WEBVTT - Conversations with Cornesy - Hannah Kent

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<v Speaker 1>Get over and welcome to conversations.

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<v Speaker 2>Now.

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<v Speaker 1>Look, if you need any proof that I was a

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<v Speaker 1>cultural ignoramus, it is the fact that I had no

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<v Speaker 1>knowledge of today's guest and the work that she's done,

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<v Speaker 1>and how famous she's now become. Hannah Kent is a

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<v Speaker 1>South Australian lady who's written a couple of amazing books,

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<v Speaker 1>and she's just I was reading a review in the

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<v Speaker 1>Week in Australian and a couple of weeks ago, and

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<v Speaker 1>I told the story of this rotary exchange student her

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<v Speaker 1>lands in rageavic and Iceland. Can imagine in the middle

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<v Speaker 1>of the night that's permanently dark at that time of

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<v Speaker 1>the yearn in the middle of winter, and there's no

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<v Speaker 1>one there to meet. How does she negotiate that? Well,

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<v Speaker 1>it's all written in her book, Always Home, Always Homesick,

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<v Speaker 1>a memoir by Hannah Kent. Hannah, welcome to the program.

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<v Speaker 2>Thanks for coming so much for having me. It's a joy.

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<v Speaker 1>I couldn't imagine what it's like this Well, I think

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<v Speaker 1>a little girl at seventeen. I don't think that's an

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<v Speaker 1>insulting description of her.

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<v Speaker 2>No, I'll take it now, at the wise old age

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<v Speaker 2>of forty. Yeah, it was definitely very young, though at

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<v Speaker 2>the time I probably thought that was very grown up.

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<v Speaker 1>So your lob in Rashevi in the didn't I say

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<v Speaker 1>it correctly?

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<v Speaker 2>Reykovic very close.

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<v Speaker 1>Well you can now speak Icelandic.

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<v Speaker 2>I can. Yeah, it took me a little while.

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<v Speaker 1>I just keep thinking of that sweetish ship on the chef,

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<v Speaker 1>on the muffet. It must have been a difficult language

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<v Speaker 1>to pick up.

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<v Speaker 2>Oh that's what it sounded like, suddenly to my years.

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<v Speaker 2>When I first arrived, I remember I had this extraordinary

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<v Speaker 2>experience of when I did laugh finally land in Keflabic Airport,

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<v Speaker 2>which is about forty five minutes outside of the capital Reykuvic.

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<v Speaker 2>It was about midnight, you know, it was dark, as

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<v Speaker 2>you say, and when no one came to get me,

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<v Speaker 2>I thought, well, I better do something about it. And

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<v Speaker 2>someone very kindly gave me some coins and pointed me

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<v Speaker 2>to a payphone because I had one phone number of

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<v Speaker 2>one contact in Iceland. And I remember I went over

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<v Speaker 2>there and I put the coins in and I dialed

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<v Speaker 2>the number and this woman picks up and she has

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<v Speaker 2>this beautiful, melodious voice. But I couldn't understand nothing. I

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<v Speaker 2>could and even tell the words apart from one another,

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<v Speaker 2>and I'm sort of trying to interrupt her and say,

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<v Speaker 2>you know, I'm sorry, do you speak English. I'm Hannah,

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<v Speaker 2>I'm the exchange student, and she that she hangs up

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<v Speaker 2>with me, and then so I called the number again

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<v Speaker 2>and that I hear the woman and I realize, of

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<v Speaker 2>course that it's not anyone at all. It's just the

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<v Speaker 2>Icelandic equivalent of your fault, your coal can not be connected.

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<v Speaker 2>So yeah, that was probably the first time I ever

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<v Speaker 2>heard Icelandic. It wasn't necessarily an auspicious beginning.

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<v Speaker 1>So you loved it. And I know it's because I've

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<v Speaker 1>read but our listeners. Why the airport's closing. It's getting

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<v Speaker 1>close to midnight. The airport's closing. You're an hour or

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<v Speaker 1>forty five minutes away from the capital city. You don't

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<v Speaker 1>know the airport's cleared, everyone's gone. What's going through your mind?

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<v Speaker 1>How are you feeling?

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<v Speaker 2>I probably, you know, I was a very optimistic young woman,

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<v Speaker 2>and I probably allowed about an hour before I really thought, oh, yeah,

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<v Speaker 2>I think I've been forgotten because by that stage, as

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<v Speaker 2>you say, there were no more flights coming in, and

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<v Speaker 2>there was no one else there, and after I called

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<v Speaker 2>that number, I didn't really have anything else I could do.

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<v Speaker 2>I mean, this is two thousand and three January two

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<v Speaker 2>thousand and three. When I arrived, I knew nothing about Iceland.

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<v Speaker 2>It was this It's a country now that I know

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<v Speaker 2>many people have traveled to, and it seems to have

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<v Speaker 2>a cultural prominence, you know, whether it's the music or

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<v Speaker 2>the writers. People know about Iceland, But back then I

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<v Speaker 2>really didn't. All I had to arm myself for this

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<v Speaker 2>exchange was Burke CDs. I had listened to two Berk

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<v Speaker 2>CDs and my aunt had also very kindly torn out

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<v Speaker 2>six pages of a Gourmet Traveler, which was all about

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<v Speaker 2>icelandic cod and this is what I had, you know,

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<v Speaker 2>So I didn't. I didn't know what to do. I couldn't.

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<v Speaker 2>I didn't even know what the country looked like. I

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<v Speaker 2>remember peering outside of those airport you know, windows, sliding doors,

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<v Speaker 2>and seeing nothing. The darkness was so absolute, permanent darkness.

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<v Speaker 2>Te yeah, well they in around that time, they have

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<v Speaker 2>about three or four hours of I wouldn't necessarily describe

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<v Speaker 2>it even as daylight, but sort of as a blue gloaming.

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<v Speaker 2>But at this time midnight it was pitch black, and

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<v Speaker 2>so I just sort of sat there in the airport, thinking, oh, right, well,

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<v Speaker 2>something will happen. They'll either eventually remember and come and

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<v Speaker 2>get me, or you know, I'll just keep waiting here

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<v Speaker 2>till morning. There was nothing else I could do. I

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<v Speaker 2>didn't have a mobile, And eventually I do see this

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<v Speaker 2>woman coming over to me, and I'm thinking, finally someone's here.

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<v Speaker 2>She comes up, but she's not she's not smiling, and

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<v Speaker 2>I'm thinking, oh, no, what have I done? And she

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<v Speaker 2>comes up and she speaks to me in Icelandic and

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<v Speaker 2>I apologize again, you know, for together the talathu enscrew.

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<v Speaker 2>You know, do you speak English? Which was the only

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<v Speaker 2>line I knew, And then she says, oh, you can't

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<v Speaker 2>stay here. The airport is closing. And I had no idea.

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<v Speaker 2>I'm like, oh, sorry, should I go wait outside, you know,

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<v Speaker 2>pointing to where I can see just these mountains of

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<v Speaker 2>snow and she looks at me like I'm crazy. He says, no,

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<v Speaker 2>don't go outside's crazy? Uh do you have someone that

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<v Speaker 2>I can call for you? And I was like, oh, yes,

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<v Speaker 2>I have this number, and I gave it to her

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<v Speaker 2>and she dialed it and she said, no, you're no

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<v Speaker 2>this number isn't working, and then she said, look, you

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<v Speaker 2>can't stay here to do that. Really well, oh, I've

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<v Speaker 2>listened to a lot of and she says she points

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<v Speaker 2>outside and there's a bus with someone just finally getting on,

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<v Speaker 2>and she says, look, this bus is going to Rekkuvic.

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<v Speaker 2>You just have to get on it and I'll see

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<v Speaker 2>if I can find someone to come and get to,

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<v Speaker 2>you know, security guard, no idea who I was. So

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<v Speaker 2>I'm like, oh, but I don't have a ticket, and

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<v Speaker 2>where does it go? And she's like, just get on

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<v Speaker 2>the bus. It's going now. So I start making a

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<v Speaker 2>run for it because I can see that the bus

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<v Speaker 2>is closing, and you know, I get outside, it's freezing cold,

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<v Speaker 2>and I'm just slapping my hand against the side of

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<v Speaker 2>the bus which has started to pull away. Eventually it stops,

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<v Speaker 2>it lets me on and I get on, and then

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<v Speaker 2>for forty five minutes I'm taken through this just more

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<v Speaker 2>darkness until eventually we get some street lights and I

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<v Speaker 2>see this quiet capital city of Reikuvik, And eventually we

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<v Speaker 2>put up at the last stop and I'm the last

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<v Speaker 2>person on the bus and the driver says, you know,

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<v Speaker 2>you have to get out and so I do this

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<v Speaker 2>empty parking lot and then I see a man in

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<v Speaker 2>a dressing gown waiting for me. That's going to this

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<v Speaker 2>Land's Welcome to Iceland, Hannah, and I was sort of

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<v Speaker 2>wide eyed, and he comes up and he says, oh, sorry,

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<v Speaker 2>I thought you were coming next week. I just completely

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<v Speaker 2>forgot here. So that was my first taste of Iceland.

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<v Speaker 1>Okay, we'll come back to that, because I was intrigued

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<v Speaker 1>by your first host family. Why did you pick Iceland?

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<v Speaker 1>I know you explained it in the book, but people

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<v Speaker 1>will say, why would you pick as an exchange student?

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<v Speaker 1>You could probably pick France or Italy or the USA

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<v Speaker 1>and some places like even Canada, even though it was cold.

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<v Speaker 1>Why Iceland?

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<v Speaker 2>You know what? I didn't pick it. It was I

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<v Speaker 2>went on in a rotary exchange student. I was in

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<v Speaker 2>year twelve, so I would have been sixteen years old,

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<v Speaker 2>and I remember sitting in assembly and the counselors running

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<v Speaker 2>through community notices and then she sort of says, oh,

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<v Speaker 2>the local rotary club is accepting applicants for their twelve

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<v Speaker 2>month exchange program. And at the time, you know, I

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<v Speaker 2>was someone who had always loved writing and always loved

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<v Speaker 2>the arts. But being in year twelve, I had felt,

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<v Speaker 2>you know, really strong pressure to choose a career or

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<v Speaker 2>a vocation that would be stable, that I would be

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<v Speaker 2>set to for life. I didn't know who I was.

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<v Speaker 2>I didn't really know what I wanted to do. And

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<v Speaker 2>as soon as she said that, I thought, oh, that's

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<v Speaker 2>twelve months grace then to make those decisions. I wasn't

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<v Speaker 2>even thinking of where I would go. I came home,

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<v Speaker 2>I told my parents, I'm going overseas for twelve months

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<v Speaker 2>next year. That's what I'm going to do. I'm going

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<v Speaker 2>to take a gap year. They're sort of looking at

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<v Speaker 2>one another and there's a bit of upbeat and then they,

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<v Speaker 2>you know, coming straight with their support. I have an

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<v Speaker 2>amazing family. But all through the application process, I had

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<v Speaker 2>no idea. I hadn't really thought about where it was

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<v Speaker 2>that I would like to go until I had to

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<v Speaker 2>fill out a form where we were all applicants were

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<v Speaker 2>asked to nominate I think about five countries to be

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<v Speaker 2>considered for, but ultimately it said, this is a courtesy,

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<v Speaker 2>we're going to interview you, we're going to match you

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<v Speaker 2>up with the place. And so I think at that

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<v Speaker 2>stage I thought, well, where do I want to go.

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<v Speaker 2>What do I want to see? And I'd never seen

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<v Speaker 2>snow before, you know, grew up in the Adelaide Hills

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<v Speaker 2>and beautiful Paramount country snows. I remember one time in

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<v Speaker 2>the year ten it snowed and then immediately melted and

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<v Speaker 2>everyone went completely bananas. But no, I just thought that

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<v Speaker 2>that would be pretty extraordinary to go somewhere completely different.

