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Erica Wagner: 'I had no idea what an editor did, but I wrote to Penguin and asked', Dromkeen Medal - 2017

December 7, 2017

30 November 2017, State Library of Victoria, Melbourne, Australia

Erica Wagner is the children's publisher at Allen & Unwin Australia.

Thank you, Alison, and the Dromkeen Selection Panel and the State Library for hosting this event. And thank you so much to my colleagues, Anna McFarlane and Eva Mills, who nominated me, to the fantastic team at Allen & Unwin – whose cleverness and sense of fun I appreciate so much every day – and to every author, illustrator and colleague I’ve ever worked with – this is your medal too!

This Robert Ingpen created medal symbolises so much for me. I’m conscious of the calibre of the previous recipients, and their formidable legacies, and feel honoured to be part of the Dromkeen story.

I’ve thought a lot about what I wanted to say today – so much thinking, and over thinking, that this 5-minute response was in danger of turning into 5 hours. While it was tempting to tell you about every book I’ve ever worked on, replay the sweet moments of triumph and vindication, and confess to every publishing error and indiscretion I’ve been involved with, I ended up returning to a simple question. Why is it that I’ve spent so much of my life involved with children’s books … almost 40 years in fact, if you start counting when I was 15, crushing boxes at the back of a bookshop in Brighton … ? What has held me here? The answer is short: books bring together my two great loves, literature and art. Books are the perfect package, still as relevant today as ever. And they have been the steady heartbeat to the dramas of my interior life since childhood. I cannot imagine living life without them.

I was a timid child, so books gave me language for my emotions. They enabled me to be a prince, a pharaoh, a wild white stallion! I grew up in a German-speaking household and so German fairytales, and the anarchic words and pictures of Struwwelpeter, Max und Moritz – very cautionary tales about very naughty children – remain indelibly imprinted in my psyche. I read everything – the entire oeuvre of Enid Blyton and endless animal stories, Mad magazines and Donald Duck comics. My siblings and parents all read to me – my sister reading the entire Hobbit and Lord of the Rings when I was 7 … Even my attempts at stealing were book related … it was a copy of Black Beauty that I pushed up my jumper one dark day when I was 10 … intrigued at how easy that was to do …

I have been so lucky to have found – as Agnes Nieuwenhuizen said so eloquently – the right book at the right time. 

It now seems perfectly natural that my teenage bookshop job continued on and off for 10 years while I studied briefly, travelled, lived in a tent and worked on a tomato farm in north Queensland. I wanted to get a life! Be a writer, be an artist… I’m sure my reading of Tolstoy and romance novels was in part responsible for me marrying a poet at 20 and having two children in quick succession. And it was in the bookshop, where I’d returned again to work when my children were small, that I had an epiphany – that I wanted to be an editor – that is, I wanted to work with books but not with the public. I had no idea what an editor did, but I wrote to Penguin and asked, what do you have to do to be an editor? The reply I received – to get any job in the publishing industry and work your way up, and that secretarial skills would be useful – is why I felt able to apply for a trainee editor position in the newly formed children’s department at Penguin books.

I didn’t get that job – my friend Janie Godwin did! – but a few months later, in July 1988, Julie Watts rang, asking if I was still interested … and did I want to come in for a chat … For some reason, she saw something in the young woman I was then – 25, 2 little kids, wearing a rainbow-coloured jumper and feather earrings (my smartest outfit), pretending I was just a little rusty with my non-existent typing skills. Thank you, Julie, I owe you so much, for teaching me everything about editing and giving me that magnificent lucky break.

I still remember my first day at Penguin, so scared that I would be asked to type 100 letters in triplicate, but instead Julie gave me a Victor Kelleher manuscript to read, and Janie kindly showed me (a few times, until it sunk in) how it was that one put paper into a typewriter …

Those were heady years. I was somewhat star-struck by the famous authors and illustrators striding through the corridors of the offices in Ringwood. The creative process remained a mystery, but I did learn quickly that everyone making a book needs something to help them get their work done … and it’s the editor’s job to find out what that is. I discovered that some authors effectively need to be left alone, some need to brainstorm and bounce ideas off you, some need gentle nurturing and some, stern intervention! Later I was to learn that illustrators could construct epic stories inspired by one hero image.

There were launches, conferences and festivals, and the famous Dromkeen dinners - so many ways to feel part of the wider Australian children’s book community – which remains so strong and supportive even today. I was incredibly lucky to work on seminal books with brilliant authors and illustrators – many in this room today – learning on the job, learning to trust the creative process.

At the end of the 90s, a turbulent time in my personal life, I left Penguin to start Silverfish, a new children’s list for Duffy & Snellgrove, at the same time heading overseas to my first Bologna book fair and some months in the US on the Beatrice Davis Editorial Fellowship. So much happened in that year – things I couldn’t have learnt any other way – but it did end up being a stretch too far, and I finally landed, somewhat bruised, in a new life, with a new blended extended family, at the Rathdowne Street office of Allen & Unwin. My first day was Valentine’s day in the year 2000 – and for the first few months I shared Rosalind Price’s handmade table. Thank you, Rosalind, for picking me up when I was down, and for being such a constant creative support and inspiration.

Allen & Unwin moving to the House of Alien Onion in East Melbourne was the start of yet another chapter, and over the years – as the competition ratcheted up, the book industry was rocked by the GFC, the market became more volatile, and as we realised that things just didn’t work the way they used to, new technology and systems were introduced, our team expanded and changed, we learnt to adapt – some of us kicking and screaming more than others … If this sounds somewhat chaotic, it was …

We had to go back to basics and ask again: What are books and stories for? Of course, they are for children. But where do they fit into the world of screens and endless chatter? Is there still a place for the quieter heartbeat of stories that encourage reflection, a deeper connection? At the most prosaic level, how do we help to keep our company afloat as it wrestles with the relentless financial pressures of rising costs, punishing trade conditions, an increasingly litigious culture. And definitely a more censorious one.

