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The Bone Clocks by David MitchellSoon there will be a game called David Mitchell Bingo. Kaleidoscopic narrative with multiple interlinked stories? Check. Characters from previous novels? Check. Wit? Check. Metafictional jokes? Check. Invention? Check. Genre leaps? Check. Future dystopia chapter? Check. Intricate plotting? Check. Entertainment? Check. Our interconnectedness? Check, check, check!

Although of a slightly different ‘flavour’, The Bone Clocks is structurally of the same mould as Ghostwritten and Cloud Atlas. It has six interlinked stories following the life of Holly Sykes, told in first person present tense by five different narrators, two by Holly herself and four by other people in her life. Each chapter is set in a different time period and setting. There’s Holly as a rebellious teen in Gravesend, Kent, in 1984; the deceitful Hugo Lamb in Cambridge University in 1991, who meets Holly in a Swiss ski village; the war-addicted reporter Ed Brubeck in 2004, childhood friend of Holly and now her husband and father to Aoife; the utterly delicious Crispin Hersey, a once successful author intent on taking revenge against his harshest critic in 2015; the Horologist Marinus in 2025 New York City, who in a previous incarnation treated Holly as a girl and now asks her for help; and finally Holly Sykes, living in the post-apocalyptic ‘Endarkenment’ in 2043 on the west coast of Ireland.

Threaded throughout is an underlying Science Fiction or Speculative Fantasy plot about a war between the immortal ‘Atemporals’, on one side the (good) ‘Horologists’, on the other: the (evil) ‘Anchorites’.  ‘Bone clocks’ is a term given to mere mortals like Holly by the Anchorites. The Horologists are pure immortals, either ‘sojourners’  or ‘returnees’, working to the ‘Script’; while the Anchorites are soul vampires, prolonging their lives by decanting the souls of children, which becomes the Dark Wine they drink every three months in the Chapel of the Dusk to stave off ageing. The Atemporals have all sorts of powers, including telepathy (‘subspeak’); ingressing into, and egressing out of, people’s bodies; freezing people through ‘hiatus’; redacting memories. The Anchorites can also summon the ‘Aperture’, a portal device. The Horologists failed in their ‘First Mission’, an attempt to destroy the Chapel of the Dusk and the Anchorites, and are preparing a second attack.

Still with me? There’s no doubting Mitchell’s storytelling ability. His narratives rollick along with three dimensional characters and intricate plotting. It’s all very entertaining. The bad boy of British letters, Crispin Hersey, with his cynical takedowns of other writers and critics at literary festivals, is an absolute scream. Living off the early success of Desiccated Embryos (Dead Babies by Martin Amis?!), he doesn’t mind referring to himself in the third person. His new novel, Echo Must Die, is ripped apart by critic Richard Cheeseman, who was once a friend in their Cambridge days. Cheeseman could be commenting on The Bone Clocks when he writes: ‘The fantasy subplot clashes so violently with the book’s State of the World pretensions, I cannot bear to look’, and, ‘What surer sign is there that the creative aquifers are dry than a writer creating a writer-character?’ Crispin (and Mitchell?) counters with, ‘in publishing, it’s easier to change your body than it is to switch genre.’ These playful metafictional jokes are great fun.

There are interesting Australian influences in this location-hopping novel (the only continent we don’t go to is Antarctica). Crispin meets up with Kenny Bloke, a Noongar poet, loosely based, I suspect, on Kim Scott (whom Mitchell mentions in an interview section at the rear of the book, and whom Mitchell met at the Sydney Writers’ Festival in 2011). Crispin is trying to win the Brittan Prize, which sounds suspiciously like the Booker Prize because it has just been opened up to American authors. In The Bone Clocks, Nick Greek, a US author, wins! And Kenny Bloke thinks it was very well deserved. (I can’t decide whether ‘Kenny Bloke’ is a hilarious name for an Aussie author, or lazily demeaning!)

Crispin and Holly appear at the Hay Literary Festival, then run into each other at the Perth Writers’ Festival, and then again on Rottnest Island. Holly, whose spiritual memoir The Radio People became a bestseller, is able to tune into voices. And there are many voices on Rottnest Island. She tunes into the Noongar Aboriginal people, and I wondered what Kim Scott made of Mitchell writing as a Noongar ancestor being as Holly narrates:

Wadjemup, they called this island. Means the Place Across the Water. … For the Noongar, the land couldn’t be owned. No more than the seasons could be owned, or a year. What the land gave, you shared. … Whitefella ship us to Wadjemup. Chains. Cells. Coldbox. Hotbox. Years. Whips. Work. Worst thing is this: our souls can’t cross the sea. So when the prison boat takes us from Fremantle, our soul’s torn from our body. Sick joke. So when come to Wadjemup, we Noongar we die like flies. 

Not so for the immortal Anchorites, who recruit potential newcomers with this sales pitch:

What is born must one day die. So says the contract of your life, yes? I am here to tell you, however, that in rare instances this iron clause may be … rewritten.

Death and immortality is one of the key themes of The Bone Clocks. It is interesting that the oldest Horologist, now known as Esther Little, otherwise known as Moombaki, is a Noongar woman, who has lived for thousands of years. And the Horologists don’t go across the ‘Last Sea’ where the souls of dead bone clocks end up. It’s a nice echo of the Noongars’ Wadjemup history, and shows Mitchell is a thoughtful writer and plotter.

