The Waste Land begins with a chapter titled The Burial of the Dead. The very first line says that ‘April is the cruellest month’. What an attention-grabbing start!
The 434-line poem is Eliot’s extended lament for the lost lives and the destruction of the 1914-1918 war. He’s talking about the collapse of civilised behaviour, the wanton wreckage, the widespread despair. And he does it in style.
When I got home from my walk, I looked up the poem, recalling that it includes dozens of splendid lines. Then I discovered (re-discovered?) that the poem’s first publication was in 1922.
Lo and behold, 2022 would be the centenary!
The idea of an anthology of Wasteland stories burst into my head. Wow! so many good lines there that are almost irresistible as story titles – for something in literary speculative fiction genres. (Literary spec fic? Think Margaret Attwood and Octavia Butler.) Look at these phrases for a start, all from The Waste Land:
a heap of broken images
they called me the hyacinth girl
looking into the heart of light
the barbarous king
are you alive, or not?
I’ve invited a select band of other active speculative fiction authors to write short stories springing from Eliot’s poem. I’m thrilled to say that we are a merry band of 19 writers. You can see more about them here.
‘From the Waste Land: speculative fiction inspired by Eliot’ will include ghost stories, fantasy, horror, steampunk, dystopia and queer romance. All will be intriguing and amazing tales.
I’m doing my best to ensure that this anthology will come out in the second half of 2022 to coincide with the poem’s centenary. I’m very busy querying publishers–no easy feat when we don’t actually have a completed manuscript on hand yet! And of course, I’m writing up a storm with my collaborators…
It’s going to be fabulous. Keep an eye peeled for more news about this wonderful project.
Almost 100 people entered the draw for The Stars in the Nightbook giveaway earlier this month. Awesome! It’s nice to be wanted.
I’m happy to tell you that a signed copy of the book, plus the little rosemary sprig badge, went to country Victoria and received a glowing welcome!
Here’s some ideas for anyone who missed out:
ask your local library to order a copy for you to read. Getting the book into more libraries means that it reaches more readers, which is wonderful. And a trickle of Public Lending Rights cents go to the author, which is a lovely thing … yes, if you see my book on the shelf, please borrow it 😉
keep an eye out for a special price on the eBook version coming next month – for most of December, The Stars in the Night will be on special
see if your book club would consider adding The Stars in the Night to their 2022 reading list. I guarantee that it would make fabulous reading for the month of April, when Anzac Day shines renewed interest on war service and its aftermath
Some reflections on social media for authors:
I decided that The Stars in the Nightbook giveaway would do two jobs: send my work to another reader, and give me feedback on my communication channels.
I’ve listed the effectiveness of each channel, in descending order:
Of course, this is my experience with one giveaway, and most of the numbers reflect my pattern of usage. I’m not on Twitter much (*someone did enter from Twitter, but ineligible as it was for Australia only), and rarely on Pinterest (though I have an absolutely AWESOME collection of pins related to my books).
I don’t send newsletters very regularly. The strong response surprised and gladdened me! With this mini-experiment, I have a new direction for communication in 2022.
Oh – and keep an eye out for my December newsletter. Coming soon!
An enthralling read, The Good Childtells the story of two women whose lives are linked – and damaged – by the one man.
Unfolding through a series of flashbacks interspersed with current happenings of the 1990s, the story introduces us first to Lucille and Quin. They’ve both lost everything. The two women meet on a country train headed to Melbourne. They’re on their way to attend a trial. Although they don’t know it for a while, they both have their lives invested in the man in the dock.
Lucille, like many of our mothers or grandmothers, was born between the wars. She lived through the hungry 1930s and blossomed in the 1940s. She suffered some awful tragedies, the sort that rip the heart out of women. Then WWII stamped all over her life.
Maybe her grandmother’s warning was right:
“Marry the wrong man and your life will be nothing but misery.”
When at last Lucille raises Tom, a golden boy, everything seems better. Perhaps life will be kind after all. Maybe the mistakes and heartaches will disappear into the mists of time.
A well-loved child, Tom leaps on the ‘greed is good’ train of the 1980s, spreading his charm and his captivating energy with a generous hand.
How could anything go wrong with his ambitious financial scheming? Well, what about shady dealings? Or the mates’ rates he shares glibly? And what about his greedy, grabby habits?
Ah well, if you lived through the 80s you’ll know what can go wrong.
Quin was one of Tom’s star workers, writing up loans, sealing deals, helping as he schmoozed up customers.
She knows that some of what she did enabled Tom’s rapacious dealings, but she wasn’t prepared for the double cross that sacrificed her to the wolves when the going got tough.
Quin would love to right her own wrongs and see Tom pay for his crimes. Her budding relationship with Lucille promises to heal some of the wounds of the past.
Finally, the compassionate insight of women bypasses the slick and deadly traps of masculine over-confidence.
This story is very generous in detail
The Good Child recreates its diverse time periods with such a keen attention to everyday life that readers are immediately immersed in the settings.
It’s almost possible to smell the kitchen of the 1940s, touch the dresses of the 1950s, hear the hubbub of the 1960s six-o’clock swill, and taste the extravagance of the 1980s.
Author S.C. Karakaltsas has a thorough understanding of the periods covered in this wide-ranging novel, as well as a keen eye and a happy gift with dialogue. Perhaps most remarkable is her ability to bring out the green shoots of hope in a story that charts so many tragedies.
It’s easy to get lost in the world of The Good Child, riding the emotional lows and brief highs as the story inevitably unfolds to its very satisfying end. If you love Australian historical fiction with a feminist slant, this one is for you.
Born in 1969, Phil was one of the last children born before man walked on the moon. Working at Australia’s National Dinosaur Museum since 2000 and as an educator at the Australian War Memorial since 2006, he has previously worked at Questacon Science centre and could be seen haunting the halls of London’s Natural History Museum and The Smithsonian’s National Museum of Natural History. Here he even played famed palaeontologist O. C. Marsh during the Smithsonian’s centenary celebrations. When asked why the 19th century palaeontologist was speaking with an Australian accent, Phil blithely stated that everyone on the 19th century spoke with an Australian accent.
