I have known Pixi, ever since we met at a Writing Group in Wollongong. She once kindly gave my family tickets to go to see Circus Oz as well when we last caught up in Brisbane over ten years ago! I was delighted to hear she has recently published a book on circus especially for children, but attractive for all ages. Pixi has lived and studied circus, and her book is written from a true first hand and an academic researched understanding of what circus actually is.
Pixi was born in Perth and studied classical ballet. She worked on circuses in Germany and England, flying trapeze, aerial ballet, riding elephants. Back in Australia she married a fellow-performer on Swiss Circus Royale in the “big top”. A founding member of Circus Oz, Associate Artistic Director for the first three years of The Flying Fruit Fly Circus. She has an associate Degree in Visual Art at Western Australian Academy of Performing Arts (WAAPA), BA (1st Class Hons. Writing) and a Masters at Edith Cowan University. She self-published Bunty Armitage – Circus Girl (2014); Tempo – a circus romance (2015) both on Lulu.com; A Book of Circus (2017) and you can order on FB. She is the Oceania Co-ordinator, World Circus Day and Co-organiser, Australian Circus Festival.
1.What is your earliest memory of circus?
Seeing Bullen Bros Circus or Ashton’s Circus, or possibly Wirth’s Circus (can’t remember which but saw them all) in early 1950s in Perth. It always rained when the circus came! My main memory, is of massed girls spinning in the air, the sound of the circus band, andthe evocative smell of exotic animals.
2.When and why did you begin to write this circus book?
It grew out of another project, a serious, slightly academic picture book on the history of Australian Circus. I felt it was important to share the important cultural aspects of circus in the colonies and in the present day; most people have no idea of this rich, vibrant history.
3.Why did you pick the style of the book? And how would you describe it?
This is a picture book using real photographic images of historic and contemporary circuses and performers. The use of drawn or painted illustrations was not a consideration as too much of “circus” is presented as fantasy while it is, in fact, gutsy and earthy and real.
4.Why did you independently publish your book?
I’ve been submitting unsuccessfully to publishers and agents for quite some time, even though I had a Second and a Highly Commended from the Children’s Book Council of NSW “Frustrated Writers’ Awards” which ultimately led nowhere, so decided a few years ago that I just better do it myself as I can’t seem to get past the gate-keepers of the book publishing establishment.
5.Who is your main interested audience for this book? Why?
The Book of Circus is designed for young circus audience members, circus fans and collectors of circus books; it has eye-appeal for children (target audience) and grandmas who buy treats at the circus. For adults it contains information about general circus history and some facts about circus animals. It is a resource for schools, libraries and other interested parties with listings for all the travelling circuses in Australia, circus schools, circus shows and circus equipment suppliers.
6.What five words would your use to describe this book?
7.Share your favourite short excerpt from the book.
Given the current (and puzzling) hysteria surrounding clowns, I’m quite pleased with my explanation aimed at young children in an endeavor to normalize our clown colleagues:
“Clowns are ordinary people wearing face paint and funny clothes”.
8.What is your favourite image in this book? Why?
I love them all, which is why they’re in the book, but I have to admit to particularly loving “l is for lion” – young Cassius West from Stardust Circus with his favourite lion cub, just beautiful. This family of animal trainers, acrobats, aerialists and circus proprietors shares a special affinity with the Big Cats.
9.What advice would you give to anyone wanting to go into circus work?
Aspiring circus performers and workers need to understand that it is a way of life, not just a job, whether you are an artiste, an animal handler, the fairy-floss maker, or the on-site school teacher. Rather like farming, really, in many ways: the weather, the outdoor aspects, the animals, the constant harassment by animal activists, but with the bonus of constantly changing scenery! So if you chose this path you have to be committed 100% to 24 hour days, 7 days a week, 52 weeks of the year. Hard work? Yes, of course, but more rewarding than you could ever imagine.
