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“Do you never imagine things different from what they really are?” asked Anne wide-eyed.

“No.”

“Oh!” Anne drew a long breath. “Oh, Miss – Marilla, how much you miss!”

Let the Australian-Canadian cultural exchange begin!

Oh, I am sorry. I am speaking out of turn. Let me explain.

Last month my blogger colleague Stacey over at the excellent Word of Mouse Books proposed that we each review literature from our respective countries of residence. She announced the two titles that I was to review and I in turn sent her a copy of Foley Russel and that Poor Girl by Rebecca Bloomer, as well as the lovely Snugglepot and Cuddlepie by May Gibbs.

So today I am reviewing the first of the two books that Stacey posted from Canada for my reading pleasure. I strongly urge you folks to check out her blog and add it to your roll if you have a site of your own.

An elderly brother and sister, Marilla and Matthew Cuthbert, manage the farm at Green Gables, hidden from the road that runs through the village of Avonlea behind a line of trees. The years are beginning to take their toll on the quietly spoken Matthew, so the decision is made to adopt a child old enough to work the land, but young enough to be raised with the values of the Cuthberts. However, when Matthew returns to Green Gables he is accompanied not by a strapping young lad ready to be put to work in the fields, but a talkative and precocious girl named Anne Shirley.

Despite the mix-up Matthew stubbornly insists that they keep the girl, recognizing in her a kindred spirit despite the one of them speaking not a word most days and the other barely stopping to breath between sentences. Anne’s sweet natured curiosity about the world takes a little longer to charm the sterner Cuthbert Marilla.

Anne’s innocence is combined dangerously with a quick wit. She notices the contradictions in people’s behaviour, the hypocrisies of small town worthies. Unschooled in conventions, she speaks out in such way that Marilla is initially mortified by this seemingly hell-bent red-haired orphan. Slowly, but surely though, she learns to appreciate her young ward’s perspective on the world and even begins to catch herself smiling when Anne points out the local reverend seems uninterested in his own sermons, or that the school-master enjoys mocking his students more than teaching them.

I’m so glad we live in a world where there are Octobers.

Such statements may make one suspicious that this character is little more than a Pollyanna, but I quickly came to love Anne myself. Her desperation to stay at Green Gables, when the Cuthberts are debating whether they should send her back to the children’s asylum; her wild enthusiasm for nature and books; and the easy friendships she makes courtesy of the infectious joy she displays in everything she does.

Three primary relationships define Anne’s life. Her mentoring under the increasingly affectionate gaze of Marilla; her passionate friendship with Diana Barry (whom she refers to as her ‘bosom friend’); and finally there is her intense rivalry with Gilbert Blythe, who earns her eternal enmity (or at least until they graduate) by insulting her on her first day at school. I love Anne’s habit of conversing in long monologues, much to the bewilderment of her friends and neighbours. I love how the overall tone of the book is one of wry goodness.

This is an unforgettable Canadian classic. Fantastically enjoyable.

A sixty-something desk clerk with a dishevelled stare and dark armpits told me to sign my name in the registration book. I blanked. He repeated I should sign my name. I couldn’t sign my full name, Mary Alice Baker. Nina was the first name that came to me, because it was exotic, foreign sounding. I couldn’t imagine a terrorist Nina. The sum total of my life to date would be my last name. I signed myself in as Nina Zero.

Let me tell you about a weird little incident that happened to me in Amsterdam. Oh don’t worry, it’s nothing like that. I broke the mould on visitors to that capital of lax morality by visiting comic stores to hunt down hard-to-get titles. In one store I asked the owner if he had any copies of Nexus by Mike Baron and Steve Rude. He directed me to accompany him downstairs to the basement. There I found a low-ceilinged room stuffed with long-boxes. The owner began to list the contents of each, naming companies I was familiar with and then he pointed to the fifth box along and said “those are Bad Girl comics”. The pattern repeated itself, with several other boxes being identified in the same way.

