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  • Published 20160802
  • ISBN: 978-1-925355-53-6
  • Extent: 264pp
  • Paperback (234 x 153mm), eBook

IT’S EARLY MORNING and I’m waiting with ten thousand other people in the four lanes of road that separate Sydney’s Hyde Park from St Mary’s Cathedral. A man is talking to us through a megaphone but it’s hard to hear him against the vigorous dance track bouncing from the sound system. Eventually someone will blast a siren and we’ll all go off and run a half marathon together.

I am squashed into position in the middle of the pack, which is approximately where I will finish the race in a couple of hours. The weather may change but the start of a running race is always the same: nerves, clichés, noise, enthusiasm. By now I must have run close to thirty half marathons but I’ve never shaken the feeling that I’m an interloper when I wait in a crowd like this. When did bookish klutzes start running long distances? I’m still astonished that I can run twenty kilometres at a stretch, that I have become someone who craves access to the wide spaces of the imagination that running opens. I ran my last race a year ago and now, heavily pregnant, all I want to do is run: to clear a path with my feet, to move like a beacon through the city, to run. My unborn son kicks, thrashes. He moves faster than I do. When I started to run long distances it was as if I had become the inhabitant of a new body. Now, waiting for the baby to be born, it is to the rhythms of the running body that I wish to return: exertion, release; movement, stillness. In the interim, strangers offer me their seats, friends offer to buy me sandwiches, drunks offer me the first taxi: anything to get a pregnant woman off her feet.

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Pay writers like politicians

When we talk about Australian books and writers today, we often find ourselves talking about money. Like patients with chronic illness, we’ve become adept at enumerating the symptoms of our malaise. We talk about broke writers and broke publishers and broke editors. Is anyone making any money? We talk about the cost of books and the cost of paper. We talk about writers’ incomes and the salaries of publishing staff. We talk about the cost of housing and university redundancies. There simply isn’t enough grant funding to go around. We talk about who can’t afford to write. We talk about the indie publishers selling out to multinationals because the margins are too tight. We talk about the market – the market for Australian literature that’s so small, even a prize-winning bestseller doesn’t bring financial security to its author. The market can’t be trusted with our national literature – unless what we want is self-published erotic fiction, which is apparently where the money lies. We talk about the obscenity of wealthy tech corporations shitting on copyright. If tech companies won’t pay writers, who else will?

Even when we’re not talking about money – when we’re talking about our hopes for a national literature, or whose stories should be told, when we’re talking about easy reading, or books that infantilise their readers, or how to safeguard freedom of expression, or the moral principles at stake in wholesale breach of copyright – our conversations are caveated and curtailed by the money question. At our most ambitious, we talk about how to pay writers a living wage.

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