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Nicole Kidman's daughters help celebrate mum's historic first

<p>Nicole Kidman taken to the red carpet with her family in tow for a rare appearance, as Nicole accepted a lifetime achievement award. </p> <p>The Aussie actress was joined by her husband Keith Urban and their two daughters, Sunday, 15, and Faith, 13, who were all dressed to the nines for the occasion.</p> <p>Nicole was also surrounded by her sister Antonia Kidman, brother-in-law Craig Marran and their family for the glitzy event. </p> <p>The 56-year-old actress has now become the first Australian to win the American Film Institute Lifetime Achievement Award, with the award often being dubbed the highest honour in American cinema. </p> <p>The accolade has also been won by the likes of Julie Andrews, Al Pacino, Denzel Washington, George Clooney, Meryl Streep Morgan Freeman and many other iconic figures in the industry. </p> <p>The Academy Award winner who grew up in Sydney said on social media she was "deeply moved" to receive such a prestigious award. </p> <p>"Thank you to all of you and to the American Film institute for including me in this illustrious group of honorees — now let's have some fun!" she wrote on Instagram. </p> <p>When announcing Kidman as the recipient of the award, AFI released a statement saying, "Both a powerhouse performer, spellbinding movie star and accomplished producer, Nicole Kidman has captured the imaginations of audiences throughout her prolific career, delivering complex and versatile performances on-screen."</p> <p>"She is a force both brave in her choices and bold in each performance. AFI is honoured to present her with the 49th AFI Life Achievement Award."</p> <p><em>Image credits: Getty Images </em></p>

Family & Pets

King Charles makes historic change to Balmoral

<p>King Charles has made a historic change to Balmoral for the first time ever, allowing the public for an exclusive look inside the royal residence. </p> <p>Later this year, the King will allow public tours of the Scottish castle, with small group tours available to be led by expert royal guides. </p> <p>Those being shown around the royal residence will get a unique glimpse in several rooms used by the King and Queen.</p> <p>A source close to the royal family said the initiative was in line with the King's wish to make royal residences more accessible to the public.</p> <p>It also reflects Charles' comments made after Queen Elizabeth's death, that the house had been earmarked as a place for the public to remember her.</p> <p>While Balmoral holds a lot of historical importance, the Scottish residence is not set up to handle a large influx of tourists. </p> <p>As a result, a month-long tour programme to begin in July will serve as a trial period to see how the castle and staff copes with increased footfall.</p> <p>Until now, the interior of the vast castle has largely remained out of bounds to members of the public, with tours limited to just the ballroom, the grounds and the gardens.</p> <p>The Balmoral estate announced the tours on Tuesday on its <a href="https://www.balmoralcastle.com" target="_blank" rel="noopener">website</a>, stating, "For the first time since the castle was completed in 1855, we have been granted permission to take you on a private tour with our experienced guides."</p> <p>"They will take you on a historical journey through several of the beautiful rooms within Balmoral Castle. You will learn about the origins of the Castle and how it has been loved by generations of the Royal family."</p> <p>"You will see why Balmoral is such a special place - the much loved and celebrated Highland home of the Royal family."</p> <p>Only forty tickets each day will be sold for the "castle interior tour" for £100 ($193 AUD), or £150 ($289 AUD) if afternoon tea is included.</p> <p>The tours will take place from July 1st until August 4th, before the King and Queen arrive for their annual break.</p> <p>The season begins later this year due to the refurbishment of the restaurant but if successful, the opening hours will likely be extended in the future.</p> <p><em>Image credits: Getty Images </em></p>

International Travel

The royals have historically been tight-lipped about their health – but that never stopped the gossip

<p><em><a href="https://theconversation.com/profiles/lisa-j-hackett-458612">Lisa J. Hackett</a>, <a href="https://theconversation.com/institutions/university-of-new-england-919">University of New England</a>; <a href="https://theconversation.com/profiles/huw-nolan-1309470">Huw Nolan</a>, <a href="https://theconversation.com/institutions/university-of-new-england-919">University of New England</a>, and <a href="https://theconversation.com/profiles/jo-coghlan-1585">Jo Coghlan</a>, <a href="https://theconversation.com/institutions/university-of-new-england-919">University of New England</a></em></p> <p>King Charles III has been diagnosed with cancer. This is an unexpected announcement: it is unusual for the royal family to release details of medical conditions to the public.</p> <p>“<a href="https://journal.media-culture.org.au/index.php/mcjournal/article/view/2986">Don’t let the daylight in</a>” was how British essayist Walter Bagehot advised the British monarchy to deal with the public in 1867. “[A]bove all things our royalty is to be reverenced […] its mystery is its life,” he wrote.</p> <p>For Queen Elizabeth II this attitude framed her response to public information about the royals, quipping “<a href="https://www.news24.com/you/royals/news/royal-author-explains-queens-never-complain-never-explain-mantra-20220620">never complain, never explain</a>”. Maybe this explains why Princess Kate’s <a href="https://www.theguardian.com/uk-news/2024/feb/05/king-charles-diagnosed-with-cancer-buckingham-palace-announces">recent abdominal surgery</a> has not been disclosed to the public, with media reports saying she is “determined to keep her medical details private”.</p> <p>In revealing the fragility of the royal body much of the mystique about them as anointed by God fades away. But the royals’ health has, occasionally, been the subject of official news, and, more commonly, the subject of gossip.</p> <h2>Henry VIII’s ‘soore legge’</h2> <p>Henry VIII’s (1491–1547) health was well-documented and discussed in state-papers and diplomatic dispatches of the day.</p> <p>In his early years, he was known for his robust health. In his later years, he would be described as “<a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2789029/">cursed</a>” by his deteriorating health.</p> <p>As Henry aged, his access to fine food led to an increase of weight. Doctors today might diagnose him with obesity, and it has been <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2789029/">speculated by contemporary medical historians</a> he suffered from hypertension and Type II diabetes.</p> <p>This disease, which can lead to diabetic neuropathy and <a href="https://www.cdc.gov/diabetes/library/features/healthy-feet.html">serious foot complications</a>, could account for the persistent and odorous ulcers on his “<a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2789029/#:%7E:text=In%20the%20same%20year%20Henry,annual%20salary%20of%2020%20shillings.">sorre legge</a>”, as described by his contemporaries.</p> <p>Knowledge about Henry’s health was not widespread. The king had sequestered himself in his private apartments. Even his attending <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2388216/pdf/annrcse00840-0011.pdf">physicians did not keep notes</a>, perhaps concerned about being accused of treason in the volatile politics of the time. Most of our knowledge today is gleaned from diplomatic reports sent by diplomats to their own leaders.</p> <h2>Queen Anne’s lupus</h2> <p>Queen Anne (1665-1714) had 17 pregnancies, 11 of which resulted in miscarriages or stillbirths, with the remainder all dying in childhood. Despite the regularity of her failed pregnancies, her physician, John Radcliffe, repeatedly declared she was in good health and her miscarriages were due to “<a href="https://www.tandfonline.com/doi/pdf/10.1111/j.1540-6563.1986.tb00702.x">the vapours</a>”, a vague diagnosis often attributed to aristocratic women.</p> <p>It is <a href="https://go.gale.com/ps/i.do?id=GALE%7CA12456274&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=17592151&p=AONE&sw=w&userGroupName=anon%7Ee39109f7&aty=open-web-entry">now believed Anne</a> may have been afflicted with the autoimmune condition lupus.</p> <p>For Anne’s contemporaries, the name of the illness perhaps mattered less than the real political issue it presented: who would become monarch after her? With no heirs, there was real political fear her Catholic half-brother <a href="https://www.nottingham.ac.uk/manuscriptsandspecialcollections/learning/biographies/jamesfrancisedwardstuart(1688-1766).aspx">James Francis Edward Stuart</a> (“The Old Pretender”) would claim the throne.</p> <p>But the law <a href="https://www.parliament.uk/about/living-heritage/evolutionofparliament/parliamentaryauthority/revolution/collections1/parliamentary-collections/act-of-settlement/">excluded Catholics</a> from the taking the crown, and ensured Anne would be succeed by her second cousin, George I of Hanover and Britain.</p> <h2>George III and mental illness</h2> <p>George III (1738–1820) famously suffered from bouts of mental illness, more recently been speculated to be caused by <a href="https://www.betterhealth.vic.gov.au/health/conditionsandtreatments/porphyria">Porphyria</a>, a hereditary blood disorder.</p> <p>Throughout his illness <a href="https://blogs.ncl.ac.uk/speccoll/2023/11/01/bulletin-on-the-state-of-king-george-iiis-health-october-2011-2/">bulletins were issued</a> by his doctors informing the public of his condition.</p> <p>These were kept <a href="https://blogs.ncl.ac.uk/speccoll/2023/11/01/bulletin-on-the-state-of-king-george-iiis-health-october-2011-2/">deliberately vague</a>, with the aim to reassure the public rather than divulge details. His repeated bouts of illness mean his health was <a href="https://oro.open.ac.uk/92656/3/92656.pdf">a constant in the media of the time</a>, with frequent, at times twice-daily, updates during episodes.</p> <p>His illness called into <a href="https://oro.open.ac.uk/92656/3/92656.pdf">question his ability to be monarch</a>, a situation eventually resolved by the installing of his son, later George IV, as Prince Regent.</p> <h2>A family of haemophilia</h2> <p>Queen Victoria has been called the “<a href="https://hekint.org/2020/02/10/royal-blood-queen-victoria-and-the-legacy-of-hemophilia-in-european-royalty/?highlight=%E2%A3%82%E2%A3%9A%20Buy%20Viagra%20from%20%240.31%20per%20pill%20%3A%20%F0%9F%8F%A5%20www.LloydsPharmacy.xyz%20%F0%9F%8F%A5%20-%20Pharma%20without%20prescription%20%E2%A3%9A%E2%A3%82Viagra%20Cialis%20Levitra%20Staxyn%20Online%20Viagra%20Online%20Information">Grandmother of Europe</a>” due to her many descendants. This also came with a deadly legacy, haemophilia, given the moniker “the royal disease”.</p> <p><a href="https://www.cdc.gov/ncbddd/hemophilia/facts.html">Haemophilia</a> is an inherited disorder which mostly affects males, where the blood does not clot properly. This can lead to severe or spontaneous bleeding which can be dangerous if not treated properly. While the illness can be managed well today, in Victoria’s time little was known about it.</p> <p>It is believed Victoria passed on the trait to <a href="https://www.hemophilia.org/bleeding-disorders-a-z/overview/history">three of her nine children</a>, at a time when life expectancy for those who had the disease was just 13 years old. Two of her daughters were asymptomatic carriers, however her fourth son Prince Leopold (1853-1884) was afflicted with the disease.</p> <p>While the royal family were careful to <a href="https://pubmed.ncbi.nlm.nih.gov/21764831/">manage what information was publicly released</a> about his illness, his status meant it garnered public attention. It was covered in medical journals of the time, and later in newspapers.</p> <p>As knowledge of the illness grew, both the public and members of the royal family were able to use it to guide decisions on marriages to limit its spread.</p> <h2>A new approach</h2> <p>In the days leading up to Elizabeth’s death on 2022, the media reported her as resting “<a href="https://www.forbes.com/sites/siladityaray/2022/09/08/queen-under-medical-supervision-as-doctors-are-concerned-for-her-health/?sh=42c483e9140e">comfortably</a>” and provided no information on the nature of her illness. Even her <a href="https://abcnews.go.com/GMA/News/queen-elizabeth-iis-death-revealed-death-certificate/story?id=90696648">death certificate</a> failed to reveal her cause of death, other than as old age.</p> <p>Charles has signalled he wants to do monarchy differently than his mother. After his recent prostate surgery, his office stated he wanted to inspire men to look after their prostates. Anecdotal evidence suggests more men have sought medical tests in response which is being called the “<a href="https://www.ausdoc.com.au/news/king-charles-effect-spurs-aussie-men-to-consult-their-gp-for-prostate-symptoms/">King Charles effect</a>”.</p> <p>Now, the announcement of Charles’s cancer diagnosis signals a new approach by the royals. <img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/222873/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><a href="https://theconversation.com/profiles/lisa-j-hackett-458612"><em>Lisa J. Hackett</em></a><em>, Lecturer, Humanities, Arts and Social Sciences, <a href="https://theconversation.com/institutions/university-of-new-england-919">University of New England</a>; <a href="https://theconversation.com/profiles/huw-nolan-1309470">Huw Nolan</a>, Animal Welfare scientist and pop culture researcher, <a href="https://theconversation.com/institutions/university-of-new-england-919">University of New England</a>, and <a href="https://theconversation.com/profiles/jo-coghlan-1585">Jo Coghlan</a>, Associate Professor Humanities Arts and Social Sciences, <a href="https://theconversation.com/institutions/university-of-new-england-919">University of New England</a></em></p> <p><em>Image credits: Getty Images </em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/the-royals-have-historically-been-tight-lipped-about-their-health-but-that-never-stopped-the-gossip-222873">original article</a>.</em></p>

