Don’t miss Booktopia’s Finest at the 2014 Sydney Writer’s Festival

Looking for things to see at The Sydney Writer’s Festival?

Come along and hear some experts from Booktopia chat about the wonderful world of books…

Continue reading

Gabriel Garcia Marquez, Nobel Prize-winning author, dies at 87

Gabriel Garcia Marquez Portrait Session

From The Guardian:

The Colombian Nobel laureate Gabriel García Márquez, who unleashed the worldwide boom in Spanish literature with his novel One Hundred Years of Solitude, has died at the age of 87. He had been admitted tohospital in Mexico City on 3 April with pneumonia.

Matching commercial success with critical acclaim, García Márquez became a standard-bearer for Latin American letters, establishing a route for negotiations between guerillas and the Colombian government, building a friendship with Fidel Castro, and maintaining a feud with fellow literature laureate Mario Vargas Llosa that lasted more than 30 years.

Colombian president Juan Manuel Santos said via Twitter: “A thousand years of solitude and sadness at the death of the greatest Colombian of all time.

“Solidarity and condolences to his wife and family … Such giants never die.” Read More.

From The Sydney Morning Herald - read more

From The Sydney Morning Herald:

In 1982, he won the Nobel Prize in literature.

‘‘A rare phenomenon,’’ biographer Gerald Martin wrote in Gabriel Garcia Marquez: A Life (2008).

‘‘He is a serious but popular writer – like Dickens, Hugo or Hemingway – who sells millions of books and whose celebrity approaches that of sportsmen, musicians or film stars.’’

Among Garcia Marquez’s other major works of fiction are The Autumn of the Patriarch (1975), The General in His Labyrinth (1989) and Love in the Time of Cholera (1985).

The last was made into a film released in 2007, directed by Mike Newell and starring Benjamin Bratt and Javier Bardem. Read more.

From The Australian - Read More

From The Australian:

Known to millions simply as “Gabo,” Garcia Marquez was widely seen as the Spanish language’s most popular writer since Miguel de Cervantes in the 17th century. His extraordinary literary celebrity spawned comparisons with Mark Twain and Charles Dickens.

His flamboyant and melancholy works — among them “Chronicle of a Death Foretold,” ”Love in the Time of Cholera” and “Autumn of the Patriarch” — outsold everything published in Spanish except the Bible. The epic 1967 novel “One Hundred Years of Solitude” sold more than 50 million copies in more than 25 languages.

With writers including Norman Mailer and Tom Wolfe, Garcia Marquez was also an early practitioner of the literary nonfiction that would become known as New Journalism. He became an elder statesman of Latin American journalism, with magisterial works of narrative nonfiction that included the “Story of A Shipwrecked Sailor,” the tale of a seaman lost on a life raft for 10 days. He was also a scion of the region’s left. Read More.

From The Washington Post

The Huffington Post put together a wonderful collection of Garcia Marquez quotes for his birthday in March:

“Wisdom comes to us when it can no longer do any good.” — From Love In The Time Of Cholera. Read More

From The Associated Press:

Nobel laureate Gabriel Garcia Marquez was among Latin America’s most popular writers and widely considered the father of a literary style known as magic realism.

A partial list of his works:

FICTION:

“No One Writes to the Colonel and Other Stories,” 1961

“One Hundred Years of Solitude,” 1967

“The Autumn of the Patriarch,” 1975

“Chronicle of a Death Foretold,” 1981

“Love in the Time of Cholera,” 1985

“The General in his Labyrinth,” 1989

“Strange Pilgrims,” 1992

“Of Love and Other Demons,” 1994

“Memories of My Melancholy Whores,” 2004

NONFICTION:

“The Story of a Shipwrecked Sailor,” 1970

“News of a Kidnapping,” 1996

MEMOIR:

“Living to Tell the Tale,” 2002

This year Penguin Australia has released the works of Gabriel Garcia Marquez in new editions - See  Them All Here

Vote For Australia’s Favourite Novelist 2014 – Final Round of Voting

There is only one more week of voting left to decide who is Australia’s Favourite Novelist!

This is the longlist as voted by you, congratulations to all the novelists for making it onto this extraordinary list.

But the job isn’t finished. We need your final vote to decide the order of the top 50.

Vote for all your favourite authors, and spread the word, tell your friends and family to get voting! The poll closes 5pm Saturday.

Next week we’ll announce the Top 50 as voted by you and decide who, in 2014, is Australia’s Favourite Novelist!

