The link below is to an article that takes a look at the 2018 Stella Prize – winner, shortlist and longlist.
Six years ago, The Stella Prize burst onto the Australian literary scene with an air of urgency. The A$50,000 award was the progeny of the Stella Count – a campaign highlighting the under-representation of women authors in book reviews and awards lists. In the years since, the prize has challenged the gendered ways in which we think about “significance” and “seriousness” in literature.
Judging a literary award is invariably a contest of aesthetics and politics. And the Stella has never shied from difficult, taxing or surprising choices. It has awarded nonfiction in a field traditionally dominated by fiction; first time writers rather than established names; and in an increasingly commercialised and globalising literary marketplace, it has consistently championed the work of small and independent publishers.
There is, nonetheless, something distinctive about a Stella book. It often draws attention to the pressing social issues of our times – not only gender bias, but also racial prejudice and social and economic inequality – and testifies to the enduring significance of more intimate human themes: sickness and death, grief, love or family. The one quality the books share, I suspect, is that of provocation.
A Stella winner is a book that challenges its readers; it attempts to do a bit of work in the world. And this year’s Stella shortlist doesn’t disappoint.
The Enlightenment of the Greengage Tree by Shokoofeh Azar,
Azar’s novel narrates the aftermath of the Iranian Revolution through the eyes of a 13-year-old girl, Bahar, who is burnt to death two days before the revolution reaches its height. Militants “boiling” with “hatred and fervour” break into her family home, pour kerosene across the tables, and set them alight, crying “God is great, God is great!”
Bahar narrates the story as a ghostly presence at the centre of her once happy family. The mass slaughter of dissidents, the execution of her brother, the rape and murder of her sister; such events are rendered as unremarkably as her sister’s transformation into a mermaid and her mother’s attainment of enlightenment in the greengage tree.
It is a convention of magic realism that the narrator remains estranged and distant, withholding any kind of explanation, even as ordinary life is invaded by elements of terror that are too strange to believe. This is an uneasy tension – holding beauty and horror together in a single sentence. The effect, in this novel, is to suggest that no conventional means exists to render such realities explicable.
The Life to Come by Michelle de Kretser
To read a book by Michelle de Kretser is to fall in love with the novel all over again. There are few ironists so scathing and few stylists so astonishing that they can demolish a character’s pretensions in a few deft strokes. Her latest work maps the gaucheries of Australian literary, intellectual and academic life. Here, the appearance of virtue is more important than its actuality. BioBags and free-range eggs are no less status objects than designer dresses and the right shade of red lipstick.
The novel opens with the character of George Meshaw, the author of many “abstract but oppressive” books (one of which is ominously titled Necessary Suffering). George soon exits right, clearing the stage for a plethora of equally self-involved people, all of whom dutifully cart around his books, largely unread. Linking their stories is George’s undergraduate student Pippa Elkinson. “I love English,” Pippa gushes at one point. “In that case, I suggest you learn to write it,” replies George.
Pippa is all confidence and fakery. She travels abroad to gather experiences for her writing, which she insists, without a hint of irony, is based on reality. She leaves warm, supportive comments on the Twitter accounts of her carefully cultivated friends, while her agent runs her books through a simulated audience reaction indicator to test their market value. Pippa is all surface, though she later turns out to have surprising depths. As the narrator dryly observes, “Pippa would always need to demonstrate her solidarity with the oppressed – Indigenous people or battery hens, it scarcely mattered.”
Narcissism of all kinds is the target of this novelist’s ire. But de Kretser works her magic less through the classic tool of empathy – the recognition that other people are also human beings with feelings – than the shock of seeing our own little lives through the perspective of someone else’s.
Terra Nullius by Claire G. Coleman
Coleman’s debut novel uses the tools of speculative fiction to gain fresh insights into the history of Indigenous dispossession. It opens with Jacky Jerramungup, an Indigenous boy stolen at an early age to be used as cheap rural labour, fleeing across the country – evading capture at a mission run by sadistic nuns, eluding the Troopers and native police sent by a murderous colonial administrator to hunt him down.