Caring

Historic lighthouse keeper's cottage up for sale

<p>A cottage next to Macquarie Lighthouse has been put up for sale, and one lucky buyer will have the chance to say they live next to one of the country's oldest lighthouses. </p> <p>Located on beautiful South Head Vaucluse, the lighthouse itself has stood since 1883 and it is the second tower built there after the first convict-designed one deteriorated. </p> <p>You don't have to worry about any noise as there's only one neighbour in sight. </p> <p>"How many houses can you buy with a lighthouse next door," McGrath sales agent Robert Alfeldi said. </p> <p>For $12 million, the lucky buyer will get the heritage home that was built 1881, with most of its original fittings still in tact and an old stables building, perched on 2600 square metres of land. </p> <p>Although the property has kept most of its original elements, the interior - specifically the kitchen and bathroom - have been updated into more modern versions of the original. </p> <p>However, those looking to renovate the property and add a second floor should look for a different property as it is a heritage home, so it limits what future owners can add. </p> <p>“It’s quite a unique property. People show up thinking they can put a second storey on. But it is what it is for a reason," Alfeidi said. </p> <p>Iconic properties like this don't go for sale often, and tends to create a buzz among wealthy potential buyers. </p> <p>The property was previously sold in October 2016 for $7 million. </p> <p><em>Images: Domain/ Nine</em></p>

Real Estate

Queen Camilla pays tribute to Queen Elizabeth with a historic first

<p>Queen Camilla has honoured her late mother-in-law with a special tribute at a royal engagement in London. </p> <p>King Charles and Queen Camilla attended a reception at Mansion House in London on Wednesday evening, where the monarch called for unity amid increasing tensions over the conflict in Israel.</p> <p>At the event, Queen Camilla donned Queen Elizabeth's favourite tiara for the first time in a subtle display of respect for the late monarch. </p> <p>Camilla chose the Girls of Great Britain and Ireland tiara for the event, which was worn by Queen Elizabeth regularly throughout her historic 70-year reign.</p> <p>The diamond headpiece was first seen on Elizabeth II in the first official photographs of the new monarch, taken on February 26th 1952, just 20 days after her accession to the throne.</p> <p>It was later worn during Her late Majesty's first visit to Australia in 1954, and became her most worn headpiece throughout her time as Queen. </p> <p>Queen Camilla paired the tiara with two other of the late Queen's beloved pieces of jewellery, the South African diamond necklace and bracelet.</p> <p>The Girls of Great Britain and Ireland tiara originally belonged to Queen Mary, who received it as a gift in 1893.</p> <p>It then came into Elizabeth II's collection in 1947 when Queen Mary gave it to her granddaughter as a wedding present.</p> <p>At the royal event, King Charles gave a speech as he called for peace in Israel and Palestine, referring to himself "as King and as a father and a grandfather" as he appealed for calm.</p> <p>He said, "I have often described the United Kingdom as a 'community of communities'; an island nation in which our shared values are the force which holds us together, reminding us that there is far, far more that unites us than divides us. Yet we are living in something of a watershed age."</p> <p>"Do we pause, instinctively and unerringly, before speaking or acting to ensure we are affording equal weight to both sides of the balance? Our society would be a kinder and gentler place for it."</p> <p>"Such understanding, both at home and overseas, is never more vital than at times of international turmoil and heart-breaking loss of life."</p> <p><em>Image credits: Getty Images</em></p>

Beauty & Style

‘Why didn’t we know?’ is no excuse. Non-Indigenous Australians must listen to the difficult historical truths told by First Nations people

<p><em><a href="https://theconversation.com/profiles/heidi-norman-859">Heidi Norman</a>, <a href="https://theconversation.com/institutions/university-of-technology-sydney-936">University of Technology Sydney</a> and <a href="https://theconversation.com/profiles/anne-maree-payne-440459">Anne Maree Payne</a>, <a href="https://theconversation.com/institutions/university-of-technology-sydney-936">University of Technology Sydney</a></em></p> <p>Big things are being asked of history in 2023. Later this year, we will vote in the referendum to enshrine an Aboriginal and Torres Strait Islander representative body – the <a href="https://theconversation.com/10-questions-about-the-voice-to-parliament-answered-by-the-experts-207014">Voice to Parliament</a> – in the Australian constitution.</p> <p>The Voice was introduced through the Uluru Statement from the Heart, which outlines reforms to advance treaty and truth, in that order. And it calls for “truth telling about our history”.</p> <p>Truth-telling has been key to restoring trust and repairing relationships in post-conflict settings around the world. Historical truth-telling is increasingly seen as an important part of restorative justice in settler-colonial contexts.</p> <p>The UN recognises the “<a href="https://www.un.org/en/observances/right-to-truth-day">right to truth</a>”. It’s important to restore dignity to victims of human rights violations – and to ensure such violations never happen again. But there’s also a collective right to understand historical oppression.</p> <p>The Uluru Statement, too, <a href="https://theconversation.com/first-nations-people-have-made-a-plea-for-truth-telling-by-reckoning-with-its-past-australia-can-finally-help-improve-our-future-202137">sees truth-telling</a> as essential for achieving justice for Australia’s First Nations people.</p> <p>A successful “Yes” referendum outcome has the potential to make history. The Voice will structure a more effective relationship between Aboriginal nations or peoples and government. It will better represent Indigenous interests and rights in Australia’s policy development and service delivery.</p> <p>However modest this reform, the Voice is outstanding business for the nation.</p> <p>But the Uluru statement’s call for “truth-telling about our history” will prove more difficult.</p> <h2>Barriers to ‘truth hearing’</h2> <p>“Why didn’t we know?” non-Indigenous Australians still lament when confronted with accounts of past violence and injustice against Indigenous Australians, despite decades of curriculum reform.</p> <p>Our current research reflects on the barriers to “truth hearing”. The barriers are not just structural. Negative attitudes need to be overcome, too. Researchers have noted <a href="https://www.researchgate.net/publication/340480495_NEW_Preface">the levels of</a> “disaffection, disinterest and denial of Aboriginal and Torres Strait Islander history”. They’ve also lamented the piecemeal nature of current educational approaches.</p> <p><a href="https://www.newsouthbooks.com.au/books/historys-children_history-wars-in-the-classroom/">Anna Clark’s research</a> on attitudes in schools towards learning Australia history – particularly Indigenous history – shows that students experience Australian history as both repetitive and incomplete, “taught to death but not in-depth”.</p> <p>Bain Attwood has <a href="https://www.jstor.org/stable/48554763">convincingly argued</a> that early settler denial of the violence of Indigenous dispossession was followed by a century of historical denial. History as a discipline, he argues, needs to reckon with the truth about its own role in supporting <a href="https://theconversation.com/truth-telling-and-giving-back-how-settler-colonials-are-coming-to-terms-with-painful-family-histories-145165">settler colonialism</a>.</p> <h2>50+ years of Aboriginal history</h2> <p>For more than 50 years, historians have produced an enormous body of work that’s brought Aboriginal perspectives and experiences into most areas of Australian history – including gender, class, race, <a href="https://theconversation.com/friday-essay-when-did-australias-human-history-begin-87251">deep history</a> and global histories.</p> <p>Until the late 1970s, academic interest in Aboriginal worlds was led by mostly white anthropologists and their gaze was set to the traditional north. But historians were then challenged to address the “silence” of their profession when it came to Aboriginal and Torres Strait Islander peoples. They needed to write them into history.</p> <p>This meant “restoring” the Aboriginal worlds omitted in the Australian history texts of the 20th century. This called for new ways of doing research: oral history, re-evaluating the archive, drawing on a wider range of sources than the official and written text.</p> <p>Today, some historians work with scientists and traditional knowledge holders to tell stories over much longer time periods. For example, Australian National University’s <a href="https://re.anu.edu.au/">Centre for Deep History</a> is exploring Australia’s deep past, with the aim of expanding history’s time, scale and scope.</p> <p>And the <a href="https://www.monash.edu/arts/monash-indigenous-studies/global-encounters-and-first-nations-peoples">Global Encounters and First Nations Peoples</a> Monash project, led by Lynette Russell, applies interdisciplinary approaches to consider a range of encounters by First Nations peoples over the past millennium, challenging the view that the Australian history “began” with British colonisation.</p> <p>On the other side of the sandstone gates, an incredible flourishing of historically informed Aboriginal creative works has taken centre stage in Australian cultural life. This includes biographies, memoirs, literature, painting, documentary and performance: often with large audiences and readerships. They are all forms of truth-telling.</p> <p>In <a href="https://press.anu.edu.au/publications/black-words-white-page">Black Words, White Page</a> (2004), Adam Shoemaker details the extent of Aboriginal writing focused on Australian history from 1929 to 1988: writers like <a href="https://ia.anu.edu.au/biography/noonuccal-oodgeroo-18057">Oodgeroo Noonuccal</a>, <a href="https://ia.anu.edu.au/biography/davis-jack-17788">Jack Davis</a>, <a href="https://ia.anu.edu.au/biography/gilbert-kevin-john-18569">Kevin Gilbert</a> and <a href="https://theconversation.com/charles-perkins-forced-australia-to-confront-its-racist-past-his-fight-for-justice-continues-today-139303">Charles Perkins</a>.</p> <p>This body of work – and much more since – conveys an Aboriginal interpretation of past events, through oral history and veneration of leaders and heroes, drawing together the past and future.</p> <p>Some early examples include Wiradjuri man Robert (Bobby) Merritt’s <a href="https://theconversation.com/the-great-australian-plays-the-cake-man-and-the-indigenous-mission-experience-88854">The Cake Man</a> (1975), set on a rural mission, which explores causes of despair, particularly for Aboriginal men. It was performed by the then newly formed <a href="https://en.wikipedia.org/wiki/National_Black_Theatre_(Australia)">Black Theatre</a> in Redfern in the same year it was published.</p> <p>Indigenous autobiographies, like Ruby Langford Ginibi’s <a href="https://www.uqp.com.au/books/dont-take-your-love-to-town-2">Don’t Take Your Love to Town</a> (1988), just reissued in UQP’s First Nations Classics series, and Rita Huggins’ biography <a href="https://shop.aiatsis.gov.au/products/auntie-rita-revised-edition">Auntie Rita</a> (1994) are realist accounts of Aboriginal lives, devoid of moralism or victimology.</p> <p>Many more have followed, including Tara June Winch’s novel <a href="https://theconversation.com/the-yield-wins-the-miles-franklin-a-powerful-story-of-violence-and-forms-of-resistance-142284">The Yield</a> (2019), winner of the 2020 Stella prize for literature. Through Wiradjuri language, she gathers the history of invasion and loss – and survival in the present.</p> <p>Indigenous artists are exploring ways to represent the past in the present: overlaid, but still present and continuous. Jonathon Jones’ 2020 <a href="https://mhnsw.au/whats-on/exhibitions/untitled-maraong-manaouwi/">artwork</a> to commemorate the reopening of the Sydney Hyde Park Barracks, built originally in 1817 to house convicts, is one example.</p> <p>Jones <a href="https://www.facebook.com/watch/?v=374269496789482">explained</a> the installation’s interchangeable use of the broad arrow and maraong manaóuwi (emu footprint) as a matter of perspective: one observer will see the emu print, another the broad arrow.</p> <p>Each marker, within its own sphere of significance, served similar purposes. The emu print is known to be engraved into the sandstone ledges of the Sydney basin and marked a people and their place. The broad arrow inscribed institutional place and direction. Jones wants to show how the landscape can be written over – but never lost – to those who hold its memory.</p> <figure><iframe src="https://www.youtube.com/embed/WPGcFDw5c_s?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption><span class="caption">Jonathan Jones’ artwork is part of an incredible flourishing of historically informed Aboriginal creative works.</span></figcaption></figure> <p><a href="https://www.uapcompany.com/projects/the-eyes-of-the-land-and-the-sea">The Eyes of the Land and the Sea</a>, by artists Alison Page and Nik Lachajczak, commemorates the 250th anniversary of the 1770 encounter between Aboriginal Australians and Lt James Cook’s crew of the <em>HMB Endeavour</em> at Kamay Botany Bay National Park. This work, too, represents the duality of interpretation and meaning. The monumental bronze sculpture takes the form of the rib bones of a whale – and simultaneously, the hull of the <em>HMB Endeavour</em>.</p> <p>This body of work by dedicated educators, researchers, artists and families has been highly contested.</p> <h2>Truth-telling, healing and restorative justice</h2> <p>Many non-Indigenous Australians are interested in – but anxious about – truth-telling, our early research findings suggest. They don’t know how to get involved and are unsure about their role. Indigenous respondents are deeply committed to truth-telling. But they have anxieties about the process, too.</p> <p>Only 6% of non-Indigenous respondents to Reconciliation Australia’s most recent <a href="https://www.reconciliation.org.au/publication/2022-australian-reconciliation-barometer/">Reconciliation Barometer report</a> had participated in a truth-telling activity (processes that seek to engage with a fuller account of Australian history and its ongoing legacy for First Nations peoples) in the previous 12 months. However, 43% of Aboriginal and Torres Strait Islander respondents had participated in truth-telling.</p> <p>Truth-telling is seen as an important part of healing, but there is uncertainty about its potential to deliver a more just future for First Nations peoples. And it’s acknowledged that <a href="https://theconversation.com/albanese-is-promising-truth-telling-in-our-australian-education-system-heres-what-needs-to-happen-191420">truth-telling</a> might emphasise divisions and differences between Indigenous and non-Indigenous Australians. There are also concerns about <a href="https://theconversation.com/more-than-half-of-australians-will-experience-trauma-most-before-they-turn-17-we-need-to-talk-about-it-159801">trauma</a> and issues of cultural safety.</p> <p>But during the regional dialogues that led to the Uluru Statement from the Heart, the demand for truth-telling was unanimous from the Indigenous community representatives. Constitutional reform should only proceed if it “tells the truth of history”, they agreed. This was a key guiding principle that emerged from the process.</p> <p>Why does truth-telling remain a central demand? The final report of the <a href="https://www.aph.gov.au/constitutionalrecognition">Joint Select Committee on Constitutional Recognition relating to Aboriginal and Torres Strait Islander Peoples</a> described its multiple dimensions.</p> <p>Truth-telling is a foundational requirement for healing and reconciliation. It’s also a form of restorative justice – and a process for Indigenous people to share their culture and history with the broader community. It builds wider understanding of the intergenerational trauma experienced by Indigenous Australians. And it creates awareness of the relationship between past injustices and contemporary issues.</p> <p>“Truth-telling cannot be just a massacre narrative in which First Nations peoples are yet again dispossessed of agency and identity,” <a href="https://research.usq.edu.au/item/q6316/teaching-as-truth-telling-a-demythologising-pedagogy-for-the-australian-frontier-wars">argue</a> Indigenous educators Alison Bedford and Vince Wall. Indigenous agency and the long struggle for Indigenous rights need to be recognised.</p> <p>And there is an ongoing need to deconstruct Australia’s national foundational myths. A focus on military engagements overseas has obscured the violent dispossession of First Nations Australians at home. As Ann Curthoys argued more than two decades ago, white Australians positioned themselves as heroic strugglers to cement their moral claim to the land. This myth overlooked their role in dispossessing First Nations people.</p> <h2>Makarrata Commission</h2> <p>The Uluru Statement called for <a href="https://theconversation.com/response-to-referendum-council-report-suggests-a-narrow-path-forward-on-indigenous-constitutional-reform-80315">a Makarrata Commission</a> to be established to oversee “agreement-making” and “truth-telling” processes between governments and Aboriginal and Torres Strait Islander peoples.</p> <p>As part of its commitment to the full implementation of the Uluru Statement from the Heart, the current federal government committed $5.8 million in funding in 2022 to start the work of establishing the Commission.</p> <p>Yet few details have been provided so far about the form truth-telling mechanisms might adopt. And there’s been little acknowledgement that the desire to “tell the truth” about the past runs counter to the contemporary study of history, which sees history as a complex and ongoing process – rather than a set of fixed “facts” or “truths”.</p> <p>Worimi historian <a href="https://www.newcastle.edu.au/profile/john-maynard">John Maynard</a> describes Aboriginal history research as generative: the work reinforces and sustains Aboriginal worlds – and it reflects a yearning for truth by Aboriginal people that was denied.</p> <p>The impact of colonisation not only targeted the fracturing of Aboriginal people but, as Maynard says, “a state of forgetting and detachment from our past”. Wiradjuri historian <a href="https://researchers.anu.edu.au/researchers/bamblett-l">Lawrence Bamblett</a> develops a similar theme. “Our stories are our survival,” <a href="https://onesearch.slq.qld.gov.au/discovery/fulldisplay?vid=61SLQ_INST:SLQ&search_scope=Everything&tab=All&docid=alma9915551944702061&lang=en&context=L&adaptor=Local%20Search%20Engine&query=sub,exact,Australia%20--%20Race%20relations%20--%20History,AND&mode=advanced&offset=10">he says</a>, in his account of Aboriginal approaches to history.</p> <p>Consider the dedicated labour to <a href="https://www.abc.net.au/religion/heidi-norman-bob-weatherall-weve-got-to-bring-them-home/13962068">return Ancestral Remains to their country</a>. Consider the the work of Aboriginal people to restore the graves of their family and community on the old missions. And the work to document sites, such as <a href="https://youtu.be/gTh2rV_VuwQ">Tulladunna cotton chipping Aboriginal camp</a>, on the plains country of north west New South Wales.</p> <p>Some of this dedicated labour to care for the past is made possible by the recognition of Aboriginal land rights. Aboriginal communities are documenting their history in order to communicate across generations – and to create belonging, sustain community futures and know themselves.</p> <p>These processes of documenting and remembering Aboriginal stories of the past are less concerned with the state, and settler hostility. They are <a href="https://theconversation.com/how-the-dark-emu-debate-limits-representation-of-aboriginal-people-in-australia-163006">unburdened by categorising time</a>. The “old people” or “1788” appear irrelevant in the enthusiasm for living social and cultural history.</p> <p>That history is not confined to the “fixed in time” histories called upon in Native Title litigation, or the debates among historians and their detractors over method and evidence. Nor is it confined to the moral weight of such accounts in the national story.</p> <h2>History and political questions</h2> <p>When discussing Aboriginal history, there is an unbreakable link between the history being studied and the present.</p> <p><a href="https://en.wikipedia.org/wiki/Presentism_(literary_and_historical_analysis)">Presentism</a> – the concern that the past is interpreted through the lens of the present – and the concept of the “activist historian” can both impact on the way Aboriginal history is perceived or judged. Disdain for “presentism” has leaked into contemporary discussions recently.</p> <p>A <a href="https://www.historians.org/publications-and-directories/perspectives-on-history/september-2022/is-history-history-identity-politics-and-teleologies-of-the-present">widely criticised column</a> by the president of the American Historical Association – James Sweet, a historian of Africa and the African diaspora – is a recent example.</p> <p>He argued that the increasing tendency to interpret the past through the lens of the present, plummeting enrolments in undergraduate history courses and a greater focus on the 20th and 21st centuries all put history at risk of being mobilised “to justify rather than inform contemporary political positions”.</p> <p>These are not new debates. They have taken place within and outside the academy across the world, including in Australia.</p> <p>But the realities of the histories of <a href="https://theconversation.com/eliza-batman-the-irish-convict-reinvented-as-melbournes-founding-mother-was-both-colonised-and-coloniser-on-two-violent-frontiers-206189">colonisation</a>, <a href="https://theconversation.com/unpapering-the-cracks-sugar-slavery-and-the-sydney-morning-herald-202828">slavery</a> and <a href="https://theconversation.com/empire-of-delusion-the-sun-sets-on-british-imperial-credibility-89309">imperialism</a> mean they continue to have an impact in the present. Reparations and apologies happen because of the work of historians and others. They are real-world, present impacts of the work being undertaken.</p> <p>It’s the role of historians to understand the past on its own terms – <em>and</em> to produce work relevant to contemporary political questions.</p> <p>Applied (or public) history produces this work. In this work, particularly historical work that sits outside the academy, we do often find “truth telling”. For example, in the important work done for the <a href="https://humanrights.gov.au/our-work/bringing-them-home-report-1997">Bringing them Home</a> Commission, the <a href="https://theconversation.com/indigenous-deaths-in-custody-inquests-can-be-sites-of-justice-or-administrative-violence-158126">Aboriginal Deaths in Custody Royal Commission</a> and Native Title claims in courts.</p> <p>But somehow, these efforts at truth-telling – and other historical research conducted since colonisation – seem not to have impacted on the overall “history” of Australia.</p> <h2>Forgetting and resistance</h2> <p>As the referendum vote edges closer, Australians are being asked to make provisions for the First Peoples to have a role in the political process – and the decisions that impact them.</p> <p>The challenge to address the “<a href="https://theconversation.com/friday-essay-the-great-australian-silence-50-years-on-100737">Great Australian Silence</a>” – to include First Peoples in the stories of the nation, where they were otherwise omitted – has been largely addressed by the significant body of historical work added over the last 50 or more years. That work, and the correction it has delivered, has generated discomfort and hostility.</p> <p>Yet Australians’ appreciation – and even awareness – of the history of its First Nations people remains deeply unsatisfactory.</p> <p>There is now little justification for the laments <em>Why weren’t we told?</em> or <em>How come we didn’t know?</em>. Our undergraduate students continue to ask these questions, though.</p> <p>Australia has a difficult relationship – a kind of historical amnesia; a forgetting and resistance – to hearing those First Nations stories. That resistance is much deeper than simply being <em>told</em>.</p> <p>The current focus on truth-telling will once again draw our attention to dealing with difficult history. This time, different questions need to be asked.</p> <p>Not <em>why didn’t I know</em>? But <em>how can I find out</em>?</p> <hr /> <p><em>Heidi Norman and Anne Maree Payne will be presenting their research at the upcoming 50th Milestones Anniversary of the Australian Historical Association. Heidi will deliver the keynote address, <a href="https://web-eur.cvent.com/event/f99aac02-b195-46e5-b1d9-bf5183aea6fc/websitePage:150e8a3c-395b-4de3-bf2b-98ac8be5929e">The End of Aboriginal History?</a><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/208780/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></em></p> <p><em><a href="https://theconversation.com/profiles/heidi-norman-859">Heidi Norman</a>, Professor, Faculty of Arts and Social Sciences, <a href="https://theconversation.com/institutions/university-of-technology-sydney-936">University of Technology Sydney</a> and <a href="https://theconversation.com/profiles/anne-maree-payne-440459">Anne Maree Payne</a>, Senior Lecturer, Centre for the Advancement of Indigenous Knowledges, <a href="https://theconversation.com/institutions/university-of-technology-sydney-936">University of Technology Sydney</a></em></p> <p><em>Image credits: Getty Images</em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/why-didnt-we-know-is-no-excuse-non-indigenous-australians-must-listen-to-the-difficult-historical-truths-told-by-first-nations-people-208780">original article</a>.</em></p>

