Teenagers reading

Wow, I didn’t think they did, but the Australian Society of Authors told me yesterday that Federal Minister for Competition Policy Craig Emerson announced,

The Government has decided not to change the Australian regulatory regime for books introduced by the previous Labor government…read the rest

This means parallel importation restrictions on books detailed in Australia’s Copyright Act will remain unchanged. The ASA, Australian publishers, authors, illustrators and others campaigned all year to bring about this decision and they’ve succeeded.

ASA Executive Director Dr Jeremy Fisher acknowledged the Australian publishing industry was facing significant pressures.

Minister Emerson correctly highlights the fact that e-books and digital technology are having an impact on the Australian publishing industry. The ASA welcomes change. We constantly seek new means to increase authors’ incomes. We are currently in discussions relating to fair contracts for authors with regard to e-books and products such as Kindle. We have also taken an active role in the US-based Google Book Settlement, which will see authors being able to pursue income streams for out-of-print works. The ASA will always seek improved income streams for its members in both print and digital forms.

Of course the whole world, and one little rabbit, knew this before me, but I only have a few more paragraphs and then I might be able to join the living again.

In other (way more important) news, when I give my (whole, entire) thesis (all of it) to my supervisor, no not at the end of August, not at Halloween, not last week, maybe by this weekend, definitely by next wednesday, I have something very important to blog about – graphic novels! Rachel from Margaret River Library reminded me that this blog is meant to be about graphic novels, not me, so look out for my next post Rachel.

Delicious

I’m very close to having a thesis to submit but it’s taken quite a bit longer than I planned, due to a nasty monster which kicks at my heels, waiting for the right moment to trample mud all over my life. Monster isn’t the clinical term, most would call this monster depression, but I find euphemisms much more fun. Visits from the monster have been a bit too frequent for my liking this year, so I’m really looking forward to Halloween, when I will have a thesis to submit.*

At one time I thought I would submit at the same time as Zoë S. but she beat me to it and provided some useful advice on comments to be prepared for in the final stages of writing a thesis, in order to avoid a sociopathic outburst. I also found Zoë’s artistic post-it-note monster of great use. This looks just like the monster scribbled on the inside of my skull which runs circles round my mind, at the most inopportune times.

I haven’t been depressed constantly this year (in between I wrote a thesis with only editing keeping me from submission), but during the times I was, I came to the disconcerting conclusion that I couldn’t write a single coherent thesis sentence, but I could read book, after book, after book. Sadly none of these books were part of my lit review. Runaways is listed in my Literature Cited (as opposed to my Reference List) but reading all the vols I’ve got one after the other without a break in between (and this wasn’t the first time, so I already knew what happened) didn’t improve my thesis.

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The longlist for the 2009 Inkys has been out for a while, but I’m experiencing some thesis induced insanity at the moment and the Inkys just remind me of all that YA reading I have to catch up on. You may notice Matata the reading cat has a predilection for classics, but she’s not averse to YA in between. I think she could out-read Inky the dog any day of the week.

When I first saw the list I thought the best book of recent times, The Hunger Games by Suzanne Collins, outranked everything else, even the books I hadn’t read :P

But then I read Skim by Mariko Tamaki & Jillian Tamaki which utterly captivated me and The Hunger Games moved down my list. I hadn’t noticed Skim was on the Inkys list at first, but how could such a masterpiece of word and image (my two fav things) not be. I didn’t think its graphic novel-ness was the deciding factor in my opinion. But perhaps it was because it’s the combination of the words and pictures which I love so much, especially the full and double page spreads of illustration, with Skim’s diary creeping across the scene. My favourite is Skim and Lisa trying to summon the dead boy’s spirit in the woods, and missing him because they’re facing the wrong way (right). Its partial repetition on the end papers makes for a beautiful book design.

My favourite words in Skim are repeated in the blurb. The Inkys page also has them, but they missed the most important line (you can’t trust a dog with ink on his paws :P)

I had a dream
I put my hands
inside my chest
and held my heart

to try to keep it still

The unusual angles, tantalizingly crossed out words of Skim’s diary and obscuring of Skim’s face so much of the time, until she finds herself and an unexpected friend, combine to make a work of art on a very different level to The Hunger Games. And I much preferred the UK/Aust cover to the Canadian.

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Scott Westerfeld’s next book Leviathan is due out in October. I knew a bit about it: that it’s set during an alternative steampunk WWI (note to Edward) and I’d read the first chapter. I like steampunk, but it’s not my fav genre and although I’m going to read Leviathan, I wasn’t all that excited about it. Until now.

