100 years of Ulysses: His Excellency Mr Peter Ryan in conversation

“Everybody knows now that Ulysses is the greatest novel of the century”

Anthony Burgess

The novel Ulysses by James Joyce is regarded as one of the great classic modernists works of the 20th century. It is often cited as one of the greatest works of literature ever and has even been described in some circles as the greatest work of fiction ever. It was published 100 years ago on the 2nd of February, which was also the date of Joyce’s fortieth birthday.

Ulysses is set over the course of one day  the 16th of June  in Dublin in 1904 and the book follows the encounters and interactions of Leopold Bloom. The 16th of June is now widely celebrated in Joyce circles across the world and called Bloomsday.  Ulysses is loaded with detail and rich characterisation and uses allusions, parodies, and puns galore and, as it progresses, imitates the styles of English literature at different periods. Throughout the novel Joyce draws parallels between the events in the book and Homer’s epic poem The Odyssey – indeed it is named after the poems hero protagonist Ulysses (Odysseus).

The book has had a checkered past – banned in many countries over claims of obscenity, due to the explicit nature of some passages. And there have been controversies as to which version of the text constitutes the definitive work.

To tie in with this global celebration we have teamed up with the Embassy of Ireland in New Zealand / Aotearoa to do a very special interview with His Excellency Mr Peter Ryan, Ambassador of Ireland to New Zealand, Samoa and Tonga  who talks about his passion for Ulysses and James Joyce, and highlights just a few of the 100th anniversary celebration events to be held here and around the world. You can listen to that interview below, or visit Wellington City Libraries’ Mixcloud collection here.

To celebrate this very special occasion, we have three copies of Joyce’s masterpiece, kindly donated by the Embassy of Ireland in New Zealand Aotearoa, to give away on Bloomsday – Thursday this week! To win a copy, snap a photo of a book by an Irish author that you have seen in our libraries and tag us on Instagram with the hashtag #wclbloomsday. The first three entries we receive on the day (Thursday 16 June) will win a copy of the book many have described as the greatest ever written. Too easy! This competition is open to Wellington residents and is only running on Thursday 16 June.

Ulysses / Joyce, James
“Following the events of one single day in Dublin, the 16th June 1904, and what happens to the characters Stephen Dedalus, Leopold Bloom and his wife Molly, Ulysses is a monument to the human condition. It has survived censorship, controversy and legal action, and even been deemed blasphemous, but remains an undisputed modernist classic: ceaselessly inventive, garrulous, funny, sorrowful, vulgar, lyrical and ultimately redemptive. It confirms Joyce’s belief that literature ‘is the eternal affirmation of the spirit of man’. ” (Adapted from Catalogue)

Overdrive cover Ulysses, James Joyce (ebook)
“James Joyce’s novel Ulysses is said to be one of the most important works in Modernist literature. It details Leopold Bloom’s passage through Dublin on an ordinary day: June 16, 1904. Causing controversy, obscenity trials and heated debates, Ulysses is a pioneering work that brims with puns, parodies, allusions, stream-of-consciousness writing and clever structuring. Modern Library ranked it as number one on its list of the twentieth century’s 100 greatest English-language novels and Martin Amis called it one of the greatest novels ever written”. (Overdrive description)

Ulysses / Joyce, James
“Presents a recording of the novel which describes the adventures and exploits of Leopold Bloom as he wanders through Dublin on a single day, June 16, 1904. Set within the context of Homer’s Odyssey, Joyce uses stream of consciousness as a literary device to illuminate the internal thoughts of Bloom, his wife, Molly, and other assorted characters.” (Adapted from Catalogue)

 

Ulysses / Kenner, Hugh
“With characteristic flair, Kenner explores the ways Joyce teaches us to read his novel as Joyce taught himself to write it: moving from the simple to the complex, from the familiar to the strange and new, from the norms of the nineteenth-century novel to the open forms of modernism.” (Catalogue)

 

Breach of all size : small stories on Ulysses, love and Venice
“This book bridges two anniversaries. Ulysses by James Joyce was published in 1922. Venice was founded in 421. The title Breach of All Size is Joyce’s pun on Venice landmark Bridge of Sighs but could as easily describe his sprawling modernist classic, which clocks in at 265,222 words. To celebrate both anniversaries, 36 Aotearoa writers were asked to write love stories set in Venice and inspired by words from Ulysses, but to steer the opposite course and keep them short. How short? 421 words, of course.”(Adapted from Catalogue)

