Tag: Gillian Polack

Reading and Writing – an update on my book problem

personby Gillian Polack
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I have so many piles of books in my living area (which is also my work area) that even I feel the clutter. The reason this post’s title includes the words ‘book problem’ is because occasionally they topple and I tripped over one yesterday and…

I love them all. It’s not a problem in any sense except the clutter. I’m not reading just one good book this month, I’m reading dozens. They are my building blocks for a three-year research project (1), and I’m already having fun. Gradually, the piles will diminish.

One pile is for putting away. “I’ve finished this – it was fun but not terribly useful. I’ve taken the notes I need from it but they’re not relevant to anything I’ll be writing. It can go away. No need to put it in the bibliography.”

Another pile is carefully marked up. Not the books themselves – I have special sticky paper that doesn’t harm books and I write on that. When I’m ready to write that book up, I go straight to the notes and lo, it’s ready to go. I know what page to refer to in my footnotes and I have my thoughts on the sticky paper. Then I put the details of the book in the bibliography, and then that book goes on the putting-away pile.

The third pile consists of one book right now, called Putting the Science into Fiction. It’s not a scrap of use for my research project, but has some stuff in it I want to use as a reminder for world building. The world building has nothing to do with the research project. Until last Wednesday I did it full-time, but now I’m doing it as a leisure activity. The book will be put away when I talk through what it contains with my co-conspirators in world building, which could be next Monday, or it could be in three months.

The three largest piles relate to three of the core focal points of the research project. One is on fairy tales, one is on own voices, and the third is on writing about cultures that are a bit alien or foreign.

The piles I’m working through right now, however, are none of those things. Some are on writing technique, some are on genre, and some are on what makes narrative, and some are on rhetoric or critical theory. These are my reminder piles: it’s no use launching into research without checking that you know what you’re doing. It’s not enough to know this stuff as an expert or generally. I have to know exactly what elements I need for this precise project.

That’s all for this project, for now.

A proposal I put in for an academic paper was accepted yesterday. I’m about to start an extra pile (which will link into the project, but is right now just for the paper) will be about food in speculative fiction. This one is quite dangerous. Whenever I write about food, I have to cook things.

When people ask me what I love about research I am stumped. What’s not to love about reading fiction and inventing recipes to fit the food mentioned in the story? Although in this case I’ll be doing a critical analysis. Mouthfeel has to play a part. Maybe I’ll have recipes as the slides that illustrate the paper? After all, I have a nice collection of cookbooks that I can match to the foodways in the fiction. The most mouth-watering paper at an academic conference. It sounds good to me.

Writing long fiction is on the backburner for a bit, obviously, but my reasons are impeccable, as are my piles of books. Also, I did that thing that chefs do on cooking shows. There are three objects I prepared earlier, one that is out in paperback and now affordable (earlier research!) , one that is out already and the other is coming in a very, very short time. The same applies to next year – work finished a while back means that I shall research away and books will appear and everyone will think that I work 36 hours a day.

I don’t. But I do have impressive piles of books stacked everywhere they fit.

 

  1. For all of you, a footnote. For anyone wondering, yes, this research project is for a PhD. It’s not my first PhD, however, and Australian PhDs are only three years long and we start the research on Day One. Also, I’m more interested in the research itself and in working with two tremendous supervisors than I am with shouting, “Hey, I’m doing a PhD.” Because it’s all about writers and what they put in their fiction, I shall talk about the cool stuff here, from time to time. Ivory towers are a fiction, and research relates to the real world. This research relates to culture in fiction. And I am one of those people who write stuff into footnotes that people need to read. I did it for my first novel and I refuse to stop doing it unless I’m writing an academic piece. This is due to a certain warped element in my personality.

