dear, late friend, the painter Yosl Bergner, who told me he could never visit the places he painted as it would ruin his imagined vision of them. I realised then that the places I was writing about no longer existed – their histories couldn’t be suspended in time. So, I set about visiting Tibet and Germany of the 1930s through books, photos and old film recordings, in a kind of virtual tour of the imagination. This brought my settings to life for me. In a strange way, I think literature lets you visit places that no longer exist. I think visiting modern-day Tibet and Germany may have spoilt my initial vision.

The passages featuring the enigmatic and touching figure of Panda, taken from Wild to be in the Glass country, lend a touch of whimsical fantasy which nevertheless has a serious purpose. Can you tell us something about that?

I visited the library at Academy of Natural Sciences in Philadelphia while I was on my US book tour for The Waiting Room. While I was there, I walked around the dioramas and was shown through the archives and storage in the basement. I came across a four-month-old taxidermied panda that Ernst Schäfer had shot on one of his earlier joint American-German expeditions to Tibet. I felt so sad learning about the background to how this panda ended up at the museum. Several months later, I was at Varuna, the Writer’s House, on a fellowship I was awarded by the wonderful magazine Griffith Review. The tiny voice of Panda insisted on being heard. I tried to ignore it at first, thinking it was a bit strange to have a stuffed animal’s POV I the book, but it took over and became the beating heart of the novel.

Most of the characters in the novel are based on real historical figures—not only Ernst, his team, and his wife Herta, but also major Nazi leaders of the most monstrous kind. What kinds of challenges did you find in recreating encounters such as those Ernst has with Himmler and Göring?

The biggest challenge really was to find the voice of Schäfer’s first wife, Herta. I found so much information about all the other real-life characters, which enabled me to inhabit them relatively easily. I was very aware of not wanting to make them caricatures – they needed to mirror my protagonist, Ernst Schäfer. Herta was the only one who seemed to have disappeared entirely from history. This was in reality a gift, because it allowed me to imagine who she might have been – a woman with a moral conscience living inside an ideological nightmare, watching the man she loved make choices she disagreed with. She and Panda are the only true fictional characters in the book, and also play the role of moral commentators, checking the emotional temperature of those around them.

Many prominent Nazis, especially but not only Himmler, were greatly influenced by fringe and occult elements: by esoteric mish-mash philosophers, quack anthropologists, amateur mythologists, self-proclaimed psychics and mystics and so on, as well as pseudo-scientists. How did you research this aspect of the regime, and how do you think this occult attraction fed into their racist, supremacist ideology?

Reading about the wackiness of all these pseudoscientific and occult beliefs, held by leaders such as Himmler and Hitler, sometimes had me laughing out loud. Until, that is, I began to understand the powerful impact these ideas had on the Reich’s platform which upheld expansionism, racist ideology, genocide, as well as forced sterilisation and involuntary euthanasia of those with mental health issues and disabilities. The Ahnenerbe, or Ancestral heritage organisation, established in 1935 under the auspices of Himmler as an offshoot of the SS, was dedicated to proving that Germans were direct descendants of the Nordic Aryan race, which fed directly into Nazi ideology and its gruesome results. The existence of a school that trained dogs to ‘talk’ and tap out the alphabet, so they could participate in espionage for the gestapo, sounds like something straight out of a comedy, but Hitler took all this very seriously. The slippery slope of #fakefacts into popular belief is especially evident today.

The Nazis became, at least in the West, an image of pure evil, an aberrant and alien phenomenon. That image could distract from the reality of what happened—and make people complacent. And sometimes was evoked inappropriately, lessening the impact of that reality. Today, as the generations to actually go through that period die and revisionists attempt to re-interpretations, how do you think society can guard against the threat of forgetfulness? Can we really learn from the past?

I don’t believe in the concept of pure good and pure evil. The most dangerous state to my mind is complacency and indifference. I think we are doomed to repeat history if we don’t learn from it. It frightens me that recent surveys show that 5% of people in the UK are outright Holocaust deniers. In the US, 65% of millennials and 41% of the general population have never heard of Auschwitz. I think education is the key to understanding our differences and engendering tolerance and compassion. And of course, as a writer, I believe in the power of literature to change people’s lives. The Nazis understood the power of the written word, so much so that they burnt books that didn’t fit their twisted world view.

