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Love, greg & lauren

You are about to read an extract from a remarkable book, Love, Greg & Lauren. It is the story of a medical miracle that seems unbelievable, but every word of it is true. Inspiring and deeply moving, it is a unique document of the will to survive. It is also, above all else, a love story…

PROLOGUE

As midnight came on September 11, 2001, I stood at my wife’s bedside in the William Randolph Hearst Burn Center at New York-Presbyterian Hospital.

Webs of plastic tubing fed her intravenous fluids and medications. Over the next twenty-four hours she would receive approximately twenty litres – forty-two pounds – of fluids to replace those she was losing through her wounds. She was heavily sedated and would remain in this drug induced sleep for weeks. She was on a ventilator to support her breathing; there was a feeding tube in her nose. Her body was wrapped in white gauze, and she was draped in sheets and blankets to keep her warm. At 8:48 that morning, she had been burned over 82.5 percent of her body as she entered the lobby of 1 World Trade Center.

At 8 that morning she had been a vibrant, athletic, and beautiful woman, decisive and demanding and the picture of health.

At about 8:30 she had breezed through our living room telling me how she’d solved a scheduling problem that morning, making business calls that delayed her normal departure about fifteen minutes. She lingered in the hallway, saying good-bye to our ten-month-old son, Tyler, and then she headed off to work, going downstairs and hailing a cab to take her to the World Trade Center, where she was (and is) a senior vice president, partner, and director of global data sales for Cantor Fitzgerald.

Less than twenty minutes later, listening to “Imus in the Morning” program as I was about to leave for work, I heard Imus break and say, “What’s this? A plane hit the World Trade Center?”

I ran to our terrace, which looks down Manhattan’s West Street toward the twin towers, and saw a vast hole billowing black smoke from the top of Tower One. I could see that the plane had hit at or just below Cantor Fitzgerald’s offices and that the impact had been huge. I tried to persuade myself that Lauren, that anyone at Cantor, could still be alive. I kept calling her telephone numbers but her office line was busy and her cell phone wasn’t ringing. I paced the apartment, pounding the wall and calling her name, then watched as the second plane hit Tower Two, seemingly right at the 84th floor, my office at Euro Brokers.

I felt like the man on a battlefield who leaves his unit for a moment, only to look back as it is blown up before his eyes.

Friends and family kept calling our apartment to make sure we were all right. I could not say whether Lauren was alive; I was almost certain she was dead.

But she wasn’t.

Arriving at the World Trade Center, she’d heard a whistling sound, entered the lobby to investigate, and been met by an explosive fireball. She ran outside in flames. A bond salesman over at the World Financial Center saw her and two others as they ran from the building, raced across West Street, and put out the flames that were consuming her. Lauren was lucid enough to tell him her name and our phone number. People had fled and there was no one else around for blocks. As heavy pieces of steel debris fell from a thousand feet above them, he stayed with Lauren until the ambulance came.

At 9.35 our phone rang once and went silent. A moment later it rang again. A breathless voice said, “Mr Manning, I’m with your wife. She’s been badly burned but she’s going to be OK. We got her in an ambulance.” The phone cut off before he could tell me where she was being taken. I was to learn later that the caller was a bond trader. His buddy, the bond salesman, had just saved Lauren’s life.

Twenty minutes later a nurse called to tell me Lauren was at St Vincent’s Hospital, eight blocks away. Fighting tears, not knowing what to expect, I made my way there through the stunned crowds headed North on Hudson Street. At one point I turned around and saw Tower One wreathed in black smoke. I did not realise Tower Two had already come down.

I entered St Vincent’s moments before it was closed to all but patients and medical personnel. I found Lauren in a bed on the 10th Floor, all but her face covered in white sheets. She looked normal, though as if she had a deep tan, but her eyebrows had been burnt off and her beautiful blonde hair was charred.

The first thing she said to me was “Get me to a burn unit”.

Then she said “Greg, I was on fire. I ran out. I prayed to die. Then decided to live for Tyler and you”.

She asked me to apply balm to her blistered lips. Her pain grew and she begged for morphine. She became less aware. Her face began to swell. They transferred her to a private room and asked me to step out. For the next two hours the nurses dressed her wounds.

At 5 that afternoon, Dr Edmund Kwan, a plastic surgeon affiliated with St Vincent’s and New York Presbyterian, secured Lauren a bed in the Burn Centre and ordered her sedated and intubated to protect against respiratory arrest during the transport. The ambulance driver headed across 14th Street, up an FDR drive closed to all but emergency vehicles, and rolled to a stop in the hospital’s ambulance bay. Within minutes we were in the Burn Centre on the 8th floor. Lauren was wheeled to a glass-walled room and doctors and nurses surrounded her bed. Someone led me to the waiting room and I sagged into a chair.

On Thursday evening, a gray-haired man in a white coat met with us in the waiting room. He was Dr Roger Yurt, the medical director of the Burn Centre, Lauren’s doctor in the pages that follow. In a calm voice he described what she was up against. The first seventy-two hours were the resuscitation phase, during which she was receiving an extraordinary quantity of fluids to replace those her body was dumping. If she survived this phase, Dr Yurt would perform numerous grafts in the ensuing weeks to close her wounds and control her injury. Only after she was ‘closed’ would she be out of danger, until then, infection would be a constant threat. The prognosis was bleak, but the meeting with Dr Yurt brought me the first twinge of hope. If there was anyone on earth that could save her, I thought, he was the one.

In the early afternoon of Sunday, September 16, I was told that Lauren’s chances were less than 50-50, probably far less. (I was later to learn they were about 15%).

Day after day the phone at home never stopped ringing, friends, colleagues, and family from around the world. It grew difficult to repeat the full story, but I realized that the short version was becoming more than a medical summary and said nothing more about her courage.

So on the afternoon of September 19, I sat down to type an e-mail update on Lauren’s condition. I wanted to thank everyone for their prayers and their support, and to tell them how she was doing in ways that would convey just how hard she was fighting: the resolve and morale of the medical staff, the love of friends and family, the bravery that was already evident as I stood by Lauren’s bed. As a token of my faith in her, I signed both of our names at the end of that first note, and to every one that followed.

The daily e-mails became a compulsion.

From: Greg

To: Everyone

Date: Wednesday, September 19, 2001 5:30 PM

Subject: Lauren Update

First of all, I want to thank all of you, and all of the others to whom you speak about Lauren. The love that has flooded in and the prayers that are being uttered on her behalf have helped us immediately.

She is still heavily sedated due to her condition, but they say she can hear my voice, so I tell her about everyone I have spoken to, that they send their love and best wishes, and their prayers, including numerous congregations across the spiritual spectrum, both synagogues and churches around the world. I have been informed that this evening the Baptists will be added to this group.

Lauren is putting up a heck of a fight. She has been through two surgeries and continues to hold on. She has a long road in front of her, but she is hanging in there, and we are by her side constantly. As of 5PM Wednesday she remained stable.

For those of you who may not know the story, she was entering the lobby of the North Tower of the World Trade Centre when a fireball exploded from the elevator shaft. She and two others managed to run out of the building, all three of them on fire. A passerby across the street ran to them, reaching Lauren first, and put the flames out. He then put Lauren in an ambulance, so she was the first person evacuated. He certainly saved her life.

She was at St Vincent’s, where I joined her, and then at 5 PM Tuesday rode in the front of the ambulance where she was transferred to the Burn Centre at the NY Presbyterian. When I got to St Vincent’s, she told me that she had decided to live for Tyler and me; so I am taking her at her word.

