Ebooks Too Expensive?


The link below is to an article that asks ‘are ebooks too expensive in 2018?’

For more visit:
https://goodereader.com/blog/e-book-news/are-ebooks-too-expensive-in-2018

I certainly don’t agree with all of the comments in the article, though they seem typical for this particular writer.

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Nobel literature row: usually it takes a world war to disrupt the prize


Thomas Kaiserfeld, Lund University

The Swedish Academy has announced it will not select a Nobel laureate in literature for 2018. Instead, two laureates will be appointed 2019, one for 2018 and one for 2019. The decision is not unique. The prize has been withheld on no fewer than seven occasions in the past and it has also been postponed for a year five times previously – the last time being in 1949.

The reason for postponing the prize this time, however, is exceptional since it is not related to the academy’s inability to unify behind one single candidate, but is instead the consequence of a more general crisis in the academy in which a number of members resigned their posts over a scandal relating to allegations of sexual harassment made against the husband of one of the members.

According to the academy, the reason for the decision is more specifically the number of members who have withdrawn from participating in its work. Eight members of 18 are no longer academy participants, which will impede its work, and make it hard to evaluate the different authors nominated for the Nobel Prize in literature in particular. Another motive for the decision to postpone, the academy’s announcement said, was the necessity to restore the academy’s reputation after a few months filled with accusations and scandal.

Turbulent history

Glancing through the list of Nobel Prizes in literature over the years, from the very first that was awarded in 1901 to French poet and essayist Sully Prudhomme, to the most recent winner, British author Kazuo Ishiguro in 2017, reveals a mix of world-famous authors and names hardly even remembered today by specialists.

First winner: 1901 Nobel laureate, Sully Prudhomme.
Nobel Prize Committee

French author François Mauriac, Nobel laureate in 1952, is probably not commonly read anymore, if he ever was. There are also a number of laureates who were rewarded more for their general contributions to human thinking and culture than their skills in literature – persons such as Bertrand Russell (1950), Winston Churchill (1953) and Jean-Paul Sartre, who was selected in 1964 only to decline the prize.

In 1914, when deliberations were upset by the beginning of World War I, the Nobel Prize was withheld. The following year, in 1915, the prize was postponed and was given to the French author Romain Rolland in 1916. The same thing happened in 1918 when the prize was withheld and then the selection of the 1919 laureate, the Swiss author Carl Spitteler, was delayed by a year. To award an author from neutral Switzerland seems to have been safe bet in a time of excited feelings following the end of the war.

1945 Nobel laureate, the Chilean poet Gabriela Mistral.
Nobel Prize Committee

In 1935, no prize was awarded and in 1936 it was postponed, because “the Nobel Committee for Literature decided that none of the year’s nominations met the criteria as outlined in the will of Alfred Nobel”. The 1936 award went to Eugene O’Neill. The same thing happened again during World War II when no prizes were awarded between 1940 and 1943. In 1944, the prize was again postponed to be given to the Danish author Johannes Jensen in 1945 after the war had ended (the 1945 prize went to Chilean poet Gabriela Mistral). The prize of 1949 was postponed by 12 months because the committee couldn’t find a suitable laureate. The 1949 prize was awarded to William Faulkner in 1950. Since then, Nobel laureates in literature have been selected regularly. But not any more.

Uncertain future

The decision to postpone the Nobel Prize in literature 2018 for one year has surprised many commentators. The loss of prestige for the academy is considerable and the decision to postpone the Nobel Prize can only be interpreted as the recognition by the remaining ten members of the academy the need for reform.




Read more:
Nobel Prize crisis: flurry of withdrawals rocking Swedish Academy’s showpiece literature award


The shortlist of authors nominated for the Nobel Prize in literature also changes only slowly from year to year. So the four members of the Nobel Committee for Literature (there should normally be five, but one is among those eight who have left the academy) should already know all about them. The work already done to evaluate earlier shortlisted authors, then, could surely have been used to select a laureate for 2018. So, the decision to postpone the prize should be taken as a sign of how serious the remaining ten members of the Swedish Academy view the turmoil that is disrupting their organisation.

The ConversationThe Nobel Foundation – which is ultimately responsible for administering the intentions of the will of Alfred Nobel – has said it supports the decision made by the Swedish Academy. The foundation has also made it clear that the postponing of the literature prize does not affect other Nobel Prizes in physics, chemistry, medicine and peace.

Thomas Kaiserfeld, Professor at Division of History of Ideas and Sciences, Lund University

This article was originally published on The Conversation. Read the original article.

