Category Archives: Books

Omar Musa’s Parang

Posted on 23 Apr 2015 | Leave a comment

Omar Musa, Parang (©2013, Penguin 2014)

1parang

Omar Musa is a bit of a phenomenon: rapper, poetry slam champ  (see below), TEDxSydney talker, he has produced a number of CDs and featured in a number of YouTube videos. Parang, first published by Blast! Publishing, an entity so small I couldn’t find it on the www, includes some poems that here make the transition from the stage to the page, and others that are definitely starting life as page poems.

The range of subject matter is wide. Asylum seekers, violence against women, alienated suburban life, the possibility of humanity’s disappearance, street lie, all rendered with exuberant rhetorical flourish of a public performance. In ‘My Generation’, there’s even a homage to Allen Ginsberg:

My generation
was populated by boozehounds and pillheads
crude clowns and bedspreads
stained with the neon dreams of cocaine fiends.
I mean,
the diamond-flooded visions of sex kittens
who sweat bullets, glitter and Chanel.

The most interesting poems are in the first section, ‘Parang’. Mostly shorter and more contained, perhaps more carefully shaped, these engage with Musa’s Malaysian heritage. Where Seamus Heaney famously compared his pen to a gun and a spade, and chose the tool over the weapon, Omar Musa takes the parang, the distinctive Malay machete, which can be either, as an emblem of what he is attempting in his poetry:

Parang,
______guardian angel of gangsters and pirates,
______headhunters and thieves.
Parang,
______patron saint of mob rule and blood bath,
______of the man who runs amok through the village.
Parang,
______guiding spirit of the housebuilder, the tool carver,
______the opener of paths.

In ‘The Parang and the Keris’, he contrasts the parang to the keris, the wavy-bladed, highly wrought dagger of heroic tales:

This parang is not heaven forged,
______blade five-waved,
smelted from meteoric iron, divine.

But it is mine.

The poetry has the spirit of humble making that this image claims for it: a hard poem about his father, a celebration of his grandmother, a piece on the inevitable disappointment and also joy of discovering the real place behind family stories of heritage (‘A Homeland’). The poetry also has the edge of danger implied in the parang image, particularly in ‘FELDA’ and ‘sunyi’, both of which demonstrate that Musa’s rage for social justice and environmental is not limited to a western context.

Musa is an electrifying performer. You can see him here in top form with a fabulous audience at Bankstown Poetry Slam. It’s nine minutes or so, and well worth the time. In case you need some of the noise explained, at slam poetry the audience is encouraged to express enthusiasm by clicking fingers and stamping feet.

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Martin Harrison’s Wild Bees

Posted on 21 Apr 2015 | 2 comments

Martin Harrison, Wild Bees (UWAP 2008)

1wild_beesWhen 11 year old Luke Shambrook had been missing for four days over the Easter weekend, Acting Sergeant Brad Pascoe spotted him from his helicopter. ‘Out of the corner of my eye,’ he said, ‘I just caught a little flash of something. It wasn’t much but it was enough to make me get the guys to turn the aircraft around and go back and have a look.’

It’s not so obviously a matter of life and death, but compare that to the silvereye in Martin Harrison’s ‘A Word’:

caught on the edge of vision,
forgotten in a glance
where nothing is anchored

The pages of this book are full of attention to tiny things and brief moments that are nevertheless enough to make the poet get us to turn around and go back and have a look. Something happens ‘out there, in dwindling light, / upon the edge, half-seen, a mere detail’ (from ‘Red Marine’). Something ‘catches my eye, half catches it, (tricking it, blinding it)’ (from ‘Winter Solstice’). In ‘Lizards’:

_____________ This
moment, they’re not here,
or are merely playing
at being silhouettes, quite still.

In ‘Tasmanian Tiger’:

ungraspable fineness of dark she-oak needles, ungraspable, I think, because so fine,
a thing merely visual, only meant in passing
to an observer perplexed by see-through shadowiness

Examples multiply.