Thank you for all your support and prayers.

Love

Greg & Lauren

Extract taken from Love, Greg & Lauren

Published by Pan Macmillan Australia rrp: $30.00

Available where all books are sold.

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Be at peace

Consider this Buddhist saying: “The perfect disciple is one who is always stumbling – but never falls.” We all fall into traps of selfishness and delusion when we least expect it. The chance remark that wounds someone else, the careless lie, the irresistible urge to cheat are universal. Forgive yourself for being human. Apply to yourself the same gentle acceptance as to others. You are doing the best you can, with the tools available to you, right now. Try these strategies:

  • Put it on paper: provides perspective. Divide a piece of paper into two parts. On the left side, list the things that irritate you that you may be able to change, and on the right, list the ones you can’t. Change what you can, and stop fretting over what you can’t.

  • Create a new vocabulary for yourself : Although there is no harm in expressing worries and problems, you want to avoid falling into the pit of constantly “talking down”. Toward that end, create a new vocabulary for yourself where you focus on optimistic words and phrases. For example, instead of seeing a problem or obstacle, try to see an opportunity for learning and growth.

  • Reward your good tries as well as your achievements: After suffering a setback we’re often not functioning at our best, so we may find we need more rewards than usual. Have a nurturing treatment, such as a relaxing facial or a soothing aromatherapy massage.

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Kids knitted clown jumper

Cute, colourful and cuddly – our clown jumper is sure to be a hit with kids of all ages.

MATERIALS

**8ply knitting wool (50g balls):

Main Colour (M – blue): 6 (7, 7, 8**) balls.

**Contrast 1 (C1 – yellow): 1 ball.

Contrast 2 (C2 – red):** 1 ball.

Contrast 3 (C3 – green): 1 ball.

Contrast 4 (C4 – white): 1 ball.

Contrast 5 (C5 – black): 1 ball

One pair each 4.00mm (No 8) and 3.25mm (No 10) knitting needles or sizes needed to give correct tension.

Two stitch-holders.

Yarn bobs.

Two novelty buttons for eyes.

Small amount of polyester filling.

MEASUREMENTS

To fit sizes: 4 (6, 8, 10 ) years. Fits underarm: 60 (65, 70, 75) cm.

Garment measures: 73 (78, 83, 88) cm. Length (approx): 40 (44, 48, 52 )cm.

Sleeve fits: 28 (33, 38, 40 )cm or length desired.

ABBREVIATIONS

Alt: alternate; beg: beginning; cm: centimetres; cont: continue; dec: decrease, decreasing; foll: follows, following: inc: increase, increasing; include: inclusive, including; K: knit; P: purl; rem: remain/ing; rep: repeat; st/s: stitch/es; stocking st: 1 row knit, 1 row purl.

TENSION

22 sts and 30 rows to 10cm over stocking st, using 4.00mm (No 8) needles. Check tension carefully before commencing. Wrong tension will result in a garment that is the wrong shape and size.

METHOD

**BACK

Using 3.25mm needles and M, cast on 81 (**87, 93, 97) sts.

1st row. K2, P1, K1, rep from to last st, K1.

2nd row. K1 P1, K1, rep from to end.

Rep 1st and 2nd rows until work measures 5cm from beg, ending with a 2nd row and inc one st in centre of last row … 82 (88, 94, 98) sts.

Change to 4.00mm needles. **

Work 106 (118, 130, 142) rows stocking st.

Shape shoulders. Cast off 24 (27, 29, 31) sts at beg of next 2 rows.

Leave rem 34 (34, 36, 36) sts on a stitch-holder.

FRONT

Work as for Back to **.

Work 28 (40, 48, 58) rows stocking st.

Note. When changing colours mid-row, twist the colour to be used (on wrong side) underneath and to the right of colour just used. Use a separate ball of yarn for each section of colour. Wind small amounts of colours onto yarn bobs as required.

Next row. K11 (14, 17, 19) M, work 1st row of Graph across next 60 sts, K11 (14, 17, 19) M.

Next row. P11 (14, 17, 19) M, work 2nd row of Graph across next 60 sts, P11 (14, 17, 19) M.

Work a further 48 rows stocking st, keeping 11 (14, 17, 19) sts in M correct at either end of work and working rows 3 to 50 incl from graph across centre 60 sts.

Using M, work 8 (8, 10, 12) rows stocking st.

Shape neck. Next row. K33 (36, 39, 41), turn and cont of these sts.

Dec at neck edge in every row until 29 (32, 35, 37) sts rem, then in foll alt rows until 24 (27, 29, 31) sts rem.

Work 5 rows.

Cast off.

Slip next 16 sts onto stitch-holder and leave.

Join M to rem sts and knit to end.

Dec at neck edge in every row until 29 (32, 35, 37) sts rem, then in foll alt rows until 24 (27, 29, 31) sts rem.

Work 6 rows.

Cast off.

SLEEVES

Using 3.25mm needles and M, cast on 39 (41, 43, 45) sts.

Work 5cm ribs for back, ending with a 2nd row and inc 7 sts evenly across last row … 46 (48, 50, 52) sts.

Change to 4.00mm needles.

Working in stocking st, inc at each end of 3rd and foll alt (4th, 4th, 4th) rows until there are 52 (74, 80, 82) sts, then in foll 4th (6th, 6th, 6th) rows until there are 76 (80, 88, 92) sts.

Cont without further inc until work measures 28 (33, 38, 40) cm from beg, ending with a purl row.

Cast off.

NECKBAND

Using backstitch, join right shoulder seam. With right side facing, using 3.25mm needles and M, knit up 91 (91, 97,97) sts evenly around neck, incl sts from stitch-holders.

Work 6cm rib as for Back, beg and ending with a 2nd row.

Cast off loosely in rib.

BOW TIE

Using 4.00mm needles and C3, cast on 12 sts.

Work 60 rows stocking st in stripes of 6 rows C3, 2 rows C2, 10 rows C3, 2 rows C2, 20 rows C3, 2 rows C2, 10 rows C3, 2 rows C2, and 6 rows C3.

Cast off.

CENTRE OF BOW TIE

Using 4.00mm needles and C5, cast on 8 sts.

Work 4 rows stocking st.

5th row. K2C5, K4C2, K2C5.

6th row. P2C5, P4C2, P2C5.

Rep 5th and 6th rows once.

Using C5, work 4 rows stocking st.

Cast off.

NOSE

Using 4.00mm needles and C2, cast on 4 sts.

Work 3 rows stocking st, inc at each end of every row … 10 sts.

Work 4 rows stocking st, beg with a purl row.

Dec at each end of next 3 rows … 4 sts.

Cast off.

TO MAKE UP

With a damp cloth and warm iron, press lightly. Using black and backstitch, embroider around clown’s face, hair, hat and ears as illustrated, then embroider mouth. Place filling beneath nose; slip-stitch nose in position. Gather centre of tie and sew below clown’s chin, placing filling under each end. Sew centre of bow tie in place. Sew on eyes. If desired, using C2, make loops for hair and attach to hat as shown. Using backstitch, join left shoulder and neckband seam. Fold neckband in half onto wrong side; slip-stitch loosely in position. Tie coloured threads to sides of Back and Front 17 (18, 20, **21

Click here for pattern

GRAPH:

KEY

M

C1 (yellow)

C2 (red)

C3 (green)

C4 (white)

C5 (black)

NOTE: Read odd-numbered rows (knit rows) from right to left and even-numbered rows (purl rows) from left to right.

NOTE: For ease, Knitting Stitch embroider C5 sts on mouth, ears and eyes on completion.