Each chapter opens with a fragment from the archives of colonial bureaucracy, which appears convincingly real, but is Coleman’s invention. This is not the only strange or unexpected thing in her work. Half way through the book, what feels like a novelistic landscape drawn from the moral cesspit of the 19th century turns out to be the scene of some future invasion – a feverish figment of a dystopic dreamtime at the end of the present century.
This speculative terror – an invasion of spaceships bearing aliens from other planets in search of moisture – draws attention to the other, more familiar history of invasion, which is ongoing. As one character observes, “This has happened before, the English believed they had exterminated all of the Tasmanian Aborigines, the Palawa, in fact they survived the invasion, they still exist now.”
An Uncertain Grace by Krissy Kneen
Kneen’s adventures in speculative erotica are invariably amusing and playful, but also strangely sad, if not overtly sentimental. In a series of interlinked stories spanning a century from the near present to a post-human future, Kneen explores questions of sex, science and gender at a time in which the boundaries between humanity and machinery are beginning to dissolve. In a complex feat of speculative world building, the novel leaps forward in stages to catch a glimpse of a post-apocalyptic future in which sea levels have risen, water has flooded the cities, and jellyfish inhabit our cellars and basements.
Along the way, we meet an array of odd characters: Caspar, a middle-aged academic who climbs into a virtual skin suit to inhabit the point of view of the young female student he seduced and then discarded; Cameron, a teenage sex-robot built to aid studies in hebephilia who begins to have thoughts and feelings of his own; Ronnie, a child sex offender, whose mind fuses with a school of jellyfish.
Behind all this, the central – if submerged – controlling presence in the novel is Liv, a writer working at the interface of technology and narrative. Liv is 129 years old at the book’s end, seeking to find out what it means to be a human living in a post-human world.
The Fish Girl by Mirandi Riwoe
Riwoe writes against the grain of W. Somerset Maugham’s classic short story “The Four Dutchmen” – a tale about a “Malay girl” brought on board a Dutch tramp ship, plying its lucrative trade in the waters off Indonesia. Upsetting the balance of homosocial shipboard life, the “Malay trollop” is casually slaughtered and thrown into the sea.
The desire to rework the subjectivities of colonial characters – giving them air and life – is a marked cultural tendency of our time, a product of this century’s interest in reclaiming the voices of the oppressed and marginalised. Many of these stories, like Jean Rhys’s postcolonial classic The Wide Sargasso Sea, centre on reclaiming the voices of women. And yet, there is a kind of horror in the experience of inhabiting the point of view of characters who are so obviously destined for tragedy.
Riwoe gives the “Malay girl” a name – Mina – together with a set of hopes, dreams and aspirations, but Mina’s choices are narrow, and her trajectory through the world is marked by a terrifying lack of agency. The perfumed air, the gorgeous food, the tropical vegetation, do nothing to alleviate the suffocating sadness. The “Malay girl” is traded by her father, and ultimately discarded as “bad rubbish”. Riwoe takes advantage of the novella form to deliver an ending that is brutal, sharp and lingering.
Tracker by Alexis Wright
Wright’s non-fiction study of the Indigenous activist Tracker Tilmouth is not written in Wright’s own words, but the words of others. It is, as the author points out, an attempt to capture the life of a man who communicated constantly, gave his ideas away freely, but never wrote anything down. Tracker, the “constantly travelling traditional song man”, is remembered by others “through the stories they kept telling about him”, and about his “ideas and dreams”. This is the way in which he touched lives and built communities.
Tracker is not an easy book. It is, as Wright states, an “impossible book”. It seeks to capture “the rare thing that does not want to be caught” – and perhaps cannot be caught. It is a book that needs to be read aloud in order to be experienced. It attempts to contain all the aspects of language and story that are left out when words get set down in patterns of black ink on a page.
None of the books on the Stella shortlist offer a comforting vision of contemporary Australian life. And yet language illuminates, where ordinary life is dark and hazy.