Published in newspapers and magazines across the globe, Phil is the paleo-author for the world’s longest running dinosaur magazine, The Prehistoric Times. He has also been a comic shop manager, a cinema projectionist, a theatre technician and gutted chickens for a deli. All of these influences seem to make an appearance in his writing, especially the chicken guts bit.
Congratulations on the publication of Golgotha.
What inspired you to write this story?
PHIL: Thanks, I’m so pleased how this story came out. I have worked for museums all over the world for the last three decades and was lucky enough to work as an educator at the Australian War Memorial for a decade. I was always looking for interesting stories to pass on to the AWM visitors. During my research I found several stories, and further research led me to even more oddities. Many of these I used in my tours, but some I filed away for later use.
The story of a crucified soldier was the first of these, but I do have a few more that will hopefully make an appearance with my international team of investigators in the near future.
Golgotha is set during the First World War.
Why are you interested in the war, over a hundred years later?
PHIL: OK, this may get deep. Working in places like the London Natural History Museum made me confront the lack of history I feel connected to. Not only am I am Australian – so part of one of the youngest nations on the planet – but I’m also from Canberra – arguably the world’s youngest city/capital. Certainly, our country is old, and the indigenous have some serious history, but in many ways, I feel that’s not my story to tell.
I collect stories, and many of these I find in strange locations, meaning they are often unreported. This has led me to creating a new history for Australia for a podcast I’m about to release … and it will all be bizarre Australian history that I’m certain many have never heard about, and all real. A samurai invasion of Australia decades before Cook arrived, the Fall of the Roman Empire leading to the Dutch landing in Western Australia … Napoleon sending an invasion fleet to Botany Bay … all true.
All of this has led me to understand – as many of us do – that our identity as Australians really did begin with Gallipoli. It’s when we first started to think of US and not THEM. The First World War is our American and French Revolution, our Civil War – it’s the conflict that forged us into the nation we know today, I mean, even the word ANZAC has become something for more than its original meaning, its something sacred.
Do you think that WWI still has lessons for us today?
PHIL: HELL yes. I believe statics show that, by population, no Allied nation lost more in the Great War than Australia. Similarly, no nation (that wasn’t physically part of the battle – like France) is still as affected by these losses as Australia.
Drive through many rural towns today in Australia and you’ll see a large monument in the town square noting their losses. The monument is often full of men with the same last name. Entire generations from these towns joined up and were often buried together in some field overseas.
These towns never truly recovered from their losses and rural Australia still feels underpopulated.
I feel this has all left something of an emotional national scar. One way we have been dealing with the great loss is the way we reverently look on those who served.
I feel what other nations can learn by this is perhaps the way we use the past, but we are not tied to it. Mateship is part of our national identity, but rather than let us restrict who we include into this circle, we try tp be inclusive.
I think our natural outlook towards others, which is usually friendly, is why Australians worldwide are beloved.
Very interesting reflections, thanks Phil.
Now a bit about you! If you were stuck on a desert island
– or maybe in lockdown LOL –
what five books would you want with you?
PHIL: Ouch … only five … actually, challenge accepted.
The Black Company by Glen Cook. I love this series and it’s been a massive influence on me. The way Cook uses a bare-bones way of writing his stories is something I really have taken form heart. Don’t waste your time getting your characters from A to B – just get them there and move on with your story. I also just love his characters and the entire story line … this leads me to
Old Tin Sorrows by Glen Cook. This book and this entire series is da’ bomb. It’s also part of the inspiration for my first novel, Brotherhood of the Dragon. The books are about a fantasy hard-boiled detective called Garrett. I recall reading ‘Old Tin Sorrows’ when it suddenly struck me that many of the plot points were from Raymond Chandler’s The Big Sleep. In fact, the entire series is also heavily influenced by Rex Stout’s Nero Wolfe books, so I decided I wanted to join in the fun and also use these mechanics in Brotherhood.See if you can spot them? Golgotha also has similar influences – most notably the Third Man with Orson Welles.
Cetaganda/A Civil Campaign by Lois McMaster Bujold Ok, I may be cheating here, but let me explain. The Vorkosigan saga is one of the greatest novel series ever put to paper (and not just Sci-fi, but all series). Each one takes on a different theme. Cetagandais pure political/detective thriller. There are plots within plots and action and intrigue and red herrings and Mile Vorkosigan mentally pulling it all apart and finding the truth. Great stuff. The next book though is a romance/political thriller with plots within plots and intrigue and red herrings and Miles fumbling his way to asking the lady he loves to marry him. It’s the funniest book I have ever read and pure genius. I’ll also cheat here and suggest you get the audiobooks. Both of these I listen to at least once a year.
Moneyball: The Art of Winning an Unfair Game by Michael Lewis Possibly the most influential book on this list. Moneyball is about baseball statistics…and yet it’s so much more. The lesson it teaches is anything can be interesting if you find the right angle. Moneyball is about how to win when you’re losing, how to change tac when you realise you are going in the wrong direction, how to create something from nothing, how to make a weakness a strength and how to tell just a great freakin story. You can watch the movie – its great too – but honestly, read the book – especially if you are interested in facts more than fiction – you simply won’t regret it!
The Gilded Dinosaur by Mark JaffeThe history of palaeontology bookended by the greatest battle in science – the intellectual war between ED Cope and O C Marsh. Dinosaurs, palaeontology, cowboys, train robberies, explorers, nation building, the Smithsonian, political intrigue … and did I mention dinosaurs? What’s not to love?
You write across genres and have a wide range of amazing interests.
How do you juggle all of these with work and writing?
Do you have some time management or focus tips for us?
PHIL: Well, for one thing you will never suffer from writer’s block … you can always move onto another subject for a while and get refreshed/re-inspired.
That’s the cheat answer. To be helpful, I guess I would say work smart.
Research is fun but can create a serious freeze on your brain as you find yourself swamped by too much info. You will take notes – so many notes – well put them in Word! DO NOT USE A NOTEBOOK! Trust me, I’m a researcher and I love carrying around a notebook. The problem is, you end up with lots of notebooks – but do you ever look in them? And do you find what you’re looking for? So, work smart – put them in Word and then you can word search later for what you’re looking for.