These are crucial moral issues, when so many people depend on you – not just in-house staff and creators, but the entire ecosystem of freelancers ­– editors, designers, photographers – printers, booksellers and our core champions, teachers and librarians, who are under enormous pressures of their own. And it does have an impact on publishing decisions, as we try to balance commercial imperatives with the very different work of nurturing creative people to fulfil their potential …

I honour the creators and champions who have gone before us. And I’m proud of the writers and artists who continue to take chances with stories, with daring imagery, with subject matter. I cheer on the next wave of editors and publishers who remain passionate about Australian voices, who are bringing a fresh perspective on our complex society, who are determined that books should not only reflect our society but inspire readers to be engaged citizens, beyond the algorithms of Facebook, to be thinking and feeling – kind! – humans who can face up to the truth of our past as we head into the future. I believe in our youth, and I believe there is nothing you can’t say to a child - you just have to find the right way of saying it. So they in turn are equipped to find the right book at the right time.

Finally, I want to thank my family, my children and grandchildren, my darling Craig Smith, who have shared this adventure with me, give meaning to everything I do and without whom I would not be here today.

Dromkeen Erica.jpg
Dromkeen Medal.jpg

Source: http://www.thingsmadefromletters.com/2017/...

Enjoyed this speech? Speakola is a labour of love and I’d be very grateful if you would share, tweet or like it. Thank you.

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In BOOKS 2 Tags ERICA WAGNER, ALLEN AND UNWIN, CHILDREN'S LITERATURE, KIDS BOOKS, CHILDRENS BOOKS, TRANSCRIPT, DROMKEEN MEDAL, LIFETIME ACHIEVEMENT
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Andy Griffiths: 'I want the freshness of dreams to be again revealed to me', 'Stella Spark' for Carmel Bird - 2016

November 29, 2016

9 February 2016, Melba Spiegeltent, Collingwood, Melbourne, Australia

Carmel Bird was awarded Australian literature's prestigious Patrick White Award at Readings bookshop on 11 November 2016.

Thanks so much for the invitation to speak tonight. I’m happy to be at an event celebrating literary woman as I’ve spent my entire writing career surrounded, helped and inspired by many women, one of the most important being my wife Jill who was the editor of my first children’s book, Just Tricking, back in 1997 and who has edited—and increasingly collaborated on the books with me ever since.

I’ve often wondered whether part of the success we’ve enjoyed with the books is due to this blending of our male and female sensibilities. Despite the perception amongst some that our books have special appeal to boys, our audience has always been made up of both boys AND girls … and many of these girls are just as enthusiastic and amused by the taboo & disgusting elements of the stories as the boys.

I’m wary of subscribing to gender stereotypes but I will say that—over the years—I think I have helped Jill to appreciate the humour of the physical slapstick of The Three Stooges (and not just sit there feeling sorry and upset for Curly because Moe is being mean to him) and—in return—she has brought me to a fuller appreciation for the verbal gymnastics of The Marx Brothers.

But before I met Jill I was fortunate enough to read, meet and then be taught by Carmel Bird, a Tasmanian writer then living in Melbourne.

I was aware of her fiction from a book called The Woodpecker Toy Fact, a collection of highly original and darkly humorous stories that were playful, self-aware, personal, honest and utterly unlike anything I’d read to that point. She could take the most ordinary incidents or objects and through sustained attention and exploration transform them into little tableaus of wonder, sadness and delight.

So I was thrilled to find her writing instruction book, Dear Writer, a practical, inspirational, common-sense examination of all aspects of the writers’ life written in the form of a series of letters from a fictional writer to an imaginary beginning student.

In 1990 I attended a two-day summer school writing course run by Carmel at the then newly established Victorian Writers Centre. She waltzed into the room with an ethereal air—looking not unlike a character you might expect to find in a fairy tale—though whether good, evil or simply mischievous was difficult to tell. She gave us each a piece of white tablecloth and invited us to use it as the starting point for a piece of fiction. I can’t remember exactly what I wrote but I remember it made her smile.

I showed her a collection of writing fragments I’d been working on– and asked her what I’d need to do in order to get it published. She suggested I organize it in some way. I argued it was better to keep it random. “I know that,” she said, conspiratorially, ‘and you know that, but publishers won’t know that.” And so I began the long slow process of organizing—and rewriting—what was to become my first officially published book—a creative writing textbook for use in high school classrooms.

A few months later she invited me to be part of a poetry/short story reading night with her and some other established writers at a hotel in Fitzroy. It was both an amazing show of confidence on her part and a terrifying prospect, but it was reassuring to know that I was doing something right—though I wasn’t quite sure what.

But I kept practising, and two years later, as luck would have it, I discovered Carmel was teaching a year-long graduate diploma of fiction writing at Rusden College in Toorak.

So in 1991 I took leave without pay from my high-school teaching job and enrolled in Carmel’s Monday evening class and spent the rest of my time writing.

During this year she taught me three hugely valuable things.

Firstly, the importance of considering your reader. This was achieved through the often gruelling practice of having to have our stories critiqued by the other students in the class. Carmel would preside sagely over this process, stepping in when things got too brutal.

Secondly she taught me the value of reading widely and introduced me to many important writers including Helen Garner, Henry Handel Richardson, Elizabeth Harrower, Ruth Park, Katherine Mansfield and Barbara Baynton.

And thirdly, by point blank refusing to tell me the magic secret of how to get published—which I was sure all published writers knew—she gently forced me to learn to trust my own idiosyncratic voice and ignore the nagging feeling that because it was my own idiosyncratic voice it must somehow be wrong … which was of course the magic secret all along.

Because of my fondness for writing humour she nudged me in the direction of writing for children – we both agreed that what seemed to be missing from Australian children’s writing at the time was the sort of rambunctious fantasy that we had both enjoyed in the work of Enid Blyton. (She once wrote—or told me—I can’t remember which that she thought the thing with Enid Blyton was not that her stories and characters were unbelievable, but the opposite—they were TOO believable.)

As a fiction writer Carmel has experimented with many different genres and styles. But I always come back to The Woodpecker Toy Fact, especially the passage at the beginning of ‘A Taste of Earth’, which—in retrospect—I think I took to be a sort of mission statement.

“When I read fiction I want the words to take my spirit into the places beneath the surface of the everyday world. I want the freshness of dreams to be again revealed to me. I want to know the loveliness and terror of what lies beyond the last star … to feel the anguish and exhilaration of the fiction writer’s power to create and destroy.”

From reading Carmel’s fiction I have no doubt about her power to create and destroy, and from being a student in her class I can personally attest to her ability to inspire—a true Stella Spark.

Enjoyed this speech? Speakola is a labour of love and I’d be very grateful if you would share, tweet or like it. Thank you.