The 2017 Miles Franklin Award winner will be announced tonight, but I’m not taking bets on who it’s likely to be. Each shortlisted novel is by a first-time nominee. Each is of satisfyingly high literary quality and very different in voice, logic, focus and story.
But they do have one feature in common: each includes as a key character an author, or authors. I’m not sure I have ever read a shortlist where the protagonists of each volume shared an occupation. Of course all five include heartbreak, loss and death — that is, after all, de rigueur for literary fiction — but the focus on the lives and works of writers, and on narratives about narrative, presents as though the Australian literary community as one turned to look inward, and then wrote down what it saw.
We have a worn out, avant garde novelist (Last Days of Ava Langdon by Mark O’Flynn); an ambulance-chasing journalist (An Isolated Incident by Emily Maguire); “famous Australian writers” (Their Brilliant Careers by Ryan O’Neill); and academics in linguistics (Waiting by Philip Salom) and engineering (Extinctions by Josephine Wilson).
Art imitates life
I started with Last Days of Ava Langdon, by poet and novelist Mark O’Flynn. This book, which channels the Australian-New Zealand writer Eve Langley, opens with the rhythm and pulse of a prose poem:
Sound of the sea slapping at the green and greasy legs of pier. The crashing of dishes. A cartoon whale.
This, on the very first page, sets the tone for the rest of the novel, one that vividly renders the glorious Blue Mountains environment (and its small towns with their country values), and the portrait of a writer who might have been, should have been, no longer is.
O’Flynn presents his Langley/Langdon as immensely sympathetic, and stunningly irritating. “All her life”, says the narrator, “has been the pursuit of the perfect line”.
While any writer must surely doff the cap to that pursuit, Ava’s single-mindedness has been more destructive than productive. She valiantly channels Oscar Wilde, refuses to acknowledge that she is ancient and frail, ignores the squalor of her home, and flickers between hope and hopelessness about her writing. She is a damaged person, a dada artist. She has lost her family and friends and she dies alone.
Still, Ava’s imagination (to say nothing of her splendid dress sense) brings a degree of sentience to the world, casting it in a luminous light. O’Flynn’s novel brings to bear a cold but tender gaze on “the last days” of someone who, but for fortune, could have been an extraordinary Australian artist.
Misfits in an unforgiving world
Philip Salom, another poet, gives us Waiting. It relies on the skill of poetic diction and the narrative traction of strong characters, the “looking awry” that so often accompanies mental illness, and the urgency to connect, to find a safe haven in an unforgiving world.
He juxtaposes together two pairs of difficult people to propel the narrative. The first two are Big (a cross-dressing, over-performing “crazy professor”) and his partner Little (quiet, crushed Agnes, the troubled lamb of god). They have effectively fallen out of history and are, Agnes reflects, “two characters in a novel who have no further story”.
The second pair, by contrast, are the inheritors of a further story: designer/landscaper Angus (coincidentally Agnes’ cousin) and the linguist Jasmin. They are creeping by fits and starts toward a relationship, but unlike Big and Little, who cling together for the most part in real intimacy, Jasmin and Angus struggle to connect, given their tendency to compete with each other, and their misunderstandings of each other’s values and professions. For Angus, the physical shaping of the material world is what matters. For Jasmin, it is the socio-political positioning of work that matters.
The novel is set against the increasingly threatening qualities of bushfire in the Australian environment, and the increasingly constrained options for those who do not or cannot fit into middle class conventions. The characters’ stories play out, to an end that promises consolation, at least.
Not so isolated
With Emily Maguire’s An Isolated Incident, we leave the poets and misfits and return to the “real” world: small-town New South Wales, and the struggle to make a living, maintain an identity, and retain hope for the future.
Chris Rogers, a barmaid and some-time prostitute, is faced with the loss of her beloved younger sister Bella, whose body is found on the side of the road, raped and murdered. May Norman, an ambitious journalist, attaches herself to Chris to report on the story and the unfolding investigation. So far, so crime thriller.