An adjunct of the mortality theme is a predacious theme, with both Anchorites and mortals eating future generations. The final story is set in the post-apocalyptic future, the so-called ‘Endarkenment’. There are electricity, food and medical shortages, ration boxes, security cordons, and the Chinese Pearl Occident Company (POC) rules everything it seems. (There have also been pandemics of ebola, a disturbingly prescient element given current events in West Africa.) When the POC removes support for the Irish ‘Lease Lands’, the jackdaws take over, with lawless chaos and an every-person-for-themselves mentality. The young look at the older generations, like Holly’s, as future eaters. It’s a bleak and terrifying future vision.

With Mitchell you’re often left feeling you’re reading several novels in one. That’s certainly true of The Bone Clocks. There are passages that add details that don’t seem necessary, in which you wonder whether he is paying attention to a minor character because he wants to use that character in a future story. More troubling, though, is the lingering question of what it all means.

After some thought, I’ve decided there is a serious point here, that of immortality gained through predation, of the rich and privileged eating the future. I enjoyed The Bone Clocks immensely, and I admire Mitchell’s writing. His legion of fans will love it. Fans of Murakami and China Mieville will love it, too.

But there are some cracks in the edifice. Mitchell burst on the literary scene with Ghostwritten, perhaps still his best, and certainly most cohesive, work.  It introduced us to his great unifying theme: interconnectedness. He talks of writing one giant ‘uber’ novel, and it’s great fun identifying the characters who have appeared in previous novels (characters from Ghostwritten, Black Swan Green, Cloud Atlas, and The Thousand Autumns of Jacob de Zoet appear here). The question is, if all his novels are based on this idea, will they all begin to sound alike? (I’m not hugely surprised The Bone Clocks did not make the Booker shortlist.)

Nevertheless, when the next Mitchell novel comes out, I’ll do what I did this time: run to the book store and rub my hands with glee at the expectation of the reading experience to come. I know it will be entertaining. And I’ll find out whether my David Mitchell Bingo idea has any legs or whether he surprises with something new.

There are plenty of Mitchell believers out there. Ursula Le Guin praised The Bone Clocks at the Guardian here.

Carolyn Kellogg loved it at the LA Times here.

James Wood offers a more circumspect assessment at the New Yorker here:

The Bone Clocks by David Mitchell

2014

Sceptre

595 pages

ISBN: 9780340921616

Source: purchased

I came across something very interesting the other day: a collaborative project between Anna Funder and Australian Pearl company Paspaley.

Winner of the Miles Franklin Award in 2012 for All that I Am (my review here)Funder has written a short story entitled Everything Precious, which you receive in seven daily instalments after signing up (it’s free) here. (All they ask for is a name and an email address.)

There is a little ‘book’ trailer on the site, which admittedly is more of an ad for Paspaley, but the interesting thing is that here is an Aussie company paying an Aussie author to write a story for them. I have no idea how much Funder was paid, but kudos to Paspaley.

No doubt there’ll be some product placement, most likely in the final instalment. The question is, will it be a roll-the-eyes moment, or a gee-that’s-sweet moment? Given Funder’s the author, I expect the latter. I’ve received four instalments so far and am enjoying my daily dose.

Could this become a model for other corporations to support Australian writing as part of their marketing? Most of us are used to some product placement in films these days. Perhaps we should expect some more of it in fiction.

UPDATE: I was wrong: there was no product placement. (I knew I should have waited to read it all before I posted! Sigh.) And the story was excellent. I dip my lid to all parties.

Australian Love Stories edited by Cate KennedyI admit it: I’m a sucker for a good love story. Give me a happy ending, or the heartbreak, or the bitter sweet, in whatever form or style—realist or speculative, gay or straight or bending, darkly menacing, hallucinatory, or fertile romp. Can there be more fertile ground for fiction? Judging by this excellent forthcoming anthology of short stories, which focuses on love in all its guises, the answer is a resounding no.

Edited by renowned short-story writer Cate Kennedy into seven themed sections, which take their titles from the prose of one of the stories within that particular section, the highlights are so many that when I started to put together my favourites from the 29 stories on offer, the list quickly became a regurgitation of the table of contents. And no wonder, for in her introduction Kennedy relates the enormous task of sifting through, count them, 445(!) submissions—a herculean task and one which she has done admirably given the quality of the stories that made the cut.

On display are some of our finest and most respected proponents of the short form, such as Bruce Pascoe, Carmel Bird, Tony Birch, David Francis, Lisa Jacobsen, Irma Gold and, well, there I go again with the table of contents listing eh? And joining them are newcomers, whose work sits alongside the more established authors with ease.

Where to begin? First an outline of the seven themed sections, which cover: (1) the dawn of love; (2) all-encompassing desire; (3) same sex love; (4) love with children in the picture, with troubled relationships or relationships that are slow burners, only bringing lovers together after decades; (5) love in the midst of babies and/or expectant arrivals; (6) love in times of health crisis; (7) affairs and their aftermath. Six of the sections contain four stories, with the remaining section containing five. There’s a wonderful balance, and I love the titles (‘That Sensuous Weight’, ‘Why Cupid is Painted Blind’, ‘Firm as Anchors, Wet as Fishes’, and so on).

