Books like Stream System

I worked for the last 25 years teaching literature classes and creative writing workshops—most of that time at the University of California at Davis. The students in my classes were mainly English majors and/or young writers. They tended to be serious about the potential of a text. To be serious, today, in America, about the potential of a text is to dwell in an inherently counter-cultural position. It is to conceive of the value of a text as something surpassing entertainment, i.e., use. Such a surpassing is a blasphemous notion… still tolerated in the context of the University. Its proliferation beyond those boundaries seems unworkable.  

I worked for the last 25 years teaching literature classes and creative writing workshops—most of that time at the University of California at Davis. The students in my classes were mainly English majors and/or young writers. They tended to be serious about the potential of a text. To be serious, today, in America, about the potential of a text is to dwell in an inherently counter-cultural position. It is to conceive of the value of a text as something surpassing entertainment, i.e., use. Such a surpassing is a blasphemous notion… still tolerated in the context of the University. Its proliferation beyond those boundaries seems unworkable.  

I worked for the last 25 years teaching literature classes and creative writing workshops—most of that time at the University of California at Davis. The students in my classes were mainly English majors and/or young writers. They tended to be serious about the potential of a text. To be serious, today, in America, about the potential of a text is to dwell in an inherently counter-cultural position. It is to conceive of the value of a text as something surpassing entertainment, i.e., use. Such a surpassing is a blasphemous notion… still tolerated in the context of the University. Its proliferation beyond those boundaries seems unworkable.  

I worked for the last 25 years teaching literature classes and creative writing workshops—most of that time at the University of California at Davis. The students in my classes were mainly English majors and/or young writers. They tended to be serious about the potential of a text. To be serious, today, in America, about the potential of a text is to dwell in an inherently counter-cultural position. It is to conceive of the value of a text as something surpassing entertainment, i.e., use. Such a surpassing is a blasphemous notion… still tolerated in the context of the University. Its proliferation beyond those boundaries seems unworkable.  

I’ve always loved writing comedy, since my first attempt at a joke in the school magazine. I never thought I’d get to do it professionally but somehow, through cheek and luck, I found myself as a comedy scriptwriter for the BBC, penning lines for the likes of Lenny Henry and Tracey Ullman. I’ve since gone on to have a career writing more grown-up things but nothing gave me as much pleasure as creating those lines. So I’ve returned to my comedic roots, writing comic novels. And it’s still a thrill to know I’ve written words that make people laugh.

As a writer from Aotearoa New Zealand, I’ve always been interested in social justice and human rights, and my own writing explores such issues, including who holds the power and who exerts the control. By writing about real-world issues in a speculative future, it allows us to peel back the layers of conditioning and look at ourselves and our actions through the eyes of an outsider – which forces us to examine our best and worst human traits. I love the way speculative fiction can do this, and I love that it challenges us to do better.  

I'm a political historian who writes for my fellow citizens and I have chosen books by writers who do the same. Books which are written with passion and purpose: to shift political understanding, to speak truth to power, to help people understand their country and the world, and to inspire a commitment to improving them.

I am an art school dropout and recovering rock critic who, since 1981, has published a dozen books on Australian music and popular culture, plus worked extensively in television and as a freelance journalist. I'm too old to be called an enfant terrible, but with the way I still seem to be able to court controversy, I must remain some sort of loose cannon! Sydney’s Sun-Herald has called me "our best chronicler of Australian grass-roots culture," and that’s a tag I’m flattered by but which does get at what I’ve always been interested in. I consider myself a historian who finds resonances where most don’t even bother to look, in our own backyard, yesterday, and the fact that so much of my backlist including Inner City Sound, Highway to Hell, Buried Country, Golden Miles, History is Made at Night, and Stranded are still in print, I take as vindication I’m on the right track…

I’m an author, poet, and editor who works in natural history and social history publishing by day, explaining the unique flora and fauna, culture, and spirit of this ancient continent. By night, I moonlight as a fiction author, writing whatever takes my fancy. Seeing Australia and understanding Australia aren’t always the same thing in a country with unforgiving stony desert at its heart, more venomous creepy-crawlies than you can ‘poke a stick at’ (but please don’t!), the oldest living culture in the world, and a complex history. So, here are my recommendations for novels that travel deep into the Australian spirit.

I’m a singer/songwriter and I grew up in a rock’n’roll household. My family has always traded great books about music between us, memoirs, biographies, scientific studies, deep dives into subcultures, industry exposes – I love them all and find a good music book impossible to resist. I always get excited when I find books written by other obsessive music-loving kindred spirits––if I can feel the love I’m right in there with them. I especially love the behind-the-scenes stories and insights into the work and fascinations that helped forge an artist’s career.