10. What advice would you give to new writers when picking a topic to write about?
Let the topic pick you. I never meant to write about circus, but it just keeps happening, ha, ha!
How to get hold of the book
Pixi is now taking orders for A BOOK OF CIRCUS. $15 plus postage. VIA email: firstname.lastname@example.org
You can find out about her other circus books via Lulu
Saturday 29th April 2017, was a day to be inspired as authors shared their writing journeys and ideas on the power of words with writers and readers gathered at Bracken Ridge Library. Both sessions were chaired by Sheryl Gwyther (introduced by Adele Moy), an Australian children’s author. She writes novels, chapter books, short stories and school plays for children and short stories for adults. She is the recipient of two Australian Society of Authors’ Mentorships, and two May Gibbs Children’s Literature Trust Fellowships as well as a SCBWI International Work-of-Outstanding-Promise award.
Michael Aird, Keeaira Press, began by explaining how he went from working in a factory with a low level of literacy and working out the spelling of words for the lunch order with co-workers to a dawning realisation that his older co-workers were unhappy; he realised this was not the life for him. He obtained a university education, developed a passion for photography and after graduating with anthropology combined his talents. Michael has since created over thirty varied books with Indigenous authors covering, art, history, heritage, fishing, and a manual arts teacher on his life teaching in a remote area, and some of his own works. He has learnt a lot in this process, including that some people are easier to collaborate with than others, artists can often be disorganised, some artists and writers are fantastic at marketing and promoting their books, as well as that larger print runs often give a better quality printed book.
Duncan Richardson, Michael Aird, June Perkins
Duncan Richardson took us on his journey of finding a genre that suited him and mentors that told him the truth. He began writing poetry, and still likes to do this, but found that the children and young adults’ literary community provided a more supportive group environment than that of poetry. He works as an ESL teacher and found that sometimes his students were an inspiration for stories, as well as history. He shared his interest in speculative fiction. Duncan shared that he has had mentors along the way who have told him what he needed to hear, not necessarily what he would like to hear. For instance one mentor said he really shouldn’t write drama as he knew nothing about it. Duncan shared some beautiful quotations about inspiration and showed us several of his books. Today Duncan is a highly imaginative storyteller (he still likes writing poetry), who has a real passion for writing YA novels and chapter books. He continues to have an interest in history. He feels like he has found his forte. Later in question time, an audience member asked him for more details about where his ideas came from. They were particularly intrigued by Jason Chen and the Time Banana.
I shared my journey‘ outlining five major influences: my birth family, nature, my family today, writing groups and spirituality of the Baha’i faith. I especially focused on the racism my family endured when living in Tasmania, which in some ways lead to the loss of one of my brothers, and how education, my family and community, played a role in empowering me, to create the poetry book for children and family Magic Fish Dreaming, a subtle celebration the oneness of humanity – which is reflected in its illustrations. I feel compelled to write by the desire for the children of the world to grow up in a world free from prejudice. I shared a moment of celebration where my brother wore a grass skirt and was proud of who he was and was featured on the front of the paper. This was a fairly emotional moment. I shared stories of my family growing up and having my Dad read stories to us and tell us always to work very hard to be treated equally to others in the society we were part of, and later learning more cultural stories from my mum when I began to ask her questions. I read and showed photographs (as I love photography) of these influences and concluded my presentation by reading a poem – River Song. Some of the stories I shared can be found on ABC Open.
(Note: I won a mentorship from the Australian Society of Authors and spent 2017 honing my craft on Picture books. This was during the time of the kickstarter.)
Later in question time to the panel I shared some details about kickstarting and how it is suitable for projects that should happen, have wide community support, but which publishers won’t take on for a number of reasons. One has to have a real passion for what one is creating for crowdfunding.
Susan Johnson, author of My Hundred Lovers,The Landing, and many others, a novelist and journalist, spoke naturally and informally on her life. She always loved to read, and feels that the majority of writers begin as readers. She spoke about her beginnings in Sydney and the shock of moving to Nambour. From a place where people marched against Vietnam, to a much more conservative place, which as first she resisted.
