Saturday 9 August 2014

Sydney Biennale Boycott Repercussions - for this writer- a huge fine


Well, no doubt the authorities are simply dying for me to write this, but my fines for having my car parked outside my house ( I could not park next to it off the road because the kerb was too high to drive over and the Newcastle council was not prepared to help me) have now escalated to almost $2000 even though I have been to court, long ago sold my poor car to the wreckers for $100 and was assured by the judge in my first court case that he agreed with me that I was Not Guilty as I had assurances from the council ranger that it was ok to leave my car until I had worked out whether to re-register and fix up (if I could get the money) or have it taken to the wreckers. Strangely enough the first fine notice was delivered the very same day that I went to Sydney to interview the international artists in the 19th Sydney Biennale boycott who were giving a talk at SCA. I interviewed them with the Refugee advocates and trauma counsellor they were working with to make their piece that in the end was shown at the Biennale (on my blog The Daily Fugue)- as the boycott was successful and Transfield sponsor managing detention centers using torture resigned. However Transfield is instrumentally involved in public transport and roads infrastructure and I am sure there are connections here. I am not scared. They can't bully and intimidate me in such a pathetic way. I feel sorry for them.

Ruth Skilbeck.

Tuesday 5 August 2014

Australian Fugue: The Antipode Room- Publication Approaches.



Australian Fugue: The Antipode Room- Publication Approaches.

5.20 a.m.  

Twelve hours beauty sleep and up before the lark again, but waking just before the start of day rather than the end of it signifies that the end of the time of book production has arrived, and we are reversing back our working-hours or rather projecting forward, into the future to catch up and re-join the more usual pattern of working and living, as the book ends its production process.  This week it will be finished and becoming a reality as a book first for the supporters of the Pozible project who will all be sent the first editions of the special collector PDF eBook this week, a limited edition of only 25 copies, and then as a print book and eBook available on Amazon, Kobo and in bookshops, as well as other online outlets and through the publisher Postmistress Press. Details of how to obtain Australian Fugue: The Antipode Room as print book and eBook will be posted here soon.


The cover image Blue Fugue is by Ruth Skilbeck, and cover design by Maxim Skilbeck-Porter.


Thursday 24 July 2014

These Writing Nights


 On Reversing One’s Hours 

The only, minor, disturbance I have so far encountered with writing all night and sleeping in the day, is missing a relaxing evening drink. One does not feel like a glass of wine on awakening at 7 or 8 in the evening and the thought is equally unpalatable at 10 o clock the next morning. So instead I am drinking a lot of coffee, and water. But soon my first novel, Australian Fugue: The Antipode Room will be published and up on the fabled platforms of Amazon, Kobo and so on, a transformation into virtual reality which seems at the moment somewhat akin to its ascending to the mythical Olympus. I look forward to inhabiting daylight hours again and celebrating in the ‘real’ evening with a glass or two of nectar from the local vineyards of the Hunter Valley. Until then, the mind is clear and this night is full of gods and constellations.

Ruth Skilbeck

Wednesday 23 July 2014

In Praise of Reversing One's Hours


'Early to rise’ and ‘up with the lark’, which may once have seemed impossible indicators of moral virtue, is so easy to achieve when one simply does not sleep at night and chooses instead to slumber in daylight hours and write through the night. At around 6.30 a.m. one greets the dawn like an old familiar friend, not an overwhelming foe, as if one is in control of one’s destiny, instead of always scrambling behind, late and only half awake, like the woman applying her make-up on the train, or the man I once saw walking across the main road at Spit Junction in Mosman, at 8.30 a.m. shaving with a pocket shaver. The best thing about it though is that not many people do it, so it retains that exclusive secret edge of slightly illicit and novel things, the hidden beach, the secluded garden, a surprise, separate to the rest of the world. So that when I go to bed at 10 a.m. or 12 a.m., I fall asleep secure in the knowledge that the world will go on without me very well, and when I awake at 7 p.m. or so, I have the whole night ahead of me to write and I will not get tired or need to sleep.


