A. V. Mather

A. V. Mather is Brisbane-based writer of Fantasy fiction for Young Adults. She has a BA in Fine Arts and a Post-Grad in Education. In previous decades, she has worked as a Scenic Artist and a Secondary School Art teacher. Eight years ago, she finally gave in and devoted herself wholly to writing. She is represented by Tom Witcomb, of Blake Friedmann Agency in London, England.

A. V. Mather enjoys reading widely across genres and is also interested in art, satire, history, photography, popular culture, psychology, road trips and good stories – real and imagined.

You can follow her on Twitter @AVMather

In Thief of Lives, Australian author Lucy Sussex explores issues surrounding gender and relationships in four short – and vastly different — stories. Each one provides a different insight into the lives of characters who exist on the fringe of their society. Whether through vocation, origins, personality, or choices – each is living a life which isolates them in some way, making their associations all the more unusual and important. With every story, we look into worlds where attraction runs far deeper than lust or love and evil is a matter of degree.

We begin with Alchemy, a historic fantasy set in Ancient Mesopotamia. In this life-spanning tale, a demon seeks to lure a singularly intelligent young woman to the black arts. He recognises in her a rare mind that would, together with his knowledge of alchemy, advance the Mesopotamian civilisation to unprecedented heights.

Second is The Fountain of Justice, a modern crime story set in Australia. In it, a tenacious solicitor ruminates over past defendants, crimes and coincidences, whilst engaging in a case involving local hoodlums. There is a strong pull of affection and loyalty in her musings, despite the overwhelming sense of a tragedy unfolding.

The Subject of O throws us into the student world where a repressed young woman experiences a belated awakening. Her experiences lead her to value her own opinions and ideals, rather than shed them, as her knowledge broadens.

Thief of Lives is the final, and my favourite, of the four. The mysterious PA of a traumatised author arrives at Bristol station on a research mission. The arrival coincides with a publicity frenzy for a sensational new author, and the PA is inexorably caught up in events. It is an intriguing and tantalising urban fantasy, with witty morals and allusions, and also gives an insight into the history of the town.

The four stories together provide a showcase for the breadth of Lucy Sussex’s vision and creativity. Although the genres differ, the theme of relationships are very much at the heart of each. In delivering variations on the theme, she has created stories with wonderfully diverse voices and layers.

In line with the genres represented, the pacing and tension differs from story to story. There is a dreamy, ethereal quality to the writing in Alchemy: the sense of a lofty viewpoint borne of immortality. Then we are slammed back to earth with the gritty, urban voice of The Fountain of Justice. I felt a genuine sense of self-consciousness reading The Subject of O, and of power and obfuscation in the language of Thief of Lives.

So how does anyone categorise Lucy Sussex? She is at once modernist and historian, fantasy and crime writer, fiction and non-fiction, adult/children’s/YA and a literary critic. She defies pigeon-holing and can only be pinned down by her interests in feminism and exploring the broad theme of gender.

I enjoy stories that provide tangible evidence of relationships beyond the accepted standards of love or lust. There are so many important relationships that don’t come under either heading. Those that go beyond ‘a feeling’ and need a richer vocabulary to describe them. They make our experience of life and other people so much deeper and more rewarding. I am instantly a fan of writing that explores associations borne of proximity, admiration, awkwardness, suffering or affinity. It is the true stuff of life, the relationships that fill in all of the gaps around the big loves, hatreds and lusts. Lucy Sussex plunges deep into the loam with Thief of Lives and should be enjoyed by anyone who likes to think about a story, long after closing the book.

Marianne de Pierres

Australia SFF author and fiction junkie.

So part two of OUTLANDER’s first season hit the shelves in Australia this week. I have to admit to the fact that I’ve been counting the days. Though always a bit of a fan girl at heart, this series has seen me engage in some embarrassingly lame behaviour. Confession number #1.

Anyway, to the show… So things continue to fluctuate for Jamie and Claire; moments of good will, peace and happiness punctuated by betrayal, abject fear, and hard-to-watch violence. At the heart of it all is the love story between them and the destructive force of Black Jack Randall whose obsession with Jamie culminates in the most powerful moments I’ve ever seen on television or film.