Caring

AFL legend Barry Cable accused of historical sexual abuse

<p>AFL great Barry Cable is being sued over allegations that he sexually abused a Perth teenager at the height of his playing career. </p> <p>Until now, his identity had been concealed by order of the District Court of Western Australia. </p> <p>Cable denies all allegations and is not facing criminal charges. </p> <p>In court documents, the woman who cannot be named claims she was sexually abused by Cable, starting in 1968 when she was 12 years old, and continuing until 1973. She is seeking damages, claiming she suffered psychiatric harm as a result of the harassment.</p> <p>The woman said Mr. Cable once told her “he would teach her about the facts of life and the birds and the bees” so “she would be a big hit with men.” She claims Cable had also threatened to sexually abuse her sister if she did not comply with his demands. </p> <p>The judge, Mark Herron said Cable would not take part in the upcoming five-day trial and is not represented by a lawyer. </p> <p>Cable has also filed a defence in which he states he had a “consensual sexual relationship” with the woman around 1983.</p> <p>The court was informed that Cable had been declared bankrupt, so no funds are available if there are any costs. </p> <p>Barry Cable is considered to be one of the greatest Australian footballers of all time. He was inducted into the Australia Football Hall of Fame and was elevated to “Legend” status in 2012.</p> <p><em>Image credit: Getty</em></p>

