Author Christine M Knight's Blog
Wednesday, July 02, 2014
Christine M Knight uses the British spelling system in all of her work.
The lyrics for Road to True North were written for my third novel 'Song Bird'. It's a song for Nikki Mills, the central character. It reflects the next stage of her life's journey and her quest to provide a better life for herself and her son. I also wrote music for the lyrics. The song will be engineered and produced late September 2014 by Shane Edwards at Karma Sound Studio in Thailand. Shane has a special talent for recognizing the emotional build in a song and how to get it and for solving the puzzle involved in crafting a song. I consider myself lucky to have him working on this project for me.
Here the full song at http://www.cdbaby.com/cd/dagny
CHORUSTravelling down the golden road.
I'll be staying true to that course.
There's no looking back
To where I came from.
I'm heading for a better life.
When I'm on the road,
The going is easy
And the road hums.
The road is steep
With twists and turns.
It's such a grind!
When the whirlwind blows,
It won’t sway me off course,
‘Cause my compass is set
To true north.
It guides me
Through the dark days,
I’ll stay on course.
I'm on my way down
The golden road
Through a land
Of glitter and gloss.
I've got my eyes wide open
So there'll be
I'm on my way down
The golden road
Through a land
Of glitter and gloss.
I've got my eyes wide open
So there'll be
The manufactured and the false.
Wiser now than before,
I've learnt life's lessons;
I know the score.
I'm in control of my destiny.
I won't let trouble get the best of me.
Music interlude: 4 bars
I'm on my way down
The golden road
Through a land
Of glitter and gloss.
I've got my eyes wide open
So there'll be
I'm on my way down
The golden road
Through a land
Of glitter and gloss.
I've got my eyes wide open
So there'll be
The manufactured and the false.
© Christine M Knight
A big thank you to the very talented song bird, Ingrid Oram, for her help. She put down the guide vocals so that the vocalist in London, Dagny, could hear the song and lay down the vocal track. I also consider myself very lucky to have their help in getting the vocal tracks down. Both vocalists are very talented.
My publisher also commissioned a purpose written song for 'Song
Bird' through crowd sourcing. There were a lot of music submissions; the
entries all sounded great. HIGHLIGHT PUBLISHING chose The Golden Road by
Justine Camilleri and Chris Gale, Melbourne, from the highly competitive field
of entries. It is a great song.The lyrics were the result of a number of discussions between Justine Camilleri and me about the imagery that I used in 'Song Bird and the plot.
Way Ward Films are creating the promotional video for 'Song Bird'.
'Song Bird' is a sequel to 'Life Song'.
In 'Life Song', Mavis (stage name: Nikki Mills) awakens to life's possibilities after six years of hardship and anguish. I used a twist on the Sleeping Beauty archetype, but it's life's opportunities that bring her back to life not the kiss of a prince. Mavis' name means song bird. This novel is about the music in life - songs of joy and tribulation - and the complex nature of love.
While 'Life Song' explores the complex nature of love, it is not in any way a novel in the romance genre. 'Life Song' is about Mavis' return to flight through song after years of having her wings clipped and being grounded. In 'Life Song', she realizes that just because men are attracted to her, she doesn't have to fall into their arms or beds. Other things matter more to her at this stage of her life. The story is set between 1996-1998.
Set between 2000 and 2002, 'Song Bird' picks up Mavis' story once she has become an international singing sensation and gold record artist. As part of her transformation, Mavis formally changes her name to Nikki Mills although family and close friends still call her Mavis. Having dreamed of and worked for the better life that stardom brings, she discovers that her reality is very different from what she had imagined.
Determined not to be caged by the fan and media circus, Nikki struggles to protect her son, maintain their relationship and lifestyle, and find time for love. That struggle is made more difficult by the unearthing of a dark secret from her past.
Can she withstand the media storm? Will she transcend her past? How will she resolve matters of the heart?
Note: 'Song Bird' does not belong to the romance genre. It belongs to Australian Fiction, Contemporary Fiction, and Women's Fiction. My publisher believes it is a novel for both genders and that modern male readers no longer require the protagonist to be male.
The world-wide launch date for 'Song Bird' is 2nd February 2015.
Saturday, February 22, 2014
"We do all the top artists’ hits as well as the golden oldies,” Tony began as he, Mavis and the band grouped together behind the band tent, unplugged guitars in hand, the drummer with his sticks. The sounds and life at the showground were a blurred backdrop to them.
The drummer and bass player, after a sharp reactionary side look at one another, hijacked the discussion. They listed the musicians whose material they preferred to play: “Nirvana, Pearl Jam, Radiohead, Red Hot Chilli Peppers, Men at Work, Beastie Boys, Silverchair, U2 …”
“Stop, fellas! They’re all great, but … I can’t do their songs with only a rushed run-through. A lot of them I couldn’t pull off at all! I’m sorry, Tony, you’ll have to cancel.”
Denying defeat, Tony said. “But we’ve stacks of material. Let’s work this from your end. What would you do for the gig if circumstances were different?”
“Well … your audience is a mixed bag so I’d have a cross section of entertainment and dance music. ‘Love is in the Air’ is still huge given the success of Strictly Ballroom. A lot of the Keimera Show Society are ballroom dancers so that’d work. Don’t cringe like that, guys. Maybe ‘Waterfalls’ by TLC or Garbage’s ‘Only When It Rains’ as we up the beat. Some country rock like Shania’s ‘I’m Outta Here’ What I’d pick is no good though. You’re used to workin’ with a guy.”
“No, we know those songs. Sylvie Martin was with us until she broke up with our drummer. That’s when Matt joined us. How about Mellencamp?”
“Do you know ‘Wild Night’, Tony?” Mavis asked.
“Yeah, we’re tight on that, and our bass player loves it!”
“Cool. So, which ones will we do?” Mavis asked.
In unison, the guys said, “Not ‘Love is in the Air’!”
“One thing, Mavis,” Tony said, “you’ll have to wing it. We haven’t got sheet music here for that material.”
“I suspected that. Anyway, I can sing those songs backwards. Let’s run through them and see what’s what. Oh, and while we’re doin’ that, Gary, I want you to talk to the sound guy. The band’s volume has to be based on my volume. I want it balanced and at a reasonable level so lyrics are heard. Tell him the baseline is: if you need to raise your voice a bit to have a conversation then the band is at the right volume; if you need to yell in his ear, the band is too loud. No arguments about volume, guys, or I’m out.”
“We’re ahead of you there,” Tony said. “That’s been another pain in the arse with Matt.”
The drummer and bass player wore an air of sullenness, their brows lowered. Later, when Mavis was out of sight and earshot, they exchanged heated words with Tony over his capitulation. The exchange built into an expletive-laden argument before an uneasy truce was reached.
Nervous but maintaining the appearance of calm, Mavis settled on a stool in front of a microphone, the borrowed guitar resting on her lap. She strummed the introduction to her solo, one of her own creations, and relaxed into the music. The grassed area before her was sparsely populated. She focused on her friends, her son, and on the song penned before she had given birth to Dan.
Mavis’ voice, pure and strong, attracted attention immediately.
Those people already seated or standing in the grassed area stopped what they were doing, absorbed in the soaring notes of her music and the beauty of the lyrics. As distinctive as a fingerprint, her voice had a textural quality, more than vocal colour or skilled intonation, which signalled its uniqueness. She sang with passion, with the joy of someone who had reconnected with her life’s love. Her performance drew people from other parts of the showground to her.