 

Visit Leah’s website here.

Follow her on Facebook.

And on Twitter.

 

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.

 

Cover reveal for Black Wings, my adult historical novel

I am thrilled to reveal the beautiful cover of Black Wings, my adult historical novel which will be published in October by The Greystones Press in the UK. Can’t wait! Here’s the basic blurb(there will also be a fabulous cover quote by the lovely Kate Forsyth, which will be revealed later!)

It’s 1788 in the Vendée in western France, and change is in the air. Reform 
is being talked of in the great world beyond, in Paris, and even the peaceful village inhabited by Jacques Verdun and his friends – aristocratic painter Edmond de Bellegarde, his beautiful cousin Flora, and young farmer Pierre Bardon – seems touched by new possibilities. But as events both in Paris and in the local community start to gather pace, as revolution breaks out and the traditions of centuries start to break down, friendships will be severely tested in the most unexpected of ways. And when pitiless civil war comes, who will be left to testify to old feelings, and old loyalties? 

 

Writing about World War One…

Today, April 25, is Anzac Day, and the hundredth anniversary of the battle at Villers Brettoneux in northern France on 25 April 1918, where Australian regiments were instrumental in helping to secure the liberation of that area of France. As someone brought up between Australia and France, it’s made me reflect not only on the joint experiences of French and Australian troops and civilians in that terrible war, but also on how difficult it is to try and convey, as a writer, something about those experiences, especially when you are writing for children.

Until a few years ago, I never expected to write about World War One. In both France and Australia, as a child I’d seen, in churches and memorials, the staggeringly long rollcalls of the dead in World War One; a war that seemed not only horrible and tragic but absolutely incomprehensible. World War Two seemed more understandable by comparison, in part because my parents were children during the German occupation of France. I could imagine myself writing about World War Two (though I didn’t, in fact until very recently) ) but not World War One. Partly, perhaps it was because in Australia, Gallipoli loomed large, of course, and I did not feel able to write about it, but also could hardly begin to understand, let alone depict, the ghastly long years of trench warfare on the Western Front.

What changed that was, first, a brief visit many years ago to the heartbreakingly big and neat Commonwealth war cemetery just outside Villers-Brettoneux. In the back of my mind, a seed was being planted–and years later, in 2010, it sprouted, inspired by a longer visit–a stay of a few days, in fact, in the pretty, and war-haunted, cathedral city of Amiens and the countryside beyond. Being on the spot, in the quiet streets of the city and the green and pleasant Somme countryside which yet saw so many deaths, looking at memorials and the French Australian museum’s collections of touching photographs of both Australian and French soldiers and the local civilian population, made me change my mind. And also I read about the last year of the war–the way in which in 1918, trench warfare, at least in northern France, gave way not to the pitched open battles of the very beginning of the war, but to a more ‘guerrilla’ style campaign, on both sides, with ambushes and surprise attacks and street-by-street battles in devastated villages. I began to see how I could perhaps tell a story, through the eyes of a young French-Australian character .

So that’s how my first World War One novel, My Father’s War(Scholastic Australia 2011), began. Set in 1918, it is told in the voice of eleven year old Annie, whose Australian soldier father, fighting on the Somme, goes missing, and who goes with her French mother to Amiens to try and find him. Through Annie’s diary unfolds the story of that last year in the war and the experiences of both soldiers and civilians in northern France. It was a story that both flowed naturally from having been in the areas I was writing about and being immersed in pictures and documents of the time, but was also very hard to write. This was a work of fiction so it had to work as an engaging story, especially given the age of my readers, but I also felt a great responsibility to tell it in a way that would not trivialise or falsify. It was a very delicate balance to strike and at times felt almost impossible(and saddening; I found myself weeping several times over scenes) but in the end it worked. Or at least, readers seem to think so–seven years after its release, it is still finding its way into libraries, schools, and homes.