Legal

Settle in with one of these top reads this winter

<p dir="ltr">It can be challenging deciding on a new book to read, but with these titles releasing throughout July 2023, you’re sure to find something to settle in with.</p> <p dir="ltr">Whether an edge-of-your-seat murder mystery, a laugh-out-loud romantic escapade, or even a deep-space adventure is more your cup of tea, the time has come to dive into your next favourite novel, and maybe even convince your book club to read along with you. </p> <p dir="ltr"><strong>For the budding detectives out there:</strong></p> <ul> <li dir="ltr" aria-level="1"> <p dir="ltr" role="presentation"><em><a href="https://www.booktopia.com.au/zero-days-ruth-ware/book/9781398508408.html">Zero Days</a></em>, Ruth Ware</p> </li> </ul> <p dir="ltr">“Hired by companies to break into buildings and hack security systems, Jack and her husband Gabe are the best penetration specialists in the business. But after a routine assignment goes horribly wrong, Jack arrives home to find her husband dead. To add to her horror, the police are closing in on their only suspect – her.</p> <p dir="ltr">“On the run and out of options, Jack must decide who she can trust as she circles closer to the truth in this unputdownable and heart-pounding mystery from 'one of the best thriller writers around today' Ruth Ware.”</p> <ul> <li dir="ltr" aria-level="1"> <p dir="ltr" role="presentation"><em><a href="https://www.booktopia.com.au/four-dogs-missing-rhys-gard/book/9781760687724.html">Four Dogs Missing</a></em>, Rhys Gard</p> </li> </ul> <p dir="ltr">“While estranged twins Oliver and Theo Wingfield are identical in appearance, they couldn't be more different. Theo, an extrovert verging on arrogant, was always a drifter, a nomad, operating on the fringes of the law. Oliver, intense, creative and introspective, was destined to become a winemaker. Each vintage, every bottle from Oliver's Mudgee-based label, Four Dogs Missing, sells out.</p> <p dir="ltr">“And now, after fifteen years without contact, Theo unexpectedly turns up at his brother's vineyard, bearing an invitation that his twin knows nothing about. The quiet and fulfilling life that the winemaker has built for himself is about to change overnight: Theo's arrival is the catalyst for a series of murders involving those closest to Oliver. Finding himself the main suspect, Oliver soon discovers that not everyone in Mudgee supports a reclusive and unorthodox vigneron who's shied away from the community that helped him succeed.</p> <p dir="ltr">“Oliver is inexorably drawn into a sinister world where poisoned liquor and stolen art leave a deadly trail. Abandoning his grapevines, he sets out to solve the crimes – and confront his damaged past – before someone else he loves is found dead … beside a bottle of his own wine.”</p> <ul> <li dir="ltr" aria-level="1"> <p dir="ltr" role="presentation"><em><a href="https://www.booktopia.com.au/none-of-this-is-true-lisa-jewell/book/9781529195989.html">None of This is True</a></em>, Lisa Jewell </p> </li> </ul> <p dir="ltr">“Celebrating her 45th birthday at her local pub, popular podcaster Alix Summers crosses paths with an unassuming woman called Josie Fair. Josie, it turns out, is also celebrating her 45th birthday. They are, in fact, birthday twins.</p> <p dir="ltr">“A few days later, Alix and Josie bump into each other again, this time outside Alix's children's school. Josie has been listening to Alix's podcasts and thinks she might be an interesting subject for her series. She is, she tells Alix, on the cusp of great changes in her life.</p> <p dir="ltr">“Josie's life appears to be strange and complicated, and although Alix finds her unsettling, she can't quite resist the temptation to keep making the podcast.</p> <p dir="ltr">“Slowly Alix starts to realise that Josie has been hiding some very dark secrets, and before she knows it Josie has inveigled her way into Alix's life - and into her home.</p> <p dir="ltr">“But, as quickly as she arrived, Josie disappears. Only then does Alix discover that Josie has left a terrible and terrifying legacy in her wake, and that Alix has become the subject of her own true crime podcast, her life and her family's lives under mortal threat.</p> <p dir="ltr">“Who is Josie Fair? And what has she done?”</p> <p dir="ltr"><strong>For the sci-fi fanatics:</strong></p> <ul> <li dir="ltr" aria-level="1"> <p dir="ltr" role="presentation"><em><a href="https://www.booktopia.com.au/circle-of-death-james-patterson/book/9781529136630.html">Circle of Death</a></em>, James Patterson</p> </li> </ul> <p dir="ltr">“Since Lamont Cranston - known to a select few as the Shadow - defeated Shiwan Khan and ended his reign of terror over New York one year ago, the city has started to regenerate.</p> <p dir="ltr">“But there is evil brewing elsewhere. And this time the entire world is under threat.</p> <p dir="ltr">“Which is why Lamont has scoured the globe to assemble a team with unmatched talent.</p> <p dir="ltr">“Only their combined powers can foil an enemy with ambitions and abilities beyond anyone's deepest fears.</p> <p dir="ltr">“As their mission takes them across the globe and into the highest corridors of power - pushing them beyond their limits - can justice prevail?”</p> <ul> <li dir="ltr" aria-level="1"> <p dir="ltr" role="presentation"><em><a href="https://www.booktopia.com.au/a-psalm-for-the-wild-built-becky-chambers/book/9781250320216.html">A Psalm for the Wild-Built</a></em>, Becky Chambers</p> </li> </ul> <p dir="ltr">“It's been centuries since the robots of Panga gained self-awareness and laid down their tools; centuries since they wandered, en masse, into the wilderness, never to be seen again; centuries since they faded into myth and urban legend.</p> <p dir="ltr">“One day, the life of a tea monk is upended by the arrival of a robot, there to honor the old promise of checking in. The robot cannot go back until the question of "what do people need?" is answered.</p> <p dir="ltr">“But the answer to that question depends on who you ask, and how.</p> <p dir="ltr">“They're going to need to ask it a lot.</p> <p dir="ltr">“Becky Chambers's new series asks: in a world where people have what they want, does having more matter?”</p> <ul> <li dir="ltr" aria-level="1"> <p dir="ltr" role="presentation"><em><a href="https://www.booktopia.com.au/the-mother-fault-kate-mildenhall/book/9781760859848.html">The Mother Fault</a></em>, Kate Mildenhall</p> </li> </ul> <p dir="ltr">“Mim’s husband is missing. No one knows where Ben is, but everyone wants to find him – especially The Department. And they should know, the all-seeing government body has fitted the entire population with a universal tracking chip to keep them ‘safe’.</p> <p dir="ltr">“But suddenly Ben can’t be tracked. And Mim is questioned, made to surrender her passport and threatened with the unthinkable – her two children being taken into care at the notorious BestLife.</p> <p dir="ltr">“From the stark backroads of the Australian outback to a terrifying sea voyage, Mim is forced to shuck off who she was – mother, daughter, wife, sister – and become the woman she needs to be to save her family and herself.”</p> <p dir="ltr"><strong>For those with a passion for romance: </strong></p> <ul> <li dir="ltr" aria-level="1"> <p dir="ltr" role="presentation"><a href="https://www.booktopia.com.au/palazzo-danielle-steel/book/9781529022421.html"><em>Palazzo</em></a>, Danielle Steel</p> </li> </ul> <p dir="ltr">“After her parents perish in a tragic accident, Cosima Saverio assumes leadership of her family's haute couture Italian leather brand. While navigating the challenges of running a company at twenty-three, Cosima must also maintain the elegant four-hundred-year-old family palazzo in Venice and care for her younger siblings: Allegra, who survived the tragedy that killed their parents, and Luca, who has a penchant for wild parties, pretty women, and poker tables.</p> <p dir="ltr">“Cosima navigates her personal and professional challenges with a wisdom beyond her years, but her success has come at a cost: Her needs are always secondary. She's married to the business, and her free time is given to those who rely on her . . . until she meets Olivier Bayard, the founder of France's most successful ready-to-wear handbag company.</p> <p dir="ltr">“But Luca's gambling habit gets out of control and Cosima is forced to make an impossible choice to save him. The palazzo, the family business or cut Luca loose. Or is there another way to rescue everything she has fought for before it goes up in flames?”</p> <ul> <li dir="ltr" aria-level="1"> <p dir="ltr" role="presentation"><a href="https://www.booktopia.com.au/the-willow-tree-wharf-leonie-kelsall/book/9781761066092.html"><em>The Willow Tree Wharf</em></a>, Leonie Kelsall</p> </li> </ul> <p dir="ltr">“Samantha, owner of Settlers Bridge cafe Ploughs and Pies, is short on confidence and big on regrets. Married young to fill the void left by an unhappy childhood, she still works in the same small town where she grew up, too filled with self-doubt and insecurity to ever risk spreading her wings. Yet will the end of her abusive marriage force her to start anew?</p> <p dir="ltr">“City restaurateur Pierce di Angelis knows what it is to have his career and family ripped away. However, a chance encounter with the intriguing Samantha ignites his passion, and together they concoct a plan for a destination restaurant.</p> <p dir="ltr">“But, with their personalities like oil and water, will old hurts and hidden truths destroy the new business before it's afloat?”</p> <ul> <li dir="ltr" aria-level="1"> <p dir="ltr" role="presentation"><em><a href="https://www.booktopia.com.au/the-forgotten-bookshop-in-paris-daisy-wood/book/9780008525248.html">The Forgotten Bookshop in Paris</a></em>, Daisy Wood</p> </li> </ul> <p dir="ltr">“Paris, 1940: War is closing in on the city of love. With his wife forced into hiding, Jacques must stand by and watch as the Nazis take away everything he holds dear. Everything except his last beacon of hope: his beloved bookshop, La Page Cachée.</p> <p dir="ltr">“But when a young woman and her child knock on his door one night and beg for refuge, he knows his only option is to risk it all once more to save a life…</p> <p dir="ltr">“Modern day: Juliette and her husband have finally made it to France on the romantic getaway of her dreams – but as the days pass, all she discovers is quite how far they’ve grown apart. She’s craving a new adventure, so when she happens across a tiny, abandoned shop with a for-sale sign in the window, it feels fated.</p> <p dir="ltr">“And she’s about to learn that the forgotten bookshop hides a lot more than meets the eye…”</p> <p dir="ltr"><em>Images: Getty</em></p>

Books

8 fictional places you can visit in real life

<p>Step into the world of your favourite book, movie or TV show with a visit to these fictional locations that represented the original.</p> <p><strong>Hogwarts, <em>Harry Potter</em></strong></p> <p>You won’t see anyone playing Quidditch on the lawns, but Alnwick Castle in Northumberland in the UK played Hogwarts in the first two Harry Potter films (with a little digital trickery thrown in). The castle has been the home of the Dukes of Northumberland for more than 700 years and is in high demand with film and TV crews – it also stars in the <em>Downton Abbey </em>Christmas specials.</p> <p><em><strong>Jurassic Park</strong></em></p> <p>The lush jungle foliage and towering waterfalls of the island of Kauai in Hawaii served as the backdrop for Stephen Spielberg’s rampaging dinosaurs in all three <em>Jurassic Park</em> movies. You can rent a four-wheel drive and travel through the national park where the movie was filmed though, sadly, none of the dinosaurs remained behind after shooting wrapped.</p> <p><strong>West Egg, <em>The Great Gatsby</em></strong></p> <p>F Scott Fitzgerald modelled West Egg on Great Neck in Long Island, New York. This area on the north coast of Long Island was known as the Gold Coast because of the huge mansions, polo fields, golf courses and country clubs built there by America’s super wealthy (think Vanderbilt, Astor or Guggenheim). The very grand Oheka Castle in nearby Huntington partly inspired Gatsby’s house.</p> <p><strong>Amity Island, <em>Jaws</em></strong></p> <p>Don’t go in the water! The beach on Amity Island was the setting for the first scene in the classic 1970s horror movie, <em>Jaws</em>. As well as looking the part of the perfect American seaside resort, the shallow water of the bay made it easier for the crew to operate the mechanical sharks.</p> <p><strong>Hundred Acre Wood, <em>Winnie the Pooh</em></strong></p> <p>Just over an hour from London you can walk in the footsteps of Winnie the Pooh and Christopher Robin through Ashdown Forest. There’s only about 25 square kilometres of wooded area left from what was once a mighty forest, but it is still quintessentially English and one could almost expect Pooh, Tigger and Piglet to come bounding around a shady corner.</p> <p><strong>Greenbow, <em>Forrest Gump</em></strong></p> <p>Life is like a box of chocolates in Varnville, South Carolina, which served as the fictional town of Greenbow in the Oscar winning movie <em>Forrest Gump</em>. The old Southern mansion that Forrest and his mamma lived in was a fake however, built just for production (and torn down right after), and even some of the Vietnam War scenes were shot around Varnville. Thank goodness for special effects.</p> <p><strong>King’s Landing, <em>Game of Thrones</em></strong></p> <p>The historic Maltese capital of Mdina played the part of Kings Landing in the first series of <em>Game of Thrones</em>. The medieval walled city is in the centre of the island and has a population of just 300 – many of whom weren’t happy about the series. Maltese officials complained about the damage done and filming moved to Croatia for the following series.</p> <p><strong>Hobbiton, <em>The Lord of the Rings</em></strong></p> <p>The three Lord of the Rings movies were such a smash hit that the village of Hobbiton was completely rebuilt in the original film location near Matamata in the North Island of New Zealand. You can step inside the tiny hobbit holes, visit the Green Dragon Inn and (of course) buy a souvenir at the gift shop.</p> <p><em>Images: Getty</em></p>

International Travel

Historic church hits the market - with a catch

<p>A magnificent country church has been through the works and is now perfectly habitable for modern living - but there’s a catch.</p> <p>Covering 2000sq m of land, No. 2 Chauncy Vale Rd, Bagdad was originally the congregational Bagdad Chapel, established in 1842.</p> <p>It later became part of the Uniting Church in 1977, before its de-consecration in 2006.</p> <p>Harcourts Signature property representative Leesa Harrison said the former church has been transformed into a unique residence.</p> <p>She described the property as an “incredibly rare” opportunity to purchase a piece of Tasmanian history.</p> <p>“It is a property with a wealth of historic heritage significance,” she said.</p> <p>It’s undeniably enticing, so, what’s the catch?</p> <p>There is a cemetery on the property and Ms Harrison has said the buyer will have to become a cemetery manager, but that hasn’t prevented the public’s interest.</p> <p>“The property has generated a significant amount of inquiry, well above average. Inquiries are coming in from local Hobart buyers, plus statewide and interstate interest, too,” she said.</p> <p>“Most purchasers are looking for a property with a difference, or former churches specifically.</p> <p>“Many have a keen interest in history or a desire to preserve history.”</p> <p>Ms Harrison added that it was a property with a lot of highlights.</p> <p>“There are many standout features, starting with the incredible stone architecture,” she said.</p> <p>“The stunning renovation the current owners have lovingly undertaken, where history meets the present as you step from the original building into the newer area. It is fantastic.</p> <p>“The original features and heritage pieces that stay with the property are a major talking point.”</p> <p>Many authentic pieces will remain with the property, such as the pulpit, organ and flower stands, original light fittings, glass windows and stained glass gazed with religious scenes.</p> <p>There is now a formal living and dining area, which has been designed to maintain the integrity of the historic construction while complying with the Heritage Council’s guidelines.</p> <p>In the 1950s, an extension was built for a Sunday school.</p> <p>In a more modern section of the interior, there is a contemporary kitchen and a second living area.</p> <p>The kitchen has new light fittings, modern cabinetry, countertop space, a large island bench and stainless steel appliances.</p> <p>The property has a generously sized master bedroom with a large four-door built-in wardrobe and a large bathroom with a separate shower bay and a corner spa bath.</p> <p>Access the outdoors via the kitchen with views of the lush surroundings.</p> <p>So long as you’re happy to be take on the responsibility of a cemetery manager, No. 2 Chauncy Vale Rd, Bagdad could be yours.</p> <p><em>Image credit: Realestate.com.au</em></p>