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In BOOKS Tags CARMEL BIRD, STELLA PRIZE, STELLA SPARK, TRANSCRIPT, ANDY GRIFFITHS, CHILDREN'S LITERATURE, WRITING, WRITING TIPS
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Neil Gaiman: 'I don't think there is such a thing as a bad book for children', The Reading Agency - 2013

August 4, 2016

14 October 2013, Barbican Centre, London, United Kingdom

It's important for people to tell you what side they are on and why, and whether they might be biased. A declaration of member's interests, of a sort. So, I am going to be talking to you about reading. I'm going to tell you that libraries are important. I'm going to suggest that reading fiction, that reading for pleasure, is one of the most important things one can do. I'm going to make an impassioned plea for people to understand what libraries and librarians are, and to preserve both of these things.

And I am biased, obviously and enormously: I'm an author, often an author of fiction. I write for children and for adults. For about thirty years I have been earning my living though my words, mostly by making things up and writing them down. It is obviously in my interest for people to read, for them to read fiction, for libraries and librarians to exist and help foster a love of reading and places in which reading can occur.

So I'm biased as a writer.

But I am much, much more biased as a reader. And I am even more biased as a British Citizen.

And I'm here giving this talk tonight, under the auspices of the Reading Agency: a charity whose mission is to give everyone an equal chance in life by helping people become confident and enthusiastic readers. Which supports literacy programs, and libraries and individuals and nakedly and wantonly encourages the act of reading. Because, they tell us, everything changes when we read.

And it's that change, and that act of reading that I'm here to talk about tonight. I want to talk about what reading does. What it's good for.

I was once in New York, and I listened to a talk about the building of private prisons - a huge growth industry in America. The prison industry needs to plan its future growth - how many cells are they going to need? How many prisoners are there going to be, 15 years from now? And they found they could predict it very easily, using a pretty simple algorithm, based about asking what percentage of ten and eleven year olds couldn't read. And certainly couldn't read for pleasure.

It's not one to one: you can't say that a literate society has no criminality. But there are very real correlations.

And I think some of those correlations, the simplest, come from something very simple. Literate people read fiction.

Fiction has two uses. Firstly, it's a gateway drug to reading. The drive to know what happens next, to want to turn the page, the need to keep going, even if it's hard, because someone's in trouble and you have to know how it's all going to end...

...that's a very real drive. And it forces you to learn new words, to think new thoughts, to keep going. To discover that reading per se is pleasurable. Once you learn that, you're on the road to reading everything. And reading is key. There were noises made briefly, a few years ago, about the idea that we were living in a postliterate world, in which the ability to make sense out of written words was somehow redundant, but those days are gone: words are more important than they ever were: we navigate the world with words, and as the world slips onto the web, we need to follow, to communicate and to comprehend what we are reading.

People who cannot understand each other cannot exchange ideas, cannot communicate, and translation programs only go so far.

The simplest way to make sure that we raise literate children is to teach them to read, and to show them that reading is a pleasurable activity. And that means, at its simplest, finding books that they enjoy giving them access to those books and letting them read them.

I don't think there is such a thing as a bad book for children. Every now and again it becomes fashionable among some adults to point at a subset of children's books, a genre, perhaps, or an author, and to declare them bad books, books that children should be stopped from reading. I've seen it happen over and over; Enid Blyton was declared a bad author, so was R. L Stine, so were dozens of others. Comics have been decried as fostering illiteracy.

It's tosh. It's snobbery and it's foolishness.

There are no bad authors for children, that children like and want to read and seek out, because every child is different. They can find the stories they need to, and they bring themselves to stories. A hackneyed, worn-out idea isn't hackneyed and worn out to them. This is the first time the child has encountered it. Do not discourage children from reading because you feel they are reading the wrong thing. Fiction you do not like is the gateway drug to other books you may prefer. And not everyone has the same taste as you.

Well-meaning adults can easily destroy a child's love of reading: stop them reading what they enjoy, or give them worthy-but-dull books that you like, the 21st century equivalents of Victorian "improving" literature. You'll wind up with a generation convinced that reading is uncool and worse, unpleasant.

We need our children to get onto the reading ladder: anything that they enjoy reading will move them up, rung by rung, into literacy.

(Also do not do what this author did when his eleven year old daughter was into R. L. Stine, which is to go and get a copy of Stephen King's CARRIE, saying if you liked those you'll love this! Holly read nothing but safe stories of settlers on prairies for the rest of her teenage years, and still glares at me when Stephen King's name is mentioned.)

And the second thing fiction does is to build empathy. When you watch TV or see a film, you are looking at things happening to other people. Prose fiction is something you build up from 26 letters and a handful of punctuation marks, and you, and you alone, using your imagination, create a world, and people it and look out through other eyes. You get to feel things, visit places and worlds you would never otherwise know. You learn that everyone else out there is a me, as well. You're being someone else, and when you return to your own world, you're going to be slightly changed.

Empathy is a tool for building people into groups, for allowing us to function as more than self-obsessed individuals.

You're also finding out something as you read vitally important for making your way in the world. And it's this:

THE WORLD DOESN'T HAVE TO BE LIKE THIS. THINGS CAN BE DIFFERENT.

I was in China in 2007, at the first party-approved of Science Fiction & Fantasy Convention in Chinese history. And at one point I took a top official aside and asked him Why? SF had been disapproved of for a long time. What had changed?

It's simple, he told me. The Chinese were brilliant at making things if other people brought them the plans. But they did not innovate and they did not invent. They did not imagine. So they sent a delegation to the US, to Apple, to Microsoft, to Google, and they asked the people there who were inventing the future about themselves. And they found that all of them had read science fiction when they were boys or girls.

Fiction can show you a different world. It can take you somewhere you've never been. Once you've visited other worlds, like those who ate fairy fruit, you can never be entirely content with the world that you grew up in. Discontent is a good thing: people can modify and improve their worlds, leave them better, leave them different.

And while we're on the subject, I'd like to say a few words about escapism. I hear the term bandied about as if it's a bad thing. As if "escapist" fiction is a cheap opiate used by the muddled and the foolish and the deluded, and the only fiction that is worthy, for adults or for children, is mimetic fiction, mirroring the worst of the world the reader finds herself in.