Overdrive cover The James Joyce BBC Radio Collection, James Joyce (Audiobook)
Three BBC radio productions of major works by James Joyce Ulysses :In this full-cast dramatisation of Joyce’s epic modernist novel, the stories of Stephen Dedalus and Leopold Bloom combine as they meander through Dublin in the course of one day, 16 June 1904. A Portrait of the Artist as a Young Man: An abridged reading of James Joyce’s autobiographical masterpiece portraying the adolescence of Stephen Dedalus, who must question the culture and religion of his native land before he can break free to become an artist. Dubliners This abridged collection of fifteen naturalistic tales depicts an array of characters from childhood, through adolescence, to maturity. Stories of love, loss, friendship, marriage, politics and family combine to create a unified world and a celebration of a city. and James Joyce – A Biography Gordon Bowker’s comprehensive study explores Joyce’s years spent in exile in Europe, and examines how his life shaped his genius.
(Adapted from Overdrive description)

Ross Harris in conversation

The Kugels are a Klezmer group that features two former NZSO members, one Kiwi Jazz maestro, a fabulous vocalist and the New Zealand classical composer and Arts laureate Ross Harris. The members are Anna Gawn – vocals, Ross Harris – accordion, Robin Perks – violin, Debbie Rawson – clarinets xaphoon, and Nick Tipping – bass

The tunes they play include new compositions from both Robin Perks and Ross Harris as well as a selection of more traditional tunes. We were thrilled when Ross Harris agreed to be interviewed about The Kugels to tie in with the release of their second evocative CD The kugels at Breaker Bay and to tell us all about Klezmer; its history and its place in the contemporary music scene. The interview was done in conjunction with the Caffeine and Aspirin arts and entertainment review show on Radioactive FM.

Both Kugels CDs are available to borrow from the library along with a wide selection of Ross Harris compositions.

The Kugels at Breaker Bay. / Kugels
“This is the second release from the Wellington based Kugels the five-piece outfit which specialises in Klezmer and features some of New Zealand’ s finest classical musicians in their line-up. For a long time, they have been a bit of a hidden gem in the NZ music scene, but that changed recently when they did a sofa session with Bryan Crump. This latest release really shows how good they are, and includes emotive and atmospheric renditions of both traditional and original Klezmer pieces composed by arts laureate, and renown classical composer, Ross Harris.” (Adapted from Catalogue)

The Kugels play Klezmer by Ross Harris. / Kugels
“Ross Harris – The Kugels play Klezmer. … Melancholic, lyrical, delicate and beautiful , the music is played with grace and finesse by the Kugels who are the Wellington based quartet to which Ross Harris  belongs….” (Adapted from Catalogue)

 

 

Symphony no. 5 ; Violin concerto / Harris, Ross
“Ross Harris’s Symphony No.5 uses as its core poems by Panni Palasti.  The moving poems in the piece are based on the personal experiences of the poet during World War Two and the subsequent Hungarian Revolution. The work creates complex orchestral movements around these poems. This particular recording has conductor Eckehard Steir steering the orchestra and he judges well the balance between the moments of ferocity and the work’s sonic ebb and flow.” (Adapted from Catalogue)

Free Radicals / Free Radicals (Musical group)
“Wellington based Free Radicals :-Ross Harris and Jonathan Besser were active in the early 80s, described by one reviewer as ‘Eno meets industrial punk meets Stockhausen’. This compilation of archival recordings show the full range, scope and ambition of the pioneering outfit.” (adapted from Catalogue.)

 

Requiem for the fallen / Harris, Ross
“Requiem for the fallen honours the memory of soldiers who died in the First World War. Poetry by Vincent O’Sullivan is woven through the Latin of the Requiem Mass and carries many homespun New Zealand references. Horomona Horo’s taonga pūoro improvisations add a haunting beauty that could only be from Aotearoa.” (Adapted from Catalogue)

 

Our exclusive author interview: John Summers on his latest book The Commercial Hotel

New Zealand writer and essayist John Summers has just published his latest work The Commercial Hotel.  John’s clever and often humorous book is part reportage, part memoir and is a meditation on his life and personal interests. Whilst the areas the book covers include John’s past, wider interests and obsessions, in doing so it also speaks to the reader about a wider story, about a side of New Zealand that is fast vanishing.

The book has a strangely modern, haunting quality to it. The Commercial Hotel in part achieves this by looking at some of the less celebrated and explored aspects of New Zealand’s recent past, especially in the more provincial areas of the country. By looking at things such as New Zealand Elvis impersonators, freezing works, night trains, hotel pubs and landfills he gets behind the surface of these things to reveal something deeper about life and death in New Zealand.