2018 Library of Congress Prize for American Fiction Winner Announced


The link below is to an article reporting on Annie Proulx as the winner of the 2018 Library of Congress Prize for American Fiction.

For more visit:
https://www.washingtonpost.com/entertainment/books/annie-proulx-wins-library-of-congress-prize-for-american-fiction/2018/05/01/fb6b3da6-4ca1-11e8-84a0-458a1aa9ac0a_story.html

2018 Australian Book Industry Award Winners


The link below is to an article that takes a look at the winners of the 2018 Australian Book Industry Awards.

For more visit:
https://blog.booktopia.com.au/2018/05/04/abia-2018-winners/

Nobel Prize for Literature 2018 Cancelled


The links below are to articles reporting on the canceling of the 2018 Nobel Prize for Literature.

For more visit:
https://bookriot.com/2018/05/04/news-the-nobel-prize-in-literature-2018-cancelled-in-the-wake-of-metoo/
https://www.theguardian.com/books/2018/may/04/nobel-prize-for-literature-2018-cancelled-after-sexual-assault-scandal
https://www.theguardian.com/books/2018/may/04/nobel-literature-prize-postponement-attempts-to-retain-some-dignity

Alexis Wright wins 2018 Stella Prize for Tracker, an epic feat of Aboriginal storytelling



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Alexis Wright, author of Tracker: a book written in the mode and genre of Aboriginal storytelling.
Stella Prize

Ben Etherington, Western Sydney University

Alexis Wright’s book Tracker: Stories of Tracker Tilmouth has won the 2018 Stella Prize. Tracker is, in Wright’s words, an attempt to tell an “impossible story”, using the voices of many people to reflect on the life of Tilmouth, a central and visionary figure in Aboriginal politics.

At one telling point in the book, Gulf of Carpentaria activist and political leader Murandoo Yanner relates an encounter between Tracker and Jenny Macklin, then Minister for Indigenous Affairs in the Rudd government. Tracker was helping Yanner to lobby Macklin over the Wild Rivers legislation in Queensland.

Notoriously, Macklin had persisted with the Howard government’s “Northern Territory Intervention”, and was regarded with suspicion by most Aboriginal leaders. Nevertheless, she was the federal minister and had to be dealt with.

Tracker by Alexis Wright, from Giramondo.

As they approached, Tracker called out, “How ya going, Genocide Jenny?”

Yanner recalls the atmosphere that followed: “You could have heard a pin drop and pistols drawn at twenty paces, and the whole thing went sour pretty quickly”.

It tells you a lot about the man. He had regular access to the corridors of power yet still called a spade a spade. He was capable of dealing with politicians of any background and station yet did not forfeit his never-back-down attitude.

He was able to gain the upper hand from the first with an irreverent comment. And, above all, he was a funny bugger. (Another memorable thumbnail character sketch, this one related by Tracker himself, is of current senator Pat Dodson as a “mobile wailing wall”: a place where white people go to confess and forgo their sins.)

It also tells you a lot about Wright’s epic tribute to Tracker. We do not read Wright quoting Yanner, but hear the whole yarn directly from the source. Born in 1954, Tracker was one of the stolen generation. His life spanned the latter years of the White Australia policy, when Aboriginal people were still legally part of the nation’s fauna, to the tumultuous period in Aboriginal politics following the Intervention, until his death in 2015.




Read more:
Provocative, political, speculative: your guide to the 2018 Stella shortlist


This is not a book about Tracker’s life authored by Wright, but consists of stories and recollections told to Wright by the man himself as well as 50 others, from family and school mates, to Aboriginal and non-Indigenous leaders in our time. Wright brilliantly intersperses and weaves these together into an epic of stories and storytelling.

As the tributes to Tracker have flowed in the months since its publication, and many will surely follow as it garners further prizes and draws in ever more readers, so have proliferated the attempts to describe both the work’s genre and the mode of authorship it enacts.

In their award statement, the Stella judges call it a “biography”, but also “new way of writing memoir”. These descriptors capture aspects of the book – a birth to death tale does emerge from Wright’s layering of stories, and these are, of course, conjured from memory – but they also obscure.

Wright didn’t “write” the work but elicited the stories that comprise it through conversation. Towards the end of the book there is an unbroken sequence of nearly 100 pages of Tracker and Wright conversing, the contents of which are largely a mixture of philosophy and political economy. In these pages, Tracker’s voice is mostly serious, even earnest, as he expounds on the need to create a sustainable economic basis on which Aboriginal people can palpably enjoy their hard-won land rights and native title.