The poetry does many different things with these ephemera and minutiae, usually at some length. Sometimes it’s like reading a gloriously fleshed-out haiku: ‘Watching Pelicans, Mallacoota’ spends the first 24 lines on a she-oak needle, and the remaining 19 on the pelicans of the title. More often, the poems are like essays, not always easy to follow, as the poet articulates thoughts or feelings that are as easy to miss as the objects or living things that give rise to them. One thing you don’t get is easy generalisations.

I saw Martin Harrison read a number of times. He was a witty, warm, impressive figure. He died in September 2014.  The November issue of Cordite Poetry Review published a piece by Adam Aitken, which included an interview, in which Harrison says, among many other interesting things:

I am trying to write poetry that lives in the same world as watching TV, listening to radio and watching movies. … I’m interested in the kind of detail that the camera can provide that the writer can be intimate with. If you take a room or a scene or a person there is something about the way those images cover the object, and something about the lingering attention you can give to what’s produced there. It defines a contemporary sensibility. I like that kind of attentiveness.

Wild Bees was published by the University of Western Australia Press.  I received a review copy from Giramondo Press.

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Richard Powers’ Galatea 2.2

Posted on 19 Apr 2015 | 3 comments

Richard Powers, Galatea 2.2 (©1995, Harper Perennial 1996)

0060976926The narrator of Galatea 2.2 is a 35 year old ‘humanist in residence’ at a massive, cutting-edge scientific research centre somewhere in the USA. Recently returned from years in The Netherlands, he is still hurting from the end of his first great love relationship. When an odd, misanthropic scientist invites him to collaborate in a project to develop an artificial entity capable of producing literary commentary that will pass for human, he accepts the challenge. They are doing it for a bet, and start out thinking of it as an elaborate scam. The novel’s reference to the story of Pygmalion, the sculptor who fell in love with his statue Galatea, which then came to life, sets up clear enough expectations.

A complicating factor is that the narrator’s name is Richard Powers, and as he tells the story of his past in a second, retrospective narrative strand, a good bit of that story (Powers’ previous four novels, the places he lived, a passing mention of time spent in south-east Asia as a child) is verifiably the same as that of the author Richard Powers. This narrative tells of Richard’s falling in love and the gradual deterioration of the relationship even as his career as a novelist flourishes: the love story may or not be drawn from life.

It’s a teasing mixture of memoir and speculative fiction. Add to the mix extended accounts of cognitive science and artificial intelligence debates, and a sometimes overwhelmingly dense play of literary allusion (Powers is educating the machine in the great canon of literature in English, and he and some of the other human characters can quote great slabs from that canon from memory), and you’ve got a very rich mix. Here’s a relatively straightforward literary bit when the machine, now called Helen, is well advanced in its/her ‘education’:

She wanted to know whether a person could die by spontaneous combustion. The odds against a letter slipped under the door slipping under the carpet as well. Ishmael’s real name. Who this ‘Reader’ was and why he rated knowing who married whom. Whether single men with fortunes really needed wives. what home would be without Plumtree’s Potted Meats. How long would it take to compile a key to all mythologies. What the son of a fish looked like. Where Uncle Toby was wounded. Why anyone wanted to imagine unquiet slumbers for sleepers in quiet earth. Whether Conrad was a racist. Why Huck Finn was taken out of libraries. Which end of an egg to break. Why people read. Why they stopped reading. What it meant to be ‘only a novel’. What use half a locket was to anyone. Why it would be a mistake not to live all you can.

I get quite a few of those references, and I expect you do too. It’s a Trivial Pursuit kind of  fun. You can imagine someone reading the novel with one hand and holding a googling machine in the other.

The scientific palaver offers a different kind of pleasure:

It struck me. Every neuron formed a middle term in a continuous, elaborate, brain-wide pun. With a rash of dendrite inputs and handfuls of axon cuts, each cell served as enharmonic point in countless constellations, shifting configurations of light, each circuit standing in for some new sense. To fire or not meant different things, depending on how the registers aligned at a given instant and which other alignments read the standing sum. Each node was an entire computer, a comprehensive comparison. And the way they fit together was a cupola itself.
Those weird parallaxes of framing must be why the mind opened out on meaning at all.

