A Guide to this Blog

Showing posts with label Reading. Show all posts
Showing posts with label Reading. Show all posts

Tuesday, March 14, 2023

Some Great Books

The last few years I resolved to read more. I used to watch a lot of film before this but I found my concentration span for cinema became absolutely shot to pieces when I first became a teacher. Reading became enforced quiet time or something I do while walking. It's a soothing balm on my brain. This year I've had less time to read than I did in years before but I still enjoy it so much.

Below are just five books I really like.


Sabrina: I love comics. Not the superhero kind, the other kind. No, not the Sunday funny strips, the other other kind... the self-contained graphic novels, Belgian and French adventure comics, independent comics; that sort of thing. When I found out that there was a graphic novel that got nominated for the Man Booker Prize, Sabrina by Nick Drnaso, I quickly made sure it got in front of me so I could experience it. It was really something else. In the age of fake news, internet trolls, and trial by social media, Drnaso has created an unsettling parable for the times - masterfully constructed and carefully controlled, and every bit as nuanced as any worthwhile literary novel.


Under Milk Wood: I read this three times in 2019 in order to prepare material for a textbook for Into English. I'd read it before, back in 2017, and I fell head over heels for Thomas's slippery, cheeky, self-engineering folklore. Listening to the 1950s BBC production, and reading it several times, allowed me to slowly immerse myself in the language and discover new things in every line. If you're unaware of Dylan Thomas's radio play then I would recommend reading up on it a bit to get an understanding of what it's 'about' before you read it - jumping into it cold turkey can be a disconcerting experience from a contemporary standpoint (I tried once 20 years ago and gave up before coming back to it in 2017). It's a rewarding text, extremely funny in parts, but it's also very unusual - essentially a day in the life of a town with over 60 characters and no real plot. If you can accept that you're not going to get a storyline or remember all the characters, then you'll be fine.


As I Lay Dying: Faulkner is such a dude. I'd never read his work before this and it was such a rich, textured vision of southern misery that I instantly started seeking out more of his stuff. Each of the characters present their own distinct stream-of-consciousness viewpoint, shedding shifting light on dark subject material. I kept thinking I could see where the narrative was going but Faulkner is playing his own game, and the rules to that game aren't easy to gauge through the various shades of narration, much of which is best judged as potentially unreliable. This easily deserves its status as a modern classic of the American Depression. 


The Pueblo Revolt: I did a lot of reading on the contact and colonisation endured by the Pubeloan peoples in America's southwest during the 16th and 17th centuries. In the course of my research I zeroed in on this book by David Roberts as being the best... aside from being well-researched in its depiction of the clash between the Puebloans and their Spanish conquerors, it also happens to be an engaging narrative that conveys the work of a historian travelling across a landscape in search of leads and new primary sources. A great book for anyone who's interested in the way in which history is written, and also a uniquely detailed representation of a fascinating and largely unknown piece of frontier history.


Freddy Lombard: I'm a big fan of the ligne claire comic genre (think Tintin) and this tragically short series expands, subverts, and pays homage to all the things that are great about it. My only criticism is that there will never be any more adventures for Freddy Lombard and his pals due to the untimely death of author Yves Chaland in 1990. I've written more extensively about this gem here.

Sunday, September 12, 2021

The English Book Room

Along with my wonderful colleague Dette Therese, I run a Facebook group for NSW English teachers that focuses on sharing resources and building a culture of open collegiality and practical support. Term 3, 2021, has been quite a challenging time to be a teacher in NSW, so to keep our teachers' Facebook group focussed on something positive I started sharing a few examples of books we usually tend to find in the high school English book room so people could discuss them.  

It's been absolutely amazing to hear from teachers all over the state and beyond, with a range of experience, as we shared our impressions and ideas regarding individual books. It pepped me up a little each day to see so many passionate teachers willing to share their thoughts on class-set novels. The goal was to prompt a few thoughts with generic questions:

  • Anyone taught this one before?
  • If so, which year groups?
  • Is it a winner?
  • Who's seen it in their bookroom?
  • Would you / do you still teach it?
...and anything else a teacher might want to add. 

Anyway, I've collected the information into the following excel spreadsheet:

The English Book Room (Version 1, Sept. 2021)

I've kept it in a spreadsheet so the information can be sorted by the reader - you might be looking for the most popular options, and can therefore sort by the 'recommended' column, or you might prefer to browse through alphabetically by author. 

In the spreadsheet you will find:

> Book Title 
> Author 
> Year of Publication 
> Country of Publication 
> Key Words indicating themes and genre 
> What kind of class it suits
> How many teachers recommended teaching it 
> How many teachers recommended not teaching it 
> Content Warning = things that could prompt potential issues in the classroom when teaching it

and

> A separate tab at the bottom that contains comments/reviews from teachers on each title.

Some Notes
  • This is a living document. It will change and get updated periodically to reflect the ongoing accumulation of further information, and additional permissions granted by teachers to have their contributions included. Some elements may appear a bit rough at the moment but I'll continue to enhance the spreadsheet as more is added.
  • More than 200 teachers contributed to this so I want to say a massive THANK YOU to each and every one of them. It's a great testament to how social media can be used in a positive fashion for collaboration.
  • Each of the teachers featured in the document gave their permission to be quoted. I am only uploading the spreadsheet here and in the Facebook group. Downloading your own copy is fine so long as it's non-monetary and for your own use. 
Books Featured So Far:
  • Does My Head Look Big in This by Randa Abdel-Fattah
  • 10 Things I Hate About Me by Randa Abdel-Fattah
  • The Lines We Cross by Randa Abdel-Fattah
  • Obernewtyn by Isobelle Carmody
  • The Dark is Rising by Susan Cooper
  • The Chocolate War by Robert Cormier
  • Boy: Tales of Childhood by Roald Dahl
  • The Divine Wind by Garry Disher
  • Hitler's Daughter by Jackie French
  • Macbeth and Son by Jackie French
  • Mahtab's Story by Libby Gleeson
  • Once by Morris Gleitzman
  • Two Weeks with the Queen by Morris Gleitzman
  • Singing the Dogstar Blues by Alison Goodman
  • Looking for Alaska by John Green
  • Journey to Eureka by Kerry Greenwood
  • Deadly Unna? by Phillip Gwynne
  • That Was Then, This is Now by S.E. Hinton
  • I Am David by Anne Holm
  • Taronga by Victor Kelleher
  • Onion Tears by Diana Kidd
  • Children of the Dust by Louise Lawrence
  • Goodnight Mister Tom by Michelle Magorian
  • So Much to Tell You by John Marsden
  • Tomorrow, When the War Began by John Marsden
  • Boys of Blood and Bone by David Metzenthen
  • Raw by Scott Monk
  • A Monster Calls by Patrick Ness
  • The Loblolly Boy by James Norcliffe
  • Z For Zachariah by Robert C. O'Brien
  • Mrs. Frisby and the Rats of Nimh by Robert C. O'Brien
  • Playing Beatie Bow by Ruth Park
  • The Harp in the South by Ruth Park
  • My Sister Sif by Ruth Park
  • Bridge to Terabithia by Katherine Paterson
  • Hatchet by Gary Paulsen
  • The Wave by Morton Rhue
  • Harry Potter and the Philosopher's Stone by J.K. Rowling
  • Holes by Louis Sachar
  • Roll of Thunder, Hear My Cry by Mildred D. Taylor
  • The Cay by Theodore Taylor
  • Blueback by Tim Winton
  • The Sky So Heavy by Claire Zorn
Thank You:
Acknowledgement to the English teachers who contributed and graciously gave permission to be included here:

Alan Lane, Amanda Elizabeth, Amanda Fournaris, Amanda Hannah, Amelia Drinkwater, Amelia Kerr, Amy Greatrix, Angelina Catherine, Angell Harris, April Flavell-Adams, Ashleigh Ftynogiannis, Bec Atkins, Bec Jane, Belinda Diddly-Doodly, Belinda Ryan, Belinda Sinclair, Bernadette Gurr, Bernadette Virwani, Bernhard Huber, Beth Kermode, Brunella Pagano, Carla Beattie, Caroline Brosnan-Kennedy, Catherine Byrne, Catherine McCrae, Cathy Greaves, Celeste Fernandes, Cherie Clark Obrien, Chris Hardy, Claire Low, Clairie Ormiston, Cosette Sheridan, Crab Apple, Cristie Reid-Heuser, Danielle Asquith, Danielle Cleary, Darcy Moore, David Searle, Debbie de Graaf, Denise McKinna, Detter Therese, Deyel Bokor-Charlier, Dhara Des Fours, Dia Zois, Edwina Adelaide, Edwina McCarron, Eleanor King, Elif Tirzik, Elizabeth Ford, Emily Beach, Emily Bosco, Emma Jane Hope, Erika Monk, Erin Graham, Erin Stewart, Ez Fong, Fadia Abousaleh, Faye Cazouris, Fergus Gardiner, Fez Chepe, Fiona Lugnan, Francesca De Leon, Gavin Raymond Brown, Genine Howard, Georgia L'Bank, Georgina Lindsay, Georgina Philpott, Grant Sciberras, Hannah Gierhart, Hannah Rappell, Hannah Thompson Geraghty, Hayley Chisholm, Hayley Sharkey Crowshaw, Hellon Wheels, Imelda Judge, Isabelle Marzano, James Clarke, Jamie Barnes, Jane Drabble, Janelle Stenner, Jarita Banerjee, Jay Goocher, Jeannie Baker, Jeffrey Campbell, Jemma Messer, Jennifer Purssell, Jennifer Waljae, Jenny Holmes, Jess Laxton, Jessica Ansell, Jessica Campbell, Jessica Mann, Jo Bickford Sturgiss, Jo Gresham, Joanna Jennings, Joerg Gruenfeld, Josephine Camilleri, Judith Ridge, Julie Renee, Julz Jewels, Juvena Baldry, Karyn Mooney, Kate Bradley, Kate O'Sea, Katelyn Parrott, Kathleen Emma, Kelly Mack, Kelsey Rae, Kerri Yates Green, Kerrie Guest, Kimberley, Kirilly Farrell, KJ Burke, Kristi Ryan, Kristin Smith, Kristin Vlasto, Lara Hancock, Laura Gabrielle, Letitia McCubbin, Lexi Hunter, Linda Grats, Linda Holloway, Linda Officer LisaPisa Pot, Loren Yaslana, Lorena Najarro, Lorrine Eggleston, Louise O'Reilly, Lu Mac, Lyn Tiernan, Maddie Lee, Mandy Jane, Mark Cochran, Mark McDonald, Markus Joseph, Marney Meredith, Meg Clarke, Megan Gilbert, Mel Marin, Melanie Bailey, Melanie O'Nions, Melinda Giveen, Melinda Lee, Melinda Taylor, Melissa Anne, Melissa Anthony, Meredith Healey, Merrilee Lennon, Michelle Johnson, Michelle Nooroa Katuke, Michelle Patricia, Michelle Renshaw, Michelle Sloan, MJ Logan, Narece Thapa, Natalie Bluhdorn, Natalie Jones, Natalie Quimby, Natasha Audrey Joseph, Nicole Taylor, PamPam Potter, Patricia Fay, Paul Cullen, Paula Madigan, Pauline Griffiths, Peta Clark, Phoebe Black, Rachele Haigh, Rebecca Lea Grant, Rebecca Millhouse, Rebecca Ormand, Rebecca Rowlings, Rhys Hernan, Rob Lockett, Robert Klein, Roberta Wolsey, Rony May, Samantha Jackson, Samantha McFayden, Samantha Miller, Samantha Woolnough, Sandra Lee, Sarah Lee, Sarah Marie, Sarah Wellington, Semir Kuljanin, Sharon Rae, Simon James, Sofia Carmensita Whitehouse, Sophie Kenna, Stacey Treloar, Steve Upsall, Steven Call, Stewart McGowan, Sue Atkins, Sue Harper, Suzana Curcuruto, Suzanne Smith, Tamara Jill, Tammy Borthwick-Mathurin, Tate Williams, Tennielle Willis, Teresa Rodd, Tim Creighton, Tracey Adamson, Ursula Jones, Vicki Denton, Victoria Keech, Wayne Crich, Yosheda Tracey-Lee

* Apologies to anyone I've accidently left off, accidentally left in, or misspelt the name of. Let me know if this is you and I'll fix it up straight away!

Friday, December 18, 2020

Top Reads for 2020!

I had a lot of time to read this year. It was the thing I filled the 'gaps' with, and something that kept me motivated. I can safely say that I read more in 2020 then I have in any other year. Of the 127 books and graphic novels that I read, the following 12 are my favourites; the ones that stood out most...