Comfort reading

personby Gillian Polack
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The other day, we were chatting, in the usual Treeehouse way, about one of our favourite topics. The question we asked each other was not “Which books do you like?” but “Why do you like this book in particular?” We were talking about elements of a book where the author had put the finger on something so precisely that that author and that trait give us pleasure, even years after we first read it. We decided that when one of us remembers something about a favourite book, we might write about it here. We all need comfort right now, after all, and comfort reading is right up there with chocolate as something worth sharing. I’ve eaten some excellent chocolate today and I have a cup of tea at my right hand.

The book I want to share is one that’s really not very well known these days. I’m not sure it was even published outside Australia. It’s by Ray Harris The Adventures of Turkey. Boy of the Australian Plains. I have the 1960 edition, but didn’t read it until some years later. My school library had an earlier edition. I learned about space travel in that library and dreamed of becoming a science fiction writer. I learned about history in that library and dreamed of having history as part of my life. I watched the moon landing in that library, in 1969, when I was eight, and I read The Adventures of Turkey in that library.

Turkey was a schoolboy who lived outback, in an Australia I thought I visited on holidays. When I was a teenager, I was on a school exchange programme and discovered that almost everything in the novel either never existed or was in the past. Mostly in the past. I spent a lot of my early history quests trying to find out about Turkey and his life.

What is it in this book that still grips me? It’s a perfectly created world. It’s what most fantasy novels dream of being, but it chronicles the apparent everyday of school children from way out Woop Woop or from back of Burke. This is an Australian fantasy place, where the climate is tough and the people tougher, and where snakes are dealt with calmly and the real hero is a lanky boy who looks like a bush turkey.

The conversation us Treehousers (I’m now stuck in Australian English, sorry) had, was about writing techniques.

What writing techniques did Harris use that makes me dream about this non-existent Australia every time I read the book? (Do not ask how often I’ve read the book: I’ve owned this copy for about 45 years. We are talking about ultimate comfort reading.) This is not about what the book gets wrong. It’s about what it gets right.

One of my favourite openings of novels is in Susan Cooper’s The Dark is Rising. In the first paragraph we learn so much about a family that everything that happens to Will Stanton happens in that family context. The events are more startling because we know his family, intimately, from Will’s reaction to them in that first paragraph.

Ray Harris uses a similar technique.

“Turkey, me toe’s sore!”

Without speaking, the lanky fourteen year-old slid his school bag in front of him and took his small stepsister pick-a-back. He carried her easily enough. She put her perspiring cheek against his not neck, pushing his hat on one side. He made no protest.

 

It’s at once very Australian and very simple.

Everything in the novel is Australian and simple. We were just getting used to the idea that we could use our own dialect for protagonists in the 1950s and 1960s, so Harris used a voice even in that opening paragraph and that voice is what comforts me.

It’s my father’s voice.

Dad was brought up in country towns. I’m very much a big city person and I’ve never spoken the way Turkey does. I use a bit of dialect (‘Strine’ is its official name) now and again, to tease people, but I actually had to learn it from others as a child. The Adventures of Turkey was one of those others. It helped me to understand my father’s jokes. It helped me to see that there was an Australia outside my suburb and that I wanted to find out more about that Australia. It did all this by presenting the often-humorous life of Turkey, one day at a time.

While as a school story Turkey was new to me, the humour wasn’t. My father’s jokes are in it, and the entire novel lovingly embraces the narrative style of CJ Dennis (The Sentimental Bloke is another story I visit and revisit when I need comfort – it’s an Australian retelling of Romeo and Juliet) with hints (mere hints) of the adventures of Bunyip Bluegum (Norman Lindsay’s The Magic Pudding) and the short stories of Steele Rudd about Dad and Dave.

If you find the common elements in all of these, you will see what gives me comfort in The Adventures of Turkey. Whimsy walks alongside stern practicality. There’s an acceptance that even simple prose can be used to share the reality that ordinary life is tough but still worthwhile.

All of this was communicated through a writing style that supported resigned humour. The comfort comes from Strine itself, in a way. When I first discovered it, I was reading British school stories and dance books and horse books and I was reading about Anne Shirley and Laura Ingalls Wilder. I was reading science fiction and fantasy and anything that contained history. None of them gave the firm foundation that Turkey did.

