Very soon, Postmarked Piper’s Reach will be going out of print with Vine Leaves Press but there’s still a chance to grab a copy.
Jodi Cleghorn and I are enormously grateful to Jessica Bell and Amie McCracken for giving our book a home, and for a cover that I was totally enamoured with from the very first time I saw it.
Read the story of Ella-Louise Wilson and Jude Smith as they unravel their lives through letters.
LINK HERE
Here is a track-by-track breakdown of the songs on the record, what inspired the band and how I used those ideas to create the narrative of each song for the book.
Listen to the album here: MOUNT PLEASANT
Prologue
I wrote the Prologue as a way of establishing the setting and motifs of the collection, that of deceit, deception and false facades. The setting of Western Sydney was inspired by the origins of the band, and it is the city I live in.
The Prologue is a fictional retelling of the changing of the name of the suburb where three of the band members grew up. There is no music for this piece of flash fiction but it explains the origins of the album’s title and frames the inspiration of each track, and allowed me to explore a set of stories based in Western Sydney in the 1990s and early 2000s.
The title of the album comes from the name of the suburb where three of the band members grew up. As a name it no longer exists. The local council wiped its name to clear itself of the violence and dangerous youths inhabiting the space. Nothing changed except the name.
Track 1 Holding Pattern
This was the first song released off the album and the first story I wrote. The title of the song is an in-joke as a close friend of the band claimed they were being kept in a ‘holding pattern’ due to the band’s lack of decision making. The band describe the song as being a bit all over the place but feeling right.
It was released with the cover art of the album which gave me the idea of a young girl living in an apartment complex, running up and down the stairs as a means of having some form of control in her life. She meets a recently arrived young boy and the story explores the holding pattern each of them lived in based on their suburb and how it affects their lives.
The song is angular and emphatic in the opening before a pause, a held breath leading to a crushing crescendo, and I wanted the narrative to have that same sense of movement. To have the reader imagine what it means to run, to be held within social strictures, and to be left behind.
Track 2 – Potemkin
The song title refers to the Potemkin village. The myth of the term comes from stories of a fake portable village built solely to impress Empress Catherine II by her former lover Grigory Potemkin, during her journey to Crimea in 1787.
I translated the original setting of Crimean Russia to that of a high school student, the pauper queen as she is named in the story, attending a performance of King Lear and explores the artifice of theatre as a metaphor of the schoolgirl’s existence. This existence extends to where she lives and how it defines her life and the life of her younger brother.
For the ending of this story I channelled John Hughes and The Breakfast Club for a monologue that would look great as a short film or a slam poem.
Track 3 – Pendock and Progress
This is my favourite song on the album. It is fast, frenetic, chaotic and triumphant, yet has pauses for breath. And I love the sound of the snare drum; it’s a perfect sonic fit in the track. It is the names of the streets where the band grew up.
It was the second song released and the second story I wrote. Pendock Close became a cul-de-sac, a dead-end street the protagonist rides his second-hand bike around. The cul-de-sac stands as a metaphor for the facades of society we inhabit, those we are forced to live and yet have no understanding there is something other what you consider normal.
Track 4 – Meet Me In The Meadow
This is a softer sounding song, and the narrative follows the burgeoning relationship a girl has with her crush, and the metamorphosis of adolescent sexuality. It is almost romantic in its feel, and the band used a quote from the Wes Anderson film, “Moonlight Sunrise” as the title.
In reading a synopsis of the film, the romantic element stood out. Not wanting to frame a narrative with a Wes Anderson style I diverted it to examine how boys and girls engage with the facades of masculinity and femininity; how they are both forced into frameworks that are detrimental to their developing sense of emotional, sexual and mental identity.
There are echoes and facets of these facades found in other stories in this collection, notably “Potemkin,” “Time Away” and “Gueules Cassees.” We need to interrogate who we are and understand how we have been deceived into accepting less than what we are worth.
Track 5 – Shambles
This story has a lightness in the music and in the content in comparison to the other stories. It is more comic in its approach than the other stories but still reflects the divide we encounter between what we think we are and what we really are. It is tongue in cheek in places, and it was definitely fun to write, and is reflected in the bouncy joyfulness of the music.
The protagonist is in his last year of high school and his academic life is a bit of a shambles. He’s a Western suburbs philosopher who likes grunge, works in a fish’n’chip shop and says there are two types of people in every situation. It even had my editor, Jodi, using “There are two types of people…” in her vernacular after editing this story.
I don’t think we use the word “shambles” enough. Time to bring it back.
Track 6 – Time Away
The band describe the song as an attempt of taking “time away” from all of the pitfalls of life but the escape is never found. Therefore my vision for this story was the father of a family who get to go on a holiday to the Gold Coast only to come home and find out he has been retrenched.