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<v Speaker 2>And so I think I did list, you know, Canada, Norway, Sweden,

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<v Speaker 2>and I hope the committee would get the gist. But

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<v Speaker 2>it wasn't until I was in my final interview where

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<v Speaker 2>they were asking us questions such as, how would you

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<v Speaker 2>feel if you know you encountered this or that problem

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<v Speaker 2>or challenge, And I was asked how I would how

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<v Speaker 2>I would respond if I were sent somewhere where it

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<v Speaker 2>was dark, you know a great deal of time in

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<v Speaker 2>the winter, and I was so enthusiastic. Without thinking, I

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<v Speaker 2>just said, oh, that would be amazing. I would love

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<v Speaker 2>to experience that. And I remember the rotarian picking up

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<v Speaker 2>his pencil and sort of doing a big cross next

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<v Speaker 2>to my name, and that's I'm pretty sure that's why

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<v Speaker 2>I ended up being the only person sent to Iceland

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<v Speaker 2>that year.

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<v Speaker 1>Tell us about the early years. It seemed to me

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<v Speaker 1>you were a childhood comfort or solace escape in books

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<v Speaker 1>from an early age. I did, I did about your

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<v Speaker 1>mum was a teacher.

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<v Speaker 2>Yeah, my mum was a primary school principal, and I

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<v Speaker 2>think she saw very early on that words and stories

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<v Speaker 2>were something that made sense to me. I was very

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<v Speaker 2>shy child. I was very softly spoken, often didn't speak.

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<v Speaker 2>I was quite solitary too, not in a way, not

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<v Speaker 2>to say that I was lonely, because I don't remember

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<v Speaker 2>ever really feeling lonely as a kid, but I was

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<v Speaker 2>just that little, shy, daydreaming child. And I think as

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<v Speaker 2>I taught myself to read quite early on, probably because

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<v Speaker 2>my parents read to me very early on, and I

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<v Speaker 2>quickly made the correlation between those symbols on the page

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<v Speaker 2>and the words that were being spoken, and words then

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<v Speaker 2>became a means by which I could make sense of

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<v Speaker 2>the world around me. It was something that felt magical

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<v Speaker 2>to me. As soon as I started reading, and I

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<v Speaker 2>could read to myself silently in my head, I realized

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<v Speaker 2>that I never really saw the words on the page.

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<v Speaker 2>I just saw, you know, like movies in my mind,

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<v Speaker 2>and I could completely leave whatever situation I was in

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<v Speaker 2>or whatever emotional state I was in, and be someone else.

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<v Speaker 2>I could go to the other side of the world.

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<v Speaker 2>I could time travel. This was by five. I remember

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<v Speaker 2>being I remember having this feeling. I remember being in

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<v Speaker 2>reception and having this response to books. It was quite

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<v Speaker 2>it was quite early on, and I remember my frustration

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<v Speaker 2>then at school when I had to sort of dutifully

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<v Speaker 2>chant aloud the big books with my teacher and just

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<v Speaker 2>the excruciating weight before she turned the page. I remember

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<v Speaker 2>that very clearly. But yeah, very soon after that, probably

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<v Speaker 2>around the age six, my parents tell me that I

0:10:21.880 --> 0:10:23.760
<v Speaker 2>announced that I wanted to be a writer, and I

0:10:23.800 --> 0:10:26.520
<v Speaker 2>think that's because I worked out that this magical thing,

0:10:26.640 --> 0:10:29.280
<v Speaker 2>you know, these magical objects were actually made by people,

0:10:29.600 --> 0:10:31.160
<v Speaker 2>and I thought I want to be able to wield

0:10:31.160 --> 0:10:32.000
<v Speaker 2>that kind of magic.

0:10:32.400 --> 0:10:34.520
<v Speaker 1>Have you got any of those early writings.

0:10:34.600 --> 0:10:36.840
<v Speaker 2>Oh, my gosh, I do. I have my first short story,

0:10:37.040 --> 0:10:39.000
<v Speaker 2>which very clearly I already have a you know, a

0:10:39.040 --> 0:10:42.679
<v Speaker 2>taste for the dramatic. Yeah, it's about a fish who

0:10:42.679 --> 0:10:45.560
<v Speaker 2>wrecks vengeance on the local community when they start up

0:10:45.559 --> 0:10:49.440
<v Speaker 2>a fish and chip shop locally and family start getting murdered.

0:10:49.960 --> 0:10:52.880
<v Speaker 2>So yeah, it secks. It sicks. Yeah, I've still got

0:10:52.880 --> 0:10:53.520
<v Speaker 2>a copy of it.

0:10:54.080 --> 0:10:56.920
<v Speaker 1>What did Your mum was a high school school principal.

0:10:57.679 --> 0:10:59.720
<v Speaker 1>Your dad was principle and wanted you.

0:11:00.320 --> 0:11:04.000
<v Speaker 2>My dad worked in in finance, you know, for a

0:11:04.000 --> 0:11:06.240
<v Speaker 2>long time he worked managing people's super funds.

0:11:06.320 --> 0:11:08.840
<v Speaker 1>And you went to high school at Heathville.

0:11:09.080 --> 0:11:09.400
<v Speaker 2>I did.

0:11:09.679 --> 0:11:13.160
<v Speaker 1>He thought high school country. It's not really country, but

0:11:13.200 --> 0:11:13.880
<v Speaker 1>it's in the hills.

0:11:14.040 --> 0:11:15.800
<v Speaker 2>Yeah, I guess regional. I'm not sure.

0:11:15.880 --> 0:11:17.160
<v Speaker 1>Renowned for its volleyball team.

0:11:17.360 --> 0:11:19.280
<v Speaker 2>Yeah, I was. I was on one. I mean I

0:11:19.360 --> 0:11:22.400
<v Speaker 2>was probably the shortest person on it, but very definitely

0:11:22.440 --> 0:11:24.280
<v Speaker 2>back caught. But I loved it. It was great school.

0:11:24.520 --> 0:11:28.319
<v Speaker 1>Hannah Kent, he's my guest, folks. Autobiography. I think that's

0:11:28.320 --> 0:11:29.319
<v Speaker 1>the best way of describing it.

0:11:30.679 --> 0:11:31.079
<v Speaker 2>Memoir.

0:11:31.480 --> 0:11:34.480
<v Speaker 1>Memoir. That's a memoir. That's what it says, always home,

0:11:34.520 --> 0:11:36.120
<v Speaker 1>always home, So a memoir. I should have seen it

0:11:36.160 --> 0:11:39.240
<v Speaker 1>on the front cover back shortly, folks, My guest today

0:11:39.240 --> 0:11:42.280
<v Speaker 1>and conversations is Hannah Kent, a young lady who grew

0:11:42.360 --> 0:11:45.679
<v Speaker 1>up in the Adelaide Hills, had a fascination with reading

0:11:45.840 --> 0:11:49.480
<v Speaker 1>and writing. Wrote her first story and first book when

0:11:49.520 --> 0:11:52.160
<v Speaker 1>she was six, and she still has got it about

0:11:52.160 --> 0:11:55.560
<v Speaker 1>a fish who reaped vengeance on the local community for

0:11:55.600 --> 0:12:00.640
<v Speaker 1>the for the fish and chip shop. But her memoir

0:12:00.679 --> 0:12:03.920
<v Speaker 1>it's called always Home, Always Homesick, based on I guess

0:12:04.200 --> 0:12:10.520
<v Speaker 1>her experiences as an rotary exchange student in Iceland. Anyway,

0:12:10.520 --> 0:12:13.280
<v Speaker 1>if you just tuned in, you've been accepted to go

0:12:13.360 --> 0:12:16.199
<v Speaker 1>to we haven't been accepted to go to Iceland. You're

0:12:16.200 --> 0:12:20.559
<v Speaker 1>still making your decision. If you submitted your requests and

0:12:21.280 --> 0:12:23.880
<v Speaker 1>someone comes along and says Iceland, and what goes through

0:12:23.920 --> 0:12:24.760
<v Speaker 1>your mind.

0:12:25.160 --> 0:12:27.120
<v Speaker 2>I was shocked. I was pretty taken aback. And I

0:12:27.160 --> 0:12:29.160
<v Speaker 2>remember the first thing I did when I put the

0:12:29.160 --> 0:12:31.559
<v Speaker 2>phone down was, you know, the family's crowding around. We

0:12:31.600 --> 0:12:33.440
<v Speaker 2>went and got the atlas, because that's what you did

0:12:33.440 --> 0:12:35.400
<v Speaker 2>back then. You got out of the atlas, and we

0:12:35.400 --> 0:12:38.240
<v Speaker 2>we found Iceland, and you know, there was one page

0:12:38.280 --> 0:12:41.199
<v Speaker 2>half a page sort of dedicated to it, and all

0:12:41.200 --> 0:12:43.199
<v Speaker 2>we can see is, you know, two dots on it.

0:12:43.240 --> 0:12:46.000
<v Speaker 2>One's down south Raykiavik, the capital, and then there's another

0:12:46.040 --> 0:12:48.880
<v Speaker 2>one in ARKWADERTI and I had been told that most

0:12:48.960 --> 0:12:52.000
<v Speaker 2>people who were sent to smaller sort of populations tend

0:12:52.040 --> 0:12:54.520
<v Speaker 2>to be around the capitol. So I was like, oh, okay, great,

0:12:54.640 --> 0:12:57.240
<v Speaker 2>you know, I'll probably be around Raykivic or Aarkuderti this

0:12:57.320 --> 0:12:59.680
<v Speaker 2>other town that you know, reads a mention on the atlas.

0:13:00.120 --> 0:13:02.440
<v Speaker 2>But then about a month before I was due to leave,

0:13:02.880 --> 0:13:04.920
<v Speaker 2>I was told that I was going to be sponsored

0:13:04.960 --> 0:13:07.560
<v Speaker 2>by the Rotary Club of so the Croaker, which looks

0:13:07.559 --> 0:13:09.480
<v Speaker 2>a lot like soda Cracker when it's written down.

0:13:10.480 --> 0:13:13.880
<v Speaker 1>I've tried. I've seen the name written and I can't

0:13:14.120 --> 0:13:17.400
<v Speaker 1>fathom how you can understand all the little symbols on

0:13:17.440 --> 0:13:19.120
<v Speaker 1>it and pronunciation.

0:13:19.240 --> 0:13:22.160
<v Speaker 2>I had no idea. So yeah, and we didn't know

0:13:22.160 --> 0:13:24.000
<v Speaker 2>where it was. It took ages. We had to hunt

0:13:24.000 --> 0:13:25.880
<v Speaker 2>it down on the internet, you know, back in the

0:13:25.920 --> 0:13:27.839
<v Speaker 2>days when you unplug the phone and wait for the

0:13:27.920 --> 0:13:30.280
<v Speaker 2>dial up. And eventually my mum found it. And it's

0:13:30.280 --> 0:13:33.920
<v Speaker 2>this little little town right up top, right in the north,

0:13:33.960 --> 0:13:36.319
<v Speaker 2>on the edge of this fjord. And I was thinking,

0:13:36.320 --> 0:13:38.520
<v Speaker 2>oh my gosh, I can't get further away from home

0:13:38.559 --> 0:13:40.880
<v Speaker 2>than this. My dad's saying, you know, any further and

0:13:40.880 --> 0:13:44.120
<v Speaker 2>you're starting to come back home again. And eventually, yeah,

0:13:44.160 --> 0:13:45.920
<v Speaker 2>that's that's where I was sent. But I mean, I

0:13:45.960 --> 0:13:47.720
<v Speaker 2>knew so little about it. It was I knew it

0:13:47.760 --> 0:13:49.520
<v Speaker 2>was a fishing village, and that's all I knew. So

0:13:49.520 --> 0:13:51.160
<v Speaker 2>I imagined it would be close to the sea, but

0:13:51.320 --> 0:13:52.960
<v Speaker 2>I had no idea what to expect.

0:13:53.160 --> 0:13:55.240
<v Speaker 1>Any So we've heard what happened when you landed. We've

0:13:55.280 --> 0:13:58.040
<v Speaker 1>heard what You've got to finally find someone in Raka

0:13:58.120 --> 0:14:01.360
<v Speaker 1>because who knows you and he expects you. Then you

0:14:01.440 --> 0:14:03.400
<v Speaker 1>head off to your host's family. Now i've seen the

0:14:04.760 --> 0:14:08.800
<v Speaker 1>description of your host family. You're pretty brave when it

0:14:08.840 --> 0:14:12.000
<v Speaker 1>comes to discussing people's.