It’s the sense that the everyday can be story, I think. Even if it’s an everyday that is so unlike my own that it felt ultra-real.

That opening says it all. Susan Cooper’s opening said that the everyday can be turned upside down and inside out. Harris said that the everyday didn’t have to be turned upside down and inside out to make good story. This is the comfort.

How Not to Win an Award

personby Gillian Polack
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Each month, I ask my patrons what they’d like for their new essay. They vote. This month the vote was split, and I chose the one I wanted to write about, because no-one was asking me and I had stories to tell. You’ve seen the announcement here – that I won a prize for one of my novels. A not-unimportant prize. It struck me as odd that only my patrons want to know why I wrote this novel. Or maybe the oddness is that people are curious, but have not asked. Either way, I wrote that essay and it will go out tomorrow or Thursday.

The story of the novel may be cool, but I thought you’d like the story of what happened on the night of the award ceremony. It was the beginning of what promises to be a very interesting year.

The Ditmars are the Australian equivalent of the Hugos – awards for writing and art and criticism and more voted by SF fans. My novel was one of the finalists for best novel. I assumed I wasn’t going to win because I could see no reason why I should. I was fully expecting Eugen Bacon to win, in fact, so I didn’t worry too much about the award itself. My brain pushed all deep thought and lists of debts owed to the side, although I did wonder when the announcement would be made.

I only heard about the award ceremony three hours before, and that was a form invitation that all the finalists received. It was already Rosh Hashanah. My New Year.

If it hadn’t been for the pandemic, I wouldn’t even have kept the computer on. Work was out of the question and for me, that award ceremony was work. It took me a while to puzzle this out. I did it on Facebook with many contributions from friends. I discovered then that a lot of people go to award ceremonies for fun. I don’t. I love it when people I care for get recognition, but I find the ceremonies themselves hard work. Speaking to a big audience about a topic I love, however, that’s fun.

I finally puzzled my way through the whole problem, sent an email to my publisher, and sent an apology to the organisers. The only reason it took me that long was that I was dealing with medical issues all that week. I had to decide through a haze and it was not comfortable physically or emotionally. My mother was happy with my decision, which was the big thing. I couldn’t tell her about it until afterwards, however. Three hours is not a long time.

When the three hours were nearly up, I was spending my new year with two of my close friends. Yaritji Green, in the middle of our chat, asked me if I knew someone and I told her they were on the Ditmar committee. I asked her if that meant she was at the online ceremony. Not only was Yaritji at the online ceremony, but she was willing to stand in for me if needed. 

She asked me for some dot points, in case. I didn’t take the need seriously, for that whole day had turned improbable three hours before. I told her “This was an impossible work and the award is in an impossible year and it’s impossible for Gillian to be here cos it’s Rosh Hashanah.” I tried to think about it more but, “I have heaps of things I would say, but I can’t think of them tonight. My brain is outside work zone.”

She asked me about the nomination and I explained, “I had my heart stuff then wrote that novel the following October/November, BTW, so it’s very appropriate that you’re (as a doctor) my sub.” (I’ve cleaned up the impossible typing – everything looked impossible at that moment.) “I cogitated on the conditions for the novel for 20 days in hospital, then while I was recovering, then when I found myself with no paid work because the uni was leading up to sacking me and then splurged and I wrote it very quickly. You don’t need to say any of this – I’m just remembering that this was the first time I sorted out HOW to turn garbage into fertiliser. Fruitcake was the first flower in my new garden.”

My mind didn’t have much time to dwell on the irony in what I’d explained to Yaritji. In fact, the moment I finished typing it, I sent it and two words arrived from Yaritji.

“You won,” she typed.

She had been speaking on my behalf while I was trying to get my mind around why it was impossible to think lucidly about this novel. My immediate reaction to “You won” was “Wait…what!!!” Yaritji knows me very well and sent me a picture of her computer, with the announcement writ large on the screen.

That’s the end.That’s how it happened. I suspect I won’t believe I actually won until I see a trophy.

