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Sunday, 25 June 2017

Basil Eliades: Renaissance Man

Basil Eliades is certainly a Renaissance Man when it comes to the arts. He's a painter, as well as a poet, performance artist and most recently an author of travel fiction. Speaking in Tongues is his most recent IP title. His previous poetry with IP is 3rd i and 50IV

Assistant Editor Imogen Sloss caught up with him as he was packing his bags for the Venice Biennial.

IS:  Basil, how would you best describe the nature of your book? 

BE:  Possibly because of my strange life, I tend not to see what everyone else is seeing. And I guess I'd prefer not to! Speaking in Tongues is a collection of short stories about the weirder aspects of travel – the kind of journeys you may read about, possibly dream about, but rarely experience. It is (hopefully!) intense, funny, sensual, and always offering a kind of heightened experience.

IS:  In your writing, how do you choose what should remain factual and what can be fiction? How important is the truth

BE:  Given that these are all fictional stories grounded in fact, it's pretty easy to choose what should remain factual – virtually nothing! Fiction allows enormous licence. But I have to say, life offers more bizarre experiences than I can invent. You can begin a story from any single point you choose – John Marsden famously gives character-writing lessons beginning with a single button. So on the road any one fact can be the basis for a whole story, but one relies on the real world to ground the rest of the story, to keep it located in time and space.

IS:  What sparked the inception of Speaking in Tongues?
Basil Eliades

BE:  I've been very blessed with opportunities to travel, and I have always written, and always written whilst on the road. It was inevitable that the stories would come together at some stage.

IS: What was overall the most interesting place you've visited around the world?

BE:  I think the interesting bit is inside our heads! Nearly everywhere I go I am thrilled and mesmerised by newness.  I don't know that any one place is intrinsically more interesting than any other. But despite all that... Venice Venice Venice for the light, the feel, the stonework, the water. Paris because it's Paris. Japan because it's amazing, and Jane shared it with me. For sheer interesting-ness, however – India!

IS:  As a painter and writer, what is the difference in recording your experience in images or text?

BE: Text allows me more room to play over time, to evolve subtle images through suggestion and play. Painting for me is more about an internal experience, less about the external world. But the images I draw whilst travelling might feed into a story, and equally they might evolve into a painting.


IS:  What is your #1 piece of advice for someone who wants to reflect on their travels through writing?


BE: Do it!

Wednesday, 14 June 2017

A Sweet Tooth for Australia


Lois Shepheard is the author of several IP titles, including The Rag Boiler's Daughter, Memories of Shinichi Suzuki: Son of His Environment and Black McIntosh to Gold. An accomplished music teacher based in Melbourne, Lois has researched and written extensively on the migrant experience from Scotland to Australia.

Assistant Editor Imogen Sloss interviews her here about her latest book, The Sugar Doctor, which provides fascinating insights into 19th century Australian society and the foundations of the sugar industry.


IS:  You have an interest in stories of migrants – what first drew you towards writing about Dr Skinner in particular?

LS: Dr Skinner brought my great-grandmother to Australia from Scotland. He himself arrived in 1839 and became the 62nd medical doctor to be registered in New South Wales. I was intrigued as to why he had come and interested even more when I found him listed in government records as buying quantities of land. He is documented as having lived in the Philippines and again I wondered why.

IS:  Other than the Sugar Doctor himself, in this book, who was your favourite character to research and write about?

LS: I don’t have favourite characters! I have stated historical facts and tried to envisage what life would have been like in Dr Skinner’s varying circumstances.  

IS: What was the most surprising discovery you made while researching 19th century Scotland and Australia?

LS: In Dr Skinner’s case, it was research into his first wife’s background which led me to understand why he was interested in sugar-growing. He was already documented in some books on early New South Wales – as a doctor, never as a sugar grower. It was more a confirmation than a surprising discovery that all our early settlers came here for a reason and that we have to be very careful to research all available data before we write ‘historical’ facts.

IS:    How have Dr Skinner and his actions impacted Australia as we live in it today?

LSThe energy, vision, forethought and planning of such settlers as Dr Skinner laid the foundation of today’s Australia.  


IS:    How do you think attitudes towards immigration have changed from the 19th century to now? 

LS: Most Australians are the descendants of migrants. When those migrants arrived, this country welcomed them as much as it could. My own father came, with his parents, brothers and sisters, because of lack of work in Scotland. My grandfather quickly found work in New South Wales. I feel so sad when I think of today’s migrants who have fled difficulties in their own countries and are not welcomed here.

IS: How would Dr Alexander Skinner rate as a businessman compared to other nationally successful entrepreneurs of today?