As the last bars of her solo faded, the drum, wah-wah guitar, and keyboard picked up the interlude to ‘Waterfalls’. As this was happening, Mavis put aside her guitar, stood, and stepped backward to the standing mike to join the band. Entering the rhythm of the song, her hands moved in synch with the drummer’s. Cued by the drummer, she began the verse. There was a sultriness to her voice in this song, a siren’s call. She carried the melody in counterpoint to the rhythm.
The crowd grew.
Delighted by the bass solo, Mavis focused the audience’s attention on the bass player by turning toward him. He stepped forward, pleased. At the refrain, Tony joined her in harmony. Clearly, they were having a good time in the joining.
The audience before them moved in time to the music. Music spoke to them, connected them through emotion in a way other language did not. At the front of the crowd, Mavis saw Kate dancing with Dan while Gary danced with his blonde, blue-eyed girlfriend, Sarah, whose chic dress and silver sash made her a standout in this crowd.
“Well,” Kate said to Gary, who stood with Dan beside him and his girlfriend on his other side, “we all know now where Mavis truly belongs.”
“And we all know what her parents think,” Sarah said, her right arm linked through Gary’s. “Dan’s the picture; Mavis is the frame.”
The onyx darkness of the night sky heightened the brilliance of the stars and moon that hot summer’s night, while in the darkness, ocean waves whooshed against the nearby harbour retaining wall. Passing under the arched canopy of trees that marked the wooden gates to her parents’ town house in Keimera, Mavis, her son, and her two friends returned to her home. The Mills’ cream, cement-rendered, circa 1857 colonial cottage stood at the forefront of the 1500 square metre housing block that overlooked Keimera harbour, while Mavis’ smaller sandstone cottage stood at the rear. Instead of rebuilding on their fire devastated dairy farm as previously planned, the Mills had invested in renovating this house back to its former glory.
“Can I see Gran, Mum? I want to tell her …”
“Tomorrow, Dan. Time for a bath and then bed for you. It’s been a big day.” Turning her attention to her handbag, she said, “I’m goin’ to have to do something about my house keys. I always lose them no matter what size my handbag. I was sure I dropped them in …”
“Know exactly what you mean,” Kate said. “That’s why I have my keys clipped onto a ring and chain and then hooked onto the corner of my handbag. Finding keys is simply a matter of following the trail.”
“Gran has a spare set. I can get them, Mum.” Dan was already on his way to his grandparents’ back door.
“No!” three voices spoke in unison followed by laughter.
Dan stopped in his tracks and looked back at them, puzzled.
“No need. I’ve got them, Dan!”
Passing through the front door, they entered the main living area, a simply furnished room. The house throbbed with the day’s heat.
“Throw the lounge room windows open will you, Kate, while I work out what we’ll have for supper. Dan, I’ve had second thoughts about you goin’ to bed. You can play out back for a while.”
Dan disappeared into the dark of the house.
“Dan, did you hear me?”
“I heard you, Mum!” was the boy’s muffled reply.
“Gary, can you keep an eye on him? I don’t want him …”
“Visitin’ your mum?” Gary held her gaze for a moment.
“You’ve got it in one.”
Reappearing with a zippered black bag that held balls, a jack, and measuring line, Dan asked, “Gary, will you give me a game of bowls?”
“I think you’re gettin’ too good for me these days, matey, but I’ll give it a shot. Your grandpa’s a champion, and I reckon you’re goin’ to be one as well. So how’s about givin’ me a handicap lead of …”
“Not a lead, but we can bowl from the same line.”
They passed through the faded stained, double French doors into the backyard.
Kate sat on one of four white stools positioned under the breakfast bar. “So, how are you going to tell your mum about performing with the band for the Show Society’s dinner dance?”
Mavis looked back at Kate from her small recessed pantry. “Don’t know, but whatever happens, I’m not letting this opportunity pass. I had thought of not tellin’ her.”
“There are some secrets that can’t be kept in a small town like this.”
“It’s at times like these I wish I lived in the city.”
“You sure you won’t reconsider and let Gary and me shout dinner?
It’ll save on the mess and heat of preparation and eliminate the need for washing up.”
“Friendship involves give and take, Kate. Besides, it’s my turn to spring for a meal. I thought for supper we’d have an antipasto plate, and Dan can have a snag sandwich.”
“Perfect. I’m not that hungry, and I doubt Gary is either given what he has stowed away today.”
“His body will become an Esky for his six-pack if he’s not careful.”
Kate laughed. “Anything I can do to help?”
“Would you mind gettin’ the cold meat out of the fridge and addin’ it to these ingredients while I open up the rest of the house? The onshore breeze should cool my room and Dan’s pretty quick if I open that part of the house up now. It’s one of many Reasons I like livin’ here. When I was a kid, the farm homestead seemed to get hotter and hotter each summer’s night. Bein’ in a valley, we didn’t get the benefit of sea breezes. I am so glad Mum and Dad decided against rebuildin’ after the bushfire.”
“Yeah, I know what you mean about hot summer nights in the country. When we lived in the Northern Territory, during the wet season, I learnt what awful summer heat really was. Mum longed to come back home and to the coast.”
“I’ll be back,” Mavis said, terminating the conversation. Exiting, she paused and looked back, “I just felt like …”
“Yes, that catchphrase always brings Arnie and that movie to mind for me too.”
Mavis disappeared into the house.
After foraging through the fridge and coming up with only sliced ham and a lone sausage, Kate returned to Mavis’ small pantry in search of more ingredients. Disappointed, she returned to the fridge, having decided to add raw vegetables to the mix. She had rejected her fleeting idea of popping down the road to the nearby shops to buy more ingredients. Chiding herself for forgetting how financially tight things were for Mavis, she regretted her thoughtless extravagance earlier that day with the hat purchase.
The envisioned lavish antipasto plate reduced in reality to marinated olives, shaved ham, a few aging mushrooms, carrot sticks, and thinly sliced tomato. Kraft cheese – a cheese product publicised across the nation for its nourishing goodness and an Australian staple – had been cut into triangular slices and positioned with slices of crusty bread to bulk out the platter. Kate put the sausage under the grill, taking care to add water to the grill pan to reduce shrinkage.
Having thrown a white patterned tablecloth over the wooden outdoor table and set out plates and drinks, Kate sat down. “Fellas, five minutes till supper.” She found the chilled white wine, a budget brand, surprisingly refreshing.
“Time enough to finish this game,” Gary said. “Looks like I’m trounced again.”
The screen doors swung open, and Mavis emerged with Dan’s sausage sandwich in hand. “Sorry, it took longer than expected. I just had to change. Fellas ….”
“I’ve already given them the five-minute call,” Kate said.
“You know our routine so well.”
“I do that.”
“Geez, Kate, supper looks better than I thought it would.”
“So, how are you going to tell your mum?”
“I’m dreadin’ it and haven’t a clue as to how.”
“Nor do I,” Kate said. “You won’t let her talk you out of this, will you, Mavis?”
“No way! I really want this, Kate. Nothing is goin’ to stop me.”
Tuesday, February 04, 2014
The dance video at http://youtu.be/5HdLfeX6d78 is a 90 second dance representation of the central plot of the novel In and Out of Step by Christine M Knight and its key ideas-belonging, alienation, finding a place.
To understand the dance video, you need an overview of the novel's plot.
1. In and Out of Step (the novel) - Plot Overview
In and Out of Step introduces readers to Cassie Sleight, a young woman who has shut down emotionally after being scarred by a sexual encounter in her mid-teens. Knowing only that she did not want a life in which men inevitably lead and women follow, Cassie leaves the familiar circle of friends and family in search of a seachange. Having discarded her dreams of international dance championships, she accepts a position on the English staff of the local high school in the seemingly idyllic coastal town of Keimera. She is prepared to risk going from the frying pan and into the fire to discover where she belongs.