We recently had the pleasure of interviewing John about The Commercial Hotel in conjunction with the Caffeine and Aspirin arts and entertainment review show on Radioactive FM.

Click below to hear the interview:


The Commercial Hotel / Summers, John
Combining reportage and memoir, The Commercial Hotel is a sharp-eyed, poignant yet often hilarious tour of Aotearoa: a place in which Arcoroc mugs and dog-eared political biographies are as much a part of the scenery as the hills we tramp through ill-equipped. We encounter Elvis impersonators, the eccentric French horn player and adventurer Bernard Shapiro, Norman Kirk balancing timber on his handlebars while cycling to his building site, and Summers’s grandmother: the only woman imprisoned in New Zealand for protesting World War Two. And we meet the ghosts who haunt our loneliest spaces.” (Publisher information) 

The mermaid boy / Summers, John
“From Christchurch to China, from mattress manufacture to Burmese medicine, these true stories explore one man’s experience with the exotic and the mundane. Witty, perceptive, and often surprising, The Mermaid Boy introduces striking new ways to write about love, travel, and home.” (Publisher information) 

Free Radicals: An interview with Ross Harris

Free Radicals were a Wellington-based art music duo active in the early 80s, described by one reviewer as ‘Eno meets industrial punk meets Stockhausen’.

“The music of Free Radicals still, years later, sounds like no other, two experimental classical composers using technology developed primarily for pop music.” – Elizabeth Kerr

Free Radicals is one of four inaugural releases to mark the launch of a new Rattle Records imprint, Rattle Echo. This new label will present New Zealand art-music recordings from the past that have either never been commercially released or made available digitally, or that simply deserve to be more widely known.

Free Radicals were a Wellington-based art music ensemble that offered an outlet for the creative musical sensibilities of Ross Harris and Jonathan Besser in the early 80s. Ross and Jonathan recorded their music together in the electronic music studio at Victoria University of Wellington, which was established and run by Douglas Lilburn. It was a room fitted out with multi-track tape recorders, filters, ring modulators, and a classic reverberation plate mounted in one of the walls. Their initial recordings involved basic sound transforming techniques, such as speed changes, pitch shifts, cutting and splicing tape, and feeding sounds through various effects. They sought to create sounds that were of New Zealand by incorporating and manipulating environmental sounds into their recordings, but they also worked with voltage-controlled synthesizers such as the Putney VCS3 and 2 Synthi A.

In previous years, such machines were clock-synced, but in 1983 a new industry standard called MIDI appeared on the scene, which enabled a sophisticated connection and control of audio technologies that is still in use today. Machines such as the Roland TR-606, TR-303, and JX3P seduced the duo into creating rock-influenced textures and sequences to improvise over. Jonathan added a Roland RS 202 Keyboard, which brought string and organ sounds to their palette. Pre-recorded tapes of voices and industrial sounds were often added, but the creative possibilities increased dramatically in 1985 with the addition of The Drumulator (the most advanced drum machine at that time) and the Ensoniq Mirage, a “sampling” unit that enabled any sound to be recorded then played back at different pitches across the length of a triggering keyboard. In performance, everything (including voices) was processed through AKS synthesizers to produce often barely controllable chaos, which, in essence, was one of the defining characters of the Free Radicals.

Author Interview: Vogel Award-Winning Kura Carpenter!

The Sir Julius Vogel Awards are New Zealand’s annual celebration of home-grown science fiction and fantasy, with awards covering books, dramatic presentations, fan publications and more. One of the most competitive categories is Best New Talent, and this year’s winner was Dunedin-based author Kura Carpenter!

Kura’s debut novel, The Kingfisher’s Debt, tells the story of Tamsin Fairchild, a translator who must team up with rookie cop Scott Gale to investigate the disappearance of a newborn baby. But this is no ordinary crime: beneath familiar New Zealand locations is a world rich in danger–and magic. Vogel Award judges described The Kingfisher’s Debt as “very cleverly set in an urban fantasy world overlaying (or underlying, depending on your perspective) Dunedin, New Zealand. The writing is crisp, the plot excellently designed and executed.”

We contacted Kura to discuss her writing process, the Vogel Awards and what it’s like to be a fantasy writer in New Zealand. For more on her writing check out her website, and for the full Sir Julius Vogel Awards list, click here. Enjoy!

You’ve described The Kingfisher’s Debt as urban fantasy–a genre combining both fantasy and mystery. How did elements of these two genres complement each other in the shaping of the story?