I leave it to cognitive scientist readers to decided whether this is Doctor Who-ish ‘timey-wimey stuff’ or something more substantial. Either way, it – and many passages like it – serves to impress on us how complicated the science is. And, though the going becomes tough at times for readers like me who don’t like to skip the technical paragraphs, a believable narrative emerges of a machine capable of increasingly complex responses.

The love story isn’t completely convincing, and some minor characters tend to fall just short of being prompts for reflection on the nature of intelligence: one character has a wife with advanced dementia, another has a son with Down syndrome, and a postgrad literature student for whom Richard conceives an infatuation is conveniently imbued with Theory. Oddly enough, the parts of the book that I found most convincing were the descriptions of life in a Dutch village, in which the author’s love of the Netherlands is almost palpable, and the narrator’s ups and downs as he learns Dutch ring completely, joyously true.

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Emily Bitto’s Strays

Posted on 16 Apr 2015 | 11 comments

Emily Bitto, The Strays (Affirm Press 2014)

1straysThis is a novel about a fictional artist’s colony in Victoria in the 1930s. Though the colony bears some resemblance to the Heide group, and a couple of historical figures, notably Bert Evatt, are mentioned or make brief appearances, it would be a mistake to read it as a roman à clef. At least, I hope so – if not, Heide was quite a bit nastier than I’ve heard.

The narrator, Lily, looks back in middle age to her girlhood friendship with Eva, whose father, Evan Trentham, is a modernist painter and a towering figure in the Australian art scene, and to the years in which she became a virtual member of Eva’s family – one of a number of ‘strays’, of whom the others were young modernist artists. From a deeply conventional family herself, young Lily is fascinated by the bohemian life of the Trentham household: adults who are so engaged in their own pursuits that they leave children to fend for themselves, earnest talk, ‘reefer’ and opium seeds, erotic art, casual nudity, and the smells and sights of a group of working artists and their models.

Of course, all is not well in Bohemia. Eva and Lily, friends since they were eight, drift apart in their early teenage years in ways neither of them can acknowledge, and when calamity strikes the household, it brings the death of their intense intimacy as well.

The book is beautifully written. The characters are vividly realised: Evan the alpha male; Helena his wife and presiding goddess of the household; their three daughters – Bea the responsible eldest, bold Eva and deeply resentful Heloise; and the young adult members of the colony – including Jerome, the young artist who will eclipse his mentor and whose transgressions undo the community.

For all its manifest virtues, though, I couldn’t get excited about the book. It’s not that I was bored, and there are some wonderful things: there are moments when the intensely physical intertwining of young Lily and Eva comes brilliantly alive, so that the distance between them when they meet again as adults is devastating. But over all I couldn’t tell why any of it should matter to me, or actually why it mattered to the author. Interestingly, it’s as if the novel knows that concern needs to be addressed. In the over-long, loose-thread-tying section in which the main events of the novel are in the distant past, Lily tells Helena and Eva that she is thinking of writing a memoir about her days with the family. Helena asks the question that had been playing in my mind for 200 pages: why write it? The question leads in the short term to a tense exchange of blame and counter-blame. But later, Lily reflects (omitting spoilers):

The events of the Trenthams and their strays have long since been recorded in the pages of art history.  … Always, … the artist himself was at the centre, with Helena, Eva, Heloise at the distant peripheries. They were cast as ‘events’ that accounted for the prevalence of particular themes, detailed in the same manner as the influence of the war on Jerome. Heloise’s life a footnote explaining Jerome’s brilliant work.