But actually, this is more an analysis of mourning, woven through with a biting critique of the social and legal context in which, in Australia, one woman is murdered each week, on average, by someone close to her. At one point May reflects on yet another appalling story of such violence, and observes:
This had nothing to do with what had happened to Bella and what happened to Bella had nothing to do with Tegan Miller and none of it had to do with the rich Sydney housewife left out to rot in the street which had nothing to do with the Nigerian girls stolen as sex slaves…
The unwavering attention paid to violence against women and to the commercial exploitation of suffering renders the title bitterly ironic: all these “isolated incidents” add up to a deeply felt and troubling novel.
Extinctions of all kinds
Josephine Wilson’s Extinctions is the winner of Dorothy Hewett Unpublished Manuscript prize, so has already made a significant mark on the literary landscape. It offers a tragic portrait of the various ways in which extinction looms — environmental, personal, cultural.
We see the sorrows, indignities and regrets of old age, as viewed through the eyes of retired theoretical engineer Fred Lothian, who fills his home with designer furniture rather than with his family.
We see the heartbreak of a wasted life, in his brilliant son, Callum, who was left with acquired brain injury following a car accident. And we see the struggle for identity in his adopted daughter, Caroline, who researches species extinction and is disconnected from her own Indigenous heritage. Together, these stories present an overwhelming narrative of loss, failure and distress.
But there is the possibility of an alternative in the form of Fred’s neighbour Jan. Though like Fred and his family, she has suffered great loss, she brings a wonderful energy and resilience, and a refusal to resign herself to extinction. Instead, she presses Fred to start over, to find a more productive way to be.
Finally, we come to Ryan O’Neill’s Their Brilliant Careers: The Fantastic Lives of Sixteen Extraordinary Australian Writers, one of the funniest novels I’ve read in a long time. He sails close to the wind of defamation (were the original authors still alive), unmercifully lampooning the models for his “extraordinary Australian writers”.
Like a supremely confident stand-up comic, he pushes the joke from initial humour through infuriating repetition to helpless laughter. And along the way, he shows impressive knowledge of Australian literary culture, so erudite readers can play the game of “spot the reference”. We see the sexism that runs through literary culture. We revisit the poetry wars— “a knife fight in a phone booth” — in the character of Arthur rhutrA, an author of whom it was said that: “the only constraint he couldn’t overcome was his lack of talent”.
We bump into parallel-universe versions of Ern Malley, Australia’s most infamous literary hoax, and radio characters Dad and Dave. We meet the litigious Stratford, self-proclaimed original author of works plagiarised and made famous by Hemingway, Fitzgerald, Joyce.
We are confronted by the rightwing racist Edward Gayle (writer for the journal Quarter) and the communist Francis McVeigh, whose early memory of reading Marx’s Manifesto “terrified me so much I had nightmares for the next six months”. Literary giant after literary giant, publisher after publisher, is kneecapped by these excoriating and hilarious accounts of the players, their work, and the impossibly interwoven lives they lead.
There is a surprising degree of compassion in the narrative voice that relates each of these novels, even when they are also characterised by sharp-eyed and sharp-tongued commentary. The characters are damaged — as are most human beings — but (with the exception of some of O’Neill’s writers) they are rarely people of ill will.
The narrators, in each case, maintain the distance required of an objective observer, yet cannot help but record small acts of humanity, the struggle to manage, to be recognised and to recognise others. This makes them, as a group, the most heart-warming selection of shortlisted novels that I have read for some time.
The link below is to an article taking a look at the Miles Franklin Award shortlist for 2017.
The link below is to an article that looks at the shortlist for the 2017 Miles Franklin Award.
There are certain books that have the knack of getting under your skin. This is why George Bernard Shaw declared Charles Dickens’ Little Dorrit to be a far more “seditious” text than Karl Marx’s Das Capital.
What he was getting at is the power of books to work on your emotions. The intellect can be too cold an instrument to engender empathy, to bring people who are distant from you into your “circle of concern”. And it is precisely this, as philosopher Martha Nussbaum argues, that matters for the pursuit of social justice.