0:14:13.240 --> 0:14:15.440
<v Speaker 2>Well, you know, I feel like that's the prerogative of

0:14:15.480 --> 0:14:19.560
<v Speaker 2>the novelist and the memoirrist, I guess, but you know, well.

0:14:19.480 --> 0:14:22.120
<v Speaker 1>There's another segment here. Well, where is it? I've made

0:14:22.120 --> 0:14:24.280
<v Speaker 1>a note of it. One day, I'm sheltering from the

0:14:24.320 --> 0:14:26.080
<v Speaker 1>rain and the shed of k the woman who takes

0:14:26.080 --> 0:14:29.840
<v Speaker 1>care of me and my sister after school. Kay is

0:14:29.880 --> 0:14:33.360
<v Speaker 1>one of the first truly mean people I've ever met, loath, seminiar,

0:14:33.480 --> 0:14:37.000
<v Speaker 1>open contempt for children, and who refusal to allow us

0:14:37.040 --> 0:14:39.360
<v Speaker 1>the sanctuary of her warm living room when it's raining.

0:14:40.040 --> 0:14:42.360
<v Speaker 1>Kay might still be alive, she's reading, she.

0:14:42.320 --> 0:14:44.520
<v Speaker 2>Might be She's had a name change, so she might

0:14:44.560 --> 0:14:45.640
<v Speaker 2>know who she is, but no one else.

0:14:45.800 --> 0:14:46.920
<v Speaker 1>Oh that's not a real name.

0:14:47.040 --> 0:14:49.480
<v Speaker 2>No, And I made sure to do that because lots

0:14:49.520 --> 0:14:51.120
<v Speaker 2>of people who have their real names in there. I

0:14:51.200 --> 0:14:52.920
<v Speaker 2>was able to contact and I told them what I

0:14:53.000 --> 0:14:55.240
<v Speaker 2>was doing and asked for their permission. But people who

0:14:55.280 --> 0:14:57.120
<v Speaker 2>I'm no longer in touch with, you know, as you

0:14:57.120 --> 0:15:00.200
<v Speaker 2>can imagine, Kay and I are not exactly best of friends, and.

0:15:01.240 --> 0:15:03.880
<v Speaker 1>I just not weld she might.

0:15:03.800 --> 0:15:05.800
<v Speaker 2>She might, but I stand by it. One of the

0:15:05.840 --> 0:15:08.240
<v Speaker 2>wonderful things in writing this memoir was that I had

0:15:08.240 --> 0:15:11.240
<v Speaker 2>a huge amount of diaries and notebooks and letters and

0:15:11.280 --> 0:15:14.880
<v Speaker 2>emails home. So whenever I felt like, oh this, you know,

0:15:14.960 --> 0:15:18.120
<v Speaker 2>this is not necessarily unkind because there's always grounds for it,

0:15:18.120 --> 0:15:20.360
<v Speaker 2>it was always something that I had in record, you know,

0:15:20.440 --> 0:15:23.080
<v Speaker 2>I could corroborate. I guess I didn't want to, you know,

0:15:23.200 --> 0:15:26.200
<v Speaker 2>say things that maybe I might later doubt. So everything,

0:15:26.320 --> 0:15:28.760
<v Speaker 2>you know, all the all the sort of nuances of

0:15:28.760 --> 0:15:31.640
<v Speaker 2>these particular kinds of relationships are absolutely true.

0:15:31.840 --> 0:15:37.000
<v Speaker 1>So your first host family wasn't particularly welcoming, No, I was.

0:15:37.080 --> 0:15:39.640
<v Speaker 2>It was quite an extraordinary thing I hadn't had. I

0:15:39.680 --> 0:15:42.400
<v Speaker 2>had had an experience when I was traveling to Iceland

0:15:42.480 --> 0:15:44.800
<v Speaker 2>of landing in Ansterdam. One of my stop over cities

0:15:45.280 --> 0:15:47.920
<v Speaker 2>and seeing a rotary exchange student't be greeted by their

0:15:47.920 --> 0:15:50.400
<v Speaker 2>host family. You know, there were balloons and there was

0:15:50.400 --> 0:15:53.600
<v Speaker 2>a big sign and they're welcoming them and give them

0:15:53.640 --> 0:15:55.640
<v Speaker 2>a big hug. And I remember thinking, oh, yeah, this

0:15:55.680 --> 0:15:58.640
<v Speaker 2>looks great. I'm looking forward to this. And then when

0:15:58.680 --> 0:16:00.560
<v Speaker 2>I finally you know, I didn't I have that same

0:16:00.600 --> 0:16:02.400
<v Speaker 2>reception at the airport. And then when I took this

0:16:02.440 --> 0:16:04.680
<v Speaker 2>little tiny plane up to sow the Crocker and it

0:16:04.720 --> 0:16:06.480
<v Speaker 2>was dark again, I couldn't even see what this town

0:16:06.520 --> 0:16:09.200
<v Speaker 2>looked like. And they were there. They remembered me, but

0:16:09.960 --> 0:16:14.560
<v Speaker 2>they were incredibly reserved. And I remember almost immediately thinking, oh,

0:16:14.600 --> 0:16:16.800
<v Speaker 2>if I already made you know, a cultural faux pas

0:16:16.920 --> 0:16:19.320
<v Speaker 2>here and they, you know, if I'd done something to

0:16:19.360 --> 0:16:22.840
<v Speaker 2>annoy them, because they were so silent. And then when

0:16:22.880 --> 0:16:26.520
<v Speaker 2>we finally pulled up at their house, their son was there.

0:16:27.000 --> 0:16:29.600
<v Speaker 2>He was their sort of lenning against the doorway, and

0:16:29.640 --> 0:16:31.600
<v Speaker 2>I was introduced to him. You know, this is kind

0:16:31.640 --> 0:16:34.320
<v Speaker 2>of that. I think he was about eighteen years old,

0:16:34.480 --> 0:16:36.760
<v Speaker 2>so just a touch a touch older than me, and

0:16:36.840 --> 0:16:39.120
<v Speaker 2>he didn't say a thing. He just turned around and

0:16:39.120 --> 0:16:41.320
<v Speaker 2>went back inside. And I remember I turned to my

0:16:41.360 --> 0:16:43.920
<v Speaker 2>host father. I said, oh, can he speak English? And

0:16:43.960 --> 0:16:46.480
<v Speaker 2>he was like, oh, yes, very well. I thought, oh again,

0:16:46.760 --> 0:16:48.680
<v Speaker 2>I'm not sure what's going on, and he didn't speak

0:16:48.680 --> 0:16:50.120
<v Speaker 2>to me. I don't think the entire time that I

0:16:50.200 --> 0:16:54.080
<v Speaker 2>was there. So even now I'm a bit curious as

0:16:54.120 --> 0:16:56.160
<v Speaker 2>to what might have been going on with that family,

0:16:56.200 --> 0:16:59.200
<v Speaker 2>because they were an incredibly silent family. Initially I thought

0:16:59.240 --> 0:17:00.880
<v Speaker 2>it was just with me, but then I realized it

0:17:00.920 --> 0:17:04.040
<v Speaker 2>was also amongst one another, you know, in themselves. They

0:17:04.080 --> 0:17:08.080
<v Speaker 2>spent a lot of time apart, and as an adult

0:17:08.080 --> 0:17:10.520
<v Speaker 2>looking back, I think, oh, you know, they probably had

0:17:10.640 --> 0:17:13.159
<v Speaker 2>They probably weren't in a good position to take on

0:17:13.200 --> 0:17:16.960
<v Speaker 2>an exchange student at the time, being seventeen, I'm thinking,

0:17:16.960 --> 0:17:19.000
<v Speaker 2>what have I done? You know, this is something this

0:17:19.040 --> 0:17:22.280
<v Speaker 2>is on me. I'm not extroverted enough, or I don't know,

0:17:22.320 --> 0:17:25.879
<v Speaker 2>not learning the language fast enough. But I've since spoken

0:17:25.880 --> 0:17:28.359
<v Speaker 2>to many people within that community who have said, oh no,

0:17:28.480 --> 0:17:30.359
<v Speaker 2>I think I think they had their own issues. I

0:17:30.359 --> 0:17:32.680
<v Speaker 2>think they probably shouldn't have just had an exchange student.

0:17:32.880 --> 0:17:35.200
<v Speaker 1>What's it like frontic up at school the next day?

0:17:35.440 --> 0:17:40.480
<v Speaker 1>You can't speak icelanding some of them they speak English.

0:17:40.520 --> 0:17:45.200
<v Speaker 1>But were you confident or your nervously. What's going through

0:17:45.200 --> 0:17:45.639
<v Speaker 1>your mind?

0:17:45.840 --> 0:17:48.520
<v Speaker 2>I was incredibly nervous. Yeah, I sort of landed on

0:17:48.560 --> 0:17:50.240
<v Speaker 2>the weekend and then I was told I knew I

0:17:50.240 --> 0:17:52.119
<v Speaker 2>would have to go to school. That was a requirement

0:17:52.280 --> 0:17:55.400
<v Speaker 2>of the exchange, even though I'd finished in Australia and

0:17:56.320 --> 0:17:58.040
<v Speaker 2>I thought there'd be a few more days to settle in.

0:17:58.080 --> 0:18:00.399
<v Speaker 2>But the now on Monday, I was told. You know,

0:18:00.640 --> 0:18:02.560
<v Speaker 2>by that stage, i'd seen a little bit of the town.

0:18:02.640 --> 0:18:05.399
<v Speaker 2>It was very small. There was this bright orange building

0:18:05.480 --> 0:18:07.240
<v Speaker 2>sort of on the side of a hill, and that

0:18:07.400 --> 0:18:09.359
<v Speaker 2>was pointed to me out That was pointed to me

0:18:09.400 --> 0:18:11.639
<v Speaker 2>as the school, and they said, okay, Monday morning, your

0:18:11.640 --> 0:18:14.199
<v Speaker 2>first class starts at eight. Off you go. Here's the timetable.

0:18:14.920 --> 0:18:17.040
<v Speaker 2>So I'm there walking through the dark and the star

0:18:17.160 --> 0:18:19.600
<v Speaker 2>school in the ice. Yeah, and you know, at some

0:18:19.720 --> 0:18:22.000
<v Speaker 2>point I hear this cracking. I'm like, what's that noise?

0:18:22.280 --> 0:18:24.280
<v Speaker 2>Then I realized I'm walking on a body of water

0:18:24.600 --> 0:18:26.600
<v Speaker 2>and I didn't realize, and it's cracking under my weight.

0:18:26.640 --> 0:18:28.960
<v Speaker 2>So I'm scurrying over to the side and it's when

0:18:29.000 --> 0:18:31.399
<v Speaker 2>it's dark, and I finally get into this school and

0:18:31.440 --> 0:18:34.520
<v Speaker 2>it's incredibly different from Hayfield. You know, no one wears shoes,

0:18:34.560 --> 0:18:37.840
<v Speaker 2>they wear socks inside, and it's comparably very modern. It

0:18:37.880 --> 0:18:40.199
<v Speaker 2>feels more like a university in some ways. And I

0:18:40.240 --> 0:18:42.840
<v Speaker 2>eventually find the room number that's on my timetable and

0:18:42.880 --> 0:18:44.560
<v Speaker 2>I sit there. I don't even know. I can't even

0:18:44.600 --> 0:18:46.479
<v Speaker 2>read the Icelandic to know what kind of class it is.

0:18:47.119 --> 0:18:50.399
<v Speaker 2>I realized it, you know, advanced mathematics, not exactly my

0:18:50.480 --> 0:18:52.280
<v Speaker 2>strong suit, let alone when you have to learn it

0:18:52.280 --> 0:18:55.280
<v Speaker 2>in Icelandic. And I just remember sitting there thinking, oh,

0:18:55.320 --> 0:18:58.239
<v Speaker 2>I've landed in it. I don't know how I'm going

0:18:58.280 --> 0:19:01.879
<v Speaker 2>to get through this year. Were you still I think? So? Yeah?