Keep folders. You will be astonished how often you will be looking for some info, and you’ll find something that links into something you are working on. Don’t stop what you’re doing, cut/paste/save– take a screen shot or a photo – but save that info in the folder you have for that project and then get on with what you’re doing.
And this brings me to my most important point.
Finish your projects. Don’t get distracted, and I mean distracted by outside as well as internal influences. If you are working on a crime story, don’t start watching documentaries about the First World War, even if that’s something you are also going to work on. You’ll get distracted/inspired and lose your train of thought.
Stay on point – stay on theme – and you’ll get an astounding amount of work done.
Wow, Phil, thank you so much for your insightful answers. Wonderful!
And thanks in advance for sharing a chapter from Golgotha, which I know is wonderful.
Just one more to join our happy band of adventurers, Fitzhugh thought as they entered the Australian lines. They were immediately joined by several large men wearing the quintessential slouch hats the antipodean troopers favoured.
These men referred to themselves as ‘six-bob-a-day tourists’, referencing their daily wage, and their service meant the Australian government and senior commanders treated them with more respect than other nations treated their own men. The most obvious example was that no Digger could face a firing squad for any offence without the permission of the Australian government, and that permission was never forthcoming, despite the pleas of generals like Douglas Haig.
Soldiers being soldiers, the Australian servicemen took full advantage of this leniency by rarely saluting their officers and hardly ever answering with the proper use of rank. Instead, the Aussies called their commanders by their first name, never wore their uniforms in the ‘correct’ by-the-book-way, nor took part in much of the silliness that soldiers from other nations had to endure.
Fitzhugh knew full well the reputation of these men, both on and — in this case — importantly off the battlefield.
At one point, the unruly Diggers had found themselves located in the lines near the 10th Royal Fusiliers, and here they became concerned for their fellow soldiers when the Fusiliers commander ordered them to parade every morning. The very English and newly minted colonel had decided he would have his men march a full-dress parade, with spit-and-polish uniforms, during their morning mounting of the guard. This was all done as the unit’s brass band played a merry ditty for the Fusiliers to march back and forth under the braying vigilance of Sergeant-Major Thomas Rowbotham. A lifelong military NCO, Rowbotham agreed with his colonel that strict discipline within the ranks was the only way to go.
Amid the mud, carnage, and death on the Western Front, the Diggers watched these parades with growing incredulity. Stationed next to each other, the two units inevitably began mixing and the Aussies eventually had to ask their British comrades if they enjoyed all that marching and dressing up.
‘Not on your life!’ replied one of the Fusiliers.
Another jumped in. ‘We have to do the parade during our downtime. Even at rest, we’re busy polishing buttons and boots, all so our bloody officers can feel like they’re leading proper soldiers.’
One burly Australian grinned an evil grin at his new friends and, slapping the much smaller man on the back warmly, said, ‘Right-o, cobber, we’ll fix that for you.’
The next day, Sergeant-Major Rowbotham called his men into parade. The Fusiliers all dutifully filed in and the regimental band lifted their instruments, awaiting the Sergeant-Major’s signal. As Rowbotham lifted then dropped his arm to signal them to play, he was greeted by a cacophony of what some would later recount fondly as noise.
Marching up and down behind Rowbotham were the Australians, playing what could be kindly described as instruments. Most were rusty and showed the signs of a hard life, but none of this mattered as the Aussies couldn’t play them anyway. Instead, they just blew and banged as hard and loud as they could, to drown out Rowbotham’s orders. Each time the makeshift orchestra began to wane, and the Sergeant-Major tried to regain control of the situation, the Australians began playing again with even greater vigour. After nearly half an hour of this, the Sergeant-Major, in utter defeat, finally strode away in a huff and the Fusiliers were never called to parade again. The Australian trench band was always watching and ready to start up their battlefield symphony if they did.
‘Can I help you, gentlemen?’ one of the Australian soldiers asked.
‘No, thank you, just passing through,’ Fitzhugh answered as Andrews manoeuvred to place himself between the two men.
‘What have we here? It seems the officer is taking his dog out for a walk,’ another Aussie said. ‘Down there, Fido. Sit!’
Another of the soldiers asked, ‘Does your dog do any tricks?’
‘Sergeant,’ Fitzhugh cautioned, as Andrews took a threatening step toward the jokester.
‘Nice leash, puppy,’ the Australian said, indicating Fitzhugh with a nod of his hat.
‘Actually, perhaps you men can help me?’ the captain asked, his tone remaining warm.
‘What’re you after? A German flag? A helmet? We got lots of souvenirs to impress the folks at home. You can even say you collected them yourself, you big brave British soldier you.’
‘Even have an officer’s uniform. It’s still a little bloody from where Barney here gutted the bloke.’
Ignoring the clear threat, and taking the statement as a joke, thus passing the test the Australians had laid out, Fitzhugh replied sincerely, ‘No, no, do not offer me any of your baubles. I was hoping for some information. Do any of you men know Sergeant Hank Ash?’
‘Now what would a proper British officer like you want with Mr Ash?’ the soldier called Barney asked with a heavy Irish accent.
Both Fitzhugh and Andrews caught the sudden change in attitude. All had gone from casual, fun-loving jokesters to rigid and aggressively hard.
‘I’m here to try to save his neck!’
The newly demoted Private Hank Ash sat in his cell, his sleeves sporting discoloured sections where his sergeant chevrons used to be. Two armed English guards stood directly outside his cell, situated in a small outbuilding of the farm that was being used as a temporary prison behind the Australian lines. Outside stood more guards, while the farmhouse itself had been converted into a makeshift barracks.
Through a small field that should have been full of feeding chickens and a garden, but now housed a small latrine on one side and a smouldering fire on the other, Fitzhugh, Andrews, and their Australian retinue marched. Approaching the farmhouse door, Fitzhugh took off his cap and stepped inside, returning the salute of the guards as he did. His retinue moved on to the barn, calling out to their mates inside.