 

————————

Vote For Australia’s Favourite Novelist 2014 – Heat 5

January is the month of Australian Stories at Booktopia, and to celebrate we need your help to discover Australia’s Favourite Novelist for 2014!

This is it folks. Your last chance to push your favourite authors into next week’s final round of voting. Last year’s winner Kate Morton is also in this heat!

Next week we’ll have the top 100 authors from all the heats for you to vote for!

Remember you can select as many authors as you like with your vote and give them the chance to become Australia’s Favourite Novelist!

————————

Vote For Australia’s Favourite Novelist 2014 – Heat 4

January is the month of Australian Stories at Booktopia, and to celebrate we need your help to discover Australia’s Favourite Novelist for 2014!

Heat 4 is full of some huge names and exciting newcomers. Who will you vote for?

Thanks to everyone who has voted so far, the response has been incredible! And thanks to all the wonderful authors and publishers for spreading the word!

Remember you can select as many authors as you like with your vote and give them the chance to become Australia’s Favourite Novelist!

————————

Vote For Australia’s Favourite Novelist 2014 – Heat 3

January is the month of Australian Stories at Booktopia, and to celebrate we need your help to discover Australia’s Favourite Novelist for 2014!

Today’s list is full of the most popular writers in Australia today, it’s a tough one!

Remember you can select as many authors as you like with your vote and give them the chance to become Australia’s Favourite Novelist!

————————

Vote For Australia’s Favourite Novelist 2014 – Heat 2

January is the month of Australian Stories at Booktopia, and to celebrate we need your help to discover Australia’s Favourite Novelist for 2014!

Yesterday had some big surprises as Australia searched their hearts and bookcases, will today be the same?

A reminder that this is only Heat 2, so you might see some of your favourites missing today. Don’t worry, over the week you’ll have a chance to vote for all of your favourites in their respective heats.

Today’s list includes Nobel, Pulitzer, Orange and Miles Franklin Prize-Winners!

Vote now to see them advance to the final round of voting next week and have the chance to become Australia’s Favourite Novelist!

————————

Vote For Australia’s Favourite Novelist 2014 – Heat 1

January is the month of Australian Stories at Booktopia, and to celebrate we need your help to discover Australia’s Favourite Novelist for 2014!

We’ve taken your nominations and today is the day to put your votes forward. You can vote for as many novelists as you like.

A reminder that this is only Heat 1, so you might see some of your favourites missing today. Don’t worry, over the next 5 days you’ll have a chance to vote for all of your favourites in their respective heats.

Today we have brilliant bestsellers, acclaimed award-winners and exciting newbies! Vote now to see them advance to the final round of voting next week and have the chance to become Australia’s Favourite Novelist!

————————

Joanna Trollope on Jane Austen

The Austen Project
Sense & Sensibility
A Q&A with Joanna Trollope

1. Sense & Sensibility is launching the Austen Project –  what was it about the idea of a modern re-telling of Jane Austen’s novel that caught your imagination?

My first – and I have to say, last – reaction when the idea of updating those novels was put to me, was: how brilliant! Jane Austen’s preoccupations – romance, money and class – are timeless, which is one of the main reasons that puts her at the head of the much beloved, as well as classic, category. She is also completely serious about any character or emotion that requires respect, while at the same time displaying a wonderful capacity for mockery and spot-on censure for folly and unkindness in any form. And so, while determined that any novel I wrote would be unquestionably a tribute to her genius, and in no way an imitation, I could immediately see that her characters and her narrative would translate absolutely seamlessly to 2013 – which, indeed, they have.

2. The characters that Austen creates are timeless but still, transferring them to current times must have been an enthralling task. Did you find the presence of an existing plot and characters liberating or limiting?

The whole process was a liberation. The characters almost felt that they were transferring themselves to recognisable modern people with very little help from me, so vivid are they. And being freed from the need to invent a theme, a narrative or a cast list for myself, I felt little short of exhilarated the whole time. Of course there were elements that had to be modernised since the characters in the original, a lot of them living on the proceeds of the slave trade (although that is never mentioned as it would have been such a contemporary commonplace) have the kind of leisure that is absolutely unthinkable nowadays. And the outrages – Willoughby’s impregnating of Eliza, say – have to be updated to convey the same level of shock. But these changes were really details in what was an extraordinarily engaging project.

3. In Chapter 5 Belle says: ‘Then he’d be at complete odds with my Marianne. And me for that matter. We believe in the love of a life, you see.’ Marianne really is the living embodiment of the sensibility that was so fashionable in the eighteenth century. How did you manage to update her romantic fervour and make her so likeable?

