Booker Long-lister has Long Battle with Wikipedia

While I said there were few surprises with the long list for the Booker Prize, one of the new names has an interesting and thought-provoking background.

Ed O'Loughlin is a debut novelist but a seasoned writer, accustomed to being under fire as the Middle East correspondent for major Australian papers, including The Australian, Sydney Morning Herald, and The Age. His book, Not Untrue and Not Unkind (and this is not a surprise) is a war correspondent's reflections on his years of reporting from Africa.

What is a surprise is that he has been fighting a battle of his own for some years - a battle with giant internet encyclopedia Wikipedia, which flourishes from contributions by anonymous writers, many (if not most) of them amateur. According to the internet magazine The Millions, he was attacked for his so-called bias against Israel by critics who targeted his Wikipedia page.

It's no good looking it up. The page has been removed. O'Loughlin requested them to do it, in a letter addressed to "Dear whoever you all are.

"My name is Ed O'Loughlin," he wrote; "this is my real name, I stress - and I am the subject of this article.

"The article as it has appeared in its various manifestations in recent months is a starkly one-sided attack on my personal and professional character which is based entirely on highly partisan sources and falsehoods. The moving forces behind it are anonymous people who do not have the integrity to reveal their identities or interests, and whose malicious intent is quite clear ..."

Wow. Follow the link above to read the rest of the letter yourself.

Personally, I have been very suspicious of Wikipedia, starting from the time I looked up Captain Charles Wilkes (1798-1877), commander of the great United States Exploring Expedition, and found that the contributor had confused him with the social activist and British radical politician John Wilkes (1727-97). I corrected the page and went away, never to visit again.

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2:04 PM | 0 comments

BOOKER LONGLIST ANNOUNCED

There are few surprises. The Booker Prize Longlist was announced this morning, and Sarah Hall's How to Paint a Dead Man is the only hope for independent publishers (with Random UK taking 5 slots). Coetzee is a two-time Booker winner; Byatt has won once.

The Children's Book, AS Byatt (Chatto and Windus)
Summertime, JM Coetzee (Harvill Secker)
The Quickening Maze, Adam Foulds (Jonathan Cape)
How to paint a dead man, Sarah Hall (Faber)
The Wilderness, Samantha Harvey (Jonathan Cape)
Me Cheeta, James Lever (Fourth Estate)
Wolf Hall, Hilary Mantel (Fourth Estate)
The Glass Room, Simon Mawer (Little, Brown)
Not Untrue & Not Unkind, Ed O'Loughlin (Penguin - Ireland)
Heliopolis, James Scudamore (Harvill Secker)
Brooklyn, Colm Toibin (Viking)
Love and Summer, William Trevor (Viking)
The Little Stranger, Sarah Waters (Virago)

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2:05 PM | 0 comments

Joke finally seen after 79 years

I don't expect you to break out into hysterical laughter at this one, but a joke written by the playwright George Bernard Shaw has been found in an old cupboard seventy-nine years after it was stowed there. Or so says the BBC section on arts & culture.


It probably helps to know that the joke was written on the occasion of the 1930 opening of the Hall at William Morris House; and it probably assists even more when you know that William Morris was a socialist campaigner. And the last bit of vital information is that it was scribbled across the bottom of a photograph of Shaw himself.

The joke reads: "William Morris and I preached the gospel of Labour together on many occasions. Many respectable persons thought we deserved hanging. I am proud to hang in a hall dedicated to him."



Shaw passed away 59 years ago. It's a nice story, but I think I would choose a different joke to be remembered by.

I'd like a really good, enduring rib-cracking bit of humor ... Any suggestions?

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2:58 AM | 0 comments

COVERS OF COLOR

In a very interesting blog, well-traveled Australian YA author Justine Labalestier wonders why the girl pictured on the jacket of the US edition of her latest book, Liar, is white, when the protagonist is black. Curiously, too, the model on the cover has long hair which she uses to veil herself, while the lass in the story has short, bubbly hair.