In Keimera, Cassie meets Mark Talbut, a man Knight describes as struggling to be modern yet threatened by power shifts in the workplace and in society. Cassie’s interactions with Mark and the men in his world cause her to assess her reactions both as a woman and a teacher, and the inevitable questions arise.
In love, at work, and at play – where do you draw a line? Will Cassie find the courage to come to terms with her past, recover from sexual trauma, and have a healthy relationship? How does a society in which dysfunctional workplaces rife with gender, power, and sexual issues change?
In and Out of Step, examines the world in which Cassie Sleight lives, how that world shapes a person for good and bad, and how absolutely every experience contributes to the journey.
The novel explores the very real difficulty a young woman in a new workplace faces when dealing with a man who is perceived as a ‘good guy’ by his male workmates in a time of changing culture. It looks at the very real difficulty in unmasking the wolf in sheep's clothing. The story explores how women who use sex as coinage in the workplace can influence male perceptions of women and blur understanding of what is behaviourally appropriate. In and Out of Step explores the widening ripple effect on the women and the girls living in such a world.
Buy the novel and get free world wide shipping from http://www.bookdepository.com/Out-Step-Christine-M-Knight/9780987434838
2. Analysis of the dance video in terms of its central theme: BELONGING and in terms of the way its distinctly visual features contribute to and convey meaning
Cassie Sleight viewed life as a series of dances. The opening still frame of the dance video represents Cassie Sleight’s view of the world.
The dance begins in the same way that the novel ‘In and Out of Step’ does. In the opening pages of the novel, Cassie observes her world through the frame of her car window. As in this dance video, she is unseen because she is an outsider. Her view of the world is filtered through the metaphor of dance.
When the dance begins, Cassie Sleight is off-stage and out of the shot. She does not belong to the group.
The opening dance scene shows that Cassie sees her world as male dominated, a world where men lead and women follow. In the opening seconds of the dance, the men are positioned in the foreground symbolising their leadership role and dominance. Women are placed in the background behind the men, symbolising their follower status.
In the opening freeze frame, the female dancers are in off-balance positions and dependent on their male counterparts who hold power in the dance. The centre male dancer is unpartnered. He represents Jake Dominguez from the novel ‘In and Out of Step’. As the dance begins, the Jake dancer observes the ritual of the dance and the relationships between genders. His observation is conveyed by a sharp head turn. This represents how values and attitudes about relationships are transmitted. That is, we learn about how gender relationships work and how to belong in society from the people around us.
In each dance couple, the male controls the dance. One man twirls his partner, keeping her in the background while the other male dancer overpowers his partner by placing her in a dip. Both women are passive in the dance. The dance then progresses to the dancers moving in unison. During this part of the dance sequence, the women dance with their backs to the men but remain in mirrored unison. This represents how indoctrinated they are in the ritual of the dance. The men always remain in the lead. This shows that within a community belonging involves understanding and acceptance of the community's ritual, language, and conformity to its codes of behaviour.
As the dance progresses, the three men also dance in unison, representing that they have been programmed in the steps. Both male and female dancers are attuned to the rhythm of the dance. They are in step with one another even though the type of steps varies according to gender.
Most of the dancers are costumed in black. Costume reinforces the uniformity in this society and that they belong in that world. One male dancer is dressed in a white T-shirt and black trousers. This represents that although he is accepting of the culture, he is also different in some way. This variation in costume signals that the society is undergoing subtle change.
At 0.16 seconds in the video, a young woman in red enters the dance scene. This dancer represents Cassie Sleight, the protagonist in the novel ‘In and Out of Step’. She is not dancing and does not move in time to the music. Her costume represents that she is the odd one out in this community and does not belong. Her movement also reinforces that she is not in step with the people in that world, that she does not belong. She is in fact passing through that world to an unknown destination.
The Cassie dancer is intercepted by the unpartnered male dancer who attempts to control Cassie dancer’s movement and compel her to join him as his partner in the dance of life. She moves in step with him for a short time, and he controls the dance. Her joining with him in dance represents her knowledge of that style of dance and that she has learnt the passive role that women play in it. Jake dancer’s contact with her is passionate and powerful and shown through gesture and contact. At one stage in the dance, the Jake dancer overpowers the Cassie dancer; she ‘swoons’ in his arms in response to his actions. This sequence is a metaphoric depiction of their relationship in the novel and their sexual encounter when she was sixteen. When Cassie dancer regains her feet and balance, she rejects him. That rejection is represented through gesture and strong powerful movement. At this stage, she moves out of step with Jake dancer and stops dancing. The cessation of the dance represents Cassie dancer’s rejection of that female role in dance as well as her rejection of the code of behaviour needed to belong in that type of community.
At 0.33 seconds in the dance, the dance group return to the screen. They represent the world she knows and that she is leaving. The dance is choreographed so that Cassie dancer is seen to be going in a different direction and out of step with the mainstream of dancers. The metaphors ‘going against the stream’ and ‘odd one out’ are made literal in this scene through the creation of dramatic images that depict her alienation.
At 0.36 seconds, Cassie dancer is alone on the screen, dancing. This represents the transition period between the world she left and in which she grew up to a new world. In the novel, Cassie Sleight rejects the traditional role of women in the world that she grew up in and resolved to leave. She left the familiar circle of friends and family in search of a sea change and began a career as an English teacher on the faculty of high school in a coastal town south of Sydney.
At 40 seconds, the video returns to the dance of traditional society. This section of the dance represents the world to which Cassie dancer has moved. It is exactly the same as the world she left – male dominated and women following the lead of men and indoctrinated in the ritual of relationships. Like the world she has left, there is a male dancer in this world (white T-shirt) who belongs to that world but differs subtly from the group. This variation in costume signals that the society she has entered is also undergoing subtle change.
At 48 seconds in the dance, Cassie dancer re-enters. The dancers are positioned in a line. The same set of dancers are used to show that the same type of people exist everywhere. This section of the dance represents Cassie dancer's quest to find her place in life's dance. She engages with each dancer in this new world in search of a place in life’s dance but moves on whenever her partner tries to control the dance or exert power over her.
At 1.04 minutes in the dance, Cassie dancer comes face to face with Michael dancer, costumed in white T-shirt and black trousers. In the dance sequence with him, neither dancer leads. They appear as a mirror reflection, representing their like-mindedness and similarity in values. They are equal in status. This shows that similarity in values and attitudes play an important part in a person's sense of connection to others and a developing sense of belonging.
At 1.09 minutes, Cassie dancer surrenders power to Michael dancer as he lifts her. The lift relationship reflects the trust between the dancers. It also represents a trigger moment that led to a change in the nature of that society's dance and the way the genders relate to one another.
The lighting flashes at this point in the dance video signalling a new stage in dance and in gender relationships. Cassie dancer is joined by Michael dancer on the floor. This is a new style of dance although it has elements of the traditional dance in it. They are joined by other dancers from that society; this symbolizes the change that has occurred in this community. The dance shows that Cassie dancer was a catalyst for change.
The dance ends in a freeze, a diamond shape with men and women in alternating positions in the line-up. The screen dissolves into fire and then to the book cover for ‘In and Out of Step’. This signifies that Cassie went from the frying pan and into the fire to discover her place in life’s dance. It also shows that although she has found a place to belong, that doesn't mean life is without the heat of conflict.
