Cover, Title, Opening Paragraph: these create the ‘first impression’ a novel makes upon a reader perusing bookshop shelves. But as the saying goes, a picture is worth a thousand words, and cover comes first. Not surprisingly then covers can be a contentious, even traumatic matter and authors generally get very little say in the final appearance of a book. In my publishing past, I have one cover I so disliked, that I painted my last remaining author’s copy of the novel in turquoise, a colour I am particularly fond of, and so I do not have to see that dastardly jacket ever again.
When it came to Devilskein & Dearlove, I could not have dreamed of a more handsome and elegant pair of covers for the UK and SA editions. What is fascinating is how totally different the covers are from each other. There’s an elusive idea called ‘Writer’s Voice’, but I think Victor Hugo pretty much summed it up when he wrote that ‘Every man who writes, writes a book; this book is himself. Whether he knows it or not, whether he wishes it or not, it is true. From every body of work, whatever it may be, wretched or illustrious, there emerges a persona, that of the writer. It is his punishment, if he is petty; it is his reward, if he is great.’ And this must be true of artists, illustrators and cover designers. Surely there is such a thing as ‘Designer’s Voice’. After interviewing the cover designers Bia van Deventer who designed the South African edition published by Random Houseand Ed Boxall who designed the UK edition published by Arachne Press, I am convinced that their designs are a beautiful reflection of themselves. I daresay then: Every woman or man who designs, designs an image; this image is her or himself. Whether she or he knows it or not, whether she or he wishes it or not, it is true. From every body of work, there emerges a persona, that of the designer.’
And what’s more, having asked Bia and Ed to each send me an image of their desk and workspace, it seems to me too that desks are a reflection of the worker!
Bia van Deventer’s design for the South African cover features a double-dolphin-headed key surrounded by a whimsical, shadowy lace of elements from the book: keyholes, trees, scarabs, peacocks, roses, crocodiles and giraffes over a broody indigo background.
Alex: Bia, what got you into this line of work?
Bia: I come from a very creative family, with fine art always playing an important role in my life, so it was natural that I enjoyed oil painting at school, but I felt I needed to learn a new skill when I had to choose a career. Graphic design was a natural choice, as I could still apply my artistic skills and mindset but I could use them in a new way. I enjoy mixing real, photographic and digital mediums to create a new entity.
Alex: In terms of illustrating, who are your greatest inspirations?
Bia: The Australian company Mash Design. Their delicate use of texture, layout and typography combined with interesting new ideas keep me in awe. I love how they take every opportunity available to use raw elements in their design. Whether it’s interesting photography or experimenting with different types of illustration, they always seem to achieve an amazing free flow of elements with an underlying structure in their fonts. I also adore the work of Finish illustrator Sanna Annukka. I love that graphic design/illustration can be applied to so many mediums, from printed cards and wallpaper, to fabric, crockery and fashion. Sanna’s characters have even been made into cookie cutters, which I think is fantastic. It’s great that something so typical can be used to take the design just a little bit further.
Alex: How would you describe your style?
Bia: Creative, fun, fantastical and very very detailed. I spend a lot of time perfecting every single element.
Alex: Where do your ideas come from in general and in specific for this cover?
Bia: I visualised the story as I read the book, made notes and then researched a font and elements that I used to create the desired elements and look. I knew I wanted the key as the main feature, but I felt the animals and plants were just as important. I used an existing key image but totally reworked the colour and design of the key until it looked like the key that was referenced in the book.
Alex: Can you describe the process of developing a book cover?
Bia: I made notes of every detail whilst reading the book. I also made quick sketches of how I see different scenes, this helped me create a visual map of the story and it was then easy to see which elements would work best for the cover. I worked on two different cover designs from which the final cover was chosen.
Alex: Have you designed covers for other novels?
Bia: No, this was my first and hopefully, not last book cover.
Alex: What kind of illustrating/design do you most enjoy?
I enjoy collage designs, as I love the layering of objects and combining different elements to create a new look.
