DOCSLIB.ORG

Bloodbath a Memoir of Australian Television

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bloodbath a Memoir of Australian Television Bloodbath A Memoir of Australian Television Patricia Edgar EEdgar_06.indddgar_06.indd i 77/31/06/31/06 22:50:20:50:20 PMPM MELBOURNE UNIVERSITY PRESS An imprint of Melbourne University Publishing Limited 187 Grattan Street, Carlton, Victoria 3053, Australia [email protected] www.mup.com.au First published 2006 Text © Patricia Edgar 2006 Design and typography © Melbourne University Publishing Ltd 2006 This book is copyright. Apart from any use permitted under the Copyright Act 1968 and subsequent amendments, no part may be reproduced, stored in a retrieval system or transmitted by any means or process whatsoever without the prior written permission of the publishers. Every attempt has been made to locate the copyright holders for material quoted in this book. Any person or organisation that may have been overlooked or misattributed may contact the publisher. Picture credits: pp. 222–5, Patricia Edgar; p. 226, ACTF; p. 227 (top), John Lamb/Age; p. 227 (bottom), D. B. Simmonds/Sterio Stills/ACTF; p. 228, ACTF; p. 229 (top), Jeff Busby/ACTF; p. 229 (bottom), ACTF; p. 230, Patricia Edgar; p. 231, ACTF; p. 232 (top), ACTF; pp. 232 (bottom) and 233 (both), Greg Noakes/ACTF; p. 234, Patricia Edgar; p. 235 (top), ACTF; p. 235 (bottom), AFI; p. 236, Santo Amoddio/Patricia Edgar. Text design by Alice Graphics Typeset in Bembo by Egan Reid Ltd Printed in Australia by Griffi n Press National Library of Australia Cataloguing-in-Publication entry: Edgar, Patricia, 1937– . Bloodbath. Includes index. ISBN 978 0 522 85281 3. ISBN 0 522 85281 5. 1. Edgar, Patricia, 1937– . 2. Television—Australia—Biography. 3. Television and children— Australia. 4. Television programs for children—Australia. I. Title. 791.45092 This project has been assisted by the Australian Government through the Australian Council, its arts funding and advisory body. EEdgar_06.indddgar_06.indd iiii 77/31/06/31/06 22:50:20:50:20 PMPM To Don EEdgar_06.indddgar_06.indd iiiiii 77/31/06/31/06 22:50:20:50:20 PMPM EEdgar_06.indddgar_06.indd iivv 77/31/06/31/06 22:50:20:50:20 PMPM Contents Abbreviations viii Preface ix Acknowledgements xii Part I: Getting Started 1 Looking for Trouble 3 2 Getting into Television 31 3 Enter Bruce Gyngell 49 4 A Vision for Children’s Television 64 5 Showdown in Canberra 82 6 Towards a Children’s Television Foundation 95 7 Dirty Politics 109 8 Bad Blood 125 Part II: The Producer 9 Winners Indeed 153 10 Fraud and Recovery 177 11 Round the Twist 195 12 A Program for Life 237 13 From Dream to Reality 253 14 The ABC and Pay School 273 15 The Independent Producers 295 Part III: New Challenges 16 The Keating Years 311 17 Vulnerable People 337 18 A Partnership Unravels 362 EEdgar_06.indddgar_06.indd v 77/31/06/31/06 22:50:20:50:20 PMPM 19 Time to Go 377 20 Exit Left 394 Afterword: Children—The Miner’s Canaries 408 Appendix: ACTF Program Awards 420 Notes 431 Index 451 vi EEdgar_06.indddgar_06.indd vvii 77/31/06/31/06 22:50:20:50:20 PMPM ‘For the reformer has enemies in all those who profi t from the old order, and only luke warm defenders in all those who would profi t by the new order …’ —Niccolò Machiavelli1 EEdgar_06.indddgar_06.indd vviiii 77/31/06/31/06 22:50:20:50:20 PMPM Abbreviations AANA Australian Association of National Advertisers ABA Australian Broadcasting Authority ABCB Australian Broadcasting Control Board ABT Australian Broadcasting Tribunal ACCFT Australian Council for Children’s Films and Television ACTAC Australian Children’s Television Action Committee ACTF Australian Children’s Television Foundation AEC Australian Education Council AFC Australian Film Commission AFI Australian Film Institute CPC Children’s Program Committee CTW Children’s Television Workshop (United States) FACTS Federation of Australian Commercial Television Stations FARB Federation of Australian Radio Broadcasters FCC Federal Communications Commission (United States) FFC Film Finance Corporation Australia PBAA Public Broadcasting Association of Australia SACCFT South Australian Council for Children’s Films and Television SAFC South Australian Film Corporation SPAA Screen Producers Association of Australia VCCFT Victorian Children’s Council for Film and Television viii EEdgar_06.indddgar_06.indd vviiiiii 77/31/06/31/06 22:50:20:50:20 PMPM Preface his is a personal memoir about my role in Australian television: a career that spanned thirty years, in an industry that is savage T when its commercial interests are challenged. I began in an era when women found it diffi cult to have a say in educational