Buy 'Belonging: A Relate Text Companion to In and Out of Step' from The Book Depository http://www.bookdepository.com/Belonging-Christine-M-Knight/9780987434814
Saturday, February 01, 2014
It's Summer, hot, and humid in my part of Australia. I've just come back from the Country Muster. The muster is a music festival held at our local showground and venues throughout the nearby township over this weekend. Other musters are held elsewhere in country towns across Australia over the year, often the weekend after a rodeo or after the local agricultural, horticultural, and industrial show.
During the muster, music is non-stop throughout the day and into the evening. Buskers also occupy positions throughout the local township, making shopping very pleasurable. There was an energy in the town today before the heat took its toll on visitors and residents.
It was extremely hot today – 40 degrees Celsius at 2 pm. Although I had fun at the muster, we cut our time there short because of the heat. There were many mulberry faced people though who stayed behind under the canvas rigged to provide shade for the audience. Sunlight as thick as golden paste painted the undulating landscape as we drove home.
I’m glad now to be back in air-conditioned comfort for the rest of the day.
If you'd like to see my music video, go to http://youtu.be/dEioHGbnWiA?
Sunday, December 15, 2013
In the absence of a traditional blog, I thought I'd share this observation about images sold to women with you. Hope you enjoy it.
She was a role model
For the modern woman.
Liberated from the labels
That had defined earlier generations,
She was an expert on things cosmetical:
From surgical to chemical.
She was a product of the cutting edge,
A manufactured woman,
Celebrated in magazines,
Sold across the nation.
In matters of weight,
She knew exactly how much to weigh in.
In the powerhouse of business,
She was inscrutable
(Thanks to regular Botox injections).
A beneficiary of affirmative action,
She traded in ideas and influence,
A follower of fashion,
As she rode the wave
After the second wave of the women’s movement.
Her flawless smiling image on magazine covers
Guaranteed sales at supermarket checkouts.
Articles about her reassured women,
Interested in material culture,
That their personal fit was simple,
A mere matter of purchase.
“Image is all that matters,” she said,
From her chair in Wonderland,
Her smile lingering like the Cheshire Cat.
Was she happy? Did her life have meaning?
Such questions are absurd.
She was a role model for women
Living life through the looking glass.
©Christine M Knight
Tuesday, December 03, 2013
Teams of boys and men weighed down and backwards in a tug-of war, straining not only to hold their ground but also to budge the other side forward. In that moment as Mavis Mills watched the battle, the struggle seemed frozen, a sculpture of intense exertion.
Around them, the many varied events of the annual Agricultural, Horticultural, and Industrial Show formed a colourful backdrop to the tug-of-war scene. To the east of the showground, the Pacific Ocean glittered, rippling sheets of silver. Closer to shore, white capped waves crashed and foamed on the rocky coastline, sounding like distant applause. To the west of the showground, the heat haze of summer shimmered over the hilly rural landscape.
In her late twenties, Mavis knew all about struggle, about feeling stationary while life, with all of its promise and possibility, happened to the people around her. Something, she didn’t know what, was needed to tip the balance in her favour just as it was needed for her son’s team in the tug-of-war.
“Exciting, isn’t it?” Kate Denford said, appearing at Mavis’ shoulder, having returned to the scene with two bottles of water, one of which she passed to Mavis. Kate’s broad-brimmed, straw hat obscured her eyes and shadowed her face. Her brunette hair was pulled back into a long thick plait. That day, she wore red Capri pants and a white cropped top. She was a striking figure, athletically slender, angular, and exuding confidence.
More frustrating, Mavis thought. She had a strong face with brown eyes behind which lurked a smile. Her body was shapely though not overweight. Although Mavis found fault with her figure, men saw her as sexy. She wore a Gypsy top, a flowing floral, partially transparent skirt, and Roman styled sandals. Striding everywhere, her walk marked her as farm bred. She was fond of saying that her walk was the result of constantly stepping over cowpats throughout her teenage years.
“Here, I bought you a hat, Mavis. Sunscreen isn’t enough on days like this. I’m wishing now I’d worn a T-shirt.”
“Oh … That’s considerate of you, Kate, but you shouldn’t have bothered.” Mentally, Mavis did a reckoning of what was left of the money she’d budgeted for the day. She had a small weekly income and had not had the luxury of impulse spending since she had become a single parent six years earlier. “How much do I owe you?”
“Twenty dollars, but I can shout you if …”
“No, it’s fine.” Wishing it really was fine, she shelved her money worries and the problem of how she would end the inertia in her life for another day. Somehow, she would find a way out of her current circumstance. Mavis refocused on the tug-of-war. “Oh, oh … they’re givin’ ground to our side. Pull!” She donned the white hat over her luxuriously black, shoulder length hair but flipped the front brim up.
“Lean into it, fellas,” yelled the anchorman for her son’s team, Gary, with emphasis on into. An avid surfer and lifesaver, Gary was lean and muscular. His chequered cotton shirt was unbuttoned, revealing a naturally fit, bronzed body rather than the exaggerated physique that many men achieved through gym workouts. He wore an earring in his left-ear, although that fashion trend had passed.
Feet planted wide for support in the sandy loam of the showground, muscles straining, the men in Gary Putnam’s team tilted further back almost into a reclined position.
Momentary confusion flickered across the younger boys’ faces; they adjusted their positions forward and, in doing so, lost balance, allowing the opposing team to take some ground.
The opponent’s supporters cheered.
Laughing, Mavis and others around her yelled, “No, boys, lean backwards not forwards. Pull! Pull!” Her six-year-old son, Dan, was one in a line of confused children. Behind them, men of one shape and size or another lined up; those men with a weight advantage were scattered along the line.
In the background, the noise of the sideshow alley, common at all agricultural shows, clamoured and tinkled above the hubbub of the crowd. Occasionally, a distorted microphoned voice announced the next competitive event in the show ring.
“It’s a pity our side doesn’t have fatter blokes, Mavis.”
“I’ve been thinkin’ the same thing, Kate, but look at the other side’s faces. The heat and strain are takin’ their toll. I think brawn is goin’ to win out.”
Both women yelled, “Pull!”
The noise level around them rose to an unintelligible roar. With one voice, the crowd bellowed, “Pull!”
Strain showed on all of the competitors. Gradually, Gary’s team won centimetres of ground in a slow slide. With an unexpected collapse, the battle ended. Gary and the few men ahead of him thumped backwards onto the ground. The rest of the team stayed afoot somehow.
Spectators and competitors merged.
After a makeshift award ceremony and the etiquette-dictated interaction of victors and good-natured losers, the crowd dispersed.
In an effortless move, Gary lifted Dan, small for his age, up onto his shoulders. “Time for a well-earned lunch, a drink for me, and an ice block for Dan afterwards! C’mon, my lovelies!” Gary left without waiting for agreement. They threaded their way through the crowd, passed the livestock sheds and horticultural exhibits, passed the industrial stands, took a shortcut through the arts and craft pavilion, and came out onto a grassed area ringed by a caravan of food and drink peddlers.
On the western side of that area, the first band for the afternoon was finishing their set. The Keimera Show Ball Committee, after a disastrous choice in entertainers for their Show Ball the month before, were auditioning bands for the 1996 Zone 2 Show Society dinner dance which they were hosting. Auditioning bands at the show was an unusual step but local reputation was at stake. Everyone agreed it was crucial to avoid a repeat of the deafening, muddy, instrumental jangle and the related drowned vocals from their own ball.