When Jodi sent back her initial edits, the email began with an expletive enhanced exclamation. I know if I get that then the story is working. Ben Hobson, who provided the quote on the cover, also connected with this story. I believe it is the heart of the collection.
The opening of this song has two parts. The first sounds like a demo track, setting up the motif of the track. The second part of the opening is a favourite section of mine as it has the drum track muted, all the top end rolled off so there is no sibilance in the hi hats, and it feels like a heartbeat, which was channelled into the father in the story. When the track kicks in proper, the bass drum is a thumping vibrancy underpinning the remainder of the track. There are so many layers to this track in its construction as it builds and builds in the midsection of the track before pulling back, and it is in this section, the return to the muted drums, that the father in the story wrestles with himeself.
It is perhaps one of the “softest” stories to read but the resonance is unsettling. Stories of masculinity and what that means, are in the forefront of our minds, and how that affects us, our children and families, and the wider community. From that central story, which as Track 6 is like the halfway point, every other story resonates from that point and reflects the broader perspectives and perceptions. One action can have far-reaching consequences.
Track 7 – Summer Sun
This story references the horrendous summer bushfires of 2001/2002 in Sydney where the paradoxical beauty of the world is slowly being destroyed. Our understanding of the macro comes into focus when we see the lives of individuals in the micro.
Bushfires are a constant threat in Australia and in 2019-2020, from September to almost March, significant parts of the country were on fire. This year we have had significant rainfall and lower temperatures.
We will within this dichotomy, between risk and reward, and the story focuses on a young man who observes the destruction of the bushfire even as his own body undergoes chemotherapy treatment.
Track 8 – Well, Go Well
This song serves as an interlude before “Gueules Cassees” and the band was influenced by Boards of Canada in the composition of this track.
I used it as a platform to lead in the final track, and once I knew what the focus was for “Gueules Cassees” I focused on developing a masculine voice for this interlude. A Twitter thread gave this piece its impetus where the user asked people to respond with apologies used by men in situations of domestic violence, sexual assault or manipulative behaviour in relationships. This narrative is a compilation of various apologies which frames the final track on the album.
The opening of the narrative begins, “APOLOGISE LIKE A MAN.” and uses various iterations of this sentence with different punctuation and capitalisation. It is also the final line. I was interested in how punctuation and capitalisation affected the reading experience and the intended meaning.
Track 9 – Gueules Cassees
The band describes this as the most brutal track to close on. “Gueules Cassees” is a French term meaning ‘broken faces’ and refers to ex-servicemen of World War 1 who returned home with disfigured faces due to the war. A Google search will provide you with some horrifying images of the reality of war, and the people who tried to assist them in their return to society where physical disfigurement lead to social ostracism, loss of status, breakdown of relationships or being turned away from jobs.
I needed to find a parallel of broken faces and in choosing the issue of domestic violence, I wanted to engage with the issue and the hiddenness of its impact on women. I was hesitant to write this, wanting to be authentic and truthful without getting it wrong, so I sought the opinion of other readers. Three women volunteered to read for me, to ensure I had the veracity of the story correct. Unfortunately, it rang true for those early readers, and they also offered new insights to develop the narrative further. I hope I have done this narrative justice.
It is a brutal concept, reflected in the music and the language. Seeing this song played live at the end of 2020 was remarkable as I had had the story drafted, and the intensity of the track was palapble to me.
Thank you for reading, and thank you for listening.
Posted in Short Stories, The Writer's Life
Tagged adam byatt, Australian music, Australian postrock, Australian writing, author, birds robe records, chapbook, jodi cleghorn, mount pleasant, mount pleasant chapbook, music, new Australian writing, new writing, postrock, rus van westervelt, solkyri, Solkyri mount pleasant, the JAR writers, the jar writers collective, writer, writing
It is not too far away now that “Post Marked Piper’s Reach” is launched into the world.
If you’d like an autographed copy, click over to the Post Marked Piper’s Reach bookstore to get one: https://postmarkedpipersreach.wordpress.com/bookstore/
If you want a copy for your digital reader, then pop on over to the Vine Leaves Press site for options depending on your preference.
https://www.vineleavespress.com/postmarked-pipers-reach
Posted in The Writer's Life
Tagged epistolary fiction, fiction, jodi cleghorn, novel, Post Marked: Piper's Reach, writers, writing
It is only a little over a month before “Post Marked Piper’s Reach” is released and an early review is in.
Courtesy of Andrew Gillman, you can read his review HERE.
Suffice to say, we are more than a little chuffed at his review because it encapsulates so much of the novel’s heart (of darkness).