0:19:02.080 --> 0:19:04.680
<v Speaker 2>You know, I feel like my family are very resilient.

0:19:04.720 --> 0:19:07.600
<v Speaker 2>They are resilient people. And even though I was, you know,

0:19:07.760 --> 0:19:10.440
<v Speaker 2>quite shy, I think I really thought, no, no, this

0:19:10.480 --> 0:19:12.080
<v Speaker 2>is a year where I'm going to make something of it,

0:19:12.119 --> 0:19:14.679
<v Speaker 2>and I know it'll be challenging. But I think I

0:19:14.680 --> 0:19:16.640
<v Speaker 2>always felt like I had that great love and supporting

0:19:16.680 --> 0:19:19.800
<v Speaker 2>my family that could anchor me. So so that's what

0:19:19.840 --> 0:19:21.159
<v Speaker 2>I did. I tried to make a go of it

0:19:23.560 --> 0:19:27.400
<v Speaker 2>at school. School they were friendly. Yeah, I think I

0:19:27.440 --> 0:19:30.000
<v Speaker 2>wasn't sure what to expect. And it's interesting now looking

0:19:30.000 --> 0:19:33.200
<v Speaker 2>back with a great love and appreciation of Icelandic culture

0:19:33.320 --> 0:19:36.640
<v Speaker 2>and Icelanders. They have this wonderful thing where they're very

0:19:37.240 --> 0:19:40.919
<v Speaker 2>what some people misinterpret as coldness is actually can be

0:19:40.960 --> 0:19:44.320
<v Speaker 2>of just a deep respect for people's privacy and you know,

0:19:44.359 --> 0:19:46.520
<v Speaker 2>things will emerge in time, and I'm not going to

0:19:46.600 --> 0:19:50.120
<v Speaker 2>go do this very extroverted thing and introduce myself. It's

0:19:50.119 --> 0:19:51.879
<v Speaker 2>more like, you know, we'll give people their space. And

0:19:52.640 --> 0:19:54.720
<v Speaker 2>this was also a very small town where everyone, you know,

0:19:54.800 --> 0:19:57.600
<v Speaker 2>friendships groups were basically set from preschool, so it was

0:19:57.680 --> 0:20:00.359
<v Speaker 2>quite hard to enter into it. And I think a

0:20:00.400 --> 0:20:02.600
<v Speaker 2>lot of those early months, probably the first six months

0:20:02.640 --> 0:20:04.840
<v Speaker 2>of my exchange, was me realizing that I would have

0:20:04.880 --> 0:20:08.000
<v Speaker 2>to find other ways of belonging than simply just being.

0:20:07.760 --> 0:20:09.800
<v Speaker 1>There physically, and how did you do that?

0:20:10.600 --> 0:20:12.720
<v Speaker 2>I think it came about in two ways. There was

0:20:12.760 --> 0:20:15.320
<v Speaker 2>one point during my exchange early on, about three months

0:20:15.320 --> 0:20:18.080
<v Speaker 2>in where this host family, the ones who didn't really

0:20:18.119 --> 0:20:20.880
<v Speaker 2>speak the hostad came into my room and he said,

0:20:20.880 --> 0:20:23.399
<v Speaker 2>all right, we're going and I was like, no idea where?

0:20:23.560 --> 0:20:26.720
<v Speaker 2>All right, sure, I'll come along, and he takes me

0:20:26.760 --> 0:20:28.800
<v Speaker 2>down to sort of the industrial part of the town

0:20:29.080 --> 0:20:32.160
<v Speaker 2>near the ocean, and I'm thinking, where are we going.

0:20:32.280 --> 0:20:34.919
<v Speaker 2>There's no one, no one's here, it's pitch black snow.

0:20:35.240 --> 0:20:36.960
<v Speaker 2>He gets like oh. He pulls up. He's like, okay,

0:20:37.000 --> 0:20:38.879
<v Speaker 2>you have to get out. He leads me up the

0:20:38.880 --> 0:20:41.639
<v Speaker 2>stairs of this warehouse and I can hear people speaking

0:20:41.680 --> 0:20:43.720
<v Speaker 2>in the top. He opens the door. They all turn

0:20:43.760 --> 0:20:46.600
<v Speaker 2>around and stare at me, and I'm thinking what is

0:20:46.640 --> 0:20:49.240
<v Speaker 2>going on? And then I hear him say okay, i'll

0:20:49.280 --> 0:20:52.240
<v Speaker 2>pick you up in two hours, and Lee leaves and

0:20:52.240 --> 0:20:53.960
<v Speaker 2>I'm there standing in this room with all these people

0:20:54.000 --> 0:20:55.680
<v Speaker 2>walking at me, and I had to sort of say, oh,

0:20:55.760 --> 0:21:00.000
<v Speaker 2>I'm sorry, I'm Hannah. Can you do you mind telling me?

0:21:00.119 --> 0:21:02.560
<v Speaker 2>You know who you all are and what you're doing?

0:21:03.119 --> 0:21:07.240
<v Speaker 2>And then a woman comes over and she was like, oh, no, okay,

0:21:07.320 --> 0:21:10.800
<v Speaker 2>I think I understand what's going on. You're the exchange student,

0:21:10.880 --> 0:21:12.720
<v Speaker 2>because everyone knew who I was, even if they didn't

0:21:12.720 --> 0:21:15.480
<v Speaker 2>talk to me. I was like yeah. She's like, okay,

0:21:16.040 --> 0:21:18.720
<v Speaker 2>so we're the local theater company and we're rehearsing this

0:21:18.840 --> 0:21:21.080
<v Speaker 2>play and I think you're a host that I think

0:21:21.080 --> 0:21:24.240
<v Speaker 2>he thought because you're like drama that you maybe could

0:21:24.280 --> 0:21:27.000
<v Speaker 2>be part of the play, but you don't speak Icelandic,

0:21:27.040 --> 0:21:29.320
<v Speaker 2>and I'm like, oh no, sorry, you know, I'm learning

0:21:29.359 --> 0:21:31.919
<v Speaker 2>blah blah blah, and like just kind of look at

0:21:31.960 --> 0:21:33.679
<v Speaker 2>each other and then they go off and confer. I

0:21:33.680 --> 0:21:36.160
<v Speaker 2>can hear them talking amongst one another, and eventually they

0:21:36.200 --> 0:21:39.600
<v Speaker 2>come back and she's like, okay, so we can would

0:21:39.640 --> 0:21:42.360
<v Speaker 2>you like to be She's searching for the English word

0:21:42.359 --> 0:21:46.600
<v Speaker 2>and eventually goes, would you like to be our slave? Now,

0:21:46.840 --> 0:21:49.480
<v Speaker 2>at this stage, everything's so awkward. I just yes, I'll

0:21:49.560 --> 0:21:52.359
<v Speaker 2>do anything, I'll participate in any means. And then she says,

0:21:52.680 --> 0:21:55.600
<v Speaker 2>because we really need somebody to, you know, mop up

0:21:55.640 --> 0:21:59.240
<v Speaker 2>the blood. And I'm just go what what is going on?

0:22:00.160 --> 0:22:04.160
<v Speaker 2>And then eventually, through you know, very you know, some

0:22:04.359 --> 0:22:08.080
<v Speaker 2>translation and some miming and across the language barrier, I

0:22:08.119 --> 0:22:11.439
<v Speaker 2>realized that this play is about six people who are

0:22:11.480 --> 0:22:14.440
<v Speaker 2>murdered on stage and then finish the play as ghosts.

0:22:14.960 --> 0:22:18.440
<v Speaker 2>And that's comedy, would you believe? And they need someone hilarious,

0:22:19.280 --> 0:22:21.760
<v Speaker 2>They need someone to mop up the blood from when

0:22:21.760 --> 0:22:24.520
<v Speaker 2>everyone dies on stage. So that's that's how I started learning.

0:22:24.600 --> 0:22:25.640
<v Speaker 2>I was learning by doing that.

0:22:25.880 --> 0:22:29.240
<v Speaker 1>Hannah Kent is my guest folks, Always Home, Always Home.

0:22:29.280 --> 0:22:32.320
<v Speaker 1>Seeker Memoir is her book. It's not her first book.

0:22:32.720 --> 0:22:36.440
<v Speaker 1>That first book has created an enormous interest. I'm sure

0:22:36.480 --> 0:22:38.880
<v Speaker 1>we'll get to it. I'm just not sure when back.

0:22:38.920 --> 0:22:41.760
<v Speaker 1>Shortly walking back, everybody, now look, if you just tuned in,

0:22:41.760 --> 0:22:45.040
<v Speaker 1>we're chatting with Hannah Kent. Hannah Kent's a local writer

0:22:45.359 --> 0:22:50.360
<v Speaker 1>and I'm ashamed that I didn't realize Hannah's fame before

0:22:51.359 --> 0:22:54.440
<v Speaker 1>I read a review on the Weekend Australia. We're talking

0:22:54.440 --> 0:22:56.960
<v Speaker 1>about her book, Always Home, Always Home, s going to

0:22:57.000 --> 0:23:00.800
<v Speaker 1>look It starts basically, even though we talked about her

0:23:00.800 --> 0:23:03.320
<v Speaker 1>early days growing up in the Adelaide Hills. But she

0:23:03.400 --> 0:23:07.280
<v Speaker 1>goes as an exchange student to Iceland and then it's

0:23:07.280 --> 0:23:10.199
<v Speaker 1>an adventure, an adventure which forms the basis of her

0:23:10.240 --> 0:23:13.760
<v Speaker 1>first novel, which isn't the memoir. But I'm still fascinated

0:23:13.800 --> 0:23:17.080
<v Speaker 1>how she integrates into society. But she's introduced into a

0:23:17.160 --> 0:23:20.680
<v Speaker 1>drama group where she can't speak Icelandic, they can't speak English.

0:23:20.760 --> 0:23:23.120
<v Speaker 1>But that was the icebreaker, wasn't.

0:23:22.960 --> 0:23:24.920
<v Speaker 2>That was the icebreaker? Once I agreed to be their

0:23:24.920 --> 0:23:27.080
<v Speaker 2>props girl, I realized pretty quick smart that I would

0:23:27.119 --> 0:23:30.080
<v Speaker 2>need to be able to understand what I was hearing

0:23:30.119 --> 0:23:32.480
<v Speaker 2>with what was in the script. So I started learning

0:23:32.480 --> 0:23:34.560
<v Speaker 2>Icelandic like a mad thing, just to be able to

0:23:34.560 --> 0:23:35.520
<v Speaker 2>do my job at the theater.

0:23:35.760 --> 0:23:39.080
<v Speaker 1>How hard is that? One? It's French and Italian. We

0:23:39.160 --> 0:23:42.200
<v Speaker 1>can Spanish, we can probably we've heard a bit before,

0:23:42.240 --> 0:23:43.679
<v Speaker 1>We've never heard Icelandic.

0:23:44.200 --> 0:23:46.400
<v Speaker 2>I was pretty studious by that stage. ID started making

0:23:46.440 --> 0:23:48.120
<v Speaker 2>a few friends at school, and there was one girl

0:23:48.119 --> 0:23:50.119
<v Speaker 2>in particular who started to stop buy and help me

0:23:50.160 --> 0:23:54.359
<v Speaker 2>translate it. And around this time too, I actually changed

0:23:54.359 --> 0:23:58.040
<v Speaker 2>host families. I moved to a completely different family, you know.

0:23:58.119 --> 0:24:01.560
<v Speaker 2>The first one very quiet. Everyone was an adult. Second family,

0:24:01.880 --> 0:24:04.960
<v Speaker 2>pretty young couple, and they had four kids under ten.

0:24:05.160 --> 0:24:07.119
<v Speaker 2>And these kids, I mean, the elder speaker spoke a

0:24:07.119 --> 0:24:09.720
<v Speaker 2>little bit of English, but the rest didn't. And so I,

0:24:10.040 --> 0:24:12.480
<v Speaker 2>you know, just being surrounded by their chatter and they're

0:24:12.520 --> 0:24:16.160
<v Speaker 2>sort of, you know, not complicated Icelandic, it was wonderful.