Twenty-eight societies would be represented at the dinner dance to be held the following Saturday night. It was a very big deal. Two Show Girls from the twenty-eight finalists at the Zone judging would be chosen to go on to the Royal Easter Show Girl state competition, where a trip to the United Kingdom was up for grabs as the main prize. Another musical blunder by the Show Society would be unforgiveable. Heads would roll!
The queues at the food vans moved quickly.
“You sure you’re not hungry, Mavis?” Kate looked at her askance, now very aware of how little money Mavis had after witnessing her coin counting to pay for her son’s meal. Mavis had rejected Gary’s offer to shout them lunch.
“I’m sweet, Kate.”
“What do you want, lady?” the caravan vendor asked Kate.
Passersby stopped to talk to Mavis and Gary while Kate was served. Dan held his hotdog in one hand and his mother’s skirt hem in the other.
With food and drinks in Mavis’ son and friends’ hands, the group headed to the grassed area under the shelter of shade-cloth sails. Leading the way, Gary looked for a spot on the crowded lawn. He wanted one with a good view of both alternate stage areas. Given the personal relationship musicians have with their instruments and their unwillingness to play on hired gear, the Show Society had organized two performance spaces. As one band performed, the next band set up.
After weaving their way through the picnicking crowd, Gary claimed a space for his group. His disregard for the personal space of other picnickers was a reflection of small-town familiarity.
“Nothing danceable about this band,” said Kate, a ballroom dancer since her teens.
“Don’t loll over me, Dan. Mummy’s hot. Sit down next to Gary while you’re eating that hot dog, and chew slowly.”
Kate winced as she listened to the band. “Pity the girl can’t sing. What she lacks in voice, she’s making up in attitude though.”
“Don’t you miss it?” Gary asked Mavis who once had dreams of making it big in the music industry before life had happened to her. A single parent now, her dreams of a very different lifestyle had disappeared when she had fallen pregnant.
“A bit, but y’ know, I still make music at home. That has to be enough. I’ve got Dan now, and he has to come first.”
“So your mother says,” Kate added. “Personally, I think women nowadays can have it all if they work it right.”
“Spoken like a single woman. Between Dan, work, keepin’ things straight in the house, and stayin’ on top of bills, I’m worn out most nights. I don’t know what I’d do without you, Gary, and my parents as backup.”
Nearby, inside the bands’ tent where waiting musicians congregated, tempers seemed to be flaring.
“Take it outside,” someone called.
“Up yours!” another voice shouted.
Gary gestured to the tent. “Maybe we should move over the other side before anything more ‘colourful’ develops here.”
Before Mavis could reply, two young men – one longhaired and in leather and the other in denim – emerged from the tent.
“Mate,” said the longhaired lead singer from the fourth band on that afternoon’s bill, “the amps have got to be cranked up enough to get the balls goin’. I can’t put on a good show if I’m not happy with my sound. No way do I want to sound piss-weak like them.” He gestured to the band currently on stage.
“Listen Dumbo, we want this gig and the work that can come from it; that means volume is out! The other guys get it, why don’t you? They’re behind me on this!”
“Yeah? Where are they then?”
The sound engineer looked over his shoulder and was momentarily taken aback. Set up again, he thought. He gave it his best shot anyway having told them he would. He, at least, was a man of his word. “They asked me to speak for them. There aren’t any screamin’ fans here drownin’ you out to justify the amps you’re askin’ for. I know you don’t get the volume thing, but most people want to hear the music, not be deafened by it. I’ve told you before, when it’s cranked up, and you hit those high notes, it’s like an ice pick to the brain.”
“It’s my job to get people stoked. Maybe that’s goin’ to take more volume than some can handle. They can leave. We’re here to rock!”
“Nah, we’re here to get the gig, and cater for the people, not you!”
“Blokes like you are a dime a dozen. You’re not part of the band. Do as you’re told, or this’ll be the last gig you do sound for us. While I’m the front guy, I call the shots. I’ve heard you out, now do as you’re told. Get back in your box.” The singer walked toward one of the stage areas where a band was bumping in their gear and preparing for performance.
“No amount of loud can cover up a lack of talent,” the sound engineer muttered as he walked away. “We lose this gig, I’m done! Doin’ live sound sucks!”
“The sound guy’s right,” Mavis said, “a band should never be in charge of its own sound. They get it when they’re in a studio but not when it’s live. I reckon that it’s a male thing. Y’ know, ‘How big is your gear?’ In a studio, the equipment outguns a band’s. The other problem is that the sound on stage seems quiet whereas to people like us out here it’s loud.”
“Well,” Gary said, “this band have the volume right yet that walkin’ ego didn’t see it that way.”
Mavis laughed. “So you disagree with the Grimm Brothers?”
Kate grinned at her.
Gary ignored this side conversation and continued, “Or maybe they are used to playin’ in their garage with no audience and don’t realise the point is to entertain the audience.”
“And maybe you and Gary are both right, Kate.”
The audience applauded half-heartedly. The opening chords of the third band’s set claimed the scene.
“Thank God, that band is done!” Kate considered the remaining food before her, a sealed plastic tub of untouched chicken and salad. “I wish I could say the same about this meal. My eyes were way bigger than my stomach. That first tub finished me off. I don’t suppose, Mavis, you’d consider helping me out by finishing it off. If you don’t, it’ll be going into the bin.”
“Well, rather than waste it, yeah, I’ll have it.”
“Look at that wolf!” Kate referred to the lead singer they’d just been talking about.
Surrounded by a group of young women, he played the role of rock star while his band set up their gear on stage as the previous band bumped out.
Taking in the wider scene, Gary said, “So far, the music’s not drawin’ a crowd. As soon as people finish picnickin’, they’re movin’ off. I feel like another hot dog. What about you, Dan?”
“Y’ know I don’t like him having nitrates, Gary. I gave in today because—”
“What about that ice block I promised you, matey?” Sitting on the ground, Gary was eye-to-eye with the boy. “Your mum’s a wise one. Best we listen to her, eh?”
Looking at them, Kate was struck by Gary’s sensual appeal: his wind-tussled blonde hair and open face, the taut trimness of his tanned torso, and his undeniable strength. She shook herself. It’s Gary! she told herself. He was a mate as well as her chief supporter at the local surf club which she had captained six years or so since Gary had unexpectedly nominated her for the position. I must have a touch of the sun, she thought. She made momentary eye-contact with Gary, and quickly switched her focus. She missed his thoughtful expression as did Mavis who ate Kate’s leftovers with relish.
Dan at six years old was a handsome boy. Although not Gary’s son, he could have been mistaken for him. Both shared a brilliant smile, dark eyes, and the same mannerisms. The mannerisms weren’t surprising given Gary had functioned as a proxy father to Dan since his birth.
Gary, with Dan beside him, left.
“He loves your kid, Mavis. If you ever marry …”
“Not much likelihood of that. Guys run the other way when they hear I’ve got a kid. Besides, Gary is his godfather, and in our life for keeps, as you are, unless either of you decide to move on.” After a moment of reflection, she added, “His girlfriend doesn’t like sharing him, y’ know.”
“You’re not wrong there.”
“I only ever saw the positives in lettin’ Gary be part of Dan’s and my life. Lately …” Mavis paused.
“I’ve begun to think that might have been a big mistake. Dan is so vulnerable.”
“Gary is as true as a summer’s day is long. Seriously, you’re not worrying about him being a stayer!”
