Miscellaneous – Page 3 – backstorypress.com

Hunt for treasure no more

I’ve been going through a writing lull, so that means that I’ve been making the most of my subscription to Audible. Here’s a brief review my latest find.

‘Treasure Island’ by Robert Louis Stevenson, An Audible Original Drama, adapted by Marty Ross. Length 6 hrs and 26 mins. Performance release date: 17-08-2017 Publisher: Audible Studios

I’d tried reading ‘Treasure Island’ as a child, of course, but never got past the first few chapters. With my writer’s hat on, I can see now why I struggled. The story initially came out in serial form in 1882, so perhaps that explains the long first six chapters to finally get into the heart of the story to set sail for Treasure Island. Even though this dramatised version is an adaptation, I was well and truly over the rum-swilling Billy Bones by the time we heard the sound of Blind Pew’s stick approaching with the doom-laden ‘black spot’. However, this time I stuck with it, largely held by the broad accents of Catherine Tate as Jim’s mother. Her talents alerted me to the usefulness of minor characters in providing humorous commentary on the dramatic action. Another favourite minor character, old Tom Redruth—faithful retainer to the foolish Squire Trelawney—provided a similar commentary on his master in this version.

Despite my failure to finish the book in my youth, the rest of the story was familiar through movies and television. However, none of those versions had illuminated the central theme of the story. Typically, the story is told as a coming-of-age journey for Jim who sails as cabin boy on the Hispaniola commissioned by Squire Trelawny, to find the treasure on the map uncovered by Jim and Dr Livesey (played by another very recognisable actor, Philip Glenister). However, just as pivotally, the story unpicks the threads of greed through the portrayal of both the pirates and the more socially-condoned actions of the characters who represent the higher classes (the Squire and the Doctor).

Throughout this audio adaptation by Marty Ross, it is this social commentary that is emphasised. It is, of course, very much a 21^st century ‘reading’ of the text, but I think it gives the story an intensity that illuminates why Jim’s allegiances shift so often by suggesting something beyond simple adolescent uncertainty or gullibility. In this version, the character of Long John Silver is not only frighteningly charismatic in his machiavellian strategies but also the sower of doubt in Jim’s understanding of right and wrong. For example, it is Silver who points out to Jim that the castaway Ben Gunn won’t receive a fair share of the treasure despite finding it and safeguarding it from others because the Squire and the Doctor will take it from him, under the guise of paternalistic benevolence. By the end of the tale, through his relationship with Silver and his experiences, Jim’s moral compass flickers with questing indeterminacy—he has become his own man.

Added note: A version of this appeared in the June newsletter for members of my writing group: Lake Macquarie branch, Fellowship of Australian Writers, NSW.

Genre, genre, what’s the genre?

I am busily writing historical fiction but reading an alarming amount of science fiction/fantasy. However, it strikes me that they share many issues related to the notion of ‘genre’.

The complexities of written genres provide fiery debate among critics and readers alike. The greatest heat is generated by those who pit literary fiction against ‘genre fiction’—no prizes for guessing which holds the greater cachet. Literary fiction is typified by the depth of its thematic concerns (e.g., loss, love, humanity) and the quality of the writing style. In contrast, genre fiction is marked by its content matter (e.g., scientific possibilities, historical events, espionage, crime) and the writing structure associated with each sub-genre (e.g., first person narration for hard-boiled detective fiction). Of course, within every type of writing there are opportunities for the writer to subvert the genre (e.g., fun ‘mashups’ such as Pride and Prejudice and Zombies, as well as more serious works such as Philip K. Dick’s Do Androids Dream of Electric Sheep?). Of course, the reason that it is possible to play with genre in this way depends crucially on the assumptions around the structures of types of novels.

Even in the recent obituaries for the redoubtable Ursula Le Guin I was surprised to see that the authors felt they had to defend her literary standing against the slur of being labelled as science fiction/fantasy. Le Guin herself argued against the dichotomy, calling instead for the recognition of the literary merit of any work, regardless of genre. One of the obituaries alerted me to her essay—the delightfully titled, ‘From Elfland to Poughkeepsie’ (1973), which I tracked down in a collection, The Language of the Night (Berkley, 1979).

In this essay, she writes, ‘Let us consider Elfland as a great national park, a vast and beautiful place where a person goes by himself, on foot, to get in touch with reality in a special, private, profound fashion. But what happens when it is considered merely as a place to “get away to”?’

Le Guin throws down the gauntlet to genre writers to share the ambitions of the writers of literary fiction—i.e., to not only engage readers but also open them to opportunities to transform their understanding of themselves and others. The fundamental themes of such works, she suggests, involve shifting focus from ‘daydream’ to ‘dream’ through exploring the far reaches of the society’s shared unconscious workings. The acceptance of genre and cross-genre writing is greater today, perhaps in part because of her own brilliant demonstration of literary fantasy in books such as The Left Hand of Darkness (1969).

