Remembered for his contributions to music and his courage in being Australia’s first celebrity to reveal his struggle with HIV-AIDS, Close to the Flame is an homage to a humble and hardworking genius:
Stuart Challender had already proved himself as the most talented conductor of his generation, with invitations beginning to flow in to conduct renowned international orchestras, when he was diagnosed with AIDS . Bravely, he chose to become Australia’s first celebrity to reveal his struggle with the disease to the public.
A new definitive biography of Challender, Close to the Flame, explores his remarkable career, cut short when he was only forty-four years old.
Challender joined Opera Australia after twelve years of study and work in European opera houses. He was then taken up by the ABC and appointed artistic director and chief conductor of Australia’s leading orchestra, the Sydney Symphony.
Challender was a great champion of the music of contemporary Australian composers and responsible for the premieres of many important Australian works. In his final years, Challender struggled to continue to work while disease ravaged his body. His decision to go public about his condition brings the story to a moving conclusion.
A review by Matthew Westwood of The Australian reveals the depth of the impact Challender had on music in Australia in his short-lived career:
‘Challender’s legacy lives on in a few cherished recordings, not least his performances of Voss, orchestral music by Peter Scul–thorpe and Carl Vine, and Mahler’s Resurrection symphony. And there’s a little bit of Challender on the hour at the head of ABC news bulletins. The Majestic Fanfare is the arrangement by Richard Mills, performed by the SSO in 1988, with Challender conducting.’
Close to the Flame – Richards Davis’s fourth in a line of Australian classical music biographies – is not only a vital piece of Australian musical history, but an inspiring story of courage in adversity.
Close to the Flame (RRP$45.00) is available for purchase online, or from our Mile End bookshop.
Bitter Fruit is a showcase of a collection of early photographs, many previously unpublished, focusing on Indigenous Australians. Presented in a beautiful hardcover, this is a breathtaking document of the Australian experience.
Aboriginal and Torres Strait Islander people are warned that this post, and the book associated with it, may contain images of people who are deceased.
Bitter Fruit: Australian Photographs to 1963 reproduces a selection of photographic materials – most previously unpublished – collected by Michael Graham-Stewart over a 15-year period. It unites orphan images recovered from all over the world, while also allowing little-known episodes in Australia’s fraught history to be told. The book takes as its starting point the year 1963, when the famed Aboriginal photographer Mervyn Bishop undertook a cadetship with the Sydney Morning Herald, and ends with an image of Tasmanian activist Lucy Beeton from the 1860s.
Bitter Fruit focuses on specific information known about the people who took the photographs and, more importantly, those depicted in them, rather than offering a single, overarching narrative that is bound to oversimplify. The authors wanted the book to offer a counterpoint to behemoth surveys of Australian photography that have tended to downplay the interaction between Indigenous Australians and white settlers. Bitter Fruit deliberately eschews critical theoretical analyses and language in the hopes of creating a sourcebook that allows for multiple interpretations and does not claim to offer a ‘last word’.
Graham-Stewart and McWhannell note, ‘We hope that the book will help other non-Aboriginal people to better understand and come to terms with the violent histories in which we are implicated, while also allowing descendants of the Aboriginal people in the images to access their ancestors. Our sincere hope is that more stories will emerge as Australians of all kinds continue to unearth information associated with these images – images that are often upsetting and difficult to look at, but that also represent truths about our past and present.’
About the Authors
specialises in gathering up colonial photographs in order to reconstruct the complex stories that such materials encode. His particular interest is in exploring the ways in which photography operates not only as an instrument of oppression, but also as a means of connecting with people of the past. Michael has published several books on photography, including Surviving the Lens: Photographic Studies of South and East African People, 1870–1920 (2001), Out of Time: Māori & the Photographer (2006), Framing the Native: Constructed Portraits of Indigenous Peoples (2011), and Negative Kept: Māori and the Carte de Visite (2013). A Scot, raised in England, he currently lives between London and Auckland.
is an independent writer and curator from Aotearoa New Zealand. He holds a Bachelor of Arts (Honours) in Museums and Cultural Heritage from the University of Auckland. He has contributed to various publications, including Painting: A Transitive Space (Auckland: ST PAUL St Gallery Three, AUT University, 2017) and Dynamo Hum: Denys Watkins: Selected Paintings 2004–2016 (Auckland: Rim Books, 2017).