Writing My Father’s War had made me see I could tell a story set in that time. Three years later, my second World War One novel was published. This was 1914 (Scholastic Australia 2014), which from the point of view of Louis Jullian, teenage son of a French diplomat and his Australian wife, told the story of the beginning of that ‘war to end all wars’. It was a very different book, because it was set in a very different time to that of My Father’s War. In 1918, four years of dreadful stalemate and horrendous slaughter had changed the face of Europe, destroying the old order forever.  In 1914, the old order was still there, sleepwalking towards disaster, and even by the end of that year, people imagined that the war might soon be over and things go back to what they’d been before. And my characters might both be French Australian, but they came from very different backgrounds and experiences. Annie had a difficult childhood dominated by war and her father’s absence; Louis, whose childhood was cosmopolitan and carefree, was coming of age at a time when everything would be thrown into question by a conflict that would engulf the world and truth itself. It was just as hard to write this novel as the first; harder even in a way, precisely because it was the beginning: reading about the causes of the war and the chain of events in those fateful few weeks from June 28 1914, when the Archduke Franz Ferdinand was assassinated in Sarajevo, you get a sense both of the so-called ‘inevitability’ of the war but also the fact that it need not have been so. There were times when the momentum could have been halted–but it was not. I chose to tell that story, and the way in which a carefree summer turned into a deadly winter, through Louis’ eyes as he goes from helpless witness of the attack in Sarajevo to scarred and determined young war correspondent on both the Western and Eastern fronts.

Both the novels have had unexpected offshoots: minor characters from My Father’s War inspired a short story of mine, The Other Anzac Day (set during the battle in Villers Brettoneux on 25 April 1918) which was published in a UK collection, Stories of World War One, edited by Tony Bradman(Orchard Books, UK, 2014). This story, told in the voice of Archie, a tough but troubled young Australian soldier, both echoes and contrasts with Annie’s own view of that ‘other Anzac Day’ in My Father’s War. And Louis’ daughter as well as the son of one of his pre-war Austrian friends will be featuring in a novel I’ve been writing, set at the beginning of World War 2 this time, to appear in 2019. In the novel, the experiences of World War One, which transformed the lives of Louis and his friends, haunt the lives of their families too–and of course, by extension, their communities and nations, as the drums of war beat yet again.

 

More about My Father’s War and 1914:

My Father’s War

By Sophie Masson

(My Australian Story, Scholastic Australia 2011)

ISBN 9781741698282

It scares me a lot, thinking of Dad out there, far away in that dangerous, terrible place, wondering how it will be when he comes back-if he comes back, that is . . .

Annie’s dad has been away for two years, fighting on the Somme battlefields in northern France. For months there has been no word from him, no letters or postcards. Annie and her mother are sick with worry, so they decide to stop waiting-and instead travel to France, to try to find out what has happened to him. There she experiences first-hand what war is like, as she tries to piece together the clues behind her dad’s disappearance. Will Annie ever see her father again?

Teacher’s Notes My Father’s War: http://resource.scholastic.com.au/resourcefiles/8005439_228.pdf

1914

By Sophie Masson

(Australia’s Great War, Scholastic Australia 2014)

ISBN 9781743622476

A small black bottle or a torch came sailing through the air, and landed on the side of the car, close to the Archduke. An instant later came a terrific bang, the road exploded in a shower of dust and stones, and tiny sharp things went flying through the air like angry bees.

In June 1914, Louis and his brother Thomas are enjoying the European summer in a small town near Sarajevo. In the shadow of the assassination of the heir to the Austrian throne, the world erupts into war and Louis’ life changes forever. Old Europe is torn apart and Louis finds himself in the midst of his own battle – and fighting for the truth in war means that sometimes even your own side is against you.

Teacher’s Notes 1914: http://resource.scholastic.com.au/resourcefiles/8284239_24164.pdf

Lisa Bigelow on her debut novel, We That Are Left

Today it is my great pleasure to welcome writer Lisa Bigelow to Feathers of the Firebird as part of her blog tour for her debut novel, We That are Left. Set in World War Two, and inspired by family history, it is a moving portrayal of the impact of war beyond the armed forces. In this guest post, Lisa writes about the lived reality of history.