My story follows a typical mystery structure–crime discovered, investigation, clues revealed, case solved–but the world it’s set in is an alternative New Zealand where magic exists, but most regular people don’t encounter it, in much the same way that you don’t know anything about crime unless it directly touches your life.

The crime in my story is connected to the people who deal in magic, I guess maybe that’s what you mean by shape. The mystery and magic are interconnected. Without the magic, there would be no desire to try and steal it.

Reviews of The Kingfisher’s Debt have praised your descriptions of real-life locations–Dunedin’s midwinter darkness and the “80s kitsch of St Clair”. Were there many challenges in bringing this familiar world to the page?

None. Although I was going for a 90s vibe, so I guess I failed.

There has also been a lot of positive feedback about the characters in The Kingfisher’s Debt–their grittiness, unusualness and dialogue. How did the character of Tamsin–and her excellent first person perspective–come about?

She just popped into my head and I wrote down what she said.

I’m an introvert, I feel awkward meeting people, so I talk to myself all the time, practice conversations, that kind of thing. It’s probably the only benefit of anxiety, all the internal practice improves ones writing ability to capture ‘voice’.

Was it difficult to create a story with both past and present timelines? Was there much planning or re-drafting required with this?

No. I don’t plan, I’m a pantser, an intuitive writer, (which often surprises people who assume I must be a strict outliner). I’m just fortunate to have better than normal intuition for pattern and structure.

I’d come across the zipper-structure (alternating timelines) when reading a novel years ago, and after I’d written my first draft I realised that’s what I’d inadvertently created, it just needed some shuffling of scenes to get the timeline straight and make sure the subtext was as I wanted.

It’s always exciting to have a story that includes a library! You’ve previously worked in Dunedin City Library–what was it that drew you to the library as one of the locations in The Kingfisher’s Debt?

Yes. I’m lazy. It was the easiest thing to do, use locations I’m familiar with.

How do you feel about the fantasy writing scene in New Zealand at the moment? How do you think it might develop in the future, especially with WorldCon taking place in New Zealand next year?

That’s a hard one. On the one hand adult-reading level fantasy has been all but deserted by New Zealand’s traditional publishers, not for lack of talent, but because it’s simply not profitable. Talent wise I think the scene is stronger than it ever was. With the rise of self and indie publishing, has come a lot of opportunity.

While in many fields New Zealand punches above its weight internationally, for example film, sport, and even our P.M. is beloved globally, however when it comes to fantasy writing, we haven’t managed to carve out a spot beyond our borders.

Other New Zealand writers who write realist fiction consider what I write to be commercial and appealing to the masses, but because I’m not writing American or U.K. stories my story is actually non-commercial, it only has local appeal. WorldCon will shine a spotlight on us briefly, but the trouble ultimately remains that we’re a small market for telling our own stories, our own brand of fantasy. If we’re going to develop in the future then we must become leaders and not just followers.

ComicFest 2019 – 5 minutes with Paul Diamond

ComicFest is back for 2019! On Thursday, Friday and Saturday, 2 to 4 of May at the National Library there will be panels, talks and workshops all day long for comic-lovers of all ages. You can also pick up a free comic from us on May the 4th and celebrate Free Comic Book Day, courtesy of GRAPHIC! For full programme click here and follow our updates on our Facebook event.

Today is the first day of ComicFest! To finish our special “5 minutes with…” feature we have Paul Diamon, the author of three books (A Fire in Your Belly, Huia 2003; Makereti: taking Māori to the World, Random House NZ 2007; and Savaged to Suit: Māori and Cartooning in New Zealand, Fraser Books 2018), and has also worked as an oral historian and broadcaster. From 2007 to 2009 Paul managed the Vietnam War Oral History Project for the Ministry for Culture and Heritage. In 2017 Paul was awarded Creative New Zealand’s Berlin Writer’s Residency to complete a book about Charles Mackay, a mayor of Whanganui who was killed in Berlin in 1929. Paul Diamond appears at ComicFest with the support of the New Zealand Cartoon Archive.

Q: What first got you interested in comics?
A: I was asked to write a book about the history of Māori and cartoons. This initially focused on editorial cartoons in newspapers, but the scope was broadened to include images of Māori in other places, such as comics and graphic novels.

Q: What is your average day like?
A: Ideally, made up of coffee, collections, cartoons, cycling and cursive creation.

Q: Can you tell us about a current or recent project you’ve worked on?
A: My book, Savaged to Suit: Māori and Cartooning in New Zealand, was launched by MP Louisa Wall at the National Library in September 2018.