So the narrator’s motive for writing is clear – it’s a feminist redress of the dominant patriarchal narrative. And we can extrapolate that as the novelist’s motive as well. But any passion behind that motivation didn’t make it to the page, or at least didn’t communicate from the page to me. Perhaps the book’s beginnings as part of a PhD left a subliminal sense that it was being written for an examiner’s eye. Perhaps it’s that I read The Strays after the Biff Ward’s grimly real In My Mother’s Hands, and was unconvinced by Emily Bitto’s inventions. Or maybe I’ve finally reached the predicted old-man condition of not liking fiction much any more. Certainly my lukewarmness seems to be a minority response.

aww-badge-2015This is the seventh book I’ve read for the 2015 Australian Women Writers Challenge.

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Biff Ward’s In My Mother’s Hands

Posted on 14 Apr 2015 | 17 comments

Biff Ward, In My Mother’s Hands (Allen & Unwin 2014)

1743319118When my Book Group were picking our next book, someone asked about In My Mother’s Hands, which was on my teetering to-be-read pile. ‘It’s a misery memoir,’ I said, and we moved on to other possibilities

I was wrong. There’s misery in it, but there’s a lot else. Biff Ward, born in the early 1940s. gives us a lovingly detailed portrait of family life in suburban, regional and Canberran Australia. Early in the book, she describes how her mother would wash her hair when she was little:

She began by folding a towel around my neck in an efficient, nurse-like manner to stop drips and breakaway runnels creeping down in my neck. The water was a delicious, perfect temperature and it streamed over me. She believed in rubbing the scalp with her strong fingers, making sure not even a tiny spot was missed. I closed my eyes, I gave myself to the warm wetting, the soaping, the rubbing, the rinsing, the divine sense of clean. Next she flopped the towel on my head and scrubbed vigorously before saying, Bend over.
She then wrapped the towel around my head, tight at the neck behind, a turban twist on top like a woman in a magazine, the way I still do today. I walked or sat carefully for five minutes until my hair was dry enough for the towel to come off. Sometimes, she then sat beside me saying, I’ll just give it a bit of a squiggle to get the curls going.

Not a lot of misery in that! I don’t want to give a false impression, though. This benign intimacy is a long way from representative of the mother–daughter relationship at the heart of the book: in fact, it’s a memory that might never have been recalled if it hadn’t been triggered by a companion washing the writer’s hair in her 30s. The passage does illustrate the book’s loving attention to detail, an attention that is shot through not just with the need to tell (a defining feature of misery memoirs?), but also with the need to know, to understand, to deepen the writer’s grasp of things and to take the reader with her.

This could be a beautifully written memoir of any child’s family life from that time and place, except for two major differences. First, this child’s father is Russel Ward, eminent historian, best known for The Australian Legend, a one-time member of the Communist Party, a man of the word. This means that Biff Ward’s recollections and those of the friends and family she interviewed are supplemented by a formidable archive, including numerous public statements made by and about her father, and also his extensive personal correspondence – including agonised letters to his parents about his wife’s condition. Which is the second major difference: her mother, Margaret, was  delusional and self-harming, and Biff and her younger brother ‘breathed it in, the irrational in her, the grief in him and the unpredictability all around’.

The book’s title deftly signals a double concern of the book. First, it tells what it was like to grow up in the care – in the hands – of someone who spent most of her time withdrawn into a private world of suffering and delusion, whose behaviour was often bizarre and sometimes deeply alarming, and who may well have drowned her first baby in the bath. Second, it seeks to fathom the story of someone who continually gouges at her hands with sharp implements and keeps the damage hidden by wearing gloves. It’s a book of deep compassion, not just for the mother, but also for the father who, far from faultless, struggles heroically to provide a stable life for his children, while protecting his wife as long as possible from the depredations of the psychiatric profession.

The children felt that the were living with a huge, terrible secret. Perhaps the biggest surprise of the story is the writer’s discovery much later that there was a whole circle of friends who knew the situation, and tried to help in the inarticulate and largely ineffectual way of the time. A fellow academic even wrote a short story based on the Ward family.

This is a truly marvellous book. I ought to say that I have met Biff Ward a couple of times, and have been close to some people who appear in these pages. But the books makes a substantial contribution to our understanding of  families, of Australian intellectual history, and of the horrifying ordeal known in the medial profession as mental illness.

aww-badge-2015This is the sixth book I’ve read for the 2015 Australian Women Writers Challenge.

