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(generated from captions) an agreement with India And the United States has reached with nuclear technology to provide it and fuel supplies.

has welcomed the deal, The Federal Government won't lift its ban but says Australia on exporting uranium to India. And that's the news to this minute. is next, 'Stateline' with Phillip Williams and the Canberra news team and Craig Allen at 7:00pm. will be back tomorrow night We'll leave you tonight in Adelaide from around the world where more than 1,000 artists have been pouring into the city festival which opens tonight. for the city's renowned arts goodnight. Have a good weekend, International Pty Ltd Captioning and Subtitling Closed Captions provided by This program is captioned


Hello and welcome to Stateline

I'm Phillip Williams. Coming up

- the venom of Canberra writer

Dorothy Horsfield - actually

she's lovely it's just her

latest book that's called

'Venom'. We'll meet her and

some spiders both real and

fictional later in the program.

Lsz glass as art as you've

never seen it before. First the

national mu 'yum recently

played host to a seminar on

death and dying. 500 people

attended and even more had to

be turned away. The key note speaker talked about the

Buddhist approach the diamond

way and followed by a panel

discussion including staff from

Canberra's hospice Clare

Holland House. It seems this

once taboo subject is being

openly discusseders sperlly

with our ageing population. For

some rather than fear there is

a jend gentle art to dying.

That's just part of life and

I just accept it as one of

those stages of life. It's no

longer a taboo subject, people

can be open about it. Now how's

that pressure, Adrian? Just

right, thank you. If you think

about that death and dying is

something that we'll all

experience, increasing numbers

of people are wanting to look

at what's happening in their

life and try and consider

things in a more reasoned

fashion. We are not the bodies

that get old, sick and die.

We're not the thoughts and

feels which come and go but

what we basically are is a way

of space. It was fairly special

because it was the second event

in Canberra of this magnitude.

He was here last year and

speaking about happiness and

this time it was about death a

dyinging. It was a much more

important subject. The end goal is happiness but many people

deal with death and dying or

try not to deal with death and

dying on a regular basis. It

was clearly a high level of

interest in the community of

Buddhism and its teachings.

From a practical sense we see

people looking for meaning in

very similar ways here in the

hospice, that for people who

may not be religious, they

still look for meaning in their

life and ways of being able to

view the world and view

themselves in the world. Come

in. Hi Adrian, how are you today? Fine, thanks how are

you? I'm very well thanks how's

today been? Good.Ed a good

sleep. I was diagnosed in

January, 2002. It started on my

left hip, left hip and it's

gradually spread through the

legs and so I'm almost unable

to use my legs now and

beginning of January I started

losing the use of the right

shoulder. So, at the moment, I

can't - and it spread to my

left shoulder, so I can't lift

my arms at the moment. I can

raise just the hands and what's

left of the biceps but I can't

lift my arms. So, but

fortunately it hasn't spread to

my throat or chest yet. I

arrived here on the Friday and

Sunday I got an infection. Oh. Wasn't I lucky

that I was here in the

hospice? Our history here

started with my father's

illness back in early 2002 and

when his illness became a

situation that was too hard to

be managed at home and when he

was in hospital in Canberra

private hospital recovering

from some debilitating brain

surgery he was told about the

hospice by nursing staff

there. I think that people are

often afraid of the unknown

much more than what's actually

happening to them and people

who have a sense of spirit and

a life after death in whatever

form they do feel much more

comfortable that the death

wasn't just meaningless. I went

through a grieving period and I

think that would be natural

with anyone going through the

grieving period. It was a loss.