Alex: What do you enjoy most about your work?
Bia: Every single project is different. I love working with people. Even though every brand starts with the same components, the client’s idea and input are always different. I enjoy working on projects that are challenging and mastering new techniques. The world of design moves so quickly and it’s great to have a dose of new (almost daily!) inspiration, while finding the timeless solution within each trend.
Alex: Is there anything you dislike about the work you do?
Alex: What would be your advice to anyone wanting to get into design and illustrating?
Bia: I would suggest job shadowing at an applicable agency so that you can see what the job really entails. Luckily, there are so many different avenues in graphic design so you can really find one that fits your personality perfectly, be it in a more corporate environment, or more creative like fashion, stationary or lifestyle products. You can really make design work for you.
Alex: Do you have a favourite website?
Bia: At the moment my main source of inspiration is Pinterest People I follow are: michele alemanno iara principe & ariadna rivera
Ed Boxall’s design for the UK edition (published by Arachne Press) is bold, stark and windswept and characters from the novel, Erin Dearlove, Albertus Devilskein and Zhou the Cricket, are rendered in woodcut like gashes that remind me of the work of one of my favourite artists, the German expressionist Ernst Ludwig Kirschner.
Alex: Ed you’re an author and illustrator, what got you into this line of work?
Ed: It’s what I’ve always wanted to do- particularly the art side. I’ve drawn loads since I was a kid.
Alex: In terms of illustrating and art, who is one of your greatest inspirations?
Ed: I love Samuel Palmer. Palmer was a great religious artist from the late 18th and Early 19th Century. He drew the British countryside in a very personal way that invested it with a subtle spiritual energy.
Alex: How would you describe your style?
Ed: Romantic, spiritual, figurative, rural, primitive, personal, domestic, poetic, direct, British
Alex: Where do your ideas come from?
Ed: Daydreaming walking in the countryside, remembering childhood experiences, my children, the poetry of WB Yeats, Celtic Mythology, Folk Music.
Alex: Can you describe the process of developing a book cover?
Ed: I don’t do many commissions at all- I mostly make my own books and prints but when I do complete a commission I always come up with lots of very rough solutions, looking for bold graphic images from the text. I need to get really into the ideas so I’m as motivated as if it was for my own work.
Alex: Have you designed covers for other novels by authors other than yourself? How is it different designing a cover for a book you haven’t written?
Ed: Not many- I learnt a lot about book cover design when I did some books for Walker Books years ago- they drummed it into me how quickly people decide about books. The inside of a book should be subtle and real and personal but you can be a bit more of a salesman with the cover. People aren’t going to find your brilliant work if they don’t pick it up in the first place!
One of Ed’s early sketches for the Devilskein cover.
Alex: Would you do it again?
Alex:What do you enjoy most about your work?
Ed: I love it all- I love all the working in sketchbooks generating ideas but also the relaxing repetitive activity of making printing blocks and the surprise of how they end up.
Alex:Is there anything you dislike about the work you do?
Ed: I’m not too keen on the digital stuff. I don’t much like sitting in front of a computer. I prefer drawing, cutting, sticking and printing.
Alex:What would be your advice to anyone wanting to get into writing and illustrating?
Ed: Just do it and make work you enjoy and makes you happy.
Alex: Do you have a favourite website?
Ed: I’m afraid I’m very unoriginal- the only website I use daily is Wikipedia. It’s amazing to be able to get a good introduction to pretty much any poem, myth or historic event. But one blog I genuinely find inspiring is this London based liberal left wing Christian blog: Resistance and Renewal . The rise of the far right in the UK terrifies me and I find this blog practical, wise and humane (although I’m not a practising Christian)
Thank you Bia and Ed for answering my questions.