Q: Do you have any traditions or rituals that help you when you get to work?
A: Not really, but preceding this, my cycle along the Wellington waterfront means it’s difficult to arrive at work grumpy, even if I may be a bit puffed.

Q: Who/what is your biggest influence or inspiration?
A: Personally: my parents, Briar and Eddie Diamond, and my bicultural ancestry, which I wrote about in the acknowledgements section of Savaged to Suit.
An illustration inspiration: An exhibition I saw at the House of Illustration in London in 2016, Comix Creatrix: 100 Women Making Comics, was wonderful to experience and has stayed with me. The exhibition introduced me to artists and work I wasn’t aware of, including Jacky Fleming and her marvellous book, The Trouble With Women as well as Barbara Yelin, see below. The exhibition was also a powerful reminder that just because work by different groups may not be obvious doesn’t mean it’s not out there. Which is why books and exhibitions play an important role in bringing collections to audiences and providing context to understand them.

 Q: What or who are your favourite NZ comics or creators?
A: As part of my research it was great to find out more about the Māori who’ve worked at editorial cartoonists. It’s not a very long list: Harry Dansey, Oriwa Haddon, Mark Tapsell, Noel Cook, James Waerea, Anthony Ellison, and Sharon Murdoch. I’m also a big admirer of Murray Webb’s caricatures.

Q: What is your dream comic project?
A: A graphic novel about the story I’m going to be writing about in Berlin later this year, check it here. This is to do with the 1929 May Day riots in Berlin, in which Charles Mackay, a former mayor of Whanganui was shot. There are at least two graphic novels about the 1929 May Day riots: Babylon Berlin by Arne Jysch is a graphic novel adaptation of Volker Kutscher’s novel, Der Nasse Fisch and Jason Lutes’ Berlin series. Another inspiration for how to tell the story is Irmina, by Barbara Yelin, which I saw in the Comix Creatrix: 100 Women Making Comics exhibition in 2016. Subsequently, an English translation of Irmina was released, and I’ve been meaning to have a read. I loved the way Yelin combined images and text to bring alive a remarkable story and the history of the period leading up to the Second World War.

Q: What are you excited to share with ComicFest attendees? Just a taster!
A: I’m looking forward to yarning about how cartoons work. In my research I learned about how nothing in a cartoon is there by accident, but the layers of meaning are not always obvious. It’d also be good to talk about stereotyping in cartoons, as I’ve been reflecting on this in the aftermath of the terrorist attacks in Christchurch.

Q: If you were to enter our cosplay contest, who/what would you dress up as?
A: Not sure, but I might see if another of my inspirations, Varla Jean Merman aka Jeffery Roberson has any ideas!

You can find more about Paul online here.

5 minutes with Dylan Horrocks — from ComicFest 2019

Next up on our special feature “5 minutes with…” we have Dylan Horrocks, a cartoonist best known for his graphic novel Hicksville and his scripts for the Batgirl comic book series. His works are published by the University of Auckland student magazine Craccum, Australia’s Fox Comics, the current affairs magazine New Zealand Listener from 1995 to 1997, the Canadian publishers Black Eye Comics and Drawn and Quarterly, and the American publishers Vertigo and Fantagraphics Books. He currently serialises new work online at Hicksville Comics.

Q: What first got you interested in comics?
A: My Dad has always been interested in comics, so I grew up in a house full of classics like Carl Barks’ Donald Duck as well as underground, European, and experimental comix. He also taught film, and watching the movies he’d project on our living room wall made me realise you could use visual narrative to do anything.

Q: What is your average day like?
A: I recently started teaching at the Victoria University of Wellington School of Design, so my days have become very busy. I’m often either in class or planning a class, or looking at students’ work. Otherwise, I’m probably at my studio writing or drawing. To relax, I watch old movies, read (often history), or play table-top role-playing games with friends.

dav

Q: Can you tell us about a current or recent project you’ve worked on?
A: I’m working on a long non-fiction comic exploring the history and culture of Dungeons & Dragons. It’s about world-building – the urge to create an imaginary reality so detailed it begins to feel almost real – and how the emergence of fantasy role-playing games 45 years ago introduced a new way to inhabit these fictional worlds. There are other, shorter, comics I’ve drawn recently, but that’s the big one that’s occupying my time.

Q: Do you have any traditions or rituals that help you when you get to work?
A: One trick I learned a while back was to leave something unfinished at the end of each day. That way, when I sit down to start drawing or writing, I don’t have to stare at a blank page; I can just pick up where I left off – and before I know it I’m back in the groove.