In 2017, the Stella Prize judges have again come up with a shortlist of books that will engage your brain, but also your heart. They illuminate all the aspects of life that make us frail and vulnerable – sickness, dying, inequality – realities that many of us would prefer to ignore.
Two of the remarkable writers shortlisted, Cory Taylor and Georgia Blain, have died since the publication of their work: Blain of brain cancer; Taylor of melanoma-related cancer. And yet their books – alongside all those on this list – fasten our attention on the means to live better, more ethically, and with greater generosity. It is in the smallest things, in embracing everyday joys and sorrows, that we can learn to live large.
These are books that matter because they show us how to live in desperate times.
Let me draw them to your attention, one by one.
Georgia Blain, Between a Wolf and a Dog
Hilary is a 70-year-old filmmaker, dying of cancer, determined to choose the moment and manner of her death. She has not told her daughters, Ester and April, about her illness or her plans. Ester is the mother of young twins, a family therapist whose consulting rooms contain a world of pain – “post-natal depression, school aversion, relationship crisis, death, and loneliness”. Ester is estranged from her sister April, a once famous singer who never realised her potential, and from her one time husband, Lawrence, who has lied and cheated in his work.
The action unfolds in the space of a single rainy day – ending in the mauve light of dusk, “between a wolf and a dog”, a place filled with ambiguity and irresolution. Here, like Hilary’s last film – a “seemingly random scatter of images” – the characters find “narrative order”.
Blain is a quietly profound writer with an astonishing eye for the ways in which human beings hurt and heal one another. This, her final novel, addresses the significant questions of life, “what to keep, what to discard, what clings despite all efforts to dispel it, and what slides away”. It is modern, unflinching, and unsentimental.
Maxine Beneba Clarke, The Hate Race
Maxine is brown.
Maxine has brown skin.
Maxine has funny curly hair.
Maxine thinks her family comes from England.
Maxine has dark brown skin.
There is an utterly transfixing, yet deeply disturbing moment in this memoir in which the young Maxine, growing up in suburban, middle-class Australia, believes that she is turning white.
In a realist, not magic realist work, the fervently desired “miracle … quietly brewing” on her skin, turns out to be a rare skin condition, diagnosed after a trip to the dermatologist’s office. What the poignant humour of the memoir conceals is the extraordinary violence of a society that would cause a child to want this transformation.
Clarke’s story charts the experience of everyday racism, tracing the lives of her British-Caribbean parents on their journey to a better life. This ideal life is turned upside down by shredded school books, abusive notes left in bags and pencil cases, and the hapless ineffectuality of teachers and school administrators.
Positive experiences seem few and far between: her friend Jennifer’s kind words written in her album, or the high school teacher who had the foresight to advise Maxine that the things she’d been told in primary school were as “bizarre as I’d suspected”. It takes courage to speak out again and again on issues that many of us would prefer to think did not exist. The book soars above its subject matter, demonstrating humanity in the face of the inhuman.
Emily Maguire, An Isolated Incident
Emily Maguire’s novel centres on the sexual assault and murder of a young woman in a tough-talking, truck-stop town midway between Sydney and Melbourne. It is in the form of a thriller, but the author is perhaps less interested in seeking out the murderer than studying the town’s reaction.
Chris Rogers, the victim’s sister, is an astonishing character, reeling from the breakdown of her relationship to the love of her life; the death of her mother, and the murder of her sister. Chris struggles with men, alcohol and society’s obsession with cleavage. Then there is May Norman, a city-based journalist who arrives in Strathdee to cover the murder, and who, like Chris, is no stranger to the sexual double standard through which women – and not men – are judged for their conduct.
This novel tackles the insidious idea that rape is “never simple” but a “murky and confusing” situation in which the “lines of consent” are “blurred”. Maguire has a keen eye for the practices that excuse, tolerate and trivialise sexual violence, and for the language of misogyny that demeans women, blaming the victim for what she wore, what she did, or where she went.