The Shipping News by Annie Proulx: One of my favourite reads of the last 5 years - such a great novel, funny and richly quirky and tragic and just beautifully constructed and written. I read it back in Autumn while walking by the sea, with the cold wind whipping up around me, and the weather felt perfectly attuned to the content of the novel. More than six months later I'm still thinking back on it and hoping to read something else like it. 


My Friend Dahmer by Derf Backderf: A perfect intersection of meticulous, exhaustive research and one person's unique insight into the formative years of one of America's most notorious serial killers. Derf Backderf deals with the material with sensitivity and integrity, and works incredibly hard to avoid veering into speculation. Intensely magnetic.

Station Eleven by Emily St. John Mandel: A wonderful, scary, hopeful, metatextual English teacher's dream of a post-apocalyptic novel. The author imagines a world struck down by a devastating pandemic (fancy that!) and adds layers of interlinked characters, multiple narratives that span decades, King Lear, and a fictional graphic novel-within-a-novel. Station Eleven took me four walks to read, and I would gladly read it again.

Lost Transmissions by Desirina Boskovich: This is a brilliant piece of counter-'canon' work that shines a light on an influential secret history of speculative fiction - the forgotten voices, the unsung artistic legends, the might-have-beens. Boskovich investigates the influence of science fiction on every aspect of pop culture - books, film, art, architecture, music, fashion - and presents the texts that slipped through the gaps or deserved more attention. It prompted me to seek out a bunch of new texts.

Safe Area Gorazde by Joe Sacco: I was a teen when the Yugoslav Wars tore the Balkans apart. It was confusing, partly because '90s Australian media didn't know what to make of a war where Muslims were very clearly the victims. This non-fiction graphic novel makes an incredibly challenging and complex piece of recent history quite terrifyingly clear. 

The Voyage of QV66 by Penelope Lively: You may have noticed a few post-apocalyptic titles in this list. I read 15 such novels this year, and the ones that made it onto this list are the true stand-outs. The Voyage of QV66 takes a different angle in that it presents a post-apocalyptic vision of Britain where the animals have inherited a world mysteriously void of humans. It's a fascinating parable that also happens to be very entertaining, and is suitable for adults and children alike. 

The Transmigration of Bodies by Yuri Herrera: A hardboiled, neo-noir, dirty-as-malaria, Mexican crime novella with shades of intense social decay. Imagine Romeo & Juliet mixed with Dashiell Hammett in a favela. It's a really quick, gripping read too, and I ordered Herrera's previous novel straightaway after reading. 

Blacksad by Juan Diaz Canales and Juanjo Guarnido: If you love detective fiction, film noir, intelligently-captured caricatures of incisive crime genre archetypes, or evocative artwork that conveys so much so perfectly, then you must read the graphic novel Blacksad. A great find for me this year :)

The Left Hand of Darkness by Ursula Le Guin: I loved this. Ursula Le Guin demonstrates in this novel why she is widely considered one of the greatest sci-fi authors of all time. This carefully-written narrative offers an insightful, compelling, feminist vision of an androgynous society. Paradoxically of its time (the late '60s) and way ahead of its time. A+ effort.

Boy Swallows Universe by Trent Dalton: I got completely hooked once I got past the disorientating opening and adjusted to the rhythm of the writing. Dalton knocks it completely out of the park with this epic and finely-observed Aussie bildungsroman. Great characters and writing - lives up to the hype!

H is for Hawk by Helen Macdonald: An astoundingly heartfelt interweaving of falconry, personal grief, and an investigation of the pained, repressed life of the great English author T. H. White. Helen McDonald's prose is as sharp as the hawk's beak. This is great memoir writing.


In Watermelon Sugar by Richard Brautigan: An eerie, strange, beautiful, enigmatic, post-apocalyptic classic of the 1960s. Possibly the best book I've read this year and one of the most unexpected. I was so inspired I created the artwork below, and I'm about to read it again!


And that's it!

Here are some other honourable mentions that would round out a 'Top 25' from 2020:

The 1950s counter-culture graphic novel memoir Cruisin' with the Hound by Spain Rodriguez, influential island-set graphic novel Streak of Chalk by Miguelanxo Prado, Kurt Vonnegut's political satire Mother Night, Afro-futurist Romeo & Juliet remake Prince of Cats by Ronald Wimberly, American gothic classic The Heart is a Lonely Hunter by Carson McCullers, Korean memoir Banned Book Club, Jules Verne's 20 000 Leagues Under the Sea, Italo Calvino's On a Winter's Night a Traveler..., Steinbeckesque graphic novel Kings in Disguise by Jim Vance and Dan Burr, the haunting Day of the Triffids by John Wyndham, Flea's memoir Acid for the Children, the challenging epic A Brief History of Seven Killings by Marlon James, and Waubgeshig Rice's First Nations-perspective on the end of the world, Moon of the Crusted Snow.

Saturday, October 10, 2020

Guided Storywriting

Hi, how's it going?

I hope you're well, and I really do mean that - this has been a tough year for everyone and being a teacher in the public system looks like it might only become more challenging as we move into 2021. I've long been a big believer in free education for all but I know how hard it is not to feel demoralised and disillusioned sometimes when working within this system. What's that adage... nothing worth doing was ever easy? 

Teaching isn't easy. 

So, fellow teachers, I hope you're all kind on yourselves as we move into Term 4 of 2020. I hope I can be kind on myself too! Today I thought I'd share a stand-alone worksheet that worked well with my mixed-ability Year 8 classes in that nebulous part of the year where we were all trying to get students back on track after everyone isolated during NSW's first COVID wave. This lesson was designed to focus the students on building their literacy skills, and it bought me some time so I could continue planning some longer term work for my classes.

Guided Storywriting - Worksheet.

The first half of the lesson involves students filling in an open-ended cloze passage that comes with annotations that 'guide' the sort of answers that will work best. This is useful for students who aren't yet at the point where they can generate ideas in sufficient number, and helps them ascertain what categories of words work well in particular contexts.

The second half of the lesson contains some Super Six Strategies to extend student comprehension, and this includes visualisation, connection, and monitoring/summarising activities.

