Essay
A year ago, I came to Australia prepared to spend the first half of my sabbatical leave completing a book on John Keats. Never having been to Australia, I was eager to spend some time here: five months in all. When I participated in the 2008 Mildura Writers Festival, it became clear to me that something both delightful and extraordinary was at work. There was a fine group of writers, including Les Murray, David Malouf, Alice Pung, Alex Miller, Sarah Day, and Anthony Lawrence. But what made the festival remarkable was the combination of conviviality and serious talk about literature and ideas that surpassed anything in my previous experience, which included far more such events than I could begin to count.
... (read more)When my husband died a while back, I was left with my memories and a house full of books. Harold was so ill, and for so long, that what I felt in those first few days after his death was a dulled feeling, ‘It’s over’. Not relief, certainly not joy, not even sorrow, but a blank sense of inevitability: ‘All over’: the end to the terrible struggle of the past few years, the harder struggle of the last few months, and the merciful oblivion of the last few days.
My husband had so many books, so lovingly collected. On various scraps of paper, inscribed at different times and places, he left contradictory instructions about what was to happen to his books when he died. Until I work out what to do, I have become caretaker of the books.
... (read more)I was always going to be a novelist. At the age of six, I wrote fiction about a Willie Wagtail, whose best friend was an ant (even then I had a good grasp on relationships). Several years later I had moved on to human protagonists, mainly young girls living at boarding school and excelling at ballet. I had no experience of either, but I had my dreams. As an adolescent I wrote stories about homelessness and drug addiction, once again from vicarious experience. Then I went to university to do a literature degree and realised that great Australian novelists were serious, learned and (then) mostly male. I still wanted to write my novel, but I decided to live a bit first.
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The year was 1911. Four months after beginning work on a new novel, Henry Handel Richardson admitted to herself the ambitious scope of her new project: ‘I have another Colosse on hand, & it begins to grow, though slowly.’ This aptly nicknamed project was eventually to become the trilogy we know as The Fortunes of Richard Mahony, which was to occupy its author for the next twenty years. Length is not synonymous with ‘greatness’, of course. At almost eleven hundred printed pages, some readers have resented its bulk. At the same time, relatively few have had the opportunity to read the original volumes. Others have been puzzled by its combination of naturalism and allegory, and many more have been struck by an epic quality in its scope and vision. Kylie Tennant assured her readers in 1973 that ‘should any TV producer ever … take the great myth of Richard Mahony into the television medium, a new generation would discover that Mahony is not just a piece of Victorian literary furniture, but has the same weird power to grip an audience as Hamlet or Lear. For if ever there was a myth figure it was Richard Mahony.’ Richardson herself believed that her intention had been ‘to treat the chief features of colonial life in epic fashion’. Dorothy Green argued in 1970 that the novel should be seen as ‘not merely an emigrant novel of early colonial Victoria, but … [as] a part of the intellectual history of European civilisation in the nineteenth century.’ Even so, Michael Gow condensed this epic into a 66-page, two-act, domesticated playscript, performed at the Brisbane Powerhouse and the Melbourne CUB Malthouse in 2002.
... (read more)Cultural Amnesia: Notes in the margin of my time by Clive James
In the 1980s, when it seemed that the situation in South Africa would never improve, debate raged about the responsibility of South African novelists to act as witnesses to, and opponents of, apartheid. Some believed that white writers, especially, should use their privileged position in the fight. Nadine Gordimer was prominent among those who felt it was essential to be, in J.M. Coetzee’s words, a ‘stripper-away of convenient illusions and unmasker of colonial bad faith’1 in the realist convention, rather than a spinner of postmodern metafictions.
... (read more)Early last year, Phillip Adams interviewed the British author Pat Barker on his radio programme, Late Night Live. Pat Barker is a novelist who has journeyed into history, most famously in her Regeneration trilogy about World War I, where she fictionalises real, historical individuals. Adams asked her: ‘Which is better at getting at the truth? Fiction or history?’ Her answer was: ‘Oh, fiction every time.’ Barker is a novelist for whom violence and the fear of violence has been a recurrent, powerful theme. She argued that fiction allowed her to ‘slow down’ the horror so that she and her readers could think about it as it happened. In real life she felt that violence was often so swift and shocking that all one could do was recoil. Fiction gave her freedoms that helped her to convey truth.
... (read more)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.
... (read more)This is one way of doing it:
No New Thing
No new thing under the sun:
The virtuous who prefer the dark;
Fools knighted; the brave undone;
... (read more)Autobiography is based on a paradox. It is a generic representation of identity, but identity and genre appear to be antithetical. If we conventionally think of our identity as unique (singular, autonomous and self-made), how then can the presentation of that identity be generic? How, when narrating our lives, can we be both singular and understandable? Does narrating a life presuppose a way of writing (that is, a genre) that will make it recognisable as a story of a life? And how individual can we be, given that we are social animals? We live in families, form attachments and belong to institutions. How much is identity a case of identifying with others?
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