2009 was a very good year for books for teen guys. Here are the ones that I really enjoyed - strong male characters and intruguing stories. They are in alphabetical author order.
Th1rteen R3asons Why - Jay Asher
Paper Towns - John Green
Swerve - Phillip Gwynne
Boofheads - Mo Johnson
Broken Glass - Adrian Stirling
Measuring Up - Mo Johnson
Go and read!
Monday 4 January 2010
Thursday 26 March 2009
Getting started..
This is just to re-activate the blog. It's something to do whilst waiting on the phone to NAB for the 30 mins hold time. I wanted to tell them that I would be overseas and the card hadn't been pinched ...yet! It took Commonwealth Bank a hold time of 2 minutes! Anyway the NAB chap said they had many comments about the excessive holdtime. NAB, lift your game - I could have packed in that time!
Instead, I've reactivated the blog and will soon be on the way.
Wednesday 25 June 2008
Magazine Covers
This was great fun. I have sent a few personalised ones to friends. I need more photos in my gallery.Photobucket
I've joined Photobucket and added the three pics - can't wait to see what I can do with them. I'm hoping to be able to emulate a website I saw. Freeloading Phil reckons they did their graphic with p/b. The website is http://cclcquicksand.blogspot.com/ but it didn't have the cascading images of book covers when I checked it today. I'm also a fan of Sandringhams's Yogastation website. On the map it has the train pulling into the station and the people getting off and heading for the yoga class. Tres droll.
Monday 23 June 2008
Easter Oratorio
Saturday night provided me with the opportunity to hear a favourite piece of music - Bach's Easter Oratorio. Whilst I am sure that it has been performed in Melbourne since the last time I heard it (sang it with MUCS in 1965!), it was marvellous to hear a very professional and exciting account of it.
From the gripping trumpet opening, it was all joy. The choir and orchestra did a fantastic job. Having sung it, I was most interested in the choir section and they performed clearly and with accomplishment. But what joy to hear the Tenor aria done so clearly and with lovely recorder work. It just rippled and murmured.
Congratulations to the programmer of this year's concerts. Perhaps they have been checking out my record collection :-)? The Bruckner Te Deum, Bach's Easter Oratorio and the African Sanctus.
Did they miss the Bruckner E minor Mass?? Perhaps it is down for 2009.
Well done Royal Phil.
I picked up a promo leaflet at the Sandringham Library - thanks to Polly probably.
From the gripping trumpet opening, it was all joy. The choir and orchestra did a fantastic job. Having sung it, I was most interested in the choir section and they performed clearly and with accomplishment. But what joy to hear the Tenor aria done so clearly and with lovely recorder work. It just rippled and murmured.
Congratulations to the programmer of this year's concerts. Perhaps they have been checking out my record collection :-)? The Bruckner Te Deum, Bach's Easter Oratorio and the African Sanctus.
Did they miss the Bruckner E minor Mass?? Perhaps it is down for 2009.
Well done Royal Phil.
I picked up a promo leaflet at the Sandringham Library - thanks to Polly probably.
Monday 12 May 2008
'Catalpa' by Donal O'Kelly
At last, something to write about!
Saturday afternoon I went to see the play ‘Catalpa’ by Donal O’Kelly. It was excellent.
It was a revelation – in many ways. It made me aware of an incident in Australian history and aware of an excellent script and an excellent one-man show production.
The story is of a hired whaling ship (the Catalpa) and its Captain, who manages to assist 6 Irish freedom fighters escape their imprisonment in Western Australia around 1865.
It is a story set in the conceit of a modern writer who is trying to develop a script for a movie. This gives the play an opportunity for modern references (Kate Winslow and Cate Blanchett) and is a device that is used marvellously to “cut” to the multitude of different scenes. I found it most effective when it was used to “zoom” through the decking planks to one of the whaler’s (Maori?) sailors who had been locked in chains. It gives a real visual aspect to the play. The set in this sense was most effective – a bed and sheet becoming the whaling ship and sail, the sides of the set becoming hotel corridors and stairs; even the mattress and pillow becoming a mother whale and the flensing of its calf, which for me was almost unwatchable in the intensity Des portrayed. The lighting re-enforced all these changes so well. I’ve seen several productions here and felt that the box-like space had been limiting to the productions. Here the set uses it very effectively with the floor structure delineating a bare floor in a writer’s garret and the ship’s deck.
One of the remarkable aspects of the play was the many resonances that it had for me, and this was achieved by the excellent acting, lighting, direction, and live music.
I’ve already mentioned the flensing scene, which brought back my memory of being the sole demonstrator at a port in Iceland as whales were flensed. And what a marvellous character the bird became, which brought to mind The Rhyme of the Ancient Mariner – both the ill-fated omen and the guilt of the mariner. Of course, Captain Ahab and Moby Dick resonances are there too. The play reaches similar emotional peaks. There were also the linguistic features, which brought to mind Dylan Thomas and James Joyce with the onomatopoeia aspect of the script.
