SeedPod Audio

SeedPod Productions

A place to listen to podcasts, documentaries, interviews and sound art. I'm an international audio producer, an award-winning radio journalist and an author with a keen interest in creating hybrid forms of storytelling. I have over thirty years’ experience in the arts, media and publishing, and I've worked as a writer, editor, consultant, researcher, workshop facilitator and project manager. Hear all my podcasts at https://www.craiggarrett.online/

  1. Jul 30

    Dying with Dignity

    Not quick enough to be sudden; too sudden to come to terms with: how do we find dignity in death? Interview with Jos Hall from Dying With Dignity This piece discusses death, dying and grief. First broadcast on 11 December 2017​ The doctor talks about ‘active dying’; ‘non-active dying’; ‘range of life’; ‘treatment options’. We speak in months, weeks, days. He’s professional and factual. ‘Three to nine months,’ he says. The cancer has stolen everything from mum and now her body is betraying her on every level: because she’s not ‘actively dying’ she can’t go to the hospice, and because she won’t recover she can’t stay in hospital. I’m unsure what ‘active dying’ is. I think: ‘If I can’t have forever, I’ll take nine months.’ I begin steeling myself for the worst: only three months. Before leaving, the doctor says mum can return home with community health support. Dad follows him out of the room to ask more questions. Mum starts crying (the only time I see her cry while she's dying). ‘I can’t wait so long,’ she says, ‘it’s too much pain; why won’t they let people die when they want.’ Everything inside me stops. My mum’s a tiny bundle held together by the flimsy hospital gown. Breathing is so painful that they’ve put her on oxygen. Here she is, right next to me, bracing herself for Her worst: nine months. My wanting nine more months feels selfish. Between mum’s terminal diagnosis and her passing was six weeks: six of the longest and shortest and worst weeks of my family’s lives.

    Dying with Dignity
  2. Jul 30

    Distant Voices

    Fractured Voices; Muted Voices; Healing Voices Recorded 25-28 August 2017 First broadcast September 2017 ‘Distant Voices’ is a non-linear soundscape that captures the texture, emotion and feel of QPF2017: it takes you there. The three-acts: Fractured Voices; Muted Voices; Healing Voices, honour the 2017 theme, and pay tribute to the writers, activists and poets of this continent and beyond. Recorded across the QPF’s four main days, ‘Distant Voices’ weaves together our shared stories of isolation, curiosity, understanding and resilience. Thank you to everyone who performed at the 2017 QPF, it’s a shame I couldn’t fit everyone in. Order of appearance: Shannon Ruska Ali Cobby Eckerman Quinn Eades - “Monday, June 27, Going First”. Clozapine Clinic Tim Heffernan Benjaman Freighter Alise Blayney Stuart Barnes Verity La editor/poet Michele Seminara Andy Jackson - Part 2 of “Each Map of Scars” Ellen Van Neervan Sashim Park Owins Writing Through Fences: Poetry and Displacement – “Through the Moon” performance Featuring: Hani Abdile, Juan Garrido Salgado, Janet Galbraith Voices of Colour open mic event at the Brisbane City Library WrICE Writers immersion and Cultural Exchange writer: Martin Villanueva Omar Musa Sara Holland-Batt Hera Lindsay Bird Tusiata Avia (NZ) Kiri Cooper Courtney Sina Meredith (NZ). Mark Doty. And we finished the piece as we began, with Quinn Eades’ beautiful “Monday, June 27, Going First”. Music: Love for Sale – George Benson Quartet Successionist - Part 2 of ‘Each Map of Scars’ (by Rachael Guy, Andy Jackson & Leonie Van Eyk), music by Kristin Rule and Rose Ertler. Cello Before Time – Joseph Burgess Diary – bangarra Sunshrine – James Blackshaw No Lines and Audio Forensic (dub) - High Pass Filter Mapnduma – Music Can Rise Above Tyranny

    Distant Voices
  3. Jul 24

    Bri Lee - Eggshell Skull (debut memoir)