0:24:16.200 --> 0:24:18.399
<v Speaker 2>I just felt so completely embraced by this family, and

0:24:18.440 --> 0:24:20.240
<v Speaker 2>I really wanted to speak with the kids. And I

0:24:20.280 --> 0:24:22.400
<v Speaker 2>had a one year old who was learning too, so

0:24:22.640 --> 0:24:24.560
<v Speaker 2>for a while we learned at the same pace, you know.

0:24:24.840 --> 0:24:26.240
<v Speaker 2>But that's really what changed.

0:24:26.640 --> 0:24:27.760
<v Speaker 1>Are you really fluent now?

0:24:28.200 --> 0:24:30.720
<v Speaker 2>I'm super rusty because, as you might imagine. I don't

0:24:30.720 --> 0:24:34.000
<v Speaker 2>get many opportunities to practice, you know, over here, But

0:24:34.880 --> 0:24:37.400
<v Speaker 2>I spent about two or three days in Icelandic comes

0:24:37.440 --> 0:24:40.359
<v Speaker 2>flooding back, and I dream still in Icelandic sometimes really,

0:24:41.080 --> 0:24:42.600
<v Speaker 2>and I'm always more fluent than I am in my

0:24:42.640 --> 0:24:45.040
<v Speaker 2>waking hours too, so I know it's there somewhere. It's

0:24:45.080 --> 0:24:47.639
<v Speaker 2>just a matter of, you know, tapping those neural pathways.

0:24:47.760 --> 0:24:49.720
<v Speaker 1>We're going to have to jump ahead of it because

0:24:50.400 --> 0:24:54.800
<v Speaker 1>your first novel, Burial Rights, was based on the story

0:24:54.840 --> 0:25:01.119
<v Speaker 1>of an Icelandic farm girl who was beheaded, executed, accused

0:25:01.160 --> 0:25:03.320
<v Speaker 1>and convicted of murdering the farmer.

0:25:03.720 --> 0:25:07.000
<v Speaker 2>Yes and yeah. Another man who was at the farm

0:25:07.040 --> 0:25:08.320
<v Speaker 2>as a guest for the name.

0:25:08.240 --> 0:25:10.320
<v Speaker 1>Well, how did you come across the I'm going to

0:25:10.400 --> 0:25:11.960
<v Speaker 1>try and Agnes.

0:25:13.640 --> 0:25:16.320
<v Speaker 2>Almost Agnes Magnus Dott. What's her name?

0:25:16.520 --> 0:25:20.680
<v Speaker 1>I have no chance of saying, So how did you

0:25:20.720 --> 0:25:23.159
<v Speaker 1>come across this story of Agnes let's call.

0:25:23.840 --> 0:25:26.199
<v Speaker 2>I had lots of incredible stories when I was in Iceland.

0:25:26.280 --> 0:25:30.080
<v Speaker 2>It's an amazingly storied country. And I remember one day

0:25:30.119 --> 0:25:32.760
<v Speaker 2>I was driving being driven down south to Recuvik along

0:25:32.760 --> 0:25:34.919
<v Speaker 2>the Ring Road, and we went we're still in the

0:25:34.960 --> 0:25:36.919
<v Speaker 2>north and we went through around this corner and we

0:25:37.040 --> 0:25:38.800
<v Speaker 2>entered this sort of valley country and there was this

0:25:38.920 --> 0:25:42.920
<v Speaker 2>extraordinary sort of mouth, valley mouth, just filled with hundreds

0:25:42.960 --> 0:25:46.119
<v Speaker 2>and almost thousands of tiny hills and it, you know,

0:25:46.160 --> 0:25:51.760
<v Speaker 2>it looked weird. I've never seen anything. Hell oh, probably

0:25:52.560 --> 0:25:55.680
<v Speaker 2>as big as a standard ceiling, maybe some of them smaller,

0:25:55.800 --> 0:25:58.560
<v Speaker 2>various sizes. They looked. I didn't know anything about it.

0:25:58.600 --> 0:26:02.479
<v Speaker 2>I thought they mounds, but you know, some of them

0:26:02.520 --> 0:26:05.440
<v Speaker 2>you got to really climb up. And then I thought, well,

0:26:05.480 --> 0:26:07.960
<v Speaker 2>are they Viking Perial Mounds? And I remember asking the

0:26:07.960 --> 0:26:10.040
<v Speaker 2>people I was with, and they said, no, this is

0:26:10.440 --> 0:26:12.480
<v Speaker 2>they were caused by an avalanche hundreds of years ago.

0:26:12.640 --> 0:26:15.000
<v Speaker 2>But it's interesting you mentioned this place. And they pointed

0:26:15.040 --> 0:26:17.439
<v Speaker 2>to three of the hills set apart from the others,

0:26:17.480 --> 0:26:19.639
<v Speaker 2>and they said, well, over there is the sight of

0:26:19.640 --> 0:26:23.639
<v Speaker 2>Iceland's last execution. And then throughout the rest of my exchange,

0:26:23.680 --> 0:26:27.080
<v Speaker 2>I kept hearing about this woman, Agnes Magnus Dotty, who

0:26:27.119 --> 0:26:29.640
<v Speaker 2>was in her early thirties when she was beheaded, and

0:26:30.480 --> 0:26:33.320
<v Speaker 2>I was so curious about her, and everything that I

0:26:33.400 --> 0:26:37.240
<v Speaker 2>heard didn't really seem to satisfy that curiosity. I started

0:26:37.280 --> 0:26:40.840
<v Speaker 2>dreaming about her. She was someone who was often spoken

0:26:40.880 --> 0:26:44.119
<v Speaker 2>of in you know, kind of stereotz as a stereotype.

0:26:44.160 --> 0:26:45.760
<v Speaker 2>She was spoken to someone who was sort of you know,

0:26:45.880 --> 0:26:48.040
<v Speaker 2>evil or bad, and that's why she'd done what she

0:26:48.080 --> 0:26:50.000
<v Speaker 2>had done. But when I tried to ask about her

0:26:50.080 --> 0:26:53.439
<v Speaker 2>early life, for her circumstances, I could find very little.

0:26:53.920 --> 0:26:56.160
<v Speaker 2>And I think, you know, I really don't think anyone

0:26:56.240 --> 0:26:58.720
<v Speaker 2>is all good or all bad. I think, you know,

0:26:59.359 --> 0:27:02.359
<v Speaker 2>so maybe some there's probably, but I think most people,

0:27:02.440 --> 0:27:05.440
<v Speaker 2>you know, we're often the most people often with the

0:27:05.560 --> 0:27:08.600
<v Speaker 2>you know, we're formed by our circumstances, and we're shaped

0:27:08.600 --> 0:27:10.680
<v Speaker 2>by the times and the places that we lived in,

0:27:10.720 --> 0:27:14.159
<v Speaker 2>and sometimes we do terribly bad things. But I was

0:27:14.200 --> 0:27:16.320
<v Speaker 2>interested in the ambiguity. I think I was interested in

0:27:16.359 --> 0:27:18.119
<v Speaker 2>her humanity and I couldn't find it.

0:27:18.720 --> 0:27:22.359
<v Speaker 1>But you eventually did. I mean, I read about the

0:27:22.400 --> 0:27:26.600
<v Speaker 1>research that you did to try and find about what

0:27:26.640 --> 0:27:30.280
<v Speaker 1>you could about Agnes. You must have been at some

0:27:30.320 --> 0:27:33.800
<v Speaker 1>stage frustrated to the point where it's too hard. You

0:27:33.920 --> 0:27:41.120
<v Speaker 1>described as historical fiction, where there's the framework is other facts,

0:27:41.560 --> 0:27:44.679
<v Speaker 1>but the fiction is the narrative around the facts. Perhaps

0:27:45.200 --> 0:27:48.600
<v Speaker 1>you know the vocabulary of the or the language. But

0:27:49.600 --> 0:27:51.320
<v Speaker 1>tell tell us about some of the research that you

0:27:51.640 --> 0:27:52.400
<v Speaker 1>eventually did.

0:27:52.880 --> 0:27:55.160
<v Speaker 2>Yeah, I didn't. I mean when I went home from Iceland,

0:27:55.160 --> 0:27:56.600
<v Speaker 2>I had made up my mind to write that was

0:27:56.640 --> 0:27:59.520
<v Speaker 2>something that Iceland helped me realized, and so I went

0:27:59.560 --> 0:28:01.879
<v Speaker 2>to Universe and did that. But it wasn't until I

0:28:01.960 --> 0:28:04.320
<v Speaker 2>finished my undergraduate degree that I thought I would write

0:28:04.320 --> 0:28:06.960
<v Speaker 2>a book about this woman. And the reason was really

0:28:07.000 --> 0:28:10.440
<v Speaker 2>because I kept dreaming about her. I kept writing poetry

0:28:10.480 --> 0:28:13.520
<v Speaker 2>which I realized was in her voice. But by the

0:28:13.560 --> 0:28:15.680
<v Speaker 2>time I was doing my thesis, I thought, Okay, yeah,

0:28:15.680 --> 0:28:17.600
<v Speaker 2>I need to write about her. And I realized, even

0:28:17.640 --> 0:28:20.360
<v Speaker 2>though I knew Iceland, I didn't know nineteenth century Iceland.

0:28:20.520 --> 0:28:22.320
<v Speaker 2>So I knew I had to research that world and

0:28:22.359 --> 0:28:24.199
<v Speaker 2>what it was like back then, and I knew I

0:28:24.240 --> 0:28:27.280
<v Speaker 2>needed to research her life. And I did as much

0:28:27.320 --> 0:28:29.119
<v Speaker 2>as I could from Australia. But eventually I got a

0:28:29.160 --> 0:28:31.160
<v Speaker 2>grant to go over to Iceland, where I was able

0:28:31.200 --> 0:28:32.639
<v Speaker 2>to go to the National Archive.

0:28:32.720 --> 0:28:34.960
<v Speaker 1>So this is part of your thesis, yes, your PhD.

0:28:35.080 --> 0:28:37.800
<v Speaker 2>Yeah, by this stage, yes, And so I had an

0:28:37.800 --> 0:28:40.800
<v Speaker 2>incredible time. Really, I managed to find her as a

0:28:40.840 --> 0:28:43.560
<v Speaker 2>six year old in a census, and I managed to

0:28:43.640 --> 0:28:47.480
<v Speaker 2>find poetry that she had written. I realized that she

0:28:47.680 --> 0:28:51.240
<v Speaker 2>was born illegitimate, which was quite a significant crime back

0:28:51.240 --> 0:28:54.720
<v Speaker 2>then and really sort of limited her opportunities. She was

0:28:54.720 --> 0:28:56.920
<v Speaker 2>someone who would have been laboring from about that age

0:28:56.960 --> 0:28:59.200
<v Speaker 2>as well. And I started to get this real picture

0:28:59.240 --> 0:29:02.680
<v Speaker 2>of a woman who even the people who absolutely hated

0:29:02.680 --> 0:29:05.960
<v Speaker 2>her and who thought that she was completely responsible for

0:29:06.040 --> 0:29:09.920
<v Speaker 2>this crime, was totally evil, had planted out. Even they

0:29:10.240 --> 0:29:14.200
<v Speaker 2>spoke about her intelligence and often as reason of that's

0:29:14.240 --> 0:29:16.280
<v Speaker 2>why she did it, but they also spoke about her

0:29:16.320 --> 0:29:20.040
<v Speaker 2>love of literature. And I started to get this sense

0:29:20.080 --> 0:29:22.160
<v Speaker 2>that there was more to the story and that the

0:29:22.240 --> 0:29:24.600
<v Speaker 2>versions that had been told of it were very much

0:29:24.640 --> 0:29:28.520
<v Speaker 2>skewed in terms of their prejudice and bias, And yeah,

0:29:28.600 --> 0:29:30.800
<v Speaker 2>a whole the other different stories started to emerge. It

0:29:30.840 --> 0:29:31.480
<v Speaker 2>was fascinating.

0:29:31.840 --> 0:29:36.400
<v Speaker 1>It was difficult finding researching it. Tell us about that

0:29:36.480 --> 0:29:40.680
<v Speaker 1>there was a moment where you were presented with a book.