I hadn’t visited Westerblog in a while but today I did and discovered two things:

• there’s been a redesign à la steampunk — very cool
• but more importantly, Leviathan is illustrated by Keith Thompson

Westerfeld wanted the finished book to have the period feel of the era in which the story is set, Simon & Schuster is using 70-pound paper, full-color endpapers depicting an allegorical map of Europe, and 50 interior illustrations — lavish bookmaking financed in large part by Westerfeld himself.  — Publishers Weekly [2]

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The other day I mentioned Beastly by Alex Flinn and mistakenly said it was by Suzanne Collins. I would love to read Beastly by Suzanne Collins, but sadly it’s only available in a parallel universe.

I enjoyed Gregor the Overlander by Suzanne Collins (although I only read the first in the series) but her latest The Hunger Games is much darker and thought provoking. I read Beastly and The Hunger Games in quick succession and they morphed into one in my rantings about the Productivity Commission’s report on removal of parallel importation restrictions on books. I said the copy I read was printed in the US. Subsequently I looked more closely at the paperback Beastly and found no mention of where it was printed. I’m pretty sure it’s a US produced book due to the not-so-white paper and a second barcode on the inside front cover, which I don’t think Australian produced books have. Most books state where they were printed, as did the hardback of The Hunger Games I read (printed in the US).

I have a thing for pictures in books (in case you hadn’t noticed) and when a book has no pictures, I have to make do with the cover, thus I’m passionate about cover design. Despite my non-existent design skills, I have an amazing ability to establish just how lacking someone else’s design skills are :P which is what I’m about to do with Beastly and The Hunger Games.

I wasn’t particularly enamoured of the cover designs of either book. They’re both true to their contents but the “futuristic” font of The Hunger Games grated and the rose on Beastly annoyed me. You can’t really see this from the small pic of the cover, but it had some strange texture thing going on, which I obviously didn’t get. The roses in the story are real and the cover rose just looked photocopied. (Spanish cover is way better.) But I don’t hate everything, if you remove the dust jacket of The Hunger Games the golden mocking-jay on the plain binding is stunning.

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Update 17/07: I made a mistake about the book Beastly. It’s written by Alex Flinn.

I cannot begin to convey to you the destructive stupidity of what is being proposed, nor the intense sadness and great anger that so many Australian writers feel about this proposal.

said Richard Flanagan in his Closing Address at the Sydney Writers Festival in May.

Unfortunately, the Productivity Commission ignored Richard Flanagan and many others in its report on the investigation into the current provisions of the Copyright Act 1968 that restricts the parallel* importation of books. The report was released this week and is 240 pgs, but you can download each section separately, the most important being the Overview which includes key points and the Recommendations.

The Coalition for Cheaper Books is the major supporter of the removal of restrictions on parallel importation of books and their spokesperson is former NSW premier Bob Carr, currently Director of the Board of Dymocks. The Coalition represents booksellers in Australia with a combined market share of about 40% of book sales: Dymocks, Woolworths, Coles, K Mart, Big W and Target. The Coalition’s submission to the Productivity Commission creatively describes this membership. The “small, family owned businesses” which make up part of their membership are a particularly small minority. And it’s quite a stretch to call the last five booksellers. Books might comprise some of their diverse wares, but their main business is taking money from us when we’re not paying attention. ie. you’re standing in a long line that’s not going anywhere, with chocolate, bottled water, stupid Golden books, etc. staring you in the face, and thinking,

I’m thirsty, I need a sugar fix and Johnny won’t shut up.**

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I previously blogged about whether reading a graphic novel is equivalent to reading a conventional book. Some of the teenagers I talked to thought this wasn’t the case, but most of the librarians agreed it was – striving through their work to ensure young people encountered a variety of genres and formats in their reading, without making judgements on supposed “quality.”

I asked every group of teenagers what they would think if graphic novels were assigned as an English class text. Some teenagers thought this would be an “easy” option and it was the visual component which led to their demotion of the format as a “legitimate” text. These teenagers also happened to be those who had limited experience of the format. (Names have been changed to ensure confidentiality.)

Fourteen year old Anna believed,

People would choose the graphic novel without like thinking about it cause they’re like, ‘Oh yeah, it’s just a comic, it’ll be easy.’ But they won’t like think about like what you have to do. And they’ll just be like, ‘Oh it’s a change. And do that.’

Marty (age 14) said, “They’re not really books” and Jeremy (age 14) agreed, conjecturing that studying a graphic novel would compare unfavourably to a conventional book because it could not be studied it in depth.

That’s why we read more thorough books like The Red Cardigan [1] and stuff.

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