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John Upton’s Embracing the Razor

Posted on 10 Apr 2015 | 1 comment

John Upton, Embracing the Razor (Puncher & Wattmann 2015)

Embracing_The_Razor

A long-ago episode of the TV soap Neighbours featured two much-loved little dogs, named something like Stella and Pooch. When one of the dogs escaped to the dangerous street, the distraught dog-minder ran out his front door and fell to his knees in his driveway. As the camera pulled back and up he put his hands to the side of his head and cried out in Brando-esque anguish, ‘Stellaaaa!’  (Just in case a reader needs it, here’s a link to the cinematic moment being parodied.)

John Upton wrote a more than 130 episodes of Neighbours between 1985 and 2006, and I like to think he was the one who poked that hole in the soap wall for a silly shining moment (Added years later: I was wrong. That episode was written by Megan Herbert). He’s written a lot else, for television and the stage, but this is his first book of poetry.

The book is in four sections: ‘Grief’, a narrative sequence about death and bereavement, which the back cover tells us is on the death of Upton’s wife; ‘Embracing the Razor’, which is largely about the ills of old age – including various kinds of surgery, Alzheimer’s, bereavement; ‘Destinations’, fourteen poems of travel; and ‘Rhymes and Rhizomes’, a miscellany.

It’s the first section that has drawn me back for several readings. Even without the back cover note, it’s clear that these eleven poems are rooted in direct experience; and the discipline of decades of crafting story for TV means the character development and narrative elements are confidently, effortlessly there, allowing the poetry to do its work. A hospital car park as ‘a desert of panic nosed / into dutiful bays’. And how’s this for capturing the feel of visiting a hospital:

At the lift, two people. Polite smiles. 'It takes a while,'
he says. I offer, 'Yes.' In this desperate place
somehow we need to touch.
'It's on the seventh,' she adds, feeling foolish.
They don't seem to be together.
We watch the numbered light ascending.
Like a saint, I think. I'm not religious.
'The other one's coming down,' he mutters. Steel jaws
wide enough to gulp a bed and nurses
creep open horizontally. I press Intensive Care.
They don't say anything.

The book is full of neat similes and deft observations of this sort, but, especially in the first sequence, they serve a deeper purpose – the poems tell of grief, but to use Emily Dickinson’s phrase, they tell it slant, in verse that is marvellously disciplined, courteously aware of the reader. One poem begins, ‘Cat shit in the bath again,’  another deals with lost paperwork for the memorial garden. Even the moment of death is relayed, in ‘Morphine Around Midnight’ with extraordinary restraint:

I ask the nurse,
'How long?' 'Not long.'
One hour, five minutes.

A decade ago, we thought my partner – known in these pages as the Art Student – was dying of advanced pancreatic cancer. It turned out that she had had an extraordinarily improbable series of false positives, and abdominal surgery revealed perfectly healthy internal organs. But we had a couple of intense weeks facing the prospect of imminent death. The early part of this sequence comes the closest of anything I’ve read to capturing the feel of that experience. I’m sorry John Upton had to go ahead and write the rest, but I’m in awe that he did it so well.

My copy of Embracing the Razor is a kind gift from Puncher and Wattmann.

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Melinda Smith’s Drag down to unlock or place an emergency call

Posted on 7 Apr 2015 | Leave a comment

Melinda Smith, Drag down to unlock or place an emergency call (Pitt Street Poets 2014)

melinda-smithThe most striking feature of this poetry collection is its wild variation in tone.