Walking into the prison’s makeshift office, Fitzhugh found an English major with a Douglas Fairbanks moustache taking a cup of tea from a brawny NCO.
‘No milk in mine, Corporal,’ he said, inviting himself to sit down at the major’s desk.
The corporal looked from one officer to the other, not sure if he should be turfing the intruder out and hoping for a cue from his commander as to what to do. The major flicked a look at the door and the man left.
‘Perhaps a little sugar if you have it, Corporal,’ Fitzhugh called after the departing man, ‘and a bikkie.’
‘How can I help you, Captain…?’
‘Fitzhugh, Major Preston.’
‘It would seem you have me at a disadvantage, Captain Fitzhugh.’
‘So it would seem, Major,’ Fitzhugh replied, mirroring the senior officer’s reference to his rank to let the man know he knew that trick and wasn’t about to be cowed by an officer just because he had a little more brass on his shoulders.
‘How can I help you?’
‘Well, sir, I’m here to take Sergeant Ash off your hands.’
‘Very funny, Captain. Now, why are you really here?’
Rather than repeat himself, Fitzhugh removed a letter from his breast pocket, unfolded it, then slowly and deliberately smoothed its creases before handing the paper over. As the officer read the letter, Fitzhugh could tell when he read the name scrawled on the bottom of the page, as his eyes suddenly grew very wide.
‘This is signed by Haig.’
‘General Haig.’ Fitzhugh smiled warmly, continuing their game a little longer.
‘Are you sure it’s Ash you want?’
‘I have been hearing that question a lot recently. Absolutely it is Ash I want.’
‘And you know what he did?’
‘Let me see, he was wounded at Gallipoli after showing enormous courage, and has been serving very bravely here since….’
‘Since he broke a lieutenant’s jaw–’
‘From what I heard, the lieutenant deserved a broken jaw.’
‘He was still a superior officer,’ Preston said.
‘Senior officer, Major. I’m not too sure how “superior” the man was. Let’s not be conjuring facts we have no actual evidence. Personally, I refuse to condemn a man standing against a practice more in tune with the brutality of the inquisition. Now, I believe Sergeant Ash is yet to be convicted of this crime?’
‘May I ask why it’s taken so long to court-martial a man who struck an officer? The official report is frustratingly vague on why he has missed his last three court appearances. For that matter, how are you still in charge, having failed to get your prisoner to his hearing…if I may be so bold as to ask?’
‘Very simple.’ The major opened his hands, as though displaying something on the table before them. ‘My predecessor was a total and utter moron.’
Biting off a laugh from the unexpected comment, Fitzhugh regained control of himself. ‘Care to elaborate, sir?’
‘The buffoon arrested Ash and placed him in this stockade, a stockade, I’d like to point out, that is surrounded by the entire 1st Australian Division.’
‘Gotcha,’ Fitzhugh said, realisation striking.
‘Every time we have tried to move ‘Private’ Ash, those bloody Australians have intercepted us. It seems they are determined to make sure he never sees the inside of a courtroom, and their own officers are uninterested in doing anything to help clear our path.’
‘How are they stopping you?’
‘Well, you may have noticed the Aussies have men posted along every route into and out of this place, and they seem to be ready to move on a moment’s notice if they sense we are up to something. The first time we tried to take Ash to his court appearance, we found nearly a thousand men choking the road, doing the finest parade drill I have ever seen. Every time we tried to cut through them, some unseen voice would order a platoon to move into our way, and they would begin vigorously marching.’
No longer interested in hiding his mirth, Fitzhugh asked, ‘And the next time?’
‘We tried to sneak him out after making sure the time of his hearing was never announced. Somehow, when we went to move him, we suddenly had hundreds of Australian soldiers pushing into the little courtyard out there. They managed to never disobey an order, as the ones who could hear us became hopelessly trapped by the men at the rear continuously pushing forward. It took hours to disentangle everyone, and by then the court had dispersed for the day.’
‘So, I assume you next tried to bring the court here?’
‘We did, and here’s why I really hate those fucking antipodeans.’ The major almost spat. ‘Clearly, they have either befriended or bribed some of my guards, as no sooner did I have it planned for the court to visit us, the Australians struck again.’
‘Well, of course, I have no proof of this, but I find it suspicious that the horses the court were going to use to get here disappeared, and of course, they refused to walk all the way, and vehicles would never have made the journey through the trenches.’
‘The Australians stole the horses?’ Fitzhugh asked, grinning.
‘They steal everything not tied down, bloody convicts.’ Sensing he may have said too much, the warden backpedalled. ‘Well, as I said, there’s no proof. Though the Aussies did seem to eat well for the next few days. They had themselves a grand barbeque. They even invited us for a meal.’
Fitzhugh gasped and looked toward the heavens. ‘Thank God!’
‘Captain?’ the major asked, a little confused.
‘Sorry, sir, I was just thanking the Almighty that they’re on our side, because I wouldn’t want to be facing the bastards if they ever got really angry at us.’
‘I hadn’t thought about that,’ the warden said. ‘Thank God!’
Also, don’t forget that as a special for July, Golgotha is included in the Fromelles Anniversary Book Bundle from Odyssey Books – along with my novel The Stars in the Night, and Jim Ditchfield’s Nursing Fox. Something for everyone!
Can you guess when and where we played the first women’s cricket game in Australia? Bendigo, 1874!
You may know that I have a history decades-long of loving cricket. I’m very excited about this book.
History, culture, sport, feminism…
Today’s guest, Louise Zedda-Sampson, is about to release a wonderful book called Bowl the Maidens Over: Our First Women Cricketers.
The book is an intriguing account of the first Australian women’s cricket matches. In 1874 at the Sandhurst Easter Fair (Bendigo, Victoria), two teams of women cricketers assembled to play a cricket match in front of a rather large and enthusiastic crowd. It was a charity match raising funds for the Bendigo Hospital and Benevolent Asylum.
Louise’s book follows the women players as well as the members of the Rae family. The Raes were pivotal in creating and running the matches. From the first ad in the paper to the media storm afterwords, this is an amazing story.