The thing is that Marianne is likeable, as well as close to impossible, in the original. We know that by the time Jane Austen came to write Sense and Sensibility, her own appreciation of the qualities of level-headedness that Elinor displays far outweighed the current philosophical vogue for sensibility. But Marianne is as much a child of her times – 1809 – as she is, with a slightly different modern interpretation, of ours. It’s just that we have a different way of describing, and of seeing, the same utter belief in emotional self-indulgence and the prioritising of individualism, as she does. What she would call sensibility, we recognise as entitlement. Her belief in finding the love of her life equates to our desire for a soulmate. She may exhibit an exasperating level of self-involvement which is very recognisable today, but she is also warm and welcoming and sincere in her attachments. And she loves her sister, Elinor, she really does. We can all look round our circles of friends and see people in it who are ‘Mariannes’ – maddeningly self-absorbed, and emotional, but also sweet and responsive and sympathetic. Jane Austen’s Marianne is a very modern girl, with all the plusses and minuses that that entails.

4. Sense and Sensibility is so much about how we declare our love, and how the public and private versions of love exist. How did you find writing this interplay? Do you think public declarations through social media such as Facebook and Twitter have changed our modern view on love?

I would guess that no amount of social media actually changes the way people feel, even if it might have enabled, rather than actually changed, the way they express those feelings. The desire to be loveable, and popular, and fancied is as old and as enduring as humanity is itself, and I would guess that the number of modern girls pressured by their peers or their own insecurities into making fools of themselves on Facebook and by Instagram, is exactly the same as it was before these alarmingly public fora existed. You can imagine very easily, can’t you, the Steele sisters taking avidly to Twitter! And I think the fact that I could insert a little modern media so effortlessly into Jane Austen’s narrative is the only proof you need that humanity doesn’t change, even if codes of conduct do!

5. Edward Ferrars is described in Chapter 2 as the ‘redeeming attribute’ of the Ferrars clan. But he has little direction and behaves submissively, at first, towards Lucy’s insistence that they are an item, in contrast to Elinor’s composure and intelligence. Did you find it hard when writing to see them as an equal match and can readers be fully satisfied that Elinor is to marry him at the end?

Oddly enough, I thought that Edward Ferrars was one of the most modern characters in the whole book – or, at least, one of the most recognisable as modern. He has had a bullied and neglected childhood, despite material comfort, and is clearly what we would now diagnose as a mild depressive by nature. There is an unquestioned sweetness in his disposition, but his upbringing – thrusting new money and ambition – is not in the least interested in sweetness, but only in success. His overbearing mother has accustomed him to obeying bossy women, and his sweetness makes him anxious to oblige. So he is easy prey, as a lonely teenager whose family have written him off as hopeless, for a gold digger like Lucy Steele. And Elinor, interestingly, for all her intelligence and self control, is the family missionary. She has appointed herself the Sensible one, the Saffy from Absolutely Fabulous, whose task it is to steer her chaotic little family ship to a safe harbour. If she didn’t like sorting volatile people, she would not be so unbelievably patient with her mother and sisters. Sorting them all is her chosen role – so Edward Ferrars is a natural choice for her. He may not be completely worthy, but he is what she wants.

6. The novel’s themes of status and money imply that some things are never out of date and that men with wealth and power will always be more attractive to women. Would you agree and do you see this ever changing?

I entirely agree. In fact, I would go further and say it’s mainly money that gives both power and sex appeal – and of course, the latter is a form of the former. Looking back at history, emperors, statesmen, successful industrialists, soldiers and entrepreneurs may not have made a universal success of their private lives, but they have never not taken what they wanted – or what they thought they wanted! And to look at the present day, it is only money that stops Fifty Shades of Grey from being a novel about sexual abuse – and I see that the new Sylvia Day will feature ‘a young billionaire’ hero … Now, I wonder why that should be?!

7. What would you like readers to take away from this novel?

I would love readers to take away several things. First, obviously, a sense of pleasure and satisfaction. Secondly, a sense of having been in the company of people they can both recognise and believe in. But thirdly, and most importantly, I would like them to feel a renewed and enormous admiration for Jane Austen, and a strong desire either to re-read the original, or actually, to read it for the first time.