Real Estate

"The wilderness of mirrors": 70 years since the first James Bond book, spy stories are still blurring fact and fiction

<p>"The scent and smoke and sweat of a casino are nauseating at three in the morning."</p> <p>With these opening words, Ian Fleming (1908-64) introduced us to the gritty, glamorous world of James Bond.</p> <p>Fleming’s first novel, <a href="https://www.ianfleming.com/items/casino-royale/">Casino Royale</a>, was published 70 years ago on April 13 1953. It sold out within weeks. British readers, still living with rationing and shortages after the war, eagerly devoured the first James Bond story. It had expensive liquor and cars, exotic destinations, and high-stakes gambling – luxurious things beyond the reach of most people.</p> <p>The novel’s principal villain is Le Chiffre, the paymaster of a French trade union controlled by the Soviet intelligence agency SMERSH. After losing Soviet money, Le Chiffre takes to high-stakes gambling tables to recover it. Bond’s mission is to play against Le Chiffre and win, bankrupting both the Frenchman and the union. </p> <p>The director of British intelligence, known only by his codename “M”, also assigns Bond a companion – Vesper Lynd, previously one of the agency’s assistants. The two infiltrate the casino, play at the tables, and dodge assassination attempts, while engaging in a dramatic battle with French communists, the Soviets, and each other.</p> <p>Fleming’s Bond – the sophisticated, tuxedo-clad secret agent – is an enduring image of espionage. Since 1953, martinis, gadgets, and a licence to kill have been part of how ordinary people understand spycraft. </p> <p>Some of this was real: Fleming drew on his own work as a spy for his novels. Intelligence work is often less glamorous than he depicted, but in both espionage and novel-writing, the difference between fact and fiction is not always easy to distinguish. </p> <h2>Ian Fleming, Agent 17F</h2> <p>Fleming came from a wealthy, well-connected British family, but he was a mediocre student. He only lasted a year at military college (where he contracted gonorrhoea), then missed out on a job with the Foreign Office. He could write, though. He spent a few years as a journalist, but drifted purposelessly through much of the 1930s. </p> <p>The outbreak of war in 1939 changed everything. The director of British Naval Intelligence, Admiral John Henry Godfrey, recruited Fleming as his assistant. Fleming excelled, under the codename 17F. He didn’t see much of the war firsthand, but was involved in its planning. He was an ideas man, not overly concerned with practicalities or logistics. Fleming came up with the fictions; other people had to turn them into realities. </p> <p>In 1940, for example, he developed “<a href="https://www.reuters.com/article/entertainment-britain-fleming-bond-finea-idCAL1663266620080416">Operation Ruthless</a>”. To crack the German naval codes, Fleming planned to lure a German rescue boat into a trap and steal its coding machine. They would obtain a German bomber, dress British men in German uniforms, and deliberately crash the plane into the channel. When the German rescue crew arrived, they would shoot them and grab the machine. </p> <p>Preparations began but Fleming’s plan never eventuated. It was too difficult and risky – not least because crashing the plane might simply kill their whole crew.</p> <p>Fleming worked on various operations. When he began writing after the war, these experiences found their way into Bond’s world. Fleming and Godfrey had visited Portugal, a neutral territory teeming with spies, where they went to the casino. Fleming claimed he played against a German agent at the tables, an experience that supposedly inspired Bond’s gambling battles with Le Chiffre in Casino Royale. </p> <p>Godfrey maintained that Fleming only ever played against Portuguese businessmen, but Fleming never let facts get in the way of a good story.</p> <p>Fleming picked up inspiration everywhere. Godfrey became the model for M. Fleming’s secretary, Joan Howe, inspired Moneypenny. The Soviet SMERSH coding device in <a href="https://jamesbond.fandom.com/wiki/From_Russia_with_Love_(novel)">From Russia, With Love</a> (1957) was based on the German Enigma machine. Many of Fleming’s characters were named for real people: one villain shares a name with Hitler’s Chief of Staff, another with one of Fleming’s schoolyard adversaries.</p> <p>It became something of a sport to hypothesise about the inspiration for Bond. Fleming later called him a “compound of all the secret agents and commando types” he met during war. There were elements of Fleming’s older brother, an operative behind the lines in Norway and Greece. Fleming also pointed to <a href="https://en.wikipedia.org/wiki/Sidney_Reilly">Sidney Reilly</a>, a Russian-born British agent during the First World War. He had access to reports on Reilly in the Naval Intelligence archive during his own service. </p> <p>Other possible models include <a href="https://en.wikipedia.org/wiki/Conrad_O%27Brien-ffrench">Conrad O’Brien-ffrench</a>, a British spy Fleming met while skiing in the 1930s, and <a href="https://en.wikipedia.org/wiki/Wilfred_Dunderdale">Wilfred “Biffy” Dunderdale</a>, MI6 Station Chief in Paris, who wore handmade suits and was chauffeured in a Rolls Royce. Stories of discovering <a href="https://www.smh.com.au/lifestyle/mr-bond-i-presume-20141017-117xji.html">the real-life James Bond</a> still appear.</p> <p>But there was also much of Fleming himself in Bond. He gave 007 his own love of scrambled eggs and gambling. Their attitude towards women was similar. They used the same brand of toiletries. Bond even has Fleming’s golf handicap. </p> <p>Fleming would play with this idea, teasing that the books were autobiographical or that he was Bond’s biographer. Much like a cover story for an intelligence officer, Bond was Fleming’s alter-ego. He was anchored in Fleming’s realities – with a strong dash of creative licence and a little aspiration.</p> <h2>The changing world of Bond</h2> <p>The success of Casino Royale secured contracts for more Bond novels. In the early 1960s, critics began to denounce the books for their “sex, snobbery, and sadism”. Bond’s attitude toward women, in particular, was clear from the beginning. In Casino Royale, he refers to the “sweet tang of rape” in relation to sex with his MI6 accomplice and paramour Vesper Lynd. </p> <p>But the public appeared to be less concerned. Bond novels still sold well, especially after John F. Kennedy listed one among his top ten books. The first film adaptation, <a href="https://www.imdb.com/title/tt0055928/">Dr. No</a>, appeared in 1962 and Fleming’s success continued apace.</p> <p>Bond’s world was evolving, though. From Casino Royale to For Your Eyes Only (1960), Bond battled SMERSH, a real Soviet counter-espionage organisation. The early Bond novels were Cold War stories. Soviet Russia was the West’s enemy, so it was Bond’s. </p> <p>But East-West relations were thawing in 1959 when Fleming was writing Thunderball (1961). The Cold War could plausibly have ended and he didn’t want any film version to look dated, so Fleming created a fictional villain: SPECTRE. This was an international terrorist organisation without a distinct ideology. It could endure beyond the battles of the Cold War – and did. It features in the 2021 Bond film <a href="https://www.imdb.com/title/tt2382320/">No Time To Die</a>.</p> <p>Fleming’s more fantastic plots were always anchored in reality by recognisable brands and products. Bond’s watch was a Rolex; his choice of bourbon was Jack Daniels. His cigarettes were Morlands, like Fleming’s. In the novels, Bond drove Bentleys – the Aston Martin was introduced in the 1964 film <a href="https://www.imdb.com/title/tt0058150/">Goldfinger</a>. </p> <p>The films have changed Bond’s brands to keep up with the world around them (and secure lucrative product-placement deals): Omega replaced Rolex in <a href="https://www.imdb.com/title/tt0113189/">Goldeneye</a> (1995); the <a href="https://www.theguardian.com/film/2012/apr/17/bond-taste-for-beer-skyfall">martini was swapped for a Heineken</a> in <a href="https://www.imdb.com/title/tt1074638/">Skyfall</a> (2012). Bond now carries a Sony phone.</p> <p>Other changes brought the 1950s spy into the 21st century. Recent films have more diverse casting. Their female characters do more than just spend a night with Bond before their untimely deaths. The novels, too, continue to change – the 70th-anniversary editions have had <a href="https://www.theguardian.com/books/2023/feb/27/james-bond-novels-to-be-reissued-with-racial-references-removed">racial slurs and some characters’ ethnic descriptors removed</a>. </p> <p>Some have criticised this as censorship. But as with <a href="https://theconversation.com/roald-dahl-a-brief-history-of-sensitivity-edits-to-childrens-literature-200500">recent rewritings of Roald Dahl’s books</a>, changes like this are not new. Fleming’s family has <a href="https://www.abc.net.au/news/2023-02-28/ian-fleming-james-bond-books-changes-to-new-editions/102035958">defended the alterations by citing similar removals</a> in 1955, when Live and Let Die was first published in the United States. </p> <p>There is a risk that this whitewashes Fleming’s attitudes, making them appear more palatable than they really were. But the revised Bond novels will include a disclaimer noting the removals. Casino Royale itself has not been altered (Bond’s rape comment remains intact), so the changes will perhaps be less extensive than the media coverage suggests.</p> <h2>Spies After Bond</h2> <p>Fleming is not the only ex-spy to have successfully turned his hand to spy fiction. John le Carré’s George Smiley is perhaps an anti-Bond: slightly overweight, banal, and essentially a bureaucrat. He relies on a shrewd mind rather than gadgets or guns. </p> <p>Le Carré introduced his readers to a more mundane, morally grey world of espionage. He had worked for MI5 and MI6 in the 1950 and ‘60s. He thought Bond was a gangster rather than a spy. Le Carré’s stories have also shaped how we think about espionage. Words like “mole” and “honeytrap” – the terminology of spycraft – <a href="https://www.theatlantic.com/books/archive/2023/02/john-le-carre-spy-came-in-from-cold-book/673227/">entered common usage via his novels</a>.</p> <p>Stella Rimington, <a href="https://www.theguardian.com/lifeandstyle/2022/apr/23/stella-rimington-i-fell-into-intelligence-by-chance">the first female director-general of MI5</a>, began writing fiction after retiring from intelligence in the late 1990s. Her protagonist, 34-year-old Liz Carlyle, hunts terror cells in Britain. Like Smiley, Carlyle appears rather ordinary. She is serious and conscientious. We get glimpses of the everyday sexism she experiences. Carlyle triumphs by remaining level-headed, not by fiery gun battles or explosions.</p> <p>After three decades of agent-running for the CIA, Jason Mathews wrote his <a href="https://www.simonandschuster.com/series/The-Red-Sparrow-Trilogy">Red Sparrow</a> trilogy to occupy himself in retirement. He called it <a href="https://www.nytimes.com/2015/05/28/books/shadowing-jason-matthews-the-ex-spy-whose-cover-identity-is-author.html">a form of therapy</a>. </p> <p>There’s a little more Bond in Mathews’ books than in those of le Carré or Rimington. His protagonists Nate Nash and Dominika Egorova are attractive, charismatic and entangled in a personal relationship of stolen moments and high drama. This is counterbalanced by the many hours they spend running surveillance-detection routes before meeting targets. The more tedious and banal aspects of spycraft – brush passes, broken transmitters, and dead drops – accompany the glamour and romance.</p> <h2>The wilderness of mirrors</h2> <p>Spy fiction is never just about entertainment. The real world of espionage is so secret that most of us only ever encounter it on pages or screens. We don’t usually look to Bond films for accurate representations of espionage. But the influence of Fleming’s spy and the general aura of secrecy surrounding intelligence work lend some glamour and excitement to the work of real spies.</p> <p>These fictions also influence our views on real intelligence organisations, their activities, and their legitimacy. This is why the <a href="https://lareviewofbooks.org/article/the-cia-goes-to-hollywood-how-americas-spy-agency-infiltrated-the-big-screen-and-our-minds/">CIA invests time and money into fictionalisations</a> dealing with its work. From stories based on true events, such as <a href="https://www.imdb.com/title/tt1024648/">Argo</a>(2012) or <a href="https://www.imdb.com/title/tt1790885/">Zero Dark Thirty</a> (2012), to fictional series like <a href="https://www.imdb.com/title/tt1796960/">Homeland</a> (2011-20), the agency’s image is shaped via the media we consume.</p> <p>This was true when Fleming was writing, too. Soviet authorities <a href="https://www.routledge.com/Russia-and-the-Cult-of-State-Security-The-Chekist-Tradition-From-Lenin/Fedor/p/book/9780415703475">were preoccupied</a> by Sherlock Holmes’ surging popularity behind the Iron Curtain and fretted over the release of the Bond novels and films. The KGB studied both carefully. It was likely Bond who prompted KGB officers to release classified details about their most successful spy story: the career of <a href="https://www.spectator.co.uk/article/the-name-s-sorge-richard-sorge/">Richard Sorge</a>. </p> <p>Former intelligence officers such as Fleming are often quite good at fiction – perhaps because it is a core part of spycraft. A solid cover story has to be grounded in reality, with just enough fiction to protect the truth or gain a desired outcome. A good operation often requires creativity, to outwit a target or evade detection. And spreading fictions – disinformation – can sometimes be just as useful as gathering information.</p> <p>The world of espionage is sometimes referred to as the “wilderness of mirrors”. Spycraft relies on both reflections and distortions. The line between fact and fiction, between real stories of intelligence work and invented ones, can become blurry – and intelligence agencies often prefer it that way.</p> <p><em>Image credits: Columbia Pictures</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/the-wilderness-of-mirrors-70-years-since-the-first-james-bond-book-spy-stories-are-still-blurring-fact-and-fiction-201373" target="_blank" rel="noopener">The Conversation</a>. </em></p>