First, Louise shares her inspiration for the book.
LOUISE: I’m never short for inspiration and find it comes in the weirdest ways.
This one came about during my last year of the Diploma of Professional Writing and Editing at Melbourne Polytechnic when the course coordinator asked me if I would like to contribute to a volunteer project. The Youlden Parkville Cricket Club wanted to recreate the club’s history. The club president, Paul Sinclair, is a very passionate player and president and wanted this to be something special for his club. After compiling this information for the club, there were several stories that wouldn’t let me go. I’ve written one about Harry Boyle and David Scott who owned one of the sports emporiums ‘Boyle and Scott’ in the 1800s prior to the Depression. My new book book focuses on the first Australian games of women’s cricket. A topic that’s barely had more than a line or two in any other book on women’s sports to date!
You could say that the women wouldn’t leave me alone until I shared the story! So they were the inspiration and I just stumbled across them while digging through the history of early cricket.
It was a challenge to find the right piece to include as an extract as each section offers something different. Rather than explaining how it all began, I’m going to put you right there, at the very first game.
Second, a free extract from Bowl the Maidens Over!
The match begins. Read on…
At noon, as the fair opened for the second day, the cricketers arrived at the cricket ground in the same three carriages they had ridden in as part of the parade. Spectators numbered in the thousands. Mrs Rae led the Reds, and Barbara Rae the Blues, from the tent:two by two, arms linked – one pink one blue – backs straight, heads held high. They were greeted with loud applause. The women assembled on the ground in their teams: their ability for organisation further impressing the crowd.
A report by the Bendigo Advertiser on 8 April best covers the entire match and offers a clear sense of pride in the players.
THE LADIES’ CRICKET MATCH.
Bendigo Advertiser, 8 April 1874
It certainly required a very considerable amount of courage on the part of the ladies to undertake to play a cricket match in public. The thing was unprecedented as far as Australia was concerned, and such a remarkable event as a ladies’ cricket match has seldom happened, even in the old country—the home of cricket. The cause in which they were engaged however—that of “heavenborn charity”—over-came all scruples, and they came nobly forward to aid the destitute and the suffering.
Sandhurst has the honor of turning out the first twenty-two lady cricketers, and from the exhibition of their capabilities yesterday in this new field of love’s labor they have added an additional charm to the game of cricket, and shown that, as a healthy exercise, it is alike fitted for the gentler as for the sterner sex. The match was originated in aid of the funds of the hospital and asylum, and the large crowd of spectators who gathered yesterday to witness it evinced an amount of public interest in it far beyond what was expected.
For some weeks past the ladies had been practising the game on the Back Creek Cricket Ground, kindly placed at their disposal by the B.U.C.C., and the progress which they made was astonishing, for they picked up the points of the game with wonderful aptitude.
At first it was expected that they should play in the Bloomer costume, as being less likely to interfere with their freedom of movement than any other, but the innovation was considered too startling for a British community, and the idea was given up in favour of an attire of the ordinary shaped dress, made of calico, with a colored jacket to distinguish the respective sides. These dresses the ladies purpose handing over as gifts to the charities. The game was intended to be played on the Back Creek Cricket ground, but unforeseen circumstances prevented it taking place there, and it was played in the Camp Reserve.
At one o’clock the ladies, in full costume, arrived in three carriages. The wickets were pitched in one of the crosswalks by the umpires—Mr. J. Latham and Mr. John Glen who officiated in the absence of the Hon. A. Mackay. Everything being in readiness, the ladies—the one side wearing red Garibaldi jackets and sailors’ hats; and the other blue jackets and similar hats—marched in pairs—red and blue being linked together—from the tent into the field, headed by respective captains—Mrs. Rae for the Reds, and Miss B. Rae for the Blues.
Their appearance was very pretty and picturesque; and they were loudly applauded by the onlookers. It was suddenly discovered that though the ladies had brought bats and wickets, they had forgotten the ball, but this little difficulty was got over by one of the umpires producing one of Duke’s best. The respective captains having tossed for innings it was decided that the Reds should go to the bat and they secured a total of 62 runs before the last wicket fell.
The highest scorer was Miss Kate Petrie who obtained 27 runs. This young lady not only acquitted herself well with the bat, but she trundled the ball with effect. Miss Nellie Rae distinguished herself by smart fielding, effecting a capital catch by which a good bat, Miss Clay, was got rid of. Miss J. Murdoch proved herself a first rate bowler. After the lapse of half an hour the Reds took the field, and they put their opponents out for 83 runs. Miss B. Rae was top scorer, with 36 not out; while Miss Gerber scored 10; and besides did good execution with the ball, bowling underhand with precision, and lowering six wickets. Miss Clay caught out Miss Luthwhyte by a splendid left-hand catch, which evoked tremendous applause, and brought the innings to a close. One innings each only was played, and victory therefore rested with the Blues. Mr. Coffin acted as scorer. When the ladies had assembled in the booth Mr. Abbott, chairman of the hospital committee, thanked the ladies for the successful effort which they had made on behalf of the charities, and the gentlemen present sang “They are jolly good fellows.” Mrs. Rae, on behalf of the ladies, replied, stating that the ladies had thoroughly enjoyed the game, and had the utmost gratification in knowing that their efforts had been productive of a substantial addition to the funds of the charities.
Annexed is the score:—
Mrs. Rae (capt.), b Gerber. . . . . . . . . . . . . . . 4
Miss K.Petrie, run out . . . . . . . . . . . . . . . .27
Miss N. Rae, b Gerber . . . . . . . . . . . . . . . . .6
Miss J. Murdoch, b Gerber . . . . . . . . . . . . . . 7
Miss L. Williams, b Gerber . . . . . . . . . . . . . . 5
Miss E. Carr, b B. Rae . . . . . . . . . . . . . . . . .1
Real people living though unprecedented times – sound familiar? This is what author Louise Fein brings to life in her novel People Like Us (see my review of this wonderful book here). Inspired by her family’s real life travels and tribulations, Louise looked at the historic events of Nazi Germany from both sides, creating wonderful characters who will resonate with readers. How can such things happen to ‘people like us’?
