In a recent feature article in the Guardian Review, William Boyd proposed a new system for the classification of short stories. He constructed seven stringently categorical descriptions and ended his article with a somewhat predictable – that is to say, canonical – list of ‘ten truly great stories’, among which were James Joyce’s ‘The Dead’, Vladimir Nabokov’s ‘Spring at Fialta’ and Jorge Luis Borges’s ‘Funes the Memorious’. Most of the writers cited were male, and the classifications were confident demarcations in terms of genre and mode (‘modernist’, ‘biographical’). It is difficult to know, and no doubt presumptuous to speculate, what Boyd would make of Frank Moorhouse’s edited collection The Best Australian Stories 2004. Garnering them ‘at large’ by advertisement and word of mouth, Moorhouse received one thousand stories, from which he selected ‘intriguing and venturesome’ texts, many of which display ‘innovations’ of form. Of the twenty-seven included, six are by first-time published writers and twenty are by women. This is thus an open, heterodox and explorative volume, unlike its four predecessors in this series in reach and inclusiveness. It is also, perhaps, more uneven in quality: a few stories in this selection are rather slight; and the decision to include two stories by two of the writers may seem problematic, given the large number of submissions and the fact that the editor claims there were fifty works fine enough to warrant publication. A character in one of the stories favourably esteems the fiction of Frank Moorhouse over that of David Malouf: this too may be regarded as a partisan inclusion.
Were it not for the timing, it would be easy to speculate that this richly evocative collection of pieces about music was the inspiration for Jane Campion’s glorious film, The Piano. So many elements of the film – the dominant image of the beached piano, the powerful undertow of sexual passion, even the unexpected violence-are present in this book in the most uncanny similitude. I should not be surprised since Carmel Bird has already displayed her uneasy fascination with the film in her dazzling essay ‘Freedom of Speech’ (in Columbus’Blindness and Other Essays) and in her introduction to Red Hot Notes she admits that the film was a catalyst for the idea of various writers exploring ‘the complex feelings that surround, and embed themselves in, the human response to music’.
The Stranger Inside is billed on its own front cover as ‘an erotic adventure’. The title would be considerably more innocuous if the book didn’t announce itself as erotica, but once it does, the phrase ‘the stranger inside’ suddenly becomes suggestive in the extreme. It’s a good title, partly because grammar renders it fruitfully ambiguous: apart from the obvious implication, it could also mean ‘the inner alien’ (a fragment of psychobabble, as in ‘the inner child’), or perhaps ‘the more peculiar interior’ (as in ‘my inside is stranger than yours’). Whichever way you read it inside the body, inside the book, inside the soul the phrase suggests that eroticism depends on a combination of interiority and mystery.
These twenty-one stories have a pedigree; according to the customary list of acknowledgments, they have had a previous life littered across no fewer than twenty-six books, magazines, and journals, some of whose names are unfamiliar even to my local newsagent. I’m not sure these days if places of publication should properly be called ‘sites’, ‘topoi’, or ‘venues’. Such is the prevalence of dope in this book, however, that perhaps they could be called ‘joints’. But This Is For You is certainly greater than the sum of its parts.
Every adventurous reader of fiction ought to have a private hoard of novelists, preferably from a non-English writing background, who have escaped the appalling nonsense of Booker-style PR hype. Luckily, publishers like Collins Harvill set about promoting such writers; unluckily for Australia, though, our major literary pages often neglect to review the bulk of such output. You will have your favourites in such a category, but let this reviewer recommend the following: Jose Donoso, Etienne Leroux, Jose Saramago, Eduardo Mendoza, Saiichi Maruya, and Haruki Murakami.
This is the finale to ‘The Death of Daffy Duck’, one of the stories in Peter Goldsworthy’s latest collection. ‘The Death of Daffy Duck’ outlines the end of a friendship between two bon vivant couples whose years of dining out together had come to an end in a restaurant, during dinner, when one of the men almost choked to death on a piece of food (the ‘Scene’ referred to), and the other saved his life. From that time on, the saved man will not speak to his rescuing friend.
For its double epigraph, Rock’n’Roll Heroes combines a couple of lines of Midnight Oil’s Hercules – ‘my life is a valuable thing / I want to keep it that way’ – with six wonderfully numinous sentences from Thomas Traherne:
‘When Australians run away, they always run to the coast.’ Robert Drewe has already debunked the myth of the bush as Australia’s heartland, and in The Bodysurfers pictured us living and loving on the very rim of the continent, precariously perched in salty, sweaty, and essentially temporary hedonistic bliss between the threat of the empty outback, the incendiary bush, and the menace of the ocean with its sharptoothed predators and secret stingers.
Collections of new Australian short stories by a single author have become a regular feature of Australian literary publishing in recent years. They are a welcome addition to the range of new writing available to the reading public. Collections that have unity of style, are thematically coherent and present a linked set of perceptions from the one creative source offer the reader much more than a light or fragmentary experience. Instead of the sustained characterisation of the novel, they can achieve a dazzling variety of episodes and mood. Robert Drewe’s Body Surfers and Helen Garner’s Postcards from Surfers are outstanding examples of how good the best collections of stories can be. It was a great delight to pick up I am a Boat by Sally Morrison and find that, although it is only her second book, in style, originality and literary quality, Morrison is fast approaching the Drewe and Garner class.