Picking any is to be cruel to the others, for there were only two stories that didn’t resonate with me, but I could see even in them reasons for why they will resonate with other readers. But onward to some of my personal favourites…

An early highlight in the universally excellent first section, (which also features Bruce Pascoe, Catherine Bates, and Kathryn Lomer), is Susan Pyke’s Meltemi. The meltemi is a summer afternoon wind in the Aegean Sea. The Aegean Sea, I hear you ask, I thought these were Australian stories? Hmmm, it is perhaps the collection’s only misstep: there are two stories set wholly overseas, and a couple of others set both overseas and in Australia. Given the title of the anthology, you could mount an argument that those stories set wholly overseas shouldn’t have been included. I suppose the counter argument would be ‘love is universal’. Anyway, Meltemi is a sweet coming-of-age tale, set in Samos, an island near the coast of Turkey with a beautiful end as the girl who is our narrator takes a swim in the sea to cool off in the torturous summer heat, stripping bare, and finds herself swimming near rocks, thinking she is alone until she sees the guy she has had her eye on, who is playing his flute to attract the crabs out of the rocks. It has a lovely poetic ending.

Another stellar story is Leah Swan’s delightful Why Cupid is Painted Blind, also a hot summer story, in which Mallory is introduced to us as a ‘woman who’d danced with a man who was not her fiancé and could think of nothing else. She’d heard that love could be a madness that descended on you, like an illness, like the flu.’ And poor Mallory does suffer from the madness of love, something that turns the straight-laced woman into something of an obsessive. She has danced with Karl, a musician, for whom she writes a poem, and despite seeing him living in happiness with a woman and children, Mallory can’t help herself and pops the said letter in his post box! That’s not the end, of course, but I shan’t spoil it for you… but it’s a perfect ending. Lovely.

The haunting Lover like a Tree by J Anne deStaic deserves special mention. It’s the story of a heroin and methadone addict, whose female partner sticks with him even when she’s not sure if she, being an ‘ordinary’ woman, can handle it or fix him. The story employs the metaphors of terrain and tree, and drips with poetic resonance. Preparing to inject himself he ‘wipes the side of his wrist with an alcohol swab and its fragrance hits him quickly as his veins draw like a map up his arm, wide highways painted blue, picked out against the flat plain skin.’ We switch points of view between the addict and his partner, getting both sides of the story as it were. And how lyrical is this description of his drug-induced haze:

… the caress of her hand has the brush of leaves and twigs and her arm over him is a pale bark branch and her hair a canopy of blossoms and birds are sleeping there and butterflies rest in her cool green shade while her roots sink down through the bed and the floor and the earth to its rocks and he feels the rain sliding over him, dripping from her leaves, his lover like a tree.

I enjoyed the fabulous Hooked by Toby Sime, a powerful story with striking images and word choices. Our male narrator comes across a girl he had seen many years earlier when she was in some trouble; she has a scar near her mouth that is shaped like a hook. And our narrator is indeed hooked. ‘The scar at her lip was the hook in my mouth; my tongue made its shape on the back of my teeth.’ And, ‘the crewel of her scar had put a stitch in me I’d been unable or unwilling to unpick.’ Her kiss: ‘was a labyrinth. All, all I wanted in the world, was to never find my way out.’ And this: ‘… I knew, though she was no ghost, that we were in a spirit realm now, and I could pass my hand right through her, or she through me, because the physical barrier between us had been extinguished.’ The story is peppered with imaginative simile and metaphor, ‘kohl-black hair’, ‘the miraculous Berkeley Square of her bed’, and has a lovely twist at the end.

Oh dear, I am rabbiting on. Special quick mentions to the adorable Swallow by Jon Bauer, about a young boy whose mother is in an abusive relationship with a man who is not his father. The boy goes outside in a gale, believing their argument to have caused the high winds: ‘The kitchen argument going up a notch on the Beaufort Scale, the parental vitriol bending the spruce trees over in the wind. … the first dead leaves aloft in the sky like the spirits of birds.’ He rescues an injured swallow. ‘It felt strange once he’d gathered it in the jacket, light and fragile, but substantial. Meringue.’ Rejecting the tin cans of his would-be step-father, he finds the perfect home for it, opting for something much closer to his heart.

I loved A Greek Tragedy by Claire Varday (aside from a couple of surface copy editing issues, which I’m sure will be fixed in the final published version), which is constructed in two parts, the romance and the tragedy. As the narrator observes: ‘It starts as a romance and ends as a tragedy. There are tears, there is hubris, there is a damnation and regret. It is, after all, Greek.’ (Some of this story is set in Oz.) It is an utterly heartbreaking story, very well constructed.

I would be erring not to note Allison Browning’s These Bones, which features Enzo, a gay man with Alzheimer’s, who makes a break from his care facility in order to go home to his partner, Nev. The helpful biography section informs me Browning is developing These Bones as a novel with the assistance of the annual Australian Society of Authors’ mentorship program. So look out for the longer version of this beautifully rendered love story soon-ish (hopefully!). It shows love at its most enduring and blind best, underscoring what it means to love someone come rain or shine. I defy anyone not to fall in love with Enzo, and feel for his and Nev’s loss, and Nev is an absolute stalwart. There is a description of a shower they have after Enzo has wet himself, the two of them standing in the shower ‘firm as anchors, wet as fishes’—a perfect combination of strength and fragility, (and which Kennedy appropriately chose for the title of this section of stories set against the backdrop of illness).

A quick nod to Tony Birch’s wonderful Joe Roberts, which is rife with lingering questions about Joe, who meets a very troubled girl at the train station on his way to the hospital to undergo tests. He leaves the girl lying on the station platform, shuddering wet in the cold. At the hospital we learn he has a shady past, though exactly how shady we’re not allowed to know. It is a masterfully constructed and realised story about the possibility of redemption.