Have a nice term! :)

Sunday, July 26, 2020

Teaching Context for Stage 4


One of the key components of understanding a text is consideration of its context. We can see this idea echoed over and over again in a range of material related to teaching English and literacy, consider:
  • The NSW English K-10 Syllabus, which specifies in the Rationale for students to "examine the contexts of language to understand how meaning is shaped by a variety of social factors".
  • Outcomes EN3-5B, EN4-3B, and EN5-3B across Stages 3, 4, and 5, which all mention a need for recognition of different language contexts.
  • Content points in the syllabus, which take it a step further through requiring students to "develop and apply contextual" knowledge by describing and analysing the context of texts (EN4-3B). Or for students to "critically consider the ways in which meaning is shaped by context" (EN4-5C).
  • The English Textual Concepts, which includes Context as one of the twelve concepts - specifying the way in which context changes meaning in the way we read things, the way texts are shaped by outside factors, and the way values can change over time.
  • The Literacy Progressions, which map the need for contextual understanding of words in both the Understanding and Creating Texts sub-elements from Levels 5-10.
For NSW High School English we start with Stage 4, where context becomes an important factor in modifying meaning when writing, or when recognising the parameters of meaning while reading.

It's easy for English teachers to start looking at context by considering the cultural or personal factors of an author, or how texts are reinterpreted and adapted over time (think Baz Luhrmann's Romeo and Juliet, or Clueless as an adaptation of Emma) but sometimes I find jumping straight into this can leave some students behind. It took me a couple of years of teaching before I realised that context wasn't something explicitly taught in Primary School English, at least certainly not to the extent that the metalanguage term of 'context' had become embedded in student thinking. I can say, "What's onomatopoeia?" to a Year 8 class and, without fail, students will start shouting things like "BANG!", "CRASH!", and "CRACKLE!" If I ask, "What's context?", I usually get blank looks from the same group.

A good starting point is to break the term down into four parts:
  • Who wrote it and/or to what audience?
  • When was it written?
  • Where was it written?
  • Why was it written?
I want to get students understanding the impact of these elements on a text and, as with learning vocabulary, it's more effective for students to do rather than copy. So the starting point is to consider a single sentence delivered identically in two very different contexts:
"Stop falling asleep"
Who: said to a student vs. to an airplane pilot.

When: in the daytime vs. during a flight.

Where: in a classroom vs. on a plane.

Why: they should be doing their work vs. they should be flying the plane!

Once students understand this, give them a series of sentences and have them devise their own contexts to go with each one. They should create two separate contexts per sentence with the challenge being that these contexts should be as different as possible. Once they've finished, discuss as a class and compare the responses students came up with, exploring the idea of just how much context can matter. Considering this for single sentences is the building block of considering larger extracts of text, to short stories or articles or films, to whole novels, to whole genres or literary movements. The advancement through the progression will depend on the sophistication of the student as they work their way through the stages and courses towards their final year in High School.

Here's a worksheet that lays out the above-described context activity for students to complete: Context Worksheet.

Tuesday, May 12, 2020

Book Journeys: Grendel

Beowulf is a famous Anglo-Saxon poem from around the 9th century about a warrior (Beowulf) who slays three monsters - Grendel, Grendel's Mother, and a Dragon. This book by John Gardner is a postmodern retelling of the first part of the story from Grendel's point of view. 

It's said that you need to have read Beowulf, or be familiar with it, to be able to follow Gardner's narrative. The writer certainly intends this, but I think only a passing familiarity is really necessary. The above paragraph of this very blog would probably be all the prior information you would need, I never really knew all that much about the poem/myth ahead of the first time I read this book and I don't think it hindered my enjoyment whatsoever - especially considering that Grendel is one of my all-time favourite novels. 

It's a fairly slight book, more of a novella than a novel, but it's by no means a simple work - it has a certain density and complexity. Gardner uses the basics of medieval myth to deconstruct humanity and some of the philosophies that power the very essence of our civilisation. He does this with a sort of academic wryness that often comes across as blackly humourous. 

Grendel is a brutish and crude figure. He is cruel and ugly and every bit the monster he is portrayed to be in other versions of the tale Beowulf. Gardner has gone to great lengths to keep his protagonist monstrous in both appearance and personality. Grendel is by no means stupid though, he is confused by his own existence and angered by the differences between himself and everyone around him. His own mother is a depraved and loathsome creature that he is unable to communicate with, the local Dragon is all-knowing but nihilistic and does little to help reconcile his point of view with the world, and the village of humans that Grendel spends twelve years of his life observing, molesting, taunting, and waging war on, are so far removed from his own understanding of life that they only fuel his confusion to the point of outright fury.


The 'hero' Beowulf himself doesn't turn up until the last sequences of the novel and remains unnamed, which is fitting considering this narrative has been re-centred from the monster's perspective. Grendel's confrontation with the village's saviour is resoundingly ambivalent and provocative. Grendel is a miserable and bored creature, neither superior or inferior to the little people he torments... he's like an ur-anti-hero, and this book really pulls apart the foundations of concepts like 'heroes' and 'villains' in a big way. 

There's something highly engaging and amusing about Grendel's detached interpretation of the village's growth. His view of its advancement characterises humans as a parasitic and stupid species. The monster's prime motivation for wreaking so much havoc among them is boredom and curiosity, which is perhaps more relatable than most readers would care to admit. 

In terms of style, Gardner uses a lot of stream-of-consciousness to explore Grendel's thoughts and the novel is written mostly in present tense. When I first read Grendel I was quite impressed by the way it sustained a present tense narrative - I'd never much liked present tense before but Gardner converted me into seeing how it can work and I've used it more often in my own writing since.

Anyway, I highly recommend Grendel. If there is such a thing as a canon then I would put this book in it as it has so much that going for it - it's entertaining, intellectually stimulating, intertextual, amusing, tragic, and subversive. I'm yet to find another book even remotely like it.

Sunday, April 19, 2020

Book Journeys: A Canticle for Leibowitz


A Canticle of Leibowitz is a post-apocalyptic novel, albeit one with very little in common with other books I've read in the genre. Starting in the 26th century and ending about 1200 years later, Walter M. Miller Jr. depicts the gradual return to civilisation that takes place after world wide nuclear war has reduced America to a medieval state. This fascinating reconstruction of society in the blasted feudal deserts of the American Southwest takes place from the perspective of an order of Catholic monks who seek to canonize a 'Saint Leibowitz', a Jewish electrical engineer from the U.S. Army who hid with said monks and preserved 20th century knowledge through the clandestine art of 'booklegging'. 