 

Gillian Polack Wins Ditmar for Best Novel

personby Crow, Editor
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The Year of the Fruit CakeTreehouse writers are thrilled to report that fellow resident Gillian Polack won Australia science fiction’s 2020 Ditmar Award for best novel for The Year of the Fruit Cake. The book was published by IFWG Publishing in Australia.

Since Gillian was unable to attend the awards, Yaritji Green and Gerry Huntman accepted on her behalf. The Ditmar Award has been given at Australia’s national science fiction convention since 1969.

Gillian said on Facebook, “I was so subversive in this novel that I still have trouble believing fans voted for it. This gives me a ridiculous amount of hope at a time when hope is not everyday.”

In The Year of the Fruit Cake, five women meet up by chance when they end up sharing a table in a café. They are all very different, and one of them — though we’re not sure for a long time which one of them — is an alien from a culture of multiple genders in which the beings change genders several times over a lifetime. On Earth, however, she is trapped in the unchangeable body of a menopausal woman and has a confused mass of memories about who she really is.

The book is available internationally.

Rip van Winkle versus the Spaceship

personby Gillian Polack
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I’m dreaming of spaceships today. I want to write a story set in one.

I need to write a story. It’s only Tuesday here and my New Year is on Friday and I’m writing your post nearly a week early because of that festival. I was going to tell you all about Medieval Jewish foodways in western Europe and about modem Jewish foodways in Australia and I was going to make you cravingly hungry for honeycake. I’m derailing the whole conversation (one I haven’t yet begun) because of my dream of spaceships.

I won’t tell you the dream itself, for it’s going into a short story, later today. One short story set in a spaceship and I ought to be caught up on all my new fiction for Jewish New Year. What I want to talk about is the alternate path the dream did not take.

Before 2020, I assumed that if someone were inside for months on end, when they went outside, finally, I would have a Rip van Winkle experience. I would emerge to a strange place I did not recognise: the rest of the world would have moved on.

This is not at all what happened when I went to medical appointments last week. Sure, the streets look at bit different. I emerged to a financial recession, after all, where the strict COVID limits on who can do what. Overcrowding is rare and people are more scattered. There are crosses and lines to mark safety.

I knew about these changes, however, before I encountered them. Rip van Winkle emerged to a place he did not know and that he did not understand. While he was asleep, he was out of sync with the outside world.

It would take an active choice to be out of sync right now. Or a second terrible moment, like the wildfires in the US or riots or… a great deal of what’s happening in the world right now. Multiply the peril and one’s focus turns to keeping going. I suspect the US has many Rips right now.

Given my last twelve months, I assumed that this is what would happen to me. That I would emerge into a changed world and I would not belong to it at all. When I found that this wasn’t at all true, I needed another metaphor. Washington Irving failed me. It’s tragic that he did not fail the US.

I explained my situation a bit more clearly to a neighbour’s friend when I put my rubbish out (this was such a big accomplishment! Once this statement would have been sarcastic – right now it requires the exclamation mark.). My neighbour’s friend failed me in a different way when I emerged.

When we told each other what we did for a living and I said I was a writer, he took my earlier admission of disability to mean that I filled in my time writing. He was nice about me turning my disabled state to good use.

This was when I fell out of sync with the world. Had working for a living changed since I last spoke to a stranger? He moved off the ‘occupation for a person with disabilities’ and onto the ‘does this out of passion’ thing. If we meet a few more times, maybe he’ll see the professional side of writing, and understand that being disabled doesn’t actually mean having a lesser life. It’s a life with restrictions and much medical stuff, but it’s capable of being amazingly rich. Mine is that life. I commented to him that I was bored for a whole hour earlier this year and I looked at the boredom and examined it closely and exclaimed in wonder at it and that is when I discovered that I was no longer bored.

This is why I had the spaceship dream.