Bia’s webpage is here:www.biavandeventer.com
Ed’s webpage is here: www.edboxall.co.uk
There may have been snow on Table Mountain, but the day dawned glorious and clear with sky truly cerulean. It’s a strange thing to want to work, but to have to play. And it would be foolish to fight the toddler impulse for happy explorations, for clambering up ladders, through rosemary hedges, over logs, under bridges and along stepping-stone snakes. I would like to sit down and write another chapter of a new novel, but I have no regrets about failing to work in favour of playing with my son. Who knows how long he will want his mum tagging along as he delights in the universe. He has shown me so much already. Without him, I would never have discovered the tiger who unravels into a deer, that simply splendid piece of wall art at the bottom of what I call Deer Park. The park seems to have another official name, but it’s the park at the Deer Park Cafe, and in Deerpark Drive, so it doesn’t seem too uncouth to think of it as Deer Park. Anyway, Deer Park is our new favourite secret garden. Because it has the best mountain views in town, the best jungle gyms, the best coffee and other yummy things, and an awesome tiger unravelling into a deer to boot.
‘Devilskein & Dearlove’, a Secret Garden for the 21st Century, is in bookshops in SA now! And will be available in bookshops in the UK shortly.
I must confess that I love short story collections. And I must also admit that, more often than not, I’m disappointed by them. Of course literary tastes differ, but most short story fans are only too aware that with the majority of collections featuring stories by different writers, the stories are usually divided between two or three you think are great, a handful that are average, and the rest leave you cold. Weird Lies is a noteworthy exception to this division.
The Liar’s League is a monthly fiction night (originally from London and now also in New York, Hong Kong and Leicester) and it ‘brings together the best liars we can find – actors and authors – to tell great, brand new stories.’ Weird Lies represents a selection of Liar’s League’s finest sci-fi, fantasy and strange short stories.
When you know your story is going to be read out loud by an actual actor to a real, live audience, I’m sure you make certain to trim off anything superfluous that doesn’t directly contribute to the vigor of your story and while reading Weird Lies I got the sense that the writers whose stories made into this collection gave of their best.
Standouts include the humorous and harrowing ‘ChronoCrisis 300’ by Andrew Lloyd-Jones; Alex Smith’s sharp and no-nonsense ‘Icosi Bladed Scissors’; the bittersweet ‘Derby of Lost Souls’ by Barry McKinley; ‘Haiku Short, Parakeet Prawns, Konnichiwa Peter’ by David Malone is a potently bleak tale that offers a life-affirming glimmer; ‘Free Cake’ by Peng Shepard will bring cringeworthy recognition to any office slave; and there is rich and dangerous texture to the classical fairytale-styled ‘An Account of Six Poisonings’ by Nichol Wilmer.
There are twenty four stories in this collection and you can open it at any one of them and be in for a good read. To me this is the mark of an exceptional short story collection and Weird Lies is a worthy winner of the 2014 Saboteur Award for Best Anthology.
Here Ray Newe reads ChronoCrisis 3000 by Andrew Lloyd-Jones (from Weird Lies)
Weird Lies is published by Arcahne Press, edited by Cherry Potts and Katy Darby.
Andrew Salomon is the author of the young adult novel, The Chrysalis. His first novel for adults, the fantasy thriller Tokoloshe Song will be released by Random House Umuzi in July 2014.
Sarah Lotz declares Tokoloshe Song a “fantastical, fantastic and fun read – highly recommended.” And I can definitely second that! It’s a sheer delight, a real adventure.
For anyone with a door fetish the Fuckyeahdoorporn site is bliss.
‘You’re full of secrets aren’t you – like what’s behind all those doors in your entrance?’
‘Zoos, gardens, an infernal limbo and time-traps, mostly. And now that you know, I will probably have to kill you.’ Although he said that, and could have done it with the greatest of ease, Devilskein was not yet ready to kill Erin. And surprisingly, too, he was enjoying her company. For although he was an esteemed Companyman, company, for him, was in fact a rarity. And perhaps it was needed.