Walter M. Miller Jr. was predominantly known for writing science fiction short stories. A Canticle for Leibowitz is a fixup of three such interrelated short stories into one narrative, and also the only novel that Miller Jr. had published in his lifetime. In some circles, A Canticle for Leibowitz is considered 'Christian Science Fiction', being that it presents a sympathetic view of the Church as a preserver of knowledge in a world gone mad. Another common perspective is that the novel is a crossover text of sorts, being that its message extends far into the realm of secular interests, and that the role of the Church in this future 'Dark Age' is a echo of the role that various orders of monks played throughout the original Middle Ages in preserving knowledge and pioneering innovations. The novel is deep in scope but never becomes esoteric or lofty, with Miller Jr. keeping his story firmly grounded in relatable human characters.
I was attracted to this novel because I love the American Southwest, and I love post-apocalyptic novels. The post-apocalyptic genre portrays possible scenarios that might arise from our overriding need to survive, which is a theme that will always resonate with readers. A Canticle for Leibowitz is also a good example of the little-discussed 'feudalpunk' subgenre, where science fiction and medieval technology intertwine, which also provides fertile ground for discussing the patterns of history as we know it.

I'm also found myself drawn to this novel because of its tragic backstory. On one level A Canticle for Leibowitz, published in 1959 and projecting a future created from the ashes of nuclear armageddon, is very much reflective of a Cold War context. On a more personal level, however, it's a novel that grew out of the author's own trauma. Walter M. Miller Jr. served as part of the U.S. Army Air Corps in World War II and was involved in the aerial bombing of an ancient Benedictine Monastery in Italy, which would continue to haunt him for the rest of his life. He came to idolise the anti-war movement during the Vietnam War and, by the 1990s, he was a recluse suffering from debilitating depression, disallowing even his own literary agent to ever meet him. 

Sadly, the author committed suicide in 1996, two years after the death of his wife. He had been working on a sequel to his novel for at least 15 years but ultimately decided that he was unable to finish it for psychological reasons. A deal was made for another writer, Terry Bisson, to complete the book. The presumption at the time was that Miller Jr. hadn't managed to make it work and that this was why he abandoned it, but surprisingly, Bisson found that Miller Jr. had written nearly 600 pages and had a very clear outline of how the novel should end. I haven't read Saint Leibowitz and the Wild Horse Woman and, to be honest, I'm not sure that I ever will. I enjoyed A Canticle for Leibowitz so much that I wouldn't want to besmirch its memory in any way.

Wednesday, April 15, 2020

Book Journeys: Gormenghast

The adjective 'Gormenghastian' has been used by writers to allude to things "Resembling or pertaining to the fictional Gormenghast, an enormous sprawling Gothic castle mired in inexplicable traditions" (Wiktionary)
The Gormenghast trilogy is both peerless and tragically underrated. The writing style alone is enough to recommend it to anyone who is interested in reading and/or writing in general. The author Mervyn Peake was a British poet, artist, illustrator, writer. In other words, he was a bit of a modern renaissance man, and the Gormenghast trilogy is his magnum opus. Conceived as a chronicle of the life of the fictitious character Titus Groan, the three books that make up this trilogy follow Titus from birth to young adulthood. It was Peake's intention to follow his hero from birth to death but unfortunately his own death from dementia prevented this and so we are instead left with just the trilogy; Titus Groan (1946), Gormenghast (1950), and Titus Alone (1959).

It's probably somewhat false to refer to it as 'The Gormenghast Trilogy' as it's neither precisely about Gormenghast castle (where the first two books take place), nor was the overall story intended to end with the third book. In fact, whilst Titus Groan and Titus Alone link directly with the second book, Gormenghast, there is little in common between the first and third books themselves. And whilst this trilogy will most likely be found in the fantasy section of your local bookstore (though it's more likely you'd have to order it in), it doesn't really involve any of the usual elements of the fantasy genre... there is no magic, no monsters, etc.

Titus Groan introduces us to the Groan family - a decaying dynasty of ruling nobles who reside in the sprawling and near-endless castle of Gormenghast. The story starts with the birth of Titus Groan, heir to the Earlship, and ends with his first birthday. Curiously, despite sharing the novel's name, Titus is not really a major character here - the protagonist is instead Steerpike, a runaway Cook's Apprentice who slowly ingratiates himself with the Groans in his hungry quest for power.

The second novel, Gormenghast, picks up the story a few years down the track and follows Titus Groan through his adolescence as he grows both physically and mentally in preparation for facing off against the Machiavellian Steerpike. This book is on par with the first one.

Titus Alone, the most idiosyncratic of the three novels, doesn't even take place in Gormenghast castle. It's about half the length of the other novels and is about Titus' travels throughout the world outside of Gormenghast - a world that is strangely futuristic and seems to have very little in common with the medieval world Titus has come from. This book is pretty much only about Titus (hence the title) and is, sadly, of inferior quality due to the health problems experienced by the author while he was writing it.

The previous three paragraphs are only very brief synopses of the books. It would actually be unfair to judge these books via any synopsis you find on them as they are about much, much more than just plot. The mechanics of the narrative seem to be ultimately secondary as far as Peake is concerned as he primarily concentrates instead on atmosphere and characterisation. He draws on surrealism, the Gothic, and an almost Dickensian-tradition of the macabre, bizarre, and grotesque. Each character is a ruffling delight of descriptive language and eccentricity - each is written as if they are the protagonist of the story, and it makes for surprising reading as you're never sure where Peake is taking these characters (indeed - it is said that Peake had no real concerns for plotting when he wrote these books, his only rule was to write whatever he felt like writing, and not to get bogged down in silly things like story outlines!)

Mervyn Peake's Gormenghast trilogy would have to go down as one of the true classics of the fantasy genre and of literature in general.

I would recommend the first two novels but maybe not the third... it's all too apparent that Peake was losing his faculties when he wrote it if you compare the level of description, characterisation, and length of the book to the previous two. The tone of Titus Alone feels all wrong, everything from the first two books disappears and it all moves in a different direction. I'm not saying it's not interesting or unwarranted, but it's only because of Titus Alone that the series feels very much unfinished - Peake wanted to continue the story of Titus with books called Titus Awake and Gormenghast Revisited but he never got there, so it leaves Titus Alone as a proto-steampunk oddity.


Read Titus Groan and Gormenghast as a self-contained pair of linked novels and you won't be disappointed. They form two halves of a great narrative regarding Steerpike's journey to villainy under the reign of the Groans and there's an amazing host of interesting supporting characters. Get it and get lost in the prose, it's wonderful, and experience firsthand a master of language's love for world-building.  