institu- tions, government and the media without being ridiculed. Yet it was also a time when it was possible to implement social change, when politicians and leaders would respond to ideas for social change and I believed I could help build a better future. My roles in the develop- ment of television policy, regulation and children’s production were part of a broad movement aimed at developing Australian culture— its fi lm, literature and arts generally—to showcase our country, its people and its place in the world. The success of Australian content policy—despite strong and vitriolic opposition—led to the building of an Australian fi lm and television production industry of world standing. This year 2006 marks fi fty years of broadcast TV in Australia. Bruce Gyngell, the presenter who welcomed Australians to television in Channel 9’s inaugural broadcast, played a pivotal role in my life. As chairman of the Australian Broadcasting Tribunal (ABT), he gave me an opportunity that opened up ideas, friendships and possibilities that fuelled me for the next twenty-fi ve years. I once promised Bruce, in the midst of yet another controversial moment in his own career, ix EEdgar_06.indddgar_06.indd iixx 77/31/06/31/06 22:50:21:50:21 PMPM x Preface that I would one day write the history of children’s programming in Australia. But the main reason this book was written was the persistent and gentle persuasion by my husband Don Edgar. I was full of reasons why not: it would take too much time; I didn’t want to revisit painful periods in my life; and didn’t want any self-justifi cation for events that were contentious. There were practical problems: I am a hoarder of papers, and they would need to be sifted and put in order; I couldn’t write with psoriatic arthritis in my hands. And so it went until we decided to clean out the accumulation of forty-fi ve years of our working lives. I rediscovered many boxes of fi les in the roof of our home, including fi ve years of papers covering all the meetings of the Children’s Program Committee (CPC) of the ABT held in Gyngell’s time there. The tribunal had gone, along with offi cial records; my papers were the only surviving record. As I began to read details I had long forgotten, I was surprised by the pas- sion and confl ict that emerged from the pages. I relived the struggle to establish offi cial Standards that would promote quality Australian con tent and children’s television programming. It was my experience as chairman of the CPC that led me to the most signifi cant role of my career, as founding director of the Aus tral ian Children’s Television Foundation (ACTF). Reading through my papers I started to think of reasons to write the whole story down. I remembered my promise to Bruce Gyngell. And I refl ected that the quality of Australian children’s television is now taken for granted. Those who had had to fi ght for it and knew the history were dead or growing older and no longer in the public eye. I wanted to pay tribute to the creative pioneers of the industry who were very close to me and are no longer with us—Frank Meaney, Garth Boomer and John Morris, in particular. As often in my life, I was also provoked: this time by gossip about events in my career that was misleading and inaccurate. I started writing and I didn’t stop. The more I wrote the more I saw the point of writing. That I was at the centre of controversial events over a thirty-year history of the development of Australian television gave me a rough ride but it was an extraordinary adventure. Don was right: it is a story worth relating about an experiment that was unique in television history, and it has not been documented before. EEdgar_06.indddgar_06.indd x 77/31/06/31/06 22:50:21:50:21 PMPM Preface xi Although this book is written in large part about children and pro- gramming, it is also a story about the broader world of television in Australia and globally. EEdgar_06.indddgar_06.indd xxii 77/31/06/31/06 22:50:21:50:21 PMPM Acknowledgements hen a book concerns a life that spans seventy years, there are innumerable debts of gratitude. I hope that within the W pages of this book I have adequately expressed my sense of gratitude and obligation to friends, allies, colleagues and supporters for their support and affection. The major contributors to my life have been my family: my parents Reg and Eva Etherington, my husband Don, my daughters Sue and Lesley and my grandchildren Adrian, Luke, Emily and Ace. Their sustaining support has given my life purpose. My son-in-law Greg Buck took charge of my technical needs and traumas, installed voice software and taught me what I needed to know with great patience and tact.