If you were trapped in an impossible situation, in an unpleasant place, with people who meant you ill, and someone offered you a temporary escape, why wouldn't you take it? And escapist fiction is just that: fiction that opens a door, shows the sunlight outside, gives you a place to go where you are in control, are with people you want to be with(and books are real places, make no mistake about that); and more importantly, during your escape, books can also give you knowledge about the world and your predicament, give you weapons, give you armour: real things you can take back into your prison. Skills and knowledge and tools you can use to escape for real.

As J. R. R. Tolkien reminded us, the only people who inveigh against escape are jailers.

Another way to destroy a child's love of reading, of course, is to make sure there are no books of any kind around. And to give them nowhere to read those books.

I was lucky. I had an excellent local library growing up. I had the kind of parents who could be persuaded to drop me off in the library on their way to work in summer holidays, and the kind of librarians who did not mind a small, unaccompanied boy heading back into the children's library every morning and working his way through the card catalogue, looking for books with ghosts or magic or rockets in them, looking for vampires or detectives or witches or wonders. And when I had finished reading the children's' library I began on the adult books.

They were good librarians. They liked books and they liked the books being read. They taught me how to order books from other libraries on inter-library loans. They had no snobbery about anything I read. They just seemed to like that there was this wide-eyed little boy who loved to read, and would talk to me about the books I was reading, they would find me other books in a series, they would help. They treated me as another reader - nothing less and more - which meant they treated me with respect. I was not used to being treated with respect as an eight year old. But

Libraries are about Freedom. Freedom to read, freedom of ideas, freedom of communication. They are about education (which is not a process that finishes the day we leave school or university), about entertainment, about making safe spaces, and about access to information.

I worry that here in the 21st Century people misunderstand what libraries are and the purpose of them. If you perceive a library as a shelf of books, it may seem antiquated or outdated in a word in which most, but not all, books in print exist digitally. But that is to fundamentally miss the point.

I think it has to do with nature of information.

Information has value, and the right information has enormous value. For all of human history, we have lived in a time of information scarcity, and having the needed information was always important, and always worth something: when to plant crops, where to find things, maps and histories and stories - they were always good for a meal and company. Information was a valuable thing, and those who had it or could obtain it could charge for that service.

In the last few years, we've moved from an information scarce economy to one driven by an information glut. According to Eric Schmidt of Google, every two days now the human race creates as much information as we did from the dawn of civilisation until 2003. That's about five exobytes of data a day, for those of you keeping score. The challenge becomes, not finding that scarce plant growing in the desert, but finding a specific plant growing in a jungle. We are going to need help navigating that information to find the thing we actually need.

Libraries are places that people go for information. Books are only the tip of the information iceberg: they are there, and libraries can provide you freely and legally with books. More children are borrowing books from libraries than ever before - books of all kinds: paper and digital and audio. But libraries are also, for example, a place that people, who may not have computers, who may not have internet connections, can go online without paying anything: hugely important when the way you find out about jobs, apply for jobs or apply for benefits is increasingly migrating exclusively online. Librarians can help these people navigate that world.

I do not believe that all books will or should migrate onto screens: as Douglas Adams once pointed out to me, over twenty years before the kindle turned up, a physical book is like a shark. Sharks are old: there were sharks in the ocean before the dinosaurs. And the reason there are still sharks around is that sharks are better at being sharks than anything else is. Physical books are tough, hard to destroy, bath-resistant, solar operated, feel good in your hand: they are good at being books, and there will always be a place for them. They belong in libraries, just as libraries have already become places you can go to get access to ebooks, and audiobooks and DVDs and webcontent.

A library is a place that is a repository of, and gives every citizen equal access to, information. That includes health information. And mental health information. It's a community space. It's a place of safety, a haven from the world. It's a place with librarians in it. What the libraries of the future will be like is something we should be imagining now.

Literacy is more important than ever it was, in this world of text and email, a world of written information. We need to read and write, we need global citizens who can read comfortably, comprehend what they are reading, understand nuance, and make themselves understood.

Libraries really are the gates to the future. So it is unfortunate that, round the world, we observe local authorities seizing the opportunity to close libraries as an easy way to save money, without realising that they are, quite literally, stealing from the future to pay for today. They are closing the gates that should be open.

According to a recent study by the Organisation for Economic Cooperation and Development, England is the "only country where the oldest age group has higher proficiency in both literacy and numeracy than the youngest group, after other factors, such as gender, socio-economic backgrounds and type of occupations are taken into account".

Or to put it another way, our children and our grandchildren are less literate and less numerate than we are. They are less able to navigate the world, to understand it to solve problems. They can be more easily lied to and misled, will be less able to change the world in which they find themselves, be less employable. All of these things. And as a country, England will fall behind other developed nations because it will lack a skilled workforce. And while politicians blame the other party for these results, the truth is, we need to teach our children to read and to enjoy reading.

We need libraries. We need books. We need literate citizens.

I do not care - I do not believe it matters - whether these books are paper, or digital, whether you are reading on a scroll or scrolling on a screen. The content is the important thing.

But a book is also the content, and that's important.

Books are the way that we communicate with the dead. The way that we learn lessons from those who are no longer with us, that humanity has built on itself, progressed, made knowledge incremental rather than something that has to be relearned, over and over. There are tales that are older than most countries, tales that have long outlasted the cultures and the buildings in which they were first told.

I think we have responsibilities to the future. Responsibilities and obligations to children, to the adults those children will become, to the world they will find themselves inhabiting. All of us - as readers, as writers, as citizens: we have obligations. I thought I'd try and spell out some of these obligations here.

I believe we have an obligation to read for pleasure, in private and in public places. If we read for pleasure, if others see us reading, then we learn, we exercise our imaginations. We show others that reading is a good thing.

We have an obligation to support libraries. To use libraries, to encourage others to use libraries, to protest the closure of libraries. If you do not value libraries then you do not value information or culture or wisdom. You are silencing the voices of the past and you are damaging the future.

We have an obligation to read aloud to our children. To read them things they enjoy. To read to them stories we are already tired of. To do the voices, to make it interesting, and not to stop reading to them just because they learn to read to themselves. Use reading aloud time as bonding time, as time when no phones are being checked, when the distractions of the world are put aside.

We have an obligation to use the language. To push ourselves: to find out what words mean and how to deploy them, to communicate clearly, to say what we mean. We must not to attempt to freeze language, or to pretend it is a dead thing that must be revered, but we should use it as a living thing, that flows, that borrows words, that allows meanings and pronunciations to change with time.