Monday, April 13, 2020

Book Journeys: Freddy Lombard


For as long as I can remember I have the loved the ligne claire comic genre or, at least, certainly loved it a lot longer than I have known the term 'ligne claire'. Like a lot of other youngsters in the 20th century my love was primarily fixated on Herge's immortal Tintin comics. The term 'ligne claire' translates to 'clear line' and refers to the un-shaded style of illustrating comics that was invented by Herge. As such, it's a genre defined by look more than anything else, though the popularity of the Tintin comics has infused the genre with other conventions related to storytelling, characterisation, setting, common motifs, etc.  

As I've grown older (and matured like the dried-out husk of a cactus that refuses to die) I've sought out other comics in this style - Yoko Tsuno, Julian Chancer, Blake and Mortimer. Each of these have their own charms but, truth be told, none holds a candle to Herge's ageless and intrepid reporter. There is, however, a series called Freddy Lombard that has accolades of its own. I'd always seen the cover of the single-volume Freddy Lombard collection and been put off by the protagonist's Tintin-esque look. I mean, he just looks like a shameless imitation. Eventually though, propelled by the many favourable reviews this series attracts, I caved and checked it out.
Freddy Lombard is perhaps the closest thing to Tintin's equal within the ligne claire genre. Although, in saying that, I do both texts a disservice as their similarities are purely superficial.
 
There are five volumes of adventures for Freddy Lombard and his friends Dina and Sweep and the tragedy is that there will never be any more, owing to the untimely death of author/illustrator Yves Chaland in a car accident at the age of 33. Written in the 1980s, the Freddy Lombard series starts in goof-ish, good-natured fashion before maturing exponentially with each subsequent volume. The content of the later volumes decidedly break from the child-friendly realm of Tintin with content increasingly adult in nature; sophisticated storytelling that hinges on the psychological, the political, and even the disturbing.

There's something cinematic about the way Chaland stages the elements within each frame. The top extreme wide shot displays a character on the far right in miniscule (denoting his vulnerability to the open sky outside) as a sliver of light cracks across the cargo hold of the plane, then - frame by frame - the light washes over him and he moves up into the centre of the frame to meet it, conveying the moment that his mind seems to snap in the face of danger.
A quick overview of the stories within the collection:

The Will of Godfrey of Bouillon (First published in 1981, when Chaland was 24)
The most 'throwaway' of Freddy Lombard's adventures and not the best introduction to the series. Freddy and his friends, seemingly a trio of travelling hobos, assist a rich alcoholic in trying to locate a treasure in a medieval castle. The treasure-search is actually a framing device and most of this comic focuses on a comedic dream sequence where Freddy imagines himself back in the middle ages. 

An African Adventure (Released in 1984, when Chaland was 27)
The gang travel to Africa to hunt for a unique photographic plate on behalf of a collector. Chaland, whilst unfortunately leaning on visual stereotypes for the African characters, explores and deconstructs certain themes tied to colonialism. In this tale the reader is shown where Freddy and his friends live, a run-down building in 1930s Paris where they must huddle-together against the elements and are constantly on the lookout for either food or money. 

The Elephant's Graveyard (Released alongside 'An African Adventure' in the same volume in 1984)
Another African-themed adventure that explores the ramifications of colonialism for the coloniser and, despite taking a humourous approach to a murder mystery, finishes with a surprisingly poignant and affecting resolution. 

The Comet of Carthage (Published in 1986, when Chaland was 29)
This marks the point where the series takes on a more mature tone, with Freddy and his peers moonlighting by the Mediterranean where Freddy has become obsessed with saving a beautiful Tunisian muse from the artist who paints her. A more meditative and 'adult' piece, calling to mind the sort of European sensibility more often found in Italian New Wave cinema.

Holiday in Budapest (Published in 1988, when Chaland was 31)
Set in the Hungarian Revolution of 1956, Freddy and his chums find themselves dramatically caught up in events as the country rapidly descends into destruction and potential collapse. Chaland does something quite deft in plotting a character-based quest within such a turbulent historical event, managing to convey a sense of apocalyptic doom, national hope, the Soviet mindset, and outright chaos.

F.52 (Published in 1990, when Chaland was 33)
The crowning glory and true gem of the collection, F.52 sees Freddy, Dina and Sweep working as cabin crew on the first atomic-powered flight from Paris to Melbourne. Claustrophobic and meticulously-plotted, F.52 presents a Hitchcock-esque web of increasingly tangled subplots and builds to a tense denouement that borders on the surreal. 

And then that's it, there's no more. Once I got to the end of this collection I felt a profound sense of sadness for the tragedy of Chaland's early death and the Freddy Lombard stories that were never written. I know I will be revisiting these stories from time to time; they're that special. I guess the bittersweet silver-lining here is that Chaland's genius lives on in this handful of adventures that he left behind.

Sunday, June 23, 2019

Extension English 1: Literary Worlds



Hi students (and teachers!), here you will find materials associated with the Extension English 1 Common Module Literary Worlds, as presented at the Central West HSC Enrichment Seminars at Denison College, in associated with Charles Sturt University.

This is the PPT on Literary Worlds.
This is the booklet of material that goes with the PPT.

Practice makes perfect!

Saturday, February 16, 2019

The Tempest Annotated

Hello!

One of the challenges of tackling Shakespeare in the English classroom is finding the time to have your students read it. Assigning the text as a reading will work for some students but, owing to the nature of drama itself as a narrative genre best experienced live, this isn't going to work for the majority of the class. 

Ideally, you would have your students watch the play but this also isn't always practical. And, when we get to Year 11 and 12, the idea of setting aside entire periods to read through Shakespeare inspires a special kind of anxiety related to covering course content, outcomes, unpacking metalanguage, etc., ad nauseum, whatevs. 

There's also that kid in each class who also tells you that they've read the text, honest guv'nor, and then will write a paragraph about the way Prospero takes revenge by tricking Othello into feeling jealous towards his mother Gertrude. You want to snap, "You aint read nuthin'!" but the calm veneer of professionalism instead has it emerge as a polite "Hmmm, not quite."

The structuring of the new Advanced English syllabus now means, for better or worse, that a lot of us will be teaching Shakespeare through The Tempest as part of Module A: Textual Conversations. This means that there is also a novel to read alongside it, Margaret Atwood's vibrantly metatextual Hag-Seed, which adds an extra dimension to the logistics of fitting the module into the space of approximately 10 weeks. 

Something that seems to have worked with my current class was squeezing the reading of The Tempest into the end of the previous term. The best approach I've found for doing Shakespeare with Year 12 is to have the play read in one big go. In the past I've run this on a Saturday or on a day in the school holidays but, as my students had schedules that didn't fit with this at the end of last year, I organised it as an incursion on the next-to-last day of the term instead. With one of the less-used rooms in the school booked, we met as a class first thing in the morning with some breakfast, assigned roles, and read the text all the way through with a 20 minute intermission break. This approximately took us about 3 or 3.5 hours and now the entire class can say that they've read the entire text. And, most importantly, I believe them!