I was never Rip van Winkle. I’m in a small spaceship. I can talk to other people and am in touch with the whole world of I want to be, but I’m in a spaceship. No dinner parties. No long chats with friends around a pot of tea. No long walks in the spring sunshine. But I know what’s happening and can be a part of it. It’s only my physical presence in a place other than my spaceship that’s not a given.

Living in small spaces during big times

personby Gillian Polack
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Every few months there are five Mondays in a month. Also, I posted last week because … magpies. This means you hear from me three Mondays running, and this is only Monday #2. Brace yourself…

I broke iso on Saturday. There was a medicine I urgently needed and I didn’t want to ask a friend when I also had to post a letter and get some money form the bank. I walked under falling blossom and realised that I’d chosen to go outdoors the first day of the new season. The actual change of season isn’t until 1 September, but Spring arrived on Saturday. The only shop I actually went into was the chemist. There, I could see why I am not supposed to go near people. For every nine people using common sense, there was one who wanted to make the queue move faster by creeping up behind me.

I break iso once every six weeks, on average.

Just sitting in the sunshine reminded me that the outside world is not defined by the internet and Netflix. This got me wondering why I don’t feel the need to break out more often. All kinds of other people cannot stay in their homes even if they have gardens. They have to buy milk or bread every day. I only reach that level of stir crazy every six weeks, despite living in an apartment.

I suspect it’s partly because I’ve worked mostly from home for years. I don’t have to go out at all now, though, and so I have more time to catch up on silly films I missed.

I shall not list the films, for they are all ones I would not have gone to the cinema to see, except Hamilton. Hamilton is not a silly film, even though I ran an inner argument with it the whole time.

That inner argument is the other thing. I’m watching movies with Italian subtitles or Spanish subtitles where I can, for my insufficient knowledge of both languages makes me restless. A few minutes ago I started telling my TV screen that I had not fully considered the effects that the choice of ‘guard’ and ‘watch’ and equivalent words had over the way we think about possessions and people. Then I moved onto ‘save’. Look them up in Spanish and Italian if you don’t already know them. Take your time. Tangents for thought are perfectly allowable when one looks up words.

I was watching the live action Aladdin and had to pause it to do work, for otherwise a whole new plot would have accompanied the film.

Not that I object to whole new plots accompanying films. Earlier today I was thinking that three of the Star Wars films would be massively improved with a dubbed version that turned them into comedy.

I like music, though, and needed to listen to it rather than let my mind play with historical linguistics. I often dance to musicals, mildly, for it hurts. Every time I do this, the next day is less difficult so it is worthy pain. My dancing feet remind me that they are musicals and that I really shouldn’t drift too much.

My time sense has warped beyond all logic since the bushfires and COVID-19, but my mind takes me into some wonderful explorations. I was bored for an hour earlier this year and I tweeted it. It astonished me, that, in over twelve months of things being so seriously challenging, I should only have been bored that one hour.

I rather suspect I made a decision in my childhood that no matter how alone I was, I was not going to be lonely. I know I worked hard in my teens to develop this skill. I’m still working on some elements of it. I wasn’t expecting this work to give me the pandemic experience some of my friends crave. I hope there are classes on this for people who had lives that didn’t push them to develop this skill. I can’t imagine how awful COVID-19 in an apartment would be without my arguments with the TV screen or my dreams while I wash dishes. (I hate washing dishes.)

I am not alone in this drift of time and the richness it embraces. Quite a few writers I know are experiencing something similar. What I wonder is the possible relationship between problematic childhoods, a determination to not be defeated by them and us becoming writers.

My sentences are growing complicated and I’ve been sitting down for too long. Time for more Aladdin.

Making fertiliser

personby Gillian Polack
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The other day I noticed that I wasn’t the only person who was tired. We’re all emotionally exhausted. If life were the same as it usually is, this is when we’d take time off and maybe even go on holiday.

I wrote those sentences then my thoughts led me into talking about how holidays are affected even for those who can still take them and I realised… one of the reasons we’re so tired is because there’s no escape form the pandemic. I’m in iso. As long as I am in iso, I’m safe. It should be simple, really. I should be shut off from the emotional fatigue. But it isn’t. And I’m not.