I was a healthy person. I was

heavily involved in exercising

all my life I've been and then

to suddenly find that I can't

do the things that I loved was

really difficult. But I came to

terms with it and I accept

every stage now. Tibetan Buddhism the whole

idea of the mind and body

connebt sun is that mind

doesn't produce, or the brain

doesn't produce mind but that

the brain transforms mind. So

that mind was always there will

always be there it's just

connected to the brain to this body at this particular time

and at the time of death that

connection will disappear and

it'll go through a state where

there is no connection to a

physical body until the calmic

influences force it to

reconnect with the physical

body. Mind as such cannot be

changed only the pictures in

dies the mind doesn't. the mind change so the body

Whatever grounds you

spiritually, whether it be your

religious beliefs or whatever

tenants you hold I'm sure, yes,

there is a certain deepening of

the spirituality. I think

that's what helps to sustain a

lot of people. I know that if

it hadn't been for my relidge

jous background and my beliefs

I would have been floundering a

whole lot more.

I think all of us are

spiritual and I think it is

important to have a spiritual

belief whether it is associated

with a formal religion or not.

The important aspect of that

from my time working in

palliative care has been that

the sense of meaning that that

gives to people. I think that

when people's health is

deteriorating they lose control

of what's happening to them and

I've seen often that people who

have most difficulty with their

illness and most difficulty

with the time when they're

dying are those people who have

lost the meaning in their life.

I think that there's, we still

need to learn a lot more about

dying and the grieving process.

I think that we're in a stage

now where we're starting as a

community to move away from the

idea that the person dies and

that it's - the idea of death

being a medicalised process

rather than a natural part of

one's life.

I think we've come a long

way. I think it's been an area

that has been probably for a

long time neglected or not paid

sufficient attention to. But I

think we're learning. It's not

dinner conversation, it's not

something you talkability over

beer. If you talk about it it's

in the quiet moment in the

corner maybe after someone has

died in the family, then it

becomes the topic, but in our

every day life there isn't

really much mention. I just

have certain principles about

which I live and that's how I

live my life and I don't know

whether it's a strong spiritual

belief or not, if you ask me am

I a Christian I say, "Yes, I

suppose I am." But I'm not

fanatical about it. I question

too much, I suppose. It's a

very fulfilling task. It's a

very inspirational situation to

be in. You meet some wonderful,

wonderful people. Both the

clients who are the inpatients

or in home-based situations as

well as their families. You

learn a lot about other people

and how they cope and you

realise just what a tiny little

speck you are in a big ocean I

think. This is the most

wonderful, wonderful place. It

did so much for me. Actually

meeting the doctor from here

was what turned me around. The

actual love that is bestowed

upon you by the volunteers, the

nurses, the doctors, it's just

unbelievable. They just go out

of their way to make everyone -

you feel so special and that's

what they do with everyone. You

just feel like a really special


The idea of a good death

which is a notion in palliative

care and something that is

increasingly talked about in

the community seems to be

associated with that sense of

meaning and purpose.

If it hadn't been for this

condition I would never have

known them and in that regard

this is a blessing to me

because I would never have met

such wonderful people had it

not been for this condition.

Inspiring people Kelly Charls

produced that story. And now to

'Venom' -- such a great title

for a book. Dorothy Horsfield

has lived in Canberra for a

long time. She's a writer and

journalist and was part of the

Canberra writer's group. Her

last book was a memoir of her

late husband Paul Lyneham.

Dorothy talked to Stateline at

that time. More recently she's

been living in Berlin which is

where she's finished this very

Canberra novel. She spoke with

Catherine Garrett about how she

became interested in writing in

the first place. Oh, I mean I'd

say I got interested in writing

when I was a child, you know I

can remember when I was in

about third grade deciding to

write a great novel and getting

about a page in and I got

writer's block. But, I really

think I got serious about it

when I joined a writer's group

in my late 30s. We were a great

stimulus to each other. We

started getting short stories

published and I got my first

short story published and it

was a confidence builder and I

really did build on it from there. How do you structure

your time with the writing

because you are very prolific?

I think the only way to do that

is to be very structured, to be

disciplined about it. I do try

to be at my desk by 10 o'clock

in the morning. I see it as my

job of work and I work through

to 4 or 5 in the afternoon and

I rarely work in the evenings.

I usually read or watch

television or whatever. Have

some down time? Definitely.