Welcome, Louise, lovely to speak with again. I see mention of your novel everywhere such as in the latest issue of the Historical Novel Society journal. I’m so glad to see it getting the attention it richly deserves. You came to writing later, after studying your masters – what advice would you give an aspiring writer?
LOUISE: My advice is: persist, persist, persist. Writing is a long game, so don’t be in too much of a hurry. Read as widely as possible, it’s the best and most vital way to becoming a writer. Set yourself easily achievable targets. Ones which don’t seem too daunting. You most likely have a job or busy life around which you must write, so at the end of a long day, you probably won’t want the prospect of writing 2,000 words. But, if you set a target of just 500 words a day, four days a week, you will easily have a first draft within a year. A comfortable target means you are less likely to bail or procrastinate. Then, once you have a first draft, even if it’s terrible (and most, certainly mine, are) you will have something to rewrite, edit and polish. Only when it is as good as you can get it, should you consider sending it out.
Yes, I agree, and I’d probably add that you need to put it aside for a little before sending. How much research is involved in your writing?
A lot! I am currently writing historical fiction, so it’s a huge part of the process. For People Like Us, I travelled to Leipzig twice to conduct in depth research there; I read everything I could get my hands on about Leipzig in the 1930s, as well as fiction and non-fiction set in that time period. I listened to people’s recollections, read contemporaneous diaries, letters, official documents and even Mein Kampf, to really understand the mindset of the Nazis. My current novel is set in 1920s England and I’m having to do just as much research for that, although a totally different subject matter. Luckily I love the research part of the job.
Can’t wait to see the new one! I guess that’s part of your writing goal for the next twelve months?
I am in the editing cycle for my second novel. I am excited for this book, but can’t say too much about it at present. I am also thinking ahead to my third book, and doing some early research for that. I have a setting for it, a premise and rough outline of a story, which is how I usually start. The early research is quite general but helps me to hone the story. I will then write a pretty rough first draft which will be a chance for me to explore my characters and story lines. Most of it will end up being ditched, but it’s part of the process. When I write the second draft, I will do more specific and detailed research as required. I will finesse and add depth and detail to the storyline. I will do at least three drafts, probably, before I feel ready to submit to my agent and editor. There will be further edits after that following their input.
And that process is why your writing is so good! Is it easy for you to meet other writers?
Before I started my master’s degree, I didn’t know any other writers. Through the course, I soon had a core group of writing friends and we continued to meet up long after the course had finished to critique each other’s work and to support each other in our journey to publication. Since getting my publishing deal, I have met a great many other writers, both virtually and in reality. They are, in my experience, THE most supportive, generous and lovely group of people who cheerlead each other. Writing is a lonely job and chatting to others who understand the writing life is crucial for me!
I find the #writingcommunity wonderful! Do you belong to a book club?
I belong to three! Reading is my passion and I also love chatting to likeminded people about books.
Three book clubs! That’s very keen. Where do you write?
I am very lucky in that I live in a 400-year-old converted watermill. In the garden we have an Elizabethan barn (dating back 500 years), beneath which runs a small stream, and which used to house a horse and some farm equipment. It has been converted into a library-style writing office, where I have my desk, a rug, couple of sofas and shelves full of books. I share the barn with some tiny birds who nest in the rafters and the odd bat! It is wonderfully peaceful and the perfect place for creativity, although, despite being heated, it is a little cold in the winter! My dog always accompanies me, curling up and sleeping in her basket at my feet while I type. Walking with her helps me solve many a plot hitch.
Writers and their dogs – a heavenly match. If I wanted to interview one of your characters, who would you suggest?
I think I would have to choose Erna. She is the best friend of my main character, Hetty. Erna is incredibly brave, selfless and a brilliant friend. We get to know Hetty in the book very well, having access to her inner thoughts and feelings. It would be great to know more about the lovely Erna.
I loved Erna, she’s great character. Do you send out a newsletter to readers?
I do. I send a quarterly newsletter to my readers who sign up to my website: www.louisefein.com You will receive a free WWII themed short story if you sign up and I promise, I won’t spam you!
That sounds like a wonderful deal! All the best, Louise, and let us know when Book #2 is here!
Riana Everlyis a Canadian writer of romance and historical romance. Influenced by the beautiful writing of Jane Austen and the rich historical tapestry of the early nineteenth-century, Riana combines elements of stories old and new in her Regency novels. Each one takes a surprising twist on a well-loved tale, much to the delight of her many readers. Love and adventure feature highly, and among these variations you may find your own personal favourite Mr Darcy…
Welcome, Riana. Your books have such an interesting combination of inspirations and cross-genre views. Are there any secrets hidden in your writing?
Riana: I’ve been known to sneak in song lyrics or snatches of plot elements from my favourite operas. But nobody has ever found them, so I don’t think I do it very well.
Well-hidden, then! How much research is involved in your writing?
Oh, so much research! I spend more time researching than writing. I know I can never get everything correct, but I can try, and I do try.
Because I mainly write about the Regency period, I have a fairly broad general knowledge about the basics. I know the general history, the politics, the fashions, etc, but that is just the beginning. For example, in my first published novel, Teaching Eliza (a novel in which Pride & Prejudice meets My Fair Lady), I needed to know about class-based accents in nineteenth-century England. So down the rabbit hole of research I went. For a throwaway sentence in one of my works-in-progress, my main character buys a cribbage board for a gift. And down the rabbit hole went I, searching up the history of cribbage and the sorts of cribbage boards found in England in 1810. And I have to admit, I love that part! It’s what makes the history part of historical research come to life for me.
Sounds wonderful to mix history, created characters, and devious plots. How do you deal with plot holes – if you ever have any!
Me? Plot holes? Never!
(Okay… all the time. But shhhhh. It’s a secret.)
I tend to let my stories sit for a long time between first draft and editing. This way, when I go back to them, it’s with a bit of a clear mind because I have some distance between what I wrote and what I’m reading. But I would never trust myself to find plot holes. Instead, I have a few trusted beta readers who I beg to read with a critical eye and let me know what doesn’t work. And then I go back and rewrite and tinker and fix things and hope I don’t introduce more mistakes as I edit.