    First Broadcast in 2018 Brisbane-based writer Bri Lee’s memoir Eggshell Skull is her story through the Australian legal system, as a policeman’s daughter, law student, judge’s associate and complainant. Eggshell Skull is a fierce memoir, and its haunting appraisal of modern Australia illustrates how ‘justice’ looks very different — depending on who you are and where you’re from. It was a sweltering January in Brisbane, and day one of my new job as a judge’s associate at the Queensland District Court. I had finished law school at the end of 2014 and returned to my home state in the new year after two months of travelling around the United States, eating hotdogs and drinking Budweiser. New stretch marks at my hips were itchy from my fast increase in weight over the holidays. Sweat was soaking into the underarms of the shirt I’d ironed that morning. Things were off to a bad, and late, start. I took a deep breath and knocked on Judge’s door. He looked up and gave me a big smile. He invited me to take a seat and I remembered how nervous I’d been a year earlier, sitting in the same chair for the job interview. But as we chatted I also remembered how much we’d laughed together, how much I admired his lack of pretension. Bri is the founding editor of Hot Chicks With Big Brains, and her work has been published in The Guardian, Griffith Review, Broadly, i-D and VAULT Magazine. She also appears on ABC Radio and often gives talks on writing, law, feminism, fashion, pop culture and art. In 2017 Bri was one of Griffith Review‘s Queensland writing fellows. In 2018 she received a Commonwealth Government of Australia scholarship to work on her second book at the University of Queensland. She was also the inaugural Kat Muscat Fellow (in 2016). The Kat Muscat Fellowship honours writer and editor Kat Muscat (1990–2015). A stone-cold scallywag, Kat was a formidable writing talent who taught all those she touched how to love with kindness and empathy. Her writing embodied Defiance, Feminism and Empathy. The Muscat Family and Kat’s former employer: Express Media, publishers of Voiceworks magazine (Australia’s pre-eminent youth-focussed literary journal), established the Fellowship to support young Australian female-identifying and non-binary writers and editors. Kat Muscat edited Voiceworks magazine (2012–2013) at the ripe old age of 21; volunteered with the magazine for years before becoming editor; and was involved in the Emerging Writers’ Festival, the National Young Writers’ Festival and TINA. She also blogged and wrote for the likes of The Lifted Brow, Junkee, Lip Magazine, Scum, Pitch Bitch, Stilts, Feminartsy, Kill Your Darlings and Seizure Online. Eggshell Skull is Bri’s first book (the first of many) and it’s fitting that it was the first project supported by The Fellowship, because Eggshell Skull embodies everything Kat, The Fellowship, Express Media and Voiceworks stands for. It launches at Avid Reader on Wednesday May 23, 2018, and is published by Allen and Unwin. You can read an excerpt of Eggshell Skull in the Good Weekend and read more about Bri on hercanberra. Find out about the

    Bri Lee - Eggshell Skull (debut memoir)
  4. Jul 24

    Tom Doig - Hazelwood

    First Broadcast in 2017 “The smoke got thicker and darker and then it seemed to be coming from everywhere, swirling around until it blackened the entire town.” — The Coal Face by Tom Doig In February 2014, the open cut coal mine surrounding Hazelwood Power Station caught fire and burned for forty-five days — that’s over 1000 hours; one-and-a-half months; six weeks. The town of Morwell, home to 14,000 people, is less than half a kilometre from the mine. Over 100,000 people live within 20km of the mine. Carcinogenic brown coal ash fell as far away as Warragul (50km) and Sale (60km). This was a huge industrial; environmental and public health disaster. Melbourne is 152km away, that’s a two-hour drive. In one sense you have to ask, why was a power station, that burns coal to produce electricity, built in the middle of a coal mine, that’s made up of the highly flammable stuff being burned by the power station to make electricity; but on the other hand it makes sense, right? If the power station’s right in the middle of things, there’s need to transport that shit too far. Initially, when the mine and station were privatised in the 1990s by the Kennett Government, the company paid a bond of about $12 million. The mine owner, formally GDF Suez, now ENGIE, is one-third owned by the French Government. It was formed on 22 July 2008 by the merger of Gaz de France and Suez, and traces its origins to the Universal Suez Canal Company founded in 1858 to construct the Suez Canal. Since 2008 merger, the French State holds about one third of the company. Coal is good for humanity. — Tony Abbott and Malcolm Roberts (neither know what they’re talking about) Experts estimate the rehabilitation cost at the ‘normal’ end of the mine’s life would be about $250 million, but since the 2014 fire a number of studies have revealed the cost to be more like $750 million — meaning the true cost is over 70 times the original bond. And that’s assuming everything goes off without a hitch. The Centralia Coal Mine (Pennsylvania), has been burning since 1962, and it’s suspected the deliberate burning of trash in a former strip mine ignited a coal seam. Then there’s ENGIE’s plan to dump 740 billion litres of water into the mine to turn it into what is known as a ‘pit lake’. This could see the Morwell River being diverted for at least seven years; could cost as much as $440 million; and would need more water than Sydney Harbour. ENGIE wants to take the water (for free). To date, no one can say if the water will become toxic, and no one knows what impact such toxic water may have on the surrounding land and water table. Just two to three hours from Brisbane are two contentious mines being pushed onto the people of Acland and Oakey (about 178km from Brisbane — approx. a two-and-a-half hour drive), and onto the people of Kingaroy (about 212km from Brisbane and a three-hour drive). Both places grow food. The proposed New Acland Mine (New Hope Group) has already consumed the town of Acland. It just doesn’t exist any more; it’s not even a ‘ghost town’. The buildings are gone and the only things left are the roads and the ANZAC memorial, which used to be in the middle of town. The proposed Kingaroy Mine (Moreton Resources Ltd: MRV), sounds a lot like the Hazelwood mine. MRV wants to build a mine to within 1km of the town. The Kingaroy Concerned Citizens Group is contesting the mine, not least because it will impact negatively on winery tourism, the observatory, the water table and farming land, but because MRV, like Adani and POSCO in the Galilee basin, has form. Previously known as Cougar Energy Limited, MRV has already left Kingaroy residents to deal with the environmental consequences of a failed experimental undergr...