Books

Historic Swedish sailing ship slow to give up its secrets

<div> <p>The Swedish ship Vasa was supposed to be a beacon of military might when it launched in 1628, but it sank after sailing just over a kilometre, killing roughly 30 people in the process.</p> <p>Since its recovery in 1961, the ship, its contents and the people who perished with it have become a valuable insight into 17th-century Swedish life.</p> <p>Now, an international team of researchers has looked closer at one of the skeletons, referred to as G, and have confirmed that it’s female.</p> <p>“Through osteological analysis it has been possible to discover a great deal about these people, such as their age, height and medical history. Osteologists recently suspected that G could be female, on the basis of the pelvis. DNA analysis can reveal even more,” says Dr Fred Hocker, director of research at the Vasa Museum, Sweden.</p> <p>“It is very difficult to extract DNA from bone which has been on the bottom of the sea for 333 years, but not impossible”, says Professor Marie Allen, a forensic geneticist at Uppsala University in Sweden.</p> <p>“Already some years ago we had indications that skeleton G was not a man but a woman. Simply put, we found no Y-chromosomes in G’s genetic material. But we could not be certain and wanted to confirm the result.”</p> <p>They were able to do that with a technique developed by the US Department of Defense’s Armed Forces Medical Examiner System’s Armed Forces DNA Identification Laboratory (AFMES-AFDIL).</p> <p>“We took new samples from bones for which we had specific questions. AFMES-AFDIL has now analysed the samples, and we have been able to confirm that G was a woman, thanks to the new test,” says Allen.</p> <p>Allen, along with AFMES-AFDIL collaborator Dr Kimberly Andreaggi, is now investigating the DNA for more detail about G.</p> <p>“Today we can extract much more information from historic DNA than we could earlier and methods are being continuously refined. We can say if a person was predisposed to certain illnesses, or even very small details, such as if they had freckles and wet or dry ear wax,” says Allen.</p> <p>The Vasa Museum, meanwhile, is collecting information for a book about the people who died on the ship.</p> <p>“We want to come as close to these people as we can. We have known that there were women on board Vasa when it sank, and now we have received confirmation that they are among the remains,” says museum historian Dr Anna Maria Forssberg.</p> <p>“I am currently researching the wives of seamen, so for me this is especially exciting, since they are often forgotten even though they played an important role for the navy.”</p> </div> <div id="contributors"> <p><em>This article was originally published on <a href="https://cosmosmagazine.com/history/vasa-shipwreck-female/" target="_blank" rel="noopener">cosmosmagazine.com</a> and was written by Ellen Phiddian. </em></p> <p><em>Images: Getty</em></p> </div>

Technology

Chatbots set their sights on writing romance

<p>Although most would expect artificial intelligence to keep to the science fiction realm, authors are facing mounting fears that they may soon have new competition in publishing, particularly as the sales of romantic fiction continue to skyrocket. </p> <p>And for bestselling author Julia Quinn, best known for writing the <em>Bridgerton </em>novel series, there’s hope that “that’s something that an AI bot can’t quite do.” </p> <p>For one, human inspiration is hard to replicate. Julia’s hit series - which went on to have over 20 million books printed in the United States alone, and inspired one of Netflix’s most-watched shows - came from one specific point: Julia’s idea of a particular duke. </p> <p>“Definitely the character of Simon came first,” Julia told <em>BBC</em> reporter Jill Martin Wrenn. Simon, in the <em>Bridgerton </em>series, is the Duke of Hastings, a “tortured character” with a troubled past.</p> <p>As Julia explained, she realised that Simon needed “to fall in love with somebody who comes from the exact opposite background” in a tale as old as time. </p> <p>And so, Julia came up with the Bridgerton family, who she described as being “the best family ever that you could imagine in that time period”. Meanwhile, Simon is estranged from his own father. </p> <p>Characterisation and unique relationship dynamics - platonic and otherwise - like those between Julia’s beloved characters are some of the key foundations behind any successful story, but particularly in the romance genre, where relationships are the entire driving force. </p> <p>It has long been suggested that the genre can become ‘formulaic’ if not executed well, and it’s this concern that prompts the idea that advancing artificial intelligence may have the capability to generate its own novel. </p> <p>ChatGPT is the primary problem point. The advanced language processing technology was developed by OpenAI and was trained using the likes of internet databases (such as Wikipedia), books, magazines, and the likes. The <em>BBC</em> reported that over 300 billion words were put into it. </p> <p>Because of this massive store of source material, the system can generate its own writing pieces, with the best of the bunch giving the impression that they were put together by a human mind. Across the areas of both fiction and non-fiction, it’s always learning. </p> <p>However, Julia isn’t too worried about her future in fiction just yet. Recalling how she’d checked out some AI romance a while ago, and how she’d found it “terrible”, she shared her belief at the time that there “could never be a good one.” </p> <p>But then the likes of ChatGPT entered the equation, and Julia admitted that “it makes me kind of queasy.” </p> <p>Still, she remains firm in her belief that human art will triumph. As she explained, “so much in fiction is about the writer’s voice, and I’d like to think that’s something that an AI bot can’t quite do.”</p> <p>And as for why romantic fiction itself remains so popular - and perhaps even why it draws the attention of those hoping to profit from AI generated work - she said that it’s about happy endings, noting that “there is something comforting and validating in a type of literature that values happiness as a worthy goal.”</p> <p><em>Images: @bridgertonnetflix / Instagram</em></p>

Books

Nick Kyrgios blasts Ash Barty’s historic win

<p dir="ltr">Nick Kyrgios has hit back at Ash Barty’s historic win of the Newcombe Medal for a record fifth time in a row.</p> <p dir="ltr">The 26-year-old retired tennis player won the Newcombe Medal at the Australian Tennis Awards for her Australian Open success.</p> <p dir="ltr">This, however, did not appear to sit right with fellow Aussie Kyrgios, who said she did not deserve the medal after having only played the Australian Open this year.</p> <p dir="ltr">In an Instagram story, Kyrgios shared a photo with Barty and his achievements in the past year, clearly showing he achieved more.</p> <p dir="ltr">He had the caption: "LOL. No respect at all. I don't give a f***."</p> <p dir="ltr">The graphic showed that Barty had played only three months of 2022 in which she won two singles titles and one doubles crown, including 14 matches across the two formats.</p> <p dir="ltr">Kyrgios on the other hand had one singles title and three doubles crowns, as well as 61 victories across the two disciplines.</p> <p dir="ltr"><img src="https://oversixtydev.blob.core.windows.net/media/2022/12/nick-1.jpg" alt="" width="1280" height="720" /></p> <p dir="ltr">Despite the huge difference in numbers, it would appear that Kyrgios played better than Barty but that is not the case.</p> <p dir="ltr">Barty won a singles grand slam and Kyrgios simply did not after losing the Wimbledon singles decider to Novak Djokovic while Barty defeated Danielle Collins.</p> <p dir="ltr"><em>Images: Instagram</em></p>

News

Gorgeous historical home hits the market

<p dir="auto">Hitting the market in Tasmania – and looking for its sixth owner in 37 years – this interesting, convict-built home is offering some lucky purchaser the chance to travel back in time.</p> <p>The perfectly-preserved “time travel” home is a stunning five-bedroom dwelling named “Kent Cottage”, and truly is a portal to another era – all for a humble, historic $849,000.</p> <p>The time-capsule house includes an historic shopfront, designed in the Georgian style that the majority of Tasmanian house-hunters have come to expect from the region, and was a general store until 1881. Later it was a grocer, then an iron monger (a dealer of hardware) and a drapery, and more recently served the small local community as a petrol station and an ice-creamery.</p> <p>The pretty shopfront has soaring sash windows with "SHOP EST. 1833 GENERAL MERCHANT" on plaques above.</p> <p>At the rear, the residence has been gently updated but feels like a time trip, warmly decorated in an antique manner, with a wood-burning stove (alongside mod cons) and a dining room with an exposed brick wall, laid almost two centuries ago by the weary hands of prisoners.</p> <p>Images: Domain </p>

Real Estate

5 things the latest season of The Crown got right and 3 things that were inaccurate

<h2>Separating fact from fiction</h2> <p>Season 5 of <em>The Crown</em> finally aired on Netflix after two years of waiting. The first season of <em>The Crown </em>aired in 2016, telling the story of all the major players in the royal family trees starting just before Queen Elizabeth II’s ascension to the throne. Every season since has covered roughly a decade or so in the lives of the royals.</p> <p>The new season of <em>The Crown</em> takes place between 1991 and 1997 and sees Charles and Diana nearing the end of their tumultuous marriage, securing their position as global tabloid fodder. (And, as season five points out, coverage of their lives would often blur the line between journalism and salacious gossip.)</p> <p>Despite the fact that there was so much real-life royal drama during this time, there are elements of <em>The Crown </em>that are not based on real events – so much so that Netflix added a disclaimer when releasing the trailer for this season that stated, ‘Inspired by real events, this fictional dramatisation tells the story of Queen Elizabeth II and the political and personal events that shaped her reign.’</p> <p>It can be confusing to parse fact from fiction. Here’s a fact check of <em>The Crown</em> season five to help understand what’s real and what’s not.</p> <h2>Here’s what was actually true in The Crown – and what wasn’t</h2> <p>Most of the historical events that have appeared on <em>The Crown</em> are based on true events. Let’s start with a few things that definitely happened.</p> <div> </div> <h2>Truth: Martin Bashir did use false evidence to convince Princess Diana to appear on Panorama</h2> <p>On <em>The Crown</em> Season 5 Episode 7, BBC journalist Martin Bashir (played by Prasanna Puwanarajah) is shown fabricating fake bank statements to convince Charles Spencer and his sister, Princess Diana (Elizabeth Debicki), into believing that members of their trusted teams were being paid off by British intelligence services for information about them. In turn, Bashir played into their fears and earned Diana’s trust enough to convince her to appear on his TV show, Panorama, giving one of the most explosive interviews of the decade.</p> <p>In 2020, an independent inquiry did find Bashir guilty of wrongdoing, and the BBC apologised to Charles Spencer for Bashir’s deception.</p> <h2>Truth: Prince Philip was a world-class carriage driver</h2> <p>Season 5 Episode 2 is when we learn of Prince Philip’s obsession with carriage driving. In fact, Philip (played by actor Jonathan Pryce) was not just a hobbyist in the sport, but he competed internationally as a member of the British Diving Team. He also wrote several books and served as the president of the Fédération Équestre Internationale.</p> <h2>Truth: Windsor Castle sustained massive fire damage in 1992</h2> <p>In Season 5 Episode 4, Queen Elizabeth (Imelda Staunton) referred to 1992 as an “annus horribilis,” or, a horrible year. It was the year that marked the separation of Charles and Diana as well as Prince Andrew and Sarah Ferguson. Adding to the heartbreak, 1992 was also the year that Windsor Castle caught fire when a spotlight ignited a curtain, destroying dozens of rooms and several priceless works of art.</p> <h2>Truth: Mohamed Al-Fayed hired the Duke of Windsor’s former valet, Sydney Johnson, to work for him</h2> <p>In Season 5 Episode 3, we are introduced to Mohamed Al-Fayed (Salim Daw), the Egyptian businessman who would build up an empire that included the Ritz Hotel in Paris and Harrods Department Store in London. As the show depicts, Al-Fayed was a lifelong Anglophile and did meet and hire Sydney Johnson, a Bahamian man who previously spent three decades as Edward, Duke of Windsor’s valet after Edward abdicated the throne. Johnson began working for Al-Fayed in 1977, five years after Edward passed away. After Edward’s wife, Wallis Simpson died, Al-Fayed purchased their Paris estate and, along with Johnson, helped restore it.</p> <p>With regard to the end of this episode, when Mohamed Al-Fayed met Princess Diana, while we’re not sure if they really did bond instantly at a polo match, it’s true that the two became friends years before Diana began dating Mohamed’s son, Dodi Al-Fayed. Dodi would later die in the 1997 car crash that also took Diana’s life.</p> <h2>Truth: tampongate really did happen</h2> <p>In 1989, when Charles and Camilla’s affair was not yet public, the two engaged in a phone conversation where Charles compared himself to a tampon. The conversation was later released to the public in 1993 after Diana and Charles separated.</p> <h2>And now for a few things that appear on The Crown season 5 that didn’t actually happen… Fiction: The Sunday Times poll</h2> <p>Throughout the season, Prince Charles (Dominic West) is seen as a man who is ready for new responsibilities. Specifically, the responsibility of being king. In Episode 1, a poll revealing that half the British population thinks that his ageing mother Queen Elizabeth, should abdicate her role is published in the Sunday Times, and Charles takes that as a sign that he should start preparing himself to be king. He even goes so far as to meet with Prime Minister John Major (Jonny Lee Miller) to seek his support.</p> <p>But, none of that happened. There was no such poll published in 1991 by the Sunday Times, and no such conversation between Major and the Prince of Wales. In fact, Major is one of this season’s biggest detractors. He has called the series “a barrel-load of nonsense.”</p> <h2>Fiction: Prince Philip and Penny Knatchbull’s affair</h2> <p>It’s true that Prince Philip and his godson’s wife, Penny Knatchbull, were both invested in the sport of carriage driving, and it is also true that their friendship was fodder for speculation that there was something more to it. But alas, there is no concrete evidence that Prince Philip engaged in an affair with Penny.</p> <h2>Fiction: Diana warning the queen about her Panorama interview</h2> <p>Everyone involved in Princess Diana’s Panorama interview knew it was a giant risk to let the estranged princess speak so candidly on the most revered broadcasting network in the country. While it’s true that Marmaduke Hussey, then-chairman of the BBC, felt that it was a disgrace to air the interview, the queen herself was not actually given a heads-up by Diana before the inflammatory program aired in 1995. The conversation between Diana and the queen was pure fabrication, confirmed by Patrick Jephson, Diana’s press secretary at the time.</p> <p>While it can be confusing parsing out what <em>The Crown</em> gets wrong about the royal family and what the show gets right, season 5 remains as engrossing as ever thanks to its excelling writing and cast. What we do know for sure is that season six, which tackles the final months of Diana’s life and the years after, can’t come soon enough.</p> <p><strong>This article originally appeared on <a href="https://www.readersdigest.com.au/culture/5-things-the-latest-season-of-the-crown-got-right-and-3-things-that-were-inaccurate" target="_blank" rel="noopener">Reader's Digest</a>.</strong></p> <p> <em>Image: Netflix</em></p>