Q: Who/what is your biggest influence or inspiration?
A: There are so many! Hergé’s Tintin is a huge influence on my work. But one New Zealand cartoonist who’s had a big impact on me for most of my life is Barry Linton, who died last year. He drew comics for more than 40 years, and left behind an extraordinary body of work. I hope someone gets it all back into print soon.

 Q: What or who are your favourite NZ comics or creators?
A: Again, there are too many to mention even a fraction! Strips was a New Zealand comics magazine published between 1977 & 1987. Barry Linton (who I mentioned above) was one of its founding artists, but there were so many great cartoonists in there: Colin Wilson (the main driving force for the first few years), Joe Wylie, Kevin Jenkinson, Laurence Clark. There are earlier comics I’m fascinated by, too, including the work of Eric Resetar, Harry Bennett, and Jack Raeburn (all of who were publishing locally in the 1940s and 1950s). These days New Zealand has a large and diverse comics scene, with many cartoonists whose work I find inspiring. And every week I find someone new who’s putting out beautiful zines or webcomics. Each new discovery is like a treasure: an Instagram post or a page in a student’s sketchbook.

dav

Q: What is your dream comic project?
A: I have a comic I daydream about now and then. Sometimes when I’m lying in bed half-asleep, or when I’m walking to work in the morning, I’ll think about it. So far, all there is to show is a few words in my notebook. It may never happen. But I love that stage in a project, when everything’s still open, possible, uncontained. When it really is still a dream….

Q: What are you excited to share with ComicFest attendees? Just a taster!
A: That depends how much I get done between now and then.

Q: If you were to enter our cosplay contest, who/what would you dress up as?
A: I reckon Toby Morris and I could do a mean Captain Haddock and Tintin (now, if we can just find the right dog to play Snowy…).

You can find Dylan online in the following places:
Twitter: @dylanhorrocks
Website: hicksvillecomics.com
Instagram: @dylan.horrocks

5 minutes with Jem Yoshioka — from ComicFest 2019

Edited 07/21: Jem Yoshioka is back for ComicFest 2021! Have a read of our 2019 interview with Jem ahead of this year’s ComicFest — coming up Saturday 21 August at the National Library in Thorndon.


Next on the list is Jem Yoshioka, an illustrator and comic artist living in Wellington, New Zealand. Deftly weaving words and pictures together, Jem’s comics tell evocative and emotional stories with themes of belonging, place, and heritage. Jem’s current webcomic project is a soft science fiction romance between an android and a human called Circuits and Veins.
Jem Yoshioka appears at ComicFest with the support of the New Zealand Cartoon Archive.

Q: What first got you interested in comics?
A: I have always loved to tell stories and draw pictures, so in a way I feel like I was always on the path to comics. I read a lot as a kid and loved picture books fiercely.

Q: What is your average day like?
A: I work a full time job in communications, so I spend my day getting to help tell people’s stories and make sure things are understood by as many people as possible. I walk to and from work along the Wellington waterfront. I spend my evenings drawing, with breaks for dinner, chores, or whatever. It’s a balance that has worked well for me, but I am careful to be mindful of my limits and not push myself too hard if I know I need a break. Lately I’ve been playing a lot of Tetris and Star dew Valley to recharge when I need to!

Q: Can you tell us about a current or recent project you’ve worked on?
A: My webcomic Circuits and Veins is my current biggest project. I’ve been updating it since July, 2017 (coming up on two years, goodness!), and it’s honestly such a rewarding project. Long form serialised webcomics are notoriously difficult to keep going, and some weeks are a lot harder than others.

Q: Do you have any traditions or rituals that help you when you get to work?
A: I’m constantly listening to podcasts or watching YouTube. Podcasts have helped me so much to keep focused and motivated when I need to meet a deadline. Having my ears occupied helps keep my mind from straying away. I’m a big fan of Actual Play podcasts (listening to other people play table top roleplaying games), because it’s like a form of collaborative storytelling. My favourites are Friends at the Table and The Adventure Zone. If you have recommendations, let me know! I’m always looking for new ones.

Q: Who/what is your biggest influence or inspiration?
A: That’s a tough one. Can I say my grandma, Taeko? She’s led an amazing life, growing up in Hiroshima, Japan, witnessing the horrors of war as a young girl and teenager, meeting my granddad in Japan, and moving to New Zealand in the 50s, before you could even really find rice here, let alone the right kind of rice. Whenever I get stuck I think back on who she is, that she still has such a lightness and humour about her through everything. It makes me feel strong again. This has been something that has been coming through in my art since 2015, when I started writing autobiography comics exploring my connection to Japan and my Japanese heritage, which of course is all through her.