All the Kings’ Men records the story of the oldest continuously operating cricket club still in existence in South Australia – the Hindmarsh Cricket Club which now operates under the name of West Torrens – and the stories of the people who built it.
This book also traces the evolution of Club cricket in the Adelaide metropolitan area from the birth of the colony until 1900. It highlights the development of cricket through significant and progressive changes in society, such as industrial relations, transport, education, the telegraph, the press, politics, class and the economy.
All the Kings’ Men teases out the social impacts of cricket in the new colony of South Australia and, in particular, the western suburbs of Adelaide, providing insights into the hardships that the working class endured to play competitive sport. The text profiles many of these players, and the detailed statistical records highlight the talented cricketers of the nineteenth century, such as Arthur Harwood Jarvis, the first South Australian cricketer to represent Australia.
About Denis Brien:
Denis Brien has been a lover of cricket and its history since school. He is a former 1st-grade player, administrator and has coached state women’s and junior men’s teams. Denis worked as a teacher and student counsellor and became a cricket historian on retirement. His keen interest in South Australia’s first international representative inspired him to write this history. He has also written publications on counselling, environmental studies and cricket and education history.
Wakefield Press is thrilled to announce that Carol Lefevre’s Quiet City: Walking through West Terrace Cemetery has been shortlisted in the Non-Fiction category of the 2018 Adelaide Festival Awards for literature. Winners in each category will be announced on Saturday 3 March in 2018 during Writers’ Week. Visit the Arts SA website to see the other shortlisted titles, and for more information on SA Writers’ Week.
About Quiet City:
I do not think that I believe in ghosts, but just for this morning, just for the time it will take to ramble through this quiet city under clouds the colour of tin, or of pigeons’ wings, I am going to believe in them.
Ordinary lives are revealed as extraordinary, as Carol Lefevre traces the stories of West Terrace Cemetery’s little-known inhabitants: there is the tale of the man who fatally turned his back on a tiger, and the man who avoided one shipwreck only to perish in another; there is the story of the young woman who came home from a dance and drank belladonna, and those who died at the hands of one of South Australia’s most notorious abortionists.
Said to be the most poetic place in Adelaide, in this heritage-listed burial ground the beginnings of the colony of South Australia are still within reach. Amid a sea of weather-bleached monuments, the excavated remains of Australia’s oldest crematorium can be seen, and its quietest corner shelters the country’s first dedicated military cemetery.
From archives, and headstones, the author recovers histories that time and weather threaten to obliterate. Quiet City is a book for everyone who has ever wandered through an old graveyard and wished its stones could speak.
Praise for Quiet City:
‘Lefevre’s touching, terrifying, courageous characters return to haunt us in this rich and companionable book – a treasure trove of social history and a fine writer’s personal reflection on death and living.’ – Nicholas Jose
‘[Lefevre] has done thorough research in the cemetery archives and state records, and then enlivened and enriched this information with a true story-teller’s gifts – an eye for vivid detail and a lyrical turn of phrase.’ – Jennifer Osborn,Transnational Literature
Quiet City is available online and at our Mile End bookshop.
Below is an extract from the new release Bush Mechanics: From Yuendumu to the World, edited by Mandy Paul and Michaelangelo Bolognese. The book explores the wildly popular TV series of the same name that aired on the ABC from 2001 – 2002, and goes behind the scenes showing readers the highs and lows of life in the remote Australian outback.
Aboriginal and Torres Straight Islanders are warned that this extract and video may contain the names, faces and voices of deceased people.
Extract from page 8 of Bush Mechanics:
‘While memories of the humour, indignity and anguish associated with a technology of invasion opens the Bush Mechanics series, the stories soon turn to the ways that Warlpiri themselves have taken to automobiles. While Europeans first brought motor vehicles into the Central Desert, now these Warlpiri men leave the community to bring them in for their own purposes and according to their own values. Cars and the things that yapa do with them have become saturated with meanings and embedded in practices that reflect the possibilities and constraints of life in Yuendumu. Perhaps most notably, the distinct car culture portrayed in Bush Mechanics is a contemporary expression of an earlier subsistence economy that continues to be strong in the present.
