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The title of Rodney Hall’s thirteenth novel, Vortex, means to convey something of its considerable formal and thematic ambitions. The implicit promise is that its various elements, however fragmented or disparate they may seem, will converge with the swirling inexorability of a whirlpool or a black hole. As a dynamic metaphor for the novel’s wide-ranging vision of history, the title might be interpreted as the opposite of a widening gyre, a repudiation of the terrifying prospect of mere anarchy, an affirmation of the idea that there is a shape (and indeed a gravity) to events that grants them a kind of coherence, though the fact that the ordering centre of a vortex is also the point of annihilation is hardly reassuring.
It was the first thing she noticed: all the clocks had stopped. She only mentioned it when she was shown to the dining table and the woman – his grandmother – placed in front of her a glass of bandung, bright pink and sweating. Thanking her, she held the glass, the chill of it shocking the heat of her palm ...
Russia’s full-throttle invasion of Ukraine is so shocking because it is such a brazen assault on the post-1945 world order. Reminiscent of the age of empire, this is no border skirmish but an attempt to extinguish and cannibalise an independent neighbouring country.
This week on The ABR Podcast, Joel Deane considers the black and white politics of opposition leader Peter Dutton. Deane explains that Dutton considers these politics a ‘police trait’ that he developed while in the force, and one that now serves him well in politics, especially when making necessary snap judgements. But will this style endear him to the electorate in the next election campaign, likely fought against Prime Minister Anthony Albanese? Joel Deane is a speechwriter, novelist and poet. Listen to Joel Deane’s ‘The Manichaean Candidate: Peter Dutton’s black and white politics’, published in the September issue of ABR.
According to Andrew O’Hagan, writing in a recent London Review of Books: ‘If you want to be somebody nowadays, you’d better start by getting in touch with your inner nobody, because nobody likes a somebody who can’t prove they’ve been nobody all along.’ The journey from Nobody-hood to Somebody-hood is central to June Dally-Watkins’s recent autobiography. Indeed, O’Hagan’s pithy insight could almost have been the Sydney socialite and queen of etiquette’s mantra.
Like any good storyteller, Christopher Heathcote begins by setting the scene: ‘one of those scruffy unpaved streets on the outer fringe’ of Melbourne on a wintry day in 1956 ...
The quirky kind of pleasure’ provided by coincidence; the ‘rightness’, whether logical or poetic, of connections between seemingly unconnected people, particularly connections that are inadvertent or may remain unknown to the people concerned; the ‘pleasing symmetry’, in retrospect, of various experiences we share with another human being, even when the experiences concerned were painful ones and their circumstances tragic: these are but a few of the broader observations, incidental but also integral, strewn throughout Two Lives (2005), Vikram Seth’s recent memoir of his great-uncle Shanti and Shanti’s German-Jewish wife, Henni. Integral not only to their nephew’s story of their fortuitous coming together in Nazi Germany and subsequent lives in England, but also to the life experiences of Seth’s readers, including (in my own case, certainly) the experience of reading the book itself. Such riches as are to be found in this story of ‘strange journeys’ and ‘chance encounters’ may also be found, Seth observes at the end, ‘behind every door on every street’. For me, the coincidences, inadvertent connections and serendipitous symmetries I found in the author’s trajectory and mine came to border on the uncanny.
