That said, there is always much slog at the festival. I don’t think anyone enjoys writing funding applications, or acquittals. But just when you begin to feel swamped by the administrative aspects, you receive a letter from Susan Sontag or George Steiner, or an email from Edward Said, or a phone call from Mandy Sayer or Don Anderson. They may be contacting you to say they can’t attend the next festival, but it is always a privilege to work with such people.

Film screenings have been a feature of the SWF since its re-launch. This year, we spread our wings and added the Festival Club and theatrical performances – co-productions with the Sydney Opera House, Sidetrack Theatre and the Sydney Theatre Company. To see the body of Barbara Blackman come to life on the stage, with music, or to see Nawal El Saadawi slowly smile and nod as her words were performed, was immensely satisfying. Initially, the Festival Club, which includes storytelling from members of the general public, staged a range of events varying in quality and content. In 2002 the only lapses in professionalism came from members of the judging panel, as competitors grew more confident when sharing their stories. The Club has brought new audiences of all ages, particularly younger wannabe writers and people in awe of those brave enough to put words on paper.

Sydneysiders took possession of their festival this year. There were even letters to the editor in the Sydney Morning Herald declaring Sydney a city capable of rejecting balls (the World Cup) for ideas. I keep my fingers crossed that it is true, but I am not sure how we would have fared against a Rugby Cup. Ownership also has its downside. Every action requires consultation and explanation. For the record, I resigned because I am looking for new challenges. I want to work with physical people, not just e-mail and the telephone. I want to read what I want, when I want.

A belated celebratory dinner with the Dymocks George Street crew, hosted by the (at least on this occasion) loquacious Wolfgang Buschhaus, provides further variation on the bookworld: what books Keanu Reeves purchases; why Jada Pinkett Smith needs motivational texts; the Australia Council funding for THAT window display; why on earth The Two of Us has not done a story on the yin and yang of Wolfgang and James Forsyth.

The nature of an annual festival requires me to continue planning and confirming writers for the 2003 SWF (will Christine Farmer ever speak to me again if I let a few names slip?), despite the fact that it will no longer be ‘mine’. This puts me in an interesting position when I share hot chocolate with Alain Monteil and speculate as to whether Sydney audiences are up to a performed reading from Catherine M. for 2003.

 Off to Parramatta, the second centre of Sydney, to wrap up events held there in 2002 and to talk about 2003. A recent survey showed that people of Chinese origin have surpassed the Arabic population in the area, by twenty-three. This year, the SWF held an event in Arabic and English at the Parramatta Town Hall – should we do the same in Chinese in 2003?We discuss issues of access and intimidation, and whether literary events would work in the Parramatta Leagues Club. I hope my successor gives it a go.

News of my resignation travels. I receive a note from Foreign Affairs in Canada sending good wishes. It reminds me of my meeting with Greg Gatenby at the Harbourfront Festival. The organisers like to boast that it is the largest writers’ festival in the world (expected attendance 16,000 in 2002). I pointed out to Gatenby that the Adelaide audience is rather larger than that. Well, the largest fully ticketed festival. I mentioned Melbourne, and we moved on to other subjects. Canada funds its writers and writing industry better than Australia does, but no readers enjoy festivals more than Australians.

Off to Hodder Headline, then Allen & Unwin, to look at who and what they will be publishing in the next twelve months. Many people in each organisation drop in to discuss their latest title, and my resignation. Some of my favourite writers will finally have new books next year. Is it too late to retract my resignation? Then on to the Australia Council, whose Literature Fund confirms that, yes, we should be budgeting to receive less this year.

Back to the sponsor slog and the bubble of resignation retraction busts.