 

Q: What or who are your favourite NZ comics or creators?
A: I love Lore Olympus by Rachel Smythe, published on Webtoon. Rachel’s my best friend and we’ve known each other for half our lives, so I’m a bit biased. Rachel is a master illustrator and her work is so expressive, emotive, and even now her sense of storytelling, drama and comedic timing all work together to make me gasp. What else could you want from a comic?

Q: What is your dream comic project?
A: To be honest, I’m doing it! Making Circuits and Veins is honestly a dream, and I’m so happy that so many people love reading it. It does have an end though, and I’m also equally excited about my next story, which will be a fantasy story based on Japanese folk stories. I tried to launch it last year as Starstruck, but I wasn’t completely happy with the execution, and splitting my time between two ongoing comic projects wasn’t the smartest, so I’ve pulled it back to the drawing board. I chip away on concepts for it in between updating Circuits and Veins

Q: What are you excited to share with ComicFest attendees? Just a taster!
A: I’m keen to talk about what it takes to update a regular serialised webcomic, and also about how to balance comics and non-comics life.

Q: If you were to enter our cosplay contest, who/what would you dress up as?
A: Marceline, from Adventure Time. She’s got the best style.

You can find Jem online in the following places:
Instagram: @jemyoshioka
Twitter: @jemyoshioka
Blog/Website: jemshed.com

ComicFest 2019 – 5 minutes with Alex Cara

ComicFest is back for 2019! On Thursday, Friday and Saturday, 2 to 4 of May at the National Library there will be panels, talks and workshops all day long for comic-lovers of all ages. You can also pick up a free comic from us on May the 4th and celebrate Free Comic Book Day, courtesy of GRAPHIC! For full programme click here and follow our updates on our Facebook event.

We caught up with Alex Cara and asked her a couple questions for our “5 minutes with…”. Alex Cara is a Christchurch-based comic artist. In addition to being featured in recent issues of Funtime Comics, her work has also been published in the Three Words anthology.  She has completed a BFA in printmaking at the Ilam School of Fine Arts, and since graduating has developed and produced her own prints and comic projects, self-publishing the New Zealand historical short comic collection “Dreams of Here, Far from Home” in 2017. Her sketches and works-in-progress can be found at @alexcara.art on Instagram. Alex Cara appears at ComicFest with the support of the New Zealand Cartoon Archive.

 

Q: What first got you interested in comics?
A: I used to read the Beano and old English things like that when I was first learning to read, so that was pretty early exposure! I also had a volume of Krazy Kat and some very comic-like picture books that I loved, likeCaptain Abdul’s Pirate School by Colin McNaughton. They all had good grotesque characters with lots of background details and jokes, as well as speech bubbles. I was able to read lots of different manga and graphic novels as a teen, but reading TamaraDrewe by Posy Simmonds made me really want to write and draw my own comics.

Q: Can you tell us about a current or recent project you’ve worked on?
A: I feel like I’ve been caught up in a studying-slash-new-job whirlwind for a long time, but I self-published my own first book of comics and illustrations in 2017 (“Dreams of Here, Far from Home”) and launched it at Chromacon. At the moment I’m looking at putting together a little book or pamphlet of drawings and am also working towards posting some short comics online.

Q: Who/what is your biggest influence or inspiration?
A: A few different things; all my various niche book interests, especially writers like Denton Welch, Barbara Comyns and Colette. Real life and people-watching. Definitely old photographs and different types of graphic art like painting or illustration, and of course other comics; my current top favourite would be the Belgian comic artist Olivier Schrauwen, I love everything he’s done.

Q: What is your dream comic project?
A: It would be something where I can try lots of different art-styles, very ambitious and with interweaving themes and multiple time periods, etcetera… But I’m not high-powered enough to get very far with that kind of thing and need to build my way up from shorter works! I do often think about finding some obscure old public-domain novel or story to adapt as a comic, so maybe that.

Q: If you were to enter our cosplay contest, who/what would you dress up as?
A: Maybe the Groke from Moomins…

You can find Alex online in the following places:
Instagram: alexcara.art
Blog/Website: alexcaraart.bigcartel.com

5 minutes with Sarah Laing — from ComicFest 2019

Edited 07/21: Sarah Laing is back for ComicFest 2021! Have a read of our 2019 interview with Sarah ahead of this year’s ComicFest — coming up Saturday 21 August at the National Library in Thorndon.


