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Carol Lefevre

Admirers of Carol Lefevre’s earlier books, and nostalgists in general, will delight in her latest offering. Her artistic eye evokes the patina of a silvering vintage mirror reflecting societal and literary traditions. Both in tone and preoccupations, The Tower (Lefevre’s sixth book) continues traditions cast in several Australian literary classics. Familiar, too, is Lefevre’s favoured form. Several of the book’s chapters have previously been published as short stories, but Lefevre has worked them seamlessly into this novel’s overarching chronicle.

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Here are two novels of exile, one contemporary, the other about coming to Australia in the nineteenth century. In Carol Lefevre’s Nights in the Asylum, Miri, a middle-aged actress, escapes from Sydney and her tottering marriage, and drives back to the mining town of her childhood. On the way, she picks up an escaped Afghan refugee, Aziz, and drops him off in town, where he immediately falls foul of the inhabitants and ends up on the doorstep of Miri’s family home, uninhabited while her aunt is in hospital. The house becomes asylum for more than one outcast: Zett, the abused wife of the local cop, has already found herself there, baby in tow.

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Carol Lefevre has shown herself adept at exploring connection and alienation in different genres. In The Happiness Glass (2018), the ambiguous zone between fiction and memoir forms a creative space within which Lefevre plumbs the intricacies of motherhood and loss; home and exile. Murmurations is imbued with similar tropes, the slight heft of the book belying its ethical density and the scope of its narrative ambition.

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Carol Lefevre is the author of two novels and a non-fiction book on Adelaide, all well received and awarded. Yet she is not as well known in her own country as she should be, having spent decades in England. I hope The Happiness Glass will remedy that ...

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