    Tom Doig - Hazelwood
  5. Jul 24

    Elspeth Muir - Wasted

    First Broadcast in 2017 The following piece discusses death, dying and grief. “There were flies in the kitchen, cane toads in the driveway, golden orb spiders in the Camellia and mosquitoes in the window blinds. Currawongs, butcher birds and magpies sang and shat in the frangipani tree while lizards hunted on the pool tiles. At night possums crawled along the brush fence and bats fought over greenish bananas — everything but my brother was alive.” — Elspeth Muir Wasted Published by Text  In 2009 Elspeth Muir’s youngest brother Alexander finished his last university exam and went out with some mates. Later that night he drifted alone to the Story Bridge, put his things on the walkway and jumped 30 metres into the Brisbane River. Wasted is an intense memoir that weaves biography and reportage into a narrative that’s confronting, honest, generous and warm. Wasted exposes how the marriage between Australia’s larrikin stereotype and ‘drinking as pastime’ (rather than accompaniment to other activities) creates a culture that normalises excessive drinking. This runs especially deep for those of us who can see ourselves in Elspeth’s descriptions of drunken days and nights. The familiarity of such stories — not benign, prosaic or mundane — explain how Alexander’s drunken escapades were viewed by friends and family as mischievous behaviour from a good-hearted bloke up for a laugh. The problem with a society normalising such drinking is that we struggle to identify problems until a tragedy happens — which, as we all know, is too late. In 2015 it’s estimated 5,785 Australians aged 15 and over died from alcohol-attributable causes. Cancer was responsible for 2,106 (36%), with injuries, cardiovascular diseases and digestive diseases the next leading causes (about 1000 deaths each: 17%). Further, breast cancer and liver disease were the biggest killers among women. Among men, liver disease and bowel cancer were the most common killers. Hospitalisations averaged about 400 a day, with alcohol dependence (21%), falls (12%) and alcohol abuse (10%) the main causes.1 In light of these numbers, overall rates of alcohol-induced deaths have declined compared with 20 years ago; such deaths declined significantly in the 2000s after peaking in the late 1990s (stabilising between 2013-2017); and alcohol consumption has decreased over time: the current rate of 9.4 litres per capita compared with 13.4 litres in 1974-1975.2 While this indicates Australians are drinking less than in the past, culturally there’s still an issue. Every week one person between 16 and 25 dies in an alcohol-related incident. One in five Australian drinkers drink 75% of all alcohol consumed in Australia. Twenty percent of us drink eighty percent of the alcohol consumed.2 Wasted joins the dots between a bottle of wine with dinner and getting so drunk that blacking out and memory loss is commonplace, and through personal confession Elspeth depicts an Australian culture addicted to alcohol in more ways than we’d wish to admit. In 2017 the alcohol-induced death rate (1,366 deaths) was the highest since 1997 (1,156 deaths).2 For Elspeth to write so honestly about the grief and trauma of losing her brother is, of course, fearless — as is confronting Australia’s drinking problem head on. Reflecting on the loss of her brother, she exhibits candour without self-pity: ‘I wasn’t sure if I was crying because I had to or because I was acting, trying to emulate normal sadness.’ Like all of us, Elspeth has multiple inconsistent desires; and even while conflicted, her wishes are relatable — none more so than her need to give Alexander’s death meaning. Wasted is, at times, sublime — I hear, smell, taste and feel Brisbane in Wasted’s opening p...