Links for ordering copies can be found at the Vine Leaves Press page HERE in both paperback and ebook in a region best for you.
Posted in The Writer's Life
Tagged adam byatt, epistolary fiction, jodi cleghorn, novel, postmarked pipers reach, writing
It’s funny how way leads on to way when it comes to creativity.
Last week I was chatting with Jodi (my writing co-conspirator) and she posed the question, “What would we do with the same page of text to create a poem?”
We think very differently in some respects when it comes to creativity.
I tend to use the blackout/erasure method while Jodi has been utilising a cut and paste methodology.
It’s different architectures for artistry. Jodi prefers the physicality of moving chunks of text to create and find meaning whereas I use the text as it is available, using the pieces to create the whole. It is physically passive whereas the cut and paste adds another physical, active dimension to creativity.
Simply different approaches to creating art.
Even in a brief discussion about creating these poems there are lessons to be learned; different approaches and different perspectives that can be translated into other creative areas. Take each creative activity as a learning experience.
This is my contribution (I will arrange it into lines for easier reading):
the reason
time happens
is the young
know a proposal
every word a story
their names were
questions of the extraordinary
You can see Jodi’s contribution over on her blog, Pursuing Parallels.
Posted in Ars Poetica, Creativity
Tagged blackout poetry, creativity, erasure poetry, experimental, jodi cleghorn, poetry
Today The Heart Is An Echo Chamber is released. It is the companion to Jodi Cleghorn’s No Need to Reply.
My story, “Untethering” is a response story to “Squeezebox.” Get both books and see what the authors have done with the original idea.
You can grab yourself a copy by heading over here.
Posted in The Writer's Life
Tagged creativity, fiction, jodi cleghorn, No Need To Reply, The Heart Is An Echo Chamber, writers, writing
It has taken a little while but on August 10th I will have a new story coming out in Jodi Cleghorn’s collection, The Heart is An Echo Chamber.
My story, “Untethering” is a response story to “Squeezebox” from No Need to Reply.
Follow the link below to get your hands on one or both of the books.
Posted in Short Stories
Tagged anthology, fiction, jodi cleghorn, No Need To Reply, short story, Squeezebox, Untethering, writing
Coming up at the end of May, my good friend and writing co-conspirator, Jodi Cleghorn, is releasing a companion volume to her collection of short stories “No Need to Reply.”
The new volume is “The Heart Is An Echo Chamber” and it is a little different. It is different in that Jodi is not the author of this collection. In fact, it is a collection of writers responding to the stories from “No Need to Reply.”
The writers include Tom Dullemond, Kristen Erskine, Stacey Larner, Ben Payne, Lois Spangler, Helen Stubbs, Rus VanWestervelt and myself.
We each took a story from the original volume and reworked it, taking it to different places, from different angles, from different perspectives.
My story is “Untethering,” the companion piece to “Squeezebox.”
You can grab a copy of “No Need to Reply” here at the link before the new volume drops. If you want a physical copy, you can grab it for cheap. Ebook is Pay What You Want.
It will be published as a limited edition chapbook (hand numbered by Jodi) or you can grab the ebook.
If you’re in Brisbane, Australia, keep an eye out for the launch in late May.
Stay tuned and I’ll let you know when the new volume is released.
Posted in The Writer's Life
Tagged chapbook, creativity, experimental, fiction, jodi cleghorn, No Need To Reply, The Heart Is An Echo Chamber, writers, writing
It is a remarkable insight into the creative mind and what fear can do to you when you’re a creative person. She references Amanda Palmer’s book, The Art of Asking. After reading the blog post, and hearing Amanda’s remarkable TED Talk from a few years ago, I need a copy. I’ll be putting it on my Christmas list and asking Santa nicely.
I can attest to how fear can be debilitating. I have been too afraid.
Too afraid to say ‘Yes.’
Too afraid to try.
Too afraid to fail.
Too afraid to believe.
Too afraid to ask.
Too afraid…
When we fear to ask we stand still, only to watch our shadows grow.
I am an English teacher and drummer/percussionist with an interest in literary pursuits, creative endeavours, rhythmic permutations, theological amplifications and comedic outbursts.
Here you will find my creative detritus: articles on living a creative life and writing explorations.
And other ideas I have snaffled from the papers stuck on the fridge door.
Twitter: @RevHappiness
Instagram: @handwrittenpages
My collaborative epistolary novel, "Post Marked: Piper's Reach," written with Jodi Cleghorn (@JodiCleghorn) out now via Vine Leaves Press.
Come and browse through the library; there is no need to be silent.
A Fullness in Brevity - Adam Byatt 
IN the light of yesterday’s blog post about Jodi’s mentor program, she followed it up with a post about the fear of asking: Maybe I Was Only Then Becoming.