Crocodile, the dapper advocate of humpy living in the fourth episode, wonderfully demonstrates the ongoing importance of bush food in contemporary Warlpiri life. As he digs a kangaroo out of the ashes, Crocodile proudly declares that he is able to provide his family with a big feed without a supermarket. Automobiles are similarly placed, by choice and by necessity, within a local subsistence economy that continues to thrive alongside the cash economy. By incorporating cars within that system, the bush mechanics have devised ways around the material deprivations that characterise their lives in Yuendumu. They have created their own ways of being men with wheels, based on an impressive disregard for the orthodoxies of individual car ownership, the economics of the car market, and the professionalisation of automobile repair. In so presenting the bush mechanics as mobile makers – foragers of mechanical parts and disseminators of alternative solutions – the series offers upbeat parables of the men’s self-determined survival within settler colonialism.’
A brilliant example of the ingenuity and determination of the Bush Mechanics can be seen in the following video. The mechanics are returning home after a paying band gig in a nearby town and run into some trouble with their car – more than once!
Bush Mechanics is available online or in store at 16 Rose st, Mile End
Wakefield Press had the great honour of launching bestselling author Stephen Orr’s latest novel, Incredible Floridas, at the beautiful Carclew centre in November. Launched by John Neylon, the evening featured a performance from SINGular Production’s upcoming musical Innocence, based on Stephen Orr’s novel Time’s Long Ruin.
Below is the wonderfully researched speech made by John Neylon on the night:
‘Why do novelists write about artists and the world of art?
It’s a fair question because there it’s a well – established genre with historical form.
Consider: Emile Zola’s classic L’Oeuvre (The Work/Masterpiece), (1886) which like Stephen Orr’s Incredible Floridas takes as a starting point, a well-known artist – in Zola’s instance, Paul Cézanne. Oscar Wilde, The Picture of Dorian Grey (1890), Joyce Carey, The Horse’s Mouth (1944), John Berger, A Painter of Our Time (1958), Irving Stone, The Agony and the Ecstasy (1961) and Lust for Life (1934). More recently there have been a swag of novels that look at art or society through the prism of real or imagined artists including: Tracey Chevalier, Girl with a Pearl Earring (1999), Claire Messud, The Woman Upstairs (2013), Donna Tartt, The Goldfinch (2013), Ali Smith, How to Be Both (2014), and Don DeLillo, Underworld (1997).
Australia has made its own distinctive contributions including Peter Carey, Theft: A Love Story (2006) and Patrick White, The Vivisector (1970).
I suspect the reason writers are drawn to artists as subjects is that some lead interesting lives. Consider the ongoing public fascination with figures including Vincent van Gogh, Francis Bacon, Ai Weiwei, Andy Warhol, Tracey Emin and in Australia, Brett Whiteley. It’s the total package audiences are drawn to underlaid by the assumption that artworks are windows on talent and genius. And that brings us to Incredible Floridas. Stephen admits that the historical figure of Russell Drysdale fuelled the idea of writing about not so much him, but the idea of him, as a kind of artist. Roland Griffin in his book bears a close resemblance to the real life Russell Drysdale who, along with other artists (notably Sidney Nolan and Arthur Boyd), dominated Australian landscape art in the post–WW2 era. What propelled Drysdale’s imagery in to the public imagination was that he gradually populated his arid, some say, mutant landscapes, with Australians: Aboriginal people standing their ground and staring white society down, stockmen, cooks, diggers, rabbit trappers, families and above all battlers – the people he saw, sketched and photographed on his expended travels in land to the Top End from the 1950s onwards.