‘That’s too bad,’ said Erin, oblivious of the immeasurable power of the Companyman sitting across the table from her. ‘Can I go inside one of them and see? I used to have a huge garden where I lived before and now there is nothing but concrete, tar, shops and nightclubs. It’s sordid.’ Her feet dangled.On that grand and imperious chair, her legs were not long enough to reach the floor.
Devilskein frowned, floored – and amused – by her lack of trepidation. What could it harm to let her see?, he thought. …. Now that Devilskein had pinpointed the whereabouts of her soulmate, the boy in the corridor she called Kelwyn, the grumpy girl was not much longer for this earth. ‘Go in at your own risk, if you dare, but there is nothing at all to see, unless you happen …’ His voice trailed off.
With half a scone in her hand, Erin hadstood up and wandered back into the gloomy entrance where the claustrophobia of shoebox towers continued. She chose to open the third door; it was yellow. As Devilskein had said, there was not much to see but six more doors in an empty chamber.
‘Clearly this is not a zoo, nor a garden,’ she said. In the centre of the room the marble tiles made a circular pattern. ‘So it must be a time trap. And where do those other doors go? And what is that sound?’
From ‘Devilskein & Dearlove’, which is all about doors too! And will be in bookshops in SA from 1 July
Happy short story day, Africa! A while back I did a series on the formative reading experiences of African authors for the Little Hands Trust. And as a result I got an email from Rachel Zadok one of the driving forces behind the brilliant Short Story Day Africa competition and anthology. In her email, Rachel asked if I would curate a blog roll for this years SSDA Interview using those formative reading questions. In a blur of novel edits, student assignments, and toddler related sleep deprivation, I eagerly responded that I’d love to curate the blog roll. It sounded like a good thing, didn’t mention that I didn’t have a clue what that meant and I hoped that by the time Short Story Day Africa arrived, I would be more in the picture.
Well, in a flurry of tweets, the day has arrived. Hooray! I’m not sure sure I’ve been a good curator of the blog roll, because I’m shoddy at Twitter, I don’t Reply and Retweet as I should, but it was great this morning to see many of the authors who originally answered the Formative Reading Experiences questions on the Twenty in 20 longlist, including:
Henrietta Rose-Ines – read about Henrietta’s formative reading experiences here
Cynthia Jele – read about Cynthia’s formative reading experiences here
Sarah Lotz – read about Sarah’s formative reading experiences here
Diane Awerbuck – read more about Diane’s formative reading experiences here.
Alistair Morgan – read about Alistair’s formative reading experiences here
Sindiwe Magona - read about Sindiwe’s formative reading experiences here
Lisl Jobson – read about Lisl’s formative reading experiences here
Zukiswa Wanner – read about Zukiswa’s formative reading experiences here
Arja Salafranca - read about Arja’s formative reading experiences here
Gabeba Baderoon – read about Gabeba’s formative reading experiences here
Also on the Twenty in 20 longlist is Nick Mulgrew, who is one of the authors who completed and Tweeted his formative reading experiences for the SSDA Interview earlier in the week. Nick answered the questions as follows:
1) What is your earliest memory of books and reading?
I can’t remember, and I suppose that’s because books, while not exactly abundant, were very much present in my house – something that I know now, as an adult, is a tremendous luxury for any South African. I suppose what helped me first and foremost in one day giving me the option to choose writing as a career was that I had ready access to books. They were always just part of my life. There is no beginning. Every child should have that.*
2) As a small child, what book/s were your favourite?
By all accounts, I was a very early reader, and I remember my Grade 1 or 2 teacher giving me copies of Roald Dahl books – James and the Giant Peach, Charlie and the Chocolate Factory, etc. – to read when I had motored through the bookshelves of our classroom. Knowing me, I probably only pretended to read a lot of the books we had in class – either way, I loved Roald Dahl and devoured every single one of his books for children.
Later, in my tweenage years, I remember loving this awful crime-fiction book called Don’t Look Behind You by Lois Duncan. I was so lazy (read: obsessed with Pokémon and Magic: the Gathering) at that time that I must have used the book for no less than three consecutive English book reviews for different teachers.