Ruth Skilbeck 

Saturday 19 July 2014

Forgetting and Remembering: a History of Western/European Psychiatry in the Context of Empire

By Ruth Skilbeck

It's historically interesting that all of the revered early, or late 19th century, 'fugue' pedagogues were male (many of their patients were female, though some were male, notably the first "fugueur" Albert Dadas). Learning to forget or remembering as catharsis- the "Western/European" history of memory and forgetting is long and dual, and unresolved, how does this play out in Australia and other former colonies, of empire, where we live with forgetting and struggle with remembering the past. When Pierre Janet was writing colonialism and modernity were at their height in Europe and the UK, in the late nineteenth and early twentieth century:
“According to Janet, the physician’s task was a paradoxical one in that the patient had to be coaxed into a curative relationship of depend-ence—even of “somnambulistic passion” —with the therapist, while at the same time being led toward emancipation from that dependence. Later, while emphasizing the social aspect of the therapeutic relationship, Janet (1919) wrote that an “adoptive” attitude of the patient toward the therapist was a desirable goal.
Janet was an eclectic therapist who borrowed from the old “magnetic” techniques and continued, if needed, to use hypnotic suggestion long after it had lost the respect of many of his colleagues; he had no fear of playing the pedagogue, the spiritual guide, or even the exorcist. Indeed he adopted practices associated with Catholicism, as for instance in the case of Achille (1898b), a patient who presented all the classical features of demonic possession. After failing to hypnotize Achille, Janet reports, he had the idea of acting like a “modern exorcist” and addressing himself to the Devil. He discovered by this means that Achille had had an extramarital affair, and, suffering the effects of remorse, had been harboring a “dream,” which was subconscious, in which he felt he was damned and possessed by the Devil. Janet conducted the treatment in such a way that Achille forgot both his transgression and his remorse. In this case history, Janet noted, “Knowing how to forget is sometimes as much a quality as knowing how to learn, because forgetting is prerequisite to moving forward, to progress, to life itself.… One of the most valuable contributions that pathological psychology could make would be to discover a reliable way to precipitate the forgetting of specific psychological phenomena” (Janet, 1898b, p. 404). Janet’s chief therapeutic concern here was apparently not a cathartic retrieval of memories, as promoted at the same period by Freud and Breuer, but rather a process of learning how to forget.” (from Encyclopedia.comhttp://www.encyclopedia.com/topic/Pierre_Janet.aspx)

Such thinking has crucially informed culture and counter-cultural responses or working through these inherited traumas in the “west” since then, for example in:
The Doors: Soul Kitchen- ‘Learn to Forget”, an early example of forgetting through escapism, and expressionism, which is not so much a forgetting as a remembering in disguise:
http://www.azlyrics.com/lyrics/doors/soulkitchen.html
In literature, as an example in a different way, Milan Kundera’s The Book of Laughter and Forgetting.
Should we forget or remember, or both, do we need to remember to be able to forget past trauma, or should we forget, to remember how to live.

Friday 25 April 2014

Three Grandfathers- Quiet Heroes of the Western Front

Reposting an article from April last year.

by Ruth Skilbeck


Grandfather was an officer and a gentleman. He returned from World War 1, a young hero, who had been awarded the Military Cross, and many other medals, for his bravery at Ypres, Passchendaele, leading his battalion, the 38th Battalion, for weeks on end after the Commander had been killed and he, as the Adjutant took over. After the War, he was, in acknowledgment of his extraordinary service, offered a parliamentary position, as Clerk of the New South Wales Legislative Assembly. He was offered a position in Canberra, in the Federal parliament, so my mother told us, but Grandmother did not want to leave Sydney. He took up the position in the NSW parliament and every day for all of his working life he travelled to and from the city to their house overlooking a gully (valley) on Sydney’s leafy north shore.
     Grandfather was a trim dapper man,  five foot eleven, he had a square, calm, pale face, with intelligent eyes, and a quiet good humoured manner of speaking, he dressed immaculately in three piece suits, bespoke leather shoes that were always well polished, and he never went into the city without his hat, a trilby, and in the inclement season his cream coloured raincoat, and of course always his mahogany-coloured leather briefcase.
     With his highly capable modest ways and scrupulous attention to detail, his selfless devotion to duty, he was a highly respected public servant, who was highly thought of by all, as the booklet that was printed to commemorate his life, when he passed away, twenty years after his retirement shows. Over 15 members of parliament stood up and give speeches in his memory, which are recorded in the book that was given to my mother, and that I keep along with other documents of the family history.