While it is no doubt true that readers accustomed to biographies in the European tradition will be struck by the novelty of reading a tribute to a storyman made up of many stories, Tracker’s strengths as a work are are not dependent on this putative departure from the biographical genre. It is simply remarkable to hear Tracker’s genuinely funny jokes and stories told repeatedly, often word for word and channelling Tracker’s unmistakable style, by such a range of different speakers. Over the course of the book, the repetition of these stories consolidates them and imprints them on the memory.

The ConversationIt is fitting that a book written in the mode and genre of Aboriginal storytelling should win a prize that encompasses both non-fiction and fiction. It is a work, epic in scope and size, that will ensure that a legend of Central Australian politics is preserved in myth.

Ben Etherington, Senior Research Lectureship-literature, Western Sydney University

This article was originally published on The Conversation. Read the original article.

Provocative, political, speculative: your guide to the 2018 Stella shortlist



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None of the books on the Stella shortlist offer a comforting vision of contemporary Australian life.
Shutterstock

Camilla Nelson, University of Notre Dame Australia

Six years ago, The Stella Prize burst onto the Australian literary scene with an air of urgency. The A$50,000 award was the progeny of the Stella Count – a campaign highlighting the under-representation of women authors in book reviews and awards lists. In the years since, the prize has challenged the gendered ways in which we think about “significance” and “seriousness” in literature.

Judging a literary award is invariably a contest of aesthetics and politics. And the Stella has never shied from difficult, taxing or surprising choices. It has awarded nonfiction in a field traditionally dominated by fiction; first time writers rather than established names; and in an increasingly commercialised and globalising literary marketplace, it has consistently championed the work of small and independent publishers.

There is, nonetheless, something distinctive about a Stella book. It often draws attention to the pressing social issues of our times – not only gender bias, but also racial prejudice and social and economic inequality – and testifies to the enduring significance of more intimate human themes: sickness and death, grief, love or family. The one quality the books share, I suspect, is that of provocation.

A Stella winner is a book that challenges its readers; it attempts to do a bit of work in the world. And this year’s Stella shortlist doesn’t disappoint.

The Enlightenment of the Greengage Tree by Shokoofeh Azar,

Azar’s novel narrates the aftermath of the Iranian Revolution through the eyes of a 13-year-old girl, Bahar, who is burnt to death two days before the revolution reaches its height. Militants “boiling” with “hatred and fervour” break into her family home, pour kerosene across the tables, and set them alight, crying “God is great, God is great!”

Bahar narrates the story as a ghostly presence at the centre of her once happy family. The mass slaughter of dissidents, the execution of her brother, the rape and murder of her sister; such events are rendered as unremarkably as her sister’s transformation into a mermaid and her mother’s attainment of enlightenment in the greengage tree.

It is a convention of magic realism that the narrator remains estranged and distant, withholding any kind of explanation, even as ordinary life is invaded by elements of terror that are too strange to believe. This is an uneasy tension – holding beauty and horror together in a single sentence. The effect, in this novel, is to suggest that no conventional means exists to render such realities explicable.


The Life to Come by Michelle de Kretser

To read a book by Michelle de Kretser is to fall in love with the novel all over again. There are few ironists so scathing and few stylists so astonishing that they can demolish a character’s pretensions in a few deft strokes. Her latest work maps the gaucheries of Australian literary, intellectual and academic life. Here, the appearance of virtue is more important than its actuality. BioBags and free-range eggs are no less status objects than designer dresses and the right shade of red lipstick.

The novel opens with the character of George Meshaw, the author of many “abstract but oppressive” books (one of which is ominously titled Necessary Suffering). George soon exits right, clearing the stage for a plethora of equally self-involved people, all of whom dutifully cart around his books, largely unread. Linking their stories is George’s undergraduate student Pippa Elkinson. “I love English,” Pippa gushes at one point. “In that case, I suggest you learn to write it,” replies George.

Pippa is all confidence and fakery. She travels abroad to gather experiences for her writing, which she insists, without a hint of irony, is based on reality. She leaves warm, supportive comments on the Twitter accounts of her carefully cultivated friends, while her agent runs her books through a simulated audience reaction indicator to test their market value. Pippa is all surface, though she later turns out to have surprising depths. As the narrator dryly observes, “Pippa would always need to demonstrate her solidarity with the oppressed – Indigenous people or battery hens, it scarcely mattered.”

Narcissism of all kinds is the target of this novelist’s ire. But de Kretser works her magic less through the classic tool of empathy – the recognition that other people are also human beings with feelings – than the shock of seeing our own little lives through the perspective of someone else’s.