“If he commits to Sarah …”
“Trust me, Mavis, it’s not an issue even if Sarah becomes a permanent fixture!” After a moment’s quiet, Kate added, “It’s a good thing she’s Keimera’s Show Girl. The competition has taken her out of our lives for a while at least. It’s been full on with them, hasn’t it?”
“That’s for sure. What I don’t like is that we’ve had an overdose of her in our lives as well. She can even quote my mother!”
“If we’re really lucky, Mavis, she’ll win Royal Easter Show Girl, and we’ll have an even bigger break from her. If she wins and goes to London, she might not want to come back. Don’t worry about Gary, and don’t cross bridges until you get to them.”
“But you see, I’m beginnin’ to think that as a parent maybe I should consider things more so as to avoid Dan getting hurt.”
“Stop worrying, Mavis. Life is to be lived. Wrapping anyone up in cotton wool is just as bad as not taking due care.”
* * *
Monday, late morning, the first week of February, 1990 (six years earlier), Mavis drove through the bushfire scarred landscape into Keimera from her family’s property in the hinterland where she lived in temporary accommodation, a caravan. Her parents’ home had been destroyed in a recent bushfire, and she’d had a near death experience in it.
The Country Women’s Association’s funds for disaster relief had been used to hire two caravans so that the Mills family had somewhere to live while the government’s special compensation package for people who had lost their homes was being processed. At this stage, Mavis’ parents intended to rebuild on their land and continue their pastoral lifestyle.
It was seasonably hot. By eleven, Mavis’ car thermometer registered thirty-three degrees Celsius. The radio news said the day would be another scorcher.
Despite this, Mavis did not feel the heat as many other pregnant women did. She was fit, a good weight, and, from the rear, did not look pregnant. The fit behind the steering wheel was snug though, something her parents had argued was good cause for them to chauffeur her in and out of town. She had resisted, clinging to the last vestige of her freedom before the arrival of her child.
Cresting the final hill before the descent into Keimera, Mavis took in the panorama. To the north, a rugged, unpopulated headland adjoined a pristine beach, suitable for surfers but not swimmers due to its dangerous rips. Next, Pipers Point where Madison House, a white two-storey colonial mansion, dominated the peninsula. Although not visible from this vantage, Mavis knew the historically significant house, representing the former pastoral glory of the region, as well as she knew her parents’ property. She had boarded at Madison House for almost four years while working in town. In that time she had forged friendships that she hoped would last a lifetime, had fallen in and out of love and, after the breakup, discovered she was pregnant.
Glimpses of the picturesque town and the coastal road that twisted southward through the rural landscape marked the road’s descent. The view rapidly disappeared as the car reached sea level.
Aware of a dull backache but attributing it to the suspension in her car seat and the awkwardness of her driving position, Mavis felt ravenous. She drove underneath the new expressway that bypassed Keimera.
Gone were the traffic jams of past years when the warmer months brought the onslaught of tourists travelling south. Keimera was still busy but with genuine traffic interested in spending time in the area rather than cars edging through it on the way to Bateman’s Bay and beyond.
As she turned right at the main roundabout, Mavis saw Gary waiting for her on the parkland side of the road. A real estate salesman, he was dressed business-casual, a trend set by Bill Gates of Microsoft, in a crisp white shirt, dark trousers, and polished black leather shoes.
Pulling over, engine still running, Mavis considered parking; she needed to go to the toilet. Looking at her wristwatch, she decided she could hold on until she reached the doctor’s surgery. It would be quicker than stopping now. After Gary climbed in, she pulled out into the light traffic.
“Thanks for standin’ in for Cassie today, Gary. It was the only appointment I could get this week.” Cassie Sleight was Mavis’ closest female friend and had been a stalwart support throughout the pregnancy, unwanted at first. They had met and become firm friends after Cassie came to board at Madison House just over two years earlier.
“No sweat; it’s a one off! Geez, mate, have you got bigger, or is it just the way you’re sittin’? You should’ve let me pick you up or your dad drive you in. Thank God for air-conditioning. You feelin’ okay?”
“I feel great now, but I had a terrible night. For some reason, I dreamt about Terry and … that last month with him.” Terry had been Mavis’ boyfriend. They had lived together six months or so after she’d moved out of Madison House. The emotional scars from that relationship were something that she would live with for a long time.
Gary still remembered the shock of seeing the physical abuse Mavis had suffered at Terry’s hands. If it took a lifetime, Gary mentally swore to make up for his failure to protect her from such a man.
The tooting of a car horn brought Gary back to his surroundings. “What the …?”
The driver in the car ahead of them was clearly impatient for another car to complete its angle parking. The medical surgery was a block ahead of them.
Mavis rocked in the driver’s seat.
“I just need to go to the loo. C’mon! How hard can parkin’ a car be?”
“Let’s talk about something else. You know the sayin’…”
“Watched cars take forever to park.”
Gary laughed. “Something like that. Decided yet where we’ll go for lunch?”
“Sails, it has the best seafood in town! I am starvin’! My stomach has had an odd sort of grumblin’ the whole trip. I should’ve had breakfast, but the pain from last night’s nightmare just sat on me, and I couldn’t eat then. Maybe we should phone the order in and get them to hold a table for us.”
“Kate may have the medical practice runnin’ on schedule, but she says there are always hiccups. Let’s not jinx ourselves.”
“That place runs like clockwork because she knows her doctors and plans for problems. Nothing is goin’ to happen so let’s order ahead. Pity Kate couldn’t have lunch with us. I … Gosh, what was that?”
“I heard and felt a ‘pop’. Sort’ve like a balloon breakin’. Oh, no!” Mavis was unexpectedly quiet for a moment. “I think my water has broke.”
“Are you sure?”
“Well, not really, not havin’ been through anything like this before.” She didn’t add that her underwear felt wet, really wet.
“If it has, we’re in the right place.” They were outside the medical practice. “At least there are lots of parkin’ spaces here. Any contractions?”
“No, the doctor said it’s usual for first-time mums to overshoot their due date. I should’ve gone to the toilet when I stopped for you. The bowel pressure is really awful.”
“Way too much information, Mav’!”
Getting out of the car, Mavis was appalled at the flow of water as was Gary. He rushed ahead of her. She tried to clench shut, her legs almost crossed, but the water just kept coming and continued to come as she walked awkwardly along the footpath toward the surgery.
Torn between excitement at the possibility of birth and concern that the lunch she’d salivated over would be missed, Mavis reached the surgery’s doorway. It opened on Kate who had a wheelchair, its seat covered in thick towels. Gary hovered behind her.
“Gary, can you call Sails and order lunch for me? I’d like …”
“Hold off Gary until she’s been checked.” Kate whisked a protesting Mavis into the doctor’s room and then returned. “Dr Tim will run a test to see if it is amniotic fluid or not. He’ll also check to see if she is dilating yet. You say she’s not had any labour pain so that’s unlikely. When we know what’s going on, you can let her parents know and phone the school to give Cassie a heads up that we might be expecting a birth in the next twenty-four hours or so.”
“Given Cassie is Mavis’ support person, don’t you think she should come now?” Cassie Sleight was a teacher at the local high school.
“Jumping the gun there, Gary. There’s plenty of time.”
The practice nurse emerged from the doctor’s room. After wheeling Mavis to the curtained casualty room at the back of the surgery, the nurse reappeared and beckoned to Kate, taking her out of Gary’s sight. The doctor followed moments later.
Next thing Gary heard was Kate’s shocked, “Surely not!”
There was a flurry of activity and, for a while, Gary was forgotten. Eventually, Kate returned to him as the local ambulance arrived to take Mavis to hospital.