Through the agency of a fictional artist (Griffin) Orr deflects our gaze from Drysdale’s actual paintings with their seductive dramatics to the workings of a creative artist’s mind. In doing so he transports a kind-of Drysdale narrative into the realm of art with all its surprises and contradictions. Griffin’s circumstance epitomises the post–WW2 Australian art world scene where figurative artists, like Drysdale, were confronted with a global trend to abstraction – something which caused him, and many of his contemporaries to stop in their tracks and question if it was still possible for images sourced from everyday life, to have any power to mean anything. Add to this, the push back that expressionist and surrealist artists faced from a conservative public, pining for their lost blue and gold Australian Impressionist arcadias. That’s the back story. So yes, is does enhance the reading of Incredible Floridas to know how courageous artists were in this era in turning their back on comforting myths of nationhood. But you don’t have to get very far into Stephen’s compelling narrative to appreciate that it’s really about the total package, about being an artist and also a husband and father. The business of trying to be an artist often occupies centre stage. The incessant need to keep producing work, find suitable subjects, satisfy dealers and the like. To constantly battle the indifference and ignorance of people around him who wondered why he didn’t get a proper job. Or believe, as one character says of his, that it’s all dogs rooting fence posts. Good for hanging in dentist’s waiting rooms.
Then the heartland of the novel, his struggle (and that of his wife Ena) to continue to love and understand their son Hal throughout the destructive journey his demons lead him.
The manner in which the author constructs a sense of fractured relationships between family members and Roland (in particular the so, Hal) has the hallmarks of Drysdale outback townscape where everyone is watching each other, straining for some line, even a word that might lead to some authentic exchange of feelings. The frustration that Griffin feels as an artist is mirrored in the fragmented exchanges with Hal as he once again lashes out in tormented anger at everything and everyone around him. The depths are reached when Hal, on a North End trip, fires a gun which brings his father running. ‘I heard a shot’ Roland says. Hal’s bitter response: ‘You couldn’t paint a corpse.’
We are into the book almost 300 pages before Stephen rewards us with an extended exchange between father and son, on the road to Ayers Rock (Uluru). ‘At some point Roland felt the desire to hug him but knew that his son wouldn’t let him. ‘All he wanted, (as the text says) was to make him happy, make a journey for him and meet him on the other side.’
And so the narrative unfolds – driven both by the thoughts that spring to Roland’s mind and by others. These are classic ‘watcher on the cast iron balcony’ interludes with characters swapping roles between observing and being observed. They occur like cinematic jump cuts that underscore the fragmentary nature of relationships. In these exchanges both Roland’s take on his art, his family and life is exposed to the core. So too are the contradictions of Hal’s own state of mind which swings wildly from savant insights which go to the heart of the matter and inchoate rage.
Now, if I was writing this book I would have been tempted to get Rimbaud in to the act about midway and toss this brew of uncertainty and trauma into some metaphysical thermo mix and spin it into some mythic dish. But in keeping Rimbaud at bay – apart from the book’s title and referencing that author’s Drunken Boat (and also Drysdale’s depiction of a boy with a boat) when Roland shows him how to make a paper boat (‘as fragile as a butterfly in May’) the author takes us to a real ‘there’, one that can be recognised in the laconic language of what used to be known as working class Australians (whatchername, you gonna getta hiding) and numerous references to an Adelaide (based in part on the author’s own Thebby childhood) that has slowly slipping below the horizon such as ‘schizos’ (as Hal is name-called) being sent to Glenside, the Cheltenham racetrack, cheap lino from McLeay’s, Lawlers the White Ant People, making apricot jam, wet sour sobs, half –empty salt and pepper shakers on old country pubs, the drive in, jacarandas and blue stone gutters – and , one of the most evocative sketches in the book, ‘dozens of bored children falling from monkey bars into a sea of wild oats’ (Rimbaud – match that!). Then there are the broader mindsets of a bye gone era such as Hal’s response to school speaking for many (‘I hate the place – the shit about Hastings and Nefertiti’), to this the enduring idea that somehow, the inland desert experience cures all ills – the idea that Hal would be OK if ‘you could get him under the stars, talk, keep busy.’ ‘Sort him out’.
Through this fascinating counter posing of aspiration and reality aspects of what it means to lead a creative life appear. This life is often messy and holds no promises beyond the next act, the next painting – or book. In the end Roland had no clear idea of why he was ‘doing it’. ‘Except that a man had to do something to stop himself from going mad.’ Forget talent and genius. This is as ordinary and basic as it gets
Francis Bacon once said that ‘Painting has become, all art has become, a game by which man distracts himself. And you might say that it has always been like that, but now it’s entirely a game. What’s fascinating is that it’s getting more difficult for the artist. He must really deepen the game to be any good at all so he can make life a bit more exciting’. I rather like Hal’s perspective, ‘There were millions of things to do in life, but all you needed was one thing you were good at, and could bear repeating every day.’