What starts out as a realist venture ultimately lands in the territory of the gothic. Ghosts drift over scorched landscapes, and the bodies of murdered women rise up to haunt the living. “It’s always the men,” says the local historian. “I’ve never had a female hear the scream.” The novel’s title is, of course, ironic – it turns out that the violent death it investigates is not an isolated incident at all.
Heather Rose, The Museum of Modern Love
If everything goes to crap, it won’t be art that saves us. Art won’t matter one iota. You can’t write your way alive, or paint your way out of death.
Against the odds, this is exactly what Heather Rose achieves in her startlingly original and strangely beautiful novel. It is built around the 75-day performance piece by Serbian artist Marina Abramović that took place at the Museum of Modern Art in New York in 2010.
Rose’s novel has a crystalline structure, tracing the lives of the characters who are transformed by the artwork. At its centre is Arky Levin, an emotionally-crippled composer who is cut off from life: from his daughter Alice, a medical student, and his wife, Lydia, an architect, facing the final stages of a potentially fatal illness in a nursing home without him.
Arky is joined at the performance by Jane Miller, an art teacher, who is mourning the death of her husband, Karl. There is also Brittika, a student; Healayas, a journalist assigned to cover the final days of the performance, and Danica – the ghost of Marina Abramović’s mother – who drifts, unsurprisingly, through its pages.
The unexpected oddity of the characters and their situations, and the luminous intensity of the language, marks out a philosophical territory that will be familiar to readers of Milorad Pavić, Dubravka Ugrešić or Danilo Kiš. This is an astonishingly beautiful book. In a culture that incessantly questions the worth and relevance of art for life, the novelist mounts a defence that is all the more astonishing for being successful.
Catherine de Saint Phalle, Poum and Alexandre
De Saint Phalle’s memoir is narrated through the eyes of a child who is beguiled and bewildered by her parents’ relationship, and the secret they appear to be hiding. They lead a fabled Parisian existence, always at some distance from their child. Her mother crosses herself frequently, talking incessantly about “the nuns” and what they might think. Her parenting mainly consists of reeling off long verses from The Odyssey.
Saint Phalle’s father regales her with tales of Napoleon, and could “convince me that Karl Marx was a practising Catholic” or “a bird that the sky is full of water”. He appears and disappears in the child’s life, for no apparent reason. A string of unknown aunts, cousins and siblings also arrive and depart unannounced, accentuating the book’s unstated sense of loss and abandonment, and the adults’ lack of awareness that a child may require a little more in the way of stability or commitment.
Written in soft, cloud-like prose, with a sense of elegy, this book is finally about the power of stories to conjure hope and possibility, and impart a sense of acceptance.
Cory Taylor, Dying a memoir
My suicide note was by way of apology. ‘I’m sorry,’ I wrote. ‘Please forgive me, but if I wake up from the surgery badly impaired, unable to walk, entirely dependent on other people to care for me, I’d prefer to end my own life.
Cory Taylor did not finally choose to take her life. Ultimately, she feared the trauma such a death would have inflicted on other people. Suicide, she writes, remains shrouded in a sense of “mental angst, hopelessness, weakness, the lingering whiff of criminality”.
In short, the problem is not hers but ours. We have “lost our common rituals and common language for dying,” becoming a society that only understands death, as “a form of failure”, as Taylor’s doctors seem to do. But living longer also means dying longer, and because of this the dying “are probably lonelier now than they’ve ever been”.
Taylor had already seen what it meant to die “badly”, witnessing her parents’ long, drawn out deaths from dementia in a nursing home. And so the desire to choose the way you die – assisted dying – becomes a source of comfort to her and a means of facing the things that are most terrifying about death – its total randomness, and our lack of control.
What is truly profound about this book is that – though it ought to be harrowing – it is astonishingly easy, if not strangely uplifting, to read. In part, this is because the narrative voice is so gentle, and tightly controlled. Every scene has a radiant quality; it glows.