This is the moment I need to call forth my promise to myself.

Life has been challenging for me for a few years now, and I told myself that if I was going to continue to have garbage thrown at me, I was going to turn it into fertiliser and grow the best garden. When I remember this, the exhaustion takes a step back. Let me make some fertiliser right now.

I like lists of ten, so I’m going to list ten things that make life that much easier when one is Gillian in a pandemic.

1. Soft material. I use an amazingly soft blanket to snuggle in, and every time I do this I fight the long time alone.

2. Basic dance exercise. Keeps my body capable, even when I can’t go outside for weeks on end and things hurt. Also means I can fling my arms around flambuoyantly.

3. Chocolate. I don’t need to explain chocolate.

4. Other peoples’ stories. Books and TV and streaming services – when things get too much I can dig a hole in someone else’s world and only emerge when I want to. I choose to call this fairy tale groundhogging, for I found a Cinderella film last night and it took me right back to the days when there were solutions to problems. Now… not so many solutions, but I’m still allowed to dream.

5. World building. I finished writing a novel and the next one is a while off for I have to build a world. This gives me so many excuses to delve into intellectual places I normally don’t have enough time for. Six months I have, to delve. Maybe a year. To imagine a different world. Then I find a few people in that world and I write about them, but this deep level of world building is such a good place to be. I have a giant piece of paper on the back of the door, I have two notebooks… and this time I’m auctioning off place names to raise money for SF fans to meet each other. The geography of my three new countries will give a bunch of people what the world building does me: a feeling of being in contact with others at a time when… we aren’t so much.

6. Cooking. Today I intend to cook enough curries to last me one meal a day until after the weekend. Cooing calms me right down. I also talk to myself. When I’m in the middle of a novel, I might talk to my characters or argue with my plot. While other writers pen more drafts… I cook.

7. Online conferences. I can turn the vision off (so no-one sees me in my PJs) and listen to academics talk about their fascinating research while I do those stretches and gentle exercise and fling my arms around. A university professor says something that changes my own research or is important to my writing, so I stop in the middle of a paper and race to my desk and take notes. Free online academic conferences are the best form of academic training or updating for writers. I can break down stereotypes and I can learn how coin hoards change the way we see a place and its coinage and I can be reminded of the Welsh triads. Right now my world building is dominated by what I recently learned about Celtic Law because the experts in that law were handily on my computer.

8. The capacity to lose my temper without hurting anyone. Let’s face it, to only see two or three people in real life over a period of months is not an emotionally good place to be in. Chronic illness and iso leave me ready to snap when someone tells me off for being ill, or who thinks it’s a privilege to be single and of my age and alone. I lose my temper to myself, privately, then turned the garbage into fertiliser and asked everyone to think about chatting with me on Zoom. And now I have friends around me from a distance and I’d love to say I never lost my temper directly at anyone in achieving this, I’d love it if that side of things was very private… but I only lost that temper once in anyone else’s presence. Things are not easy for any of us. We often only see the good things in the lives of others because it’s so important to get through things. Having space to lose my temper and to curse the world and to move past it and regain civilisation is a lovely luxury.

9. I own the shell of an emu egg. It looks like a large, speckled avocado, but it’s an emu egg and it’s mine. My next dream is cook with the other parts of an emu egg, but that’s harder to achieve. Another dream is to paint emu eggs, but I’m not good at painting and the egg shells are not cheap. Painting is easier to achieve in the US, where emus are farmed. My egg comes from an emu that was never constrained and constricted and (given emus) quite possibly bullied children. I was bullied by emus as a child. And now I have an egg.

10. I can take moments to ponder the important questions. My important question at this precise moment is whether other places have birds that bully in the way emus do. We also have cassowaries, but I’ve never met one because they’re far more dangerous than emus. And we have magpies that swoop. It’s swooping season right now, in fact, and I’m safe inside and cannot be got. I wish I could see a person on a bike, with a mask to protect from COVID-19 and a helmet studded with spines to protect against magpies. In fact, I wish I had a picture and could make postcards with funny comments.