Load more

Recommended publications
  • Mr Phillip Andrew Adams AO
    Mr Phillip Andrew Adams AO The honorary degree of Doctor of Letters was conferred upon Phillip Adams by the Chancellor the Hon Justice Kim Santow at the Faculty of Arts graduation ceremony at 4.00pm on 6 May 2005. Citation Chancellor, I have the honour to present Phillip Andrew Adams, AO for admission to the degree of Doctor of Letters (honoris causa). Phillip Adams is arguably Australia’s number one public intellectual. He has made pivotal contributions to Australia’s identity across film, broadcasting and print media. Phillip Adams’ creative vision paved the way to a vibrant national film industry. Helping to create the Australia Council, Phillip established Australia’s National Film School. He established the South Australian Film Corporation, which became the model for subsequent film commissions in other states. As Chair of the Australian Film Commission, Phillip signed Australia’s first co-production agreements with France and the United Kingdom and persuaded then Treasurer Paul Keating to establish the Australian Film Finance Corporation. Phillip is recognised in his own right for his films and has, amongst many AFI awards, won two ‘Best Films’. Phillip devised the immensely successful Life, Be In It campaign which effected a paradigm shift in Australian society. His campaign for the United Nations’ International Year of the Disabled Person won the Golden Lion at the Cannes Festival in 1982. As a public commentator and broadcaster, Phillip Adams is one of the major facilitators of debate in this country. In this role, he continues to influence the thinking, the welfare and culture of our society.
    [Show full text]
  • Which Political Parties Are Standing up for Animals?
    Which political parties are standing up for animals? Has a formal animal Supports Independent Supports end to welfare policy? Office of Animal Welfare? live export? Australian Labor Party (ALP) YES YES1 NO Coalition (Liberal Party & National Party) NO2 NO NO The Australian Greens YES YES YES Animal Justice Party (AJP) YES YES YES Australian Sex Party YES YES YES Pirate Party Australia YES YES NO3 Derryn Hinch’s Justice Party YES No policy YES Sustainable Australia YES No policy YES Australian Democrats YES No policy No policy 1Labor recently announced it would establish an Independent Office of Animal Welfare if elected, however its structure is still unclear. Benefits for animals would depend on how the policy was executed and whether the Office is independent of the Department of Agriculture in its operations and decision-making.. Nick Xenophon Team (NXT) NO No policy NO4 2The Coalition has no formal animal welfare policy, but since first publication of this table they have announced a plan to ban the sale of new cosmetics tested on animals. Australian Independents Party NO No policy No policy 3Pirate Party Australia policy is to “Enact a package of reforms to transform and improve the live exports industry”, including “Provid[ing] assistance for willing live animal exporters to shift to chilled/frozen meat exports.” Family First NO5 No policy No policy 4Nick Xenophon Team’s policy on live export is ‘It is important that strict controls are placed on live animal exports to ensure animals are treated in accordance with Australian animal welfare standards. However, our preference is to have Democratic Labour Party (DLP) NO No policy No policy Australian processing and the exporting of chilled meat.’ 5Family First’s Senator Bob Day’s position policy on ‘Animal Protection’ supports Senator Chris Back’s Federal ‘ag-gag’ Bill, which could result in fines or imprisonment for animal advocates who publish in-depth evidence of animal cruelty The WikiLeaks Party NO No policy No policy from factory farms.
    [Show full text]
  • 23. Explaining the Results
    23. Explaining the Results Antony Green Labor came to office in 2007 with its strongest hold on government in the nation’s history—it was, for the first time, in office nationally and in every state and territory. Six years later Labor left national office with its lowest first preference vote in a century. For only the third time since the First World War, a governing party failed to win a third term in office. From a clean sweep of governments in 2007, by mid-2014 Labor’s last bastions were minority governments in South Australia and the Australian Capital Territory.1 Based on the national two-party-preferred vote, Labor’s 2013 result was less disastrous than previous post-war lows in 1966, 1975, 1977 and 1996. Labor also bettered those four elections on the proportion of House seats won. The two-party-preferred swing of 3.6 percentage points was also small for a change of government election, equal to the swing that defeated the Fraser Government in 1983 but smaller than those suffered by Whitlam in 1975, Keating in 1996 and Howard in 2007. Even over two elections from 2007 to 2013, the two-party- preferred swing of 6.2 percentage points was below that suffered by Labor previously over two elections (1961–66 and 1972–75), and smaller than the swing against the Coalition between 1977 and 1983. By the measure of first preference vote share, the 2013 election was a dreadful result for Labor, its lowest vote share since 1904.2 Labor’s vote share slid from 43.4 per cent in 2007 to 38.0 per cent in 2010 and 33.4 per cent in 2013.