Last, but by no means least, is the final story, Where the Honey Meets the Air by Carmel Bird. Narrated by ‘Sugar Sam’, it is a veritable tour de force. After a very brief introduction of five one- or two-line paragraphs, Sam (and Bird) takes us deep into a story of an affair gone wrong—all delivered in an eight-page long stream-of-consciousness sentence, a deluge without break. There are delightful jokes and puns, allusions to Shakespeare, wordplay, wordplay, and yet more wordplay. And there’s a wily, crafty story, with Sam recounting his friend’s affair and his subsequent murder of his wife and her lover… but there’s another way of reading it, which comes clear toward the end, a delicious and sly turning of the story on its head. Although an affair and a murder don’t sound like a good way to bring the curtain down on a collection of love stories, I don’t think Kennedy had much of a choice!

awwbadge_2014And to think I’ve only mentioned half of the stories I wanted to. There’s no room for Debi Hamitlon’s moving The Edge of the Known World; the lovely slow burn of Sally-Ann Jones’s Hammer Orchid, which sizzles across a racial divide, an age gap and decades of elapsed time, and is reminiscent of Alex Miller’s Journey to the Stone Country in terms of feel even though it’s set in WA; the intriguing pull and laugh-out loud asides in David Francis’s Moses of the Freeway, about a gay couple in Los Angeles; the surprise tail-end of Caroline Petit’s The Contract; the sadness of Susan Midalia’s A Blast of a Poem; the brief pain and lovely turn in Natasha Lester’s It Used to be His Eyes; or the stunning end to Megg Minos’s Need Gone Today.

I’ve already read a few stories twice, and I can see this volume sitting within easy reach for constant dipping into. And for those keeping track of such things, of the 29 stories, 22 are by female authors. (Would it be cheeky to use this book towards my AWW2014 target?! There’s plenty of great Aussie women writers in this anthology, so why not?) Perhaps the only surprise is that Cate Kennedy didn’t contribute one of her own stories, which would have made the collection better (even though I am very wary of editors contributing their own work to anthologies).

Australian Love Stories will hit book stores in October, becoming stable-mate to the well-received Australian Love Poems, edited by mark Tredinnick, which came out last year. Perhaps Stories can become an annual publication, or biennial at least. After all, we all like a good love story, don’t we?

Australian Love Stories edited by Cate Kennedy

2014

Inkerman & Blunt Publishers

289 pages (plus author biography section)

ISBN: 9780987540164

Source: preview copy provided by the publisher

Journey to the Stone Country by Alex MillerWhy did I wait so long to get to Alex Miller’s beautiful, Miles Franklin Award-winning novel Journey to the Stone Country? Set in the famed ‘stone country’ of the interior of far north Queensland, Miller explores themes of possession, preservation, ancestral sins, redemption, love across racial boundaries, as well as Indigenous politics and reconciliation. He does this with the tender lyricism, earthy characters and delicate plotting that are the hallmarks of his stone country works. Journey possesses a sort of mystic gravitas that is hard to pin down, but is bound up in the rugged landscape and its Jangga people. It is a landscape not for the faint-hearted, and yet entering into it with Miller as your guide you feel completely safe, free to become as spellbound to its powers as its protagonists are.

Annabelle Beck, a university lecturer in Melbourne, is the grand-daughter of cattle station owners in far north Queensland. She returns home one day to find her husband Steven, also a university lecturer, has run off with one of his attractive honours students. She retreats to Townsville where she meets Bo Rennie while doing some work for her friend Sue in the area of Aboriginal cultural assessment.

The laconic, wise, chain-smoking Bo is the grandson of Grandma Rennie, a Murri Aboriginal woman who married Iain Rennie, a white stockman, even when such a marriage was outlawed by the ludicrously named ‘Protection Act’. Bo reminds ‘Annabellebeck’ they have met before—they used to swim naked as little kids in one of the old inland waterholes. He says to her he always thought she’d come back. She is intrigued by Bo and this cryptic message. Is he saying to her he has waited for her to come back? One of the delights of the novel’s progression is the way Annabelle has to throw off the part of herself that was raised and schooled to inquire into the reasons for everything.

Together they begin a journey that takes them through landscapes of their families’ joint pasts. They navigate the fractious relationships in modern Aboriginal politics and come to learn of past brutalities that threaten their growing bond. Bo seeks to recover Verbena Station, the land Grandma Rennie inherited when Iain died, which she was swindled out of by a white relation.

Grandma Rennie was ‘one of the last to give birth to up there in that stone country’. Bo educates Annabelle about this tough scrub country, which he and Dougald Gnapun used to muster cattle through as ‘boys’. Bo describes how Grandma took him and some other children into the stone country of the Old People when he was a boy:

And when Grandma seen that we was ready she rose from the fire and led us out of the silverleafed wattle into a great wide clearing. I’ll never forget it. And there was the labyrinth of stones lying there on the bare ground, polished by the wind and gleaming in the moonlight like rows of skulls laid out in a secret pattern. And we knew we was looking on our old people. We never spoke but stood and gazed on them ancient circles and paths and patterns on the ground and we seen it was the playground of life and death and we knew them old people was little children just like we was and they had gone on before us and left us their dreams and their sweet lives. Grandma never needed to say nothing to us about having something to live for. We seen it ourselves.

