Fiction

In Zero at the Bone, David Whish-Wilson envisions Perth in 1979 at the height of a major gold mining revival stimulated by price increases associated with the end of the gold standard in 1971. Perth is booming, and the culture of greed and excess that will characterise the 1980s is already well entrenched.

For centuries, Japan has magnetised the West’s imagination, evoking both fear and fascination. In the late nineteenth century, when most writers and readers in Europe, North America, and Australia had yet to see this ‘young’, newly accessible country for themselves, literary fantasies on the Madam Butterfly theme became a craze. Then, after Japan invaded its neighbours and defeated the Russian fleet, invasion fiction and drama flourished. Later, stories about geisha and yakuza served the same two purposes, attracting some and frightening others. Many readers are better informed now, yet the ‘Lost in Translation’ genre continues to cater to those who prefer Japan to remain weird and inscrutable, while ‘Last Samurai’ narrativesenable others to fantasise about the virtues of a past, more civilised age. Anime and manga continue to fascinate their fans across the world. There is a nascent revival interest in rakugo; surprisingly, the authors responsible for introducing it to Western readers are Australians.

Rosemary Sorensen review Christos Tsolkas’s new novel, Barracuda, another bracing study of masculinity, this time focusing on an ambitious and conflicted young swimmer at a Melbourne private school.

In a notable month for major new Australian fiction, Tim Winton’s Eyrie stands out. Brian Matthews reviews this darkly funny novel – ‘a scarifying assessment of the way we live now’

Dark Horse is the latest book from Victorian author Honey Brown. The novel tells of lust and lies between two strangers who come together in an appropriately secluded rural location.

Seamlessly extending from the French occupation of Cambodia to the horrors of the Khmer Rouge and the current tourism industry, Laura Jean McKay’s début short story collection, Holiday in Cambodia, is a powerful portrait of a country long-affected by war and poverty. McKay’s knowledge of the Cambodian landscape underpins the collection. She evokes peak-hour from a motorbike, where ‘everything looks like bushfire, like nicotine’, and notes the forgotten landmines of neighbouring paddocks, which ‘travel like worms’ through loosening earth. In one of the shortest and most affecting pieces, ‘A Thousand Cobs of Corn’, a Cambodian woman looks down at her husband’s hands in the night, ‘which have shaken since he was a boy soldier’.

Our instinctual reaction to parents who leave their children is one of suspicion. ‘Child abandonment’ elicits such images as a swaddled foundling in the woods, a parent in a train station losing hold of her child’s hand and disappearing into the crowd, or an anonymous baby hatch in a hospital. The presumption is that a mother (fathers are usually spared this judgement) abandons her child because of some shortcoming: poverty, selfishness, capriciousness. Eleanor Limprecht was prompted to write this novel by a newspaper headline at the time of the birth of her first child when a baby was abandoned at Dandenong Hospital. It asked, ‘How Could She?’

Towards the end of Saul Bellow’s Humboldt’s Gift (1975), at the poet Von Humboldt Fleisher’s funeral on an April day in Chicago, Menasha Klinger, one of three mourners, points to a spring flower and asks Charlie Citrine, the novel’s narrator, to identify it. ‘Search me,’ Citrine replies, ‘I’m a city boy myself. They must be crocuses.’ This exchange has stayed with me for some thirty-five years. I, too, am a city boy, and couldn’t identify a crocus if I saw one.

The writing of a novel, Alex Miller has said, ‘is a kind of journey of the imagination in which there’s the liberty to dream your own dream … There’s always got to be a model located somewhere in fact and reality … But some of your best characters are what you think of as being purely made up, just characters that needed to be there.’