But there was another man, who fought bravely in the war. There was another family. Of the man, who fought bravely and lost an eye, in the same battalion. He was the Sergeant in the same Battalion where Grandfather was the Adjutant. Uncle Jack and Grandfather were good friends. All the Anzacs who went through such hell as the trench warfare on the western front were mates for life, but as Sergeant and Adjutant they had a bond of holding the line together through the hells of Ypres and Passchendaele, that went much deeper than words could ever say.

Chateau Wood Ypres, 1917 Photo: Frank Hurley
 Grandfather and Uncle Jack fought here


     This was a family of three girls and a mother. Three girls, and the eldest was just a couple of years younger than my mother. Three sisters; the middle one, looked quite like my mother, with her black wavy hair, green eyes and high cheekbones. This family lived only a few streets away from Grandmother and Grandfather and my mother when she was growing up. They all went to the same private girl’s school, in spacious grounds not far from the Pacific Highway.

Every Christmas we went to Uncle Jack’s, mother told us, as we were growing up in England. And we had to spend a few hours at their house every Christmas day.  Her voice tended to falter and come to a halt there. What did you do we asked prompting her to continue, helping her to go on.
     Oh we all just sat around the living room. We gave each other presents, she said. There was Aunty K. and the three girls…


Pa, my father’s father also fought in WW1. He was a boy of 16 in Middlesbrough, Yorkshire, when the war broke out and he lied about his age, said he was 18 so he could go and fight for his country. After the war was over, instead of returning to England, he went back to Australia with his ANZAC mates, who he met in the trenches. At least that was never hidden; we knew his story, although his willingness to go off and fight at age 16 was a source of wonder and awe that was somewhat beyond our comprehension as children.  We knew about it, nothing was hidden.
     It was on the colonial Australian family side of my mother's family that the long silence fell.

Those quiet heroes, kept very quiet, and that was probably no doubt to do with the trauma they had suffered in those terrible years.
     There was much that they did not want to talk about or remember, and that included the truth of my mother’s origin, and her own mother who had been eradicated from the records and official history. Yes, there was much else that got swept up into the waves and walls of silence that fell and formed the uneasy muffled backdrop of our colonial families’ lives.

Nobody talked about those things then, and that we, grandchildren, were not allowed to know. It would be many years until I would ever know about the real significance and identity of the mystery man my mother talked about as “Uncle Jack”, and that other family.

Uncle Jack and Grandfather were good friends. All the Anzacs who went through such hell as the trench warfare on the western front were mates for life, but as Sergeant and Adjutant of the 38th Battalion they had a bond of holding the line together.


Ruth Skilbeck.     
From notes for a novel in progress to be published by Postmistress Press.



The Daily Fugue: Three Grandfathers- Quiet Heroes of the Western Fr...: By Ruth Skilbeck      

Wednesday 23 April 2014

COMING SOON: AUSTRALIAN FUGUE: THE ANTIPODE ROOM by Ruth Skilbeck


Australian Fugue: The Antipode Room
by Ruth Skilbeck

Ruth Skilbeck's first novel is a fugue mystery. A crime story of lost and confused identity and desire of four very different characters whose voices interweave as action unfolds from the London highlife to  Coober Pedy in Australia's Simpson Desert area. The story is situated in the recent contemporary era of the turn of the 21st century and explores themes of the psychogenic fugue.

What is Ruby haunted by? What is the significance of the images and music of the young woman playing violin. Who she cannot forget or remember? In the eyes of London society, Countess Ruby Love has it all: a contemporary art gallery, house in Primrose Hill's Chalcot Square, a philosopher husband who adores her. What Ruby doesn't have is a Past. When she 'came around' on a London underground tube train she had forgotten who she was, her life, and had to slowly reinvent a new Self. when Ruby and Hugo journey to Australia to find new art for her gallery a surprise meeting with her forgotten love at the opening of an exhibition at a Sydney gallery brings the past back. The future that unfolds is more than Ruby could have imagined as the Unfinished Fugue of Margarita's violin comes uncannily back to life, leading to the chilling climax of the story.

The narrative style is polyphonic told through the voices of four disconnected lovers Ruby, Hugo, Raymond and Margarita, literary texts and medical excerpts on fugue, weaving a non realist fugal style.
Ruth Skilbeck believes fiction is able to reach a deeper truth and this novel is about the search for truth in times of dissociation.

Published by POSTMISTRESS PRESS 


The novel will be on sale soon, and information will be posted here.