In one of their first joint work efforts, assessing country that a company wants to mine for coal, Annabelle finds a ‘cylcon’, a ‘cylindro-conical stone artefact of unknown purpose’, which she takes with her, but when she shows it to Dougald he almost recoils from it; he doesn’t know its original purpose or whether he should even be looking at it. Annabelle’s faux-pas stings her, makes her reassess her sense of the need to preserve artefacts. Indeed, one of many wonderful things in Journey is the way Annabelle realises there are some things in Indigenous culture she should not know.

When Bo invites her to go with him to the Stone Country of the Old People, she is wary. I love the way Miller handles this, both Bo’s invite, the way it meant he was offering her everything without declaring it overtly; the way she receives it with a ‘yes’ that sounded like a no. The subtlety is lovely.

Bo and Annabelle are shadowed by one of the most interesting secondary characters I’ve come across: Arner, Douglad’s son, who is almost Buddha-like, contemplative, someone with ‘the gift’ of being able to talk to the ‘Old People’. And yet he and his sister Trace often stay inside his ute, playing modern dance music with throbbing base at high volume, as if they don’t want any part of the landscape that is theirs by rights. He provides a wonderful counterpoint to Annabelle’s yearning for connection. (Trace provides a lovely counterpoint of her own as she finds an interesting and unexpected love match on their journey.)

I recall Kim Scott’s masterful Miles Franklin-winning novel That Deadman Dance (my review here) being described as a ‘post-reconciliation’ work, one that showed the terrible things of the past while offering an olive branch, a way forward. Of Noongar descent, Scott writes from a place of authority on the vexed issue of reconciliation. Miller is not Indigenous, and yet he too writes from a place of authority. He knows these people. In a way he is these people.

There are lovely touches throughout, such as the meta-fictional title for Annabelle’s husband’s conference paper – ‘Biography as Fiction’ – biography being the basis of much of Miller’s fiction.

And consider this for a sentence, Bo talking to one family of recent settlers about the old scrubber bulls eating poisonous zamia nuts and dying out in the scrub:

They laughed uneasily and reached for their tea, sipping from their mugs, picturing the doomed bull trapped among the tumbled rocks, the dingoes eating into his quivering flesh while he yet lived and suffered; a transformation scarcely to be imagined, a brutality that must surely leave its ghostly impress on this country, an imprint for them to encounter in their quest to live among these stony ridges and ravines of the escarpment, the history they must adopt if they were to prevail in this place.

There is a dual use of ‘zamia’: both poisonous nuts and the name of the street on which Annabelle’s parents’ house stands in Townsville. It’s a nice echo, and underpins the sort of poisonous thinking from one Indigenous elder Bo and Annabelle must overcome. Some relics, such as the stone cylcon deserve to be left to past times and past landscapes. Other things, such as the love Grandma Rennie shared with her husband Iain, should be resurrected.

Lovers of Miller’s Journey to the Stone Country must read its ‘cousin’, Landscape of Farewell, which also features Dougald Gnapun, this time in a central role. It is a fine work, covering similar themes from a slightly different angle, as is Miller’s more recent return to stone country territory in Coal Creek (my review here). Many things tie these novels together: mystical landscape, laconic characters and beautiful, thoughtful writing from one of our best. Journey to the Stone Country was worth the wait and then some.

Journey to the Stone Country by Alex Miller

2002

Allen & Unwin

364 pages

ISBN: 978174141467

Source: purchased

Lost and Found by Brooke DavisTake the whimsy of Inga Simpson’s Mr Wigg (my review here) and multiply it, then add the quirky-character humour of Graeme Simsion’s The Rosie Project (read, not reviewed here), and you’ve got Lost and Found by debut Australian author Brooke Davis. Exploring the theme of grief and how we deal with it, the story is a romp, told from three perspectives—the young Millie Bird, and the elderly Karl the Touch Typist and Agatha Pantha.

Wearing her favourite red gumboots, red-haired Millie is seven years old and struggling to understand the death of her father when her mother abandons her in a department store. Millie writes all the dead things she sees in her Book of Dead Things. Her dog Rambo is #1 in the book; her father is #28. Like some young children, she is kept away from her dad’s funeral, and is confused about where he has gone.

One of the things she struggles with, and another theme of the novel, is the way adults talk down to her. She asks a lot of questions, as children are apt to do, and the answers she gets are often misleading. In one very humorous exchange with her father when discussing the demise of Rambo, which spills into a discussion about what happens to people after they die, her father talks about Heaven and Hell thus:

In Heaven, you hang out with God and Jimi Hendrix, and you get to eat doughnuts whenever you want. In Hell, you have to, uh … do the Macarena. Forever. To that ‘Grease Megamix’.

Where do you go if you’re good and bad?

What? I don’t know. Ikea?

Millie is a wonderful character. She creates delightful ‘secret’ poems made from snatches of overheard conversation. She lists ‘facts about the world Millie knows for sure’. One of these is ‘everyone knows everything about being born, but no one knows anything about being dead.’  In one scene, she visits a cemetery and realises there are different heavens for different (religious) groups of people and worries she might not go to the same heaven as her dad when she dies. Her habit of telling people they’re going to die doesn’t go over well with most, and culminates in a hilarious announcement she makes over a train’s PA system.