King Charles’ family friend snaps up historical Sydney mansion

<p dir="ltr">A family friend of King Charles III has snapped up a historical home in Sydney’s lower north shore.</p> <p dir="ltr">Edward Dawson-Damer, the son of the seventh Earl of Portarlington and equerry (a senior attendant) to the Queen Mother, and his wife Joanne Grant paid an eye-watering $9.325 million for the 114-year-old Dalkeith mansion, per <em><a href="https://www.domain.com.au/news/king-charles-friend-buys-9-3-million-cremorne-home-2-1185842/" target="_blank" rel="noopener">Domain</a></em>.</p> <p dir="ltr">The Cremorne home was built in 1908 by English wool merchant and Freemasons grand master Frank Whiddon and sits on an almost 1500-square-metre block.</p> <p dir="ltr">In the early 1950s, the property was bought by the Norwegian Church Abroad, becoming the Norwegian Seaman’s Mission and providing community services to Scandinavian seamen until 1978, according to <a href="https://www.domain.com.au/8-bannerman-street-cremorne-nsw-2090-2018035301" target="_blank" rel="noopener">the listing</a>.</p> <p dir="ltr">While steeped in history, their new sandstone home has also undergone major renovations and an extension, which the listing described as “contemporary updates”, including an open-plan layout, modern appliances in the kitchen and an alfresco entertainment area with an in-ground pool and sandstone cabana.</p> <p dir="ltr">The home also boasts a billiard room that was formerly used as a chapel, with stained-glass windows and the original pew featured.</p> <p dir="ltr">Inside, the art-nouveau period features have been maintained, and each of the five bedrooms come with adjoining sunrooms.</p> <p dir="ltr">It comes as an upgrade for Dawson-Damer and Grant, who offloaded their home in Vaucluse for $6.45 million last year.</p> <p><span id="docs-internal-guid-756cc629-7fff-9afa-842a-06546a58e632"></span></p> <p dir="ltr"><em>Images: Domain</em></p>

Real Estate

Stunning winners of the Historic Photographer of the Year awards

<p>The stunning winners of the 2022 Historic Photographer of the Year competition have been announced. </p> <p>With over 1,200 entires submitted, judges were looking for photographs that "capture the very best historic sites that the world has to offer", while showing "originality, composition and technical proficiency".</p> <p>The contest is run by content platform History Hit, who said, "Entries ranged from ancient structures steeped in legend, to well-known, incredibly preserved historic sites around the world."</p> <p>"While some photographs gave new perspectives on prestigious historic sites such as the ancient city of Petra, others highlighted surprising histories of industrialisation, abandonment and endurance."</p> <p>Dan Snow, Creative Director at History Hit, said, "As always, judging these awards was a highlight for me. It is clear that the stunning entries that make up the shortlist are the product of patience, technical skill, and an awareness of both the past and the present. The creativity and talent on show was next to none."</p> <p>The winning photographs feature extraordinary weather phenomenons in the UK, abandoned structures, historic villages in Asia, ancient cities in the Middle East, and other-worldly displays in a Spanish church.<span style="background-color: #ffffff;"><span style="font-family: graphik, Arial, sans-serif; font-size: large;"><strong><span style="letter-spacing: -0.18px;"> </span></strong></span></span></p> <p><em>All image credits: Historic Photographer of the Year 2022</em></p>

