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Don't Tell Mum I Work on the Rigs, She Thinks I'm a Piano Player in a Whorehouse
A take no prisoners' approach to life has seen Paul Carter heading to some of the world's most remote, wild and dangerous places as a contractor in the oil business. Amazingly, he's survived (so far) to tell these stories from the edge of civilization, and reason.
Eleven Seasons
The Australian/Vogel's Literary Award winner 2012. Some guys are good at school and telling jokes or they have the latest stuff. Others are cricketers and basketball players: they can do things with the ball that make their classmates talk about them when they're not around. His thing is football. He becomes the centre of whichever team he plays for: he becomes the advantage. MELBOURNE, 1985. Jason Dalton sits on his bed and counts his football cards, dreaming of the day he too is immortalised in the public eye. He’s young and gifted, a natural player who can do anything with the ball in his hand. If only everything else in his life was as obvious to him as playing. GOLD COAST, 1991. The bottom has fallen out of Jason's life; he's now a high-school dropout, tired and wasted on the Gold Coast, with an explosive family secret still ringing in his ears. He needs to get his life back. But first he needs to find out who he is. 'A smashing book: heartfelt, tough-minded, occasionally shocking.' - Geordie Williamson.
Shared Space Brokered Time, Paul Carter
In this issue, local and international writers, artists and cultural theorists respond to Carter's oeuvre and to the very different ways he has influenced their own development.
Don't Tell Mum I Work on the Rigs
A take-no-prisoners approach to life has seen Paul Carter heading to some of the world's most remote, wild and dangerous places as a contractor in the oil business. Amazingly, he's survived (so far) to tell these stories from the edge of civilization. He has been shot at, hijacked and held hostage; almost died of dysentery in Asia and toothache in Russia; watched a Texan lose his mind in the jungles of Asia; lost a lot of money backing a scorpion against a mouse in a fight to the death, and been served cocktails by an orangutan on an ocean freighter. And that's just his day job. Taking postings in some of the world's wildest and most remote regions, not to mention some of the roughest rigs on the planet, Paul has worked, got into trouble, and been given serious talkings to, in locations as far-flung as the North Sea, Middle East, Borneo and Tunisia, as exotic as Sumatra, Vietnam and Thailand, and as flat-out dangerous as Columbia, Nigeria and Russia, with some of the maddest, baddest and strangest people you could ever hope not to meet.
Smoking Monkeys, Drilling Rigs, Bio-diesel Bikes and Other Stories
Paul Carter has been shot at, hijacked and held hostage. He's almost died of dysentery in Asia and toothache in Russia, watched a Texan lose his mind in the jungles of Asia, lost a lot of money backing a scorpion against a mouse in a fight to the death, and been served cocktails by an orang-utan on an ocean freighter. And that's just his day job. Here his three books of mad adventures are combined into one volume.
This Is Not A Drill
The outrageous sequel to Don't Tell Mum I Work on the Rigs (She Thinks I m a Piano Player in a Whorehouse) brings more great stories from the far side of civilization - hilarious, full of humour, colourful characters and dramatic action! Just another glorious day in the oilfield for Paul Carter! He s stuck in the middle of the Russian sea on a rig staffed by a crew from Azerbaijan. The choppers are older than him and can only fly by line of sight, turning back regularly due to the weather which gets particuarly interesting when they are past the point of no return with half there fuel gone and they are committed to finding the rig in a fog that s thicker than a Big Brother housemate. The closest thing to a hotel for miles around is the Asylum , a former soviet mental institution that now houses offshore personnel en-route to the rig, where his room mates are Vodka Bob - who drinks Guinness for breakfast when he s not on the rig - Sick Boy, who snores like a pit bull being hot-waxed and Sealbasher . In his inimitable style Paul Carter regales us with his colourful adventures from the front line of thee oil industry and the far side of civilization!
Ride Like Hell and You'll Get There
Record machine-generated from publisher information.
Don't Tell Mum I Work on the Rigs
A take-no-prisoners approach to life has seen Paul Carter heading to some of the world's most remote, wild and dangerous places as a contractor in the oil business. Amazingly, he's survived (so far) to tell these stories from the edge of civilization. He has been shot at, hijacked and held hostage; almost died of dysentery in Asia and toothache in Russia; watched a Texan lose his mind in the jungles of Asia; lost a lot of money backing a scorpion against a mouse in a fight to the death, and been served cocktails by an orangutan on an ocean freighter. And that's just his day job. Taking postings in some of the world's wildest and most remote regions, not to mention some of the roughest rigs on the planet, Paul has worked, got into trouble, and been given serious talkings to, in locations as far-flung as the North Sea, Middle East, Borneo and Tunisia, as exotic as Sumatra, Vietnam and Thailand, and as flat-out dangerous as Columbia, Nigeria and Russia, with some of the maddest, baddest and strangest people you could ever hope not to meet.
Translations, an autoethnography
Translations is a personal history written at the intersection of colonial anthropology, creative practice and migrant ethnography. Renowned postcolonial scholar, public artist and radio maker, UK-born Paul Carter documents and discusses a prodigiously varied and original trajectory of writing, sound installation and public space dramaturgy produced in Australia to present the phenomenon of contemporary migration in an entirely new light. Migrant space-time, Carter argues, is not linear, but turbulent, vortical and opportunistic. Before-and-after narratives fail to capture the work of self-becoming and serve merely to perpetuate colonialist fantasies. The ‘mirror state’ relationship betw...
Dark Writing
We do not see empty figures and outlines; we do not move in straight lines. Everywhere we are surrounded by dapple; the geometry of our embodied lives is curviform, meandering, bi-pedal. Our personal worlds are timed, inter-positional, and contingent. But nowhere in the language of cartography and design do these ordinary experiences appear. This, Dark Writing argues, is a serious omission because they are designs on the world: architects and colonizers use their lines to construct the places where we will live. But the rectilinear streets, squares, and public spaces produced in this way leave out people and the entire environmental history of their coming together. How, this book asks, can ...