Millie somehow manages to stay overnight in the department store without anyone noticing, except, that is, for Karl who is also sleeping there after leaving the old persons’ home his daughter-in-law effectively put him in. Millie meets Karl in the department store café. Karl is 87, and is missing his late wife, Evie. Karl is particular. He’s in the habit of typing out everything he says with his fingers (he met Evie in a touch-typing school). There are some lovely moments in Karl’s story where he remembers the time he had with his wife before she died of cancer. The way he had proposed to her is wonderful.

Millie still hopes her mum is coming back to get her, and everywhere she goes she puts up a sign, saying ‘In here, Mum’ (which you might see in bookstore windows promoting Davis’s novel). After two nights in the store, Millie and Karl are discovered. Karl is naturally suspected of being a paedophile, but he manages to create a diversion for Millie to escape. She runs back to her home to find her mum has disappeared. The escape scene is one of many hilarious set-pieces, some of which might stretch plausibility but are fabulously entertaining nonetheless. On their break, Millie asks Karl to steal a mannequin, which he subsequently names Manny.

Millie’s return home is noticed by Agatha Pantha, who lives across the street. Agatha has not left her house in seven years, shutting down after the death of her husband, Ron. If Karl is particular, then Agatha is a force of nature, always yelling her displeasure at her perceived failings or shortcomings of people passing by her house. Like Millie, she has her own book to record her ageing, including her flabby arms and other bodily measurements she makes daily.

She has a fixed daily routine, and her chapters are almost diary entries for specific times of the day. She names the chairs she sits in. There are the Chairs of Disbelief, Degustation, Discernment, Resentment, Disappearing, Disappointment, Disengagement, and so on. (It probably would have been better if they were all named using words starting with ‘D’.) At the end of each day, at 9:23 pm, ‘Agatha allows herself to be lonely.’  Davis walks a fine line with Agatha, because she’s not very likeable at first glance, but her personality quirks come from her bewilderment of what life has become. Her loneliness is heart-breaking.

Agatha is aghast when Millie walks up her garden path and asks her to make sense of a piece of paper she has found, which is an itinerary of her mother’s ‘runner’ to the USA via Melbourne (the story begins in south-western Australia). Agatha then tells Millie to go away, but she eventually marches across the street to Millie’s house and tells her to pack her bags because they are going to find her mum.

Thus begins a road trip like few others, with Karl, who has escaped arrest, catching up with Millie and Agatha, bringing with him Manny the mannequin (who I love… #teammanny!). The trio, or should I say foursome!, rub against each other in funny and moving ways as they stay on the run from the authorities and others. Millie’s conversation with Agatha, when she asks if she can start a new family, is a hoot, as the increasingly exasperated Agatha tries to explain that she is too young to start a family and the biological reasons for this and how it all involves the government.

Do things get a little over-the-top? Maybe for some they will, but I enjoyed the majority of the climactic scenes. Millie, Karl and Agatha all transform in satisfying ways, and there is a well-balanced ending, including a nice pay-off from Evie’s puzzled message for Karl that he finally decodes. Out of the grief each of these characters suffer at the open comes a life-affirming message: that while death catches up with us all in the end, until it does we can change in ways that will surprise, perhaps shock, us, and live life to the absolute fullest. If there is a fault, for me some aspects of the relationship between Karl and Agatha strain credibility in an otherwise assured debut.

awwbadge_2014Lost & Found will win many hearts. Like The Rosie Project, it has been sold into multiple countries and will find many readers. Where does Davis go from here? More whimsy? More humour? Many readers will hope for precisely that.

Brooke Davis has followed in the footsteps of Hannah Kent with a profile on the ABC’s Australian Story titled ‘Driving Miss Davis’, which you may still be able to catch on i-view or on the Australian Story website. She talks about the loss of her mother in a tragic accident, the way people respond to grief, and her rather special relationship with her mother’s old car.

Davis is discussing Lost & Found at Berkelouw Books in Leichhardt with Susan Wyndham this coming Wednesday (16 July) evening. It’s ticketed, so call ahead.

Lost & Found by Brooke Davis

2014

Hachette

263 pages

ISBN: 9780733632754

Source: review copy provided by the publisher

SWF 2014 logoOne of the highlights of the 2014 Sydney Writers’ Festival was seeing Irishwoman Eimear McBride talk with Geordie Williamson about her stunning, award-winning debut novel A Girl is a Half-formed Thing (my review here). The novel was shortlisted for the inaugural Folio Prize, won the inaugural Goldsmiths Prize in 2013 and the Baileys Prize (previously the Orange Prize for fiction) in 2014 (announced this past week). The Goldsmiths Prize was set up to ‘reward fiction that breaks the mould or opens up new possibilities for the novel form’, which gives you an idea of where A Girl is placed.

Geordie asked Eimear to set up their discussion by doing a reading. And what a pleasure it was to hear McBride read from the work that is so stylistically different to pretty much everything you’re likely to read. She read from the opening, which I confess I had to re-read a couple of times before I got what was going on, what with the jagged short sentence structure she employs. And although in my own head the writing quickly came alive, it was another thing to hear it spoken aloud by its creator.

The risk with the experimental style McBride employs, said Williamson, is that it could have fallen into an idiolect that no one understands, a modern companion to Joyce’s Finnegan’s Wake, which many regard as a dead-end of high modernism. This is something that McBride avoids. But, asked Williamson, ‘we have to talk about punctuation: what have you got against the comma?!’

The comma is overrated, joked McBride, before she went on to say the use of the full stop shows the reader that something else is going on in the story. It’s an immediate signal. Williamson noted Henry James as a great user of commas, the master of building up tension in a sentence for as long as possible, holding completion at bay. McBride said the truncated sentences match the experience of the unnamed girl narrator.