**

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Anita Shreve q&a

ANITA SHREVE , best-selling author of The Pilot’s Wife, talks to The Australian Women’s Weekly about her new book, Sea Glass (Little, Brown $29.95), selected as The AWW’s Book Of The Month in the June issue.

Sea Glass, set in New Hampshire in 1929, tells the story of a travelling type-writer salesman, Sexton Beecher, who falls in love with and proposes to Honora Willard, a beautiful young woman who he meets when she is working in a bank. As the couple begin their new life together, their love is tested to the limit by the fall-out from the Wall Street Crash and a strong attraction to a third person…

Q You collect sea glass – glass that has been weathered by the water and the wind and the sand into smooth shapes and washed upon the beach? A In the summer I’m sort of obsessed with it. As a matter of fact I go for a walk every day and I look for pieces…when I have a good ‘haul” I feel very good for the whole day (laughing).

Q What do you do with your collection? A I put it on a white plate the day of the collection and then it goes into a jar.

Q You see sea glass as a symbol, suggesting other people, other lives, other places? A Yes, I think it’s very evocative of other lives because I often wonder as I pick it up, what it used to be? These weathered shards that have turned beautiful colours but they’re essentially trash. They’ve passed overboard or else they’re part of a ship-wreck or a fire or something like that so they all have a history.

Q In your new book, Sexton thinks his wife Honora is eccentric for collecting sea glass – do your family think the same of you? A They used to think I was kind of eccentric, then after a while, everybody got involved in the hunt and now they feel pretty good if they come back with a new piece.

Q Sea Glass is set during the Depression. Is it true the idea was born during a reading at a bookshop, when you were talking about how the same house could be used in different books but set in different periods of time, such as the depression? A Yes, right in the middle of a sentence and I thought, well, there is an idea! And after that I was very deeply involved in thinking that through. It takes a very long time for the idea to jell. And come together. But that was the moment it was born.

Q What are you like to live with when you are thinking about a new plot – often when someone is brewing over a story in their heads, they aren’t quite ‘there’ all the time? A That would be a very apt description. I’m definitely preoccupied, and especially at the beginning of a novel when there are just so many ideas coming together in different moments of time – there is this collision of ideas and I am very preoccupied.

Q Do people around you complain about it? A I think they are very used to it now. They’re really understanding – usually.

Q The depression affects everybody in your latest book which, partly, is about how your characters find stability in a time of great change – I thought there were parallels with what’s been happening in the US in the past six months? A Prior to September 11, the less traumatic parallels were the economic downturn in the economy. I think with any kind of economic change, everybody’s life is affected.

Q How are you at coping with change? A Terrible, I really admire Honora and I would really like to think I would cope. I think you have too, you have very little choice, but I don’t think anyone really likes change.

Q Honorora is based partly on you? A I admire her, yes, I mean…I am in all my characters in bits and pieces, but her circumstances are very different from my own.

Q Obviously it took research to recreate the grim struggle of the depression, have you ever known times like that in your life? A Not quite like that. But during my childhood and upbringing there were times when it wasn’t necessarily a lean time, but they were not times of excess. Some of the recipes are mine, others are culled from research. There are ways of saving money and you learn them when you come from a family of five.

Q Where did you come in the family? A I was the first of three daughters.

Q There were great expectations of you, then, as the first child? A I don’t know whether there were high expectations…my feeling is that they were parcelled out pretty equally.

Q What did your mum and dad do? A My mum was a housewife and my father worked for the airlines in various capacities, including being a commercial pilot.

Q You were born where? A – Bedham, Massachusetts

Q Small? A Yes, it’s a suburb of Boston

Q Do you begin with a theme and then build plot and characters around it?A I don’t set out to write about themes. They are not a part of my thinking as I write. I’m telling a story and trying to push the form a little bit. I’m very involved with the language and the characters. The theme arrives organically. You don’t set out saying I’m going to write a novel about a woman who is going to triumph over hard times and discovers guilt and distrust and betrayal.

Q Honora is very strong in the face of great difficulties – do you think women in general are like that, that they push through the almost impossible? A Yes, I do. It is a generalisation, probably not true a lot of the time, but in this novel Honora is much better than Sexton at coping – Sexton’s character flaws are shown up by the change in circumstances whereas she grows with the challenges.

Q Honora’s rich girlfriend senses his weaknesses much sooner than Honora does? A She does have a sense early on that there’s something perhaps not right, but she ignores it.

Q Honora tries to ignore her attraction to another partly because to not do so would have been scandalous in those timer – do you think attitudes to adultery have changed since then? A I don’t think the hurt or heartache has changed one tiny bit. But it is not ruinous to the extent it would have been then.

Q Back then, people were more judgemental of women? A think people were much more rigid towards women and their sexual behaviour.

Q was Honora difficult to write because she is so far removed from where we are today? A Not really, one of the pleasures of writing of a time past is that you sort of have to immerse yourself in the period you’re writing in. Obviously there’s no divorcing yourself from everything you know, but you have to keep her true to the realities.

Q What are the opportunities for the writer in giving the novel an historical setting? A Writing is a selfish act and I enjoy setting it in a certain period. But it’s also is easier to highlight certain character developments.

Q You write about relationships in all your stories – would you agree that the modern state of marriage doesn’t seem very healthy? A No, it’s not, is it! There are arguments to be made on both sides of it. In some ways it seems men and women are healthier if they do not stay in unhealthy relationships. And yet on the other hand I feel that they don’t reap the benefits of being in a long term relationship and feeling a sense of long term intimacy. The pleasure of watching children grow and all of that. There is something lost there is no question. On the other hand I think you have fewer women who are ready to jump out of the window. It’s hard to say.

Q Have you been successful in your personal life? A Yes, it’s fine at the moment, that’s a question that has to be answered month by month, I think (laughing).

Q You are in a long term relationship? A Oh well, we’ve been together a decade now, but we are in it for the long haul.

Q Children? A I do. I have two.

**

Q Grown up? A** One is in college and one is 12.

Q Any step children? A Three.

Q Yours is a blended family then? A Absolutely. Yes…well blended. And there’s a dog that I can hear barking in the background.

QWhat’s his name? Sandy. A Cockerpoodle, a cross between a cocker spaniel and a poodle. He’s cute, real cute.

Q Thinking about how to describe what your books, I suppose the first thing that comes to my mind is ‘intelligent romance?’ A Oh thank you. Romance is such a loaded word. Because here anyway, it suggests a certain genre that is really not very intelligent.

Q I was just reading that romance fiction accounts for about 40% of the books sold in the US! A Is that right? Wow! Yes, but there are certain kinds of books in that genre that are really not very well done. It’s a tricky word to use…here anyway. You usually associate it with something you don’t want to be associated with.

Q Ever been through a period when you’ve read romantic fiction? A No, I missed it somehow. Not into soap operas either.

Q Susan Faludi is quoted in an article about romance writing as saying “romance revolves around a woman’s emotional life in a world where most women’s emotions are ignored, stepped on or worse.” A I don’t agree with that. I think romances delve into or picture imagined emotions that intelligent writing does too, just that they do it badly with cliches and bad writing.

The emotions are biblical. They’re valid. Totally valid, it’s a question of what you do with it. And I don’t believe they are ignored one little bit.

Q How did you feel about the success of The Pilot’s Wife, and how did it impact on your life? A I was very happy about it. As expected, it increased sales and it means people turn to back-lists. A lot of people didn’t even know I had existed. So it raised people’s awareness and led to a greater readership.