Bad girls? I really did not know what he meant. Female protagonists that act like pulp fiction tough guys, often written by men and parodying feminist heroines perhaps.

Mary Alice Baker starts this book as a ‘good girl’, but informs us that she soon learned how to be a ‘bad girl’. Living on a meagre wage from taking pictures of children for doting parents, Mary’s own family life is an abusive, dysfunctional nightmare. Her father rules the home with an iron fist, frequently taking out his frustrations on his children and long-suffering wife. Mary does not have much luck with the men in her life, as her boyfriend Wrex is an emotionally manipulative parasite, whose relationship with her is dependent on her allowing him to sleep in her bed.

Then he asks her one favour too many, deliver a package to a stranger at LAX Airport. Seconds later the man, and indeed the arrivals lounge, are blown to smithereens. Mary suddenly finds herself a suspected terrorist, her name and face decorating the front pages of newspapers across Los Angeles. One safety pin through her nose and a dye-job later and Nina Zero is born. She falls in with fame-hungry Warholian artists, even gets a crash course in becoming a private eye and decides to hunt down the party responsible for the bombing. Maybe put a few holes in Wrex as well if possible.

This novel has some fun with poking fun at the shallow LA art scene. Nina’s new flatmates are a paranoid film-maker who expresses contempt for Hollywood, but is desperate to get her own picture deal. Then there’s Billy b, an intense artist who likes to draw portraits of Elvis and Kim Basinger. Together they talk long into the night about the philosophy of kitsch, which Mary/Nina can only barely follow. When they discover she’s a suspected terrorist she becomes their goose with the golden egg.

The eagerness of the people in Mary’s life to stab her in the back allows for a certain amount of black humour. However, the sheer negativity of this book becomes tiresome. What’s more every man in Mary’s life treats her like crap. For all R.M. Eversz’s claims to the contrary, she seems less like a bad girl and more like a victim. This leads to the uncomfortable notion that the rough sex and the violence featured is itself meant to be entertaining. Personally I found it distressing. Compare Nina Zero to Lisbeth Salander. Stieg Larsson avoided accusations of voyeurism by creating a character with genuine mental issues, as well as a fierce independence.  Eversz does not convince, Nina’s problems are solved by handing her a gun. She even points out to her abusive father at one point that while he has fists, she has the means to kill him now she has a weapon.

What a wonderful moral!

While this book was a quick read, it left a bitter aftertaste. Not for everyone. Sadly I only figured out the meaning of the title after realizing the Warhol connection. And yes, a print of Elvis is actually shot.

Researchers today estimate that over two billion dollars changed hands in 2009 in exchange for items that exist only within virtual worlds. When tens of millions of people start spending billions of dollars on virtual objects, there will inevitably be disputes that lead to lawsuits. The questions that these lawsuits raise seem unusual enough to warrant a separate field of legal analysis. The generic term for this new field is “virtual law.”

I have been really looking forward to writing this review, as not only do I get to talk about this book – I can direct you to where you can find the book in PDF form (Here). The author’s website has further information on his research. I should mention I was originally directed to Lastowka by io9’s article published this week.

That felt good. I like to share.

Greg Lastowka opens his book on the legal ramifications of online conduct by comparing three castles, representing three states of law. Firstly he introduces the era of the physical castle itself, a fortified site of power for regants and later gentrified land-owners. Property law today still descends from the relationship of those who lived on the land of these castle inhabitants, with ‘landlord’, and ‘tenants’, the tell-tale references to the past. Then we have Disney’s Cinderella Castle, that fantastical gateway to the Magical Kingdom(TM) that actually enjoys surprising autonomy in its zoning laws, courtesy of clever negotiation on the part of Disney with Florida state officials. Finally we have the castle of Lord Britain. You may not of heard of him. He exists in the game series Ultima, has occasionally served as an alter-ego for developer Richard Garriott.