Even Advanced English students will have a varied response to the idea of reading Shakespeare - not all of them are fans. Some level of support therefore needs to be supplied in helping to translate the language while they read. I don't think we should have them initially read the No Fear version (as helpful as this can be as a supplementary study text) as it's important that Advanced students engage with Shakespeare's language to gain a complete understanding of how the text is constructed. 

Luckily Shakespeare is well beyond the constraints of copyright law, so there was nothing stopping me from creating a new edition of the text that would include annotations in support of our context. The link below includes an unabridged presentation of The Tempest with a series of annotations alongside the original text. 


Hopefully this helps get the students through the play, which is imperative as a base level of engagement before they read Atwood's novel. Students can come back to this version throughout the module to analyse examples and tie them to Hag-Seed.

Saturday, September 1, 2018

Reading Roll: Late 2017/Early 2018

My last Reading Roll was back in March last year but, the thing is... I never stopped reading! I just stopped posting reviews because I switched to reading the texts on the new HSC NSW English Prescriptions List, and have been talking about them in the context of their appropriateness to the new English syllabuses here, here, here, here and here. Every now and again I make a little time to read some non-Prescribed texts and below are some of these non-Prescriptions, most of which were graphic novels. Some of these I read just for fun but would still be good for classroom use.

Hot Dog Taste Test by Lisa Hanawalt
Hanawalt is probably best known for her work on the TV series Bojack Horseman. This graphic novel is less a novel and more a collection of comic vignettes exploring absurdist tangents and autobiographical snippets of Hanawalt's life (mostly in regards to food). The author's hilariously askew sense-of-humour had me laughing out-loud a lot, and it took me absolutely no time at all to read from cover to cover.

The Imposter's Daughter by Laurie Sandell
Joining the hallowed annals of graphic novel memoirs is no mean feat but I would easily put Sandell's story alongside other personal accounts such as Craig Thompson's Blankets and Alison Bechdel's Fun Home. Sandell is probably best known for her work as a journalist and editor for magazines such as Glamour, Marie Claire, Esquire, GQ, etc., however, in this frank and sometimes unbelievable memoir she weaves together an arresting narrative of finding her feet in writing and gradually discovering her father's uncanny (and highly damaging) gift for con-artistry.

Big History by DK
Have you ever looked at the subject of history and wondered, "Where's all the stuff that happened before humans came along?" Well, if so, then Big History is the coffee table book for you. This vibrant, illustrated DK guide to David Christian's groundbreaking combination of history and science helps to make clear the recurring patterns that unify all of history as we know it. A hugely informative book.

Wilson by Daniel Clowes
This graphic novel is a disarmingly brisk jaunt through the life of the titular misanthrope, a curmudgeonly loner who insists on voicing his criticisms in just about every situation. What's perhaps most interesting about Wilson is its structure, with Clowes depicting his protagonist's life in a serialised form over the course of single-page strips (like the sort of comic strips you'd see in newspapers) despite the whole thing having been constructed as a graphic novel. This means that we get these snapshots of Wilson's life, condensing a much larger narrative into 70 single strips that each end in a twisted take on the stereotypical gags associated with Sunday morning newspaper cartoons.

Night Air and Volcano Trash by Ben Sears
My only criticism of Sears' fantasy/sci-fi series is that each volume flies by so quickly that you're left wishing you didn't have to wait so long until the next installment of Plus Man's exhilarating adventures with his robotic sidekick Hank. Think Adventure Time mixed with the buoyant, minimalist artwork of Tintin. Great for all ages!

Last Look by Charles Burns
Charles Burns is probably best known for his creepy, psychedelic graphic novel Black Hole. The volume Last Look brings together his most recent trilogy of graphic novels, and complexly weaves together two narratives that dance around themes of psychosis, anxiety, and guilt. Burns is a master of symbolism and the bizarrely disturbing, and all I'll say is that if you read this you'll need to commit to the whole thing - everything in this narrative is perfectly intentional, no matter how weird it might seem, and the ending will make you look at the whole thing in a new light.

Some Comics by Stephen Collins
I was drawn to this collection of single strips after reading Collins' brilliantly absurd The Gigantic Beard That Was Evil. Unlike the aforementioned graphic novel, these single-page comics are much more comedy-oriented. I appreciated Collins' twisted sense of humour though and eagerly await whatever he does next!

Transmetropolitan by Warren Ellis
I'm about 6 or so volumes into this '90s cyberpunk series that, sadly, still feels blisteringly relevant in its satirical subversion of politics, society, and all things 'modern'. The protagonist, Spider Jerusalem, is one of the great non-superpowered anti-heroes of comics, and his invective-laden rants against the grimy futuristic dystopia he lives in are sharp enough to cut steel.

Comfort Food by Ellen Van Neervan
I grabbed Van Neervan's poetry volume after all the controversy that came out of her poem Mango being included in last year's HSC. Her work is sparse, thoughtful, intense, sensory, personal... I really enjoyed the wide range of verse and all I'll say in regards to the controversy is that it was unfounded, the Mango poem did its job in provoking such a diversity in responses. I hope Van Neervan has many more volumes of poetry to come.

Tranny by Laura Jane Grace
I'm a huge Against Me! fan, even if I do actually prefer the more polished and anthemic later stuff over their raw, folk-punk beginnings. In this brutally honest memoir, Laura Jane Grace combines her diary entries with a more straightforward narrative to describe her journey of discovery in relation to identity and gender. There aren't many transsexual music icons with as high a profile as Grace, which makes this autobiography a must-read for both punk-rock fans and those interested in gender politics and LGBT issues. It helps that Grace holds nothing back when discussing her family, friends, bandmates, music, etc., and it makes for a very entertaining and visceral read.

Dracula by Bram Stoker
I read this in preparation for teaching Year 11 Extension English 1 this year. I'd never read it before so I wasn't sure how it would go, but I actually liked it a lot. I'm coming around to accepting the disjointed nature of a lot of Victorian-era novels (it was always something I struggled a lot with in my younger days), and the opening five chapters of Dracula are probably my favourite part of Stoker's seminal vampire tale. I have no doubt that this because they're the most representative of how people commonly think of the Count and his predatory behaviour. The rest of the novel has elements worth reading too but, as I mentioned, it can feel disjointed at times. The biggest point of interest for me was how unromanticised Stoker's portrayal of Count Dracula is - not at all like the many iterations of vampires we've seen since.  