How did the style develop? She said she spent a long time writing and then, aged twenty-five, she read Joyce’s Ulysses, and everything changed. All the work she had done went into the bin. She felt there is a lot of room left in the modernist tradition to plumb. Proper sentences don’t necessarily allow us to show all of human experience.

Williamson said Irish writers typically choose between Joyce and Beckett as their inspiration, but McBride said she didn’t see the difference between the two. Language is key for both of them. Williamson mentioned another possible influencer, likening short sentences to the ultimate ‘bloke’: Ernest Hemingway. Did McBride consider choice of gender and flip it? She said, you’re not conscious of gender as a writer. You ‘don’t write as a woman’.

The discussion then went into the area of plot, the story being about the relationship between a girl and her mentally challenged brother in a close Irish Catholic community as she comes of age. In many ways, noted Williamson, this is the traditional Irish story. It was, said McBride, a horror to me that that was the story I was going to write. She did not set out to write that story, but that was what she found.

McBride spoke briefly about her upbringing. Born in Liverpool to Northern Irish parents, she moved to the west coast of Ireland when she was two. She went to convent school with all the associated bad nun experiences. At seventeen she moved to London to go to drama school as a means of escaping all of it, thinking she’d never go back to Ireland. And when she did go back she found out she had been right to think she should have never gone back!

The conversation returned to Beckett and Joyce, the two giants of Irish literature who cast very long shadows. It seems you have to get them out of your system to be an Irish writer. Another influence McBride noted was renowned Irish author Edna O’Brien. Experimenting is not done with yet, said McBride. Finnegan’s Wake scared people into moving back towards realism. But there’s an appetite in readers for brave and different books. Readers are adventurous, she said, something publishers forget. She described the nine year wait from finishing the manuscript before she found a publisher to take the book on, arguing that the increasing commercialisation of publishing houses has played a detrimental part in cutting down variety. To be a writer and a reader, she said, is to be an adventurer, a point that was welcomed with applause from the audience. Here, here, I say.

It took her six months to write three drafts in 2004, and then sent it out to publishers. Some said it was brave, and of good quality, but they couldn’t see the market for it. This went on for four years before she gave up and put it in a draw. It was a series of fortunate connections she made in Norwich that led to the manuscript getting to a brand new publisher run by people who admitted they knew very little about publishing, and even then it took a while for it to come together. Kudos to Galley Beggar Press in Norwich for picking it up; (it’s published by Text Publishing in Australia). It was reviewed positively in the Times Literary Supplement in London, and the rest, as they say, is history.

What next? Her novel in development is an evolution of the style featured in A Girl. She is most interested in indescribable human emotion. Success does not make writing any easier or harder.

In response to questions, McBride detailed the writing process for A Girl as being one more of addition that subtracting through editing. She has a goal of 1000 words a day, and starts each day by reading the previous day’s work, something Peter Carey and many other authors do too. She then picks up at the most interesting sentence and continues on. She constantly asked herself whether a reader would understand what was going on, and she knew she was asking a lot of the reader. She read it aloud a lot, particularly in the second and third drafts. The darker parts were difficult to write emotionally, but ‘you need to give of yourself, a drop of your blood’.

She said she may well do an audio book version herself, which was greeted with applause, and it is difficult to imagine anyone else being able to read it like McBride does. And Geordie Williamson, who had made an earlier reference to a well-known curmudgeonly reviewer and his praise in the London Review of Books, said the final line of his review was ‘the nicest thing he has ever written’, which gives you a measure of the status of this gem of a novel. What was his line? Wondering about McBride’s ability to back up A Girl and create a new style for a new story, he wrote: “That’s a project for another day, when this little book is famous.”

A great session. A treat to savour.

SWF 2014 logoI am a dilly-dallier aren’t I? I’m still catching up on my SWF posts. Apologies for the delay, but sometimes life gets in the way.

On SWF Friday I went to a panel session entitled ‘Judging Women’, sponsored by the Stella Prize. Chaired by Aviva Tuffield, Executor Director of the Stella Prize; Eleanor Catton, winner of the 2013 Man Booker Prize for her novel The Luminaries (my review here); Clare Wright, winner of the 2014 Stella Prize for her non-fiction history, The Forgotten Rebels of Eureka (see Lisa’s review at ANZ Litlovers); and Tony Birch, one of the Stella Prize’s judges, historian and novelist, who was shortlisted for the Miles Franklin Award in 2012 for his novel Blood.

Tuffield opened the session with a history of why the Stella Prize was created, listing the statistics in key areas which indicates the bias shown toward male authors: the way males dominated literary award shortlists and winner-lists (both in the Miles Franklin (the much publicised ‘sausage fest’ year was noted) and also in State Premier’s Awards, as well as overseas awards such as the Booker Prize; the bias toward male authors in reviews in literary journals and newspapers; and the higher proportion of male reviewers of said works. Women writers are also under-represented in school reading lists. The statistics on the Booker Prize are worth highlighting, with men accounting for circa 90% of shortlist nominees. Hence the setting up of the Stella Prize. Tuffield noted wryly that in the two years after the creation of the Stella Prize, two women have won the Miles Franklin, and she noted the all-women shortlist of last year. Coincidence? She suspects not.