What an excellent practice – hope you don’t mind if I ‘borrow’ it! Do you write for yourself or for a particular audience?
I really write for myself. I know the advice out there is to write to market, but that is not me. I have my stories that want to come out, and if they are not exactly what “the market” wants, then so be it. I would rather sacrifice some readers than write something I don’t really want to write.
I completely agree. It’s the story bursting out of me that I want to write, not what’s hot at the moment (which can be sad for the income stream!). What’s the scariest thing you’ve ever done?
I just dyed my hair purple. Does that count?
Absolutely! Not sure its it’s scarier than sending your writing out into the world, but it’s your hair after all. What’s your writing goal for the next twelve months?
I have been writing some historical mysteries. I have three completed – one almost fully edited and two in various stages of editing. My plans for the next twelve months are to start publishing these and to write the other three I envisage for the series. There is a large story arc for the main characters over the six planned books, which is why that will be the limit to this particular series. But if I still like my characters, there might be more in store for them.
That’s a massive project. It’s exhausting just to hear about it! Go you. What do you think about covers, and do you have any say in yours?
I think a cover is so very important! I know we are always told never to judge a book by its cover, but how can we avoid doing that? Some of my favourite authors have very amateurish-looking covers, and I’ve learned to focus on the text and not the outside, but were I just to see that cover, my instinct would be to assume the inside is as amateurish as the outside. Perhaps that is not a good trait of mine, but it’s there and it’s not going away.
So my advice is always to get a professional cover. If you happen to have those amazing skills, that’s fabulous. But if not, spend the few dollars and get something that looks professional.
I’ve been extremely fortunate to find a terrific cover artist. She listens to me and accepts my constant suggestions and requests with a cheerful smile. One of the perks of being indie!
Yes, it helps to be able to have that closeness, I’m sure, to others involved in getting your story out there. Do you write in more than one genre?
Sort of. Isn’t that a great answer? I started my writing career writing Jane Austen-inspired romance, which I still do and which I love. But I’ve also always loved classic mysteries, and somewhere along the line I had the idea to write some Austenesque murder mysteries. They straddle the line between historical mysteries and cozy mysteries, and I’ve really enjoyed getting to know my sleuths as they solve their way through Regency England.
Do you plan your books, or do you listen to your muse?
I used to approach my books with a vague story in mind and let my characters tell me what they were up to. But since I’ve started writing historical mysteries, I find I have to be much more of a planner. Clues, red herrings, more clues… They all have to be there and fit together and make some sort of sense at the end.
That makes perfect sense, indeed. One has to shepherd those lovely characters to a degree, or they’ll toddle off into some other plot of interest only to themselves.
Thank you so much Riana for sharing with me today. I’m so intrigued by your mash-ups of genre and manners into stories that meet us in the now. Long live the Regency in fiction!
English writer Alec Marsh writes dramatic thrillers set in the 1930s. He’s the author of the new soon-to-be-classic Drabble & Harris adventure series. Ernest Drabble is a mountaineering Cambridge historian and his partner Harris is an old school friend and press reporter. These two have all the dash and wit they need to solve mysteries and throws spanners into the works of bad folks.
Alec started his writing career on the Western Morning News in Cornwall, and then went on to write for titles including the Daily Telegraph, Daily Mail, The Times and London Evening Standard. In 2008 he was named an editor of the year by the British Society of Magazine Editors. He is now the editor of Spear’s Magazine, a title focused on luxury lifestyle. He is married and lives with his family in west London.
Alec’s debut novel RULE BRITANNIA was released in 2019 and the second novel in the series, ENEMY OF THE RAJ, will be published this September.
Welcome to last Word of the Week, Alec, and thank you for coming along to chat about your books and your writing. Looking at your bio, I can see that you have been writing all your life. Why is writing important to you?
Alec: I can only imagine that it’s the same for a lot of writers and most people on some level. But since the earliest time I can remember I’ve been telling stories – either to myself or others, but mostly I would think to myself. And it becomes a habit that drives an urge that leads decades later to hard-drives being filled with words. So I think for me it’s pretty hard-wired.
A born storyteller! That usually goes with voracious reading. What was your favourite book as a child?
I adored Hornblower; CS Forester’s nautical series set during the Napoleonic war; I also loved – perhaps more and in very much the same vein – the Richard Bolitho series written by Douglas Reeman, under his ‘other’ name of Alexander Kent. Years later I had the pleasure of interviewing Reeman. He was exceptionally generous with his time, clearly spotted me as a fan, too, and was quietly inspirational: he told me how he would get into his car during his lunchbreaks as a young man and write with his typewriter on his knees. I’ve often thought of him since, when I’ve been sitting in Pret-a-Manger with my laptop, eating a sandwich…
Do you think that creative writing courses are valuable?
Absolutely. I did a one day screen-writing course in Newcastle when I was a student there and learnt a huge amount in just a few hours. I still remember being terrified. Later on I was tempted by the Creative Writing MA at East Anglia university but in the end I decided I would keep working and writing around work. With my first published novel, RULE BRITANNIA, I got some advice from a literary consultancy. Books like EM Forster’s Aspects of the Novel offer important advice and insight for writers. Arguably just reading the best that’s out there is the most important thing.
What words of advice would you give an aspiring author?
I asked Martin Amis for his advice once at a literary festival. ‘Just keep writing,’ he said. It didn’t seem very profound in the moment he said it, or repeated it. But it was – and it worked for me. I once asked Sir John Mortimer, creator of the Rumpole of Bailey series, what the secret to a great comic novel was. ‘Making people laugh!’ he roared, laughing. Then he added an important point – words to the effect of: ‘If you can make yourself laugh while you’re doing it then you’ve got half a chance.’ And that’s true for any emotion you’re trying to generate, really.
I love your anecdotes of such great writers! Do you have a go-to routine for writing?