3) Where did you grow up? Do you have a particular memory of a library, bookshop or other place of books in your hometown?
I grew up in Glenashley, a suburb of Durban that’s groggy and slow-paced, even by Durban’s groggy and slow-paced standards. I was a fortunate kid in that there was a satisfyingly muggy and sun-damaged library just a few hundred metres from all the different houses we moved between when I was a child.
I used to go to the library with my mother quite often. I suppose I must have read a lot of books from there, but my overwhelming memory is it was the kind of library in which nothing looked exciting: many of the books looked like they were donated when the library was built, which I’m going to guess was sometime in the 1960s, and I remember just not reading a lot of the books I took out.
What interested children in the sixties in white suburban South Africa was very different to what I found interesting as a white suburban child in the nineties. I liked computers. I liked modern fantasy – and I don’t even think the library had a copy of The Hobbit! I had to borrow that one from my friends.
For all the faults of the municipal library, my senior primary school library was great. They had a full set of Animorphs and Goosebumps books. What more could you want?
Both experiences have taught me that children don’t just need access to books, they need relevant books, too.
4) As an adult, in the role of parent or caregiver, what has been your experience of reading with children?
I’m not a parent, and I haven’t been in the position of looking after children much in my short adulthood thus far, but something I do know is that children need books. My God do they need books. And if things carry on in this country like they are right now, it’s no exaggeration to say that most children in South Africa will never own their own book. (Click that link for a brilliant blog post by my old boss, Arthur Attwell, who breaks down the reasons behind this.)
It’s a tragedy, an indictment not only of the dehumanising monolith that was the apartheid state, but also of our collective inaction today; our non-attempts at making sure more children have more books, and recognising how awful this is for everyone in our country.
*Book Dash is a project that wants to flood South Africa with free, high quality children’s books, created by talented volunteers. Volunteer your time and get involved here.
Brilliant Nerine Dorman also replied to the Formative Reading questions this week:
What is your earliest memory of books and reading?
The house where I grew up was filled with books, and one of my earliest memories involves pulling books down from the shelves and being frustrated because I couldn’t read the stories. The whole idea that someone might have the wherewithal to sit down and write an *entire* book seemed magical to me. I couldn’t wait to read, and was able to do do so from a young age – I was way ahead of my peers in that regard.
By the time I was 12, I’d read through The Lord of the Rings in its entirety, and I was completely smitten. I knew then that one day I wanted to write my own stories, in my own made-up worlds.
Second only to that was my voracious reading habit, of up to a book every two days, which meant I was constantly at the library. Wherever I went, I’d lug at least one or two books around with me. I also managed to avoid getting invited to all future family weddings, because I once took a book into the reception after the ceremony. What can I say? I was bored and books were (and still are) far better company than people. And I was never invited to family functions with *that* side of the family ever again. Achievement unlocked!
As a small child, what book/s were your favourites?
I absolutely adored my Story Teller tapes and listened to them until they were stretched. My favourite story was about Gobbolino the Witch’s Cat by Ursula Moray Williams, that was one of the stories that had been adapted for the Story Teller format, but I remember crying my eyes out at the Oscar Wilde stories about The Selfish Giant and The Happy Prince. Looking back now, I realise what a treasure trove this collection was, because it instilled a love for storycraft and introduced me to a wide selection of tales from around the world.
But I loved The Hobbit by JRR Tolkien, and CS Lewis’s Narnia books also captivated me. Charlotte’s Web by EB White was another favourite, but I also obsessively read anthologies of animal stories, especially if they had to do with cats.
Where did you grow up? Do you have a particular memory of a library, bookshop or other place of books in your hometown?