    [Show full text]
  • Sparring Partners
    12 PROFILE HOLLIE ADAMS SPARRING PARTNERS Bruce Beresford don’t get made to the ones that do is enormous.’’ Decades after their freshly and Sue Because of this dispiriting reality, she says Milliken at “there was a point where I thought, ‘What am I published letters, Bruce Beresford’s doing in this business? I would try prostitution, home, above, but I am too old.’ ” She quickly adds, “I’m not re- Beresford and Sue Milliken and on the set ally serious …’’ in younger “Oh, what?’’ cuts in Beresford, feigning sur- still bicker, but it usually days, left prise that his colleague has never resorted to sex work. Cue more laughter. Dressed in a brown, ends in laughter, writes tweedy suit and scarlet socks, the director — who admits (but only reluctantly) to being 75 — Rosemary Neill is a natural comedian and storyteller. He re- cently saw himself being interviewed on tele- vision and “I thought, ‘Who is that old guy who bears a faint resemblance to me?’ ’’ m I boring you?’’ Sue Milliken Milliken, 76, is a former chairwoman of the interrupts herself, mid-sen- Australian Film Commission and her producing tence, to admonish her friend credits range from the Vietnam film The Odd and long-time collaborator Angry Shot to the 2014 documentary The Red- Bruce Beresford. ‘’Yes,’’ Beres- fern Story. Like Beresford, she is as sharp as a ‘Aford replies impassively as he casually flips tack (and gives as good as she gets). She has a through a pile of CDs on his living room coffee whippet-thin, agile frame — despite her ad- table.
    [Show full text]
  • Australian Radio Series
    Radio Series Collection Guide1 Australian Radio Series 1930s to 1970s A guide to ScreenSound Australia’s holdings 1 Radio Series Collection Guide2 Copyright 1998 National Film and Sound Archive All rights reserved. No reproduction without permission. First published 1998 ScreenSound Australia McCoy Circuit, Acton ACT 2600 GPO Box 2002, Canberra ACT 2601 Phone (02) 6248 2000 Fax (02) 6248 2165 E-mail: [email protected] World Wide Web: http://www.screensound.gov.au ISSN: Cover design by MA@D Communication 2 Radio Series Collection Guide3 Contents Foreword i Introduction iii How to use this guide iv How to access collection material vi Radio Series listing 1 - Reference sources Index 3 Radio Series Collection Guide4 Foreword By Richard Lane* Radio serials in Australia date back to the 1930s, when Fred and Maggie Everybody, Coronets of England, The March of Time and the inimitable Yes, What? featured on wireless sets across the nation. Many of Australia’s greatest radio serials were produced during the 1940s. Among those listed in this guide are the Sunday night one-hour plays - The Lux Radio Theatre and The Macquarie Radio Theatre (becoming the Caltex Theatre after 1947); the many Jack Davey Shows, and The Bob Dyer Show; the Colgate Palmolive variety extravaganzas, headed by Calling the Stars, The Youth Show and McCackie Mansion, which starred the outrageously funny Mo (Roy Rene). Fine drama programs produced in Sydney in the 1940s included The Library of the Air and Max Afford's serial Hagen's Circus. Among the comedy programs listed from this decade are the George Wallace Shows, and Mrs 'Obbs with its hilariously garbled language.