Not really. I work fulltime and have a young family so a great deal of my second novel, ENEMY OF THE RAJ, was actually written on the London Underground on my commute to and from work. A crowded Tube carriage is not ideal, but fortunately the book was not harmed. I’ve written in lunchbreaks, or after the kids have gone to bed. Quite often, on a Saturday morning I’ll get up early and head to a local café when it opens at 8am, and get in two hours then. That’s the best time.
How do you feel about reviews?
Be grateful for good ones and listen to the bad ones. Sometimes people go too far and make it personal. That can be upsetting. As a journalist it has made me think harder about the impact of what I write upon my subjects.
Yes, it does have that effect, which I think is a good thing. Whatever we write, we can think about the effect on readers. Has your work been compared to other writers?
The author most referenced by reviewers of RULE BRITANNIA is John Buchan. Stanley Johnson remarked that with the Drabble and Harris series Buchan ‘must be stirring uneasily in his grave’. It’s without doubt true that Buchan was something of an influence – The 39 Steps, Greenmantle; these are tales of personal hazard and adventure that generate an excitement for the reader that I very much wanted to ape.
Can you tell me about the time you decided you are a writer?
When I was 17 or18 I went on a school theatre trip to see Arcadia, Tom Stoppard’s then new play. I had no idea how much of a big deal it was to see it (the first run with a star cast) but I came away thinking that I would very much like to do that. I also loved Oscar Wilde’s plays as a kid – anything really that demonstrated such verbal dexterity and wit. I was also fascinated by plays like Look Back in Anger, which are really very different. As a result my first efforts as a writer when I was at university were plays. One of these won a student competition which made me think there might be something in it. I switched to fiction after reading Evelyn Waugh’s Decline and Fall. I realised that you could bring the essential freshness of dialogue to life without the need of a theatre, and perhaps therefore have a more direct relationship with the reader.
Did you always plan to write historic fiction?
No, never. In fact I set out write the next great English novel. Eventually, after several failures, I listened to an old friend of mine who had been advising me for years to write historic fiction. ‘Alec,’ he would say, ‘you’re obsessed with the past, you should write about it.’ He was absolutely right. When I began writing what would become RULE BRITANNIA I knew immediately that I was on to something.
Is writer’s block a thing for you?
Absolutely. Knowing what comes next can be difficult. Quite often you run out of track and I often find my mind needs time to catch up. When this happens I go for a run, or more likely read around the topic or setting – tangential research – is the answer. Before you know it you’re raring to go again. The secret, if there is one, is to keep thinking ahead as you are writing, but that’s easier said than done.
True! Thank you so much for chatting with me today, Alec. Congratulations in the publication of Rule Britannia, and good fortune to you for Eneemy of the Raj!
Today I’m excited to share in celebrating the release of a new historical novel, set in the days of Mary Queen of Scots. Mary QoS is one of the most intriguing women of the 16th century, inspiring a large body of fiction and drama, the latest being the movie Mary Queen of Scots (2018) starring Saoirse Ronan. Her story has so many facets to explore. I sometimes wonder how her experiences would look in a modern-day context, but am more than happy to read more about her in historical fiction.
The Queen’s Almoner by Tonya Ulynn Brown is being released today and is going directly to my TBR list. I’m also looking forward to interviewing Tonya later this year for Last Word of the Week, and discovering more about her historical fiction.
In the meantime….Look at the blurb! Look at the cover! Enjoy!
The Queen’s Almoner
Sometimes loyalty to the queen comes at a cost.
Thomas Broune is a Reformer and childhood friend of the young queen, Mary Stuart. When Mary embarks on a new life in her estranged homeland of Scotland, Thomas is there to greet her and offer his renewed friendship. But the long-time friends grow closer, and Thomas realizes his innocent friendship has grown into something more. Yet he is a man of the cloth. Mary is the queen of the Scots. Both of them have obligations of an overwhelming magnitude: he to his conscience and she to her throne.
When he must choose between loyalty to his queen or his quiet life away from her court, he finds that the choice comes at a high price. Driven by a sense of obligation to protect those he loves, and crippled by his inability to do so, Thomas must come to terms with the choices he has made and find a peace that will finally lay his failures to rest.
Josh is an author, poet, musician, music journalist, teacher, voice actor and event manager, and a very entertaining interviewee. His CV includes being almost devoured by a tiger in the jungles of Malaysia, nearly dying of a collapsed lung in the Nepalese Himalayas, and once fending off a pack of rabid dogs with a guitar in the mountains of India. He has an unnatural fondness for scrabble and an irrational dislike of frangipanis.
Naturally enough, Josh’s answers to my questions are particularly amazing, and this interview reflects his clever sense of the absurd and the precious. Josh is a wordsmith worth noting, because you will never look at the printed page in quite the same way.
You probably won’t be able to, because there’s every chance it will self-detonate before your very eyes. Either that or turn into a not-very-helpful imp.
Great to meet you, Josh, and congratulations on the publication of 19½ Spells. And thanks for reading some of them on your website here – that’s great! Can you tell me why is writing important to you?
Josh:Ani DiFranco once said “I was a terrible waitress, so I started to write songs.” I think I feel the same way, except I write stories instead of songs and instead of being bad at hospitality I was bad at (insert many different jobs here).
Ah, that means you really are a writer. Great. What was your favourite book as a child?
In a language that only you can speak, no doubt. That one had me reaching for Wikipedia: ‘an illustrated codex written in an unknown writing system’! Are there any secrets hidden in your writing?
Yes, if you read everything I’ve ever written you’ll find I’ve encoded the secret to eternal life using a secret cypher that can only be understood once you’ve posted really nice reviews on goodreads and recommended my books to all your friends.
That sounds like a good plan! What’s the best response you’ve ever had to your writing?
“This is the best book I’ve ever read, but it should have had Dr Who in it.”
That’s the way I feel about most books, truly. Why are you the perfect person to write your books?
Because everyone else who has tried has descended into madness and now spends their days rocking back and forth, murmuring about eldritch horrors and the heinous price of printer refill cartridges.
Or the scarcity of flour and toilet rolls, possibly. What would be a dream come true for you?