0:29:41.160 --> 0:29:42.640
<v Speaker 2>Oh yeah, that was extraordinary.

0:29:43.640 --> 0:29:44.960
<v Speaker 1>That's such a coincidence.

0:29:45.120 --> 0:29:49.600
<v Speaker 2>That the whole process was just completely riddled with extraordinary coincidences.

0:29:49.760 --> 0:29:52.000
<v Speaker 2>I before I had gone to Iceland, once I knew

0:29:52.000 --> 0:29:53.720
<v Speaker 2>I got the funding, I had a list of things

0:29:53.800 --> 0:29:55.640
<v Speaker 2>I wanted to access there, and one of them was

0:29:55.680 --> 0:29:58.280
<v Speaker 2>a book, and I could see that it had a

0:29:58.320 --> 0:30:00.640
<v Speaker 2>whole chapter about Agnes, which was more than anything I

0:30:00.640 --> 0:30:03.080
<v Speaker 2>had found. And then when I got to Iceland, I

0:30:03.120 --> 0:30:05.000
<v Speaker 2>went to all the libraries where I knew it would be.

0:30:05.480 --> 0:30:07.840
<v Speaker 2>First one they couldn't find it on the shelf, second

0:30:07.880 --> 0:30:10.000
<v Speaker 2>one they said, no, we've never had it. Third one

0:30:10.040 --> 0:30:11.920
<v Speaker 2>apparently had been burned in a fire. At any rate,

0:30:11.960 --> 0:30:14.360
<v Speaker 2>I couldn't find a single one, and I was really disappointed,

0:30:14.600 --> 0:30:16.400
<v Speaker 2>so I had to go back to the primary sources.

0:30:16.440 --> 0:30:19.120
<v Speaker 2>But eventually, after I'd spent ages in all the archives

0:30:19.160 --> 0:30:21.080
<v Speaker 2>and I had all this info, I thought, well, I

0:30:21.120 --> 0:30:23.120
<v Speaker 2>want to go somewhere pretty isolated and I just want

0:30:23.120 --> 0:30:25.040
<v Speaker 2>to sit with it and work out how I'm going to,

0:30:25.240 --> 0:30:26.840
<v Speaker 2>you know, build the fiction into it, how I'm going

0:30:26.880 --> 0:30:29.800
<v Speaker 2>to turn it into a novel. And I found a

0:30:29.920 --> 0:30:33.720
<v Speaker 2>hostel right in the middle of nowhere on the Vatsnas

0:30:33.760 --> 0:30:36.320
<v Speaker 2>Peninsula in the north and when I got there it

0:30:36.360 --> 0:30:38.520
<v Speaker 2>was I realized it was a dairy and a barley farm,

0:30:38.720 --> 0:30:40.680
<v Speaker 2>and the farmer just rented out an old barn for

0:30:40.760 --> 0:30:43.040
<v Speaker 2>people in the summer. But this wasn't somewher this was autumn.

0:30:43.160 --> 0:30:44.480
<v Speaker 2>And he comes up to me and he's like, oh,

0:30:44.720 --> 0:30:46.520
<v Speaker 2>do you mind me asking you know what brings you

0:30:46.560 --> 0:30:49.480
<v Speaker 2>at here? I was like, oh, well, I'm writing the book.

0:30:49.480 --> 0:30:51.440
<v Speaker 2>You see, I'm writing. Have you heard of Agnes Maactus

0:30:51.480 --> 0:30:53.880
<v Speaker 2>dot here? And he sort of takes a step back

0:30:53.920 --> 0:30:56.840
<v Speaker 2>and gives me a strange look and thinks, yeah, I've

0:30:56.880 --> 0:30:59.600
<v Speaker 2>heard of her. So you're writing a book, that's what

0:30:59.640 --> 0:31:01.880
<v Speaker 2>you're here for. And next minute they put me in

0:31:01.960 --> 0:31:04.920
<v Speaker 2>a little summer cabin and his mom's like dragging a

0:31:04.960 --> 0:31:07.479
<v Speaker 2>desk from their actual house so I can write out

0:31:07.560 --> 0:31:10.960
<v Speaker 2>so accommodating, so welcoming and generous. And then later that

0:31:11.040 --> 0:31:12.240
<v Speaker 2>night I get a knock on the door of the

0:31:12.240 --> 0:31:15.080
<v Speaker 2>cabin and it's k the farmer, and he says, I'm

0:31:15.120 --> 0:31:17.360
<v Speaker 2>so sorry to interrupt you. I know that you're you

0:31:17.440 --> 0:31:19.520
<v Speaker 2>have to write the book, but I was thinking about

0:31:19.680 --> 0:31:23.280
<v Speaker 2>you know, you're writing about Agnes Magnustott, and they thought

0:31:23.360 --> 0:31:25.840
<v Speaker 2>maybe you might like to read this. And he gives

0:31:25.880 --> 0:31:27.840
<v Speaker 2>me a copy of the book that I've been looking for,

0:31:28.400 --> 0:31:31.200
<v Speaker 2>and not only that, he tells me that he'd never

0:31:31.320 --> 0:31:33.360
<v Speaker 2>read it before until the week prior. So when I

0:31:33.400 --> 0:31:35.360
<v Speaker 2>show up in the middle of the blue and say

0:31:35.360 --> 0:31:37.640
<v Speaker 2>that I'm writing about Agnes Magnustot it. It was an

0:31:37.680 --> 0:31:39.480
<v Speaker 2>incredible coincidence for him as well.

0:31:39.600 --> 0:31:42.720
<v Speaker 1>So you write the book, you see the spot where

0:31:42.760 --> 0:31:48.160
<v Speaker 1>Agnes is beheaded, you see the ax that was used

0:31:48.200 --> 0:31:52.120
<v Speaker 1>to be head. As gruesome as that sounds, they retrieve

0:31:52.200 --> 0:31:55.480
<v Speaker 1>her bones, do they not. Yeah.

0:31:55.600 --> 0:31:58.360
<v Speaker 2>She was buried at the site after the execution and

0:31:58.400 --> 0:32:01.000
<v Speaker 2>the heads were set on stakes. Their heads disappeared in

0:32:01.040 --> 0:32:04.080
<v Speaker 2>the night, and everyone thought that a local farm woman

0:32:04.200 --> 0:32:07.080
<v Speaker 2>had arranged for them to be buried in consecrated ground.

0:32:07.360 --> 0:32:08.960
<v Speaker 2>But the bodies were just buried, so no one knew

0:32:08.960 --> 0:32:11.120
<v Speaker 2>where they were. And then about one hundred years later

0:32:11.200 --> 0:32:16.840
<v Speaker 2>there's an extraordinary, extraordinary circumstances of happening. Another coincidence, Another coincidence. Yeah,

0:32:16.920 --> 0:32:19.760
<v Speaker 2>a psychic, a woman who actually was very secretive about

0:32:19.760 --> 0:32:23.760
<v Speaker 2>her psychic abilities. She was a housewife in Reykovik started writing,

0:32:24.000 --> 0:32:26.520
<v Speaker 2>you know, automatic writing where you just can't it's not

0:32:26.600 --> 0:32:28.440
<v Speaker 2>your voice, what's coming out in the page. And she

0:32:28.520 --> 0:32:30.920
<v Speaker 2>realized that it was the voice of this woman Agnos

0:32:30.960 --> 0:32:33.239
<v Speaker 2>Magnes did she shouldn't do anything about it. I think

0:32:33.280 --> 0:32:35.040
<v Speaker 2>it kind of spooked to her. But it went on

0:32:35.120 --> 0:32:38.680
<v Speaker 2>for three years and the voice was becoming increasingly insistent,

0:32:38.960 --> 0:32:42.240
<v Speaker 2>saying I want my bones moved to consecrated ground. And

0:32:42.280 --> 0:32:44.600
<v Speaker 2>so eventually she contacted someone and said, look, you know,

0:32:44.840 --> 0:32:47.240
<v Speaker 2>this is what's been happening, and I think maybe we

0:32:47.240 --> 0:32:50.360
<v Speaker 2>should move the bones. And he said, yeah, well I'm

0:32:50.400 --> 0:32:52.520
<v Speaker 2>not quite sure if it's true, but we probably should

0:32:52.520 --> 0:32:54.280
<v Speaker 2>move the bones. That's probably a good thing to do.

0:32:54.960 --> 0:32:56.880
<v Speaker 2>But the problem is no one knew where they were.

0:32:57.360 --> 0:32:58.920
<v Speaker 2>No one knew where they were buried. There was no

0:32:59.040 --> 0:33:04.240
<v Speaker 2>record whatsoever. And so the psychic said, well, I'll ask Agnes,

0:33:04.680 --> 0:33:07.280
<v Speaker 2>and so she comes back with these directions based on

0:33:07.360 --> 0:33:09.880
<v Speaker 2>you know, physical locations and where the sun comes up,

0:33:10.360 --> 0:33:12.400
<v Speaker 2>and she says in the Agnes in the voice of

0:33:12.440 --> 0:33:15.880
<v Speaker 2>the psychic, says, go to this farm up north and

0:33:16.200 --> 0:33:18.320
<v Speaker 2>look for a man called Magnus, and he'll help you.

0:33:18.440 --> 0:33:22.200
<v Speaker 2>He'll prove to be a good searcher. And she also says,

0:33:22.200 --> 0:33:24.640
<v Speaker 2>by the way, the heads aren't in thingate our churchyard

0:33:25.000 --> 0:33:27.400
<v Speaker 2>there at the site, and I still have a piece

0:33:27.440 --> 0:33:33.200
<v Speaker 2>of the steak in my skull. Anyway, it's very it's

0:33:33.280 --> 0:33:35.800
<v Speaker 2>very spooky, very gruesome. But the man goes up north,

0:33:35.920 --> 0:33:38.280
<v Speaker 2>he finds a man called Magnus at this farm. Didn't

0:33:38.280 --> 0:33:39.000
<v Speaker 2>think there would.

0:33:38.840 --> 0:33:40.840
<v Speaker 1>Be don't tell me he finds the heads.

0:33:41.080 --> 0:33:43.960
<v Speaker 2>They find the heads within fifteen minutes following these times,

0:33:44.240 --> 0:33:47.080
<v Speaker 2>I believe. And there's ten centimeters of wood inside one

0:33:47.080 --> 0:33:47.680
<v Speaker 2>of the skulls.

0:33:48.760 --> 0:33:51.880
<v Speaker 1>Hallah Cant is my guest, Folks. That's part of a

0:33:51.920 --> 0:33:55.640
<v Speaker 1>book of burial Rights. But her memoirs called Always Home,

0:33:55.680 --> 0:33:58.920
<v Speaker 1>Always Homesick, talks about that, of course in there will

0:33:58.960 --> 0:34:02.440
<v Speaker 1>come back and talk about the first novel she writes

0:34:02.640 --> 0:34:06.360
<v Speaker 1>and the funeral that it creates. Back shortly, folks. My

0:34:06.400 --> 0:34:11.000
<v Speaker 1>guest on conversations is Hannah Kent, who's a local who

0:34:11.040 --> 0:34:13.480
<v Speaker 1>grew up in the Adelaide Hills, went to Heathfield High

0:34:13.800 --> 0:34:17.279
<v Speaker 1>and is now a world famous author. Her memoir is

0:34:17.280 --> 0:34:20.360
<v Speaker 1>called Always Home, Always Homesick. But if you just tuned in,

0:34:20.440 --> 0:34:24.160
<v Speaker 1>she didn't exchange rotary exchange to in Iceland and became

0:34:24.239 --> 0:34:27.560
<v Speaker 1>fascinated with this story about the young farm girl who

0:34:27.680 --> 0:34:32.440
<v Speaker 1>was executed after being found guilty of murdering a farmer

0:34:32.520 --> 0:34:35.880
<v Speaker 1>and I guess a farm hand, but had a fascinated

0:34:36.440 --> 0:34:38.719
<v Speaker 1>Hannah to the point where she had to write about it,

0:34:38.719 --> 0:34:42.480
<v Speaker 1>and her first book, Burial Rights, is the story of

0:34:43.160 --> 0:34:48.920
<v Speaker 1>I can't even say the surname Hannah An Thank you Hannah. Anyway,

0:34:48.920 --> 0:34:52.440
<v Speaker 1>so you get all this story, So you wrote your

0:34:52.480 --> 0:34:56.480
<v Speaker 1>complete your thesis based on this narrative.