This post was brought to you by a way-too-early swooping season and by an emu’s egg.

Comfort zones

personby Gillian Polack
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My home life revolves around food two days a week. I love cooking and for a year I’ve had almost no-one to cook for.

I discovered some months ago that when I don’t cook, I get more stressed. I’ve been nodding sympathetically at people’s stories of the joy of baking and their discovery of sourdough.

I have a very large repertoire of dishes and I love cooking and… I’m on a bit of a restricted diet. Also, I have deadlines on top of deadlines.

This is why I liberate myself twice a week. To be honest, it’s sometimes more than twice a week and sometimes less. This week it’s been fewer long sessions but more sessions, because someone gave me many tomatoes and I made a tomato base for almost any food. It was one that took four days, on and off, because it’s winter here and tomatoes are watery. Six kilograms of tomatoes gave me 1 ½ litres of my sauce. I instantly gave a half litre to a friend who is helping me get out of the internet nightmare this month has been (I haven’t lost my internet at any stage, but my landline has been missing in action for twenty days so far), so I have just enough for seven days of interesting food.

When that was done, I looked in my fridge. I have trouble putting out rubbish (the bins are tall and heavy and 100 metres away, and I’m working on my lifting muscles so that I can regain that truly exciting fragment of my life) so when friends come by, they often take a bag of rubbish out with them.

Since I know this friend will be drilling in my wall tomorrow to help solve one of the problems that has been bugging things around here, I spent an hour tonight chopping up everything that looked old or in need of finishing. I threw out the bruised mushrooms and cut the rest. I found so many shallots, getting sad and in need of love. That was really all I did tonight. I have several containers of vegetables, and I have all that passata, and I have 3 meals’ worth of salads made, so I don’t have to cook until Friday. I will probably do another bout on Wednesday, for cooking helps me think, then I’ll leave it to the weekend. All the scraps are ready to go out and my fridge looks much less crowded.

What am I going to cook with the tomatoes and vegetables? I’m so glad you asked.

One container is earmarked for shakshuka, because I have everything I need for that except cayenne and I can wing cayenne given I have seven other types of chili. The other is for a pasta sauce with those mushrooms, some of the shallots (or maybe an onion), kalamata olives, feta cheese and maybe, just maybe, some green capsicum. These are both easy and quick dishes once one has a good tomato base, and this week is furiously busy.

I’m not cooking any bread. I can cook bread. I’ve cooked bread since I was a pre-teen. It’s not good for me and I love it and everyone else is talking about it all the time, so I’m not even going to make a flatbread to eat with the shakshuka. Yes, I’m sulking. Bread is fun to make and kneading gives me time to think and my writing is the better for it… but it’s not good for me. I have a right to sulk.

When I’m past this deadline I get to explore some of the more interesting ingredients in my cupboard. Some of my friends (who know me all too well) send me little parcels of local food from their country or they send me chocolate and tea. Food. I get occasional hampers of food from wise friends. I love these hampers and I eat most of them fairly quickly, then stash some parts away for when I need to be cheered up. I have herbes de Provence from France and chocolate from Ireland and grits from Germany and more, hidden so that on bad days when I open the larder and stare in misery, memories of those hampers stare back and I’m forced to smile and totally and entirely forced to cook.

Some of my ingredients are a little old now. I’m still saving them. I predicted the disruption to international post and knew my presents from friends would be rare for a time and I refused to not have my friends make me smile, so I checked all the use by dates and put the must-eat at the friend of the larder, the must-eat within a few months within eyesight (but not at the front) and the will-;last-forever under everything.

What’s very odd is despite the fact that I’m not supposed to mix with people (iso is iso – so many of us have health issues) I make sure I have enough food to feed several friend sin case they drop round. Which they won’t. Which, in fact, they can’t. But it makes me happy to know I can feed people.