Terra Nullius by Claire G. Coleman

Coleman’s debut novel uses the tools of speculative fiction to gain fresh insights into the history of Indigenous dispossession. It opens with Jacky Jerramungup, an Indigenous boy stolen at an early age to be used as cheap rural labour, fleeing across the country – evading capture at a mission run by sadistic nuns, eluding the Troopers and native police sent by a murderous colonial administrator to hunt him down.

Each chapter opens with a fragment from the archives of colonial bureaucracy, which appears convincingly real, but is Coleman’s invention. This is not the only strange or unexpected thing in her work. Half way through the book, what feels like a novelistic landscape drawn from the moral cesspit of the 19th century turns out to be the scene of some future invasion – a feverish figment of a dystopic dreamtime at the end of the present century.

This speculative terror – an invasion of spaceships bearing aliens from other planets in search of moisture – draws attention to the other, more familiar history of invasion, which is ongoing. As one character observes, “This has happened before, the English believed they had exterminated all of the Tasmanian Aborigines, the Palawa, in fact they survived the invasion, they still exist now.”


An Uncertain Grace by Krissy Kneen

Kneen’s adventures in speculative erotica are invariably amusing and playful, but also strangely sad, if not overtly sentimental. In a series of interlinked stories spanning a century from the near present to a post-human future, Kneen explores questions of sex, science and gender at a time in which the boundaries between humanity and machinery are beginning to dissolve. In a complex feat of speculative world building, the novel leaps forward in stages to catch a glimpse of a post-apocalyptic future in which sea levels have risen, water has flooded the cities, and jellyfish inhabit our cellars and basements.

Along the way, we meet an array of odd characters: Caspar, a middle-aged academic who climbs into a virtual skin suit to inhabit the point of view of the young female student he seduced and then discarded; Cameron, a teenage sex-robot built to aid studies in hebephilia who begins to have thoughts and feelings of his own; Ronnie, a child sex offender, whose mind fuses with a school of jellyfish.

Behind all this, the central – if submerged – controlling presence in the novel is Liv, a writer working at the interface of technology and narrative. Liv is 129 years old at the book’s end, seeking to find out what it means to be a human living in a post-human world.


The Fish Girl by Mirandi Riwoe

Riwoe writes against the grain of W. Somerset Maugham’s classic short story “The Four Dutchmen” – a tale about a “Malay girl” brought on board a Dutch tramp ship, plying its lucrative trade in the waters off Indonesia. Upsetting the balance of homosocial shipboard life, the “Malay trollop” is casually slaughtered and thrown into the sea.

The desire to rework the subjectivities of colonial characters – giving them air and life – is a marked cultural tendency of our time, a product of this century’s interest in reclaiming the voices of the oppressed and marginalised. Many of these stories, like Jean Rhys’s postcolonial classic The Wide Sargasso Sea, centre on reclaiming the voices of women. And yet, there is a kind of horror in the experience of inhabiting the point of view of characters who are so obviously destined for tragedy.

Riwoe gives the “Malay girl” a name – Mina – together with a set of hopes, dreams and aspirations, but Mina’s choices are narrow, and her trajectory through the world is marked by a terrifying lack of agency. The perfumed air, the gorgeous food, the tropical vegetation, do nothing to alleviate the suffocating sadness. The “Malay girl” is traded by her father, and ultimately discarded as “bad rubbish”. Riwoe takes advantage of the novella form to deliver an ending that is brutal, sharp and lingering.


Tracker by Alexis Wright

Wright’s non-fiction study of the Indigenous activist Tracker Tilmouth is not written in Wright’s own words, but the words of others. It is, as the author points out, an attempt to capture the life of a man who communicated constantly, gave his ideas away freely, but never wrote anything down. Tracker, the “constantly travelling traditional song man”, is remembered by others “through the stories they kept telling about him”, and about his “ideas and dreams”. This is the way in which he touched lives and built communities.

Tracker is not an easy book. It is, as Wright states, an “impossible book”. It seeks to capture “the rare thing that does not want to be caught” – and perhaps cannot be caught. It is a book that needs to be read aloud in order to be experienced. It attempts to contain all the aspects of language and story that are left out when words get set down in patterns of black ink on a page.


The ConversationNone of the books on the Stella shortlist offer a comforting vision of contemporary Australian life. And yet language illuminates, where ordinary life is dark and hazy.

Camilla Nelson, Associate Professor of Writing, University of Notre Dame Australia

This article was originally published on The Conversation. Read the original article.

2018 Hugo Award Nominees


The link below is to an article reporting on the nominees for the 2018 Hugo Awards for the best Sci-Fi/Fantasy fiction.

For more visit:
https://bookriot.com/2018/04/02/2018-hugo-award-nominees/