I grew up in the seaside fishing village of Hout Bay in the Cape Peninsula. Back then we were an isolated community. My family used to farm there, and I suspect I was of the last of the locals to eventually leave once the valley became fully yuppiefied. Nowadays Hout Bay is nothing like it used to be, which makes me sad. My mom used to teach at Kronendal Primary School and I’d have to hang out there and wait for her to finish. Bored out of my mind at the age of six, I started volunteering at the local library – just packing away the children’s books or sitting in a corner hunched over a book paging through pictures. Consequently, I’d spend large chunks of my time at the library, a place that was often a sanctuary for me, as I was often bullied by the “cool” kids.
Even during high school, I often spent more time in the library at Wynberg Girls’ High School than I did hanging out with my peers. I’d while away hours paging through old copies of National Geographic or even the high school journals. Even now, I’m able to digest facts at a glance and often surprise myself with some of the bizarre stuff I remember. Books are time capsules too, and offer fascinating glimpses into the past or possible futures.
I miss the time I had as a kid to just get lost between the shelves. When you’re young, you really live under the illusion that your time is limitless, and when I stepped into the pages of books, I always returned with the sense that I could go out and do anything.
As an adult, in the role of parent or caregiver, what has been your experience with children?
I don’t have children, but when young ones visit my home, I always go find a pile of books for them to look at. Some kids are like me when I was that age, and we don’t hear a peep from them for the entire time that their parents are visiting. I like those kids, and I get what they’re experiencing when they get lost in those books. And they’ll definitely be invited over again. If they’re reading, it means they’re willing to discover new worlds.
And as an aside, all these questions relate to my most recent release, The Guardian’s Wyrd, which is exactly about a kid who loves libraries a little too much… (But he’s no Bastian Balthazar Bux)
Very talented Cat Hellisen also responded to the questions this week, saying:
1 – What is your earliest memory of books and reading?
There are three things:
1) Lying on the floor for hours going through my Story Tellers over and over again.
2) My mom having to fight with the school librarian to allow me to take books out of the big kids’ section.
3) A huge fat book of illustrated nursery rhymes that I basically dragged with me everywhere.
2 – As a small child, what book/s were your favourite?
I was hugely into talking animal books, like Colin Dann’s Animals of Farthing Wood books, and from there I came to fantasy and got really into Diana Wynne Jones. Her book Dogsbody was probably *the* book that made me a writer, and a writer of the fantastic and strange.
3 – Where did you grow up? Do you have a particular memory of a library, bookshop or other place of books in your hometown?
I started off in Cape Town, then was dragged across country on a train and ended up in Joburg, where I spent the rest of my childhood. I hung out at my local library a lot – I was reading six books a day. In the end they gave me a job as a library page, purely I think because I was always there and they didn’t know how to get rid of me.
4 – As an adult, in the role of parent or caregiver, what has been your experience of reading with children?
I confess I hate reading aloud. I read pretty fast and reading aloud means slowing down and well…slowing down. I can find it rather frustrating. I made sure my kids could read as soon as possible so I didn’t have to read to them. They’re both massive readers so it doesn’t seem to have hurt them.
Thank you Cat, Nerine and Nick for taking time to answer the questions.
Today, Elias and I went to cafe Neo to meet lovely Beth and Fourie from Umuzi who brought us a present all wrapped in elegant black tied together with a smart red stripy grosgrain bow. Inside, were my first copies of ‘Devilskein&Dearlove’. It is a most handsome book and I hope people will enjoy reading it. We had cappuccinos and baby-cinos, the later’s froth was laced with seemingly innocent flakes of chocolate. Dear Elias was delighted. He grinned at Fourie as he lapped up the chocolate froth and then turned into a tornado. I’m sure Beth has never had an author or author’s affiliate hurl a salt shaker at her before. Ah well, always a first time and Beth was extremely good humoured about it! And then we hid the pepper and all other shakers in the vicinity because Elias was keen to repeat the trick. Overall it was a happy meeting in spite of and even because of the wildling at the table.
The New Yorker calls book trailers an ‘awkward art’, but (and of course I’m unashamedly biased) I think Devilskein&Dearlove‘s book trailer is utterly brilliant. It was unveiled for the first time at the Misty Moon gallery in London, where Arachne Press, my UK publisher, was celebrating their recent win at the Saboteur Awards (more on that soon).