Q Most writers find it difficult to live off writing alone, did The Pilot’s Wife mark the turning point for you in being able to write full time? A In a sense it was, although I’d been living full time as a writer for a long time, as I was a journalist for 15 years and I’d been making my living off fiction since 1989. ‘Living’ being a relative term, if you w ant to live modestly, it can be done.

Q Were you willing to do that for a long time?A Yes, I was.

Q Because you felt this was really what you wanted to do? A Yah.

Q Earlier in your life you spent some time in Kenya and sent articles back from there – what took you there in the first place? A Like most people I went for a visit and fell into a job while I was there and finished up there for three years.

Q So you just fell in love with the place? A Well, I fell into this job. I was the editor of a local Kenyan magazine.

Q How do you look back on that period in your life now? A It was fabulous. Every day was an education. New country, new culture. I travelled around the country quite a lot it was fantastic, – beautiful. Very sad now though. It’s in terrible shape now.

Q Am I correct in saying you have never used Africa as a setting for any of your books? A That’s correct. Except for the last book, the central character came from Kenya. When I left Africa I came back to New York and I worked as an editor for US magazine, which is like Life magazine and I freelanced for others.

Q You were glad to leave journalism behind, I’ve read? A I was. Yes. It wasn’t so much as leaving it behind as going towards things I always wanted to do – fiction.

Q Was this the realisation of a dream you’d had for a long time? A I really didn’t start doing it seriously till I was in my mid 20’s.

Q Did you have notions of becoming a writer before that? A In a vague sort of way.

Q You’d written a couple of non-fiction books, Re-Making Motherhood was one – what was that about? A It was a look at how working mothers can be good role models. Women Together, Women Alone was a look at the early days of the women’s movement.

Q From your perspective? A No, it came out of an assignment I had for a magazine to track down five women who had belonged to a consciousness raising group in the early 1970’s and to find out if it took.

Q And did it? AYes, with varying degrees of success in terms of their lives, but in terms of their consciousness, yes.

Q Do you agree that now is a good time to be a young woman in terms of options and possibilities? A In terms of possibilities, yes, the world is wide open, in terms of economy, it’s a particularly tough time for kids coming out of college

Q A lot of women seem to be finding it difficult to find successful relationships with men – do you think the notion of finding Mr Right is unrealistic or still worth pursuing?A I don’t really know. Circumstances seem to have a lot to do with it.

Q Is it the same there, as in Australia where there seems to be a lot more single women pursuing an ever diminishing number of good men? A It would depend on where you look. I think among the young professional women living in urban areas, it’s probably more of a problem.

Q Are you nervous about every new book or relaxed?AI have learned how not think about it. It could be an ordeal if I allowed myself to do that. I’m better at putting it out of my mind.

Q Are you disciplined? A Moderately so, I guess.

Q You were a high school teacher at one stage – what subjects did you teach? A High school English.

Q How long for? AFive years.

Q Any favourite authors? A I’m often asked that and it’s really strange, I read all the time, but I have very eclectic taste, so it’s very hard to answer.

Q Do you have set hours for writing?AI tend to write in the mornings. From 8-12.30

Q Have an office? A Yes, at home.

Q Have you always been a great reader? A Yes

Q Your parents encouraged you to read? A Not overly so, although my mother is a determined reader now.

Q Which book captured your imagination as a child? A The Wizard of Oz. That was the book that really opened up the key to reading .It was one of the first books I got out of the library, and it really captured my imagination.

Q Your star sign? A Libra.

Q Some writers nurture a close relationship with their readers, do you? A I do I try to answer emails and queries if I can.

Q How do you feel about the author tours you have to do? A They’re hard work The rewarding part is meeting the readers.

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Turn your manuscript into a bestseller

Having trouble getting a publisher or literary agent to read your manuscript? The sad fact is that the majority of people involved in the business of books do not have time to read unsolicited manuscripts.

Here are some hot tips from some of Australia’s top publishers and The Australian Women’s Weekly Book Club

From The Australian Women’s Weekly Book Club:

Before approaching anyone with a manuscript, try to build a profile in literary/publishing circles first. Enter writing and short story contests at all levels, local, regional, national. If you can say in your covering letter that your writing has received an award, it may help. It may also means that winning a prize will put you in contact with publishing representatives.

Another way to build a profile is to have stories and fiction published in magazines. Check which ones take short story submissions. Find out the name of Fiction Editor- small details like that help. The Australian Women’s Weekly publishes only 12 short stories a year, so competition is fierce, but there are many established authors who began their publishing career writing fiction for our magazine and other mass market publications. Before submitting a story, take a look at the kind of fiction they are publishing first and submit a story in the style and genre they obviously favour.

Don’t send an entire manuscript. It’s too daunting for someone already under enormous pressure to read masses of material. Send a covering letter with a BRIEF synopsis of your book. Enclose the first chapter, or the first 1000 words or ten pages. Many people will read something that is short, while manuscripts are often shuffled around the desk till they hit the ‘out-tray,’ because no-one can commit the time.

If you have any friends or colleagues with contacts in the publishing industry, use them. They may at least be able to recommend the name of the person to whom it might be best to send a sample of your book. While officially, no-one takes unsolicited material, there are always people reading in search of the next big best-seller and finding out the name of the appropriate person beforehand is more likely to get a result.

If you have no contacts, perhaps look up the web site of each publisher and see if any staff names are listed. Or email the web site and ask who is the best person to send your ‘sample’ too.

Don’t ever try to talk through your plot on the telephone. Leave this for your covering letter.

Don’t telephone the person after you’ve sent your book, asking have they read it YET? If you haven’t heard from someone six weeks after submitting your material, write another letter or email. As hard as it is to accept, given the rushed nature of business these days and the lack of administrative support, it can take up to six months to get a reply.

Don’t give up – remember the words of Robert Browning: Hark, the dominant’s persistence till it must be answered to!**

From Harpercollins:**

To learn about different ways of structuring and writing a story, read a lot.

Write about what you care about.

Don’t look for trends, set them.

Don’t over explain what’s happening in a story.

Revise and then revise again – don’t send out work that’s second best.

Be persistent. Believe in your work, make it the best you can and keep knocking on doors.

From Simon & Schuster:

Research that great idea – check out bookshops and see if anyone else has the same great idea.

Get help. Do a writing course and get an independent assessment through a manuscript assessment service.

Make sure your manuscript is neatly typed, double-spaced, has wide margins and no spelling mistakes or weird grammar.

Don’t do a general mail out to all publishers, find out who is publishing books similar to yours. Call first and ask about their policy for unsolicited manuscripts.

Remember that very few Australian authors make a living out of writing alone. Write because you love it, not because you can make enough money to buy your own tropical island.

From Hodder Headline:

Please don’t tell us this will be a bestseller because it’s set in six countries and better than anything else on the bestseller lists and in airports.

Don’t tie it with a pink ribbon and highlight words in yellow highlighter.

Don’t tell us it will appeal to children because your grand-daughter loves it.

Don’t conceal the fact that you’ve sent it to other publishers.

Do some research on the publisher you choose – don’t send fiction to an educational publisher.

Understand that it’s as much a matter of serendipity as talent.

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Anzac special

Exclusive extract from a new Australian book, VOICE FROM THE TRENCHES by Noel Carthew (New Holland $24.95). As 1914 drew to a close, little did anyone in Australia know that four years of warfare lay ahead. Mothers could not foresee the anguish they would suffer, nor wives and sweethearts their heartbreak. Half a million young Australians had little idea of the grim reality of war as they marched off to do their patriotic duty for King and Country. Among these men were three brothers, Charles, Fred and James Carthew. Voices From The Trenches is their story, told through the letters they wrote to their mother and sisters back home in Victoria. To read them is to live, a little, the life of an Anzac digger, to experience the personal horrors and bloody battles.