And the whole notion of a hero was challenged for me. Breslin came across as manipulated in his search for heroes which the Irish cause could promote. He is goaded by Devoy or Duggan (?), a most weasel-like character, who ultimately ‘imprisons’ Capt Anthony so that there seems to be little honour or glory in the endeavour. Politics overshadows humanity – the overloading of the rescue boat and the prevention of the whaling on the trip home which must have destroyed the sailors’ hope of reward and Capt Anthony’s justification for returning to the sea. The end does not justify the means and I find that kind of fanaticism appalling. But it is emotionally fitting that the plays ended on a domestic note, reflecting the beginning of the First Act. The play covers so much ground; from the domestic dispute about going back to sea, through whaling on the open sea, the storms, the escape of the prisoners, the moving loneliness of the train trip home, not to mention vengeful mother-in-laws and the bird. There is a fulnes in the first act, and an almost tragic speed in the second which creates a real tension for the escape of the prisoners.
The use of live music enhanced the play as it re-enforced the emotions of the play with ominous, portentous chords, the bringing to life of the whale chase, as well as the reflection of the surging emotions of Capt Anthony.
Finally, the thing that makes this production work, is the tremendous energy and ability to delineate that 20 or more characters that Des Fleming has. We have a lot to thank him for in bringing this play to us – his belief in the power of the play and his ability to get it on stage and to act it.
Highly recommended.
Season
Thursday 8thMay - Sunday 18th May 2008
Mechanics Institute Brunswick
Cnr Sydney Road and Glenlyon Roads
see Website
http://www.catalpa.com.au/
Saturday afternoon I went to see the play ‘Catalpa’ by Donal O’Kelly. It was excellent.
It was a revelation – in many ways. It made me aware of an incident in Australian history and aware of an excellent script and an excellent one-man show production.
The story is of a hired whaling ship (the Catalpa) and its Captain, who manages to assist 6 Irish freedom fighters escape their imprisonment in Western Australia around 1865.
It is a story set in the conceit of a modern writer who is trying to develop a script for a movie. This gives the play an opportunity for modern references (Kate Winslow and Cate Blanchett) and is a device that is used marvellously to “cut” to the multitude of different scenes. I found it most effective when it was used to “zoom” through the decking planks to one of the whaler’s (Maori?) sailors who had been locked in chains. It gives a real visual aspect to the play. The set in this sense was most effective – a bed and sheet becoming the whaling ship and sail, the sides of the set becoming hotel corridors and stairs; even the mattress and pillow becoming a mother whale and the flensing of its calf, which for me was almost unwatchable in the intensity Des portrayed. The lighting re-enforced all these changes so well. I’ve seen several productions here and felt that the box-like space had been limiting to the productions. Here the set uses it very effectively with the floor structure delineating a bare floor in a writer’s garret and the ship’s deck.
One of the remarkable aspects of the play was the many resonances that it had for me, and this was achieved by the excellent acting, lighting, direction, and live music.
I’ve already mentioned the flensing scene, which brought back my memory of being the sole demonstrator at a port in Iceland as whales were flensed. And what a marvellous character the bird became, which brought to mind The Rhyme of the Ancient Mariner – both the ill-fated omen and the guilt of the mariner. Of course, Captain Ahab and Moby Dick resonances are there too. The play reaches similar emotional peaks. There were also the linguistic features, which brought to mind Dylan Thomas and James Joyce with the onomatopoeia aspect of the script.
And the whole notion of a hero was challenged for me. Breslin came across as manipulated in his search for heroes which the Irish cause could promote. He is goaded by Devoy or Duggan (?), a most weasel-like character, who ultimately ‘imprisons’ Capt Anthony so that there seems to be little honour or glory in the endeavour. Politics overshadows humanity – the overloading of the rescue boat and the prevention of the whaling on the trip home which must have destroyed the sailors’ hope of reward and Capt Anthony’s justification for returning to the sea. The end does not justify the means and I find that kind of fanaticism appalling. But it is emotionally fitting that the plays ended on a domestic note, reflecting the beginning of the First Act. The play covers so much ground; from the domestic dispute about going back to sea, through whaling on the open sea, the storms, the escape of the prisoners, the moving loneliness of the train trip home, not to mention vengeful mother-in-laws and the bird. There is a fulnes in the first act, and an almost tragic speed in the second which creates a real tension for the escape of the prisoners.
The use of live music enhanced the play as it re-enforced the emotions of the play with ominous, portentous chords, the bringing to life of the whale chase, as well as the reflection of the surging emotions of Capt Anthony.
Finally, the thing that makes this production work, is the tremendous energy and ability to delineate that 20 or more characters that Des Fleming has. We have a lot to thank him for in bringing this play to us – his belief in the power of the play and his ability to get it on stage and to act it.
Highly recommended.
Season
Thursday 8thMay - Sunday 18th May 2008
Mechanics Institute Brunswick
Cnr Sydney Road and Glenlyon Roads
see Website
http://www.catalpa.com.au/
Tuesday 19 February 2008
Zamzar
Plz note that zamzar only holds that re-formatted file for one day; but it's good to have the format flexibility.
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