The memoir ends with a “coming into dying”, a kind of effloresce that occurs at the edge of life – “the edge of words”. Images take over: “an over-exposed home movie footage of a girl with a dog in dappled sunshine, a car speeding down the road.” And then “The jet takes off. A kookaburra sits on a branch laughing.”
Taylor does not speak of death so much as she shows it to us, leaving the reader with an inexpressible sense of gratitude. This is writing that matters.
The winner of the 2017 Stella Prize will be announced in Melbourne tonight.
The literary calendar is marked by big public events: writers festivals, book fairs, and the announcements first of shortlists and then of winners of major literary awards. For Australian writers and readers, the Miles Franklin is a lodestone, our Big Award – the one that celebrates not just writing, not just fiction, but particularly and peculiarly Australian writing.
Since 2013 that award has been accompanied by the second literary award to be named for Stella Maria Sarah Miles Franklin: the Stella Prize, established to recognise women’s contribution to Australian literature.
This year, it seems to me, the Miles Franklin shortlist entirely honours the founder of the award, not only because four of the five novelists are women, but also because each of the novels, in their own idiosyncratic and nuanced ways, reflects and represents Australian life, presenting as that “indigenous literature” (Franklin’s term) that prevents people from being “alien in their own soil”.
The novels do not, though, offer a comfortable or consoling rendition of Australian life: if anything, they turn their lenses on alienation, and on the weight of the ordinary occasions of everyday life, as well as the larger scale complexities of, say, the socio-political landscape, that bear down on individuals.
This makes them sound a bit “worthy” and “serious”: novels that take as their task the imperative to instruct readers about The Human Condition. But in fact each is remarkably readable; each writer has a wonderful sense of story and its elements: character, pacing, setting and yes, even plot. Any would be a worthy recipient of this prestigious award, to be announced Friday night.
Let me tiptoe through them in alphabetical order.
Hope Farm by Peggy Frew
Peggy Frew’s Hope Farm is set in 1985 Gippsland. It is narrated by Silver, daughter of Ishtar who – pregnant as a teenager – fled the petit bourgeois morality of 1970s Queensland that would have forcibly removed her baby from her, for the uncertain support of a local ashram. The story unfolds on the ironically misnamed Hope Farm, a communal property occupied mainly by feckless incompetents. Ishtar and Silver may be misfits, but they are neither feckless nor incompetent; and their arrival, along with that of Ishtar’s new man Miller, initiates an unravelling of that decaying place, that compromised community.
There are the expected conflicts – children vs adults; bullies vs bullied; male vs female; parent vs child – but they are delivered with a clarity and tenderness that takes readers beyond the surface impression of, say, snotty child, or slovenly adult, to the fullness, the complexity, of any individual, or group of individuals. I wouldn’t dream of saying “redemption” in relation to this novel – and indeed this is not a redemptive story in the classical sense – but it does offer a stage on which Silver, and her equally misplaced friend Ian, and her shining, glorious, damaged mother Ishtar, can begin to feel their way beyond mere survival, and toward a more endurable life
Leap by Myfanwy Jones
With Leap Myfanwy Jones has crafted a lyrical account of mourning, and the long, lonely, difficult work of building sufficient scar tissue over the wounds of bereavement to allow mourners the possibility of moving on. Much of this work is couched in terms of physical being: the parkour through which Joe, muted by the death of his girlfriend Jen, is feeling his way back into the world; or the stillness and compulsive observation, that Jen’s mother, Elsie uses as her connection to memories of her daughter, to the idea of being alive.
Cats are important metaphors in this novel: the cat leap that Joe is learning to perform; the tigers that have captured Elsie’s imagination; the “catlike containment” of the mysterious nurse who moves into the spare room in Joe’s share house; Jen’s intention to have tiger stripes tattooed on her leg. Cats as a way of thinking about being: it worked for me. The novel is moving; the language poetic; the morphology of grief very believable.