We writers - and especially writers for children, but all writers - have an obligation to our readers: it's the obligation to write true things, especially important when we are creating tales of people who do not exist in places that never were - to understand that truth is not in what happens but what it tells us about who we are. Fiction is the lie that tells the truth, after all. We have an obligation not to bore our readers, but to make them need to turn the pages. One of the best cures for a reluctant reader, after all, is a tale they cannot stop themselves from reading. And while we must tell our readers true things and give them weapons and give them armour and pass on whatever wisdom we have gleaned from our short stay on this green world, we have an obligation not to preach, not to lecture, not to force predigested morals and messages down our readers' throats like adult birds feeding their babies pre-masticated maggots; and we have an obligation never, ever, under any circumstances, to write anything for children to read that we would not want to read ourselves.

We have an obligation to understand and to acknowledge that as writers for children we are doing important work, because if we mess it up and write dull books that turn children away from reading and from books, we've lessened our own future and diminished theirs.

We all - adults and children, writers and readers - have an obligation to daydream. We have an obligation to imagine. It is easy to pretend that nobody can change anything, that we are in a world in which society is huge and the individual is less than nothing: an atom in a wall, a grain of rice in a rice field. But the truth is, individuals change their world over and over, individuals make the future, and they do it by imagining that things can be different.

Look around you: I mean it. Pause, for a moment and look around the room that you are in. I'm going to point out something so obvious that it tends to be forgotten. It's this: that everything you can see, including the walls, was, at some point, imagined. Someone decided it was easier to sit on a chair than on the ground and imagined the chair. Someone had to imagine a way that I could talk to you in London right now without us all getting rained on.This room and the things in it, and all the other things in this building, this city exist because, over and over and over, people imagined things. They daydreamed, they pondered, they made things that didn't quite work, they described things that didn't yet exist to people who laughed at them.

And then, in time, they succeeded. Political movements, personal movements, all began with people imagining another way of existing.

We have an obligation to make things beautiful. Don't leave the world uglier than we found it, not to empty the oceans, not to leave our problems for the next generation. We have an obligation to clean up after ourselves, and not leave our children with a world we've shortsightedly messed up, shortchanged, and crippled.

We have an obligation to tell our politicians what we want, to vote against politicians of whatever party who do not understand the value of reading in creating worthwhile citizens, who do not want to act to preserve and protect knowledge and encourage literacy. This is not a matter of party politics. This is a matter of common humanity.

Albert Einstein was asked once how we could make our children intelligent. His reply was both simple and wise. "If you want your children to be intelligent," he said, "read them fairy tales. If you want them to be more intelligent, read them more fairy tales."

He understood the value of reading, and of imagining. I hope we can give our children a world in which they will read, and be read to, and imagine, and understand.

Thank you for listening.

Source: https://readingagency.org.uk/news/blog/nei...

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In BOOKS Tags NEIL GAIMAN, THE READING AGENCY, LITERACY, LIBRARIES, CRIMINALITY AND READING, FICTION, IMAGINATION, CREATIVITY, CHILDREN'S LITERATURE
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Everybody at the launch, releasing their wishbirds

Everybody at the launch, releasing their wishbirds

Cath Crowley: 'It isn’t just the pages that are made of silk, the words themselves seem to be', launch of Gabrielle Wang's 'The Wishbird' - 2013

December 4, 2015

27 July 2013, The Little Bookroom, North Carlton, Melbourne, Victoria

It’s my great pleasure to welcome you here to the launch of “The Wishbird” by Gabrielle Wang.

I told one of my friends that I was launching Gabrielle Wang’s book this Saturday. And she smiled and said, – that’s your magical friend. As opposed to the bulk of my friends who are – non-magical.

But that is how I feel about Gabrielle, even a chai tea with her is an adventure. She’s open to these lovely coincidences and she makes me feel as though writing is not just something I do at my desk, but something I live. She makes me believe that stories find us as much as we find them.

Author of “The Garden of Empress Cassia”, “The Pearl of Tiger Bay”, “The Hidden Monastery”, “The Lion Drummer”, “A Ghost in My Suitcase”, “Little Paradise”, “The Race for the Chinese Zodiac” and “Meet Poppy” from the Our Australian Girl Series.

She’s won the Aurealis Award twice; her books are CBCA notables, highly commended in the Prime Minister’s Literary Awards, shortlisted for the Sakura Medal, Premier’s Awards, YABBA and WAYBRA awards.

Gabi is an Ambassador for the Victorian Premier’s Reading Challenge, and anyone who has heard her speak will be in no doubt at how lucky they are to have her in this role.

I introduce to you the very magical on the page and in person – Gabrielle Wang, a woman with dream eyes and a wish bird heart.

***

I often have dreams about the books I’m going to launch, but none so beautiful than the one I had about “The Wishbird”. I dreamt that the pages were made of silk, and that the words had wings that fluttered.

I had the dream before I had even held the book. Not a surprising thing, if you know Gabi.

I felt quite certain that the dream had come from her that before she went to sleep that night Gabi yawned, thought about it, and flicked me off some of her landscape to get me started.

The only thing better than having a dream like that is being able to ring Gabi, or tweet her, and tell her that you had it.

Some time ago I saw a 3D film at Imax, “The Flight of the Butterflies”, about the migration of the monarch butterfly.

I sat in a dark cinema with a whole lot of little kids wearing 3D glasses, and the dark came down and the film came on, and the forest and the birds and the butterflies rose up and all around me, this lush world filled the cinema. All around me people reached to grab this floating world.

I felt as though I were reading “The Wishbird” in 3D glasses open the book and the world escapes off the page in gorgeous pictures and in words. It isn’t just the pages that are made of silk, the words themselves seem to be. Gabi sent me a modest dream, but then that’s the kind of person she is.

I know it can’t have been this easy, but it feels as though she opened her hands, and out the world flew.

Out flew The Wishbird, Mellow, a wonderful parent, as birds of course, can be, out flew Oriole – a girl who sings songs about rocks carved into strange shapes by the Wind, about her love for Mellow, the magical Wishbird, who is older than the ancient Banyan tree itself.

Out flew her wonderful descriptions, candied cumquats in the market of Soulless and the treasures that Boy finds, a silver ring with a tiny blue stone like a mouse’s tear.

The forest, moonlit, with nests made from fragrant Sandalwood twigs and lined with soft moss, a cluster of turquoise lakes that mirror the white fluffy clouds, and the city of nightmare that Oriole is being flown towards, the city of mouthless people.

Gabrielle’s characters are spectacular. Boy and Oriole are heroes, but they have flaws. They make each other stronger and better, as friends should do. They save each other, they become the heroes they need to be. They learn how to deal with anger and fear, about how to live with integrity when you’re hungry.

And they’re funny along the way. I love that on their scary journey, they make me laugh.

“Boy did not tell Oriole about the Demon Monster’s reputation for eating children, nor did he mention the moving statues in the garden.”

I agree boy, there are some things a girl just doesn’t need to know.

The book is genuinely suspenseful. Each scene leads you towards the next, telling you to hold your breath, wait, there is more to come and the way will be dangerous but don’t worry it will be lit – “the dungeon is dark and damp, but she (Oriole) still felt a little warm as she ate. And she still had her tongue. For now.”

It’s great storytelling incredibly moving- the idea that we can lose our dreams, our music, our forest, the threads that tie us to people close to us, even more frightening that our leaders can convince us that we that we don’t need these things anymore. Or that our leaders can convince us that strangers speaking a language we haven’t heard are to be feared.

It’s an important book.

Oriole must go into another world, where people don’t hear her voice as beautiful. She must endure being locked up and threatened by terrible things. And she must risk all to save the city, her forest, her family, her friend. She must believe that those who are lost, those who have committed brutal acts, are not beyond saving.

“The Wishbird” opens up a discussion on what it is to be human, and how easily we can be convinced that other people aren’t, and how easily our own humanity can be taken – or given – away.

This is a love story – love of words, of music, of dreams, of people, of nature, of colour, of flight.

It’s an adventure.

Open the page.

Let the words fly out.

Purchase the wishbird here

Source: http://cathcrowley.com.au/2013/07/the-wish...

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In BOOKS Tags CATH CROWLEY, GABRIELLE WANG, BOOK LAUNCH, CHILDREN'S LITERATURE, YOUNG ADULT, LOVEOZYA
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Published 2015, Scholastic Australia, illustrated Lucia Masciullo

Published 2015, Scholastic Australia, illustrated Lucia Masciullo

Tony Wilson: 'On the wild desert plains west of Old Humpty Doo', Emo the Emu, Airey's Inlet Festival of Words - 2011

November 10, 2015

20 August, 2011, Airey's Inlet, Victoria, Australia

Tony Wilson's read this poem out after main at the opening night dinner. It has been cut down and edited and published as picture book by Scholastic Australia. The illustrator is Lucia Masciullo.

On the wild grassy plains west of Old Humpty Doo

Lived the moodiest, mopeyest, saddest Emu

Just why he was sad, well he didn’t quite know.

But he was, so the other birds called him, ‘Emo’.

 

‘I hate running fast,’ he would say to his brother

‘I hate coming last’ he would say to his mother

‘I hate living here at the top of Australia’

‘I’m Emo the Emu, the world’s biggest failure.’

 

Now most emus grow up to more than two metres

And most emus are not the fussiest eaters,

But Emo the Emu he slouched with a hunch

And only ate Cedar Bay Cherries for lunch.

 

‘I hate eating weeds,’ he would say to his father

I hate eating seeds, grasses mango and guava’

‘I hate living here at the top of Australia

I’m Emo the Emu, the world’s biggest failure. ‘

 

On all types of days and in all types of weathers

Emo the Emu wore dark winter feathers

He wore his crown plumage long over his eyes

And rattled off lists of new things to despise

 

‘I hate kangaroos,’ he would say to his teachers

‘I hate all of youse with your strange emu features

I hate the goanna, the dunnart, the snake

And what’s with koalas - the noise that they make!

 

‘I hate the green tree frogs, the frilly necked lizards

I hate a wild dog from its nose to its gizzards

I hate how the crocs here are all a bit snappy

I’m Emo the Emu, and I’m none too happy

 

On the red desert plains south of Angurugu

Emo bumped into a kangaroo who ...

was sheltering out of the heat of the day

And made the mistake of just saying ‘g’day’.

 

‘G’day?’ muttered Emo, ‘A good day it’s not!’

I’ve walked forty miles and the sand is too hot

I hate this warm weather,’ said Emo morosely

I should watch the evening forecast more closely

 

‘I hate the outback and its endless blue skies

I hate all the dust and I hate all the flies.

I don’t like this hear and I don’t like Australia

I’m Emo the Emu, the world’s biggest failure!’

illustrated Lucia Masciullo

illustrated Lucia Masciullo

 

The kangaroo snorted, ‘Hey buck up there, matey,

A pleasure to meet you, my friends call me Katie.

I doubt you’re a failure, I doubt you’re so bad

I just think that Emo the Emu is sad

 

I’ve noticed you use the word ‘hate’ quite a lot

Well how ‘bout we ditch it and give ‘like’ a shot?

And as for Australia, you surely can’t mean it?

You must not have travelled and properly seen it.’

 

Katie the Kanga, she jumped with elation

‘What’s say we travel around the whole nation!

By foot or by car or by truck or by bike

Until you admit that there’s something you like.’

 

Emo the Emu - he tried to say ‘no’

But Katie the Kanga convinced him to go

The first place they stopped was the rock Uluru

That grumbling bird and that red kangaroo

‘Isn’t it truly, divinely superb?’

Said Katie the Kanga to Emo the bird

Emo just shrugged and stared down at his toes

‘I guess it’s alright, yeah, it’s okay I s’pose.’

 

They headed off east through the rich Darling Downs

And sat on verandahs in quaint country towns

When they reached Townsville they donned swimmers masks

And swam with the coral the fish and the sharks.

‘You must surely love it, or my name’s not Kate’

Admit that the Barrier Reef is just great.’

Emo just shrugged as he picked at his nose

‘I guess it’s alright, yeah, it’s okay I s’pose.’

 

They journeyed to Sydney, that city of lights

That city that hums through the days and the nights

They sailed Sydney Harbour and boarded the ferry

And Katie said, ‘Matey how extraordinary!’

‘The beach out at Bondi, the Sails and the Bridge

Don’t you think Sydney is just ridgey didge?’

 

Emo the Emu was hard to impress

‘I s’pose it’s alright, yeah, it’s okay I guess.’

 

They trekked the high country, with brumbies and snow

Then shot down to Melbourne to take in a show

The famed Twelve Apostles,’ said Kangaroo Kate,

‘But don’t count too closely - you’ll only find eight.’

Emo the Emu looked down at his socks

‘I guess they’re alright, yeah, they’re okay for rocks.’

 

They paddled the river in Tassie’s South West

A wilderness up there amongst the world’s best.

From towering headlands they saw a Great White

Cruising the coast of the Great Aussie Bight

‘Look at this coastline, the view from these cliffs.

Admit that you like it, no buts and no ifs!’

Emo the Emu breathed in the salt air

‘I guess it’s all right, um, are we nearly there?’

 

They did the last bit in an old camper trailer

The long rugged coastline of Western Australia

From Perth and the karri trees down in the south,

To open cut mines with their open cut mouths

‘Isn’t this lovely, oh dark prince of gloom?’

The kangaroo said as they pulled up in Broome.

Emo the Emu, just furrowed his brow

‘I think that I’m ready to head for home now.’

 

On the wild grassy plains west of old Humpty Doo

Emo caught up with his mob of emu

Including his mother and father and brothers

And sisters and cousins and aunties and others

‘Come here!’ shouted Emo, ‘Come here and meet Katie!’

We saw the whole country, did me and my matey

‘I liked it down south and I liked it out west

Sit down and I’ll tell you the bits I liked best

I liked it up north and I liked it out east

I can’t even think of the bits I liked least’

 

‘He said the word “like,” whispered Emo’s stunned mother

‘He said the world ‘like’’ said the birds to each other.

He said the word ‘like’ said the Kangaroo Kate

‘He said the word ‘like’ where he once would say ‘hate’.

 

With stars spreading wide over Humpty Doo skies

Katie and Emo they said their goodbyes

‘I had a good trip,’ said the smiling emu

I had a good trip and I hope you did too.’

‘Kinda I guess,’ Katie joked to her friend

‘Sorta quite good, in a way, by the end.’

 

This poem was edited and published as a picture book. You can purchase Emo the Emu here





Source: http://tonywilson.com.au/books/emo-the-emu

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In READING Tags EMO THE EMU, AIREYS INLET, LITERARY FESTIVAL, RHYME, CHILDREN'S LITERATURE, TONY WILSON, FESTIVAL OF WORDS, AUSTRALIANA, AUSTRALIA
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Tony Wilson: 'Each Peach Pear Figs', Ode to CBCA shortlist - 2015

September 30, 2015

21 August, 2015, Melbourne Town Hall, Melbourne, Australia

What a day we have in store. Across the country we have nervous short-listees, hovered over the CBCA website, pressing refresh over and over with terrified hope. There are some in that category here at the Melbourne Town Hall, eyes glazed over, willing me to get on with it so that this wash of words may end, and their fates may be determined.

Well I’ve got good news and bad news. The good news is that this wash of words will eventually end. The bad news is that in order to set the mood for all of us who aren’t on the short list, I’ve got a little CBCA awards inspired picture book manuscript I want to trial. They are plenty of publishers in the room, and I’m sure once they get an earful of this, it’s going to be mega four figure advances and whispered promises of up to 3.5% royalties!  Bring on the underbidding war folks.

The title of this work is ‘Each Peach Pear Figs’ - and if I’m honest, it does have a progenitor somewhere out there in the children’s book world. 

Each Peach Pear Figs

I spy Karen Briggs

Karen Briggs left and right

I spy Scary Night

Scary Night, Stephen King

Judith Rossell, Withering

By the sea, lovely Stella

I spy Trace Balla

Trace Balla’s Rivertime

I spy an easy rhyme

Easy rhyme coming atcha

I spy Robin Cowcher

Robin Cowcher, so awesome

Snip Green’s Douglas Mawson

Ambelin

Kwaymullina

Girl that’s lost

Have you seen her?

This rhyme gets longer

I spy Christine Bongers

Christine Bongers in the hood

I spy Freya Blackwood

Freya Blackwood who can best her?

I spy A Lester

Noni heading for the beach

Longer now than Each, Peach

Bruce Whatley, Jackie French

Meetzenthen, he’s a mensch

Stone Lion, Margaret Wild

Loved by every child

Bill Condon, Simple Things

He also often wins

Snail and Turtle Still Friends

Stephen Michael King again

Tony Wilson and his Cow

Self promoting, out now

Aaron Blabey’s Pug is Piggy

I spy brave Figgy.

Brave Figgy in the world

I spy Cinammin Girl

Winners will give thanks

Will it be Tristian Bancks?

Two Wolves out hunting

They spy baby bunting

Baby bunting torn apart

Each, Peach, rated R

Bleak boy in the rain

Libby Gleeson’s name again!

Books on war - not so cheery

One by Michael Camilleri

Older readers, teenage cares

I spy two Claires

Two Claires, both respected

I spy The Protected

Other Claire, and her Nona

Both deserve sticker honour

Can The Minnow win the day?

Hashtag Love - OzYA

Jesse get the eff to sleep

I spy the ... Green Sheep

Green Sheep by the door

Here since 2004

Who was huge even then?

I spy Robert Ingpen

Robert Ingpen, Enid Blyton

Enid Blyton rhymes with Crichton

Crichton Medal, illustration

Draw the face that stops the nation

Children’s books, special day

C-B-C-A

Each peach, pear, plum

Good luck, everyone.

Source: http://tonywilson.com.au/each-peach-pear-f...

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Kim Kane: Launch of 'The Cow Tripped Over the Moon' by Tony Wilson, ill Laura Wood - 2015

September 15, 2015

7 June, 2015, The Little Bookroom, North Carlton, Melbourne, Australia

Good afternoon!

Hey Diddle Diddle is 250 years old. It’s actually its anniversary this year. The rhyme was first published in Mother Goose in 1765 (although there are possibly earlier references to it).

A quick wiki search discloses that there are many theories including that it:
– describes the flight from Egypt;
– depicts the relationship between Elizabeth lady Katherine Grey and the earls of Hertford and Leicester; and
– deals with anti-clerical feelings over injunctions by Catholic priests for harder work.

Does that make any sense? What do you think kids?
[Answer] No!

Well that is perfect because most scholars think the verse is probably just nonsense – just plain silly fun.

So Tony has taken this fabulous nonsensical rhyme with its cat, a fiddle, a cow, a moon, a dog, and a saucy dish and a spoon and made it very much his own and I am here today to launch it.

Kids, stay with me because I have a few words to say which may be a little bit boring or possibly A LOT boring but I think it’s important to say them if we are to take picture books as seriously as they ought to be taken, for there is a tremendous amount of craft behind a successful picture book and this is indeed a successful book.

Picture books are an artful form. They are often done, but rarely done well. They rely on so many factors.

The language needs to be rich.

Unlike early readers, picture books give authors the opportunity to exercise their vocabularies – we writers get greater editorial freedom. This book is fun and it is funny in much the same way as Dahl’s Revolting Rhymes is funny, but like Dahl in his more reflective writing, it is also lyrical. Tony takes us back to the ‘scene of the rhyme’ and tells us that ‘the grass smelled like morning’ (isn’t that evocative?!). Because Tony is amusing, people forget the ‘great lug’ can also be poetic. It is this poeticism that makes Tony such a terrific writer.

If it’s a rhyme, the rhyme can’t be superfluous and it needs to well…rhyme!
This does. The meter is as consistent and the rhyme as effortless as that of Julia Donaldson. The rhyme is clever but it never makes the reader feel Tony is indulging an adult audience or including random facts just to incorporate two rhyming words.

The story must be well-paced
I love the way Tony has included 8 attempts at the moon jump – the double page silent-spread builds tension before the final crescendo as the cow tries for that last jump. Tony uses his rhyme to masterfully control the tempo of the story – indeed the reader slows and takes a big breath with the cow just before final takeoff.

Picture books need a perfect and satisfying end.
In this regard, picture books are much like short films and like short films, a number are let down by their endings. Tony is an elegant plotter and structurally this book is 32-page perfection. The return to the riddle at the conclusion delivers a punch-line that fully satiates the reader.

The illustrations have to be appropriate – they have to suit the tone of the story.

What a wonderful job Laura Wood has done here – her funny comic drawings are expressive and fun and she works tremendously hard with a very limited palette. Look at the gorgeous end papers – fields. But not only fields, fields by night. The other thing I love about Laura’s illustration is that they have their own narrative, supplementing the main story. Tony doesn’t tell us why the dish runs off with the spoon – it is perhaps another tale, but we certainly get hints of a blossoming relationship from Laura’s drawings.

Finally, I think picture books need to leave us with something.

By this I don’t mean bludgeon us with a lesson – I hate didactic books – but there does need to be something – no matter how tiny, that children can take from it. There is so much of my friend Tony in this book. I mean the man has taken a nursery rhyme and literally turned it into an Olympic sport. There is the Tony who never gives up. The Tony with unbridled grit who tried and tried to play league football. There is the Tony who for all his athleticism can also be a bit unco – a man who may indeed have tripped over his size 13 feet right up and over the moon. It is at its core, motivational fiction for children – the spoon hummed a tune, He called ‘Cow CAN Jump Moon’. This is a writer who went along to all his articled clerk interviews channeling Maria from the Sound of Music, literally singing:

I have confidence in confidence alone
Besides which you see I have confidence in me!

It is a tale of friendship written by someone who values his friends and knows how critical group support is — to play on a footy team, to study for a Con & Admin exam or to hack a photocopier to pieces with 20 of his fellow articled clerks. But finally, this is a story written by a father who looks at his gorgeous and gutsy son Jack who has to try so much harder to do things we all take utterly for granted. Like my friend Tony, this book is funny, but perhaps more importantly, it also has heart.

I was reading about a font that has been invented by a graphic designer with dyslexia. A font tweaked ever so slightly – with letters thickened in places so that it is easier for many people with learning disabilities to actually read. Such a simple idea but an idea that resonated because sometimes it is when we take something that is right in front of our nose and re-work it in a clever and different way, that the results can be most inspired. Like taking a riddle we all know as well as Vegemite on toast and completely re-imagining it.

It took the cow in Tony’s story 8 attempts to get over the moon. It is serendipitous that this is Tony’s 8th picture book. And like the cow, I’m quite convinced that it will be on Tony’s 8th attempt that he will reach dazzling heights. May it launch into at least 8 jurisdictions with the gusto of the cow on that final double spread, and we can all watch on as contentedly as the little dog Rover.

I am going to finish with my sons because they are among the intended target demographic for today.
‘This is a great book,’ I said this morning.
‘No, Mummy it’s not just a great book, it’s a very very funny book.’
In our household, there is no greater compliment.

‘Cow Tripped Over the Moon.’ I proclaim you duly launched. Reach for the Moon!

To purchase, click on cover

To purchase, click on cover

Source: http://tonywilson.com.au/cow-launched-wher...

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In BOOKS Tags KIM KANE, TONY WILSON, PICTURE BOOKS, AUTHOR, CHILDREN'S LITERATURE
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Olivia Colman: 'Done that bit. I think I have done that bit', BAFTA acceptance, Leading Actress - 2019
Olivia Colman: 'Done that bit. I think I have done that bit', BAFTA acceptance, Leading Actress - 2019
Axel Scheffler: 'The book wasn't called 'No Room on the Broom!', Illustrator of the Year, British Book Awards - 2018
Axel Scheffler: 'The book wasn't called 'No Room on the Broom!', Illustrator of the Year, British Book Awards - 2018
Tina Fey: 'Only in comedy is an obedient white girl from the suburbs a diversity candidate', Kennedy Center Mark Twain Award -  2010
Tina Fey: 'Only in comedy is an obedient white girl from the suburbs a diversity candidate', Kennedy Center Mark Twain Award - 2010

Featured Debates

Featured
Sacha Baron Cohen: 'Just think what Goebbels might have done with Facebook', Anti Defamation League Leadership Award - 2019
Sacha Baron Cohen: 'Just think what Goebbels might have done with Facebook', Anti Defamation League Leadership Award - 2019
Greta Thunberg: 'How dare you', UN Climate Action Summit - 2019
Greta Thunberg: 'How dare you', UN Climate Action Summit - 2019
Charlie Munger: 'The Psychology of Human Misjudgment', Harvard University - 1995
Charlie Munger: 'The Psychology of Human Misjudgment', Harvard University - 1995
Lawrence O'Donnell: 'The original sin of this country is that we invaders shot and murdered our way across the land killing every Native American that we could', The Last Word, 'Dakota' - 2016
Lawrence O'Donnell: 'The original sin of this country is that we invaders shot and murdered our way across the land killing every Native American that we could', The Last Word, 'Dakota' - 2016