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Wednesday, 17 July 2024

Venturing into Podcast land


Over the past six months, along with my amazing producer Sam Loy, I have been recording a podcast.

It tells, in truncated form, the story of the German resistance to Hitler, and calls on the research I have done for my book TREASON.


The process has been fascinating for someone like me, who did not know what was involved. 


First, the scripts had to be written, edited, debated, settled.


Then, we recorded. We did this for a morning a week over about 3 months.


With the words recorded, Sam would work on the sound edit, which included writing music, sourcing sound effects and music, mixing – and a lot more that I don’t understand. 


He would send a first draft, and I would provide feedback, and then a final draft would emerge.


I had to select a podcast platform, and after research I chose Buzzsprout. I’ve been very happy with their service. With their help, I am now on all the hosting platforms.


As well as sound, a podcast needs graphics, and I engaged my friend and design guru Mike Vernon – known for his MakeBooks Australia business – to produce artwork for the podcast. He has done a great job, producing generic artwork as well as artwork for each episode.


Selling a podcast is pretty hard. I had great help from my daughter Georgia, who researched an approach to this, and filmed and edited a number of film clips for promotion.




We released a trailer in late June, and then on 6 July dropped the first three episodes – 1, 2 and 3. The fourth went out on 13 July, and they’ll be once a week from now on.


The 80th anniversary of the July plot is upon us, and this seems a fitting tribute to mark the occasion.



Wednesday, 25 January 2023

The Goldfields: World Heritage, or a Legacy of Shame?


The Specimen Gully dredge in action at Barkers Creek in 1885. The diggings extend over ten metres into the ground.

Two former premiers are the face of a World Heritage bid for the Central Victorian Goldfields. All thirteen local councils have supported the bid.

 

The push raises important questions about our history and how we value it.

 

World Heritage is reserved for places of ‘outstanding universal value to humanity‘. Australian places inscribed on the World Heritage List include the Great Barrier Reef, Uluru-Kata Tjuta, and the Sydney Opera House

 

Are the goldfields in this category? Do we want to celebrate what was done in the mid-nineteenth century, which caused so much lasting damage? It is a question of what we value.

 

Heritage and history should not be confused. The Victorian gold rush is a fact of history. It brought some good things – including fine buildings of that era. It brought population and wealth to the fledgling colony of Victoria. It produced the Eureka stockade and similar movements that helped shape our democracy. 

 

But it also brought massive environmental and cultural devastation. The damage done by the gold rush is still with us – almost the whole of central Victoria was dug up, often to a depth of several metres, and turned over. This created what is often called ‘upside down country’ – with hydrology deranged, the topsoil gone, and depauperated soil unable to retain moisture and hosting only a fraction of the biodiversity that once flourished here.

 

Central Victoria was home to Box-Ironbark woodlands. According to the 2001 Victorian Environment Assessment Council study into Box-Ironbark:

 

'Old growth forest', as defined in most other Victorian forests, is virtually absent from Box-lronbark forests, because of their history of clearing and heavy use in the gold rushes, followed by intensive selective harvesting.

 

One and a half centuries on, we are seeing the disappearance of species once common across the area, while others, such as the swift parrot, the squirrel glider and the tuan, are just hanging on. It is a dire legacy.

 

The heritage bid focuses on the immigration that brought a new society to central Victoria – for both good and ill. But it airbrushes away the catastrophic trashing of the environment and minimises calamitous destruction of indigenous culture. You can read the documents in vain for any acknowledgement of the damage done to the environment. This makes the document disingenuous – downplaying as it does the shameful side of the era it seeks to celebrate.

 

Although a mere flicker in the long history of this region, there is no doubting the significance of the gold rush. But chapters in history can be significant without amounting to heritage: the White Australia Policy was significant, but who would elevate it to the status of heritage? 

 

Castlemaine was briefly the most productive gold-producing region in the world. The damage is still obvious, with denuded soils, mullock heaps and mine shafts, and old junk left by miners. The promotional documents for the bid disingenuously states:

 

Castlemaine Diggings, scene of the 1852-54 Mount Alexander Goldrush, was the first major goldfield in Australia to attract a huge influx of voluntary immigrants. Its landscape provides exceptional testimony to the early-rush individual ‘miner-adventurer’, and eloquently captures the human goldrush spirit in material form. Diggers’ small claims, across the goldfields in gullies and flats, surrounded by regenerating Box-Ironbark forest, yielded the greatest concentration of the largest gold nuggets the world had ever known; a catalyst for hundreds of spontaneous rushes by large populations.