She shared with us memories as a journalist of meeting Mrs Whitlam (who she found quite shy and awkward) and more recently many other interesting people such as artist and film maker Tracy Moffat, but also that she found journalism quite an easy form to write in (she wanted to assure us she wasn’t putting down journalism as a writing form but it is so different from fiction). Fiction for her personally by contrast to journalism requires immense work (but pays less), and ‘good fiction shows the knots of life and experience,’ and probably one needs life experience before being able to write really good fiction. ‘Most good fiction is written after people turn 30. There are rare exceptions to this rule.’
Susan said today most authors doing well will only receive a $10,000-12,000 advance, whereas in the past they might have received $80,000. On average Australian authors earn $14,000 a year. So the vast majority of writers of fiction, other than say people like Geraldine Brooks (a good friend) have to hold down other jobs, and this is why she works as a journalist and adjunct lecturer, whilst writing fiction, despite having many novels published. Susan was lucky enough to have literature board grants and residencies, and was able to live overseas whilst she was writing one of her novels. These were brilliant experiences.
Although Susan has had many books published, she still feels like a relatively unknown author. She feels it is the prize winners who become the best known Australian authors.
She shared later in the panel questions that journalism has given her the discipline to write, and so she wakes at 5 am before the other responsibilities in her life as a single parent, and writes fiction and then goes off to her work as a journalist.
Lauren Daniels, an editor who worked for many years for Interactive press, spoke about the rich diversity of books she has edited by Australian authors. She told us stories about the power of words, repeating that phrase throughout her talk to remind us of the theme. She began with her story of how editors are like the mid wives for other books. She loves to edit books with a social message. The books she has edited cover topics like, homeless youth, refugees, black birding, history, death, adoption, the history Tasmanian serial killers and there were many others.
She told us the story of Tilly Brasch, the first person she edited a work for. Tilly came to her with a story about her son’s mental illness and her original intention was not to create a book but a pamphlet, but Lauren saw the potential for this book to have the power to change the situation for other people going through what Tilly was.
Lauren explained the role of an editor. One of their roles is to assist the author to avoided being sued and another is to help them work out their main goal in telling the story. Key components of her editing are honesty, empathy and integrity, and this has meant she sometimes lets go of some editing jobs if the book and or author lacks this. Lauren did work on her own novel, but with her first novel couldn’t find a publisher after 20 attempts, but a friend reminded her she had walked inside many other’s stories and bought their books to fruition and publication and that is a great thing to have done.
(Editors note: The manuscript for her novel, The Serpent’s Wake: A Fairy Tale for the Bitten was shortlisted with the 2016 Half the World Literati Award.)
Lauren told us some engaging anecdotes about her life, working as a volunteer for assisting homeless and displaced people, her father reading her Moby Dick (which she dramatized for us!), her reading a piece of writing to Veterans after winning a writing competition. This moment of reading to the veterans clearly showed the power of words to her, as she saw grown men crying as she read.
She shared her family’s response to her declaration of wanting to be a writer, ‘Oh no, you’ll be an alcoholic’. This came from her grandmother who had known and served Hemmingway. She spoke of how she was teased in her early life for having a stutter. In retrospect this experience of social isolation, plus a love of books, led to her love of writing. Lauren also told us that she once wrote to Stephen King and received an encouraging reply. Lauren is particularly moved by writers who refuse to be ruined by trauma.
Jacqueline Henry, a Bayside Journalist, and now also author of fiction and children’s stories shared her story. She is delighted to not be an ‘ambulance chaser journalist’ but one who interviews remarkable people, or ordinary people doing remarkable things. She decided in her fourties, despite her love of journalism, that she wanted to explore writing fiction. She announced this to her family with great gusto, but nothing came of it for a while. That is until she began to just try to write 1000 words a day (or close to) and rise at 5.30 am in the morning to do so. She treated it just like her job in journalism, and turned up to write her fiction every day. Jacqueline encouraged the audience to accept that whatever they write there will be a diversity of responses, even from people who on the surface all seem the same. One must expect that and celebrate this even.