In this regard, Stephen, in continuing to write, you have obviously come to terms with your destiny. And we are all the beneficiaries. Congratulations on Incredible Floridas – this not so crumpled paper boat is now launched.’
Last week we launched Tracy Crisp’s new book Surrogate to a very full house at Imprints Booksellers. After an excellent speech by ABC Adelaide’s Deb Tribe, here is what Tracy had to say.
Thank you, Deb. For being so open to the invitation and so generous with your time to prepare for tonight and to be here this evening. And thank you for giving Surrogate such a great send-off into the world. It’s extremely nerve wracking, and I really appreciate what you’ve done to wish it bon voyage.
Thank you to Imprints, and especially Jason who has been very patient with all my Hi Jason, just double-checking emails. I remember the first time I walked into Imprints … it was down the road, and I’d just moved to Adelaide to go to uni. I was entirely overwhelmed that year, feeling completely out of place, but when I walked inside, I knew that I wanted to be part of this world. I bought the Complete Shakespeare Sonnets – because that’s how clever I was – and every year since I’ve made a new year’s resolution to learn them all by heart. 2018 will be my year.
Thank you to everyone at Wakefield Press and especially to Michael who has twice now taken a punt on my work. Wakefield is truly South Australian, making sure that local stories have a place to be told.
In coming back to Adelaide, I have experienced for the first time since I moved out of my home in Port Pirie the true joy of knowing what it means to feel grounded, to belong, to be at home. Being published by Wakefield has given my return home an extra potency.
Julia was a very caring editor. Liz designed the perfect cover. Ayesha and Maddy have answered endless emails – Hi, just double-checking – and Jonny is making sure my books can fly out of the nest and find a new home.
I don’t want to talk too much about the tortuous process of writing this, but at a time when I was completely overwhelmed with doubt Virginia Lloyd and Jacqui Lofthouse each did a brilliant job in very different ways of helping me see the way through to the end. When I did get to the end, Penelope Goodes in Melbourne and Melissa King who lives in Adelaide and I’m really pleased was able to come tonight, picked it up and did a wonderful job of saving me from embarrassing errors.
Thank you to Adrian. Those of you who know him, know that he is a good man in all of the many senses that we understand that. He not only loves me, and he not only respects my work as a writer, but he values it. He values it not only because it is good for me, but also its place in our relationship. This is not to be taken for granted in a partner. Although I’m not sure he values the production of tea towels taking over the house and the subsequent spread of inky cat prints across all our floors. As I was finishing off the printing for last week’s market, I said to him, ‘Do you think I’m ridiculous?’ And he didn’t say, ‘Yes.’ Though thinking about it now, I also realise he didn’t say, ‘No.’
Thank you to Leo and Felix. My beautiful grandfather used to like saying, ‘Leo and Felix. You had two cats.’ But they’re heaps better than cats. Their inky paw marks are bigger, but so is their love and it is more consistent too.
Before I thank you for coming, I want to give a shout out to Adrian’s parents who can’t be here. Adrian’s mum has done such a wonderful job of negotiating the complexities of the mother-in-law, daughter-in-law relationship and I am very grateful to have her as one of my greatest friends. Thank you to the many members of my family who came tonight, aunties, uncles, cousins, brother, my sisters-in-law. And thank you to mum and dad’s friends.
It is of course the deepest of sadness that Mum and Dad aren’t here. Mum never knew that I was going to publish anything. Which is a pity because she was the first and the best storyteller I will ever know and she really had a way with words.
From the nuns at Henley Beach who, she insisted, were constantly trying to steal her dog, to the day we drove into Port Pirie and she pointed at the stack and said to us, ‘Do you see that? Do you know what that is? That’s the largest lead smelter in the world, and do you know what that means, that means if there’s ever a war, we’ll be the first to be bombed’; to the time that in her capacity as the Mayor’s wife she stood next to Port Pirie’s archbishop as the debs were presented and said to him, ‘You know you’re the only man in the town can get away with wearing hot pink, don’t you?’