0:34:56.640 --> 0:35:00.520
<v Speaker 2>Yeah. I never ended up submitting my my my entire thesis,

0:35:00.560 --> 0:35:03.040
<v Speaker 2>so you know, I can't call myself doctor. But I

0:35:03.040 --> 0:35:05.600
<v Speaker 2>did finish the book as part of that thesis.

0:35:06.000 --> 0:35:07.480
<v Speaker 1>So how did it come to be a novel?

0:35:08.360 --> 0:35:10.920
<v Speaker 2>Well? I am once I finished writing it. You know,

0:35:10.920 --> 0:35:14.200
<v Speaker 2>it was incredibly emotional experience. I always thought that when

0:35:14.239 --> 0:35:16.799
<v Speaker 2>I'd finished my first book, i'd be celebrating, you know,

0:35:16.840 --> 0:35:20.000
<v Speaker 2>a glass of bubbles. I wept. I wept as soon

0:35:20.000 --> 0:35:21.920
<v Speaker 2>as I finished this story. By that stage, I was

0:35:21.960 --> 0:35:25.239
<v Speaker 2>so invested in the lives of these characters and in

0:35:25.239 --> 0:35:27.840
<v Speaker 2>this particular story that I think I went through a

0:35:27.840 --> 0:35:31.960
<v Speaker 2>period of grief. I remember I printed out the Man No,

0:35:32.000 --> 0:35:35.640
<v Speaker 2>I think, I'm not sure. I think it was just

0:35:35.719 --> 0:35:40.319
<v Speaker 2>because I realized how sad so much of this story was,

0:35:40.360 --> 0:35:43.120
<v Speaker 2>and I had really experienced it, you know, obviously vicariously,

0:35:43.160 --> 0:35:45.799
<v Speaker 2>but emotionally. I'd been in that place, and so I

0:35:45.800 --> 0:35:47.279
<v Speaker 2>printed it out and I put it under my desk

0:35:47.320 --> 0:35:50.279
<v Speaker 2>and I didn't do anything with it until one of

0:35:50.320 --> 0:35:52.960
<v Speaker 2>my one of my lecturers and a friend said to me,

0:35:53.120 --> 0:35:56.400
<v Speaker 2>you know there's a local competition, unpublished Manuscript award you

0:35:56.400 --> 0:35:59.440
<v Speaker 2>should enter, And I said that she was one of them.

0:36:00.000 --> 0:36:03.120
<v Speaker 2>Eight root Starkey incredible, incredible support and guide to me.

0:36:03.480 --> 0:36:06.719
<v Speaker 2>This was another friend who suggested Kylie Cardell, who still

0:36:06.719 --> 0:36:10.200
<v Speaker 2>works at Flinders, and she suggested to me, you should

0:36:10.280 --> 0:36:13.480
<v Speaker 2>enter this award now unpublished manuscript, unpublished manuscript award.

0:36:13.680 --> 0:36:15.360
<v Speaker 1>So you send it off in what form? Like, just

0:36:15.400 --> 0:36:17.000
<v Speaker 1>a type of form.

0:36:17.040 --> 0:36:20.239
<v Speaker 2>I spent a week cutting about twenty thousand words, mostly adjectives,

0:36:20.400 --> 0:36:23.040
<v Speaker 2>and then I sent it off about ten minutes.

0:36:23.040 --> 0:36:25.400
<v Speaker 1>Writers scared of adjectives.

0:36:25.560 --> 0:36:27.440
<v Speaker 2>Oh, I'm not scared of them. I think I just

0:36:27.560 --> 0:36:31.160
<v Speaker 2>used too many. Honestly, what's wrong with adjectives? I love adjectives.

0:36:31.200 --> 0:36:33.399
<v Speaker 2>I already I already had too many in there. About

0:36:33.440 --> 0:36:36.120
<v Speaker 2>just choosing the best ones, I think. But yeah, I

0:36:36.120 --> 0:36:38.000
<v Speaker 2>send it off and yeah, next thing I know, I

0:36:38.000 --> 0:36:39.640
<v Speaker 2>got a call saying that I'd won.

0:36:41.040 --> 0:36:45.480
<v Speaker 1>And then there's a there's a publishing war for your

0:36:45.760 --> 0:36:46.759
<v Speaker 1>for the rights to it.

0:36:47.200 --> 0:36:49.879
<v Speaker 2>Yeah, that was completely unexpected. As a result of winning

0:36:49.920 --> 0:36:52.680
<v Speaker 2>the publishing competition, I got a literary agent and she

0:36:52.840 --> 0:36:55.799
<v Speaker 2>sent it out and then very soon after that it

0:36:55.920 --> 0:36:59.440
<v Speaker 2>leaked overseas to you know, similar companies, similar publishing companies,

0:36:59.440 --> 0:37:02.400
<v Speaker 2>and people started offering rights, and my agent said, look,

0:37:02.840 --> 0:37:04.839
<v Speaker 2>I know it would be really tempting to say yes,

0:37:04.920 --> 0:37:06.480
<v Speaker 2>but we're going to say no. We're going to wait

0:37:06.520 --> 0:37:09.160
<v Speaker 2>and see what people come up with. And eventually, yeah,

0:37:09.239 --> 0:37:12.640
<v Speaker 2>eventually it kind of went everywhere. It was publishing right,

0:37:12.760 --> 0:37:15.239
<v Speaker 2>publishing rights. Yeah, it turned into a bit of a

0:37:15.280 --> 0:37:17.120
<v Speaker 2>bidding war, and I got to meet with a lot

0:37:17.120 --> 0:37:20.400
<v Speaker 2>of different publishers, and eventually I met Alex Craig Picket

0:37:20.480 --> 0:37:23.759
<v Speaker 2>or Australia, who I think really understood it and ended

0:37:23.800 --> 0:37:27.160
<v Speaker 2>up being published here and in the UK and US simultaneously.

0:37:27.400 --> 0:37:29.440
<v Speaker 1>What's going through your mind when all was this happening.

0:37:29.680 --> 0:37:31.880
<v Speaker 2>Oh, it's just a continuous pinch me moment. You know.

0:37:31.920 --> 0:37:34.480
<v Speaker 2>I thought maybe my examiners and my mum would read it.

0:37:34.560 --> 0:37:36.960
<v Speaker 2>I had no idea this was going to happen. I

0:37:37.000 --> 0:37:39.320
<v Speaker 2>never thought that it would be published, so it was

0:37:39.360 --> 0:37:42.120
<v Speaker 2>an extraordinary It was an extraordinary time for me.

0:37:42.239 --> 0:37:43.600
<v Speaker 1>Did you have a real job before then?

0:37:44.400 --> 0:37:47.120
<v Speaker 2>Oh, I don't know. I've always had about six different jobs.

0:37:46.880 --> 0:37:47.040
<v Speaker 1>You know.

0:37:47.080 --> 0:37:50.719
<v Speaker 2>I've worked as an editor, and as a teaching assistant

0:37:50.840 --> 0:37:53.560
<v Speaker 2>and as a as a tutor. I've you know, my

0:37:53.600 --> 0:37:56.359
<v Speaker 2>first job was in a butcher's, so you know, I've

0:37:56.400 --> 0:37:58.120
<v Speaker 2>been working since I was fifteen years old.

0:37:58.800 --> 0:37:59.359
<v Speaker 1>Just did that.

0:38:01.920 --> 0:38:04.279
<v Speaker 2>They needed some little hands, you know, skin chickens. So

0:38:04.880 --> 0:38:06.719
<v Speaker 2>I've worked in all sorts of places, but this was

0:38:06.760 --> 0:38:09.040
<v Speaker 2>probably the moment where I thought, oh wow, I'm going

0:38:09.080 --> 0:38:11.600
<v Speaker 2>to I signed a two book deal, so I thought, okay,

0:38:11.680 --> 0:38:13.880
<v Speaker 2>I can probably have a crack at this writing caper.

0:38:13.920 --> 0:38:15.879
<v Speaker 2>Now I can see how far I can take it.

0:38:15.920 --> 0:38:18.160
<v Speaker 1>Do I give you advances on your books? I mean

0:38:18.239 --> 0:38:21.040
<v Speaker 1>we read the stories of the writer gets the advances

0:38:21.080 --> 0:38:24.000
<v Speaker 1>and he's stuck with writing block and he's under pressure

0:38:24.280 --> 0:38:27.400
<v Speaker 1>to reproduce because he's already received the money. It is

0:38:27.400 --> 0:38:28.040
<v Speaker 1>a bit like that.

0:38:28.160 --> 0:38:30.520
<v Speaker 2>I think they can be true, particularly for nonfiction, maybe

0:38:30.520 --> 0:38:33.320
<v Speaker 2>for some other genres. I think I think for literary

0:38:33.320 --> 0:38:35.359
<v Speaker 2>fiction and a lot of fiction, they just want you

0:38:35.400 --> 0:38:37.480
<v Speaker 2>to come up with the goods first. Then they'll offer

0:38:37.520 --> 0:38:39.560
<v Speaker 2>you an advance and would you have to earn out

0:38:39.760 --> 0:38:40.960
<v Speaker 2>through sales.

0:38:41.320 --> 0:38:43.640
<v Speaker 1>There was an article in the Financial Review about the

0:38:43.640 --> 0:38:45.759
<v Speaker 1>sort of money that was being offered to Did that

0:38:46.080 --> 0:38:47.120
<v Speaker 1>take you by surprise?

0:38:47.200 --> 0:38:52.120
<v Speaker 2>Well, yeah, yeah, absolutely. I mean I think the average

0:38:52.120 --> 0:38:54.560
<v Speaker 2>income for a writer in Australia. Back then it was

0:38:54.600 --> 0:38:57.400
<v Speaker 2>even less, but now it's about eighteen thousand dollars. And

0:38:57.480 --> 0:39:00.440
<v Speaker 2>so when I saw how much people were offering, I thought, well,

0:39:00.640 --> 0:39:02.000
<v Speaker 2>you know, I should be able to get away with

0:39:02.040 --> 0:39:02.759
<v Speaker 2>this for a little while.

0:39:02.800 --> 0:39:06.360
<v Speaker 1>Yet. Have the movie rights been Yeah.

0:39:06.239 --> 0:39:08.520
<v Speaker 2>Movie right's the soul. They were sold pretty early on

0:39:08.560 --> 0:39:10.600
<v Speaker 2>before the book came out, and now they're still with

0:39:10.680 --> 0:39:15.640
<v Speaker 2>Sony and I just actually quite recently heard some news

0:39:15.680 --> 0:39:18.400
<v Speaker 2>about that. So you know, there's been the writers' strike

0:39:18.560 --> 0:39:21.239
<v Speaker 2>and COVID and whatnot. It's been delayed for a bunch

0:39:21.239 --> 0:39:23.480
<v Speaker 2>of different reasons, and I understand these things take time.

0:39:23.520 --> 0:39:26.239
<v Speaker 2>But yeah, hopefully, hopefully we'll see something in the next year.

0:39:26.719 --> 0:39:28.960
<v Speaker 1>But there's other There's been a couple of other books

0:39:29.160 --> 0:39:32.399
<v Speaker 1>they have. Have they been just as successful.

0:39:32.280 --> 0:39:35.120
<v Speaker 2>Yeah, they have. Nothing's been quite as mad as Burial Rights.

0:39:35.120 --> 0:39:36.719
<v Speaker 2>And I think you know that being a debut to

0:39:37.040 --> 0:39:40.960
<v Speaker 2>felt particularly significant. But I've been very very fortunate, I

0:39:41.040 --> 0:39:44.760
<v Speaker 2>think here in Australia to have very loyal and faithful readers.

0:39:45.800 --> 0:39:48.320
<v Speaker 2>I'm very very lucky to still be able to write

0:39:48.400 --> 0:39:50.440
<v Speaker 2>a lot of the time. You know, occasionally I'll take

0:39:50.440 --> 0:39:53.400
<v Speaker 2>on other work and jobs. But yeah, I get to

0:39:53.400 --> 0:39:55.040
<v Speaker 2>spend a lot of my time writing, which has always

0:39:55.040 --> 0:39:55.480
<v Speaker 2>been the dream.

