Fiction

In Second Place, the narrator, M, reminisces about the time she invited the artist L to stay on her remote property ‘on the marsh’. Fifteen years earlier in Paris, a painting of L’s on a poster advertising a major retrospective of his art had spoken to M of ‘absolute freedom’. She was then ‘a young mother on the brink of rebellion’. The night before she had allowed a famous writer – ‘an egotist, permanently drunk on his own importance’ – to string her along and then dump her unceremoniously once he decided she wasn’t worth the risk. Viewing L’s paintings in the gallery the next morning, M had felt herself ‘falling out of the frame’ of her own life and ‘became distinct from it’.

In Two Women and a Poisoning, Alfred Döblin (1878–1957), one of the twentieth century’s greatest fiction writers, brings his other gift – a profound insight into psychological suffering honed by decades of experience as a psychiatrist – to bear on a baffling murder trial in Berlin in March 1923. Like Sigmund Freud’s famous case histories, his account is compelling as both narrative and an analysis of the unconscious inner conflicts of the people involved. Unlike Freud, however, Döblin warns his readers not to expect definitive answers: ‘Who is so conceited as to fancy that he knows the true driving forces behind such a crime?’

The title character of Laura Elizabeth Woollett’s second novel, The Newcomer, is Paulina Novak, who has arrived on Fairfolk Island after leaving a finance career in Sydney. If she is wanting to make a new start, then she’s mistaken; Paulina’s life seems perpetually sullied by alcoholism, an eating disorder, and a tendency to fall for callous men. Acquaintances say that her head is ‘messy’. Paulina herself remarks: ‘My whole life’s a fuck-up.’

‘Ern Malley’ – a great literary creation and the occasion of a famous literary hoax – has continued to attract fascinated attention ever since he burst upon the Australian poetry scene more than seventy years ago. But his sister Ethel has attracted little notice, she who set off the whole saga by writing to Max Harris, the young editor of Angry Penguins, asking whether the poems left by her late brother were any good, and signing herself ‘sincerely, Ethel Malley’.

In the latter half of this novel, one of its protagonists is viewing a collection of butterflies at the Oxford University Museum of Natural History. This forms part of Jasmine’s holiday with her mother, Della, a tour of famous literary and other notable cultural sites in the United Kingdom. By this stage they have visited Stratford-upon-Avon, Brontë country in Haworth, and Jane Austen’s Bath and Southampton, and have been duly impressed or, in Della’s case, underwhelmed. But now Jasmine can only feel sadness: ‘We take the life of a living thing, hold it to display, because we feel entitled to the knowledge, entitled to the owning, the possessing.’

It’s difficult to describe what it’s like to be raised in a Chinese family, especially when you are surrounded by markers of Western society. There is no such thing as talking back to your parents or refusing to do what they say. As a child, I never went to sleepovers. During my teenage and young adult years, I felt increasingly trapped in my own home. Everything I did was scrutinised; my parents never seemed to take into account my wants or needs. I found myself grasping for any scrap of independence, usually through lying or stealing or a combination of the two. As children, we are continually told that adults do things to protect us, especially when they are things we don’t particularly like. But when does protection morph into something uglier? When does it smother us, as if our agency has been stripped from us?

In his monograph The Great Derangement (2016), Indian writer Amitav Ghosh pointedly asks why society, and more specifically literature, has almost entirely ignored climate change: ‘ours was a time when most forms of … literature were drawn into the modes of concealment that prevented people from recognising the realities of their plight’. This was, Ghosh concludes, because ‘serious prose fiction’ had become overwhelmingly committed to versions of literary realism that rely on notions of quotidian probability. The irony of the realist novel, then, is that ‘the very gestures with which it conjures up reality are actually a concealment of the real’.