Jacqueline’s speech was engaging and relaxed. She encouraged the audience to hone their craft, and to learn from the rich diversity of authors talks and how to’s on youtube. You don’t need to go and do a degree to become an author, but you do need to work on your craft.
The audience asked some interesting questions, including Do you need to go to university to become a writer? Writing experience regardless of your education can come through the act of reading, writing and reflecting. It is the time you put into it, and the experiences or story you might share with an audience, and finding your audience that are all part of the journey. Sheryl also asked the panel some questions. One of which was where they saw themselves ten years from now? Susan said she would love to win a literary prize but she wasn’t sure if she would achieve that ten years from now! Everyone wanted to still be writing!
A big thank you to all presenters, organisers, sponsors and special guests to the festival from council, Councillor Amanda Cooper and the Society of Women’s Writers Queensland, Brisbane Libraries, Brisbane City Council,
Lauren, Sheryl, Adele and Jacqueline
Images from Sheryl Gwyther, Jo Hoffman, Lauren Elise Daniels, June Perkins, Kara McLeod
Last year when I was running my kickstarter campaign I came across the Sandcliffe Writing festival whilst online, and it looked kind of cool because it was concerned with diversity and was in Brisbane.
I emailed them to let them know I thought their festival looked great and to say I had a book coming out, Magic Fish Dreaming, would they be interested in my participation.
I promptly forgot all about it, and then early this year an email from the lovely Adele Moy arrived, with a phone number and asking me to ring her about the Festival, she apologised for taking so long to get back to me.
I phoned Adele as she requested and had the most beautiful conversation about diversity, life, writing, family and my book which went much longer than I think we both expected, and next thing I know I am on a panel to tell my unique story.
I met Adele for the first time in person at the Insights of an Outsider Panel last week, and felt like I had known her for years. She greeted me with such friendliness and warmth. Thanks for that Adele.
I am going to give you three photographic hints about my presentation on Saturday, and well you will have to attend to find out fully what this all means. I am going to share the story of my main inspirations, and the things that compelled me to write.
English Grandmother and Me
My favourite literary character, Mma Ramotswe, in The No.1 Ladies’ Detective Agency novels, by Alexander McCall Smith, because she is curious, caring and looks for the most just resolution to any situation. She also knows a story for almost every situation.
Now I don’t have to tell you to go to any links really because this is my main blog home and if you are reading this well you are here. But I can also be found on twitter, instagram and facebook.
Join authors Duncan Richardson, June Perkins, and Michael Aird as they talk about their inspiration and ideas and what compels them on their creative journey, where they are today, and where they hope to be in the future.
A huge thankyou to the Sandcliffe Writers Festival Organisers for giving me the opportunity to share the story of why I love writing so much and how I set about becoming an author! I also look forward to the literary dinner with Matthew Condon on Friday and the panel following ours (and the lunch!) and catching up with Lauren Daniels.
PLEASE NOTE FOR SALE
I will be selling copies of Magic Fish Dreaming, $18 each and signing them at the event.
Please bring cash, exact change if you can is much appreciated.
For $25 in total you can receive a custom printed calico bag along with your book.
Gregg Dreise is a gifted storyteller and musician, and he features the didgeridoo and guitar in his performances at schools and festivals. He is a descendant of the Kamilaroi and Yuwalayaay people of south-west Queensland and north-west New South Wales.
He is the award-winning author and illustrator of Silly Birds (winning awards and being showcased in Australia, Italy, U.K. and the U.S.A.); Kookoo Kookaburra (winning awards and being showcased in Australia and Germany); Mad Magpie (Longlisted for the Australian Book Industry Awards 2017); and the soon to be released Why are you Smiling. All of these stories are about teaching morals. They address friendship, kindness, tempers and bullying.