Thinking time. Is it a lonely

life? It can be, you really

do have to build into it

colleagues and networks and

friends and it's my golden rule

that I try to you know, have

coffee with someone, or go and

be with someone or go to the

movies with someone at least

once a day. I really think it's

a great mistake to try and

discuss work in progress. You

just leave it be? For the sake

of friendships? But also it

can be very confusing. Just go

with it and don't try and

explain it as you go

along. When you sit down with a

headful of ideas do you have a

particular reader in mind?

No, but I have a brief to

myself that I really want to

write the kind of book that I

would like to read. So I like

it to be a bit of a compelling

book, you know, a bit of a

cliff hanger at the end of each

chapter. But I do actually also

like books that have stories in

them, that weave a story. I

believe we come from a

tradition of story telling

that's what human beings are

about. That's the kind of book

I like to read and the kind of

book I like to write to weave a

story. Let's talk about the new

book 'Venom', telling the story

of a young woman mad line,

comes to Canberra follows her

partner whose relationship is

in trouble. She takes up a job

with CSIRO looking for funnel

web spiders around Canberra and

Namadgi park? I was

interested in spiders when I

was working for Sydney Morning

Herald. When the anti-Sven no,

ma'am was discovered awrote a

feature article on it. I found

this was something that I was

terribly interested in. I kept

reading about spiders, I kept

reading about funnel webs. I

had an idea when I fin irred my

first novel that I would write

a biography of the guy that

discovered the anti-Sven no,

ma'am Stuart stuter land. He

worked for the Commonwealth

serum laboratories and I was an

eccentric type of guy. I rang

him up after I finished the

book asking him if hi could do

his biography. He had been

writing his biography for four

years so I was gazumped. Then I

decided I'd do the book in

fiction. It became the Canberra

book and it focussed on the

local species of funnel web and

went on from there. The spiders

are a real star of the book and

they're really scary? I

started with a true terror of

spiders, you know, scream when

I saw one on the wall approach

to spiders. The more I read

about them the more I came to

respect them, particularly

funnel webs. They are an

absolutely unique spider in

every way. It's not common

knowledge that there are at

least 42 species of funnel web

down the eastern sea board and

into Tasmania. Canberra's got

two. You don't see them very

often. That's a good

thing. What do you hope people

take from the book? For me

the most interesting character

many the book is the would be

funnel web Doug because for me

in a lot of ways he was a

typical Aussie bloke. He has no

language for the emotional land

cape. While he wants to love he

has no idea how to go about it

and it becomes a kind of almost

sinister attempt to possess

somebody. How much of your own

life have you drawn upon for these characters in this

story? I think when you write

a book like this it's a mixing

pot. You take a bit from here

and a bit from there and having

spent 20 years in Canberra plus

moved in and out of that kind

of environment of federal

politics and the gallery and

you know, if you live in

Canberra you watch what goes on

in the House with your nose to

the window pane it's fas Nias.

So it came out of that mixing

pot. Can you tell us about the

spider on the bookshelf there?

It's an Indonesian tarantula. I

actually felt a bit sorry for

it because it has been mounted

and so on. It was a Christmas

present from my daughter. Just

after I finished the book and I

mean, if family joke is that

you get up in the morning and

it's no longer in the frame.

It's some where in the

house. You finished writing

'Venom' in Berlin when you were

there in 2004 and working as a

freelance journalist, what was

it like writing the novel in

the heart of Europe? Oh, I

mean I think Berlin is one of

the great cities of the world.

It's absolutely interesting

place to be. I hadn't touched

the book for about three years

before that and I knew it

wasn't really finished but when

I pulled it out in Berlin, the

first thing I realised was

having that physical distance

from Canberra made a lot of the

issues you know, the business

of Canberra much clearer. I

think that was very important,

so finishing it there was

absolutely the most wonderful

thing. It's a beautiful

description of Canberra with

the bush scenes and the

Canberra land marks, did you

feel nostalgic about Canberra

when you were writing in Berlin? Canberra is very

similar to Berlin in a few

ways, you know. Berlin has more

green space than any city in

Europe, it's parks everywhere.