Keeping history alive

by Lisa Bigelow

Blue willow china, lemon delicious and floral carpet; history isn’t just about war and famous people in funny costumes. History is in the great aunt’s lounge room that you visited as a child, that time capsule of tin toys and steamed puddings and jewellery that held memories of lost loves and departed siblings. Reaching back into those memories brings a treasure trove of detail to a writer’s storytelling.

As a child of the seventies, I was becoming aware of my surroundings just thirty years after the end of the second world war. When you think of thirty years back from now, you land in the mid-nineteen eighties era of shoulder pads and Michael Jackson’s Thriller album. It doesn’t seem so long ago, does it? So it was surprisingly easy to imagine some aspects of houses and shops and streets in Melbourne and out in the country, during the war.

Having lost my grandfather on the HMAS Sydney II in 1941, I personally felt the weight of responsibility to accurately portray events in the story of this tragedy. Only a few facts were blurred such as the timing of Harry’s final shore leave and sighting of the decoy target off WA. Rather than adopting the old journalism maxim, “never let the truth stand in the way of a good story”, I feel that the truth enhanced this story, along with a dusting of period detail to transport readers to their not so distant past.

We That Are Left by Lisa Bigelow is published by Allen & Unwin, RRP $29.99, available now.

More about the book:

Melbourne, 1941. Headstrong young Mae meets and falls head over heels in love with Harry Parker, a dashing naval engineer. After a whirlwind courtship they marry and Mae is heavily pregnant when she hears that Harry has just received his dream posting to HMAS Sydney. Just after Mae becomes a mother, she learns Harry’s ship is missing.

Meanwhile, Grace Fowler is battling prejudice to become a reporter on the afternoon daily newspaper, The Tribune, while waiting for word on whether her journalist boyfriend Phil Taylor, captured during the fall of Singapore, is still alive.

Surrounded by their friends and families, Mae and Grace struggle to keep hope alive in the face of hardship and despair. Then Mae’s neighbour and Grace’s boss Sam Barton tells Mae about a rumour that the Japanese have towed the damaged ship to Singapore and taken the crew prisoner. Mae’s life is changed forever as she focuses her efforts on willing her husband home.

Set in inner Melbourne and rural Victoria, We That Are Left is a moving and haunting novel about love and war, the terrifyingly thin line between happiness and tragedy, and how servicemen and women are not the only lives lost when tragedy strikes during war.

More about the author:

Lisa Bigelow’s life revolves around story-telling. An avid reader from age five, her career as a journalist and communicator has been all building and delivering compelling stories about water resources, climate change and any issue that interests her audiences. She recently completed a Masters Degree in Communication and aims to use her writing to illuminate ongoing issues and make them accessible to a wide readership. We That Are Left is her first novel.

Get in touch with Lisa!

 

Looking forward to the HNSA Conference: interview with Elisabeth Storrs

In just over a month–on September 8–the 2017 Conference of the Historical Novel Society Australasia will be kicking off in Melbourne. And not only do I have the privilege of speaking at the Conference, I also have the honour of being Conference Patron! It’s going to be a great conference, filled with interesting speakers, panels and events, and today I caught up with author Elisabeth Storrs, the program convenor, to tell readers more about it. And, by the way, once you’ve learned what a treat us in store, you can book tickets for the conference here 🙂 

The 2017 HNSA conference is on next month in Melbourne, and there are lots of people–including me!–excitedly waiting for the big day! Elisabeth, can you give a bit of an overview of what to expect at the conference?

Elisabeth Storrs

Over 60 fabulous speakers will celebrate the historical fiction genre, covering eras and events from the Ancient World through to WW2, at the HNSA 2017 Melbourne conference. The programme is divided into three streams. The first will explore the conference theme of Identity: Origins and Diaspora, and also includes interviews with numerous talented authors such as Kerry Greenwood, Kate Forsyth, Deborah Challinor, Lucy Treloar and you! We’re confident that attendees will find inspiration from such ‘personal histories’. For emerging and aspiring writers, the second stream looks at various aspects of the genre together with the craft of researching and writing. The third stream comprises an academic programme discussing Bio-Fiction and ‘The Lie of History’ that is open for general admission.