LS: One could say he doesn’t rate highly beside a businessman of today  - given that he moved from place to place and from profession to profession, seemingly without due thought to circumstances. Today’s businessmen would be sure of the financial consequences of their actions. But Alexander Skinner lived at a time when there was no financial security. The very fact that he boarded a boat in the north of Scotland and sailed 10,422 miles to an unknown land proves how courageous he was and how convinced that he could make his vision a reality. If he had lived today, he would doubtless be a very wealthy entrepreneur.

Sunday, 30 October 2016

Poetry set in the Middle-East

In anticipation of the launch of Dr Jane Simpson's A world without maps in Christchurch, New Zealand, IP Assistant Editor, Emerald Garcia-Finnis, interviewed Jane about how her experiences living in the Middle-East influenced her writing.






E G-F:    Do you see the book as promoting multi-cultural/cross-cultural understanding?

      JS: Good political poetry in the West is a rare thing. I would be very suspicious of poetry that aimed to promote ‘multi-cultural or cross-cultural understanding’. My professional background is in History and Religious Studies, first as a lecturer at the University of Canterbury, NZ, and then as a secondary school teacher in the UK after 2005. Religious Studies uses many different academic disciplines to help us understand religions and cultures from times and places which are very different from our own.

The first section of A world without maps draws on my experience of living and working in the UAE, at the boundary of Western and Bedouin cultures. Being in this liminal space gave me a double perspective; by understanding more of the Middle East we understand more of ourselves. Without this, cross-cultural understanding is impossible. Some of the poems in this section gently challenge our stereotypes of Muslim culture. Others are subversive and strongly political, especially so when read in the UAE. I hope that my poems, which tell stories and create strong images, open up for the reader new ways of seeing and understanding. For example, instead of fearing Muslims in the street after the London bombings of July 2005, I learned to see them as people. This carries over to my poems.


E G-F:    What experiences and influences drew you to write about the Middle East? 

JS: To prepare to teach English to Muslim women teachers in Al Ain, an ancient oasis city in the Abu Dhabi Emirate, I read tourist guidebooks, company briefings and information from numerous websites. Nothing prepared me for what I encountered, as I became immersed in a diverse Muslim community, older generations of Emirati still close to their Bedouin roots but the majority becoming rapidly westernized and materialistic. Polyglot ex-patriate communities vastly outnumbered the indigenous people, and brought their own cultural riches. Enchanted by living in this world, I started to ask many questions, but didn’t know how to express them to others. A teacher from another company suggested I write a book for high-qualified westerners working in public-private partnerships in the Middle East, who needed a deeper sense of cross-cultural awareness to do their jobs effectively. Little then did I know this would be a poetry collection.




E G-F:    Did these experiences change your approach to poetry?

JS: The experiences of living and working in the UAE generated stories and images which I meshed with understandings from Islam, the sciences, archaeology and anthropology to create a deeper level of meaning. The two became integrated as I found metaphors that moved between these two worlds. I’ve always been interested in code-switching in poems, suddenly shifting from the exalted to the mundane. Middle-eastern cultures lent themselves to this approach (see ‘Where zebra crossed’). Few of the poems in my chapbook, Candlewick kelp, were political. In A world without maps all three sections have poems where the subject wrestles with changing power relationships. These are brought alive by the use of story, personification and metaphor.

Dr Jane Simpson


E G-F:    Your poetic techniques vary in style in each section. What were you trying to convey in each?

JS: I see the elements of poetry – form and pattern, space, line breaks, and the music (rhyme, rhythm and the ‘sonic’ landscape) as a repertoire we can draw on as we create and shape our poems. Other skills come into play in writing a sequence and putting together a collection. The music of poetry is very important to me; I have written poetry and music together and recorded a CD, Tussocks Dancing, now available on Spotify.

In Section I, ‘Desert logic’, the poems are stripped back and have empty spaces, in keeping with the desert theme. Compared with other sections, the layout is more varied; double columns create a space to bridge across from word to word, allowing meditation. Some poems have refrains.


In section II, ‘The space between the leaves’, and III, ‘Like fantails in the forest’, the poems are more tightly patterned and layered. They use a wider range of forms: sonnets, a blues sonnet and elegies. Some are direct responses to well-known poems. Sometimes I used a detailed sonic analysis of a poem by a contemporary British or American poet I had made months earlier (see ‘Lethe’). I believe that using the classical form of the sonnet makes the poems about my family much more than personal poems; listeners who have never met me immediately identify with the people in them, even if set in the 1940s and 1950s – a period I know well as an historian.


Jane's A world without maps will be launched by Bernadette Hall, Winner, New Zealand Prime Minister's Award for Literature, at Scorpio Books, 113 Riccarton Road, Riccarton, Christchurch, Saturday 5 November from 2pm.