0:39:55.680 --> 0:39:59.080
<v Speaker 1>What's the Run Rabbit Run story? I mean, I know

0:39:59.440 --> 0:40:01.840
<v Speaker 1>never saw a novel called Run Rabbit Run, but you

0:40:01.880 --> 0:40:04.960
<v Speaker 1>were obviously involved in the screenplay of that. Yeah, and

0:40:05.000 --> 0:40:08.200
<v Speaker 1>there was who was going to play the lead role

0:40:08.280 --> 0:40:10.799
<v Speaker 1>and ended up being serious nuke. Did you have any

0:40:10.960 --> 0:40:13.200
<v Speaker 1>saying who plays who? No?

0:40:13.280 --> 0:40:15.600
<v Speaker 2>No, I didn't get any casting. Yeah, this was probably so.

0:40:15.719 --> 0:40:18.080
<v Speaker 2>My two other novels are The Good People in Devotion

0:40:18.200 --> 0:40:19.759
<v Speaker 2>and I Think Good People. The Good People had just

0:40:19.800 --> 0:40:22.680
<v Speaker 2>come out and I was approached by these two producers

0:40:24.280 --> 0:40:27.120
<v Speaker 2>Carver Films that they made. They'd made Snowtown, which I

0:40:27.120 --> 0:40:28.440
<v Speaker 2>had seen, and they said, you know, we think you're

0:40:28.440 --> 0:40:30.799
<v Speaker 2>writing has a visual sensibility. Would you be interested in

0:40:30.840 --> 0:40:33.399
<v Speaker 2>maybe writing for screen one day? And I thought, oh, yeah,

0:40:33.440 --> 0:40:35.680
<v Speaker 2>that'd be great. I'd love to try that. Love the

0:40:35.760 --> 0:40:38.840
<v Speaker 2>challenge and how to go And over time we sort of,

0:40:39.480 --> 0:40:42.360
<v Speaker 2>you know, developed this this contemporary film, the sort of

0:40:42.360 --> 0:40:45.160
<v Speaker 2>psychological drama, and it ended up being made. And yes,

0:40:45.239 --> 0:40:47.520
<v Speaker 2>Sarah did us the great honor of playing the lead.

0:40:47.600 --> 0:40:48.320
<v Speaker 2>She was amazing.

0:40:48.480 --> 0:40:51.279
<v Speaker 1>What sort of influence does the screenplay writer have a

0:40:51.400 --> 0:40:52.160
<v Speaker 1>on a movie.

0:40:52.600 --> 0:40:55.160
<v Speaker 2>Well, I was very lucky in that I was able

0:40:55.200 --> 0:40:57.440
<v Speaker 2>to be involved from the very early stages. So in

0:40:57.520 --> 0:41:00.319
<v Speaker 2>terms of story quite a lot. And then Dana Read,

0:41:00.520 --> 0:41:05.120
<v Speaker 2>a tremendous Australian director, probably most recently well known for

0:41:05.160 --> 0:41:08.040
<v Speaker 2>The Handmaid's Tale. She came on board and she would

0:41:08.080 --> 0:41:10.360
<v Speaker 2>give me direction and then I would incorporate it, so

0:41:10.400 --> 0:41:12.359
<v Speaker 2>she'd be you know, we need another beat here, or

0:41:12.560 --> 0:41:14.479
<v Speaker 2>I'm a bit unsure about here, so you go away

0:41:14.520 --> 0:41:16.080
<v Speaker 2>and you do your thing. So she put a lot

0:41:16.080 --> 0:41:17.560
<v Speaker 2>of faith in me as a writer in terms of

0:41:17.560 --> 0:41:20.400
<v Speaker 2>the story and the characters, so that was great. But

0:41:20.440 --> 0:41:23.000
<v Speaker 2>in terms of all the you know, the logistics, that's

0:41:23.040 --> 0:41:25.759
<v Speaker 2>that's the producers, in terms of how it's shot, that's

0:41:25.800 --> 0:41:29.440
<v Speaker 2>you know, the cinematographer and the director of photography, that's

0:41:29.520 --> 0:41:32.399
<v Speaker 2>the that's the director. So you're part of a big team.

0:41:33.000 --> 0:41:35.960
<v Speaker 1>How's the how's your memoir been received? It's been out

0:41:36.000 --> 0:41:38.239
<v Speaker 1>for months or sign out? Has it been amazing?

0:41:39.000 --> 0:41:41.600
<v Speaker 2>It's been incredible. I was really nervous about it because

0:41:41.640 --> 0:41:43.799
<v Speaker 2>you know, it's different to what I normally do, and

0:41:44.520 --> 0:41:46.560
<v Speaker 2>you know things can be interesting to you in your

0:41:46.600 --> 0:41:48.040
<v Speaker 2>own life, but you're not sure if they're going to

0:41:48.040 --> 0:41:50.759
<v Speaker 2>be interesting to other people. But I've just been I've

0:41:50.800 --> 0:41:52.920
<v Speaker 2>just come back from Melbourne Writer's Festival and just had

0:41:52.920 --> 0:41:57.640
<v Speaker 2>the most wonderful reception I think people have, you know,

0:41:57.760 --> 0:42:01.640
<v Speaker 2>received it really warmly, and it's made me realize too

0:42:01.760 --> 0:42:04.520
<v Speaker 2>that one thing that I love about fiction that you

0:42:04.560 --> 0:42:06.359
<v Speaker 2>can see so much of your own life and your

0:42:06.400 --> 0:42:09.239
<v Speaker 2>own experiences in it. That happens too with memoir. So

0:42:09.239 --> 0:42:12.120
<v Speaker 2>I've been incredibly I'm kind of yeah, I'm a bit

0:42:12.480 --> 0:42:15.320
<v Speaker 2>dumbfounded and very grateful with the way it's been received,

0:42:15.320 --> 0:42:16.800
<v Speaker 2>which has been overwhelmingly positive.

0:42:17.040 --> 0:42:20.520
<v Speaker 1>Well, that leads to an obvious question, how much of

0:42:20.560 --> 0:42:22.200
<v Speaker 1>fiction is based on your own life?

0:42:22.600 --> 0:42:25.120
<v Speaker 2>Well, I used to think very little, you know, certainly

0:42:25.200 --> 0:42:27.000
<v Speaker 2>until this point where the memoir is very much my

0:42:27.000 --> 0:42:29.000
<v Speaker 2>own life. But I mean, one of the reasons I

0:42:29.040 --> 0:42:31.319
<v Speaker 2>loved writing fiction was a chance to sort of leave

0:42:31.320 --> 0:42:33.520
<v Speaker 2>my own life behind and be interested in other people.

0:42:34.040 --> 0:42:37.160
<v Speaker 2>But it's funny how things sneak in, and I find

0:42:37.160 --> 0:42:39.320
<v Speaker 2>that even if I think there's nothing of myself or

0:42:39.360 --> 0:42:41.680
<v Speaker 2>my life in my books, I often have friends or

0:42:41.719 --> 0:42:43.879
<v Speaker 2>even family be like, oh, I know, I know that

0:42:43.880 --> 0:42:46.319
<v Speaker 2>that happened, and you've sort of you know, snuck that

0:42:46.360 --> 0:42:47.960
<v Speaker 2>into your novel, and I think, oh, my gosh, so

0:42:48.040 --> 0:42:50.160
<v Speaker 2>I did so. I think it's quite an unconscious thing.

0:42:50.239 --> 0:42:53.760
<v Speaker 2>But of course, you know, everything you write is limited

0:42:53.800 --> 0:42:55.839
<v Speaker 2>by the way that you see the world and your

0:42:55.840 --> 0:42:56.760
<v Speaker 2>own frame of reference.

0:42:56.960 --> 0:43:00.160
<v Speaker 1>What's been your mom and dad's reaction to this? You

0:43:00.239 --> 0:43:00.800
<v Speaker 1>found fame?

0:43:01.640 --> 0:43:04.520
<v Speaker 2>Oh, they're they're so great. They keep me grounded. I'd

0:43:04.520 --> 0:43:06.840
<v Speaker 2>really never wake up and think, oh, I'm famous. I

0:43:06.840 --> 0:43:09.520
<v Speaker 2>still don't think I do I ever do that. But no,

0:43:09.560 --> 0:43:13.640
<v Speaker 2>they're they're incredibly supportive. I think I feel very, very

0:43:13.719 --> 0:43:16.120
<v Speaker 2>lucky and I and I think I can credit them

0:43:16.160 --> 0:43:19.319
<v Speaker 2>a great deal with my writing career, just from them

0:43:19.360 --> 0:43:21.719
<v Speaker 2>recognizing so earlier that it was important to me and

0:43:21.800 --> 0:43:25.760
<v Speaker 2>encouraging me. And also they're, you know, just the support

0:43:25.840 --> 0:43:28.040
<v Speaker 2>the way that they've you know, taken me back in

0:43:28.080 --> 0:43:30.280
<v Speaker 2>when I've been broke and let me write at home,

0:43:30.440 --> 0:43:34.000
<v Speaker 2>to reading early drafts. They're they're amazing. And I have

0:43:34.000 --> 0:43:37.360
<v Speaker 2>a wonderful sister too, my little sister. I couldn't I

0:43:37.400 --> 0:43:38.560
<v Speaker 2>couldn't ask for a better family.

0:43:39.120 --> 0:43:40.360
<v Speaker 1>Do they critique yourself?

0:43:41.280 --> 0:43:42.160
<v Speaker 2>I don't think they dare.

0:43:42.239 --> 0:43:47.080
<v Speaker 1>Honestly, You've got two young kids, I do how do

0:43:47.080 --> 0:43:47.920
<v Speaker 1>you handle all of that.

0:43:48.360 --> 0:43:51.360
<v Speaker 2>Oh, you know, it's I used to be really disciplined.

0:43:51.360 --> 0:43:53.400
<v Speaker 2>I don't used to like get up, goes straight to

0:43:53.440 --> 0:43:56.640
<v Speaker 2>the computer, write uninterrupted. And of course with little children,

0:43:56.680 --> 0:44:00.520
<v Speaker 2>you've you know, you're caring for them, and you continually interrupted.

0:44:00.640 --> 0:44:02.239
<v Speaker 2>So it's taken me a while to get used to

0:44:02.560 --> 0:44:05.919
<v Speaker 2>writing with that. But I love it, and I love

0:44:06.960 --> 0:44:08.880
<v Speaker 2>I love the way that they're now old enough to

0:44:08.920 --> 0:44:11.560
<v Speaker 2>find their names and the acknowledgments and to be excited

0:44:11.600 --> 0:44:15.480
<v Speaker 2>for me. And they're both actually, funnily enough, coinciding with

0:44:15.560 --> 0:44:18.200
<v Speaker 2>this book coming out, they've both released their own books,

0:44:18.440 --> 0:44:21.440
<v Speaker 2>which we've also had to have little family publication parties

0:44:21.440 --> 0:44:21.719
<v Speaker 2>for us.

0:44:21.719 --> 0:44:24.960
<v Speaker 1>So it's very kidding, well hand, it's a great story.

0:44:25.680 --> 0:44:29.200
<v Speaker 1>Well done with your success. I promise to recognize all

0:44:29.239 --> 0:44:32.000
<v Speaker 1>the good things you've done rather than be surprised by them.

0:44:32.040 --> 0:44:34.759
<v Speaker 1>So I hope your book goes really well for you.

0:44:34.920 --> 0:44:36.040
<v Speaker 1>I'm sure it will so much.

0:44:36.080 --> 0:44:37.240
<v Speaker 2>Come and see. It's been a pleasure.

0:44:37.400 --> 0:44:40.040
<v Speaker 1>Hannah Canned was my guest, folks. Her book is called

0:44:40.080 --> 0:44:44.200
<v Speaker 1>Always Home, Always Homesick, a memoir. It is a picadoor publication.

0:44:44.680 --> 0:44:45.680
<v Speaker 1>Thank you for joining us,