I don’t really want to recount the story, you can get that from any number of reviews and blogs. I’d prefer to talk to you about my reflections on the power of the storytelling.

When I first started watching SONS OF ANARCHY a few years ago, I was compelled by its fearlessness. OUTLANDER stands apart from other TV fictions in the same way — because of its willingness to go to emotionally difficult places. It conveys a sense that there has been an honest and very real attempt by everyone involved in the production to make something barefaced honest and heartfelt; something lovingly detailed and rich in characterisation. Where SONS OF ANARCHY lost me, in the end, was its lack of balance, and its unrelenting male viewpoint. Jax Teller displayed no emotional intelligence or growth; he gave me no hope, and, therefore, no reason to go on.

That’s where OUTLANDER is a different beast; it offers both balance and hope. I believe the ebb and flow of Jamie and Claire’s fortunes has an important and authentic rhythm to it within the hyper reality of the story. And that rhythm is interspersed with moments of dry wit and humanity: the easy and rough comradeship between the Rupert, Angus, and Willie; Murtagh’s loyalty to Jamie; Laoghaire’s jealousy; Mrs Fitz’s irrepressible motherliness, Colum’s intransigence; and Geillis’s whimsy. All the little moments in between the big ones are just as right and important.

But the big ones…well…

Geillis and Claire’s “witch” trial is a terrifying portrayal of mob mentality and the power of superstition, and those scenes had me wincing on more than one occasion.

But Jamie’s imprisonment and torture by Black Jack is simply very hard to write about. Ignoring the fact (as Mandy pointed out to me) that we don’t ever really understand why Black Jack is the way he is (how does a sociopath get to be who they are?), the quality of the acting, the imagery, the setting, the circumstances combine to transport the audience. While Tobias Menzies is undeniably superb as Black Jack, my deepest admiration goes to Sam Heughan who totally went to that dark, dark place. His acting is sublime because it almost isn’t… acting that is. He’s as close as an actor to get to that other reality – that space where the transference between fake and real occur. He dwelt there for a time, supported by the team around him, creating true fictional magic. Bravo to everyone involved!

Yet having said that, I actually had to watch those scenes from behind my hand, trying to put some distance between myself and the emotions it evoked. Confession #2.

OUTLANDER’s also got me wondering a lot about what it is that makes a truly passionate and enduring romance so appealing — so satisfying — to so many people (men and women), and what it is that has prevented me, as a writer, really exploring that dynamic in my own prose.

Honestly, I think I’ve been a coward about the romances in my own books; afraid that writing a romantic story was a surrender to patriarchal programming, to stereotypes, and to the perpetuation of a myth that is nether real nor likely attainable for most. I’ve dabbled around the edge of it, but never committed.

You know, I think I’ve been wrong. Confession #3

Recently I asked my numerous Facebook followers if they believed in a one, true, meant-to-be-together, enduring love. The answers were quite varied, and yet a good percentage believed that such a thing did exist, and those who didn’t gave me they underlying sense that they wished it was. It seems that people truly crave that special connection with another human. Not something temporary and gratifying, but something deep and enduring.

Ronald D. Moore’s adaptation of Diana Gabaldon’s work is a fierce endorsement of this same belief (to this point in the story anyway). In fact, it is fierce in every way: passionately, physically, politically, morally, and emotionally. But more than anything, it clings to hope in its many and varied forms. I don’t know about you, but I need stories that do that.

It’s going to be a long wait until April next year when season 2 is released. By then my DVD’s will be well loved from repeated watchings, which, as someone who doesn’t ever revisit the same story, is the highest accolade I can give.

Escapism doesn’t get much better than this!

Damian Magee

Damian Magee is a West Australian writer and reviewer and a member of the Sherlock Holmes Society. He’s a life long fan of crime, sci-fi, anime, literature, history, biography, TV & films who has been writing reviews, non-fiction, & presenting seminars on these genres for the past 30 years. 

The Man from U.N.C.L.E.  is another movie adaptation of a famous television series from the Sixties.  I’m old enough to remember watching this series when it was first screened in Australia (1966-1969) on our black & white Pye TV set in the lounge room.  I was a huge fan of the series and collected all the TV Annuals, comics, books and toys.  I have the “UNCLE” model car in my collection now.