    Elspeth Muir - Wasted
  6. Jul 24

    Bill Wilkie - The Daintree Blockade

    First Broadcast in 2017 The battle for Australia's tropical rainforests In December 1983 a small group of local Daintree residents formed a peaceful protest when the Douglas Shire Council, with the support of the Bjelke Petersen State Government, commenced work on a road from Cape Tribulation to Bloomfield in Australia’s tropical north east, about two hours north of Cairns. As an aside, Bjelke Petersen was the longest-serving Queensland Premier (1968–1987); was vocal in calling for Whitlam’s sacking in ‘75; and was openly antagonistic towards the new federal Labor Government (1983–1996). In opposition, Bob Hawke had, in part, campaigned to stop the Franklin Dam in Tasmania. On July 1 1983 the High Court ruled that the Federal Government can legislate on issues if such legislation is necessary to enforce international treaties. This decision and the Hawke Government’s halting of the Franklin had implications for the Daintree. Known as the Cape Tribulation–Bloomfield Road, or the Bloomfield Track, the road was slated to go through one of the last remaining areas of tropical lowland rainforest in the country (Wet Tropics), and traverse the recently declared Cape Tribulation National Park. The road had been proposed a number of times previously, so the idea wasn’t new, but the move by Council to begin construction right before the Wet caught many by surprise. The initial action halted construction, the police moved in and protesters were arrested. Council’s decisions and the protest actions set off almost a year-long dispute, and the small blockade soon escalated into a full-scale confrontation, which came to be known as the Daintree Blockade. Those opposed to the road said it would bring unwanted development to an area of high environmental significance. Those in favour saw it as a way to speed up such development. Conservationists literally put their bodies on the line, by maintaining vigils up trees and burying themselves up to their necks in front of the ‘dozers. The blockade included a national campaign to educate people about the exceptional nature of the Daintree Rainforest. The campaign lasted close to ten years, brought ongoing national and international attention to the issue and resulted in the area being World Heritage listed on December 9, 1988. The Queensland Government initially opposed the listing and took the issue to the High Court to try and stop it, but that was unsuccessful. According to UNESCO the Wet Tropics covers less than 0.2% of the continent, but contains 30% of the marsupial species; 60% of bat species; 25% of rodent species; 40% of bird species; 30% of frog species; 20% of reptile species; 60% of butterfly species; 65% of fern species; 21% of cycad species; 37% of conifers; 30% of orchid species; and 18% of Australia’s vascular plant species — and is home to the Cassowary. It’s clearly ecologically and scientifically significant, if not downright essential. The road was completed in 1984 — as an alternative to the inland Mulligan Highway — and connects Cape Tribulation to Cooktown. It’s only partially sealed so can be impassable after heavy rains. Bill Wilkie — a Mossman-based writer and independent publisher — has been researching the Daintree Blockade for over four years. Drawing on over 80 interviews; personal letters and firsthand accounts; newspaper reports; and previously untapped archives, The Daintree Blockade: the battle for Australia’s tropical rainforests is the defining account of those battles. And 4zzz’s Steve Stockwell was on the scene. Many of 4zzz’s reports helped inform Bill’s book. The Daintree Blockade is available now. To order copies or for more information about the Daintree Blockade itself visit www.daintreeblockade.com.au or go to The Daintree Blockade Book Facebook...

    Bill Wilkie - The Daintree Blockade

About

A place to listen to podcasts, documentaries, interviews and sound art. I'm an international audio producer, an award-winning radio journalist and an author with a keen interest in creating hybrid forms of storytelling. I have over thirty years’ experience in the arts, media and publishing, and I've worked as a writer, editor, consultant, researcher, workshop facilitator and project manager. Hear all my podcasts at https://www.craiggarrett.online/