This post was brought to you by my favourite (Korean) instant noodles. They are one of my cheer-up foods and they are currently unobtainable. I ate my last packet tonight. Don’t worry – I still have chocolate.

Friends, brains and other things

personby Gillian Polack
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Today I have no time but I’m having a long yarn with a friend anyhow. It’s such a bad year and friends matter. This friend sent me an unbirthday present, including a book edited by one friend and with a story by the friend who sent the parcel. Despite the fact that I’m avoiding giving their names to the world (they deserve privacy) the cockles of my heart warmed and I realised we’re all a bit more alone than we intend to be this year.

Oddly, I’m less alone than usual and fitting everything into the week is rather difficult. Part of this is because July is the month no-one goes out in Canberra, which means that single people with chronic illness and a bit of disability can be very isolated indeed. COVID isolation wasn’t as bad as a high pain week for me, for there were friends on Zoom. This doesn’t make my iso full of all the good things – it’s relative. It means that I don’t have to wait two weeks to hear from anyone other than my mother. It means I’m learning how to chat the way other people do, rather than to blurt out everything I’m thinking.

The torrent of words is because I spend so much time alone. What if I don’t see anyone for another two weeks? How will anyone know what’s going on in my life.

This is daft, because I’m active online every single day. My brain doesn’t see that as warm companionship unless someone sends me a parcel. My brain needs educating, obviously. Or more friends need to send me parcels. Maybe both.

I’ve been playing with the thought of what triggers torrents of words in different people and what pushes us into silence. I put it into the novel I just finished (of course I did) and I’m looking today at how culture can silence people. I’ll explore torrents and silence in the same person for a while, because I can and because I am one of those people who moves from extreme to extreme, and I want to know why other people do that when their lives are different to mine.

My days this week are full of administration, writing short pieces (like this and for Patreon) and writing at least 10,000 words of my non-fiction. At 5 pm every night I mysteriously become a Medievalist and attend the big international conference in Leeds. Housework fits in there somewhere and so does cooking and so do a bunch of other things and I’m wondering, “How do other people handle July?”

If you’re in that distant Northern Hemisphere it’s January. I don’t know if January is your bleak and impossible month, though. I know July is the worst month for people in my region. It used to be Canberra, but now it’s the whole region. Getting through July is a feat of my emotional strength. Some years I try to sleep through it.

This year I’m so busy that nearly a week has gone and I didn’t have time to feel threatened by the month.

‘Pfft,’ said my brain’, ‘who needs to fear July when the world is what it is?’

Brain, I love you a great deal, but wouldn’t it be nice to have a good July, for all of us?

Stay safe and well everyone. It’ll annoy my brain if you do, and this is a good thing and devoutly to be wished.

Winter Is Coming – Gillian Polack

personby Gillian Polack
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Hi,

I’m Gillian, and I’ll be blogging about things that are everyday to me. I’ll change the title whenever I feel it needs changing, and I’ll put my name up top so that you know it’s me, playing with titles. I love playing with titles. My current draft novel is up to its sixth. I also like writing letters. This will be my letter to you.

I discovered (the peculiar way) that the combination of all the things in my life mean that my life is a bit different. I live in Australia (my family migrated here between the 1850s and 1920) and have had an exceptionally strange career. I’m not certain what my everyday is different to, not yet. We’ll explore that together.

Take my Sunday. You don’t have to take it very far, because I’m writing this on Sunday afternoon. Right now I’m downloading the Hugo packet for the WorldCon in New Zealand. I was so happy about going to a place a mere six hours travel from home and spending time with friends and… COVID-19 hit. At least I’ll have more time for reading my Hugo awards packet.

My corner of Australia (the national capital) has bad internet. This means that it has taken me 8 hours to download the Hugo packet. I live in deep commune with my computer. It thinks it’s my life partner and plays games with me. I think I need to get a new one. My computer is proud of the duct tape holding it together. Actually, it might be masking tape. It’s an old, grumpy computer. Continue reading “Winter Is Coming – Gillian Polack”…