Like many fans I was worried when Hollywood announced a big screen version of “UNCLE”.  Will the writers capture the tone? Will the casting work? Will the production accurately reflect the show and the settings?  Modern remakes such as “Maverick “, “Get Smart” and “Starsky & Hutch” were spot on, but others, such as “Wild Wild West” and “The Avengers” (John Steed & Mrs Emma Peel),  were just awful.

The U.N.C.L.E. movie has had a few stops and starts.  I first heard about a production in 1998 that was stopped by the copyright holder when he discovered the director was only using the name, and writing something completely different.  Since then, several directors have been attached to the project, such as Steven Soderbergh, and actors like George Clooney, Tom Cruise, and others.  Warner Bros finally engaged Guy Ritchie who reinvented Sherlock Holmes with Robert Downey Jr. and Jude Law to huge acclaim.

So has Guy Ritchie made a successful adaptation on U.N.C.L.E.? The answer is definitively, yes!  The movie has the heart and soul of the TV series.  It is set in the right time period (early 1960s), the music is wonderful, the sets and cars are correct to the period, and the clothes are just gorgeous. Apparently a lot of authentic vintage clothing was used.

The movie has Napoleon Solo, (Henry Cavill), and Illya Kuryakin, (Armie Hammer), meeting for the first time.  Napoleon is with the CIA and Illya the KGB, but both agencies “co-operate” to find a missing German Atomic scientist, and the bomb he is arming, by using his daughter, Gaby Teller, (Alicia Vikander) to help them.

Napoleon & illya start on opposite sides and only grudgingly work together while continuing to try and outdo each other.  The action starts in East Germany, moves to West Germany and on to Italy.  A mysterious organization is threatening the world.  The only clues are in Italy with a shipping company run by Alexander Vincinguerra, (Luca Calvani), and his wife Victoria, (Elizabeth Debicki). Solo is undercover as an antiquities dealer, Kuryakin as a Russian architect with Teller as his fiancée. They try to get close to her uncle who works for Vincinguerra.  Both Solo and Kuryakin encounter Alexander Waverly (Hugh Grant) of MI6 who reveals more of the assignment.

Cavill and Hammer work really well as a team; the chemistry in their journey from enemies to grudging allies and possible friends crackles off the screen.  Cavill oozes charm as Solo, just as Robert Vaughn did. His character has a different history to the TV show, but it works very well for the plot of the movie.  Hammer’s Kuryakin is just a cool as David McCallum, but ‘larger than life’ and with childhood memories from Soviet Russia that can trigger violent episodes.

Alicia Vikander is convincing and dynamic as Gaby (and gets to showcase some of the best clothes in the movie). We first meet her in East Berlin where she works as a mechanic.  She then drives the car that she and Solo use to escape from East Berlin.  The driving in the movie matches the brilliance of the original “Italian Job”.  Elizabeth Debicki’s sinister Victoria Vincinguerra is as charming as a deadly Redback Spider as she monitors movements of the agents and leads them into a trap (Elizabeth is an Aussie actor).

With the opening scene set in East Berlin, I felt I was watching a film based on the early works of John Le Carre: the dark and sinister spy world. CIA versus KGB with MI6 somewhere in the background, and everyone playing for keeps.  The composer Daniel Pemberto does an excellent job on the original score, using lots of brass and flutes to sound authentically sixties.  Songs and music from the 1960s were also used for excellent effect, from the brilliant Nina Simone’s version of “Taking Care of Business”, Roberta Flack’s “Compared to What”, “Bunter Drachen” by Suzanne Doucet, “Il Mio Regno” by Luigi Tenco and themes from two Spaghetti Westerns: “Few Dollars More” and “A Man, a Horse, and a Gun.”

“The Man from U.N.C.L.E.” is an action packed fun film: a film that takes you back to the glamour and style of the 1960s, the Cold War, the Jet Set, fashion centred Europe & the grim spectre of the Atom bomb, through the music, clothes, and production style.  I, for one, will be adding the music soundtrack and the blu-ray to my collection. (Additional note: the soundtrack has not been released in Australia according to JB HiFi, so will have to source that overseas).