I was teaching at a boys’ school and there’s no denying that the physical layout of St Sebastian’s was my workplace, including where it sat in the city of Sydney. The office where Frankie spends some of her time with her year co-coordinator was my office and some of the arguing between teachers and students was lifted from daily events.
Melina Marchetta on Saving Francesca [x] (via leaningonthesideofwonder)

The only culture I really wanted to explore [in The Piper’s Son] was the inner-west and inner city where I’ve mostly lived for the past fifteen years. The second generation in this novel, who are my age, come predominately from working class catholic backgrounds; they’ve ended up lapsed in their faith and have found themselves in the middle class, questioning who they are, and even arguing about the romantic idea of the working class.

I actually wanted this novel to be culturally non-specific. There was no way the Finch Mackees were going to be a stereotypical Irish catholic family. Both Tom’s friendship group and that of his father’s and Georgie’s are quite similar in their racial mix, and very much like my own family. Apart from a word here or there in a different language I didn’t chose to identify what their ethnic identity was. It’s obvious that Francesca Spinelli has an Italian background, and that Abe and Lucia’s kids are half Italian, half Lebanese, and that Ned the Cook is Anglo, and Mohsin the Ignorer is from Pakistan.

Melina Marchetta | Describe how your own family, and their experience as migrants, has influenced your writing, and shaped the story behind The Piper’s Son? [x] (via leaningonthesideofwonder)
I jokingly refer to Alibrandi, Francesca and Piper’s Son as my inner west trilogy, but apart from the three generation similarity to Alibrandi I mostly used Francesca as a guide to write The Piper’s Son and not just because the novels share characters. In Francesca I concentrated on a couple of months in her life and I had two major settings: school and her house. With Piper’s Son I concentrated on a couple of months in Tom’s life and set it two places: Georgie’s house and The Union pub.
Melina Marchetta | The Piper’s Son felt like an unofficial companion piece for Looking for Alibrandi as there are three generations of males coming to grips with what hadn’t been said but staying strong despite this. Is that a fair assumption? [x] (via leaningonthesideofwonder)
goodbookshavenoendings:

On The Jellicoe Road (film quote)

goodbookshavenoendings:

On The Jellicoe Road (film quote)

He remembers the times they’d walk toward him in the playground with that same look on their faces. ‘It’s the four horsewomen of the apocalypse,’ Jimmy Hailler would say. ‘They’re going to make us doing something we don’t want to do.’

'We're not going to give in,' Tom would say.

But they did. Always. ‘Think of the alternatives,’ Jimmy said. ‘They love us. Imagine if they hated us.’

The Piper’s Son by Melina Marchetta (via gorgons)
I’m a bit in denial about calling The Piper’s Son a sequel. Someone referred to it as a companion novel to Saving Francesca so I’m stealing that. The Piper’s Son is a companion novel. That means that Francesca doesn’t have to be read first. I love the fact that new readers are connecting with Tom and the girls so much that they want to go back and see what things were like when they first met at 17. I love the fact that teenagers read Francesca when they were 17 and now they will be reading The Piper’s Son at 21, the same age the characters are in both those novels. I especially love that older readers are relating to the Tom story as much as his aunt Georgie’s and that younger readers are enjoying Georgie’s story as much as Tom’s. In my experience, I’ve found that there is no truth in the fact that teenagers are not interested in reading about adults, especially adults whose lives are entwined with the next generation so I’d love to think this is a novel for all ages.
Melina Marchetta on The Piper’s Son [x] (via leaningonthesideofwonder)
From @yenmag's instagram:  “Be still our 16-year-old hearts. Our favourite teen novel is rereleased with a snazzy new cover. #nobrowncoverneeded #josephinealibrandi”

From @yenmag's instagram:  “Be still our 16-year-old hearts. Our favourite teen novel is rereleased with a snazzy new cover. #nobrowncoverneeded #josephinealibrandi”

No one spoke as Quintana bent before Florenza, gripping the girl’s face with one hand, studying it hard.
‘Our spirit is mightier than the filth of our memories, Florenza of Nebia. Remember that, or you’ll be vomiting for the rest of your life.’
Florenza stared up at Quintana and something passed between them as she nodded solemnly and wiped her mouth with the back of her hand.
‘And Tippideaux of Paladozza, the Provincaro De Lancey’s daughter, has the prettiest face in Charyn,’ she continued to inform them all. ‘Not you. So don’t believe a word your mother says.’

1 month ago 50   originally from henrrywinter   via henrrywinter
I think that if Ms Marchetta were to ever write a bad novel, the earth would simply slip off its axis and the universe would implode because the natural order of things would have gone completely askew. Every time I stop and think “THIS IS IT. This is the pinnacle of literary perfection and books just don’t get any better than this”, Marchetta goes right ahead and releases the proof that I was wrong.
2 months ago 18   originally from grangerd   via leaningonthesideofwonder
Dear Melina Marchetta, when is Jellicoe going to be a film?

onthejellicoeroadfilm:

From a new blog post on Melina Marchetta’s blog today:

One day I will write an account about the adaption of Jellicoe. It’s been one of the longest times I’ve spent on one project.  My first novel (Alibrandi) took about six years to write. Most of my other novels took 18 months.  The film script of Jellicoe has taken technically five years.  In working that out, it has surprised me that I was able to write Finnikin, The Piper’s Son, Froi and Quintana during that time (I miss those Lumaterans and Charynites).

It’s strange to speak about the script and say it’s so different from the novel. Because it’s still about Taylor Markham who is left behind on the Jellicoe Road when she’s 11 years old. It’s still about her being chosen to lead the Boarders in the territory wars against the Cadets and Townies.  It’s still about the history Taylor has with Jonah Griggs, the leader of the Cadets. It’s still about a journal that reveals a story about five kids in the past.  It’s still about the absence of Hannah, the arrival of the Brigadier, the threat of Taylor being usurped by her own.

But it’s the telling of the story that is absolutely completely different. Most scenes are new. Most of the dialogue is new.  It’s not quite like fan fiction, but adaptation is strange in that it lets you write the same story again but with a different emphasis.

I know there is a quiet, excited buzz about  the project out there, and there are things I would love to reveal to you, but can’t. Still early days, believe it or not, after all this time.  But I thought I’d give you a list of ten things that I can reveal about the script.

  1.  My favourite line that doesn’t come from the novel is:  My dad says ghosts only reveal themselves when they’re waiting for someone to join them.
  2. My favourite line in the script from the novel is: You’re wearing flanalette. How scared should I be?
  3. The film doesn’t begin with the car accident, but a scene just as heartbreaking.
  4. Ben has the funniest lines. (Ben may be the person we cast first)
  5. My favourite scenes to write involved Taylor and Jonah. I also loved the Taylor and Jessa scenes.
  6. My favourite character of the script is Raffaela.
  7. The most heartbreaking scene (and there are many) is no different to the novel. It involves Fitz (who will be the hardest to cast).
  8. The most profound change is that the Hermit belongs to the present day.
  9. The flowers on the Jellicoe Road are still poppies.
  10. Tate still has a Pat Benetar hair cut when she’s 17. (I’m presuming that only people my age will understand how cool a Pat Benetar hair cut is.  My hairdresser refuses to give in to me because she says I don’t have the hair for it.

"Most scenes are new. Most of the dialogue is new." Hmmmmm