I didn’t ever let Dad read the final draft of my first novel. I was nervous about what he would think, afraid that I wouldn’t live up to his expectations. Not because he was especially demanding, but because he had such faith, such confidence in what I would do, and I hated the thought that I had let him down. By the time I felt like I could show it to him, he was far too tired and although I had signed the contract before he died, he never did get to see the finished product. This mistake has haunted me for a long time. But from it I hope that I have learnt to be more open and more trusting, not only in the people around me but in myself.
And finally, I want to say thank you to you.
The biggest challenge that I face when I’m writing is staring down my demons. There’s the obvious, angsty ones. I’m not good enough, what have I got to say that hasn’t already been said, I’m fifty years old I’ve got six thousand dollars in super I should probably get a real job, oh, I’ve got a great idea, I’ll screen print tea towels … and then I will give them away, because I’m too embarrassed to ask for money … but there are also far deeper and much darker demons than those.
It’s a cliché of writing classes to be told, ‘write what you know.’ Okay. So, clichés ahoy, my first novel is set in a town nestled in the shadow of a lead smelte – although spoiler alert, war is never declared – but writing, creating anything, is a way of making sense of the world, of making sense of what it means to be human. So, writing what you know means that wherever you start, you always end up processing the most difficult of emotions. The losses, the pain, the anger, the mistakes. I remember when Leo was quite young and he was asking about the events of my work so far and when we got to the end, he said, ‘Have you ever thought about, instead of all the death, you have a brush with death?
But of course, we only know what it is to feel loss and pain because we know celebration and joy. Because we know friendship and we know love. So, when I say thank you for coming, thank you for helping me to celebrate, I mean it most sincerely.
Thank you for coming to the launch of my new novel, Surrogate. Thank you for reading it, and thank you in advance for sending me nice notes to tell me how much you loved it. Thank you for telling me a little white fib if you never get around to reading it, and thank you for flat out lying if you do read it but you don’t really like it.
Shavers down: it’s Movember. Prostate cancer is the most commonly diagnosed cancer in Australian men, with 3000 dying of it each year – more than the number of women who die of breast cancer. Turn the focus on men’s health with this excerpt from Peter Endersbee’s memoir, Taking a Punt.
Anna accompanied me to the urologist for the biopsy results. I was still clinging to the possibility it might be benign in spite of the terrible PSA readings. When he came into the waiting room he was wearing a stiff white coat that belied his humble open-faced demeanour. He was tall and dark and handsome and younger than I’d imagined. Early forties. Certainly not the battle-scarred senior partner I’d associated with his field of specialisation. He seemed far too young to be playing God to a waiting room of old and middle-aged men. We were shown chairs, and sat down.
I could hardly bear to look at him. He smiled and praised me for having taken myself off to Casualty after I’d experienced the very flu symptoms he’d mentioned as an unlikely side effect of the biopsy. He said I’d done the right thing. His introductory gambit had my hopes up. It would be downhill all the way and I’d soon be walking out scot-free.
But after referring to more papers he looked me squarely in the eye and said they’d found carcinogenic cells from the biopsy. The PSA result had been bad enough, but hearing that I had prostate cancer was like being mentally winded, a feeling of vertigo. I glanced out the window, the plane trees and clear blue sky suddenly in a different world. I only half heard that my Gleason score was a seven on a scale of one to ten. I was told the Gleason was an indicator of how aggressive the cancer might be based on an aggregate number from the biopsy samples, where anything less than seven indicated a reasonable chance of a good prognosis; anything more than seven did not. The surgeon tried to reassure me that a seven was not so bad, at least it wasn’t an eight or a nine, which he had half expected, given my very high PSA. When I asked him what my chances were without the operation he replied, ‘Five to ten years, taking into account your readings and your age.’
As the first shock waves began to subside, I became aware of Anna taking notes.
On the way home we didn’t say much. Even over cups of tea at the kitchen table it hadn’t sunk in.
‘You’re taking it remarkably well,’ she said.
‘What else can I do?’ I was looking at the picture she’d painted on the teacup from which I was taking controlled sips, wishing I’d never answered the telephone that day. I clutched the soothing ceramic vessel.