    [Show full text]
  • Marie Collier: a Life
    Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
    [Show full text]
  • AUGUST 1990 • $4.50 ~ : ■ V;R
    J i,1 M iob . sneer journalism - whingeing at women’s success 180 JEW ZEALAND’S FEMIBgT MAGAZINE NINETEENTH YEAR PUBLICATION AUGUST 1990 • $4.50 ~ : ■ v;r-. - •. A JBRARY - AUCKLAND COLLEGE OF EDUCATI 3 AUG 1990 n c a is a r.e killing, u s pesticide plague v ■ ^ 1 1n L.' i kiwi chi • new / . • •* Now you can have your cake and eat it too! So we can all celebrate BROADSHEETs eighteen years of publishing, we have a gift for you: Subscribe to Boradsheet for one year before the end of September and we’ll give you the previous six issues of 1990. Arts Beach Culture Ngahuia Te Awekotuku Motherhood Re-Designing Women Shutting Out Students Housework the Feminine Lesbian Ethics Kaitiaki O Manukau Pain the Treaty Caesarians ManaTiriti Sabbage Blows Farming Feminist Political Spirits and much more ! That‘s 6 issues of BROADSHEETS gutsy journalism for the same price for 10! Post the coupon now and we can all enjoy “Many Happy Returns”. YES ! Please list me as a subscriber and send me six previous 1990 issues of BROADSHEET free. Name Address 1 yr $50 □ 2 yr $95 □ 3yr$140 □ visa □ bankcard □ cheque □ card No. □ □ □ □ □ □ □ □ □ □ □ □ □ □ □ □ expiry date DD In NZ FREEPOST NO 12 SY ST. BROADSHEET PO Box 56 147 AK 3. MAJOR rcEW TfTIFS ANY WOMAN’S BLUES Erica Jong $39.95 rrp In the seventies Erica Jong taught women how to fly... now she shows them howto land. A timely and audacious novel by a remarkable writer. ANY WOMAN'S BLUES will speak to every woman of the I990s.
    [Show full text]
  • Legislative Assembly
    New South Wales Legislative Assembly PARLIAMENTARY DEBATES (HANSARD) Fifty-Sixth Parliament First Session Wednesday, 24 August 2016 Authorised by the Parliament of New South Wales TABLE OF CONTENTS Motions ...................................................................................................................................................... 1 Centenary of Anzac................................................................................................................................ 1 Bills ............................................................................................................................................................ 3 Scrap Metal Industry Bill 2016 .............................................................................................................. 3 First Reading ...................................................................................................................................... 3 Second Reading ................................................................................................................................. 3 Rural Fires Amendment (Fire Trails) Bill 2016 .................................................................................... 5 Second Reading ................................................................................................................................. 5 Members .................................................................................................................................................. 11 Legislative
    [Show full text]
  • RVN2: the Riverina's Own Television Service
    The Riverina’s Own Television Service CSU Regional Archives Summer Research Project By Maikha Ly 2008/09 RVN2 – Riverina’s Own Television: By Maikha Ly Page 1 of 27 Contents Introduction Page 3 Formation of Television in Australia Page 4 Formation of Television in the Riverina Page 4 Opening Night Page 6 RVN‐2 in the Community Page 8 Television’s Impact Page 10 RVN‐2/AMV‐4 Merger Page 11 Paul Ramsay and The Prime Network Page 13 Aggregation Looms Page 15 Changes for the future Page 17 RVN‐2 Today Page 18 Appendixes Page 19 RVN2 – Riverina’s Own Television: By Maikha Ly Page 2 of 27 Introduction RVN‐2 was established in 1964 as Wagga Wagga’s dedicated local Television Station, providing a television service to the people of the Riverina and South‐ West Slopes area of New South Wales, both in the production of local television programs such as the news service, and the broadcasting of purchased television programs seen to Metropolitan Audiences. RVN‐2 refers to the broadcast license call sign of the station, “2” being the channel number of the frequency. However, RVN‐2 was also the name and reference attributed to the station and the channel for many decades amongst viewers, and up to today, those who experienced RVN‐2 sometimes still refer to the channel as that. RVN‐2 was more than just a television service. Its identity on air and its Kooringal Studio facility became local institutions equivalent to that of a landmark. The station was a major local industry, at one time employing 150 local people in various roles from production to technical to clerical, as well as providing an introduction and training ground for young television employees.
    [Show full text]
  • 65 Watching Television in Australia: a Story of Innocence and Experience
    Watching Television in Australia: A Story of Innocence and Experience Susan Bye School of Communication, Arts and Critical Enquiry La Trobe University Abstract The excitement and naiveté of early viewers have become central to narratives of the Australian viewing past. These stories are of simpler times when the pleasure of watching television was unmediated by modern self-consciousness and cynicism. This popular way of ‘remembering’ television seems both natural and inevitable, but its role as a discursive strategy is highlighted by the alacrity with which TV columnists sought to bestow a sense of experience on fledgling Sydney viewers. In this paper, I focus on the way that the regular TV column worked to stitch readers into the daily business of television. Moreover, from the beginning of regular broadcasting, TV columnists challenged the idea that watching television was an identity- subsuming process and invited their readers to assume an active connection with television and its culture. Keywords: Audiences, Australian Television, Everyday Life, TV Columns Introduction The construction of television viewing history as progressive or developmental is not peculiar to the Australian context but, in the Australian situation, the popular association of early television with the fifties has allowed it and its audience to be collapsed into the ‘fifties story’. Imagined simultaneously as a time of innocence and a period of narrow-mindedness, the dominant narrative of Australia in the fifties involves a perception of a simple and insular people readily committing to family life in the suburbs (White 1983). This monochromatic understanding of suburban life in fifties Australia has effortlessly intersected with a similarly tidy conception of the relationship of early TV viewers to the new technology of television.