Gregg is also the illustrator of Di Irving’s retelling of the classic story Tiddalik the Frog, and Elaine Ousten’s second megafauna picture book.
1. Have you been to the Sandcliffe Festival Before?
I have performed at schools and libraries in the area, however these are my first performances at Sandcliffe.
2. What are you looking forward to and how did you become involved in it this year?
I am looking forward to making some students giggle and some teachers learn some new things (maybe a giggle out of them too). I was approached through Speakers Ink.
3. What will you be doing for the festival ?
I perform story telling with the use of art, a guitar, didgeridoos, and really daggy dad jokes – sorry, but they are daggy 😛
4. If you could choose to be a favourite literary character, who would you be and why?
I would be Tintin. When I was in primary school, I enjoyed the adventures of a young brave guy.
You can find more information about Gregg on his website
On April 23rd the Brisbane Square Library (which is funded by the Brisbane City Council) hosted three deep thinking authors to examine the theme of “the Outsider.”
The event was organised by Society of Women Writers Qld Inc. , promoted and advertised by both the SWWQ (and lots of other people) and the Brisbane City Council, and the Brisbane City Council through The Lord Mayor’s Writers and Residence scheme provided funding for the event.
The Councillor who attended on Sunday representing the Lord Mayor was Cr. Steven Huang from Macgregor ward and the librarian representative who tied it all together was Nadja Beliemier. They both gave warm welcome speeches acknowledging the Elders living and past before speaking. Nadja focused on the role of libraries and urged people to join if they were not already members, and she gave some background on all the speakers. Councillor Huang reflected on the books he had loved growing up. One book which particularly moved him was To Kill a Mockingbird.
After an articulate introduction, quoting the story of The Epic of Gilgamesh, Lauren asked Melissa to read an excerpt from Mulimbimbyand read an extract from Veny’s latest book, Travel Under Any Star.
Melissa after greeting us in Bundjalung language, stressed the strength of her central character, Jo in Mulimbimby, and explained the context of the passage she read.
The four questions (and I am paraphrasing here) asked by Lauren were:
1) How has your family background enriched or influenced your writing?
2) How has your journey been moving between worlds?
3) What do you think the main personality traits of a writer are? Are they all outsiders?
4) How do you write the ‘gaps’ and mysteries of life?
Melissa shared the story of her Russian and Bundjalung heritage. The Bundjalung was hidden to prevent them from being removed from their family. Her mum was poor and had no books, but the library was a savior and a wonderful place to be educated by books. Of course now Melissa has been able to connect with her Indigenous background and communities.
Veny shared that for him there was an initial feeling of two worlds, one of Little Sicily (full of food, love, family), and the other of Australia (the nightmare zone, school). There existed a schism which began with his very long name, which was shortened by a teacher to Veny.
He felt his family didn’t accept Australia as much he wasn’t accepted. But he felt although childhood had its moments, not living in a comfort zone can make you into a great writer.
Melissa then discussed the idea of centre or margin. Who is the centre? How you see yourself depends on how much power you have. She described a difference between Indigenous people who were settled onto missions and those who were able keep a stronger tie to country and come and go and see others come and go. She gave the example of Wesley Enoch and quoted from him.
Veny felt that he came from a much most privileged background, than many Indigenous people experiencing being outsiders. And at one point in Brisbane being Italian actually became cool. Especially through the Rocky movies. Girls who hadn’t wanted to date ‘wogs,’ now asked Italian boys out.
He made the interesting observation that when migrants move they take the time frame of when they left with them, meaning that the culture they have with them and keep alive in the new country is in many ways frozen in the past. But the country they left moves on! This meant that years later when he travelled to meet relatives to research a novel, they asked why he spoke the way he did, no one speaks like that anymore. I was especially paying attention to this comment, because my mum has said that her village language has shifted a lot, and I should ask my cousin for help with contemporary translation.