Labalestier discusses the problem very rationally, I thought. First, as she points out, authors have little or no say about the picture on the jacket -- and, I add, editors don't, either, no matter how committed they are to the book. The final decision, or so I believe, belongs with the marketing department.

And it is definitely the marketing department of Labalestier's book that made the decision. She was told that a book with a black girl on the jacket would either be spurned by bookstore buyers (because black teens don't read? Please!), or, more logically, it would be moved from the YA section to the urban fiction section. Though can one imagine a book by Oprah Winfrey being shifted from the front of the store? Or a book about Naomi Sims, the famous black model, having a jacket picturing a white fashion model instead?

Allen & Unwin, who bought Australian/New Zealand rights, did a much better job. Their jacket has a spare, rather shocking look, with the title written apparently in blood. It would certainly make me pick it up and have a curious riffle through the pages. But I find it striking that they, too, chose not to show a person of color on the cover.

When they published my own Wiki Coffin books, where the hero is half-Maori, they chose to picture a white man on the cover -- and when I investigated, the model was a German! How far from Maoridom can you get? Would the books have sold much better in Australia and New Zealand with a Maori on the cover? Here, where not only is a significant ratio of the population Polynesian, but everything Pasifika is fashionable? I think so.

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3:43 PM | 0 comments

SPY MOUSE LEADS A DOUBLE LIFE

Considering that the whispers have all been about publishing, Spy Mouse waxed positively -- and most entertainingly -- eloquent in response to my frivolous post about clapping at classical music concerts. Having been granted permission, here is what this very cultured little rodent wrote:

I'd seen that piece by Jonathan Lennie, and am very much in two minds. I'm all for clapping a particularly virtuoso bit of showing-off then and there, but it infuriates me when audiences clap throughout a song-cycle, for instance. Interestingly, I was at a Prom performance of Handel's Partenope (salami-and-cream-cheese sandwiches, and a bottle of something white and Australian), and the half-capacity audience clapped regularly throughout. Mind you, we did have Andreas Scholl singing Arsace. But last night the Proms semi-staged the Glyndebourne production of Purcell's The Fairy Queen, and on only two occasions did they clap a display of vocal fireworks; otherwise, as Jonathan Lennie says, the few seconds' silence afterwards was part of the performance. The audience clapped and stamped and cheered when it was over, though, and the place was packed. Oh, and crab-pate sandwiches and a decent French chablis.

Last week we went to Dvorak's Rusalka at Glyndebourne, which was ravishing beyond words even by Glyndebourne standards (chicken in cream-and-lemon sauce, baby leaf salad and rice with cumin, coriander, pine nuts and almonds, and a bottle of Lanson, with raspberries and tarte au chocolat to follow). So intelligently staged, visually lovely, with nothing to come between the opera and the audience as is so often unfortunately the case, and the cast sang like angels. The only things I've been to there which were more beautiful were Hockney's Magic Flute decades ago, and a bewitching Midsummer Night's Dream (Britten), which I can't imagine they will ever better. Can't remember what we ate but it involved a lot of champagne on both occasions.

I can't wait to go to the proms myself!

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2:05 PM | 0 comments

National Library Lecture Series, Wellington

NATIONAL LIBRARY SOCIETY
WINTER LECTURE SERIES

THE CHANGING FACE OF
MODERN PUBLISHING

The National Library Auditorium, Aitken Street, Wellington at 5.30 pm

Guests and non-members welcome – gold coin donation
A glass of wine will be offered beforehand. The lectures will start at 6pm.

Thursday 20 August at 5.30 pm
Marguerite Renaud
The World of Self-Publishing

Marguerite Renaud will talk about her company, First Edition Publishing, which offers an easy and affordable way of publishing anything from personal memoirs to poetry.