Devilskein&Dearlove will be published in SA by Penguin Random House/Umzui and is out in July. On Friday I’m having tea and scones with Fourie and Beth from Umuzi to see and hold the book for the first time.
This a garden of bones rather than a park of green lawn and quaint blossoms. Once it would have been a lush, subtropical, riverine jungle, buzzing with insects and teaming with fearsome beasts. Offshore in the sea nearby, lurked the creature with the most savage bite in the history of living organisms, he who could swallow a car, or crunch a bus in two with his triple row of seven-inch-long teeth, he who is known as the ‘largest apex predator that has ever walked, swam or crawled on Planet Earth’. Carcharadon megalodon. He who went extinct 3 million years ago. Today this garden, this West Coast Fossil Park, is barren, windswept, blazing in summer, icy in winter and the white igloo covering ‘the dig’ looks like something from an alien encounter movie. Museums are one thing, but seeing a real site of archaeological discoveries is something quite different – against all odds, there lie the teeth and bones of dinosaurs, African bears, sabre-toothed cats and Megalodons, saved by time and petrification for us to wonder at. Elias, did not feel inclined to wonder, he is too young to bother with huge expanses of existence and old bones – he like the archaeological tools and the buckets, the ramps, the hose, the trays full of stones (well we thought they were pebbles, but in fact they were chips of ancient bones turned to stone). Toddlers definitely live in the present. He liked the wooden rocking horse. He liked going on Andrew’s shoulders. He liked feeding fish to the cafe cat and eating chips at the lagoon-front establishment we went to in Langebaan after the Fossil park. He liked picking up crab carapaces on the beach. I liked holding a seven inch Megalodon’s tooth in my hand in the laboratory at the fossil park. It is not beautiful this garden, it is not glamorous, it is not a cheery theme park, it is dry, eerie and breathtaking. And it is a slightly disturbing encounter with the fragility of life; how dare I hold megalodon’s tooth in my hand, it almost feels disrespectful.
I spy with my little eye, something beginning with ‘C’. Coot! I spy with my little eye something beginning with ‘D’. Dabchick! I spy with my little eye something beginning with ‘E’, Egret! Die Oog is a little Eden, a modest sanctuary, a happy place for birds, leopard toads, helmeted terrapins and children. And in addition to its wealth of wild fauna and flora, it has a surprisingly rich history – this is no mere duck pond; it’s an ancient spring called ‘The Eye’ by the Dutch. And gathering snippets of its history led me to imagine how extraordinary it must be to be given land, say from the almond hedge on the top of Wynberg Hill to Muizenberg. So it was for Mauritian-born Simon van der Stel, whose grandmother was a freed slave, and who was ambitious and visionary and who created Stellenbosch and the farm of Groot Constantia. After Simon van der Stel died the Groot Constantia farm was subdivided, and one third became Bergvliet Farm. 250 years ago a dam was built around ‘Die Oog’ to supply the Bergvliet Farm with water. I was astonished to discover too that after World War 2, the Bergvliet farm was made into a residential suburb for returning servicemen. From an architectural point of view, apart from the old manor house, Bergvliet is one of Cape Town’s less beautiful suburbs, however, ‘Die Oog’ is a sheer delight. On a warm afternoon, a perfect place to take a picnic and children and on a blustery day like today, an excellent spot to take in some fresh air between showers – of course with a flask of tea or coffee to fend off the chill. It’s a bit tricky to find though, so keep the map provided on the web page handy when you go Dabchick spotting.
Devilskein&Dearlove is due to be published by Random House Umuzi in SA and Arachne press in the UK in July 2014. It is a ‘Secret Garden’ for the 21st century, set in Long Street Cape Town. Perfect for precocious readers from the age of 12 and up!