8. Do you tend to read when you are writing a novel and, if so, what?

I read all the time … And what I read is not particularly deliberate, but more often than not, whatever is next on the pile of books waiting to be read because I have been asked to read them or am longing to, anyway! This year, one of my huge reading joys was the entire shortlist for the Womens’ Prize for Fiction – six dazzling books. I can’t think when there has been a stronger shortlist – everyone a winner in my view!

9. Did you re-read Austen’s Sense and Sensibility and if so, did you refer to it as you wrote or did you prefer to keep a distance between you and the text?

I read and re-read it exhaustively, to the point of cannibalising several paperbacks of it to work out the scenes I was going to use, and where I would have to add scenes to bring the narrative circumstances up to date. So I ended up with a tattered re-configured sequence of the original, heavily highlighted. I have left one line of the original in the updated version – I wonder if you can find it?

10. As a hugely successful, bestselling novelist, would you have any guidance or advice for young writers starting out today?

The first thing I would say is that there is plenty of time. You can be too young to write – simply because you haven’t had time to live enough – but you can hardly be too old. Think of the wonderful P.D. James, in the bestseller lists at 94! I remain of the opinion that most people write better after 35 than before, for that very reason. So, don’t be in a hurry! And while you are waiting, train your powers of observation, because that is the hallmark of all successful novelists. Maybe even keep a notebook – not a diary, but a notebook you have with you in which you can record ideas or observations, or snatches of a conversation you overhear, or scraps of dialogue. No amount of noticing of other people is ever, ever wasted for a writer … Good luck!


Joanna Trollope, OBE, is the international bestselling author of 30 novels and has written historical fiction, contemporary fiction and non-fiction. When Joanna considers what has happened to her career in the last ten years, she often thinks, as her friend Jilly Cooper once said, ‘You’d believe it, wouldn’t you, if it happened to someone else‘.

Why do I always forget to mention Thomas Hardy?

John Purcell reflects on the frustrations of drowning in honey.

It occurs to me that I never mention Thomas Hardy. When I rattle off the authors I love, my mind runs to George Eliot, George Meredith, Jane Austen, Charles Dickens quite easily and then I realise I have mentioned only nineteenth English authors and I quickly add Christina Stead, Willa Cather and I may if I have time throw in Thomas Mann and Ernest Hemingway. And there I stop. I know I have said both too much and not enough.

While I pause for breath I remember Clarissa and think of Samuel Richardson, Tom Jones and think of Henry Fielding. The name Richardson makes me think of Maurice Guest and I find myself moving from Henry Handel Richardson to George Johnston and Xavier Herbert. And then I realise that I haven’t been paying attention to the conversation I have been engaged in.

tess-of-the-d-urbervillesAnd I find myself exhausted. Because it occurs to me that although I have been afforded the opportunity to read some of the finest writers of the last few centuries I cannot easily share or express the enjoyments and lessons of this reading in any meaningful way. I can enthuse – I have a passionate relationship with literature. I can list the titles and authors one should read – I have a good memory for these things. I can quote or read a passage aloud – I have noted down many impressive scenes and quips. And I can encourage others to read as I have read – I have a teacher’s zeal. And in doing these things I quickly become a bore to myself and to others.

In the end there is always silence and bitterness. And I turn away.

And suddenly there he is, Mr Thomas Hardy. He stands so close beside me I forget he is there.

However, by then the moment has passed. The opportunity to mention him has gone.

But I am secretly pleased about this really. Because he doesn’t fit in with the other great names. He is an outsider amongst outsiders. And I know that those who really appreciate him, those millions who have devoured all of his works and taken him into themselves probably discovered him on their own and at the right time – I have learnt that to recommend Hardy is to damn him.

I’ve been told Hardy is too dark. That he is humourless. Dull, unrealistic, pessimistic and cruel. And in these moments I wonder if they have been reading someone else. So I now forget to recommend him.

When I first read Hardy much of the world’s ugly scaffolding fell away. In Return of the Native, Far From the Madding Crowd, Jude the Obscure, The Mayor of Casterbridge and the others it was his great love of nature and humanity and the beauty each possesses which shone brightest for me. And though the shadows this bright love cast are deep and very dark they only serve to accentuate the good, the worthy, the beautiful.

So where some see pessimism I see great optimism. Hardy asks us to cut through the fog of day to day life so we may recognise and cherish what is good in our environment, in others and in ourselves.

So I won’t recommend Thomas Hardy to you. I will just point out that he is there on the shelf ready to be read. When you are ready, that is.

Taken by John’s love of the classics? Find more classics he loves here

Follow

Get every new post delivered to your Inbox.

Join 1,052 other followers

%d bloggers like this: