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The Australian remake of The Office has the potential to be great - if the writers remember how unique our humour is

<a href="https://theconversation.com/profiles/philippa-burne-158735">Philippa Burne</a>, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a> Twenty-two years after the original UK television series The Office was released, and 18 years after the highly successful US remake (2005-2013), Australia is getting its own version of The Office. This will be the 14th remake of the concept by Ricky Gervais, which has included adaptations in Chile, France, Finland, India, Israel, Saudi Arabia, Germany and other countries. It’s an interesting move by Prime Video when there are already two highly rewatched English language versions available – highlighting the ongoing relevance of the workplace comedy. It also speaks to the relative safety of remaking a known series concept rather than an original, in a time of expensive television production. Starting from an idea that has already proven hugely popular with audiences worldwide can seem to minimise the financial risk of making a new TV show – if it’s done right. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/532534/original/file-20230619-24-2hzcfa.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/532534/original/file-20230619-24-2hzcfa.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/532534/original/file-20230619-24-2hzcfa.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=338&fit=crop&dpr=1 600w, https://images.theconversation.com/files/532534/original/file-20230619-24-2hzcfa.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=338&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/532534/original/file-20230619-24-2hzcfa.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=338&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/532534/original/file-20230619-24-2hzcfa.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=424&fit=crop&dpr=1 754w, https://images.theconversation.com/files/532534/original/file-20230619-24-2hzcfa.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=424&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/532534/original/file-20230619-24-2hzcfa.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=424&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>Comedian and actor Felicity Ward will star in The Office Australia, which will start on Amazon Prime in 2024. Prime</figcaption></figure> <h2>A history of remakes</h2> There has been a long history of remakes on television. <a href="https://www.imdb.com/title/tt0805669/?ref_=nv_sr_srsg_0_tt_7_nm_1_q_Ugly%2520Betty">Ugly Betty</a> (as it is known in the US version) is one of the most recognised. Originally a Colombian telenovela, <a href="https://www.imdb.com/title/tt0233127/">Yo Soy Betty, la Fea</a> (1999-2001), the concept has been remade in other languages around 20 times to date. Other versions include Na Daj Se, Nina (Croatia, 2007-2008) and Lotte (The Netherlands, 2006-2007), both of which I worked on adapting from the Colombian original. <figure><iframe src="https://www.youtube.com/embed/1zP7Uiiiqhc?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Australian television concepts from the 1970s and 1980s travelled remarkably well. <a href="https://www.imdb.com/title/tt0081935/?ref_=fn_al_tt_1">Sons and Daughters</a> has versions in Germany (Verboten Liebe, 1995-2015) and Croatia, (Zabranjena Ljubav, 2004-2008). The Australian classic <a href="https://www.imdb.com/title/tt0077064/?ref_=nv_sr_srsg_3_tt_8_nm_0_q_Prisoner">Prisoner</a> became the highly popular Hinter Gittern (1997-2007) in Germany. And long-running soap opera <a href="https://www.imdb.com/title/tt0088580/?ref_=nv_sr_srsg_0_tt_7_nm_1_q_neighbours">Neighbours</a> has been the basis of shows in Poland, Sweden and Slovakia. A common factor in all of these is the internationally successful Grundy Television and creator Reg Watson. <figure><iframe src="https://www.youtube.com/embed/-IGHPsaYDMw?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> What Grundy Television realised and honed was that to give an international remake the best chance of success, writers and producers need to be willing to pull a series back to its foundational concept – such as twins separated at birth meet and fall in love, a women’s prison, neighbours becoming good friends – and then to build culturally informed stories and characters from that. Localising is not just changing a few small details, it requires driving characters and stories from <a href="https://theconversation.com/bluey-was-edited-for-american-viewers-but-global-audiences-deserve-to-see-all-of-us-188982">deep within a local culture</a> and storytelling tradition. It requires a deep commitment to developing a show as if it was a new idea, even if it is based on an existing series. Audiences are savvy and want nuance, history, politics, issues. Recently, many international dramas have formed the basis for successful US shows, such as Israel’s Prisoners of War (2010-2012) becoming Homeland (Showtime, 2011-2020), and the Danish/Swedish Noir series The Bridge (2011-2018) spawning The Bridge (US/Mexico), as well as The Tunnel (UK/France), The Bridge (Russia/Estonia), The Bridge (Malaysia/Singapore), Der Pass (Germany/Austria) and Gefyra (Greece/Turkey). These shows incorporated a deep socio-political angle within the familiar thriller or crime genre, giving audiences a new depth and breadth to the stories. <figure><iframe src="https://www.youtube.com/embed/y9Nln23PaOc?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Mistakes and flops</h2> Less successful have been US attempts to remake Australian comedies such as <a href="https://theconversation.com/noice-different-unusual-watching-kath-and-kim-as-a-locked-down-historian-166261">Kath & Kim</a> (2008-2009) and dramas such as The Slap (2015). Perhaps their Australian contexts, social mores and comedy did not translate – or were not translated well. Reviewers said of the American Kath and Kim that the humour was unfunny, the characters unlikeable and unrelatable. Variety’s Brian Lowry said, “If this was a major hit in Australia,” he said, “then <a href="https://www.theage.com.au/entertainment/us-take-on-kath-and-kim-fails-to-amuse-tv-critics-20080928-ge7exo.html">something has been seriously lost in translation</a>.” <figure><iframe src="https://www.youtube.com/embed/DE-FepzzYQA?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Ironically, one of the greatest mistakes screenwriters make is sticking too closely to the original. No matter how popular it was, how good the writing is, how funny the jokes are, translating scripts very rarely works due to cultural differences in humour, socio-economic circumstances and workplace politics. The Dutch version of the Yo Soy Betty, la Fea began shooting Dutch translations of Colombian scripts: the production shut down one week in as it became clear that none of the circumstances, relationships, tone, rhythm or humour made sense in a Dutch context. That’s when I was brought in to work with the Dutch writers to completely redevelop the show for the local context. (I brought television storytelling experience and relied on the Dutch writers for character specifics, local stories, cultural specificities, etc.) <h2>An Office in Australia?</h2> The Office Australia might seem a simple prospect, given there have been two preceding series in English. Plus, culturally, Australia has been well-informed of and by the UK and US. What could possibly go wrong? Humour and social mores will have changed: the world is a very different place in 2023 compared to 2001. Many of David Brent’s 2001 exploits and jokes would see him quickly fired by any 2023 risk-averse company no matter how apathetic and downtrodden his staff might be. Also when The Office came out, mockumentary felt fresh to television, now we’ve had Parks and Recreation, Modern Family, and our own The Games and Utopia. Plus, of course, we’ve had reality TV shows where things quickly spiral beyond any inappropriate awkwardness The Office ever came up with – think about Vanderpump Rules or Selling Sunset. <figure><iframe src="https://www.youtube.com/embed/KbA_5cATgAU?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Australia is different to the UK and the US, in the way we live, work, joke, date and play. Australian comedy has a different rhythm, pace and flavour to that of anywhere else. One of the most important things a good adaptation understands is that specificity is key. For instance, the character Gareth/Dwight is less likely to be territorial army or army reserve and more Steve Irwin; an office party probably involves backyard cricket not bowling alleys. This provides a great opportunity to add a fresh edge to familiar characters, plus a cultural specificity intriguing to international audiences. <figure><iframe src="https://www.youtube.com/embed/8GxqvnQyaxs?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> For example, the US adaptation Ugly Betty brought in the story of Betty’s family’s immigration issues, highlighting a relatable problem for many immigrant Americans and deepening the difference in class, power and privilege between Betty and the other characters in her workplace. The Office Australia is making one major change from the UK and US versions: the office boss is a woman, Hannah Howard (played by Felicity Ward). This is a potentially brilliant, timely change, which will differentiate it as a series. But beware the scriptwriter who thinks you can simply swap a gender and keep all the traits, insecurities, worries, jokes and dynamics the same. There’s the potential for wonderfully rich, new comedy material – if the writers and producers are willing to pull The Office apart, go back to its key concept, characters, themes and its story engine – and then rebuild it, for a new time, place and gender. The Office Australia launches in 2024 into 240 countries and territories. It will be interesting to see if they understand us. And whether we understand ourselves well enough to make a compelling new version of this popular show.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/207614/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/philippa-burne-158735">Philippa Burne</a>, Lecturer, BFA Screenwriting, Victorian College of the Arts, University of Melbourne, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a> Image credits: Netflix This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/the-australian-remake-of-the-office-has-the-potential-to-be-great-if-the-writers-remember-how-unique-our-humour-is-207614">original article</a>.

Why you should encourage your grandchildren to write stories

In an article published in <a href="https://www.jstor.org/stable/41405103" target="_blank" rel="noopener">Language Arts</a>, educators who were interested in encouraging children to write were asked why it was important for children to be encouraged to write. Their reasons were varied and interesting, and worth considering for anyone who has a young child in their life – let’s take a look at some: 1. To entertain As humans, we tell stories for many reasons, but perhaps the foremost reason is that we want to entertain one another. By encouraging children to write their own stories, they can discover what entertains them, as well as what entertains others – well-told, engaging stories. 2. To stimulate the imagination By creating from nothing a story full of characters and original plots, a child’s imagination grows and develops. 3. To search for identity When children write their own stories, they can use the conflict and characters to take their first steps on their search for identity. The power simple stories can have on a child’s self-development is remarkable. 4. To improve reading and writing skills Children need to read and write, so we may as well find a way to make it more interesting for them. Not only will writing help kids learn how to read, it can also help them understand literary devices (suspense, twist, dramatic irony, etc.), and grammatical structures. Now that we’ve explored some of the reasons creativity in writing in our kids, let’s find some ways to help get them started: 5. Inspiration exploration When you’re spending time with your grandchildren, make a game out of looking for fun story inspirations. Interesting newspaper headlines, a unique-looking house, a colouring-in book. You could even keep a box full of story inspirations to explore together with your grandchildren. 6. Unblank the page Anyone who has ever sat down to write knows there’s nothing more intimidating than a blank page. To help kids out, try giving them the opening line to a story. You can create these yourself, find a list of opening lines on the internet, or even borrow the opening line of a book on your own shelf. 7. Work all of the mind If you find that your grandchildren have difficulty focusing on just words, encourage them to explore other aspects of their own creativity by using visuals. Storyboards, illustrations, or even writing the story as a comic book can help stimulate storytelling. Image credit: Shutterstock

Family & Pets

"You're The Voice" writer dies aged 76

Songwriting legend Keith Reid has died aged 76. Reid was the lyricist for British rock band Procol Harum and co-wrote John Farnham’s greatest hit, You’re The Voice. The news of Reid’s death comes after Farnham was rushed to hospital with a respiratory infection several months after undergoing surgery to remove a tumour. Reid was behind You’re The Voice alongside co-writers Andy Qunta, Maggie Ryder and Chris Thomspon in 1986. The song reached number one in the charts in Australia and peaked at number six in the UK. The song is one of the most loved and iconic rock anthems in Australian music history. British rockers Procol Harum confirmed Reid had passed in a statement on Facebook. “It is with the deepest sadness that we must announce the passing of the lyricist Keith Reid, who died suddenly on 23 March 2023, in hospital in London. He had been receiving cancer treatment for the past couple of years,” the band said. “Keith was the co-founder and lyricist for the band Procol Harum, notably penning their biggest hit A Whiter Shade of Pale, which contains some of the most enigmatic lyrics of all time. “He always said that, at the end of his life, he would explain what it all meant: but sadly he didn’t get this opportunity. “Keith was also involved in numerous other projects within entertainment, and was a co-writer on what became known as the unofficial Australian anthem You’re the Voice, sung by John Farnham. “His family would like to thank numerous well-wishers for their very kind messages. A private funeral will be held, and this page will be updated soon with details for those who would like to make a donation in his memory. Keith will be greatly missed.” Farnham’s family have shared that the Aussie icon, 73, is in hospital being treated for a respiratory condition. “But he is comfortable and receiving the best care,” the statement from his wife Jill Farnham said. “John continues his recovery following last year’s successful surgery. He’s always been a strong and determined person with everything he’s ever done and we are all so very proud of him. “He is responding well to the specialist care he’s receiving. “The family would like to reiterate their appreciation for all the medical staff that have attended to John over the past six months, and for all the kind messages that have been received from across Australia and the world.” Image credit: Facebook

News

"Time moves like a river": Heartbreaking final words of Aussie writer taken too young

Natalie Fornasier has passed away at the age of 28 following a years-long battle with metastatic melanoma cancer. The Sydney Morning Herald confirmed the news with an obituary on January 28, announcing that Natalie had died on January 14. “Beloved Wife of Alexander,” the obituary read, “much loved Sister of Alex, loving daughter of Peter & Lorena. Adored daughter-in-law of Kirsten. She will be dearly missed by her grandparents, aunties, uncles, cousins, Natalie’s German family & devoted ‘Little Helpers’.” Natalie received her first diagnosis when she was 20 years old after spotting a large mole on her toe, and was informed that she had Stage III metastatic melanoma. In December, Natalie shared the news with her followers that her condition had progressed to Stage IV. “At the end of July, I received the news that my cancer was now terminal and had months left to live,” she wrote. “It’s not easy to admit that I’m dying. At 28 years old… everything about it feels wrong. The conversations I’ve had to have, the plans I’ve had to make, the places my thoughts have gone and are still going - none of it is natural. It’s painful,” she went on, “for four months I’ve grappled with sharing this news. “But I'm here now, and that's because I want to take back control over my own agency. I am the one telling my story, as I always have. There are so many things in my life I can’t control but this I can.” <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/Cl57HVJPnE8/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/Cl57HVJPnE8/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Natalie Fornasier (@nataliefornasier)</a> </div> </blockquote> Natalie wrote of her husband, Alexander, and the love the two shared, telling her audience, “my one goal in life was to love. I’ve experienced a love that is all consuming - something so deeply precious and powerful and soul changing that I know that even though I’m leaving this earth, that energy and love will never die. Alexander and I have grieved together, and he has shared so many ways of how he will keep me in his life, which brings me peace as I face the unknown. But know this, no matter where I am, I’ll still be here – in some way.” The couple were married in a “secret” ceremony on November 26, as Natalie revealed in a new post two days later. On December 21, four days before Christmas, Natalie shared her final update with supporters. She passed away less than one month after. <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/CmaQzRuha8V/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CmaQzRuha8V/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Natalie Fornasier (@nataliefornasier)</a> </div> </blockquote> “Today marks four weeks in palliative care. It’s absurd it’s been that long - time is so fluid, it feels like none has gone by but the calendar says otherwise,” she said, going on to write of how she missed her home and her experience with palliative care. “It’s one minute at a time for me right now - and I’m so thankful that, that is still a possibility. If my time here has taught me anything - it’s that time moves like a river. You’re unable to see the beginning or the end but you can feel it - so you better make the most of it. Even if that means napping next to your loved one for hours so long as you’re together.” Images: Instagram

Caring

Literary travels – destinations made famous by your favourite writers

Great writers have the ability to make a destination jump off the page. Here are five places made famous by great writers where you can step into the pages of your favourite book. Myanmar During the 1920s and 30s Burma (as it was called then) was a hub for the most famous writers in the world. George Orwell, Rudyard Kipling and Somerset Maugham all lived here and the capital Yangon (Rangoon) was a buzzing party town and the most beautiful capital in the British Empire. Much has changed in modern day Myanmar, but travellers can still spend the night in the famous Strand hotel where Kipling used to write or travel up the Ayeyarwady River stopping at the small towns that Orwell made famous in Burmese Days. Bali In 2006 Elizabeth Gilbert chronicled the breakdown of her marriage and her own recovery in the novel Eat Pray Love. After stints in Italy (eating) and India (praying), Gilbert set up camp in Ubud in the lush green hills of Bali to find a balance of the two – and ultimately found love. The book and subsequent film have brought a huge influx of travellers to Ubud, but it is still a quiet region of rice paddies, ancient Hindu temples and roadside stalls – though there is now a healthy dose of art galleries, small bars and boutiques added to the mix. Check into a villa and let the soul soothing begin. St Petersburg St Petersburg has been the inspiration for novelists from Russian greats like Tolstoy and Dostoevsky through to The Bronze Horseman trilogy by Paullina Simons. During the city’s famed white nights (a period from May to July where the sun barely sets and the city experiences near constant daylight) you can practically see Anna Karenina dashing through the streets in her finest. Russia is also home to more literary museums than any other country in the world and in St Petersburg you can visit the Dostoevsky museum in the apartment where he wrote The Brothers Karamazov or the National Pushkin Museum dedicated to Russia’s favourite poet. Dublin Dublin is one of only six UNESCO Literary Cities in the world, which is not surprising when you consider it’s the birthplace of James Joyce, Oscar Wilde and WB Yeats. Joyce’s Ulysses follows a day in the life of three Dubliners and fans can now take a self-guided walking tour around the city visiting the places mentioned in the book (there’s even a virtual tour online if you’re more of an armchair traveller). Visit the Dublin Writers Museum to learn about the city’s great literary history or head to Trinity College to see the legendary Book of Kells, an illuminated gospel manuscript dating from 800AD. Cuba To think of Cuba is to think of Ernest Hemingway; sitting at a bar, mojito in hand, cigar clamped firmly between his teeth. Papa, as he was known, lived in Cuba for more than 20 years and it was the setting for his last major fiction book, the Pulitzer Prize winning The Old Man and the Sea. The small fishing village of Cojimar, where Hemingway used to dock his boat, was the inspiration for the book and the old man is said to be based on Cojimar local Gregorio Fuentes. The village is largely unchanged, with narrow streets and a picturesque seafront – though expect to find a few tour buses stopped for photos by the bust of Hemingway. Image credits: Getty Images

Travel Tips

How Bob Dylan used the ancient practice of ‘imitatio’ to craft some of the most original songs of his time

Over the course of six decades, Bob Dylan steadily brought together popular music and poetic excellence. Yet the guardians of literary culture have only rarely accepted Dylan’s legitimacy. His <a href="https://www.nytimes.com/2016/10/14/arts/music/bob-dylan-nobel-prize-literature.html">2016 Nobel Prize in Literature</a> undermined his outsider status, challenging scholars, fans and critics to think of Dylan as an integral part of international literary heritage. My new book, “<a href="https://www.amazon.com/No-One-Meet-Imitation-Originality/dp/0817321411">No One to Meet: Imitation and Originality in the Songs of Bob Dylan</a>,” takes this challenge seriously and places Dylan within a literary tradition that extends all the way back to the ancients. <a href="https://english.umbc.edu/core-faculty/raphael-falco/">I am a professor of early modern literature</a>, with a special interest in the Renaissance. But I am also a longtime Dylan enthusiast and the co-editor of the open-access <a href="https://thedylanreview.org/">Dylan Review</a>, the only scholarly journal on Bob Dylan. After teaching and <a href="https://www.researchgate.net/profile/Raphael-Falco">writing about</a> early modern poetry for 30 years, I couldn’t help but recognize a similarity between the way Dylan composes his songs and the ancient practice known as “<a href="http://www.artandpopularculture.com/Dionysian_imitatio">imitatio</a>.” <h2>Poetic honey-making</h2> Although the Latin word imitatio would translate to “imitation” in English, it doesn’t mean simply producing a mirror image of something. The term instead describes a practice or a methodology of composing poetry. The classical author Seneca <a href="https://en.wikisource.org/wiki/Moral_letters_to_Lucilius/Letter_84">used bees</a> as a metaphor for writing poetry using imitatio. Just as a bee samples and digests the nectar from a whole field of flowers to produce a new kind of honey – which is part flower and part bee – a poet produces a poem by sampling and digesting the best authors of the past. Dylan’s imitations follow this pattern: His best work is always part flower, part Dylan. Consider a song like “<a href="https://www.bobdylan.com/songs/hard-rains-gonna-fall/">A Hard Rain’s A-Gonna Fall</a>.” To write it, Dylan repurposed the familiar Old English ballad “<a href="https://www.poetrybyheart.org.uk/poems/lord-randall/">Lord Randal</a>,” retaining the call-and-response framework. In the original, a worried mother asks, “O where ha’ you been, Lord Randal, my son? / And where ha’ you been, my handsome young man?” and her son tells of being poisoned by his true love. In Dylan’s version, the nominal son responds to the same questions with a brilliant mixture of public and private experiences, conjuring violent images such as a newborn baby surrounded by wolves, black branches dripping blood, the broken tongues of a thousand talkers and pellets poisoning the water. At the end, a young girl hands the speaker – a son in name only – a rainbow, and he promises to know his song well before he’ll stand on the mountain to sing it. “A Hard Rain’s A-Gonna Fall” resounds with the original Old English ballad, which would have been very familiar to Dylan’s original audiences of Greenwich Village folk singers. He first sang the song in 1962 at <a href="https://bedfordandbowery.com/2016/12/the-story-of-the-gaslight-cafe-where-dylan-premiered-a-hard-rains-a-gonna-fall/">the Gaslight Cafe</a> on MacDougal Street, a hangout of folk revival stalwarts. To their ears, Dylan’s indictment of American culture – its racism, militarism and reckless destruction of the environment – would have echoed that poisoning in the earlier poem and added force to the repurposed lyrics. <h2>Drawing from the source</h2> Because Dylan “samples and digests” songs from the past, <a href="https://thedylanreview.org/2022/08/04/interview-with-scott-warmuth/">he has been accused of plagiarism</a>. This charge underestimates Dylan’s complex creative process, which closely resembles that of early modern poets who had a different concept of originality – a concept Dylan intuitively understands. For Renaissance authors, “originality” meant not creating something out of nothing, but <a href="https://www.google.com/books/edition/Origin_and_Originality_in_Renaissance_Li/1OmCQgAACAAJ?hl=en">going back to what had come before</a>. They literally returned to the “origin.” Writers first searched outside themselves to find models to imitate, and then they transformed what they imitated – that is, what they found, sampled and digested – into something new. Achieving originality depended on the successful imitation and repurposing of an admired author from a much earlier era. They did not imitate each other, or contemporary authors from a different national tradition. Instead, they found their models among authors and works from earlier centuries. In his book “<a href="https://archive.org/details/lightintroyimita0000gree/page/n5/mode/2up">The Light in Troy</a>,” literary scholar Thomas Greene points to a 1513 letter written by poet Pietro Bembo to Giovanfrancesco Pico della Mirandola. “Imitation,” Bembo writes, “since it is wholly concerned with a model, must be drawn from the model … the activity of imitating is nothing other than translating the likeness of some other’s style into one’s own writings.” The act of translation was largely stylistic and involved a transformation of the model. <h2>Romantics devise a new definition of originality</h2> However, the Romantics of the late 18th century wished to change, and supersede, that understanding of poetic originality. For them, and the writers who came after them, creative originality meant going inside oneself to find a connection to nature. <a href="https://www.google.com/books/edition/Natural_Supernaturalism/-ygCZmrJ2E4C?hl=en&gbpv=1&dq=natural+supernaturalism&printsec=frontcover">As scholar of Romantic literature M.H. Abrams explains</a> in his renowned study “Natural Supernaturalism,” “the poet will proclaim how exquisitely an individual mind … is fitted to the external world, and the external world to the mind, and how the two in union are able to beget a new world.” Instead of the world wrought by imitating the ancients, the new Romantic theories envisioned the union of nature and the mind as the ideal creative process. Abrams quotes the 18th-century German Romantic <a href="https://plato.stanford.edu/entries/novalis/">Novalis</a>: “The higher philosophy is concerned with the marriage of Nature and Mind.” The Romantics believed that through this connection of nature and mind, poets would discover something new and produce an original creation. To borrow from past “original” models, rather than producing a supposedly new work or “new world,” could seem like theft, despite the fact, obvious to anyone paging through an anthology, that poets have always responded to one another and to earlier works. Unfortunately – as Dylan’s critics too often demonstrate – this bias favoring supposedly “natural” originality over imitation continues to color views of the creative process today. For six decades now, Dylan has turned that Romantic idea of originality on its head. With his own idiosyncratic method of composing songs and his creative reinvention of the Renaissance practice of imitatio, he has written and performed – yes, imitation functions in performance too – <a href="https://en.wikipedia.org/wiki/List_of_songs_written_by_Bob_Dylan">over 600 songs</a>, many of which are the most significant and most significantly original songs of his time. To me, there is a firm historical and theoretical rationale for what these audiences have long known – and the Nobel Prize committee made official in 2016 – that Bob Dylan is both a modern voice entirely unique and, at the same time, the product of ancient, time-honoured ways of practicing and thinking about creativity. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/how-bob-dylan-used-the-ancient-practice-of-imitatio-to-craft-some-of-the-most-original-songs-of-his-time-187052" target="_blank" rel="noopener">The Conversation</a>.

Music

The 5,000-year history of writer’s block

Ann Patchett, who has written eight novels and five books of nonfiction, says that when faced with writer’s block, sometimes it seems that the muse has “<a href="http://www.annpatchett.com/titles#/thisisthestoryofahappymarriage/" target="_blank" rel="noopener">gone out back for a smoke</a>.” It doesn’t matter whether you’re an award-winning novelist or a high schooler tasked with writing an essay for English class: The fear and frustration of writing doesn’t discriminate. My most recent book, “<a href="https://broadviewpress.com/product/a-writing-studies-primer/" target="_blank" rel="noopener">A Writing Studies Primer</a>,” includes a chapter on gods, goddesses and patron saints of writing. When conducting research, I was struck by how writers have consistently sought divine inspiration and intercession. It turns out that frustrated writers who pine for a muse or help from above are adhering to a 5,000-year-old tradition. <div data-id="17"> </div> <h2>The first writers look to the skies</h2> The first writing system, <a href="https://www.britannica.com/topic/cuneiform" target="_blank" rel="noopener">cuneiform</a>, arose in Sumer around 3200 BC to keep track of wheat, transactions, real estate and recipes. Scribes used clay tablets to record the information – think of them as early spreadsheets. Originally the Sumerian goddess of grain, <a href="https://www.worldhistory.org/Nisaba/" target="_blank" rel="noopener">Nisaba</a> became associated with writing. She was depicted holding a gold stylus and clay tablet. As it was common for people to adopt a god or goddess for their professions, a new class of scribes latched onto Nisaba. Practice tablets from <a href="https://www.jstor.org/stable/367648" target="_blank" rel="noopener">schools that trained young scribes</a> invoke her name – “Praise be to Nisaba!” Poets trumpeted her influence and <a href="https://twitter.com/anctxtmodtablet/status/1097890316458360832" target="_blank" rel="noopener">credited her for giving beautiful handwriting</a> to diligent students. Her Egyptian counterpart was <a href="https://ancientegyptonline.co.uk/seshat/" target="_blank" rel="noopener">Seshat</a>, whose name <a href="https://www.worldhistory.org/Seshat/" target="_blank" rel="noopener">translates to</a> “female scribe.” Identifiable by a stylized papyrus as her headdress and a stylus in her right hand, Seshat guided the reed pens of scribes as priests communicated with the divine. Writing was all about communicating with the gods, and the Greeks and Romans continued this tradition. They turned to the nine daughters of Zeus and Mnemosyne, known collectively as <a href="https://www.ancient-origins.net/myths-legends-europe/nine-muses-0013523" target="_blank" rel="noopener">the Muses</a>. Calliope stands out most notably, not only because a musical instrument was named after her, but also because she was considered the foremost of the sisters for her eloquence. The Muses <a href="https://www.wsj.com/articles/SB124242927020125473" target="_blank" rel="noopener">have since evolved</a> into one overarching “muse” that serves as a source of inspiration. <h2>Global gods and goddesses of writing</h2> Gods and other legendary figures of writing are not limited to Western civilization. In China, the historian Cangjie, who lived in the 27th century B.C., is said to have created the <a href="https://www.ewccenter.com/cangjie-and-the-invention-of-chinese-characters" target="_blank" rel="noopener">characters of the Chinese language</a>. Legend has it that he was inspired by the pattern of veins on a turtle. (Back then, the Chinese <a href="https://www.worldhistory.org/Oracle_Bones/" target="_blank" rel="noopener">often wrote on turtle shells</a>.) A <a href="https://www.newworldencyclopedia.org/entry/Fu_Xi" target="_blank" rel="noopener">competing story</a> says that cultural folk hero Fuxi and his sister Nüwa created the system of Chinese characters circa 2000 B.C. Yet it is Cangjie’s name that lives on in the Cangjie Input Method, which refers to the system that allows Chinese characters <a href="https://www.cangjieinput.com/?lang=en" target="_blank" rel="noopener">to be typed using a standard QWERTY keyboard</a>. In India, writers still invoke the elephant-headed Hindu god <a href="https://www.denverartmuseum.org/en/blog/ganesha-chathurthi-birth-elephant-headed-god" target="_blank" rel="noopener">Ganesha</a> <a href="https://www.thestatesman.com/features/common-writing-rooms-well-known-authors-lord-ganesh-1502544876.html" target="_blank" rel="noopener">before putting ink to paper</a>. Known as a remover of obstacles, Ganesha can be especially meaningful for those struggling with writer’s block. There’s also <a href="https://www.worldhistory.org/Sarasvati/" target="_blank" rel="noopener">Saraswati</a>, the Hindu goddess of learning and the arts, who’s renowned for her eloquence. In Mesoamerica, Mayan culture looked to <a href="https://www.britannica.com/topic/Itzamna" target="_blank" rel="noopener">Itzamná</a> as the deity who provided the pillars of civilization: writing, calendars, medicine and worship rituals. His depiction as a toothless and wise old man signaled that he was not to be feared, an important characteristic for someone promoting an anxiety-inducing process like writing. <h2>Enter the patron saints</h2> In Christianity, <a href="https://theconversation.com/who-are-patron-saints-and-why-do-catholics-venerate-them-148508" target="_blank" rel="noopener">patron saints</a> are exemplars or martyrs who serve as role models and heavenly advocates. Various groups – professions, people with a certain illness and even entire nations – will adopt a patron saint. Within the Catholic Church, a range of patron saints can serve as inspiration for writers. <a href="https://theconversation.com/st-brigid-the-compassionate-sensible-female-patron-saint-of-ireland-gets-a-lot-less-recognition-than-st-patrick-176659" target="_blank" rel="noopener">St. Brigid of Ireland</a>, who lived from 451 to 525, is the patron saint of printing presses and poets. A contemporary of the better-known <a href="https://theconversation.com/10-things-to-know-about-the-real-st-patrick-92253" target="_blank" rel="noopener">St. Patrick</a>, St. Brigid established a monastery for women, which included a school of art that became famous for its handwritten, decorative manuscripts, particularly the <a href="http://www.kildarearchsoc.ie/the-book-of-kildare/" target="_blank" rel="noopener">Book of Kildare</a>. Following St. Brigit in Ireland is St. Columba, who lived from 521 to 597 and founded the influential abbey at Iona, an island off the coast of Scotland. A renowned scholar, St. Columba transcribed over 300 books over the course of his life. The influence of patron saints dedicated to literacy – reading and writing – continued long after the Middle Ages. In 1912, the <a href="https://www.css.edu/" target="_blank" rel="noopener">College of Saint Scholastica</a> was founded in Minnesota in tribute to <a href="https://d.lib.rochester.edu/teams/text/whatley-saints-lives-in-middle-english-collections-life-of-st-scholastica-introduction" target="_blank" rel="noopener">Scholastica</a> (480-543), who with her twin brother, Benedict (died in 547), enjoyed discussing sacred texts. Both Italian patron saints came to be associated with books, reading and schooling. <h2>Objects charged with power</h2> Some writers may think supernatural figures seem a bit too far removed from the physical world. Fear not – there are magical objects that they can touch for inspiration and help, such as talismans. Derived from the ancient Greek word telein, which means to “fulfill,” it was an object that – like an amulet – protected the bearer and facilitated good fortune. Today, you can buy talismans drawn on ancient Celtic symbols that purport to help with the writing process. <a href="https://www.moonlightmysteries.com/pewter-talisman-for-poets-writers-and-actors/" target="_blank" rel="noopener">One vendor promises</a> “natural inspiration and assist in all of your writing endeavors.” Another supplier, <a href="https://www.magickalneeds.com/product/talisman-for-poets/" target="_blank" rel="noopener">Magickal Needs</a>, advertises a similar product that supposedly helps “one find the right word at the most opportune moment.” Others turn to crystals. A <a href="https://www.etsy.com/au/listing/831873886/healing-crystals-for-writers-writers" target="_blank" rel="noopener">writer’s block crystals gift set</a> available through Etsy offers agate, carnelian, tiger eye, citrine, amethyst and clear quartz crystals to help those struggling to formulate sentences. <h2>What makes a writer?</h2> What drove the creation of divine beings and objects that can inspire and intercede on the behalf of writers? To me, it’s no mystery why writers have sought divine intervention for 5,000 years. Sure, tallying counts of sheep or bushels of grain might seem like rote work. Yet early in the development of writing systems, the physical act of writing was exceedingly difficult – and one of the reasons schoolchildren prayed for help with their handwriting. Later, the act of creation – coming up with ideas, communicating them clearly and engaging readers – could make writing feel like a herculean task. Ironically, this complex skill does not necessarily get easier, even with lots of practice. The romantic image of the <a href="https://theconversation.com/genius-in-the-garret-or-member-of-the-guild-60175" target="_blank" rel="noopener">writer in the garret</a> doesn’t do justice to the tedious reality of churning out words, one after another. In his memoir “<a href="https://stephenking.com/works/nonfiction/on-writing-a-memoir-of-the-craft.html" target="_blank" rel="noopener">On Writing</a>,” Stephen King reflected, “Amateurs sit and wait for inspiration, the rest of us just get up and go to work.” At the suggestion of a friend, the writer Patchett attached a <a href="http://www.annpatchett.com/titles#/thisisthestoryofahappymarriage/" target="_blank" rel="noopener">sign-in sheet to the door of her writing room</a> to ensure she wrote every day. No matter how accomplished a writer, he or she will inevitably struggle with writer’s block. Pulitzer Prize−winning author John McPhee, who began contributing to The New Yorker in 1963, details his writer’s block in a <a href="https://www.newyorker.com/magazine/2013/04/29/draft-no-4" target="_blank" rel="noopener">2013 article</a>: “Block. It puts some writers down for months. It puts some writers down for life.” Another famous writer for The New Yorker, Joseph Mitchell, was struck by <a href="https://www.bbc.com/news/av/magazine-32602862" target="_blank" rel="noopener">writer’s block in 1964</a> and simply sat and stared at his typewriter for 30 years. I’ve even wrestled with this article, writing and rewriting it in my head a dozen times before actually typing the first word. Poet and satirist Dorothy Parker <a href="https://www.nytimes.com/interactive/projects/cp/obituaries/archives/dorothy-parker" target="_blank" rel="noopener">once said</a>, “I hate writing; I love having written.” You and me both, Dorothy. This article originally appeared on <a href="https://theconversation.com/the-5-000-year-history-of-writers-block-190037" target="_blank" rel="noopener">The Conversation</a>. Image: Shutterstock

Books

Remembering Shirley Barrett: an offbeat and generous Australian director and writer

<h3 class="legacy">Remembering Shirley Barrett: an offbeat and generous Australian director and writer</h3> <a href="https://theconversation.com/profiles/kirsten-stevens-543619">Kirsten Stevens</a>, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a> Australia, and the world, has lost a unique voice with the passing last week of acclaimed director and writer Shirley Barrett. Barrett gained international fame in 1996 when she won the Caméra d’Or – Cannes Film Festival’s award for best first feature – for Love Serenade. Following growing global attention, by 1997 the <a href="https://www.nytimes.com/1997/07/27/movies/a-pragmatic-australian-with-an-offbeat-take-on-the-world.html">New York Times</a> would celebrate her as “a pragmatic Australian with an offbeat take on the world.” Barrett’s offbeat take infused her <a href="https://shirleybarrett.com/">work</a>, including two more films – Walk the Talk (2000) and South Solitary (2010) – recognisable television dramas such as Love My Way, Offspring and A Place to Call Home, and novels Rush Oh! and The Bus on Thursday. Barrett passed away peacefully in her sleep at her home in Sydney at age 60, following a battle with metastatic breast cancer. A <a href="https://twitter.com/EmsyNorris/status/1555089599927820290">social media post</a> from Barrett’s daughter Emmeline Norris confirmed the passing of her mother on Wednesday morning. In the post, Norris marked the loss of <blockquote> not only a brilliant filmmaker and writer, but more importantly a loving mother to me and my sister, the lifelong soulmate of our dad, and the best friend one could ask for.“ </blockquote> <h2>Exploring desire in wayward places</h2> Barrett’s films presented a unique perspective on love, desire, and the workings of life at the margins – both social and geographic – of Australian society. Between 1996 and 2010 Barrett wrote and directed three films, an accomplishment in the Australian industry where second features can be <a href="https://if.com.au/australia-lags-the-rest-of-the-world-in-second-time-feature-directors/">difficult to make</a> (especially for women). From the isolated tedium of geographically remote settings of Love Serenade and South Solitary, and the more seedy fringes of fame on the RSL circuits of the Gold Coast in Walk the Talk, these films were marked by the power of their locations to shape the stories and desires of their characters. Love Serenade, selected for <a href="https://www.nytimes.com/2022/05/18/movies/un-certain-regard.html">Un Certain Regard</a> – the Cannes Film Festival’s program for exploring new cinematic horizons – highlights Barrett’s unique perspective on storytelling. <figure><iframe src="https://www.youtube.com/embed/Rk92ymOMlyc?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Celebrated for one of the most <a href="https://www.sensesofcinema.com/2009/key-moments-in-australian-cinema-issue-70-march-2014/take-it-all-off-baby-take-it-all-off-the-australian-kamasutra-love-serenade-shirley-barrett-1996/">un-erotic stripteases</a> in cinema history, Love Serenade subtly subverted the conventions of the romantic comedy genre. The film follows sisters Vicki-Ann and Dimity Hurley, played by Rebecca Frith and Miranda Otto respectively, through their misguided seductions, and later disposal, of new-in-town Brisbane radio DJ Ken Sherry. Far from indulging the expected love triangle and romantic tensions, the film instead focuses on the oppressiveness of the film’s setting: the middle-of-nowhere town of Sunray. In this place, the sister’s desiring of Ken stands in for a wider set of longings; a "yearning for something else”, as <a href="https://archive.org/details/issuu_libuow_cinemapaper1996junno110/page/n17/mode/1up">Barrett described it</a>. Barrett would return to the themes of female desire and the power of (social) geography to shape it in her third feature, South Solitary, released in 2010. Again starring Otto, this time as the spinster niece of a lighthouse operator, South Solitary examined the lives of the tiny communities that tend the lighthouse islands in the Tasman Sea. Diving into the archives to research the film, Barrett noted the appeal of this isolated setting where humans were forced to rely on unruly animals and even more unruly neighbours to survive. As <a href="https://www.academia.edu/19024415/On_Animals_Archives_and_Embroidery_An_Interview_with_Shirley_Barrett">Barrett explained</a>, <blockquote> there are fascinating accounts of tension that would quickly develop between people, in this setting, with nothing else to alleviate them. Things would often go badly awry. </blockquote> <figure><iframe src="https://www.youtube.com/embed/QXoxIx2Br2I?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> South Solitary was more than simply a story about an isolated community, it was a film made by and for women. With a creative team mainly composed of women, <a href="https://www.academia.edu/19024415/On_Animals_Archives_and_Embroidery_An_Interview_with_Shirley_Barrett">Barrett would joke</a> it was “a film written for middle-aged women, by middle aged-women.” Even today, such a description is <a href="https://seejane.org/wp-content/uploads/frail-frumpy-and-forgotten-report.pdf">considered a risky</a> proposition for a film’s success. <h2>From the screen to the page</h2> In 2014 Barrett released her first novel, Rush Oh!, with a backdrop telling the true story of a symbiotic relationship between a whaling town on the NSW south coast and a pod of killer whales, which aided the whalers’ work. The story of Eden had begun life as a film script, developed through the years that Barrett worked on seeing South Solitary to the big screen. After <a href="https://www.smh.com.au/entertainment/books/books-how-shirley-barrett-dumped-her-film-career-and-turned-to-writing-fiction-20150910-gjj8ow.html">languishing</a> as an unrealised project for several years, Barrett transformed the story into a book. Following Rush Oh! Barrett would continue to write work for beyond the screen, releasing The Bus on Thursday in 2018 and drafting another manuscript over recent years. Earlier this year Barrett wrote two articles for The Guardian about her experience with cancer and her terminal diagnosis. <a href="https://www.theguardian.com/australia-news/2022/mar/06/notes-on-dying-it-occurred-to-me-that-this-is-my-last-lychee-season">By March</a>, Barrett observed the strangeness of the passing of her last lychee season and the task of planning her funeral. She wrote, “it gets to a point where you just can’t do it any more, and I am at that point now. I just want to fade quietly into oblivion.” <h2>A source of inspiration</h2> In 2018 I was lucky enough to meet Shirley Barrett, when we screened Love Serenade as the opening night film of the Melbourne Women in Film Festival. Barrett, alongside the film’s producer Jan Chapman and editor Denise Haratzis, introduced their film and spoke with audience members at the after-film party. <figure class="align-center "><img src="https://images.theconversation.com/files/477966/original/file-20220807-71528-380qrc.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/477966/original/file-20220807-71528-380qrc.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=402&fit=crop&dpr=1 600w, https://images.theconversation.com/files/477966/original/file-20220807-71528-380qrc.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=402&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/477966/original/file-20220807-71528-380qrc.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=402&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/477966/original/file-20220807-71528-380qrc.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=505&fit=crop&dpr=1 754w, https://images.theconversation.com/files/477966/original/file-20220807-71528-380qrc.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=505&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/477966/original/file-20220807-71528-380qrc.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=505&fit=crop&dpr=3 2262w" alt="" /><figcaption>Shirley Barrett (centre) with Jan Chapman and Denise Haratzis at the Melbourne Women in Film Festival 2018. Author provided</figcaption></figure> Although brief, this meeting had an impact on myself as well as many emerging filmmakers in the room. Barrett’s generosity of time and spirit were incredible gifts. Her passing has resulted in an outpouring of memories and grief from the people she encountered. Barrett’s films and novels leave a legacy that lies in her unique perspective and engaging storytelling, and in her generosity as an artist to encourage and inspire.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/188292/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/kirsten-stevens-543619">Kirsten Stevens</a>, Lecturer in Arts and Cultural Management, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a> This article is republished from <a href="https://theconversation.com">The Conversation.</a> Read the <a href="https://theconversation.com/remembering-shirley-barrett-an-offbeat-and-generous-australian-director-and-writer-188292">original article</a>. Image: Getty

Caring

Writer's hilarious yet emotional obituary for her mother brings the internet to tears

A writer has brought the internet to tears over her hilarious yet poignant obituary for her late mother. Caity Weaver, a journalist for the New York Times, posted the heartfelt tribute to her late mother, Dr. Maureen Brennan-Weaver, who passed away on June 14th in her hometown in Pennsylvania. Caity's post has since gone viral, in which she described her late mother as "riotously funny" and "pathologically generous". In the tribute to her mother, Caity described her amazing ability to find a good deal and how she would use this skill to treat her loved ones. "Maureen was six-foot and loved strays of all species," Caity wrote. "She could outthink any opponent, was riotously funny and pathologically generous." "If you mentioned a thing you liked, she'd get you 11 when she found them at a great price." "Maureen's true joys were helping people, and anyone anywhere saving money. She briefly employed a skilled housekeeper but found her a more lucrative job." "She clipped coupons for diapers and left them in the grocery store baby aisle. Decades ago, she acquired a huge box of toothbrushes for pennies on the dollar and has kept her family in toothbrushes ever since." <blockquote class="twitter-tweet"> Got the worst news I’ve ever gotten last week. My mom and I made each other cry laughing all the time. I hate to think about all the deals she’s going to miss out on. I hope she guides me to the best sales forever. <a href="https://t.co/dZoWdIu86C">pic.twitter.com/dZoWdIu86C</a> — Caity Weaver (@caityweaver) <a href="https://twitter.com/caityweaver/status/1539735766863069190?ref_src=twsrc%5Etfw">June 22, 2022</a></blockquote> Caity spoke of her mother's fearlessness, saying, "Maureen had a cackle that crashed through rooms. She died before discovering what, if anything, she was afraid of." In the obit, which has been retweeted more than 32,000 times, the writer joked that her mum's death "shocked all who loved her" since she was "ahead of schedule for the first time in her life." She added that Maureen is remembered by her husband of 33 years, John, who she provided "selfless care" throughout his "prolonged infirmity." Caity went on to explain that Maureen, who worked as a podiatrist, was "treasured" by her patients, who often "showered her with homemade treats." "Dr. Brennan-Weaver could not stop herself from buying shoes for patients if she spotted just what they needed while shopping. She categorically did not do house calls, except for patients she 'really liked'." Caity concluded the tribute with an emotional statement about her mother, saying, "No amount of time with the astonishing Maureen would have been enough for her family and friends, though she gave us enough toothbrushes and memories to last several lifetimes. Oh, how we loved her!" Many users were moved by Caity's tribute to her mother, with readers saying it made them "laugh and cry at the same time". One person praised her obituary and offered condolences, saying, "I’m sorry for your loss, but it seems we are to be the beneficiary of a number of her fine qualities for some years to come." Another person said, "I can only dream of writing a tribute like this, that captures someone’s exuberance and boundless generosity. I’m so sorry for your loss. She sounds simply wonderful." Image credits: Twitter

Caring

The science of the plot twist: How writers exploit our brains

Recently I did something that many people would consider unthinkable, or at least perverse. Before going to see <a href="https://www.imdb.com/title/tt4154756/">Avengers: Infinity War</a>, I deliberately read a review that revealed all of the major plot points, from start to finish. Don’t worry; I’m not going to share any of those spoilers here. Though I do think the aversion to spoilers – what The New York Times’ A.O. Scott <a href="https://www.nytimes.com/2018/04/24/movies/avengers-infinity-war-review.html">recently lamented</a> as “a phobic, hypersensitive taboo against public discussion of anything that happens onscreen” – is a bit overblown. As <a href="https://scholar.google.com/citations?user=SeGl108AAAAJ&hl=en">a cognitive scientist who studies the relationship between cognition and narratives</a>, I know that movies – like all stories – exploit our natural tendency to anticipate what’s coming next. These cognitive tendencies help explain why plot twists can be so satisfying. But somewhat counterintuitively, they also explain why knowing about a plot twist ahead of time – the dreaded “spoiler” – doesn’t really spoil the experience at all. The curse of knowledge When you pick up a book for the first time, you usually want to have some sense of what you’re signing up for – <a href="https://en.wikipedia.org/wiki/Cozy_mystery">cozy mysteries</a>, for instance, aren’t supposed to feature graphic violence and sex. But you’re probably also hoping that what you read won’t be entirely predictable. To some extent, the fear of spoilers is well-grounded. You only have one opportunity to learn something for the first time. Once you’ve learned it, that knowledge affects what you notice, what you anticipate – and even the limits of your imagination. What we know trips us up in lots of ways, a general tendency known as the “<a href="https://www.ncbi.nlm.nih.gov/pubmed/17576275">curse of knowledge</a>.” For example, when we know the answer to a puzzle, that knowledge makes it harder for us to estimate how difficult that puzzle will be for someone else to solve: We’ll assume it’s <a href="https://www.sciencedirect.com/science/article/pii/S0749596X96900091">easier</a> than it really is. When we know the resolution of an event – whether it’s a basketball game or an election – we tend to <a href="http://psycnet.apa.org/record/1976-00159-001">overestimate</a> how likely that outcome was. Information we encounter early on influences our estimation of what is possible later. It doesn’t matter whether we’re reading a story or negotiating a salary: Any initial starting point for our reasoning – however arbitrary or apparently irrelevant – “<a href="https://www.ncbi.nlm.nih.gov/pubmed/17835457">anchors</a>” our analysis. In <a href="https://www.ncbi.nlm.nih.gov/pubmed/16382081">one study</a>, legal experts given a hypothetical criminal case argued for longer sentences when presented with larger numbers on randomly rolled dice. Plot twists pull everything together Either consciously or intuitively, good writers know all of this. An effective narrative works its magic, in part, by taking advantage of these, and other, predictable habits of thought. <a href="http://www.literarydevices.com/red-herring/">Red herrings</a>, for example, are a type of anchor that set false expectations – and can make twists seem more surprising. A major part of the pleasure of plot twists, too, comes not from the shock of surprise, but from looking back at the early bits of the narrative in light of the twist. The most satisfying surprises get their power from giving us a fresh, better way of making sense of the material that came before. This is another opportunity for stories to turn the curse of knowledge to their advantage. Remember that once we know the answer to a puzzle, its clues can seem more transparent than they really were. When we revisit early parts of the story in light of that knowledge, well-constructed clues take on new, satisfying significance. Consider <a href="https://www.imdb.com/title/tt0167404/">The Sixth Sense</a>. After unleashing its big plot twist – that Bruce Willis’ character has, all along, been one of the “dead people” that only the child protagonist can see – it presents a flash reprisal of scenes that make new sense in light of the surprise. We now see, for instance, that his wife (in fact, his widow) did not snatch up the check at a restaurant before he could take it out of pique. Instead it was because, as far as she knew, she was dining alone. Even years after the film’s release, viewers take pleasure in this twist, <a href="https://www.bustle.com/articles/33625-the-sixth-sense-surprise-ending-is-obvious-if-you-pay-attention-to-these-6-clues">savoring the degree</a> to which it should be “obvious if you pay attention” to earlier parts the film. The pluses and minuses of the spoiler At the same time, studies show that even when people are <a href="https://www.sciencedirect.com/science/article/pii/0749596X89900016">certain of an outcome</a>, they reliably experience suspense, surprise and emotion. Action sequences are still heart-pounding; jokes are still funny; and poignant moments can still make us cry. As UC San Diego researchers Jonathan Levitt and Nicholas Christenfeld have recently <a href="https://www.ncbi.nlm.nih.gov/pubmed/21841150">demonstrated</a>, spoilers don’t spoil. In many cases, <a href="https://theconversation.com/enough-with-the-spoiler-alerts-plot-spoilers-often-increase-enjoyment-62154">spoilers actively enhance enjoyment</a>. In fact, when a major turn in a narrative is truly unanticipated, it can have a catastrophic effect on enjoyment – as <a href="https://ftw.usatoday.com/2018/04/avengers-infinity-war-ending-reactions-twitter">many outraged</a> Infinity War viewers can testify. If you know the twist beforehand, the curse of knowledge has more time to work its magic. Early elements of the story will seem to presage the ending more clearly when you know what that ending is. This can make the work as a whole feel more coherent, unified and satisfying. Of course, anticipation is a delicious pleasure in its own right. Learning plot twists ahead of time can reduce that excitement, even if the foreknowledge doesn’t ruin your enjoyment of the story itself. Marketing experts know that what spoilers <a href="https://www.sciencedirect.com/science/article/pii/S1057740815000467">do spoil</a> is the urgency of consumers’ desire to watch or read a story. People can even find themselves so sapped of interest and anticipation that they stay home, robbing themselves of the pleasure they would have had if they’d simply never learned of the outcome.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/95748/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/vera-tobin-469645">Vera Tobin</a>, Assistant Professor of Cognitive Science, <a href="https://theconversation.com/institutions/case-western-reserve-university-1506">Case Western Reserve University</a> This article is republished from <a href="http://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/the-science-of-the-plot-twist-how-writers-exploit-our-brains-95748">original article</a>.

Books

“I want to stare death in the eye”: why dying inspires so many writers and artists

It may seem paradoxical, but dying can be a deeply creative process. Public figures, authors, artists and journalists have long written about their experience of dying. But why do they do it and what do we gain? Many stories of dying are written to bring an issue or disease to public attention. For instance, English editor and journalist Ruth Picardie’s description of terminal breast cancer, so poignantly described in <a href="https://www.goodreads.com/en/book/show/424646.Before_I_Say_Goodbye">Before I say Goodbye</a>, drew attention to the impact of medical negligence, and particularly misdiagnosis, on patients and their families. American tennis player and social activist Arthur Ashe wrote about his heart disease and subsequent diagnosis and death from AIDS in <a href="https://www.goodreads.com/book/show/698054.Days_of_Grace">Days of Grace: A Memoir</a>. His autobiographical account brought public and political attention to the risks of blood transfusion (he acquired HIV from an infected blood transfusion following heart bypass surgery). Other accounts of terminal illness lay bare how people navigate uncertainty and healthcare systems, as surgeon Paul Kalanithi did so beautifully in <a href="https://www.goodreads.com/book/show/25899336-when-breath-becomes-air">When Breath Becomes Air</a>, his account of dying from lung cancer. But, perhaps most commonly, for artists, poets, writers, musicians and journalists, dying can provide <a href="https://www.goodreads.com/book/show/25733900-the-violet-hour">one last opportunity for creativity</a>. American writer and illustrator Maurice Sendak drew people he loved as they were dying; founder of psychoanalysis Sigmund Freud, while in great pain, refused pain medication so he could be lucid enough to think clearly about his dying; and author Christopher Hitchens <a href="https://books.google.com.au/books/about/Hitch_22.html?id=H6nbV6nLcWcC&redir_esc=y">wrote about</a> dying from <a href="https://www.cancer.org.au/about-cancer/types-of-cancer/oesophageal-cancer.html">oesophageal cancer</a> despite increasing symptoms: I want to stare death in the eye. Faced with terminal cancer, renowned neurologist Oliver Sacks wrote, if possible, more prolifically than before. And Australian author Clive James found dying a mine of new material: Few people read Poetry any more but I still wish To write its seedlings down, if only for the lull Of gathering: no less a harvest season For being the last time. Research shows what dying artists have told us for centuries – creative self-expression is core to their sense of self. So, creativity has <a href="https://www.headspace.com/blog/2017/04/18/grief-creativity-together/">therapeutic and existential benefits</a> for the dying and their grieving families. Creativity <a href="https://onlinelibrary.wiley.com/doi/abs/10.1002/jocb.171">provides</a> a buffer against anxiety and negative emotions about death. It may help us make sense of events and experiences, tragedy and misfortune, as a graphic novel did for cartoonist Miriam Engelberg in <a href="https://www.harpercollins.com/9780060789732/cancer-made-me-a-shallower-person/">Cancer Made Me A Shallower Person</a>, and as <a href="https://books.google.com.au/books?hl=en&lr=&id=MkcGiLeATe8C&oi=fnd&pg=PP2&dq=%5BCarla+Sofka+and+Illene+Cupit+(eds)++Dying,+Death,+and+Grief+in+an+Online+Universe:+For+Counselors+and+Educators,+Springer+2012&ots=vdXYa_3cvU&sig=Od3eQ4A7_hadLwgIn4liIEoyo5c&redir_esc=y#v=onepage&q=%5BCarla%20Sofka%20and%20Illene%20Cupit%20(eds)%20%20Dying%2C%20Death%2C%20and%20Grief%20in%20an%20Online%20Universe%3A%20For%20Counselors%20and%20Educators%2C%20Springer%202012&f=false">blogging and online writing</a>does for so many. Creativity may give voice to our experiences and provide some resilience as we face disintegration. It may also provide agency (an ability to act independently and make our own choices), and a sense of normality. French doctor Benoit Burucoa <a href="https://www.cairn.info/article.php?ID_ARTICLE=INKA_181_0005">wrote</a> art in palliative care allows people to feel physical and emotional relief from dying, and: […] to be looked at again and again like someone alive (without which one feels dead before having disappeared). A way of communicating to loved ones and the public When someone who is dying creates a work of art or writes a story, this can open up otherwise difficult conversations with people close to them. But where these works become public, this conversation is also with those they do not know, whose only contact is through that person’s writing, poetry or art. This public discourse is a means of living while dying, making connections with others, and ultimately, increasing the public’s “<a href="https://www.ncbi.nlm.nih.gov/pubmed/29402101">death literacy</a>”. In this way, our <a href="https://www.thegroundswellproject.com/">conversations about death</a> become <a href="https://www.penguin.com.au/books/the-end-9781742752051">more normal, more accessible</a> and much richer. There is no evidence reading literary works about death and dying fosters <a href="https://en.wikipedia.org/wiki/Rumination_(psychology)">rumination</a> (an unhelpful way of dwelling on distressing thoughts) or other forms of psychological harm. In fact, the evidence we have suggests the opposite is true. There is plenty of <a href="http://www.artshealthandwellbeing.org.uk/appg/arts-and-palliative-care-dying-and-bereavement">evidence</a> for the positive impacts of both making and consuming art (of all kinds) at the <a href="http://www.artshealthandwellbeing.org.uk/appg-inquiry/Briefings/WWCW.pdf">end of life</a>, and specifically <a href="https://spcare.bmj.com/content/7/3/A369.2">surrounding palliative care</a>. Why do we buy these books? Some people read narratives of dying to gain insight into this mysterious experience, and empathy for those amidst it. Some read it to <a href="https://www.nytimes.com/2012/03/18/opinion/sunday/the-neuroscience-of-your-brain-on-fiction.html">rehearse</a> their own journeys to come. But these purpose-oriented explanations miss what is perhaps the most important and unique feature of literature – its delicate, multifaceted capacity to help us become what philosopher <a href="https://www.newyorker.com/magazine/2016/07/25/martha-nussbaums-moral-philosophies">Martha Nussbaum</a> <a href="https://www.jstor.org/stable/pdf/2026358.pdf?seq=1">described as</a>: […] finely aware and richly responsible. Literature can capture the <a href="https://www.theguardian.com/books/2003/apr/01/londonreviewofbooks">tragedy</a> in ordinary lives; its depictions of <a href="https://partiallyexaminedlife.com/2016/08/12/martha-nussbaum-on-emotions-ethics-and-literature/">grief, anger and fear</a> help us fine-tune what’s important to us; and it can show the <a href="https://books.google.com.au/books/about/Love_s_Knowledge.html?id=oq3POR8FhtgC">value of a unique person</a> across their whole life’s trajectory. Not everyone can be creative towards the end Not everyone, however, has the opportunity for creative self-expression at the end of life. In part, this is because increasingly we die in hospices, hospitals or nursing homes. These are often far removed from the resources, people and spaces that may inspire creative expression. And in part it is because many people cannot communicate after a stroke or dementia diagnosis, or are <a href="https://www.theatlantic.com/family/archive/2019/01/how-do-people-communicate-before-death/580303/">delirious</a>, so are incapable of “<a href="https://press.princeton.edu/books/hardcover/9780691628554/last-words">last words</a>” <a href="https://www.amazon.com/Final-Gifts-Understanding-Awareness-Communications/dp/1451667256">when they die</a>. Perhaps most obviously, it is also because most of us are not artists, musicians, writers, poets or philosophers. We will not come up with elegant prose in our final days and weeks, and lack the skill to paint inspiring or intensely beautiful pictures. But this does not mean we cannot tell a story, using whatever genre we wish, that captures or at least provides a glimpse of our experience of dying – our fears, goals, hopes and preferences. Clive James <a href="https://www.theguardian.com/books/2018/sep/01/clive-james-poem-story-mind-heading-obivion">reminded us</a>: “There will still be epic poems, because every human life contains one. It comes out of nowhere and goes somewhere on its way to everywhere – which is nowhere all over again, but leaves a trail of memories. There won’t be many future poets who don’t dip their spoons into all that, even if nobody buys the book.” Written by Claire Hooker and Ian Kerridge. Republished with permission of <a href="https://theconversation.com/i-want-to-stare-death-in-the-eye-why-dying-inspires-so-many-writers-and-artists-128061">The Conversation.</a>

Art

Synonyms to use that will make you a better writer

Put it in writing Good writing is considerate of its audience. You want to think about your reader and consider the best way to get your message across to them. Even in the digital age, the right word elevates your writing and the wrong one drags it down. If you’re writing in a business context, you want to make a good impression and come across as professional. You want to be efficient, but not overly dry. While keeping your writing clear of grammar and spelling errors is a given, you’ll also want to use words that avoid cliché and relay your message with aplomb. You’ll also want to avoid these overused words that make you sound boring. Instead of using “a lot” A lot is a descriptor that skews ultra-casual. If you describe your background by saying, “I have a lot of experience,” or convey your aptitude with “I have a lot of ideas,” you come across as too laid-back and imprecise. Laura Hale Brockway, at Entrepreneur, offers 32 alternative synonyms for “a lot.” She offers descriptors like “a great deal” or “a copious amount” as a stand-in for the informal term. Choose a synonym that elevates your message and offers precision like “myriad” or “several.” Instead of using “fine” “Fine” is a rejoinder to questions about either quality or physical health. However, it’s become so common that it now means “OK” or “average.” If you’re writing in a business setting or descriptively, “fine” seems polite, but there are other options that can get specific about what you’re describing. A simple synonym is “well,” as in “I’m feeling well.” You can also use synonyms like “exceptional” or “skilful” to describe quality. If you do mean “fine” in the sense of passable, use “mediocre” or “average” instead. Instead of using “very” Very is a qualifier that’s often overused. How many times have you peppered emails or business communications with this word? Have you ever written “I’m very excited about the upcoming project” or “Your work is very good?” Eliminate “very” unless it adds necessary and real meaning to the idea you describe. If it’s important then use synonyms for “very” like “remarkably,” “substantially,” “emphatically,” or “profoundly.” Otherwise, using “very” adds sloppy imprecision to your writing. Instead of using “great” Great is a superfluous term that often shows up in place of “yes” or “good” in written writing. It’s a shorthand term that conveys enthusiasm but has become so common that it’s lost its nuance as a descriptor. Consider more precise words like “choice” or “breathtaking” to describe a state of being or an object’s quality. Here are some more options from Daily Writing Tips like “deluxe” and “favourable” that get closer to the idea you’re trying to convey. Looking for more great synonym options for words like great? Instead of using “crazy” Using “crazy” (or “insane”) is common, but it’s an imprecise way to express what you really mean. Katie Dupere at Mashable explains that the term is insensitive and makes light of mental health issues. The term is also far from what you mean to say. Look carefully at what you’re actually trying to convey when you write, “The midterm was crazy” or “The project was insane.” It’s best to stay away from casual idioms in formal writing. You also want to stay mindful about how such terms could affect your reader. Consider words like “busy,” “intense,” “erratic,” and “wacky” as synonyms. Let the idea of what you truly want to convey be your guide. Written by Molly Pennington, PhD. This article first appeared in <a href="https://www.readersdigest.com.au/culture/12-synonyms-that-will-make-you-a-better-writer?slide=all">Reader’s Digest.</a> For more of what you love from the world’s best-loved magazine, <a href="http://readersdigest.innovations.com.au/c/readersdigestemailsubscribe?utm_source=over60&utm_medium=articles&utm_campaign=RDSUB&keycode=WRA87V">here’s our best subscription offer.</a>

Art

Australian writer Clive James dies aged 80

Poet, critic and star of The Clive James Show has passed away, aged 80, after a lengthy battle with cancer on Sunday in his Cambridge home. The Australian export was diagnosed with leukemia, kidney failure and lung disease nearly 10 years ago and endured his “ever-multiplying illnesses with patience and good humour,” a statement from his agent read. “A private funeral attended by family and close friends took place in the chapel at Pembroke College, Cambridge on Wednesday 27th November.” “He endured his ever-multiplying illnesses with patience and good humour, knowing until the last moment that he had experienced more than his fair share of this ‘great, good world’.” The beloved star first revealed to viewers his illness in May 2011, 11 months after he had first been diagnosed with the deadly disease. His career reached new heights for the better part of 50 years, not only making way as a successful TV star but as a writer who went on to publish poetry, essays, memoirs, literature and song lyrics. His dead-course, illuminating writing style peaked in popularity during the 1980’s and he became an influential powerhouse in media circles. On his show, he lampooned clips of absurd international television shows, including a Japanese contest called Endurance. As a prolific master with words, James firmly retained his fond memory of his British heritage, and often reflected on his time as the “Kid From Kogarah,” despite five decades of residency in Britain. His daughter Claerwen noted his father as "a showman and a recluse at the same time." In his latest years, James did not stray away from writing about his illness and in 2010 penned a newspaper column called Reports on My Death in The Guardian. He later said in 2016, his longevity after announcing his diagnosis was “embarrassing. His last poetry collection, Sentenced to Life, published in April 2015 was described by The Independent as "essentially, a love letter to Australia”. James made his last stage appearance at London's inaugural Australia & New Zealand Festival of Literature & Arts in June 2014. It was there he shared his charming wit and humour and the true poet within to his audience. ''The poetry I write now, I think, is quite a lot more penetrating and sensitive than my earlier work — because it needs to be,'' he explained. ''Inevitably you start saying goodbye. I like to think that I hit a sort of plangent tone of threnody, a sort of Last Post, a recessional tone." Vivian Leopold James was born in Sydney in 1939, changing his name to Clive as a child. James moved to England in 1962 and, after graduating from Cambridge University, remained there for the rest of his life. He is survived by his wife Prue Shaw and two daughters, Claerwen and Lucinda. Scroll through the gallery to see Clive James throughout his career.

News

A travel writer's guide to Athens

Most baby boomers 'did' Greece in the far off past and we have held that time fondly in our hearts - so, time for a revisit - there are bargains to be had. If you haven’t seen Athens since before the XXVIII Olympiad in 2004 you’ll see a very different city from 20 or so years ago. The underground Metro is fantastic, the stations immaculate and beautifully decorated and the service fast and regular; Syntagma Square has fewer cafes now and Omonia Square is buzzing during the day but pretty seedy at night. It's best to go back to basics in Athens and spend a day on the hop-on hopoff bus to reaquaint yourself with the city, see what’s new and stop off at unfamiliar spots. Then, walk... The Parthenon is the most important surviving building of classical Greece. Walking around the Parthenon, and trying to imagine the original scope of this magnificent site still sends shivers down the arms – now if they’d just tidy up those old broken columns! Next stop is the New Acropolis Museum, designed by Swiss architect Peter Zumthor, which houses all the remaining treasures of the Acropolis including the day-to-day objects found that belonged to the folk who lived around the base of the mighty mount. From inside the museum there’s a wondrous view of the sacred rock. This museum is user friendly and is full of interesting objects that will keep you enthralled for hours. Take a walk along the beautiful pedestrian road to Thission (with its ancient ruins alongside chirpy cafes and restaurants) and Monastiraki. Monastiraki and Avissinias Square are full of narrow alleys providing a haven for stalls and little shops. Visit the Agora, the focal meeting point of ancient Athens. The Agora, with its elegant, creamy columns provides a welcome relief on a hot and heavy summer day. The Agora museum has a fine collection of ancient jewellery and old costumes. Then take Amalias Avenue to visit the temple of Olympian Zeus and Hadrian’s Arch. End this tour in Syntagma Square in front of Vouli (the Greek Parliament) and the Tomb of the Unknown Soldier. The much photographed guards dressed in the traditional Greek uniform change the hour in an impressive, stamping march. Bev's favourite places in Athens: 1. Acropolis 2. New Acropolis Museum 3. National Archaeological Museum 4. Museum of Cycladic Art 5. Benaki Museum (recently refurbished and extended) 6. DESTE Foundation 7. Eleni Koroneou Gallery 8. Byzantinon Restaurant in the Plaka 9. Kafeneion Restaurant in Kolonaki 10. Eleftheroudakis Bookstore 11. Metro of Athens 12. Athinas Street, meat market and fish market 13. Herodes Attikikon Theatre. Fact File <ul> <li>Bev Malzard stayed at <a href="http://www.novotel.com/">Hotel Novotel Athenes</a>, a 10-minute walk from Larissa Station.</li> <li>Feel the rhythm of the city in the Novotel at night next to the swimming pool with a breathtaking view of the Acropolis and Lycabettous Hill.</li> <li>Visit <a href="http://www.novotel.com/">novotel.com</a>.</li> </ul> This story first appeared in <a href="http://www.getupandgo.com.au/">Get Up & Go</a> and has been edited. Written by Bev Malzard. Republished with permission of <a href="https://www.wyza.com.au/articles/travel/top-things-to-see-and-do-in-athens.aspx">Wyza.com.au.</a>

Travel Tips

Highly anticipated Naomi Wolf book cancelled after error was discovered

Acclaimed US author Naomi Wolf was left red-faced after a major factual error was discovered on BBC radio. The book, Outrages: Sex, Censorship and the Criminalisation of Love has been pulled from publisher Houghton Mifflin Harcourt after the interview. The publisher announced that they and Wolf have “mutually and amicably agreed to part company”. The book centres on the treatment of gay people in Victorian England and previously offered examples Wolf had discovered of “several dozen executions” of men convicted of sodomy in Britain. The last example of this was back in 1930. <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/Bzzmbaxp11-/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="12"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <a style="color: #000; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" rel="noopener" href="https://www.instagram.com/p/Bzzmbaxp11-/?utm_source=ig_embed&utm_campaign=loading" target="_blank">‪Major UK based Feminist News and Opinion site, The F Word, calls Naomi Wolf’s Outrages, “a valuable piece that exposes the foundations for the outrages that still exist today when it comes to gay love.” https://thefword.org.uk/2019/07/gay-love-in-victorian-britain/ #feminist #LGBTQ #naomiwolf #naomiwolfbook‬</a> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;">A post shared by <a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" rel="noopener" href="https://www.instagram.com/naomirwolf/?utm_source=ig_embed&utm_campaign=loading" target="_blank"> Naomi Wolf</a> (@naomirwolf) on Jul 11, 2019 at 11:14pm PDT </div> </blockquote> During a promotional tour for the book in the UK, BBC interviewer Matthew Sweet pointed out to Wolf that she had misinterpreted the legal term “death recorded”. The term, which is found in historical documents, left Wolf interpreting it as men who were executed for being gay. Sweet mentioned that it actually means that the judge abstained from pronouncing the death sentence and that the prisoner was pardoned. “I don’t think any of the executions you’ve identified here actually happened,” Sweet told a stunned Wolf. Wolf took the incident in her stride, saying that she didn’t “feel humiliated”. “I had read death recorded as meaning death recorded. The death penalty was the law of the land until 1861, [but] I misunderstood the phrase,” according to <a rel="noopener" href="https://www.theguardian.com/books/2019/jun/21/naomi-wolf-book-outrages-new-york" target="_blank">The Guardian</a>. “The bottom line is that [Sweet] did me a favour by identifying a misreading that I corrected. “I don’t feel humiliated but I’m grateful for the correction. I feel great responsibility and humility about this history.”

Books

Ban the Haka? Rugby World Cup writer explains why it "needs to stop"

An Irish rugby writer has made a call to ban the Haka, claiming that it gives New Zealand an “unfair advantage”. In an article for <a rel="noopener" href="https://punditarena.com/rugby/emackenna/mackenna-haka-new-zealand-stop/" target="_blank">Pundit Arena</a>, Ewan MacKenna asked why officials are still “pandering to the dance”. “That’s unfortunate as New Zealand are justifiably big-headed enough without a massaging of their already massive egos,” MacKenna wrote. “Yet even World Rugby have it in their rules that to not stand on your own 10-metre line and watch a bunch stick out their tongues and slap their thighs is worthy of a fine and a telling off.” MacKenna continued explaining his reasoning, as it is an “attempt at opponent intimidation”. “There’s a practical reason why the Haka shouldn’t happen as, while it provides a psychological edge through self-inspiration and via an attempt at opponent intimidation, it also provides a small physical edge as others are forced to stand still and go briefly cold,” he wrote. <blockquote class="twitter-tweet" data-lang="en-gb"> The first <a href="https://twitter.com/AllBlacks?ref_src=twsrc%5Etfw">@AllBlacks</a> haka of <a href="https://twitter.com/hashtag/RWC2019?src=hash&ref_src=twsrc%5Etfw">#RWC2019</a>. New Zealand lay down the challenge to South Africa with intimidating haka <a href="https://twitter.com/hashtag/NZLvRSA?src=hash&ref_src=twsrc%5Etfw">#NZLvRSA</a> <a href="https://t.co/leGlK5NFSk">pic.twitter.com/leGlK5NFSk</a> — Rugby World Cup (@rugbyworldcup) <a href="https://twitter.com/rugbyworldcup/status/1175346576753143808?ref_src=twsrc%5Etfw">21 September 2019</a></blockquote> “There’s another reason too though as there is a huge lack of self-awareness about this. Again there are those who’ll say it’s native and it is to some, but the majority of New Zealand players haven’t been Maori. Instead, they descend from forefathers who were actually ruthless oppressors of natives.” Brian Moore, a former England international, agreed that the Haka has grown tired. “I’m getting bored of the Haka now,” he wrote on Twitter. “It’s a part of wider Kiwi culture and very important in many different ways. Perform it if you want, but opposing sides and fans should be allowed to do what they want in response.” Scroll through the gallery to see the Haka being performed at the World Rugby Cup over the years.

News

Vale Margaret Fulton: A role model for generations of Australian food writers

Legendary Australian food writer Margaret Fulton <a href="https://www.abc.net.au/news/2019-07-24/margaret-fulton-celebrated-australian-cook-dies-aged-94/9618732">has died aged 94</a>. At the news of her death, many are noting her long career and her influence on cookery and eating habits in Australia. With a professional life spanning well over 60 years, she successfully managed that career and her image in the media over this long period, providing a role model for generations of Australian food writers. With 1.5 million copies of her <a href="https://www.goodreads.com/book/show/2348160.Margaret_Fulton_Cookbook">eponymous cookbook</a> sold, Fulton achieved significant public recognition for her work. In 1983, she was awarded the Medal of the Order of Australia. In 1997, she was inducted into the World Food Media Awards Hall of Fame and named as one of the National Trust’s original 100 Living Australian National Treasures. Even more than that, though, she was trusted. Margaret Fulton, indeed, built her career on the provision of sound, trustworthy cookery advice. And she knew it. In 1980, reflecting on her career, she recognised that her brand was built on reliability rather than novelty or extravagance, <a href="https://trove.nla.gov.au/work/39232428?q=The+Reputation+With+a+%2425%2C000+Tag%3A+And+the+Face+to+Launch+a+Thousand+Home+Profits&c=article&versionId=52071144">stating</a>: “I believe my reputation is built on the fact that people can rely on me. Unlike other cookery people, I believe I’m doing the right thing by not being flamboyant. I know that’s the success of my business.” According to <a href="https://www.goodreads.com/book/show/3329913-i-sang-for-my-supper-memories-of-a-food-writer?from_search=true">her memoir</a>, she originally dreamt of being a showgirl, but Fulton began her career during the Second World War on a public stage of a different kind – as a cookery demonstrator with the Australian Gas Light Company. She gained valuable experience in retail – selling pressure cookers, and running the kitchen and homewares section of David Jones – before joining then-popular <a href="http://collections.anmm.gov.au/people/16645">Woman magazine</a> as a food writer in 1954. At this time, she was also completing a professional cookery course at the East Sydney Technical College. Largely based on classical French cookery, she learnt recipes and techniques which stood her in good stead throughout her later career. In 1955, Fulton joined the J. Walter Thompson advertising agency, managing a number of food accounts and, when television broadcasting started in 1956, began working on television commercials for such major food brands as Kelloggs and Kraft. Fulton learnt much from this advertising experience. Although she was to appear in major television campaigns for ingredients and appliances, and publicise named products in cookbooks such as <a href="https://www.goodreads.com/en/book/show/6316505-the-margaret-fulton-crock-pot-cookbook">The Margaret Fulton Crock-pot Cookbook</a> (1976), she was able to maintain her credibility. In 1960, Margaret Fulton commenced a 20 year association with <a href="https://en.wikipedia.org/wiki/Woman%27s_Day_(Australian_magazine)">Woman’s Day</a> as first a writer, and then its cookery editor. It was in this role that she was especially influential in exposing her readers to both new trends in ingredients and food preparation, as well as to reliable methods of reproducing traditional dishes. Fulton was able to translate and popularise the dishes of post-war and other migrants to Australia, featuring Italian, Greek, Yugoslavian and other cuisines in her food pages. Her life’s work The <a href="https://www.goodreads.com/book/show/2348160.Margaret_Fulton_Cookbook?from_search=true">Margaret Fulton Cookbook</a> was published in 1968. Unexpectedly selling out its then record first print run of 100,000 copies, it went to a second printing the next year, and many more after that. This book features step-by-step illustrated guides to not only how to cook the so-called “Continental” and “Oriental” dishes that have now become our nightly fare, but also how to eat them. There were, for instance, photographs of how to twirl spaghetti on a fork and illustrations of how to use chopsticks. In the late 1970s, Fulton joined New Idea magazine as its cookery writer. At this time, while writing and promoting realistic and reliable recipes, techniques and products, she was also consolidating her own reputation in appearances in television commercials. This mixture of reliability and creativity took her far from the food pages of women’s magazines. In 1980, for example, Fulton acted as the culinary consultant for Ansett Airlines, designing then-revolutionary snack boxes of sandwiches and fresh fruit for short flights. By late 1982, a feature article in the Weekend Australian judged her to have had “more impact on the Australian kitchen than anything or person since the refrigerator”. Just a few months later, in 1983, <a href="https://www.goodreads.com/book/show/106156.Margaret_Fulton_s_Encyclopedia_Of_Food_Cookery">Margaret Fulton’s Encyclopedia of Food and Cookery</a> was published, cementing her place as the arbiter of Australian domestic cooking. When, over 20 years later, a revised and updated version of this volume was released in 2005, Fulton referred to it as her “life’s work”. It was not until 1999, at the height of the personal memoir’s popularity, that Fulton published her memoir, <a href="https://www.goodreads.com/book/show/3329913-i-sang-for-my-supper-memories-of-a-food-writer?from_search=true">I Sang for My Supper: Memories of a Food Writer</a>. This was a brave act, for as well as cataloguing her achievements, this text revealed her to have met many professional, personal and financial challenges. Long after reaching the age at which many others would have retired, her writing continued to be in demand. In 2001, Fulton co-authored <a href="https://www.goodreads.com/book/show/17764982-cooking-for-dummies?from_search=true">Cooking for Dummies</a> with Barbara Beckett. This book was published at the peak of the high profile series’ success. Fulton had a long history of assisting the causes she believed in, including grassroots organisations. In 2003, she launched the second edition of a non-genetically modified ingredients True Food Guide for Greenpeace. But it is her cookery writing that so many will not only remember, but continue to reach for. This writing truly came from her heart and although the purpose of her recipes was largely practical and educational, the results were intended to delight and nurture. On the first page of The Margaret Fulton Cookbook, <a href="https://www.goodreads.com/book/show/2348160.Margaret_Fulton_Cookbook?from_search=true">she wrote</a>, “I have always believed that good food and good cooking are part of all that is best in life, all that is warm, friendly and rewarding”. Written by Donna Lee Brien. Republished with permission of <a href="https://theconversation.com/vale-margaret-fulton-a-role-model-for-generations-of-australian-food-writers-120897">The Conversation</a>.

Food & Wine

Tennis writer sparks huge Anna Kournikova debate – do you agree?

New York Times tennis reporter Ben Rothenberg has caused a bit of a stir after he made a shortlist of his most influential women in tennis history. It all started with a simple tweet from the International Federation of Tennis, who were celebrating Chinese New Year. The tweet was about Li Na, who was the first Chinese Grand Slam Champion. Na also went on to win the French Open in 2011 and the Australian Open in 2014 before retiring the same year. <blockquote class="twitter-tweet" data-lang="en-gb"> Crushing stereotypes and inspiring millions, Li Na’s extraordinary journey to becoming China’s first-ever Grand Slam champion is a story like no other 🇨🇳<a href="https://twitter.com/hashtag/ChineseNewYear?src=hash&ref_src=twsrc%5Etfw">#ChineseNewYear</a> <a href="https://t.co/8DGHCSXSlX">pic.twitter.com/8DGHCSXSlX</a> — ITF (@ITF_Tennis) <a href="https://twitter.com/ITF_Tennis/status/1092643226975010817?ref_src=twsrc%5Etfw">5 February 2019</a></blockquote> This tweet was quick to make its way through the tennis media, with Women’s Tennis Association Insider podcast host Courtney Nguyen saying that Na was a lock for the top 10 most important women in tennis history. <blockquote class="twitter-tweet" data-lang="en-gb"> “Be the bird that sticks out.” Easily shortlisted for Top 10 most important women in tennis history. <a href="https://t.co/X7CoYJhJiM">https://t.co/X7CoYJhJiM</a> — Courtney Nguyen (@FortyDeuceTwits) <a href="https://twitter.com/FortyDeuceTwits/status/1092679158461677568?ref_src=twsrc%5Etfw">5 February 2019</a></blockquote> Rothberg decided to join in and named his top 10, which included Serena Williams, Steffi Graf and early 20th century champion Suzanne Lenglen. However, one name caught everyone’s attention. Anna Kournikova, who came in before Serena Williams on his list at number 8 and 9 respectively. The list is in chronological order, and not the order that Rothberg favours the players. <blockquote class="twitter-tweet" data-conversation="none" data-lang="en-gb"> Oooh ooh I'll play this game ok: Lenglen Gibson BJK Evert Navratilova Graf Seles Kournikova Serena Li — Ben Rothenberg (@BenRothenberg) <a href="https://twitter.com/BenRothenberg/status/1092827239077593088?ref_src=twsrc%5Etfw">5 February 2019</a></blockquote> Safe to say, tennis fans weren’t happy with Rothberg’s inclusion of Kournikova. <blockquote class="twitter-tweet" data-conversation="none" data-lang="en-gb"> ...Kournikova? <a href="https://t.co/luZwseJJJs">pic.twitter.com/luZwseJJJs</a> — Eve Honeywell (@captcitrus) <a href="https://twitter.com/captcitrus/status/1092875431869669378?ref_src=twsrc%5Etfw">5 February 2019</a></blockquote> However, Rothenberg explained that she “paved the road for a massive post-Soviet wave that followed, completely redefined what success and value could mean in women’s tennis and changed how the sport was seen”. Kournikova was one of the world’s most known tennis players, although she never won a singles title. She had much more success in doubles, reaching world number one and winning the Australian Open doubles title with Martina Hingis in 1999. Rothenberg also pointed out that there’s a difference between importance and performance. <blockquote class="twitter-tweet" data-conversation="none" data-lang="en-gb"> Ok upon further review, Graf is out, Venus is in. Everyone is getting mad about Kournikova, but “most important” is a *very* different metric from “winningest” or “most impressive.” — Ben Rothenberg (@BenRothenberg) <a href="https://twitter.com/BenRothenberg/status/1092878761341652995?ref_src=twsrc%5Etfw">5 February 2019</a></blockquote> Ken Merritt, who coached Kournikova, explained the influence that she had on the world in a <a rel="noopener" href="https://edition.cnn.com/2015/11/09/sport/anna-kournikova-tennis-sport-marketing-sponsorship/index.html" target="_blank">2015 interview with CNN. </a> "Construction workers were watching tennis, business people were watching tennis. It wasn't just normal country club corporate clients that were watching tennis now," Merritt explained. <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-permalink="https://www.instagram.com/p/2rRkN1O20Q/?utm_source=ig_embed&utm_medium=loading" data-instgrm-version="12"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" rel="noopener" href="https://www.instagram.com/p/2rRkN1O20Q/?utm_source=ig_embed&utm_medium=loading" target="_blank">A post shared by 🐾 Anna 🎈Аня (@annakournikova)</a> on May 14, 2015 at 1:43pm PDT </div> </blockquote> "Women's tennis had a lot of TV deals after she was playing. There's a lot of things Anna did for the sport that went well beyond the box scores of wins or losses." Were you a fan of Anna Kournikova when she played professional tennis and agree she brought a positive influence to women's tennis? Tell us in the comments below.

News

Snoozing in a pod: Trying the latest accommodation trend

Travel writer Justine Tyerman snoozes in a ‘pod’ in Christchurch. I snoozed in a pod the other night. As I nestled down under the cosy duvet, I felt blissfully secure, warm and comfortable as a storm raged outside. I've stayed in many hotels and lodges around the world, from ritzy to rustic, but Snooze in Christchurch is the coolest of them all. Warm, welcoming, friendly and decidedly quirky, it fills a gap at the affordable end of the Christchurch accommodation market. The two-storey facility which opened on November 1 last year, sleeps over 270 guests in a variety of formats. The majority of the accommodation is made up of rooms with eight semi-enclosed ‘pods’, four at ground level, and four accessed by ladder. If you are a group of eight friends or family members, you can have a whole eight- pod room to yourselves. If not, you share with others much like a backpackers hostel… except you have a private capsule with a pull-down blind, a king-single bed with a fitted lower sheet, pillow, duvet, light, fan, temperature control, mirror, power and USB points, and free Wi-Fi. It took me back our days of tramping and ski club huts but with a quantum leap up the scale of comfort, privacy and sophistication. <img src="https://oversixtydev.blob.core.windows.net/media/39800/1_500x333.jpg" alt="1 (194)" width="500" height="333" /> There are eight semi-enclosed ‘pods’ per room, four at ground level, and four accessed by ladder. Unlike the Asian sleeping capsule concept, the pods are surprisingly spacious with plenty of head room to sit up and move around. Underneath there's a sizeable locker with a combination lock for secure storage. Simple, spotlessly clean and shiny, and inviting, pods can be rented per night, per week or by the hour for travellers wanting to sleep between flights. Pod-dwellers share generous, immaculately-clean bathroom and shower facilities just down the hall. For those who don’t want to share, Snooze also offers private single, twin, queen and family rooms with ensuite bathrooms. Cleverly designed to maximise the use of space, the super-comfortable beds are raised higher than usual off the ground providing ample room for bulky cases and packs underneath. The rooms have a large flat screen TV in a wooden frame, a shiny white bathroom with a big mirror, roomy shower, great water pressure . . . and a hairdryer in the bedside cabinet with a note saying ‘It’s the little things that matter’. After two weeks on the road in a motorhome, I beamed at the hairdryer as if I had found hidden treasure. <img src="https://oversixtydev.blob.core.windows.net/media/39801/2_500x333.jpg" alt="2 (187)" width="500" height="333" /> The pods are spacious and inviting. The decor is predominantly white which gives the rooms a clean, bright look but JUCY’s trademark colours pop up on the green doors and purple ‘proverbs’ on the walls like ‘Why stop dreaming when you wake up?’ and ‘Wish it, Dream it, Do it.’ The friendly atmosphere in the shared kitchen and common room also reminded me of the fun we’ve had in tramping huts over the years – travellers from all parts of the globe speaking many different languages, making new friends, cooking together, sharing food, wine and beer, swapping recipes and addresses, and planning the next stage of their adventures. The kitchen, with its long stainless steel bench, cookers, ovens, dishwashers and fridges, was abuzz with activity and animated conversation at dinner and breakfast times. Such a warm, congenial, colourful scene. It was heart-warming to see young travellers from countries whose leaders are not on good terms with each other ignoring the feuds and getting on so well together. The communal concept really appeals to me. The large high-ceiled common room has a variety of dining, sitting, lounging and relaxing options including hammocks, a garden swing, comfy bean bags and oversized cushions. Wi-Fi is free and there are ample power points to recharge technology. <img src="https://oversixtydev.blob.core.windows.net/media/39802/3_500x333.jpg" alt="3 (158)" width="500" height="333" /> Justine in the Snooze common room. During my stay, I noticed a collection of camping gear in one corner of the common room: sleeping bags, tents, eating and cooking utensils, fold-up chairs, a multi-plug board and even a couple of candles, all in good order. A note from Simon, Mieneke and Marjet said: ‘Free camping stuff. Everything is complete and works properly. Enjoy!’ To me, this seemed to typify the generous-natured ethos of the place. Walking distance from the airport, the accommodation complex, owned by New Zealand company JUCY, and has already welcomed over 25,000 guests. Manager Anna Flores from Barcelona says the occupancy rate went from about 60 percent in the first few months to 85-90 percent at the start of this year and is now hovering around 80 percent From Tuesday to Saturday between 3pm and 7pm, a JUCY travel consultant gives free advice and information about what to do and see around New Zealand. The weather was appalling while I was there so Mike was fully occupied, offering suggestions about what to do on a rainy day in Christchurch. <img src="https://oversixtydev.blob.core.windows.net/media/39799/4_500x333.jpg" alt="4 (132)" width="500" height="333" /> The hammocks are a great place to relax. The reception desk is manned 24 hours a day with friendly, knowledgeable, capable staff like Alannah who has been at Snooze since Day 1. There are also two booths providing a computerised check-in process. Snoozers also have access to luggage storage and a laundry with coin-operated washing machines and dryers. A free shuttle service runs at regular intervals between Snooze, JUCY Rentals and Christchurch Airport. Right next door to Snooze, there are cafes, bars, restaurants and a supermarket. Assistant manager Juan Barrera from Mexico says the majority of the guests come from Europe and Asia and are in their 20s and 30s although Snooze is also popular with older travellers and family groups. <img src="https://oversixtydev.blob.core.windows.net/media/39797/5_500x333.jpg" alt="5 (122)" width="500" height="333" /> Artist Wongi Wilson's ‘Pockets of Awesome’. The guests I chatted to raved about the Snooze concept with its informal, convivial, communal vibe. Solo travellers told me it’s a great place to make friends and find travel companions. There’s no such thing as loneliness here, they said.The whole place exudes personality, even the stairwell – it’s decorated with colourful murals depicting Christchurch street scenes. Artist Wongi Wilson calls them ‘Pockets of Awesome’. *Pods range in price from $30 and private rooms from $99. There’s a Snooze in Auckland and one planned for Queenstown. Visit, <a rel="noopener" href="https://www.jucysnooze.co.nz/?gclid=CN3Hs_W7rNMCFYuTvQodbSMAIw" target="_blank">www.jucysnooze.co.nz</a>. Image credit: Justine Tyerman

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Entertainment

Travel

Health

Lifestyle

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The Australian remake of The Office has the potential to be great - if the writers remember how unique our humour is

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