Lastowka relays two interesting anecdotes in regards to Ultima. The first describes how ‘virtual property’, such as a castle that can be owned within the game by a player, has become so desirable that it holds actual financial value. This is something that is common to many game series. In fact developers now market downloadable content for games such as Oblivion to players for a nominal fee. Lastowka asks, if virtual property has value, then shouldn’t the laws regarding ‘real property’, also apply?

The second Ultima tale also presents something of a riddle. In what almost sounds like the beginnings of a fairy tale, it appears Garriott as Lord Britain witnessed a player being robbed by another player. He intervened and using his in-game abilities, defeated the thief. Then moments later the ‘criminal’, repeated the same act. Garriott this time banned the player from Ultima, only to be confronted with the argument that if the game did not explicitly ban such behaviour, theft in this instance, the player should not therefore be punished so disproportionately.

Lastowka discusses how other online and virtual platforms such as Second Life, World of Warcraft, even Facebook’s Farmville (and I would include social networking sites like Facebook, Twitter, Myspace and the like also) have continually frustrated legal precedence, as the laws relating to theft, assault, libel are bound to geographical jurisdictions. Where is the jurisdiction when the perpetrator and the victim are separated by thousands of miles, with the servers where the event, in situ, happened in an entirely different location again?

Even online behaviour is held to a different standard from the Real World. Are husbands and wives who indulge in in-game relationships with virtual avatars guilty of adultery? Can an emotional attachment to a stranger wearing a digital body be considered real? We have the tragic case of Qiu Chengwei, who committed murder after his virtual sword was stolen and the police refused to get involved. As much as the ‘Dragon Saber’, sword may not have seemed important to the police, in Qui Chengwei’s eyes it was something worth killing for.

How does the law regulate such acts if some see the matter relating to fantasy and others a profoundly personal reality? John Perry Barlow’s A Declaration of the Independence of Cyberspace articulates the feeling of many online pioneers, that the internet is a virtual state and not beholden to the legalities of the physical world. This is a notion that often crops up in discussions of online censorship.

However, such appeals to freedom and group self-policing do not account for the need for legal protection and prosecution of cybercrime. This conflict between the idealised anarchist online state and legal precedent continues today.

As a causal online gamer, I found this to be a very interesting book. It eschews legalese and is quite well argued. Recommended.

The boat was so small that we were jammed into every crevice, corner and spare patch of deck. It was almost impossible to get downstairs into the hold, which was heaving with sweating bodies and the suffocating stench of old fish. Forty people had transformed this tiny fishing boat into a living, seething mass of human desperation floating in the English Sea.

I find myself wandering through Town Hall’s shopping area in Sydney each morning thinking fondly about how this is my home. It is not my home though. My status is still uncertain. There is no guarantee I will be granted residency in Australia. It is confusing sometimes, as having lived here already for a year this place feels like home to me. I am caught between two worlds, two different cultures – and despite people speaking English here, living in Australia is a very different experience from being in Ireland. I am an immigrant, it sneaks up on me every now and then, but despite the inconvenience of not being able to work, I enjoy a very comfortable life.

When I think about the experiences of refugees who come here to escape from war, persecution and impoverishment, I realize just how lucky I am. In the recent Australian election the term ‘boat people’, was bandied about like an unfeeling political football. For the experiences of so many refugees to be reduced to a pithy sound bite, this struck me as extremely unfair. Which is why I was very interested to read Anh Do’s story. Here we have a much loved Australian celebrity, who is a comedian, actor, screenwriter and unstoppable centre of charisma, and just also happens to be one of these much discussed ‘boat people’.

Anh Do was born in 1977 in Vietnam. His parents decided to risk the many dangers of travelling out of the country on a simple fishing boat to escape to Australia. Anh Do’s family survived pursuit from Communist soldiers, storms, marauding pirates and starvation, eventually arriving at a safe harbor and from there on to Sydney.

Anh attributes their survival to a welcome combination of incredible luck and his father’s quick wit. At one point following a boarding of the boat by pirates, the starving refugees were stripped naked, robbed, assaulted and in a final humiliation, their engine was stolen. Thankfully Anh’s father Tam replaced a missing rubber band on a second broken engine with a strip from the bottom of a shoe. The boat roared into life.