Hanifa Deen

We are also conducting an extensive suite of workshops with wonderful tutors including Anne Gracie, Isolde Martyn, Lisa Chaplin, Hazel Edwards, Elizabeth Lhuede and Sherryl Clark giving insights into historical romance, pitching, the business of writing, social media and CYA. Kelly Gardiner and Rachel Franks provide practical tuition on tools such as Scrivener and Trove. Sulari Gentill offers tips on historical mystery, and Rachel Nightingale will demonstrate historical costumes. Greg Johnston gives the lowdown on self-publishing – and who can resist Leif the Viking displaying his array of armour? Additionally, Alison Arnold and Irina Dunn are available for 1:1 manuscript assessments while Gillian Polack is conducting 2 masterclasses on making history come to life through research and writing.

Back by popular demand, we’re running the First Pages Pitch Contest again in which ‘first page’ pitches of aspiring authors will be read anonymously by a narrator (Rachel Nightingale) to industry experts (Alison Green, Mandy Brett and you) who will provide a critique of chosen submissions. The session will provide the audience with a chance to learn what attracts the attention of agents and publishers when seeking new historical fiction. And many thanks to Eagle Books for providing the prize of a limited edition of Mikhail Strogoff by Jules Verne and an original 19th century print of Russian life! The ASA is also kindly offering a free associate membership to the winner.

The theme, Identity: Origins and Diaspora, goes right to the heart of many modern as well as historical discussions and controversies. How did the HNSA committee come up with the theme, and how do you think it will be interpreted?

The committee wanted to explore the theme of Identity: Origins and Diaspora as we believe historical fiction plays an important role in informing current generations as to how national identities have been forged by past struggles, injustices, sacrifice, survival, and clash of cultures. Both Australia and New Zealand are multi-cultural societies with a rich history of migrant stories but both countries have also faced the pain of first encounters between first peoples and colonial settlers which require illumination and interrogation. How historical novelists grapple with portraying these meetings provides fertile ground for exploration. The issue of cultural appropriation will also be up for discussion. As such it was important to secure the appearance of speakers who represented a range of perspectives to reflect this. Our round table discussion at our opening reception on 9th September (after our History with a Twist cocktail party!)

Ngahuia te Awekotuku

features Arnold Zable, Hanifa Deen, Ngahuia te Awekotuku and Gary Crew who will discuss the role of the historical novelist in exploring first encounters in Australasian colonial pasts, the migrant experience underlying multicultural identity, and whether an author’s origins are relevant to the story telling.

There’s a packed conference program, and counting tutors and panel chairs as well as speakers, there are more than 70 presenters. How do you go about sourcing people to be presenters?

Our desire was to provide diversity in the conference line-up by including authors from a variety of backgrounds, particularly indigenous speakers. Fortunately, the success of

the inaugural conference in 2015 placed us in a happy position to be able to run two concurrent streams in 2017 to achieve this vision.

Lesley and Tammy Williams

The first stream of the Saturday programme will continue to highlight the theme with keynote addresses from Lesley and Tammy Williams, authors of Not Just Black and White, followed by panels that will discuss the challenges faced in portraying the meeting of First Peoples with Europeans, and how historical novelists can breathe life into immigrant tales. I chose authors who had produced books that directly addressed one or more aspects of the conference theme such as Nicole Alexander, Maxine Alterio and Kim Kelly.

The remainder of the first stream concentrates on introducing readers and writers to the personal histories of the high profile authors I’ve already mentioned. Insights into the secrets of ‘the long haul’ of producing multiple books or series will be provided by Juliet Marillier, Libby Hathorn and Anne Gracie.

Sulari Gentill

The second stream required further difficult decision making. I chose to separate the sessions into three areas: research and technique, sub-genres, and trends in publishing. I matched authors to the topics using criteria such as prominent reputation, favourable reviews, recommendations from HNSA patrons and committee members, and from among members of our HNSA Facebook group. Again, I hoped to achieve diversity in the panels. And my aim was to present authors who wrote across a range of eras and cultures while also including a few self-published writers with proven reputations. I was pleased to include more Kiwi authors to ensure a greater representation from New Zealand than in our 2015 conference. The result is a wonderful array of panels covering Historical Mystery (Sulari Gentill, Robert Gott, Meg Keneally, Gary Corby), Historical Romance (Isolde Martyn, Alison Stuart), CYA (Alan Tucker, Pamela Rushby, Gabrielle Wang, Wendy Orr), World War Fiction (Julian Leatherdale, Elise