Voices From The Trenches, on sale now in all book shops, also represents a remarkable achievement by Noel Carthew, a 79 year old Perth grandmother who inherited the plastic bag of letters, written by her father and two uncles, after a death in the family. Their moving contents gave Noel the passion to turn them into an extraordinary book. In this exclusive extract, Charles, the eldest son, leaves his mother Margaret and the family farm in Myrtleford, Victoria, to go to war:

After hiring a lad to help Old Dave with the heavier farm work and visiting a lawyer to make his will, Charles and his two horses, Silver and Bullet, reported for duty at Broadmeadows, the chief training camp for Victorian military personnel.

Charles had found it almost as painful to take leave of his cattle dog, Black, as it had been to farewell his fiancee, Ethel. Ethel understood that he felt it was his duty to volunteer, but Black did not.

Charles had reared Black from a tiny puppy when his mother died, and from then on the two were inseparable. Margaret often wondered whether there was some mystic link between the dog and her son. It was always necessary to tie Black up whenever Charles left the farm, otherwise he would simply materialise wherever his master happened to be.

Sensing Margaret’s distress, Black had viewed the preparations for his master’s departure with foreboding. He watched anxiously. Attuned as he was to his master’s every mood, Black was well aware of Charles’s sadness, and gazed pleadingly up at his master as he sat down on the front steps and took the dog’s head lovingly between his hands.

Black I have to go away, perhaps for a very long, long time, and I want you to look after Mother for me while I’m gone.’ Charles could not go on ‘Hold him, Nell,’ he said gruffly to his sister Elinor as he turned away and climbed into the buggy. One last wave, and then he was gone.

The public were not allowed on the wharf as Lieutenant Charles Carthew and the 8th Light Horse infantry embarked on the Star of Victoria in the cold, misty, grey dawn of 25 February 1915.

Ethel Semour (his fiancee), Margaret and her four daughters joined the milling throng of relatives and friends who pressed against the iron railings, hoping to catch one last glimpse of their menfolk. It was a sad, silent group little group who boarded the train home to Myrtleford that fateful February day that was to change their lives forever.

13.5.’15

*Dear Mother and all at home,

We are off to the Front on Saturday next, and am sorry to say are going as dismounted L/H (Light Horse). We are not very much cut up about it despite all the work and training we’ve had with them because we are all anxious to be doing something in the real business.

It is nearly three months since we left Aust. And I have only received one letter from home. You ought to be here and see mail after mail come in and no letters from home and then you would know what it is like.

I would ask you not to worry about Fred or I as every man who gets wounded is looked after tip top. And Dear Old Mother, if we should go under feel proud of the fact that you reared two sons who will do their job and who are not afraid to die for their country, like a lot we knew who stopped at home who should be here as its every mans duty who has no home ties.

Well Goodnight

Love from Charlie*

Soon after his arrival at Gallipoli, Anzac Cove was now more or less secure. When the Turks attacked on 3am on 19 May, they were decisively beaten with an estimated 10,000 casualties, while Australian casualties totalled 160 dead and 468 wounded.

The official news correspondent Charles Bean reserved his highest praise for the Australians: They have the devil in them the wild, independent pastoral life makes wild and superb soldiers.

Charles’s trench was only about 27 metres from the Turkish trenches. On 24 May armistice was declared in order for both sides to bury their respective dead. To Charles, the sight of so many dead men, friend or foe, in their prime brave, youthful, magnificent specimens of manhood affected him greatly.

June 29th ’15

*My Dear Mother, Just a line to let you know that I am still going strong – had a rather lively week in the trenches this time. Am sorry to say that Major Gregory and Captain Crowl were both killed the other morning. A shell lobbed in my dugout and burst and destroyed most of my goods – am pleased to say I was not in it at the time. . . Well Mother our cook is yelling for me to come to tea and what do you think eggs are on the board, or ground I should say. We get fresh bread twice a week now I am pleased to say.

Well Dear Mother take care of yourself – more news next time if I can get some paper.

From your loving son, Charlie.*

**Anzac Cove

July 5th ’15**

*Dear Add, Since my card to Mother we have had a rattle with the Turks. The position we, the Eighth hold is about the worst on our front, the trenches being only about 25 to 30 yards apart, my C” ‘Sqrdn holding this part.

On Wednesday night last at 12.15a.m. I had just been relieved from the firing line where my Troop, or what is left of them three killed and thirteen wounded and several sick up to date – was on duty. I had not gone far wen I could hear ‘Allah Allah’ this cry went right along the Turk trenches. Needless to say I did not wait for any more but got back to the firing line as quick as I could get.

The beggars were charging our trenches in their hundreds – some of them got into our saps – they kept coming at us until just on daylight when they had to retire.

On about 50 yards of our front they left between 250 and 300 dead – we mowed them down in heaps.

We are back in the rest camp again now after a fortnight in the trenches and are glad to get back as everybody is done up. I am pleased to say I have had know(sic) occasion for a Dr. as yet. Only to get some disinfectant after getting dead Turks out of our trenches which I can tell you was not a pleasant job, but its wonderful how callous a man becomes at this game. I would have run a mile without looking back from a dead man over there but one doesn’t take any more notice than he would if they were rabbits.

I won’t be sorry when we get out of this and back to our horses if we ever do.

So long for the present.

Love to all at home, Charlie.*

**Anzac Cove

20.17.’15**

*Dear Add,

Things are quite (sic) as far as the Turks are concerned. We stand to arms every second morning when out of the trenches from three till four in the morning which spoils the best part of a mans sleep. I generally go down and have a dip in the sea after stand to arms – its great. I am pleased to say the Eighth Regt. is free from what we call the Scotch Greys [lice]. I don’t know how we escape – all the other units seem to be worried by the pest. One sees men sitting along the beach like monkeys picking the pest off their clothes.

I am sitting in our Mess just after having tea – Bully Beef and biscuits and cocoa – we managed to score a tin and its very nice for a change. Our mess, if you can call it such a think is a biscuit box for a table set in the middle of a bit of level ground cut out of the side of the Hill – we sit on the ground or anything that’s handy. Its rather hot in the daytime but the nights are fine – it don’t require any blankets. We never undress and seldom take off our boots or equipment. Always ready you see. It tells on some of the fellows nerves.

Well Old Girl I’ll have to close now. Hope Mother is not worrying about us and that you are all in the best of health.

Goodbye, Charlie*

Conditions at the front were not good. Most of the young officers were discouraged by blatant mismanagement, orders and counter-orders, and the fact that in three months no worthwhile gain had been made. Ammunition was always in short supply and every unit was undermanned, due not only to casualties but also to the high rate of illness caused mainly by the swarms of flies which bred in the thousands of rotting corpses and the latrines.

Consequently, morale among the Allied troops was at a low ebb, and, weakened by dysentry and malnutrition, nerves frayed by lack of sleep and constant danger, the men bore little resemblance to the fit, confident and eager warriors who disembarked in such high spirits a scant three months before.

**Chas. Carthew

Dardanelles

26.7.’15**

*Dear Girls,

I am at present sitting in a hole in the side of the cliff Well we have been here nine months now and I don’t care how soon we move on. Same old thing every day, shells flying about You will no doubt know about our losses before this reaches you. I was awful cut up.