The Analects by Confucius
I came across a statistic somewhere that claimed Confucius's Analects is the most read text of all time. I'm not sure if it's true or not but - considering China's long history, population, and influence on the world - it sounds legit, and that's why I thought I should read it. As a work of philosophy, I found it best digested over a few months, a couple of quotes at a time. As a 2500 year old text the context sometimes made it a little difficult to translate some parts (even when written in English), but I still found many quotes to be applicable to the modern day. I guess there's a reason why the wisdom of Confucius endures. 

Dark Emu by Bruce Pascoe
This groundbreaking history book couldn't be more relevant to Australian society at this point in time. Pascoe has done something truly astonishing in bringing together extensive research, documentation, testimony, and first-hand experience to reconstruct Australia's pre-European past and thus deconstruct a lot of the myths surrounding what Aboriginal society looked like before Captain Cook's arrival. Pascoe not only makes an undeniable case for the idea of an Aboriginal 'civilisation', he also outlines the racist ideologies and methods that led to the erasure of this civilisation from white consciousness in the years since settlement. I found it both fascinating and enraging.

Lincoln in the Bardo by George Saunders
When I hear the words 'experimental novel' I tend to think I'll probably need to read it with a highlighter and a notepad, but Saunders' genre-defying historical fantasy bucks the trend and manages to be remarkably entertaining and heartfelt despite its structural idiosyncrasies. Told from the point of view of a collection of spirits 'stuck' between our world and the next, Lincoln in the Bardo mixes primary historical sources with outlandish speculation to capture the voices of America's 19th century. Easily worth the many awards it's won.

Rocannon's World by Ursula Le Guin
Le Guin's early science fiction novel is often overlooked in favour of her Earthsea Quartet or later sci-fi classics such as The Dispossessed and The Left Hand of Darkness. What makes Rocannon's World noteworthy is that it's the first entry in the 'Hainish Cycle' - eight science fiction novels (including the two mentioned above) that take place in the same fictional timeline/universe. Rocannon's World is a fairly brief concept-based novel that takes an anthropological look at human descendants living on an alien world, and uses some conceits related to the time distortions/differences that would arise in our theoretical exploration of space in the future. It's a neat sci-fi narrative but, as always, what makes Le Guin's work stand out is her knack for exploring the genre through a more post-modern perspective without leaving the reader behind.

Ready Player One by Ernest Cline
I wanted to see what all the hype was about and I think I'm lucky that I read this before I even realised it was becoming a film because the aggressively intertextual marketing campaign for Spielberg's movie would have turned me off altogether. Ready Player One isn't going to amaze any fans of award-winning literature nor will it prove intellectually stimulating to those who are normally attracted to sci-fi. What it does have going for it is a fun, geek-culture-heavy adventure that's easy to read and hard to put down. I enjoyed it, for the most part.

A Contract With God by Will Eisner
The name 'Eisner' has become synonymous with the graphic novel canon owing to this ground-breaking collection of longer-form comics. Eisner's use of the comic strip medium to explore dark, adult concepts was instrumental in the form's continuing development from superhero/comedy mainstay to a storytelling method that could be used to serve literature in a deeper fashion. A Contract with God remains highly arresting in its exploration of pain, loss, and displaced Jewish identity, and I found myself unable to tear away from each of the four thematically-linked stories - fascinated as much by the evidently heartfelt personal context and Eisner's seamless combination of word and image.

The Death of Stalin by Fabien Nury
It's easy to see why British satirist Armando Iannucci chose this one-shot graphic novel as the basis for his recent film of the same name. Inventively Machiavellian and as poisonous as any fatal snake bite, The Death of Stalin presents the true story of the Russian despot's demise and the political fallout that followed. In most hands this could have been a dry piece of historical retelling, but Nury zeroes in on the awful, the unbelievable, the rage-inducing, and the downright ridiculous to portray the final days of a bloodthirsty tyrant and the serpentine beginnings of the Cold War.

Sad Topographies by Damien Rudd
I'm a sucker for a quirky coffee table book. I saw this one in a Newtown bookstore and was immediately taken with its subject matter. Originating as an Instagram account, Rudd explores a series of depressingly named locations around the world with thoughtful essays on associated errata, etymological digressions, and miscellany. Places featured include Nothing, World's End, Isle of the Dead, Disappointment Island, and Port Famine.

Moonhead and the Music Machine
This graphic novel about the power of music, teenage misfitism, and what it's like to literally have a moon for a head is just the right mix of angst, comedy, and fantasy. I really enjoyed Joey Moonhead's journey towards acceptance and identity. His absurd friendships with other teenagers on the outskirts of the archetypal American high school are hilarious and visually arresting. A true gem.

The Finder Library Volume 1 by Carla Speed McNeil
Pulling together a diverse array of influences to mix together Indigenous narratives, comic styles related to Manga and online serials, and post-apocalyptic sci-fi, The Finder Library is a unique and genre-defying exercise in exotic world-building. McNeil ties together the narrative of Jaeger, a drifter with troubled origins, and the domestically-strained mixed-race family of Emma Lockhart and Brigham Grosvener. To give you an idea of the scope of this impressive series, McNeil's vision of the distant future explores the interrelation of racial identity and social standing, biological vs. culturally-constructed notions of gender, media consumption, and the impact of violence on the individual.

The Moon is a Harsh Mistress by Robert A. Heinlein
I've half-read a Heinlein before and couldn't finish it, so it was with some trepidation that I gave this one a shot. The Moon is a Harsh Mistress was enjoyable but also not without its issues. Told through the cynical eyes of one-armed computer technician Mannie, a 'loonie' (citizen of the Moon), The Moon is a Harsh Mistress relates the imagined revolution of Earth's lunar colony - paralleling the Bolshevism of 1920s Russia, nightmare scenarios of over-population and diminishing resources, and the 'free love' movement of the 1960s. The protagonist Mannie is thankfully the least annoying character in the novel, however, there is also a lot of political subplotting that doesn't really go anywhere quick enough, and the supporting characters veer between completely forgettable and incredibly irritating. That said, Heinlein's depiction of a lunar colony has some fairly interesting dimensions, and I enjoyed the way it plays into the counter-culture of Heinlein's era. Notable for its invention of the phrase 'There's no such thing as a free lunch!"