The family’s life in Sydney was free of the oppression they had fled from, but they were instead crippled by poverty. Thanks to the goodwill of charities and generous neighbours the refugee Vietnamese family managed to make a start of life in Australia, with Tam and his wife worked to support their growing family of three children. Eventually other members of the family made the trek from Vietnam, with the Do household often hosting more than one family, including other refugees who simply needed a place to stay until they had the means to move on. Anh attributes this to his mother’s enduring desire to help others, an aspect of her training as a nun. Troubled times were ahead for the family though, with Tam, having become more and more reliant on alcohol, eventually leaving his young family. With the household income suddenly halved, Anh took it on himself to help his mum make ends meet, excelling in his studies in the hope of one day getting a decent job to help buy her a proper house, so that she might never want again.

Who knew becoming a standup comedian could be so profitable?

Anh’s story is not a sentimental rags to riches story. It is sincere in its treating of inspiring themes such as the importance of family and the capacity of the individual to excel. The book opens with Anh finally tracking down his father Tam in Melbourne to confront him years after he walked out. It ends with him now the father of a family of his own, a professional film-maker along with his brother Khoa and an ardent supporter of local charities in the Sydney area that help disadvantaged youths.

He’s also a very funny bloke. This book is filled with moments just as likely to make you laugh out loud as cry. The Deal or No Deal appearance was my personally favourite sequence.

An amazing story.

Recently Stephanie and I have become fans of Escape to the Country. Produced by the BBC it is aired in Australia on the 7 Network. Why have we become addicted to this daytime television show about that most clichéd of yuppie dreams? Because it is incredibly frustrating! The couples never seem to buy a house. Either they are outbid, or they decide not to move after all, whatever the result in many cases beautiful homes nestled in picturesque bucolic towns are left for another buyer and viewer gratification goes unsatisfied once again.

There is something instinctively appealing about buying a home in the countryside though. I find it ironic that I am now on the other side of the world and all of a sudden have discovered a love for country living. Especially given that it is the English countryside (although Stephanie is partial to a move to France), and here we are living outside Sydney with a veritable panoply of exotic wildlife just hanging out in the back garden.

Partly this is due to the sense of accumulated history that is associated with rural towns and villages in England. My dream would be to find a nice cottage, turn one of the rooms into a study and just stuff it with weird and wonderful books. Head down to the local pub for a pint or two of Old Speckled Hen and buy my groceries from the local farmer.

Alex Hunter unwittingly finds himself in just such a town, a place not even on the map named Strangehaven. After  crashing into a tree while travelling out to Cornwall, Alex wakes up in the local B&B being tended to by Doctor Charles and Jane his receptionist, who quickly befriends the injured stranger. He reports to them that he saw a girl in a black dress standing in the middle of the road moments before he crashed, but they assure him no one else was found at the scene of the accident. As soon as he recovers, Jane takes him around the town and introduces him to the casually odd inhabitants of Strangehaven.

There’s Albert Bonneti an Italian mechanic who speaks in pidgin English and an exaggerated accent; Adam who claims to be an alien who insists on wearing shades the entire time for fear of Earth’s ultraviolet rays; Maggie McCreadie the B&B owner who spends her evenings searching for something in the graveyard after midnight; and Meg, an Amazonian shaman who through the course of the series begins to instruct Jane’s brother Jeremy in shamanic initiation rites. Unbeknownst to Alex many of the town worthies including the school head-master, the doctor and the police constable are all members of a Masonic Order known as The Knights of the Golden Light.

Strangehaven is also host to normal village excitements such as romantic affairs and family conflicts. Jeremy’s father John takes exception to Meg’s relationship with his son. The green grocer Peter is sneaking around behind his wife Beverly’s back with Suzie Tang. Even the sweet friendship between Alex and Jane, which she tragically misconstrues, is well-drawn.