Le Guin raises another issue which, I think, is less sustainable. She argues that the journalistic style that is often employed within the ‘Poughkeepsie style of fantasy’ is inappropriate as, in its objective stance, it fails to evoke the depth of imaginative writing needed for fantasy. She is not arguing against clear writing—for example, she holds Tolkien up as a writer of plain, yet evocative, English—but rather she suggests that adopting a journalistic style is ‘a refusal to admit what you’re in for when you set off with only an ax and a box of matches into Elfland’. Surely a similar argument can be put in relation to styles of writing as she puts for the themes—that the demarcation lines between genres need not limit the choices of the writer about what they are saying and how they say it?

Perhaps questions of genre all boil down to the comments made by currently acclaimed author of Cloud Atlas, David Mitchell:

‘It’s convenient to have a science fiction and fantasy section, it’s convenient to have a mainstream literary fiction section, but these should only be guides, they shouldn’t be demarcated territories where one type of reader belongs and another type of reader does not.’ (The Guardian, 2015)

So, from this practical viewpoint, the genre of a novel may be roughly where you’re most likely to look for it on the shelves of a bookshop.

Just released: ‘A Gentleman’s Daughter’

“. . the Destiny of my life was cast on seeing for the first time an ‘Apollo’ in the handsome Captain Cowin of the 73rd Regiment. Even at this long period I blush to make this romantic confession, nevertheless the age of 12 may offer an excuse. ”

Lady Dowling: Daguerreotype photo print of carte de visite, around 1860.

2020 CORRECTION!! Unfortunately the daguerrotype that I thought was Harriet Mary Dowling is an image of her niece, Harriott Mary Norton (nee Walker). Many thanks to the reader who alerted me to my error! I have now updated the biography to remove this error!

I was reading the memoir of Lady Dowling*, a very distant forebear of my husband. I was already intrigued, but this was the passage that captured me. Three years later, I have finished putting together a short biography of this flighty, restless woman (for details, see under Publications on this site). What I’ve learned in the process includes:

Never believe a memoirist (they leave out all the interesting parts),
Never trust a man who keeps a journal (they put in all the interesting parts), and
Never think your research won’t be contradicted by your next search of Trove.

I’ve also learned that I’m not alone in grappling with a million writing dilemmas. With this knowledge, I’m continuing to explore the border zones of creativity in the portrayal of historical people and events.

___________

*Dowling, H. “Memoir of the Early Life of Harriott Mary Dowling Nee Blaxland: Or Sketches of India and Australia in Old Times.” In Dowling family papers 1767-1905: Manuscripts, Oral History & Pictures, State Library of New South Wales, Catalogue DLMSQ 305, Item 5, 1875.

List of Illustrations?

My Quandary

How to make a list of illustrations that is separate from the contents page, but which keeps updating page numbers when other changes are made in the document?

Illustrated catalogue of the Eastman Dry Plate and Film Company (1886) – Public domain

It turns out that, for my auto-updating list of illustrations with page numbers, what I needed was to learn how to ‘Create a table of figures’.

The key steps to follow were:

Preparation
- Locate the ‘References’ tab along the top of document
- Insert Caption under each of illustration in document
Creating the list in the document
- Go to the spot in the document where you want the list
- Locate the ‘References’ tab along the top of document
- Insert Table of Figures
Updating the list
- Go to the list
- Locate the ‘References’ tab along the top of document
- Update Table (whenever needed later).

Of course, within each of these steps there are other options to try out to finesse the formatting but, in essentials, once the captions are done, the rest was rapid and (best of all) accurate.

(*I’m using Word 2016, Windows 10, on a PC)

Adventures in Word Processing

Back in the day…

I learned to type on a clackety old manual typewriter in an after-school class at Seaforth Tech. At the time, my parents told me that, all else failing, I ‘could always get a job as a typist’. It was impossible to foresee that, within the next two decades, we’d all be multi-skilled and tapping away at keyboards that were connected to word processing technology with more memory than we could possibly fill.

Not much had changed by the 70s. (Queensland State Archives, Digital Image ID 2855, public domain)

However, the trouble with learning to light fires by rubbing sticks together is that you can wilfully ignore the many automated features of new developments such as butane lighters, declaring that ‘it’s quicker if I just do it the way I usually do’. Recently, I hit this internal wall with a thud during my preparations of a manuscript for self-publication (more about that elsewhere!).

Yes, it needed a list of footnotes and a bibliography.

Yes, it needed a list of illustrations with page numbers that automatically updated when other changes were made in the manuscript.

Yes, it needed an index that similarly updated itself. I was fortunate enough to have my references and bibliography already formatted using 21^st century technology (software Endnote), through having to use it in my work.

It was the list of illustrations and the index that I had persevered ‘doing it my way’: i.e., the very, very, very SLOW way. One week later, I am a born-again aficionado of the capacity of Word to create these. Dr Google threw up a lot of fellow-searchers, many of whom were asking questions about things a little to the side my exact needs, so I ended up at the Microsoft Office Support pages more often than not.*

Of course, many people are across this stuff and are technologically expert but, just in case you find you have similar blind-spot, I’ve done some other posts to that provide a potted summary.

(*I’m using Word 2016, Windows 10, on a PC, so my apologies to MAC users for any PC-centricism)