Australian Fiction

For the inhabitants of mainland Australia, ‘history’ is often complicated by the sheer fact of geography. Instead of one central node, European colonisation expanded from multiple centres, each isolated in space and founded on differing socio-political premises over staggered periods of time, and each with populations too various in background to allow much in the way of agreement about some völkisch collective past.

The Nugan Hand merchant bank was the nexus of one of the most significant criminal conspiracies in Australian history. Established in Sydney in 1973, Nugan Hand was backed by the CIA in concert with domestic and international crime organisations. It acted as a front for a plethora of illegal activities, including gun-running, money laundering and tax fraud, most of which were ancillary to the main business: drugs, specifically heroin. Its legacy lives on in the heroin market that the bank helped to build and entrench.

The Australian landscape boils with lava and shudders with quakes; acid rain scars its parched surfaces. It provides little succour to human survivors; cockroaches outlive other animal species. Adapt or die, the story commands, though enforced adaptations (personified by the transfected Daughters of Moab) are considered the source of the apocalypse.

The narrative is haunted, riddled with nostalgia and regrets. It jumps between fascinating points of view: Assumpta’s human/dingo hybrid single-mindedness; Eustace’s calculating duplicity; Easter’s ex-sanguinated hallucinations; Angus’s longing for his unblemished homeland. Scenes change abruptly; the narrative transforms and folds in on itself unexpectedly, like a surrealist film. Readers must adapt or they will become lost in the plot, stuck in the molasses of Kim Westwood’s prose. She entices us with her unique treatment of the themes of loneliness, Stolen Generations, climate change, misplaced religious fervour, and searching for identity. Her world and her characters are attractive, but her dense prose can often be off-putting.

Catherine Mckinnon is known around Adelaide for her work as a writer–director with the State Theatre and Red Shed Theatre companies. In 2006 she won the Penguin/Australian Women’s Weekly short story competition and obviously came to the attention of Penguin editors. The Nearly Happy Family, her first novel, is described on the front cover as ‘a tragic comedy’.

Part historical murder mystery, part journey towards reconciliation, at the heart of Amanda Curtin’s novel, The Sinkings, is a figure whom we barely meet but whose existence is the key to this remarkable narrative.

In 2006, a year after the publication of Kate Grenville’s The Secret River, Inga Clendinnen published ‘The History Question’ as part of Black Inc.’s Quarterly Essay series. ‘The History Question’ was, as its subtitle ‘Who Owns the Past?’ suggests, a wide-ranging meditation on the nature of historical understanding, and, more specifically, its uses and abuses. But at its heart lay an extended and surprisingly savage critique of The Secret River, the claims Clendinnen believed Grenville had made for it, and for fiction’s capacity to illuminate the past; and, more deeply, of the very idea of historical fiction.

Vertigo is to dizziness what a migraine is to a headache, or the flu to a cold in the head; you don’t really grasp the difference until you’ve had the nastier one. True vertigo pitches you into a chaotic blackness in which you lose your bearings utterly; no relief is to be had from sitting or lying down, because the chair, the bed, the floor all fall away from you as well. Disorientation on the flat is bad enough, but in three dimensions it is terrifying, like Satan’s journey through the realm of Chaos in Paradise Lost where he meets ‘a vast vacuitie: all unawares / Fluttering his pennons vain plumb down he drops / Ten thousand fadom deep, and to this hour / Down had been falling …’

Azhar Abidi’s first novel, Passarola Rising (2006), told of some amazing adventures in a seventeenth-century flying ship, and it was a delight. His new novel could hardly be more different, yet gives just as much pleasure. It also tells a more probable story.

Australia’s obsession with Greece goes back a long way; it has not always been as warm as we might like to think. The George Johnston–Charmian Clift–Sidney Nolan kind of love affair with the islands could sometimes turn a bit sour: think of Patrick White or demeaning references to the ubiquitous Olympic Café in films and stories. The temptation of writing in these well-established furrows is to exploit the subject matter rather than explore it.

Julienne van Loon won the Vogel Literary Award for 2004 with Road Story. Now, with Beneath the Bloodwood Tree, van Loon has passed the hurdle or hoodoo of getting a second novel written and published, although not with ease, and apparently with no resolved sense of the kind of novel she was intending to write.