Black Rock White City by AS Patric
With Black Rock White City we are again in the company of grief: loss, bereavement, trauma. Of the central characters, AS Patric’s narrator says, “Neither of them is sure about the present but this is some sort of afterlife”. Jovan and Suzana, refugees from the war in Sarajevo, have left their lives behind, along with the bodies of their little children: “Their names were Dejan and Ana. And there’s nothing more that can be said about the dead that doesn’t make them small, lost and forgotten”.
They are living now in the sort of afterlife you find in mythology: grey, and sad, and haunted by the shades of all they have lost. Even Jovan’s name has been lost in this new country (“Jo … Ja … Joh-von. Ja-Va. Ah fuck it, we’ll call you Joe”). But of course we never entirely lose, or escape, our past. The idea of war has come with them; Dr Graffito, who defaces the walls of the hospital with violent phrases, is a metaphor as well as an actuality of violence and death. But Patric does not leave Suzana and Jovan there; slowly, tenderly, they begin to emerge into this new country and all its possibilities.
Salt Creek by Lucy Treloar
Lucy Treloar’s Salt Creek treads the sort of ground broken a few years ago by Kate Grenville and her Secret River. Set in the Coorong in South Australia, peopled by the Finches – a large and ever-expanding family whose father cannot find the balance between ideal and action – it’s narrated by Hester, the eldest daughter and the one who is required to provide the through line for the family: including cooking and cleaning and supporting her depressed mother and caring for the little children.
What I found compelling was not the story of Hester’s endurance, but rather the way Treloar depicts the relationship between the local people and the Finches: the stupidity and carelessness, the casual brutality, with which the settlers treat the Indigenous owners of land to which they have laid claim; and the way some of the Finch children begin to connect, however inadequately, with some of the local people. One of the rare sunny spots in the novel is provided by Tully, a local youth, who is adored both by Addie, Hester’s lighthearted sister, and Fred, her artist brother. And yes, it ends in tears. Indeed, this particular colonial adventure generally ends in betrayal, brokenness and disappointment; but to say this so bluntly is to ignore the beauty of the language, the lightness with which the historical context is carried by the story, and the vivid presence of the physical environment, which is as fully realised as are the central characters.
The Natural Way of Things by Charlotte Wood
Charlotte Wood’s The Natural Way of Things, in equal parts captivated and appalled me. Built out of the actuality of the Hay Institution for Girls, an institution established for the punitive constraint of adolescent “offenders”, this novel operates as a dystopic fable of the control of women and women’s sexuality. The ten young women who suffer “the natural way of things” have all been the subjects of very public sexual scandals. They have been kidnapped and enslaved and brutalised by the agents of a vaguely identified corporation, Harding International.
Their heads shaved, their clothes exchanged for heavy boots and rough dresses, and their eyes and arms under constraints, the women find themselves “abducted right into the middle of the nineteen fucking fifties”. The necessarily “bald and frightened girls” and their dull abusive captors gradually adapt to this bizarre life, in a Waiting for Godot situation where day after day Harding International fails to arrive. But how does anyone adapt to the impossible: to authorised misogyny, to absent rights? They don’t, of course; they simply find ways to accommodate themselves to it.
In those accommodations we see the crippling of selves; the ambiguous comfort of friendship; the giving over of personal values for tiny physical ease. While there are fleeting gestures toward a sense of sisterhood, only two characters really come out of it with any honour: Yolanda, betrayed by her beloved brother, named “lunatic”, but able to hunt and kill, and thus to keep everyone alive, for a time; and Verla, who is able to use her brain, and thus to some extent keep them comparatively functional. It is gruelling to read, shattering. It is important.
Novels build in their readers a capacity for empathy, we are told. These five novels do precisely that, and besides are lovely to read – each writer has a feeling for sentences and phrases, and has built in such narrative traction that I read them at a gulp, emerging only at the end, blinking, before returning to the everyday. These novels are scored through by sensitivity, clarity, and a ruthless generosity of voice, and feel their way into character, into ethical complexities, and into the small and large ways our society creaks on.