Melissa told us that one of her relatives had passed himself off as Italian as it was cooler than being considered Aboriginal. She felt ashamed that for a time her family had denied their Aboriginality but she understands their reasons for keeping it hidden.
In discussing the writer as outsider, Melissa pointed out the alienated outsider, and individualist is a Western construction. She wanted to focus on the outsiders who are without power, the people who are outsiders but don’t choose to be – unemployed young people, children in detention.
Veny, felt there is wide road, a middle road, a white bread, approach, and writers can challenge this by writing from outside the middle of the road. He then got into a bit of a discussion of politics.
Veny quoted an author, Colin Wilson, who writes The Outsider.‘Life itself is an exile. The way home is not the way back.’‘ He felt the writer asks questions, without necessarily wanting a definitive answer. For Veny, writing is about having things to investigate and avoiding a confusion.
Lauren brought Letters to a Young Poet into the discussion. Writing is not to solve the issue but to leave the issue to linger.
I have never heard of this book, and looking through some of the information about it online, I now long to read it!
Through the presentations of Veny and Melissa, Lauren, added some beautiful quotations, including one from Joseph Conrad’s The Heart of Darkness. Where Kurtz speaks of ‘the horror, the horror.’ Writers circle around the big questions of life. What is this horror? She also asked what can writers do when the world seems to be splitting at its seams. She was horrified by what is happening in her prior home in America, which she views as experiencing societal mayhem.
Veny argued that popular fiction, crime fiction, presents questions even when a crime is solved or answered, because the focus is on why did someone do something, and this is this deeper question that will keep people reading and coming back for more from that author.
Melissa felt her major project was to write mostly Aboriginal characters and give them humanity. She felt that humour and insight and rural settings however could make her work appeal to everybody. She is however working on some tougher satirical work.
Veny wanted to know if Lauren was asking -‘Can literature get rid of trouble?’ and he added ‘Can books get rid of Trump?’ ‘And that ‘we put great value in the power of books. First, since we’re all in this together and we all hope books will do good, but we know the limits.’
A bit of a discussion of dangerous and banned books then happened, and Veny mentioned that ‘American Psycho’ is still on the banned list of books for Queensland. There are times when those in power fear the power of books.
Nadja, from library services told us all where to borrow banned books them from! (New Farm Library.)
Melissa also mentioned the troubles Kev Carmody had with the police in the early days for simply writing the truth in songs.
There were a few questions from the floor, concerning 1) The Americanisation of culture 2) How young writers can find their own voice? 3) Is diversity represented enough in children’s literature? Do enough people see themselves in literature?
Veny offered some sage advice, that young writers will take a while to find their own voice, but can find mentor texts, that they admire, to be their heroes and help them develop their writing skills. They can enjoy the process of writing before they make up their mind about their writing identity.
Melissa said, that diversity is improving in children’s books, and children do not necessarily have to see their culture specifically in a text, but something they can identity with that is universal, but of course there could be more diversity as well, and more seeing of oneself in the stories. She also gave an example of a piece which she enjoyed except for its depiction of an Aboriginal character.
Lauren, as an American resident in Australia for 17 years, shared that she had worked with Australian Authors of rich diversity, to ensure they were published. She didn’t want to see a disappearance of the cultural diversity in the world of publishing. She pointed out that not all American literature is the same either, it has a rich diversity, which also has gradually come to the attention of the world. (Later I mentioned to Lauren, that the students I tutor at QUT have been enjoying Toni Morrison and many Australians recognise that rich diversity in American literature).
I have done my best to capture the spirit of the discussion, but welcome comments from anyone who was there. Please feel free to add your impressions. A big thank you to the organisers for bringing together a thought provoking discussion. *Thanks to both Adele and Lauren who assisted in editing this piece.