“Gary, I’ve phoned the school to let Cassie know she needs to get to the hospital now. The receptionist up there needs to be pastured, nice old dear though she may be. She cut me off twice before I was able to leave a message. So frustrating! Mavis wants you to go with her in the ambulance so I’ll phone your office and fill them in.”
“I’ve got an appointment at three, but I’m free till then. Ask for James to take it for me if I’m late. What about Cassie?”
“I’ll go up to the school to tell Cassie. After that, I’ll drive out to Mavis’ parents to let them know. It’s at times like this that you wish the older generation were into mobile phones.”
“Even if they were, it’s a black hole communications-wise out there,” Gary said.
As the male paramedic wheeled Mavis outside, Mavis asked Kate, “You sure Gary can’t order me something from Sails? They do deliveries. Christ!” She doubled over in the wheelchair, her breathing pattern changed, and she grunted with involuntary pushing.
The practice nurse, who stood near Kate, looked at her watch. “Five minutes exactly. She’s in a regular pattern now.”
“Breathe though the contraction, love,” said one paramedic while the other counted the duration of it. “That’s it. You’re doing fine. Try not to push yet. I’ll tell you when you should if it gets to that.”
Now in the ambulance, Mavis said, “It can’t come now; I’m not ready. It’s all happenin’ too fast. I thought I was goin’ to be overdue. I’m not psyched to go now! Do I have to have a drip? This isn’t part of our birth plan.”
“Babies don’t know about plans. Here mate, you want to hold your wife’s hand?”
About to correct the paramedic, Gary read Mavis’ anguished face and remained silent. Although there had been a trend for many women to be unwed mothers, he knew Mavis felt shamed by her situation. Worse, she worried about a fatherless life for her child.
“I really need to go to the loo,” Mavis said after another contraction.
“Birth’s imminent, that’s why you feel like that.”
To Gary, the trip to the hospital seemed inordinately long, the experience surreal. He couldn’t believe it was happening. He stroked Mavis’ head, encouraged her to breathe through the pain, and endured having his hand crushed periodically.
At the hospital, things seemed to move in sped-up time. He looked for Cassie, but she wasn’t there yet. He stayed back to leave a word with the desk nurse, but at Mavis’ insistence followed her. They were rushed into a delivery room. Like a drowning woman holds onto a life raft, Mavis clung to Gary. All of his thoughts were centred on her. He found comfort in seeing the midwife, a well-upholstered woman who was clearly in command of the situation and unperturbed that the obstetrician/gynaecologist had not as yet arrived.
During the birthing process, Gary experienced an intense connection to Mavis, a divine communion that he would never forget. As the labour intensified, fear for Mavis and her child gutted him. It was such a small passage. Surely, the child would be crushed. What if it got stuck? In the sweat and strain of birth, as the baby’s head crowned, he marvelled at the miracle of it. It was bloody amazing!
Euphoric, he held the baby boy first at Mavis’ insistence despite the medical staff insisting she should have first contact. She said she needed some respite, some personal space. A time to breathe without pain. To recover from the shivering that had seized her.
An intense wave of emotion swept over Gary as he held the baby. Such a small bundle of perfection! He had never felt as close to anyone as he did to Mavis and her son at that moment.
Reluctantly relinquishing the baby to Mavis, he committed again to making amends for his past failure to her. Unlike his own childhood, this boy would not grow up without a caring man in it. Bending over to kiss Mavis on the forehead, he said, “Y’ did good. I’m real proud of you.”
* * *
1996 Keimera showground. “Wonder where the boys are,” Mavis said to Kate who had returned from depositing their rubbish in the bins.
“I’ve been looking for them too, Mavis.” Kate cringed. “Ice pick to the brain doesn’t do justice to how that guy sounds. Let’s walk toward where the boys should be coming from.”
At the juncture of the food caravans and side-show alleys, the group reconnected. Gary had a thirty-something man in tow, dressed simply in black sneakers, black jeans, a white T-shirt, and a cutaway black vest.
Kate’s, “There they are!” and Gary’s, “Look who I ran into,” overlapped.
“Tony!” Mavis said, “Sorry to hear about your group breakin’ up. What happened?”
“G’ day, Mavis, Kate. Creative differences … You know the rest. I’m feelin’ cursed at the moment.”
Mavis’, “Reformin’ a band can be hard,” overlapped Kate’s, “Why?”
“No, that was easy; I only had to replace the singer. Problem today is he hasn’t turned up for the gig this arvo. When Nick, our drummer, phoned his home, his mother said Matt took it into his head to go to Queensland yesterday. Bloody dope head; this is the final straw! He might be an amazin’ performer when he’s clean, but what good is that if he’s off his head or out of it or just doesn’t show?” He looked at Gary.
“I thought you might help Tony out by fillin’ in as his singer.”
“Gary, I haven’t sung in public for years. Besides, I’ve never jammed with Tony or his guys. If I remember right, Tony, you sing.”
“Yeah, but only backup. We need your help, Mavis. I want to avoid us gettin’ a reputation as a no-show.”
“Jesus, Mary, and Joseph!” Gary cringed as did people everywhere in reaction to a high-pitched note.
Dan’s attempt to be helpful by echoing advice Mavis had given him about helping out friends went unacknowledged.
“C’mon, Dan,” Kate said. “Let’s have a ride on the Ferris wheel while your mum is sorting this out.”
Mavis looked at her gratefully. To Tony, she said, “Are you guys playin’ to music?”
“It can be to sheet music if that’ll get you on board, if you pick songs that we’ve got the music to. We’re good at listenin’ to each other when we play, and we’ll follow your lead. Why not start with a solo, something you’ve written, so you get into your comfort zone. You can borrow my electric acoustic.”
“Geez, I can’t do this cold, and there isn’t time for a run through.”
“Sure there is.”
“I don’t see how …”
“I’ll get the guys.” Tony was gone.
“What have you got me into, Gary?”
Gary gave her his Mickey Mouse grin and pose. “You’ll be great!”
End Extract 2
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EXTRACT 3 I apologize for the belated uploading of this third promised extract. We had a death in the family. This final extract has been uploaded as a separate blog.
Saturday, November 30, 2013
‘Life Song’ grew out of concerns and questions about life that the women and men I interviewed shared. Many women and men had questions about plotting a course through life in uncharted territory and about what made life worth living, what gave it meaning. They were also interested in the nature of love and worried about being deceived by counterfeit love and subsequently hurt. All adult groups shared a desire to have love of the adult kind - the real version of it and not an imitation. Many found that a life without a passion is empty – be that passion cycling, gardening, gaming, fishing, surfing, art, lifesaving, work for the community – the list of passions is endless.
Women had questions about what it meant to be a woman in the modern world given the complexity of the roles they now played. Mothers back in the work force had questions about boundaries – about when and where a mother's responsibility for her children took priority over her responsibility to self, and should it.
Those questions became the starting point for my imaginative explorations of characters in a range of situations and settings. Research into the music industry continued during this time. As I considered the duality of women and men's roles in western society, I asked myself, What if ...? As a result of that imagining, the plot of ‘Life Song’ emerged.
In Life Song, I re-introduce Australian songbird Mavis Mills. Born to sing, Mavis has set her dreams aside and spent six years parenting her beloved son Dan. Then, unexpectedly, she discovers she has a choice: to accept her life as it is or to attempt to rise above her circumstances, realize her potential, and make her nearly-forgotten dreams come true.
I’m going to take a detour here to provide some background circumstance so you understand more about ‘Life Song’.