Opening up the discussion to the panel, Tuffield asked Catton about the furore she created in the wake of winning the Booker when in an interview she said male authors get asked what they think, whereas female authors get asked what they feel. Catton said her experience was that it was not men ‘keeping women down’, and most often the stereotyping interview questions she was asked came from women. To her, feminism is being aware of the statistics. And being self-aware, too, because she went on to note that she had to catch herself sometimes, for when she thought about philosophers she always pictured or thought of men rather than women, as if men were the only ones capable of being thinkers. So we’re all complicit in the way women are thought of, but, she felt, ‘feminism goes wrong in laying blame’.

There was a huge difference, Catton said, between sexism and misogyny. She believes there is sexism in the publishing industry, but not misogyny. She felt there is a problematic expectation that as a woman author her writing must speak to feminist issues. Briefly outlining the way her novel is structured around twelve men who represent the twelve signs of the zodiac, she noted that had sheused twelve women the story would have been about women; using men allowed the story to be about other things, such as astrology and determination.

Tuffield turned to Wright who, when she announced to her male academic colleagues she was going to write a book about the Eureka Stockade, they said ‘what can you possibly add to the story?’ It had been done, they said. Unless she could unearth new primary sources, the subject had been exhausted. Her approach was to go back to the same archives with different questions. As a result, she came back with different answers. Women were in the records, they just hadn’t been written about before. Indeed, the book took ten years to write not because she was off searching for needles in the haystack, but because there was so much material.

Wright made fun of the fact that she is rarely asked what she feels – perhaps, she said, academics don’t have feelings?! But she is asked about gender often.

Her book is about democracy, one of the ‘big’ topics. She talked about previous experience in trying to make the documentary Utopia Girls, learning that you cannot pitch to broadcasters that you want to make a doco about women: you have to say the doco is about ‘a great Australian story’. That is the approach that opens doors.

She went on to talk about the presentation of her book in bookstores, particularly in airports, with her off-handed social media comment about tables in airport bookstores being ‘dick tables’. She would go and re-arrange the books in the stores so hers, which was usually buried somewhere in the back, had more prominence! Now, after winning the Stella Prize, her book was front and centre, so the prize is definitely working.

Tuffield noted the reaction to the second year of the prize was much different than the first. In the first year it was all about the gender question. This year the focus was on great books. This was a great time to bring Birch into the discussion. He outlined the very deliberate and considered approach to judging that chair of judges, Kerryn Goldsworthy, demanded. He said she had scheduled a full day for the final discussion of the shortlist in the choosing of the winner. Birch said he had judged other prizes but none had the same passion in organisation that the Stella Prize has.  As a result, he himself felt even more committed to the process.

Birch made the comment that the body of work read this year – 160 books! – was more complex and enlightening that he had read before. Echoing Tuffield’s need for the prize, he gave his own experience, recalling the time he had read a tiny review of Meme McDonald’s Love Like Water, which he considers a great Australian novel, and next to it was a huge two-page spread on Ian McEwan’s On Chesil Beach, which is all about the tragedy of male premature ejaculation!

He felt women give more to their work, and young aspiring female writers need more role models, especially as women don’t put themselves forward in the same way men do. Catton echoed the need for role models, underlining the importance of the confidence to take risks as a writer. And having read The Luminaries, and heard Catton talk about that book in another session at SWF, it is clear she does not lack in confidence (in a good way).

Tuffield asked Birch what it was like to judge fiction versus non-fiction. Was it challenging? Not in a negative sense, no, he said. Birch himself has been a historian, as well as a fiction writer, so he quite enjoyed reading across genres and forms. The judges never judged one genre against the other. It was all about the quality of the work. Someone had come up to him this year and said a non-fiction work would have to win because fiction won in the first year, but there was never any question of that. The three criterions used in judging were: originality, engagement, and excellence.

I must admit it did make me wonder: if the Stella Prize had the funds to award both a fiction and a non-fiction prize, would they do so? On the evidence of this discussion, they would not.

Tuffield noted the coincidental links between Catton and Wright’s works: 19th Century goldfields. Catton said she read a lot of 19th Century literature in preparation for writing The Luminaries, including a period in which she read Madame Bovary, Anna Karenina, House of Mirth, and Portrait of a Lady in succession, all novels that end in much the same way. It was both a great and heart-wrenching period, and she asked herself why women protagonists had to die at the end of such great works. She suspected it was because in those days the notion of women with eyes wide open was too threatening for society. She was, as a result, conscious when in writing a book in that style, to have women end in a position of some power, although Wright picked Catton up on the type of characters Catton chose for her women: a prostitute and a madam, arguing that in the goldfields women were a much more varied lot than these two stereotypes(!)

Overall, a very interesting discussion. Yes, it was run by the Stella Prize and tilted towards its message, but it’s a good message. A little rebalancing in those statistics is a good thing. Each on the panel had something important to add to the question of how we judge women authors. My own view is that much of the exciting writing in fiction right is coming from women. Eleanor Catton is one, to whom you can add Eimear McBride (thoughts on her SWF session coming soon), Jennifer Egan, and our own Alexis Wright. They are experimenting with all manner of things: form, style, genre, myth. (And before you jump on me, yes there are many others, and yes there are exciting male writers doing experimenting too, like Knausgard (a 2013 SWF guest) and Houellebecq, et al. To start a list like this is always doom to failure! The point is women deserve their place in our literary consciousness.

I was going to publish reflections on Alexis Wright in discussion with Geordie Williamson, but you can listen to the full podcast here.

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