‘I will support you in whatever you choose to do,’ she said. ‘We’re in this together.’
Find out more about Taking a Punt here.
From the warm and witty Edmund Pegge we have a few thoughts on being a small part of the Dr Who phenomenon:
On being interviewed at a Dr Who convention in Adelaide the following conversation occurred:
Int: How did you approach your part?
Ed: Probably learnt my lines and hit my marks. It was a long time ago.
Int: What did you think of being in Dr Who at the time?
Ed: Nothing. It was just another job.
Int: How did being in Dr Who affect your career?
Ed: It didn’t until now.
The gathering were slightly astonished at how casual and perhaps irreverent I was being in what is now seen as iconic television. At the time Dr Who was just a popular series with a widening fan base. In retrospect there is a strong case for saying that Tom Baker and Louise Jameson were the most convincing Doctor and offsider. Baker was highly intelligent and had an intellectual charisma.
The episode in which I played Meeker in ‘The Invisible Enemy’ had a notable first appearance – K9 the robot dog. This was most gratifying as we all earned heaps of overtime as K9 kept breaking down. What is more, I was pleased to hear that he was voiced by John Leeson, an actor friend of mine whom I last saw at a Dr Who convention in London.
That was my first experience of a convention. There was only myself, John and another actor, the other eight were technicians and a tea lady from those days. In other words, anyone vaguely connected was invited along. I signed dozens of DVD covers and posters and all insisted on a photo with me. I was their star buddy in a flash. It took a lot less than 15 minutes!
To read more about Ed’s adventures as a working actor, have a look at his hilarious and astonishing memoir, Forever Horatio, available here.
In late September Wakefield Press had the honour of launching Liz Williams: Body Language, a beautifully photographed book dedicated to the works of the late South Australian ceramicist.
Below is an excerpt from author Margot Osborne’s speech at the launch.
I was driven to do this book on Liz Williams to honour her lifetime of artistic achievement and to ensure that there is a record of her unique contribution to Australian ceramics. It struck me when I heard about her illness that despite her receiving numerous grants and residencies, I was among the many in the Adelaide art scene who had more or less taken her presence for granted, as someone who would always be there to bump into on the Parade and engage in long enjoyable conversations. Meanwhile over the years she worked away quietly maintaining a low profile presence in her Norwood studio, making her wonderful coil-built sculptures and travelling overseas to investigate how the art of other cultures might influence her own work. At her death she had never received the in-depth attention of a long-form essay, or a career survey exhibition and catalogue. Nor was she represented in the Art Gallery of South Australia by any work more recent than a sculpture from her Receudos exhibition in 1993.
This book is a first step in addressing that situation.
In addition to my own essay on the evolution by Liz Williams of a figurative sculpture language in clay, the book includes three earlier re-published essays by Catherine Speck, Damon Moon and Wendy Walker.
Another dimension to the book are the tributes from Liz’s artist colleagues and friends – Jeff Mincham, Anna Platten, Jane Sawyer, Karen Genoff, Milton Moon, Donald Richardson and Margo Hill-Smith. These writers were all
personally selected by Liz shortly before her death.
At the creative heart of the book are the glorious images of Liz Williams ceramics by Grant Hancock, photographer to the artists of Adelaide. Grant worked with Liz photographing her work from 2006 to 2016. There are some 70 full page images of Liz’s ceramic taken by Grant, as well as his photographs of her beautiful home and studio taken earlier this year.
And now finally, I come to Anna Platten. Anna was there at the start of this project and was entrusted by Liz to have oversight and ensure the book turned out as she would have wanted. In the weeks after Liz’s death Anna decided she would make the drawing that we have on display tonight. Normally she works from life but as that was not possible, she recreated Liz in her studio from a blend of photographs. It is a moving image of Liz, full of light and life, even though she was already gravely ill. Titled ‘Inside the Head of the Quiet Woman’, it conveys the contrast between the appearance of the gentle ageing woman and the art that grew out of her intensely imaginative inner life.
Thank you everyone. It’s been a wonderful project. Now all we need is for you to buy the book.
To purchase the book and to find out more, visit our website here