When I wrote my first novel, 'In and Out of Step', I knew that Mavis Mills was going to be the central character in the next novel although I didn't fully know where her story would lead or what the title of that novel would be. I wanted Australian names for Mavis and her family, and when I discussed the matter with my mother, she suggested the name of Mabel, a character from one of her favourite radio shows - Dad and Dave from Snake Gully.
In ‘Life Song’ and ‘In and Out of Step’, Mavis and her family are Aussie battlers, and I wanted names that echoed that experience. I varied the name from Mabel to Mavis because I discovered Mavis is a variation of Mabel and that mavis is also the name of a songbird. I developed Mavis' back-story in 'In and Out of Step' as a contrasting subplot to Cassie Sleight's story and journey. Cassie is a dancer, and it seemed fitting that Mavis, although from a different walk of life, should share the same strong creative impulse that would bond them somehow. Their lives ran in parallel at times but diverged because of the choices made.
An overheard snatch of dialogue between children at play became the stimulus for Dan's story (Mavis' son) in 'Life Song'. The little boy (the child of a single parent) in response to his playmate's comment that his father was returning home from overseas duty said, "I don't know where my daddy is, but I know he'll come home soon too." The boy's father never did.
In developing Dan's story, I was interested in exploring aspects of life when a child grows up without his father in the picture. Dan is six when the novel starts. I developed Zoey's story as a parallel and contrast to Dan’s journey. When I created Zoey, she was originally a minor character needed in the plot action, however, she stepped off the page very quickly and demanded that her story be told too. Kate’s story also looks at parent-child relationships from another perspective.
Given Mavis' back-story in 'In and Out of Step' and her musical ability, the Australian music industry was the obvious vehicle for Mavis' pursuit of a career. The music industry also forms one of the backdrops to Mavis' journey. Another two backdrops are life in a coastal town south of Sydney and the period 1996-1998 in Australia.
'Life Song' is not non-fiction masquerading as fiction. It is Mavis's story first and foremost. It is a quest story about boldly journeying down a path less travelled. It is a tale about the power of believing in self. It is a narrative about rebirth and begins at the end of a period of anguish and sacrifice for Mavis.
Wednesday, November 20, 2013
When I finally committed to actually writing fiction rather planning to do it, I envisaged a whole world with a community of characters whose lives intersected and diverged as the issues and concerns of their respective lives and the times brought them in and out of contact.
My plan was for each novel to have a different set of characters at the story's heart and to write about their lives in that world. The secondary characters from one novel would be the central characters in another and so on. Each novel would stand independently, but when read within the context of the series, the readers' knowledge of the characters in that world would be enriched. The world in my novels represents snapshots of contemporary Australia.
Like Tennyson, I believe that not only are we part of everything that we meet in life, but what we meet becomes part of us for good or for bad. I'm interested in the ripple effect of experiences in life and how that contributes to and shapes our personal stories. That view of life shapes the way I structure my novels.
My writing process involves the creation of a fictional world that parallels the real world. It is a world with a set of characters, places, circumstances and an environment revolving around human relationships under pressure. That pressure is the source of the conflict that drives my story telling. It’s a world where relationship dynamics, challenges, and problems give rise to many stories. I planned my first series of novels as 4 titles fixed in different periods in the near past.
I think of my writing as dream catching. As part of the dreaming process, I conduct extensive research into my subject matter. Research helps me visualise and understand life and its concerns from other people’s perspectives. Research guides the way I imaginatively connect to those experiences. It also helps me select the characters I’m going to use and it guides the way I focus on their concerns, and it helps me construct a virtual reality for them to inhabit.
Writers of fiction need to be thoughtful and compassionate people with empathy for others. That doesn’t mean that writers are always sensitive to the people in their immediate real world. Writers are flawed, just like everyone else.
When I’m in the research phase, I gather experiences and technical facts. I collect stories through discussions with as many women and men from different walks of life and generations as possible.
Research underpins my writing because I believe that for fiction to hold a reader’s interest it has to be grounded in the reality of life. Characters and their reactions need to resonate honestly with what readers know about life and how and why people behave as they do.
Imagination is the bridge that connects the real and fictional worlds for readers and writers. Readers like writers bring imagination to the words that tell a story. Readers are crucial in the process of bringing the alternate reality to life. Without them, a novel is just a book on a shelf gathering dust.
I’ve been surprised over the years by the number of people who think that the only thing worth reading is non-fiction. They dismiss fiction because it involves imagination. Fiction allows writers to create characters in situations without being constrained by the so-called facts of an event or by fear of a lawsuit when the author offers insight into the motives and objectives of characters. For it to succeed, it has to read as reality.
Fiction is a way of comprehending life - not just what is, but what was, what is likely to be, and what could be. ‘Life Song’ begins with Mavis Mills life as a single parent working as a receptionist at a local car dealership and follows her journey as she dares to reach for a life that could be. So many people are reluctant to hope for something better, lest they be disappointed, not Mavis Mills. She believes that fulfilling her own dreams can secure a better life for those who matter to her most.
"Standing there with her hair streaming behind her, Mavis enjoyed the bracing wind. She felt alive and that life again held possibilities for her. Somehow I will make it all work."
© Christine M Knight
Monday, November 18, 2013
I drew on the Kiama landscape in the creation of the fictional coastal town of Keimera which features in both In and Out of Step and Life Song. That fictional landscape also draws on the NSW towns of Camden, Goulburn, and Bungendore. My maternal family have also lived in Kiama for over thirty four years.
Keimera’s main street, harbour, marina, and the southern headland are strongly reminiscent of Kiama as is some of the hinterland. I think of Kiama as the gem location on the Sapphire Coast.
Keimera is a coastal town where local fairs and shows are attended on long days out with families and neighbours. Friends who have stood the test of time share histories and secrets and there is always the sizzle of possible relationships to imagine. The long march of the youth of rural townships drawn to bigger cities has begun. That migration shift is two way though. Keimera’s close-knit community with its thriving life attracts city people in search of a seachange or a treechange.
Keimera is a town where the Council Lifeguards and volunteer surf lifesavers play an important role in keeping the coastal community and visitors to its beaches safe. Their commitment and passion parallels and contrasts with the passion that drives characters in ‘Life Song’ to discover what gives their life genuine meaning. Two important secondary characters in ‘Life Song’ are members of the surf lifesaving movement. Gary and Kate’s experiences are a fictional depiction of some aspects of life when serving the community as a Lifeguard or Lifesaver.
Keimera is also a community where the Country Women's Association (CWA) plays an important role in providing support to women and their families. The CWA is also committed to serving the community. Minna Madison, family matriarch and President of Keimera's local CWA works passionately in upholding traditional values. Madison House represents the former pastoral glory of the region. Madison House was built in 1858. It occupies Pipers Point which is the peninsula north of Keimera.
Philanthropic activities such as the Surf Lifesaving Movement and the CWA represent the finer aspects of the Australian psyche. As a people, we believe in helping others, giving others a fair go, and a fair day's work for a fair day's pay.
©Christine M Knight
Monday, November 18, 2013
Over the past few months, a lot of bloggers in search of traffic to their own sites have left irrelevant comments under various titles of Christine's blogs. Those bloggers' comments are SPAM and as such are deleted. Given this occurs, we ask those bloggers to stop wasting their time and Christine's blog space.
Only genuine readers of Christine's blogs who want to engage in what she's written should leave comments. Only genuine comments will remain on show. If the SPAM continues, we will be forced to turn off the comment box which would be a pity.
Christine will still post blogs for genuine readers and followers.
The Admin Team