 

Really? First of all, the striking fact is that the Box Ironbark forest is not regenerating, except where intensive intervention has enabled this to happen. And the ‘small claims’ are marked by erosion, infestation of weeds, old junk, and the sad legacy of destruction.

 

Community groups are working to restore Box-Ironbark. This requires repair of water retention features, and management to allow the woodland to regrow. On public land, each step requires consultation and permission. Prioritising gold mining historic values will retard this work, imposing a further layer of restriction.

 

The bid trumpets its (questionable) value to tourism, but tourism values and heritage values are distinct.

 

Publicity material lists other values in the bid, including First Nations values, but inevitably the bid will prioritise gold rush history over other values.

 

For me, living near Castlemaine, the legacy of the gold rush is a matter of shame. So much was lost for such ephemeral gains. There are many features of this area which would justify World Heritage status – but not the tragic legacy of the gold rush. We should never include those values as part of any bid for World Heritage.

 

 

Saturday, 21 January 2023

Thursday, 22 December 2022



The great people at Northern Books are organising a launch for Treason.

It will be at the Taproom, Shedshaker Brewing, at the Mill in Castlemaine, on Tuesday 10 January at 6 pm.

I will be in conversation with the wonderful Helen Symon KC.

You will need to book your attendance here.

Look forward to seeing you there!


Wednesday, 5 October 2022

Treason is now available around the world



Last year, during the pandemic, the hard copy of Treason was published here in Australia. 

However, postage costs made it awkward to distribute this internationally. 

This has now been sorted, and Treason is now available internationally through Blurb.

If you live in Australia, the Blurb version will not be cheaper, but anywhere else, it is.

Incidentally, I was very pleased with the endorsements given on the back cover!



Tuesday, 23 August 2022

Counterpoise


This week's 'Music Show', with Andrew Ford, on ABC's Radio National, opened with Hugh Crosthwaite's 'Counterpoise', a haunting work for solo violin.

The piece is played by Sarah Curro, who is interviewed, along with her husband Paul Davies, a luthier, about the different qualities of violins. It's a fascinating interview.

Hugh's piece was inspired by my poem, also called 'Counterpoise', published in my first book of poems, Angels, like laundry.

Counterpoise

 

Behind, beside, before;

once, nonce, hence – 

time pools in the present

tense; deeps of now brim– 

never to be reclaimed,

ever flowing silently away.

Mulch, mushroom, messmate;

foundation, footings, framework –

building begets spaces,

earth cleaves to sky;

light brings forth shadow,

action yields to rest – 

stone, plank, tile,

myrtle, moss, manure.

 

 

Pulse, breath, blink;

bone, flesh, hide –

inner engenders outer,

launches soaring dreams;

summer’s gold garnered for 

fecund swelling fall – 

pith, pulp, peel;

never, nigh, next -

New grows old, old

gives way to new.

On time’s curving arc, end-

ing is beginning –

former, forthwith, final:

past, present, prospect,

was, is, ever.


Mothlight




My third book of poems, Mothlight, has now been published.

Mike Vernon has done a wonderful job with the photographs through the book, making it a beautiful production.


Here are some things that others have said about it – for which I am very grateful:


    In 'Mothlight', Brian Walters reveres both the natural world and the power of the clear poetic line. One poem at a time, he edges us closer to seeing, to captivation, to wild play, to progress. At a time of renewed environmental awareness, this collection invites the reader to do the only thing that is left for us to do – a gentle moving through the world.

–      Amanda Anastasi, poet

 

    I love these poems, the surprise of them, the wideness and range of vision, the delicate precision of the lens shifting from the personal, the heart, to the glory of the world. The exultation and celebration of the natural world is a constant and marvellous echo of Hardy. There is too, a similar humane heart.

–      Helen Elliott, literary critic and writer

 

    A Brian Walters poem is a walk in fair weather and good company in the high country in winter; it is an act of kindness and courage you wish had been your own. His voice is a forest of Old Testament timbers—the Cedars of Lebanon transposed well south and reborn as a sclerophyll woodland. His lines are an elegant eucalypt elegy, a vote of thanks, a currawong choir.

            Mark Tredinnick, poet

 

I will be reading my poems at the Poeticas gig, 2 pm this Saturday 27 August 2022 at the Northern Arts Hotel – 359 Barker Street Castlemaine. 


It would be great to see you there!