Thursday 17 September at 5.30 pm
Bridget Williams (chair), Jane Connor and Sam Elworthy
Books and Change

Bridget Williams has been publishing in New Zealand for over thirty years – as an editor with Oxford University Press, and as a director of Port Nicholson Press, Allen & Unwin NZ, and the eponymous imprint BWB.
Jane Connor, a founder of Godwit Press, is currently managing director of Craig Potton Publishing, after some years as executive vice-president and publisher of Timber Press in the US.
Sam Elworthy is the director of Auckland University Press, after many years as editor-in-chief with Princeton University Press. This group, all with international experience and all passionate about excellent New Zealand books, explore the challenges and opportunities facing publishing today.


Thursday 15 October at 5.30 pm
Adrienne Kebbell
The Pleasures of reading online

Digital technology expert and former Business Development Analyst at the National Library, Adrienne Kebbell, will draw on her extensive knowledge of internet publications to demonstrate the ease and joy of reading your favourite newspapers and journals online.


Thursday 19 November at 5.30 pm (venue tbc)
John MacGibbon
Writing and Researching Family History

Historian and author, John MacGibbon, will share some of his expertise on discovering and writing social and family history. John is the founder and owner of the Ngaio Press, a boutique publisher specialising in books about New Zealand and New Zealanders.

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6:33 PM | 0 comments

To Clap or not to Clap

My blog has been neglected (weak excuse: school holidays), and I'm not even going to "talk" about books or the written word now, but pass on a story by Finio Rohrer in the BBC News Magazine that made me laugh out loud.

It is about the perennial problem of when to clap at a classical music concert -- something that was wonderfully satirized in the 2005 short movie The Clap, where an obsessional music fan spent hours studying scores so that he could clap at the precise second the work ended.

I think we've all had the horrible experience of clapping madly in an inappropriate place, simply because the vigor of the ending of a marvelous movement has totally carried one away. The embarrassment starts when (a) you realize you're the only clapper in the entire house, or (b) the conductor turns round and gives you a beetle-eyed stare before deliberately turning round again and lifting his arms, or (c) the orchestra is so startled and disoriented that the players scrape disharmoniously for a second before launching into the next movement.

My own remedy (in Wellington, at anyrate) is to wait until everyone else is clapping before I join in, though I once forgot that I was not in the Metropolitan Opera House in New York, and hollered, "Bravo!" Well, I love the way the crowd goes crazy at the Met., so why not? Placido Domingo does not appear to mind everyone hooting and cheering at the end of each aria, so why should a tail-coated conductor be any different?

In classical music concert circles, however, there is a ban on such spontaneity. Classical editor of Time Out magazine, Jonathan Lennie, has proposed that people shouldn't even clap right at the end. Instead, there should be a reverent pause before the hands are put together.

Lennie has written an open letter to the "Loud Clapping Man Who Sits Behind Me At Concerts," asking why should anyone start "making a racket" the instant the work appears to be ended, when a period of dignified silence is much more appropriate? Some pieces positively demand it, he says. As Rohrer comments (tongue in cheek): "Take Schubert's bleak song cycle Wintereisse. You should apparently not be yelling 'bravo' between the songs, or going bananas at the end." (No matter how much the performers might enjoy it.)

Basic rules of concert-going etiquette:

* If everyone else is clapping, it is probably safe to do it yourself.

* Switch off mobile phone.

* No food in the auditorium (except for cough sweets, and please unwrap them before the music starts.)

* Avoid hacking cough during quiet bits (that's where the cough sweets come in).

I would also add singing along with the music. I paid good pocket money to go to a matinee of Traviata in Wellington when I was in my teens, and the Italian fisherman in the seat in front of me sang loudly along with the tenor.

And there should be another rule, according to the pedants:

* People don't normally clap between movements, they say.

But I'm not sure about this. Some movements positively demand it. In fact, according to Georgia Browne, a historical flute specialist, a lot of works were written with clapping between movements in mind. Haydn, Mozart, and Beethoven expected a hiatus between movements two and three, with a bit of ballet or singing to fill the gap. And refreshments. (A glass of wine would do that cough a power of good.) Which leads me to another idle thought -- what food would be appropriate? Champagne, strawberries, and ice cream for Mozart, definitely. Sausages and beer for Beethoven? All suggestions welcome.

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2:15 PM | 0 comments