We are pleased to have Sarah Laing for our next “5 minutes with…” feature. Sarah is a Wellington-based writer and illustrator who has had novels, short stories and the graphic memoir Mansfield and Me published. A collection of comics from the past ten years is forthcoming from VUP – Let Me Be Frank will be published late 2019. She also the co-editor of Three Words: An Anthology of Aotearoa/NZ Women’s Comics and has illustrated a number of children’s books.


Q: What first got you interested in comics?

A: My dad was a big comics fan – he’d grown up on the war comics you could buy at the dairy – so we always had comics lying around. Tintin, Asterix, Garfield, Charlie Brown. My cousins had a big stash of Disney comics and I particularly liked tales of Uncle Scrooge and his mountains of money. I also used to read Bogor in the Listener, and wrote some fanmail to him, with my own fanart of hedgehogs and snails. He offered me a job when I grew up – I wonder if that offer is still on the table?

Q: What is your average day like?
A: Up until recently I’ve been finishing off my Let Me Be Frank manuscript – a collection of my comics over the past ten years, to be published by VUP in late 2019. I’ve got to be an almost fulltime cartoonist thanks to a CNZ grant. Almost fulltime, I say, as I have three kids and various part-time gigs, including mentoring creative writing students, and illustrating for a number of publications. Right now, since I have submitted my manuscipt, I am lookng for a proper job to pay my bills – feel free to hit me up!

Q: Can you tell us about a current or recent project you’ve worked on?
A: My most recent project I talked about in the previous question, but I worked on a great project last year, in collaboration with Dr Giacomo Lichtner, the Italian Embassy and the Holocaust Centre of New Zealand – it was an adaptation of Denebedetti’s account of the SS raid of the ghetto in Rome. You can read that comic here.

Q: Do you have any traditions or rituals that help you when you get to work?
A: I waste an awful lot of time and feel incredibly guilty about it, and then sometimes I’m freakishly productive. I have to check Facebook, Instagram and Twitter each morning before I start work, and I also have to make myself coffee and a piece of toast and peanut butter. When I’m in my productive phase, I allow myself to draw badly and make mistakes, focussing instead on the shape of the story and actually completing it. The drawings may look terrible at the time, but when I go back to them, they have a looseness and a spontaneity that I like, and I often wonder if they are better than my final illustrations.

Q: Who/what is your biggest influence or inspiration?
A: I have so many influences and inspirations! I am a huge fiction reader, so always have a novel on the go. I love all the women I follow on instagram and support on patreon, like Gabrielle Bell and Sarah Glidden, Mimi Pond Lisa Hanawalt, Summer Pierre, Glynnis Fawkes and of course the indominatible Jillian Tamaki. I am also a big music fan, and my latest discoveries include Nilüfer Yanya and Charlotte Adigéry. Nature, films, TV (Russian Doll! So good!), art, foreign cities, family, friends, random encounters… all of this feeds into the psychic soup I take ladles from to make my work.


Q: What or who are your favourite NZ comics or creators?
A: Again, there are so many people I like and I always scared of making these lists for fear of missing someone off! I really love Sophie Watson’s comics, and I’m excited about her larger project she’s working on. Ross Murray’s latest book, Rufus Marigold, is great – I’m looking forward to hearing him talk about it at ComicsFest. Giselle Clarkson makes hilarious, beautifully drawn comics, and I really admire Zoë Colling’s autobio works. Indira Neville is hilarious and arresting, and Kirsten Slade is unmissable. Sam Orchard makes great comics about his life as a transman, which always hit the spot. The greats are still great – Dylan Horrocks, Ant Sang, Toby Morris – and I really love the irreverant lo-fi nature of Brent Willis’s comics. Austen Milne is an up-and-coming cartoonist who I’m sure we’ll be seeing a lot of, and I wish I could see more of Meng Zhu’s comics, who was in Three Words…. Arrgh, gotta stop now!

Q: What is your dream comic project?
A: I have a few graphic novels bubbling away in my head… my dream involves being published by Drawn and Quarterly and being invited to all those American and Scandanavian comics festivals!

Q: If you were to enter our cosplay contest, who/what would you dress up as?
A: Hmm, tough call. Tove Jansen? Rita Angus? Or maybe Vivienne Westwood. Or am I meant to be choosing a fictional character? In that case I’ll go as Little My or Rachael in Bladerunner.

You can find Sarah online in the following places:
Instagram: @sarahelaing
Twitter: @sarahelaing
Blog/Website: sarahelaing.com