    [Show full text]
  • Stories, Reviews, Poems, Articles
    a quarterly review price one dollar registered at gpo perth for transmission by post as a periodical - Category '8' STORIES, POEMS, REVIEWS, ARTICLES westerly a quarterly review• EDITORS: Bruce Bennett and Peter Cowan EDITORIAL COMMI'ITEE: Bruce Bennett, Peter Cowan, Patrick Hutchings, Leonard Jolley, Margot Luke Westerly is published quarterly by the English Department, University of Western Australia, with assistance from the Literature Board of the Australia Council. The opinions expressed in Westerly are those of individual contributors and not of any member of the above Committee. Correspondence should be addressed to the Editorial Committee, Westerly, Department of English, University of Western Australia, Nedlands, Western Australia 6009 (telephone 80 3838). Unsolicited manuscripts not accompanied by a stamped self-addressed envelope will not be returned. All manuscripts must show the name and address of the sender and should he typed (double-spaced) on one side of the paper only. Whilst every care is taken of manu­ scripts, the Editorial Committee can take no final responsibility for their return; contributors are consequently urged to retain copies of all work submitted. Minimum rates for contributions -poems $7.00; prose pieces $7.00; reviews, articles $15.00; short stories $30.00. It is stressed that these are minimum rates, based on the fact that very brief contributions in any field are acceptable. In practice the Committee aims to pay more, and will discuss payment where required. Subscriptions: $4.00 per annum, plus postage (Australasia 80c per annum, Overseas $1.60 per annum); $7.00 for 2 years (postage Australasia $1.60, Overseas $3.20).
    [Show full text]
  • Read Readings Monthly, March 2019 Here
    FREE MARCH 2019 BOOKS MUSIC FILM EVENTS THE GLOAMING page 22 KILLING EVE MARK BRANDI ALICE JUDITH BRETT DERVLA page 21 page 7 ROBINSON page 11 MCTIERNAN page 7 page 15 CARLTON 309 LYGON ST 9347 6633 KIDS 315 LYGON ST 9341 7730 DONCASTER WESTFIELD DONCASTER, 619 DONCASTER RD 9810 0891 HAWTHORN 701 GLENFERRIE RD 9819 1917 MALVERN 185 GLENFERRIE RD 9509 1952 ST KILDA 112 ACLAND ST 9525 3852 STATE LIBRARY VICTORIA 285-321 RUSSELL ST 8664 7540 | SEE SHOP OPENING HOURS, BROWSE AND BUY ONLINE AT READINGS.COM.AU NEWS March 2019 READINGS MONTHLY 3 book in the range (of equal or lesser value) for free! The range includes titles from Ali Smith, March Tim Winton, Elizabeth Strout, William Boyd Writers on and Ottessa Moshfegh among others. This offer is exclusively available in all Readings News shops except Readings Kids until 31 March 50 years of Readings on stickered, in-stock items only, while stocks last. This offer is not available online. The Readings Children’s Book Prize shortlist This year marks Readings’ 50th birthday. To We’re delighted to announce the shortlist 3 for $10 Little Golden Books for The Readings Children’s Book Prize Throughout March, we have a special offer celebrate, we asked some of our favourite authors 2019. The shortlisted titles are Elementals: on a select range of Little Golden Books. You Ice Wolves (Book 1) by Amie Kaufman, can buy three Little Golden Books for just $10! to reflect on what Readings has meant to them. The Orchard Underground (Book 1) by Mat The range includes classic favourites such as Larkin, Real Pigeons Fight Crime (Book 1) by The Little Red Hen, The Poky Little Puppy, The Andrew McDonald with illustrations by Ben Saggy Baggy Elephant, The Tawny Scrawny Wood, Black Cockatoo by Carl Merrison Lion and The Shy Little Kitten.
    [Show full text]