Robert Gott

McCune, Paddy Richardson, Justin Sheedy), ‘The Outlander Effect’ (Belinda Murrell, Felicity Pulman, Ella Carey) The Modern Voice in Historical Fiction (Kate Mildenhall, Melissa Ashley, Greg Pyers), International Fiction (Robyn Cadwallader, Natasha Lester, Prue Batten), Transmuting Research into Compelling Fiction (Barbara Gaskell Denvil, Wendy J Dunn, Stephanie Smee) and Authenticity vs Truth (Pamela Hart, GS Johnston, Tim Griffiths, Kathryn Gauci). And, of course, the weekend finishes with ‘Outside Your Comfort Zone – Writing Sex and Violence’ with less bashful authors Kate Forsyth, Luke Devenish and Anna Campbell.

Kate Forsyth

I thoroughly enjoyed the first HNSA conference, back in 2015, and so did everyone I’ve spoken to who went there. And and I’m sure this one will be even better! But I know that behind the scenes there is a lot of frantic work. Can you tell us a bit about just what it takes to organise a conference of this size and scope, and how has it changed(if it has!) from 2015 to 2017?

Kelly Gardiner

Organising HNSA 2017 is a labour of love for all the committee members who have volunteered 18 months of their lives to bring the event to fruition. In 2015 we only ran one stream and a couple of workshops. 2017 presents two concurrent streams, 10 workshops, 2 masterclasses, 20 manuscript assessment sessions and our inaugural short story contest (with a prize of $500). In other words, the workload has more than doubled. The six committee members have wrestled with website development (our previous website was hacked!), content writing, programming, budgeting, sponsorship drives, marketing, social media streaming, and booking systems to name just a few major tasks. We also have boosted our HNSA blog content to bi-weekly postings and have produced a monthly newsletter. We are also proud to have produced our Imagining the Past podcast series hosted by newly recruited committee member, Kelly Gardiner. On top of all this, we have conducted satellite events in Sydney, Melbourne and Brisbane to help spread the word and also feature aspiring, emerging and established authors who may not have been included on the main conference bill. Frantic is definitely the right adjective!

What are you hoping will come out of the conference?

The last conference gave an opportunity for writers from various stages of their careers to mingle and feel a sense of community. I feel that was one of the major successes of 2015. Our aim is to widen the scope to include readers as well as writers. By presenting a broad programme that hopefully offers something for every historical fiction fan, we hope to build on connections and establish Australasian local chapters as is the case in the UK and USA.

Arnold Zable

Thanks for giving me the opportunity to tell your readers about HNSA 2017. We are super excited that you are our conference patron. I look forward to seeing you in Melbourne. You’ve supported us so well!

More about the Conference:

The HNSA 2017 Melbourne Conference is being held on 8-10 September 2017 at Swinburne University, Melbourne. This celebration of the historical fiction genre will showcase over 60 speakers discussing inspiration, writing craft, research, publishing pathways and personal histories in our weekend programme. Among the many acclaimed historical novelists participating are Kerry Greenwood, Kate Forsyth, Deborah Challinor, Libby Hathorn, Lucy Treloar, Sophie Masson, Sulari Gentill, Robert Gott and Arnold Zable. The HNSA’s speakers’ list is available on the HNSA website.

In addition to the two stream weekend programme, there will be ten craft based super sessions and two research masterclasses.You won’t want to miss our interactive sessions on armour and historical costumes either! Purchase a ticket and you will be entered in the draw to win a $100 Dymocks Gift Card.

Lucy Treloar

Manuscript assessments will be conducted by industry experts, Alison Arnold and Irina Dunn. Our free extended academic programme is open for general admission but bookings are essential.

Our First Pages Pitch Contest offers an opportunity for submissions to be read aloud to a panel of publishers. And we are delighted to announce the introduction of our inaugural HNSA Short Story Contest with a $500 prize!

Visit the HNSA website to purchase your tickets now!

 

Kerry Greenwood

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