We were issued with a DAMN Infantry equipment the other day so it looks blue our chance of getting our horses – its enough to break a fellows heart, but I suppose its all in the game and its no use growling We run the risk of being knocked over every day but no one seems to worry in fact its no use worrying. Of course I don’t put that in Mothers or Ethels letters. Am writing this on my notebook – all my stationary got blown up with a shell. You may notice the corner of this paper is all crushed – this book was picked up about fifty yards from my dugout and just as well for me I did not go to sleep that morning or I would not be here now. I had only turned in about a half hour too, but when the Turks started to shoot like blazes I got back in the firing line as quick as I could. As it is I was knocked down twice that morning with concussion of bursting shells but luckily missed any of the fragments.

These shells are awful and they are screaming overhead at present. Well girls, I carnt say much. As for me I was never better in my life.

Well goodbye for the present, Charlie.

Dardanelles*

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Knitted dog jumper

The best-dressed dogs will love this cuddly dog coat – a very popular pattern which has twice featured in the pages of the magazine.

MATERIALS

**Cleckheaton Machinewash 8ply Crepe (50g balls):

Main Colour (MC): 2 (3, 3, 4) balls. Contrast Colour (CC): 1 (1, 2, 2**) ball/s.

One pair each 3.25mm (No 10) and 4.00mm (No 8) knitting needles.

One 3.50mm crochet hook or the required size to give correct tension.

Two stitch-holders

Knitters needle (for sewing seams and embroidery)

MEASUREMENTS

Fits chest 45 (50, 55, 60) cm, length incl collar 40 (40, 42, 42) cm.

TENSION

This item has been designed at a tension of 22 sts and 30 rows to 10cm over stocking st, using 4.00mm needles.

METHOD

Back

Using 3.25mm needles and CC, cast on 51 (57, 63, 69) sts.

1st row. K2, P1, K1, rep from to last st, K1.

2nd row. K1, P1, K1, rep from to end.

Rep 1st and 2nd rows twice.

Change to 4.00mm needles MC **

Work 2 rows stocking st.

Shape back. Note. When turning take yarn under needle and onto other side of work, sl next st onto right hand needle, take yarn under needle and back to original position, sl st back onto left hand needle, then turn and proceed as instructed. This avoids holes in work.

1st and 2nd rows. Work to last 12 sts, turn.

3rd and 4th rows. Work to last 10 sts, turn.

5th and 6th rows. Work to last 8 sts, turn.

7th and 8th rows. Work to last 6 sts, turn.

9th and 10th rows. Work to last 4 sts, turn.

11th and 12th rows. Work to last 2 sts, turn.

13th row. Knit to end.

Cont in stocking st across all sts, beg with a purl row, until longest point measures 36 (36, 38, 38) cm from beg, ending with a purl row.

Leave sts on a stitch holder.

Front

Work as given for Back to **.

Work 16 rows stocking st.

Shape front. Cast off 7 sts at beg of next 2 rows … 37 (43, 49, 55) sts.

3rd row. K1, sl 1, K1, psso, knit to last 3 sts, K2tog, K1.

4th row. Purl.

Rep 3rd and 4th rows 4 (6, 8, 10) times … 27 (29, 31, 33) sts.

Work 34 (30, 30, 26) rows stocking st. Leave sts on stitch holder.

Back side edgings

With right side facing, using a 3.25mm needles and CC, knit up 91 (91, 97, 97) sts evenly along side edge of Back, include lower band.

Work 7 rows rib as given for Back, beg with a 2nd row.

Cast off loosely in rib.

Front side edgings

With right side facing, using 3.50mm hook and CC, work 2 rows dc evenly along side edges of Front, include lower band. Fasten off.

Polo Collar

With right side facing, using 3.25mm needles and CC, knit across sts from front stitch holder, knit up 6 sts across Back Side Edging, knit across sts from Back stitch holder, then knit up 6 sts across other Back Side Edging … 90 (98, 106, 114) sts.

1st row. K2, P1, K1, rep from to end.

Rep 1st row 30 (30, 36, 36) times.

Cast off loosely in rib.

To make up

Using Knitting-Stitch and CC, embroider “DOG” from Graph to Back, positioning as illustrated above, noting to centre embroidery across work, placing first row approximately 13cm from cast-on edge. Join Collar seam, reversing seam for last half of Collar. Fold Collar onto right side. Place Front Side Edgings underneath Back Side Edgings at base of collar and slip-stitch for 1cm to hold in position.

Position Front cast-on edge approximately 13cm from Back cast-on edge. Stitch edge of Front Side Edgings (from cast-on edge to beg for Front shaping) to knit-up row on Back Side Edgings (so that seam does not show on right side of work).

For pattern or stockist information contact Australian Country Spinners on (03) 9380 3888 or (outside Melbourne) 1800 337 032.

**Key for Knitting St embroidery, worked across 29 sts:

= MC- Stocking St fabric

= CC – ‘Knitting St’ embroidery**

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Embroidered baby blanket

A snug embroidered woollen blanket is the perfect gift for new arrivals. Only three embroidery stitches are used to create a sensational result.

MATERIALS

Piece of woollen blanketing, desired size to fit your cot (we cut ours to 80cm x 75cm)

1.2m x 115cm cotton fabric for backing and borders (we used a yellow check fabric)

Skeins embroidery of wool in the desired colours (we used six colours on our blanket: pink, blue, pale yellow and peach for the flowers, dark peach for the flower centres and moss green for the leaves)

Size 22 tapestry needle

Matching sewing thread (for cotton fabric)

NOTE

Seam allowances are all 1.5cm

Working the design

Work out the placement of your flowers in rows across the blanket, placing four evenly spaced motifs in one row and five motifs in the next.

Alternate these rows across the blanket. Mark the position for each motif with a safety pin or a stitched cross. Each motif comprises three flowers in a triangular shape, with three leaf sprays.

Stitch the flower petals using lazy-daisy stitches. Fill the centre of each flower with a single French knot. Work the three leaf sprays using feather stitches.

Backing and Borders

Place backing fabric over blanket piece, wrong sides together, and cut the cotton fabric to the same size as the woollen piece. Pin and baste these two layers together around all edges.

Cut four 10cm-wide border strips from fabric to fit around the edges of the blanket – two long strips for the sides and two shorter strips for the ends. Turn in and press a 1.5cm edge along one long side of each fabric strip.

With right sides facing and unpressed raw edges of the border and blanket matching, pin then stitch the two long border strips down the sides of the blanket. Trim and neaten seams.

Fold these border strips in half, over to the back of the blanket, slipstitch folded edge in place and press.

Repeat to attach the shorter end strips to the blanket, stitching them over the long side strips.

Trim and neaten these seams, then fold border strips in half, over to the back of the blanket.

Slipstitch the pressed edges of the border strips in place on the back of the blanket. Topstitch the open ends of the border strips. Press.

Feather-stitch

1. Bring needle up at A (in centre), insert at B (slightly lower and to right), bring out at C (centre), carry thread under and pull needle through.

2. Insert needle at D, bring out at E, carry thread under and pull needle through.

3. Continue as for steps 1 and 2, alternating stitches to left and right of centre line. To finish, take needle over last loop to back of work.

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Kate Jennings q&a

Interview with Kate Jennings, author of Moral Hazard, Book Of The Month in the May issue of The Australian Women’s Weekly.