When it comes to publishing, most authors dream of glittering prizes, bidding wars and six figure book deals with one of the ‘BIG 5′ (Random House Penguin, HarperCollins, Simon & Schuster, Hachette and Macmillan), but having recently witnessed the process, seeing what happens when a writer becomes an author with a major book deal, it is clear that big deals don’t come without a price, there’s a bit of a Faustian element to becoming an expensive acquisition, and perhaps all the hype (and what it takes to make it) is not what a gregarious loner (typical personality of a writer, apparently) really wants in his or her life.
But there is life beyond the Big 5 powerhouses of consolidation, and some say this has become a new golden age of Indie publishing. Indie Publishers, like Indie Record Labels, are willing to take risks on unknowns and novels that don’t quite fit any obvious marketing brief.
‘Devilskein & Dearlove’ was fortunate to find it’s way into the hands of brilliant, Cherry Potts, a UK based author, story teller and Indie Publisher, whose
Arachne Press is set to publish the novel in July 2014. Working with Cherry has been a writer’s dream, her genius and passion for all aspects of making a novel into a book with an audience, is inspiring. From cover design to marketing, ‘Devilskein & Dearlove’ has been lovingly tended to and cared for, and what’s more Cherry has involved me every step of the way. At the moment, I’m simply gobsmacked by the developing animated trailer for the book – Cherry wrote a script, and together with musicians and four actors, created a brilliant mood video, which an artist is now turning into action stills. Via Dropbox, I keep getting new seconds of the trailer to view and they are breathtaking. The wonderful thing is (thanks to technology) being so close to the action and having a say in what happens as it all unfolds. So for richer or poorer, I say, Indie publishers rock. And actually this whole blog came about because Cherry has involved me in a blog hop for which I need to answer some questions, as follows:
What am I working on?
Always more than one thing at a time and at the moment it’s a short story and two novels. The story is inspired by a session of photographing doors in Long Street for my novel soon to be published, ‘Devilskein & Dearlove’. One of the novels is a YA set in Miami and called ‘My Little Demon’ – it has become too dark for my present state of mind, it’s a completed draft, but I don’t like it anymore. And I’ve started a new novel, which I’m excited about, it involves something dear to baby Elias’s heart: Dinosaurs. We visit the Natural History Museum every couple of weeks and he is utterly smitten with the displays of dinosaurs ripping flesh off each other! Since my travels have been limited of late and since I am always inspired by my travels, my inspiration now comes from the local explorations I do with Elias as he discovers the universe, hence dinosaurs.
How does my work differ from others in its genre?
I suppose work differs from writer to writer because of each writer’s unique perspective on the world. By nature I’m an optimist, but not an idealist. Having grown up in South Africa, so within an oppressive (in the past) and still fairly violent context, my work contains elements of injustice, oppression, loss and violence, and very often, ways of escaping these – in my writing these ways usually turn out to be fantastical, surreal or magic real. I’ve spent a great deal of time in China, Thailand, the UK and traveled widely in other parts, so another aspect of my work is multiculturalism and strong sense of place.
Why do I write what I do?
Perhaps out of curiosity? I like to explore.I suppose writing is the ultimate escape, the ultimate medium of exploration – it might be exploring a place, an idea, a concept, a type of character, even exploring alternative ways of dealing with something like loss or oppression.
How does my writing process work?
Since my son Elias was born, every aspect of my life has changed including my writing process. I used to write at least seven hours a day and now that is impossible. There is no process now, I just do the best I can. I’m typing these answers in my car on my laptop while Elias dozes before we go into the Library. If he sleeps longer I’ll do some work on the short story. Oh, maybe all that’s just an excuse, I’ve always been haphazard in my approach (‘process’) to making stories, chaotic even messy, like my desk, I just had more time to sort of the chaos than I do now. So thank goodness for brilliant editors!
And next I’m handing the blog hopping baton over to two other simply brilliant women,
Multi-award-winning author S.A. Partridge, most recently shortlisted for the MER prize for Sharp Edges and
multi-lingual literary critic with acclaimed debut novel, Invisibile Others, Karina Magdelina Szczurek