Art

Romance fiction rewrites the rulebook

<p>Romance fiction has one of the most recognisable brands in book culture. It is known for a handful of attributes: its happy-ever-after endings, the pocket Mills & Boon and Harlequin editions, the covers featuring Fabio (in the 1990s) or naked male torsos (the hot trend in the 21st century). It is known for being overwhelmingly written and read by women, and for being mass-produced.</p> <p>But romance fiction is also the most innovative and uncontrollable of all genres. It is the genre least able to be contained by established models of how the publishing industry works, or how readers and writers behave.</p> <p>Contemporary romance fiction is challenging the prevailing wisdom about how books come into being and find their readers.</p> <p>For our book <a href="https://www.umasspress.com/9781625346612/genre-worlds/" target="_blank" rel="noopener">Genre Worlds: Popular Fiction and Twenty-First Century Book Culture</a>, coauthored with Lisa Fletcher, we conducted nearly 100 interviews with contemporary authors and publishing professionals. Our research shows that fiction genres are not static. They do not constrain artistic originality, but provide the kind of structure that sparks creativity and passion.</p> <p>Genre fiction can be understood as having three dimensions. The textual dimension is what happens on the page. The industrial dimension is how the books are produced. And the social dimension is the people who write, read and talk about genre fiction.</p> <p>These three dimensions interact to create what we have called a “genre world”. Each distinct genre world (such as fantasy or crime) combines textual conventions, social communities and industry expectations in its own way. And romance is the most fast-paced, rapidly changing genre world of them all.</p> <p>When it comes to genres of articles, we have a soft spot for the listicle. So, here are five things you may not know about contemporary romance fiction – five things that show the dynamism at the heart of book culture.</p> <h2>1. Romance is at the forefront of digital innovation</h2> <p>Twenty-first century publishing has seen fundamental shifts in the way books are produced, distributed and consumed, largely thanks to digital technology.</p> <p>The romance genre is notable historically for its rapid production and consumption cycle. As a result, it has been well placed to adapt to the widespread uptake of digital publishing, which also moves rapidly. Romance writers and publishers are entrepreneurial and comfortable taking risks. The moment constraints are released, romance writers rush in.</p> <p>This is exactly what has happened with self-publishing. Since the advent of <a href="https://kdp.amazon.com/en_US/" target="_blank" rel="noopener">Kindle Direct Publishing</a> in 2007, hundreds of thousands of romance books have been self-published there. Other opportunities have blossomed on sites such as <a href="https://www.wattpad.com/" target="_blank" rel="noopener">Wattpad</a> or through print-on-demand services such as <a href="https://www.ingramspark.com/" target="_blank" rel="noopener">IngramSpark</a>. In Australia, for example, there was a 1,000% increase in the number of self-published romance novels between 2010 and 2016.</p> <p>Some self-published romance novels have achieved mind-boggling success. Anna Todd’s 2014 romance novel <a href="https://en.wikipedia.org/wiki/After_(Todd_novel)" target="_blank" rel="noopener">After</a>, originally fan fiction based on the band One Direction, drew more than 1.5 billion reads on Wattpad. It was subsequently acquired by Simon & Schuster and has spawned a movie series.</p> <p>In other cases, romance authors have formed co-ops to publish work together. <a href="https://tulepublishing.com/" target="_blank" rel="noopener">Tule Publishing</a> is a small, largely digital publisher with a limited print-on-demand service that produces multi-author continuity series as part of its publishing model. The Tule authors we interviewed spoke of their strong community and creative connections.</p> <p>The self-publishing of genre fiction has blurred the lines between author, agent, editor, cover designer, typesetter, publisher and bookseller.</p> <p><a href="http://www.stephanielaurens.com/" target="_blank" rel="noopener">Stephanie Laurens</a>, one of the world’s most successful romance novelists, began writing with Mills & Boon before moving to HarperCollins. In 2012, she gave a keynote address to the <a href="https://www.rwa.org/" target="_blank" rel="noopener">Romance Writers of America</a> convention. She used the opportunity to reflect on industry change. Soon after, she began reconfiguring her own publishing arrangements.</p> <p>Now Harlequin publishes her print novels, while she self-publishes the e-book versions. She also self-publishes novellas that are prequels to, or that sit between, the novels in her traditionally published series.</p> <p>Laurens is a prolific author with loyal fans, an author who can afford to take risks. She realises that self-publishing potentially offers her a better deal and has been able to pursue that while retaining ties to a traditional publisher.</p> <p>Her career complicates any view of self-publishing as second best. Her example has been much emulated among romance writers. Such a career move challenges how we might typically theorise the power relations of literary culture.</p> <h2>2. Romance readers are active and engaged</h2> <p>The dynamism of romance fiction is intimately linked with its engaged readers. Unlike other kinds of publishing, where the fate of each book is relatively unpredictable, romance has historically had many loyal readers who subscribe through mail-order systems to receive books regularly – a model that has not worked successfully at scale for any other genre.</p> <p>In the 21st century, many of these loyal romance readers are online. They tweet about their favourite authors, write Goodreads reviews, and run blogs and podcasts.</p> <p>People read romance fiction for different reasons. They might be drawn to its focus on the emotional nuances of relationships, its escape into various times and places (romance subgenres really do cover the gamut), or its gold-plated promise of happy endings and pleasure. They might read casually or intensely, with curiosity, scepticism or devotion.</p> <p>All of these are active modes; they can’t be reduced to consumerism. There is an element of feeling to the involvement. The shared pleasure and sense of belonging that comes with being in the genre world came up regularly in our interviews.</p> <p>Author <a href="https://www.rachaeljohns.com/" target="_blank" rel="noopener">Rachael Johns</a>, speaking of romance fiction, said “this is my passion, I fell in love with the romance genre”. Agent Amy Tannenbaum described the romance community as “tight-knit”. Harlequin marketing specialist Adam Van Roojen suggested the romance community’s supportive nature makes it “so distinctive I think from other genres”.</p> <p>People say the same thing about other genres, of course, but these claims show how people imagine genre worlds as a kind of community.</p> <p>Communities have boundaries and can be exclusionary. <a href="https://kristinabusse.com/" target="_blank" rel="noopener">Kristina Busse</a> has written about the impulse to police borders in fan-fiction communities, and of how ascribing positive values to some members of a community may exclude other people.</p> <p>This dynamic is at work in genre worlds, even if it is low-key or not openly acknowledged. What’s more, the inside world of romance fiction has an inside of its own. This is evident in the way readers relate to one another (there is an implicit hierarchy of fans) and in the industrial underpinnings of the genre.</p> <p>For example, there is a distinction between a writer’s core audience and fringe audience that affects sales formats and international editions. Core romance readers tend to read digitally, and therefore can often access US editions of a book. Casual romance readers are more likely to pick up a print book from a store like Big W or Target and are therefore more likely to be the target audience for local editions.</p> <p>In general, though, both core and fringe romance readers know how to read romance fiction. They are attuned to the codes that run through the novels. Back in 1992, <a href="http://faculty.winthrop.edu/kosterj/engl618/readings/theory/Krentz&BarlowRomanceCodes.pdf" target="_blank" rel="noopener">Jayne Ann Krentz and Linda Barlow</a> argued that certain words and phrases in romance fiction act as a hidden code “opaque to others”.</p> <p>Committed romance readers have a deep knowledge that makes them experts in their genre. When these readers express their views online, authors and publishers take note.</p> <p>One recent example involves a tweet from romance fiction author, podcaster and blogger <a href="https://www.sarahmaclean.net/" target="_blank" rel="noopener">Sarah McLean</a>. She asked her nearly 40,000 Twitter followers to “Tell me the best romance you’ve read in the last week. Bonus points for it being 🔥🔥🔥.”</p> <p>The tweet was directed at the hardcore readers of the romance genre world. It assumed an audience that reads more than one romance novel per week. The 300 or so replies constitute a mega-thread of recommendations.</p> <p>Romance readers are generous to one another this way, as the sheer abundance of commercially and self-published romance fiction makes it hard to sort and choose. The replies also offer an up-to-the-minute map of the subgenres and tropes to which readers are responding. These include shape-shifters, second-chance love stories, queer romance, and dukes and duchesses (possibly a Bridgerton effect).</p> <h2>3. Romance fiction is global</h2> <p>Far from being circumscribed by small horizons, romance fiction is globally connected and inflected. This is amply demonstrated by the example of Australian romance fiction, which is formed and sustained across international literary markets and creative communities.</p> <p>Pascale Casanova’s theory of the <a href="https://en.wikipedia.org/wiki/The_World_Republic_of_Letters" target="_blank" rel="noopener">world republic of letters</a> notes the cultural force of London and New York as anglophone publishing centres. This mitigates against the inclusion of Australian content in popular fiction. Stories set in New York or London seem to have no limits in terms of international portability. But stories set in Australia, or another peripheral market, can be harder to pitch.</p> <p>Australian writers are conscious of this, as it directly affects the viability of their careers. But export success is possible for Australian work. The subgenre of Australian rural romance or “RuRo” is the best-known example. Authors like Rachel Johns are bestsellers in other territories. Romance novels set in Australia are popular in Germany – the Germans even have a name for them, the “Australien-Roman”.</p> <p>Romance fiction is energised by transnational communities of readers and writers, often mediated online. Australian romance author <a href="https://www.panmacmillan.com.au/author/kylie-scott/" target="_blank" rel="noopener">Kylie Scott</a>, for instance, credits American romance bloggers with driving the popularity of her books, and thanks book bloggers in the acknowledgements of her books.</p> <p>These cultural mediators assist the transnational movement of books in genre worlds. The development of digital-first genre fiction publishers and imprints also supports such movement, not least through promoting global release dates and world rights, so that genre books can be simultaneously accessible to readers worldwide.</p> <p>But nothing comes close to the romance fiction convention, or “con”, in demonstrating the international cooperative links of the romance community. Cons, such as Romance Writers of America, support romance writers by providing professional development opportunities; they offer structure to participants’ professional lives.</p> <p>For example, Regency romance writer <a href="https://www.fantasticfiction.com/c/anna-campbell/" target="_blank" rel="noopener">Anna Campbell</a> has oriented her career towards the United States. Campbell began to professionalise by joining the <a href="https://romanceaustralia.com/" target="_blank" rel="noopener">Romance Writers of Australia</a>, but then entered professional prizes run through US networks, and it was these that gained attention for her writing and enabled her to get an agent. American success followed:</p> <blockquote> <p>My agent ended up setting up an auction in New York, and three of the big houses wanted to buy it. The auction went for a week, and at the end of Good Friday 2006, I was a published author and they paid me enough money to become a full-time writer.</p> </blockquote> <p>Campbell went on to write five books with Avon, then moved to Hachette for a number of books. She has now moved to self-publishing. The majority of her readership remains in the US.</p> <p>Romance’s capacity to reflect the local concerns of writers and readers, coupled with its responsiveness to global industrial processes, makes it one of the most intriguing genres for considering what “Australian books” might look like in the 21st century.</p> <p> </p> <h2>4. Romance can be socially progressive</h2> <p>It has been more than 50 years since Germaine Greer, in The Female Eunuch, dismissed romance fiction as women “cherishing the chains of their bondage”. The perception that the genre is conservative persists.</p> <p>But romance writers and readers are more and more concerned with inequality across gender, race and sexuality. They are pushing back against old conventions.</p> <p>In 2018, Kate Cuthbert, then managing editor of Harlequin’s Escape imprint, gave a speech that revealed romance’s internal debates. She addressed the responsibilities of romance fiction writers and publishers in the #MeToo era, arguing that</p> <blockquote> <p>if we want to call ourselves a feminist genre, if we want to hold ourselves up as an example of women being centred, of representing the female gaze, of creating women heroes who not only survive but thrive, then we have to lead.</p> </blockquote> <p>For Cuthbert, this means “breaking up” with some familiar romance fiction tropes, such as the coercion of women:</p> <blockquote> <p>many of the behaviors that are now being called out – sexual innuendo, workplace advances, stolen kisses because the kisser couldn’t resist – feel in many ways like an old friend. They exist in the romance bubble […] and they readily tap into that shared emotional history over and over again in a way that feels familiar and safe.</p> </blockquote> <p>Cuthbert’s compassionate acknowledgement of readers’ and writers’ attachment to established genre norms sits alongside her call for evolution, for renewed attention to “recognising the heroine’s bodily autonomy, her right to decide what happens to it at every point”.</p> <p>Structural hostility in the publishing industry towards people of colour has also become a cause romance writers and readers rally behind. In 2018, <a href="http://blackmagicblues.com/" target="_blank" rel="noopener">Cole McCade</a>, a queer romance writer with a multiracial background, revealed that his editor at Riptide had written to him:</p> <blockquote> <p>We don’t mind POC But I will warn you – and you have NO idea how much I hate having to say this – we won’t put them on the cover, because we like the book to, you know, sell :-(.</p> </blockquote> <p>In the wake of this revelation, multiple authors pulled their books from Riptide, as a further series of revelations about the publisher’s bad behaviour emerged.</p> <p>The following year, the Romance Writers of America examined the past 18 years of its <a href="https://www.rwa.org/Online/Awards/RITA/RITA_Award.aspx" target="_blank" rel="noopener">RITA Awards</a> finalists and published the results: no black author had ever won a RITA, and the percentage of black authors represented on shortlists was less than half a per cent.</p> <p>In response, the board published a “Commitment to RITAs and Inclusivity”, in which it called the shocking results a “systemic issue” that “needs to be addressed”. In 2020, they announced they were employing diversity and inclusion experts to help diversify their board, train staff, and help “design and structure” more inclusive membership programs and events, including the annual conference.</p> <p>The Romance Writers of America’s intentions have not always been successful. The ongoing visibility of marginalised groups in the genre continues nonetheless, in part driven by romance’s rapid and robust uptake of digital publishing. Access to publishing platforms has allowed micro-niche genres to proliferate. LGBTQIA+ romance subgenres have become particularly visible: from lesbian military romance to gay alien romance to realist asexual love stories.</p> <p>Sometimes these stories go spectacularly mainstream, as with C.S. Pacat’s <a href="https://cspacat.com/books/captive-prince/" target="_blank" rel="noopener">The Captive Prince</a>, a gay erotic fantasy about a prince who is given to the ruler of a neighbouring kingdom as a pleasure slave. Originally self-published, The Captive Prince started as a web serial that gathered 30,000 signed-up fans and spawned Tumblrs dedicated to fan fiction and speculation about where the series would go.</p> <p>The book was rejected by major publishers, so Pacat self-published to Amazon and within 24 hours it had reached number 1 in LGBTQIA+ fiction. A New York agent approached Pacat and secured her a seven-figure publication deal with Penguin. The queer fantasy or paranormal romance has continued to thrive in Pacat’s wake.</p> <p>In our interviews with romance authors, questions of diversity, inclusion, representation and inequity arose again and again. In representation and amplifying marginalised voices, romance has enormous potential to lead the way.</p> <h2>5. Romance has gates that are kept</h2> <p>Romance fiction is more progressive than some stereotypes might suggest, but it is not free from exclusion or discrimination. The genre is influenced by its gatekeepers – human and digital.</p> <p>One form of gatekeeping takes place through the same voluntary associations that nurture community. In late 2019, the board of the Romance Writers of America censured prominent writer of colour, <a href="https://www.courtneymilan.com/" target="_blank" rel="noopener">Courtney Milan</a>, suspending her from the organisation for a year and banning her from leadership positions for life.</p> <p>The decision was made following complaints by two white women, author Katherine Lynn Davis and publisher Suzan Tisdale, about statements Milan had made on Twitter, including calling a specific book a “fucking racist mess”.</p> <p>This use of the organisation’s formal mechanisms to condemn a woman of colour and support white women was controversial, provoking widespread debate across social media and email lists.</p> <p>Milan had long been an advocate for greater inclusion and diversity within Romance Writers of America and the romance genre. As <a href="https://www.theguardian.com/books/2019/dec/31/romance-novel-industry-uproar-discipline-author-racist-courtney-milan" target="_blank" rel="noopener">the Guardian reported</a>, the choice not to discipline anyone for “actually racist speech” made punishing someone for “calling something racist” seem like a particularly troubling double standard. “People saw it as an attempt to silence marginalised people,” observed Milan.</p> <p>The board retracted its decision about Milan. It is difficult, however, to calculate the damage that may have been done to readers and writers of colour in the romance genre world. Conversely, the use of Twitter to extend debate and eventually correct the Romance Writers of America shows change happening, in real time.</p> <p>Another form of gatekeeping in romance fiction happens through the same digital platforms that put the genre at the forefront of industry change.</p> <p>Safiya Umoja Noble’s book <a href="https://nyupress.org/9781479837243/algorithms-of-oppression/" target="_blank" rel="noopener">Algorithms of Oppression</a> demonstrates how apparently neutral automated processes can work against women of colour — for example, the different results that come up from a Google search of “black girls” compared with “white girls.”</p> <p>In the world of romance fiction, <a href="https://www.researchgate.net/profile/Claire-Parnell" target="_blank" rel="noopener">Claire Parnell’s research</a> has shown the multiple ways in which the algorithms, moderation processes and site designs of Amazon and Wattpad work against writers of colour. For example, they make use of image-recognition systems that flag romance covers with dark-skinned models as “adult content” and remove them from search results. They can also override the author’s chosen metadata to move books into niche categories where fewer readers will find them, such as “African American romance” rather than the general “romance fiction”.</p> <p>Concerted activism and attention is needed to work against this kind of digital discrimination, which risks replicating the discrimination in traditional publishing.</p> <p>There is no simple way to account for the dynamics of contemporary romance fiction. It is inclusive and policed; it is public and intimate. Its industrial, social and textual dimensions are not static, but interact dynamically, incorporating the possibility of change. Only by understanding these interactions can we gain a complete picture of the work of popular fiction.</p> <p>Contemporary romance fiction is formally tight, emotionally intense and digitally advanced. It’s where the heartbeat of change and action is in book culture.</p> <p><strong>This article originally appeared on <a href="https://theconversation.com/friday-essay-romance-fiction-rewrites-the-rulebook-183136" target="_blank" rel="noopener">The Conversation</a>.</strong></p> <p><em>Image: Shutterstock</em></p>

Books

Crafting queen Tonia Todman to offload historic farmhouse

<p dir="ltr">Australian TV personality and ‘queen of craft’ Tonia Todman has listed the historic home she and her husband renovated after it was hit by a devastating fire.</p> <p dir="ltr">Known for her appearances on <em>Good Morning Australia</em>, <em>Healthy, Wealthy and Wise</em> and <em>Making It Australia</em>, Todman and her husband Michael Dowding bought the home in Kyneton, Victoria, in 2004.</p> <p dir="ltr">She said buying the home was “a moment of total madness, probably”.</p> <p><span id="docs-internal-guid-de95f1b1-7fff-b643-5f7c-e67e4db1abd0"></span></p> <p dir="ltr">“It was on the market for 18 months, as every viewer was frightened by the amount of work it needed,” she said.</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/CgF2W1qPmcy/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CgF2W1qPmcy/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Tonia Todman (@toniatodman)</a></p> </div> </blockquote> <p dir="ltr">After transforming the nearly-200-year-old home into a “very happy house”, Todman went on to host cooking, craft and gardening classes from their English-style gardens and invite over 100 guests on special occasions.</p> <p dir="ltr">However, the house was partially burnt down in a 2018 fire after the old roof shingles heated up near a chimney.</p> <p dir="ltr"><span id="docs-internal-guid-3f080eb3-7fff-cf56-a0f0-cfcd2769d440"></span></p> <p dir="ltr">What followed were “four years of anguish” as the couple undertook an extensive rebuild, using materials salvaged from the home, including chimney bricks on the herringbone floor and bluestone behind the fireplaces, and moving back in at the end of 2020.</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/CVAI7yaFoTP/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CVAI7yaFoTP/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Tonia Todman (@toniatodman)</a></p> </div> </blockquote> <p dir="ltr">“I said to my architect, if he didn’t give me a proper workable laundry, I’d never speak to him again,” Todman joked.</p> <p dir="ltr">Along with a first-class laundry, the home boasts soaring ceilings, a library with a Cheminees Philippe fireplace, a main bedroom with a walk-in wardrobe and ensuite, and stunning views of Mt Macedon and Daylesford from the verandah.</p> <p dir="ltr"><span id="docs-internal-guid-af3d8a5e-7fff-e9e7-1b40-04852d7294a1"></span></p> <p dir="ltr">The property also includes a self-contained cottage, a barn built in 1848, an orchard, two pears trees that are 130 years old, and the “Hilton of chicken houses”.</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/CiHfpJqLgas/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CiHfpJqLgas/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Tonia Todman (@toniatodman)</a></p> </div> </blockquote> <p dir="ltr">It also makes frequent appearances across Todman’s social media, including snaps of the media star weeding with her grandkids, cooking in her kitchen, and updates from the restoration of the home.</p> <p dir="ltr">RT Edgar Macedon Ranges-Kyneton agent Jodie Alcaraz said the house matches “the warmth of Tonia and Michael” and is “comfortable”.</p> <p dir="ltr">“You feel comfortable here, the aspect out to the garden is just a picture,” she said.</p> <p dir="ltr">The four-hectare property has been <a href="https://www.realestate.com.au/property-house-vic-kyneton-140467595" target="_blank" rel="noopener">listed</a> with a price range between $2.9 and $3.1 million.</p> <p dir="ltr"><span id="docs-internal-guid-6051debe-7fff-02a9-9bb6-6200edc31af4"></span></p> <p dir="ltr"><em>Images: @toniatodman (Instagram) / realestate.com.au</em></p>

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