Moral Hazard (Picador $28): Clever, literary Cath, is plunged into the cut-throat world of Wall Street after her husband, Bailey, is diagnosed with Alzheimer’s disease and she needs the money to pay for his care. A dark sounding plot transformed into a riveting read that makes you cry and laugh, while Cath runs as fast as she can between her unravelling private life and the snake pit of big business. Perceptive, witty and full of raw emotion, this is one of the most powerful books of the year.

Q Congratulations on the book, I read it in one sitting and kept reading it out loud to my husband so he could share the laughs. A I’m glad you got the funny bits – you’ve obviously worked in offices.

Q The story is both hilarious and heart-breaking, I imagine it’s semi-autobiographical because of the way you depict what it’s like to work on Wall St? A I write close to life. The book came about because my husband was diagnosed with Alzheimer’s disease and I went to work on Wall Street to pay the bills. It seemed to me that I was commuting between two forms of dementia – that’s what I wanted to depict. All the same, the book is fiction, with made-up characters. Life is much messier and more awful. Let’s just say that the facts are not necessarily true, but the emotions are.

Q How did you survive between what was happening in your personal life and the pressure of having to work in an alien environment and learn all that financial jargon – you must have been exhausted? A I was. Like Cath, the central character in the book, I didn’t have the luxury of being able to be judgemental or have opinions or any of the ordinary things that people do. I did it because I had to do it. It was truly a nightmare. But there are people who have much larger nightmares. They have spouses who are sick for many years and they raise children. Sometimes those spouses go through dreadful personality changes which happens with neurological diseases. I only had 7 years. But the fact is, Wall Street is fascinating. So it did take my mind off the other part of my life. I had to concentrate. Every minute of the day I had to be alert and use every bit of my brain because it was so foreign. The finance side I managed to learn relatively easily. The corporate side was really really hard. In fact I had to go to a shrink, a behavioural guy who was an expert on organisations. And he would interpret for me because I had no idea what was going on. A lot of tips in the book that the character Mike gives Cath, I got from the shrink. There was no such person as Mike. I wish I’d had someone like that. I did meet some extremely kind and supportive people, but it’s a brutal environment.

Q I’m amazed you got your head wrapped around the financial side – most creative people blank out when a number’s mentioned. A I was the same way. I couldn’t tell a stock from a bond. It’s a pity that we do that because what bankers do, affects us all. I had to pinch myself that I was actually working with these guys. Who knew that men in suits with thinning hair could be so mesmerising, so chock full of juicy hypocrisy and fabulous vainglory – ripe for the picking! As a novelist, I was drooling.

Q The way you describe these powerful men and they’re plots in your book, it’s almost Shakespearian? A That’s exactly what it is. Such drama, such tumult.

Q What you’ve been doing since leaving Wall St? A The first year after Bob died I was a mess. You would think that I would be in some sense relieved not to have the burden of the nursing home and to have your heart breaking in 100 different ways every day. But that wasn’t the case. Bob was a wonderful man. He was so vital, so alive. I was the last person you’d ever expect to find on Wall Street – and he was the last person you would ever think would lose his mind. After he died, I was completely adrift. I was left with me and my demons. I stopped working on Wall Street, because it was really hard to stay once it was no longer necessary. So I wrote the book, sobbing. People say you should let experiences lie for a while before you write about them. Then again, this way it’s more immediate, more raw. The ending was actually much more pessimistic, but by the time I did the final draft I was able to inject more of my husband’s optimism. Since then I’ve been selling the book. Promoting it. So I’ve been preoccupied with all that. But the thing that has happened that has made a huge difference is that my former boss on Wall Street gave me a little dog. He is a border terrier named Stanley, and he has saved my life because not only do I have to go outside the apartment to walk him every day, but I talk with all kinds of different dog people. There’s a big dog culture in New York. He’s always curious and wakes up every day ready for the world. And it’s hard to be miserable around a creature like that.

Q It’s also interesting that your former boss was sensitive to what happened to you. A Yes, sure, not all bankers are corrupt and ruthless!

Q A lot of people who died during the September 11 attack were involved in the financial world, did anyone you know perish? A I walked under the World Trade Centre every day for a number of years. The people I used to work with were all evacuated. It was beyond terrible, beyond any nightmare. But New York is very segmented and I didn’t know anybody else who died. They were saying everyone knows someone who perished, but it’s actually not true.

Q Was it a sense of adventurousness and curiosity about the world that made you leave Australia and travel to New York in 1979? A Yes. I didn’t want to go to England. It’s been 22 years – I’ve lived here longer than anywhere else. There were all kinds of reasons for leaving. Sixties radicalism was dying down — it was time to move on. I wasn’t the most thoughtful person in the world. I just up and left. Pride made me stay.

Q Was it difficult to make a living and survive in NY? A Early on it was difficult. I worked as a freelance writer for many years and every time the economy dipped, I, like all freelancers, felt it. So there were dire times.

Q You were raised in the Riverina on a farm – what kind of farm was it ? A Wheat, sheep, irrigation. Both my parent’s families from way, way back were farmers. There are two of us. My brother is Dare Jennings from Mambo. We were strange, determined, ambitious kids.

Q You both finished up with lives far removed from your upbringing? A Yes, we did (laughing). Dare lives in Sydney, practically in the sea and I live surrounded by skyscrapers. We went back last year for my Dad’s 80th birthday. Two hundred farmers and their wives had all gathered at the local bowling club. Both Dare and I had to speak. That was the hardest audience either of us will ever have! Country people – they’re independent sods, aren’t they? I realised how much of that is part of me – I don’t much like being told what to think.

Q Alzheimer’s disease is depicted in the book as being horrific and yet it also takes the brain on some fantastic adventures. Bailey said some amazing things and at times, he had acute insight ? A With Alzheimer’s, the brain is like a transmitter, fading in and out. If the brain ceased to work altogether, it would be easier. But it doesn’t happen like that. It affects people in different ways, But, yes, sometimes he’d say something and I would think, ‘Where did that come from?’

Q What did you set out to achieve with Moral Hazard? A Apart from depicting my commute between two forms of dementia, I really wanted to write a book about New York City. My last novel was set in Australia — I wanted to do the same thing with New York. And instead of writing about falling in love and dating and going to clubs — the usual stuff of novels set in this city — I wanted to portray an adult world, where the central character is navigating personal and public obligations.

Q Your book also explores euthanasia? A We all have had a relative or someone close to us say ‘Don’t let me get like that.’ Fact is, there’s a good chance that it will happen. You don’t know that you won’t end up demented, in diapers and drooling. I wanted to describe the emotional state that made Cath take her husband’s life. I’m not passing judgement on her – I wanted to understand. Dignity in death beliefs are intensely personal. Every case is different. I feel really strongly about letting people die when it’s their time. If there’s an issue I’m going to get worked up about, it’s that. To give aggressive medical care to people with late stage Alzheimer’s is horrible and cruel. That part of the book was true. Bob was so frightened, so distressed. In the end, he died of natural causes, but it was a big issue. There’s a line from a Leonard Cohen song that goes, ‘May everyone live and may everyone die.’ That sounds completely redundant. Of course we live and of course we die, but will we be allowed to die when we need to?

Q Can I ask how old you are? A Um, let’s see, 1948…I don’t know about you but I stopped counting after 50.

Q Is your age irrelevant to you? A I try not to pay attention to it. It’s hard because once women hit 50, they become invisible. Unless they’re Charlotte Rampling. So, hey, we may as well toddle along and think our own thoughts and not give a damn.

Q That’s a bleak view? A It’s true.