It's an easy city to get

around. It's a very comfortable

city to live in. Most of the

people there come from some

where else which is typical of

Canberra. But it enabled me to

imagine Canberra, being away

from it. I could imagine it

more clearly. I did

deliberately want to celebrate

the natural environment here it

is a very beautiful city,

there's no doubt. No doubt at

all. The book is called 'Venom' you'll have to wait because it

won't be in the Canberra

bookshops until the end of next

week. The author Dorothy

Horsfield was talking there

with Catherine Garrett. Coincidentally Catherine Garrett has just returned from

Berlin and we're delighted that she's joined the Stateline

team. You'll be seeing much

more of her. The ANU has been

playing host this week to two

dynamic and flamboyant guests,

glass artists from Mexico the

de la Torre brothers have been

showing the school of art and

Stateline how it has begun. My

brother has begun a bubble. We

are working on this serrys that

we've been working on for years

about the day of the death in

Mexico and the day of the death

2nd November, All Saints day is

celebrated in a sacred celebration throughout India

and when you're a kid you get

this candy stalls with your

name on it. This is essential

ly blown glass of the candy

skull. The powder coloured

glass will be hopefully paint

the pattern well and transfer

that to the eye socket. Just in

the area we want a bit to sink

into the bubble.

You've got to keep it hot

enough, not too hot that it

will move around too much. His

job right now is basically stabilising the heat in the

whole piece. The part that we

just added is a lot hotter so I

have a few minutes. Then it is

very mild at this point.

Take as much as you want. The

glass is already stiffening up.

You can see it is like a of

the if I, like candy when you

stretch it out. Just the white

bit, still pretty hot. We have

have time to work it.

Its going to be the beginning

of the spine, right below the base I guess of the neck.

As you can see we're still

making decisions of how this is

going to look. To clab ate

means not just your own piece.

You still have to get that

final okay.

We're going to float some

lips on top. There is some glue

right there. It is the same

principle we'll stick it on the

tip and pull it out and watch

it. This is going to be a big

red blob. We'll allow red on

the outside and we'll construct

a flower on the side of the


This is going to be for the flower around the other side.

She is bringing the pistols

for the flowers and after these

two bits we're attach an arrow

to the end of the skull, break

it off so we can finish the

other end.

We were going to drop what we

call kookies or some people

call them pattie s. It will be

the base of the piece, maybe it

will be a smaller one and a

bigger one. Once again once we

stabilise that we will transfer

it gain and then we'll work on

the top end and hopefully it'll

all be fine.

It's grabbed with fire-proof

mitts and basically transported

to the kiln. It maintains the

temperature for a few hours in

order to even out the heat

again and then slowly come down

over a period of 20 hours. So

late tomorrow we can probably

take it out.

Fantastic. I think I recognise

that person. Tony Hunt and

produced that story. If you're

interested in learning more

about them with we'll put up

related link s on the website

on Monday:

We'll also encourage you to

contact us with any feedback

and story suggestions. Next

week a report on the aged care

in the region. If you have a

story please get in touch.

That's it for this week. To

finish a hint of Riverina

breeze an exhibition at the

Mawson galleries. Goodbye.

Captions by Captioning and

Subtitling International. This program is not subtitled Welcome to the show. I'm Andy Muirhead. And this is Collectors - the show that delves into how, what and why Australians are collecting today. And to help us do that, we have our panel of experts. Museum curator and historian, Niccole Warren, Professor of Sociology and avid collector, Adrian Franklin. And antiques dealer and restoration expert, Gordon Brown. So let's see what's on the show tonight. We meet a man whose passion for coffee has gone well beyond a latte or two a day. SONG: # Black coffee... # MAN: I think my collection rates number one in the world

because of the breadth of the collection.

I get to visit a couple who do miracles, restoring broken china. It's a smash. Gordon, this is in a terrible state. We'll have to start from scratch.