The town, however, is not simply inhabited by a collection of eccentrics, but under the influence of eerie supernatural forces.  Alex discovers he is unable to leave Strangehaven, finding himself turned around when he tries to drive on to Cornwall (with a series of crop circles visible in the background). Jeremy and Meg successful manage to inhabit the bodies of two birds courtesy of a magical ritual. Also Alex seems to have forgotten that the woman he saw suddenly transform into a tree looked just like Jane. There are frequent cutaways to a naked painting of her, depicting her body floating in a fish tank, being stared at by a mysterious stranger in Strangehaven.

Creator Gary Spencer Millidge has many strings to his bow. Writer and artist of the wonderful Strangehaven, he also self-publishes the series, has written a biography of Alan Moore and despite the irregular release of issues, still insists that number #24 will complete the story. The influence of Twin Peaks, The Prisoner and The Avengers is clear, with innocent seeming English towns revealed to be sites of global importance. Alex’s car accident resembles the opening of Samuel R. Delany’s Dhalgren, a favourite of mine that has the protagonist encounter a woman outside the city of Bellona who transforms into a tree. The art is impressively photorealistic, with creased smiles and angry outbursts perfectly captured.

An excellent series, strongly recommended.

As the car disappeared down the road, old Granny Frinda lay crumpled on the red dirt calling for her grand-daughters and cursing the people responsible for their abduction. In their grief the women asked why their children should be taken from them. Their anguished cries echoed across the flats, carried by the wind. But no one listened to them, no one heard them.

My copy of this book is actually titled Rabbit-Proof Fence and features a photo from the Philip Noyce film of the same name as a cover illustration. I have never seen the film as I felt the material would upset me too much. The thought of families being torn apart is very distressing. It also bothers me that many Australian colonials would have been Irish and we too would have been subject to racial/cultural oppression, only to repeat the racist measures towards the Aborigine people of Australia. All in the name of progress of course.

Nugi Garimara opens her story with a quick study of the history of European colonization of Australia. The displacement of Aboriginal tribes continues the further inland white settlements move, with the cattle trails used by drovers also commandeering watering holes in the outback itself, ever shrinking possible locations for habitation. What inevitably followed was the introduction of slave labour and as a consequence of that, the emergence of half-caste children, referred to as muda-muda. This was blamed on the promiscuity of Aborigine women, with a blind eye being turned to their exploitation at the hands of the whites occupying what had been their land.

The story begins in 1931 with three muda-muda girls from Jigalong in Western Australia being chosen for re-education as a result of their half-caste birth. This was justified as a policy designed to protect children of mixed parentage. Often muda-muda were bullied by other native children for their lighter skin. Daisy, Molly and Grace were cousins who had come to think of one another as sisters, having bonded over their outsider status. The Australian government policy was to obtain children and train them to be employed in white households as servants. This was regarded as a form of rescue, for the belief was that children of mixed-race parentage were in fact more intelligent than native Aborigines and would therefore make better workers.

Molly, the eldest girl, Grace and Daisy were taken by a man named Constable Riggs to the Moore River settlement, hundreds of kilometers south of Jigalong. They travelled by car and by boat, far out of territory known to the three girls. When they arrived at Moore River they were forbidden from speaking in their native language and instructed in English. At the settlement they are befriended by another girl Martha Jones, who tries to help them adjust to their new surroundings. She warns them of the danger of trying to escape, as the authorities employ ‘black trackers’, to return girls who run away, who are then locked up and fed only bread and water. Some of the girls who had been captured were even shaved bald and patrolled around inside the building, so the other Aborigine girls could see what happened to those who ran.

Despite the danger, Molly tells her sisters to save what food they can and then one morning leads them out of the settlement and into the countryside. Using what hunting skills they have the girls live off the land at first, until they decide to visit houses along the way to beg for food. This gives them an opportunity to spread misinformation, informing the whites they meet that they are travelling to different destinations, as their movements are being reported back to the police with every sighting. Molly’s plan is a simple one. Make for the rabbit-proof fence that runs all the way north to Jigalong and try to avoid big towns that may have police officers looking for them.