Q Well maybe, in general terms, like when you’re walking down the street, but not in other ways. A In investment banking, the average age was 27. I wasn’t just old, I was Neanderthal. Kids wouldn’t ask me what happened in the 1960’s — they would ask me what happened in the 1980’s. And New York being what it is, there’s even more of an emphasis on youth. Generally, I am happy to be alive and to be writing.

Q Where did you do your tertiary study? A At Sydney University.

Q What kind of degree did you get? A In English Literature – really shot myself in the foot there, didn’t I? (laughing).

Q You didn’t start off writing books, did you? A I started as a poet. I write ‘short,’ which means I re-write, re-write, re-write. My agent would love me to write longer novels — more money in it! I can’t do that – I keep reducing it down.

Q Do you write during set hours? A I’m fairly disciplined, being used to deadlines. I have to be, otherwise I might find myself back in a corporation. I mainly write in the morning. By the time I’ve walked the dog and read the newspapers it’s nine’ish. I’ll work till 2 or 3 in the afternoon. This book was different. This one I had to tie myself to the chair.

Q But writing it was also act of compulsion, wasn’t it? A Yes.

Q Did writing the book help you through the grief, because you do have to stop crying to write – right? A Yes. And also I had to earn a living. I had to get the book out there. At some point I had to stop being self-indulgent and say this is what I’ve got to do – or else!

Q Do you see yourself spending the rest of your life in NY? A I would say so. I have really good friends and a good apartment. Shortly after my father’s 80th, my brother had his 50th, so I went back twice to Australia within a relatively short period of time, and I have to say, Sydney is gorgeous. And the living is easy, great restaurants, cafes, weather. I would like to visit more.

Q Have the film rights been sold to Moral Hazard? A There’s some talk. Novels are crap-shoots. You can’t count on movie rights or get excited. You can’t even hope for them.

Q Do your hopes include becoming a big, best selling writer? A I would like to be able to earn my living from writing fiction. I don’t need a lot to live on. I’m happiest when I’m working. I really like to do this thing and do it well. I can’t imagine that someone (laughing) who writes short, grim, subversive books like mine will ever become rich and famous, but you never know!

Q Well, Moral Hazard has just been made Book Of The Month by The Australian Women’s Weekly? A Yes! That’s true!

Q Your biography describes you as a leading figure in the Australian feminist movement, what did you do? A I was a part of the first little feminist group in Sydney. We were also Vietnam War activists. At one moratorium, we managed to persuade the guys to let us give a speech. And I gave that speech — it was extremely confrontational. “You’ll think I’m a bra burning, man-hating, castrating lesbian bitch…well I am,” and they went berserk. Rhetorical language, of course.

Q Your parent’s must have been mystified by you? A Oh yes. I think all parents of sixties radicals were shocked and dismayed. You could say I spent the first half of my life getting on a high horse, the next half getting of it. They were wild years. We went at everything full tilt. I lived by Jane Austen’s motto: “Run mad as often as you choose, but do not faint.” The other thing I did at that time was put out the first anthology of women’s poetry. It was called Mother I’m Rooted and it made the front pages of the newspapers with photographs of me saying “Men are stupid.”

Q You were a wildfire weren’t you? A Yes. And there’s still fight in me.

Q How long were you married for? A Seventeen years – ten good ones, seven bad. My husband was so optimistic. He enjoyed life. I wasn’t the kind of person who knew how to have fun. He showed me how to have fun.

Q How did you meet? A I was working on a magazine and he came to work there as an art designer. He also designed record covers and some are famous. You’d recognise them. He knew everyone. And through him, I got to be a part of the community.

Q How much older was he than you? A 25 years.

Q And not a second of that counted? A No, it didn’t. And talk about learning not to worry about age — he never did. He’d see other older people and say “Am I like that?” Then it really caught up with him big time.

Q Have you got back into dating again? A No.

Q Because you’re still feeling bruised or because you’re content with your life as it is? A I had the great good luck to have a really good marriage. I’m okay. I’m fine. There are worse things than being alone. And most men are dead boring. (Laughing) They talk at you, have endless opinions, tell you what’s what!

Q Working on anything else? A I’m starting on a new novel. And concentrating on promoting this book, which is a big job. It’s amazing how labour intensive it is. My first book Snake really did well here and in England. We’ll see what happens now…

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May 2002 book reviews

Voices From The Trenches

by Noel Carthew (New Holland $24.95)

This is the first war book I’ve read from beginning to end. It has everything – drama, horror, poetry and emotion. Using family letters written from the trenches during WWI to wives and sweethearts back home, the author breathes life and passion into in a conflict that saw thousands of young Australians die needlessly. Woven between the letters is a compelling narrative which transforms dull slabs of military history into an action movie. Read it and weep.

Amie – Memories of an Australian Childhood

by Amie Livingstone Stirling (Black Inc. $29.95)

Originally published 20 years ago, this book has been re-released with new material added by her proud grand-daughter. A charming, poignant story of a young woman and her unconventional upbringing in south east Australia in the late 1800s to the bohemian streets of Paris and the jungles of Africa in the early 20th century. More fascinating and original than many novels – as Margaret Whitlam says in her foreword, “it’s the sort of book you don’t want to end.”

Baggage

by Emily Barr (Hodder headline $29.95)

This intriguing tale about double identity and running away, is one of my favourites of the year to date. There’s Sophie, the English backpacker who while travelling in the outback, thinks she sees her best friend who supposedly committed suicide ten years earlier. There’s Sophie’s boyfriend, Larry, who thinks he’s onto the hottest story of the century. And Lina, who’s found happiness in the tiny, dusty opal town – or is she really Daisy, the once glamorous ballerina whose glittering career ended in tragedy and scandal?

The Tin Moon

by Stephen J Lacey (Simon & Schuster $19.95)

Beware of reading this on public transport, as it will make you laugh out loud. A charming, endearing and darkly comic account of a young boy growing up in a daggy, working class suburb on the central coast of NSW. If you can remember Choo-Choo Bars it will ring a lot of bells. Even if you can’t, you will love this chronicle of life in Australia as it once was. You may even yearn for it.

Lucky Man

by Michael J. Fox ( Bantam $39.95)

He announced he had been diagnosed with Parkinsons’s disease in 1998. In fact, Michael J. Fox had been secretly fighting it for seven years. Not another self absorbed, Hollywood star bleating on about his tragedy, but a thoughtful, interesting story which includes his childhood, marriage, acting, alcoholism and his journey from initial denial, fear and anger to certainty that the illness is a positive in his life.

Love, Greg & Lauren

by Greg Manning (Macmillan $30)

A riveting read about Lauren Manning, wife and mother of an 11 month old son, who received burns to 82.5percent of her body when she stepped into the lobby at the One World Trade Centre on September 11, just as a fireball exploded. Her husband, Greg, watches over her as she lies in hospital, sending emails to family friends and colleagues that became his daily journal. Through his eyes, we experience the journey to recovery, going from despair to triumph. Crow Lake by Mary Lawson (Random House $29.95)

A gripping and emotional first novel about a young woman who thinks she has escaped the grim, rural backwater where she grew up and the strange and terrible things that happened there. Inexorably, she is drawn back to face to face her past and the family history and misunderstandings that cast long shadows on her successful, city life and romance.

Fiddleback

by J.M. Morris (Macmillan $28)

A psychological thriller that is completely unput-downable. I took it away at Easter and became the holiday-mate from hell who wouldn’t be torn from her book. Fiddleback refers to a type of deadly spider and it is very easy to get trapped in this sticky, web-like plot that has you following the exploits of Ruth Gemmill who sets off to find her brother who has gone missing in a dark and lonely town called Greenwell.

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