This incredible true story is all the more effecting for the simple and direct manner in which it is told. Ironically it was thanks to Molly’s white father, who first told her about the rabbit-proof fence, that she was inspired to flee the re-education camp at Moore River. Garimara writes with unfeigned emotion, something I am not used to in historical books.

It is a very sad story. I have nothing more to say.

“I didn’t mean to,” he finally blurted out, “but they were drownin’ you, and I was so scared…” He was quiet for a minute. “There sure is a lot of blood in people.”

Prior to reading this book I was only dimly aware of S.E. Hinton’s writing. I knew that she wrote young adult fiction and that her novels often had male protagonists involved in street gang life. I must confess though that was mostly due to Francis Ford Coppola having made a film of The Outsiders back in the eighties – and even that movie is not really all that well known today, except for its astonishingly prescient casting. Here’s a list of the young turks Coppola snapped up for the flick. Patrick Swayze, Rob Lowe, Tom Cruise, Matt Dillon, Emilio Estevez, Diane Lane and Ralph Macchio (he of Karate Kid fame).

Man Tom Cruise looks crazy in that trailer.

The story is told from the perspective of Ponyboy Curties, the youngest of three brothers who recently lost their parents in a car wreck. All three boys are Greasers, belonging to a gang of kids from the wrong side of the tracks who like to drink late into the night, roll drunks for change and rip off stores on occasion. They wear their hair long and slicked back. The only implement they hold more often than a comb is a flick knife. They also are the sworn enemies of the Socs, society kids from the wealthier part of town who cruise around in expensive cars looking for lone Greasers to pound.

The two gangs fight over narrow strips of turf and spends their day plotting revenge for various slights when they’re not getting drunk, or looking for a girl.

Ponyboy is different though. He gets good grades, likes to read and is not physically as strong as his brothers Darrel and Sodapop. Those are their legal names; apparently Poppa Curtis had a sense of humour. Darrel works two jobs to try and provide for the family. Ponyboy resents how the eldest brother put pressure on him to do better in school and not stay out too late at night. Soda has dropped out and is also working. He is less scholarly that the other two Curtis brothers and has no interest in going to college. All he wants to do is marry his sweetheart and party with the other Greasers, Dallas, Two-Bit, Steve and Johnny. Little Johnny Cade is the baby of the gang. All the other Greasers look on him like a little brother and try to protect him. After getting beatings from his dad for years, Johnny took a turn for the worse when a gang of Socs left him beaten and bloody on the wasteland bordering their respective territories. Ever since Johnny has been traumatized and highly strung, retreating further and further into himself.

Ponyboy and Johnny spend most of their time together. As the two physically weaker Greasers they tend to gang up on individual Socs during fights and are less outspoken than the rest of the gang. One night at a drive in Johnny snaps when Dallas begins harassing two Socs girls. Shamed by the younger Greaser’s words, Dallas takes off, leaving the two boys with Cherry Lane and Marcia. Ponyboy discovers an unlikely friend in Cherry, the two of them quickly bonding over their frustration with the gang life they are trapped by. She tells him that he is different, he can make something of himself, that even the Socs have it rough sometimes despite coming from privilege. Greasers feel too much, they decide, whereas Socs feel nothing at all, even in the heat of a rumble.

After they offer to walk the girls home though, a gang of Socs drive past, with Cherry’s boyfriend Bob in the car. Johnny and Ponyboy find themselves targeted by the rival gang and during that one terrible night everything quickly goes very wrong.

S.E. Hinton captures Ponyboy’s voice perfectly, with his musings on class differences and his frustrations with life slowly changing as he becomes more aware of what is really happening around him. She also describes the bond between the Greasers with great sympathy, with the friends trying to give one another what family has failed to provide.

There is perhaps an overly sentimental tone to the proceedings, with Cherry an unlikely greek chorus, but the bursts of violence lend it weight. This is a sad, bittersweet take on adolescence.

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