Take the ten poems in the book’s first section, ‘Uploads’. First comes ‘Passengers are reminded‘ (this and other links are to the poems on the poet’s website, Melinda Smith’s Mull and Fiddle): the speaker, on the way to a funeral, is held up by a delayed train, and her emotional state is evoked obliquely but powerfully. This is followed by a number of direct evocations of grief and loss, though the milieu becomes more literary (one poem is an address to Janet Frame) and the verse more formal (a fine villanelle, ‘Roadside Memorials‘, a pantoum and two syllable-counting haiku). Then the subject switches to divorce, and  the the tone changes abruptly: ‘Decree Nisi’ is pure verbal display, comprising 30 anagrams of its title, and the section’s final poem, ‘bittertweet’, is a cleverly vindictive, multilayered tweet-joke. It feels as if a rug has been pulled out from under the reader. But each poem in the section works in its own right, so all is well.

In the second section, it feels as if war has broken out. There are a number of powerful poems about pregnancy, miscarriage, labour, birth, postnatal depression, motherhood. Take this, from ‘Woman’s Work’:

A new body heaves from her into the light.
Exhaustion melts her. The women pass her the child;
the singers chant again:
Praise her, she has endured the great trial and renewed the life of the world.

Or take ‘Given‘, a response to Francis Webb’s great ‘Five Days Old’. Without detracting from Webb’s wonder as the miracle of a baby is given into his hands, it reminds us of the woman’s experience that has produced and sustains the miracle. ‘Untitled’, addressed to a baby lost at 11 weeks of pregnancy, tears at the heart.

Then – wham! – there are poems that mock or belittle those huge emotions. ‘A birth’, for example, ends, ‘Serenity explodes. I need a beer.’ And  the jaunty ‘Song of the anti-depressant’ in this context reads as an enactment of the great Australian embarrassment that compulsively attacks any show of emotion with a joke.

The mood swings continue in the remaining three sections: ‘News’, ‘Sport’ and ‘Weather’, though the self-deprecatory comic comes more to the fore so that heartfelt love lyrics, serious reflections or, say, ‘Laura to Petrarch’ (in which the beloved writes back – and comes close to calling Petrarch a stalker), are undermined by generally unfunny comic pieces about infidelity, the internet, the weather, and especially an ‘eat drink and be merry’ response to climate change that left a very sour taste in this reader’s mouth.

This book won the Prime Minister’s Literary Award for poetry last year, not one of the controversial winners. I bought my copy on the strength of the award, but while I’m confident it would be a pleasure to attend a poetry reading that included Melinda Smith, I won’t be rushing out to buy the next book given a gong by that set of judges.

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This is the fifth book I’ve read for the Australian Women Writers Challenge for 2015.

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Quarterly Essay 57: Dear Life

Posted on 3 Apr 2015 | 1 comment

Karen Hitchcock, Quarterly Essay 57: Dear Life: On Caring for the Elderly (Black Inc February 2015)

qe57

Like every Quarterly Essay, this one includes lively correspondence on the previous one. Guy Rundle’s Clivosaurus drew thoughtful responses from a number of writers of the left, defensive missives from representatives of The Australian, fascinating psephology from Malcolm Mackerras, and more. Much of it was too technical for my pay grade, but one thing is clear to me: if you get into an argument with Guy Rundle, it would be unwise to let him have the last word – he’s very good at the devastating rebuttal.

A number of people have already tweeted that every Australian should read Karen Hitchcock’s essay on the treatment of elderly people in our health system. She is a general physician who has worked in large hospitals in several Australian states, and so has extensive hands-on experience in working with frail and/or demented elderly people. As she says:

There are two strong narratives in our culture about the ageing population and death. The first is that medicine is keeping elderly patients alive against their will – medicine is denying a death the patient desires. The second is that elderly patients are seeking to stay alive unreasonably – the patient (or their family) is denying an unavoidable death.

The essay takes these narratives on fiercely, and does a brilliant job of unpicking the ageist assumptions and fanciful versions of sickness and hospitals on which they are built. She marshals her own personal and professional experience as well as current research to mount a convincing counter-narrative.

She describes the way modern medicine is fragmented into specialities, a situation that makes it hard to treat elderly people with multiple conditions.

She explores the concept of futility: is treatment futile if it extends a person’s life for just a few days but those few days allow them to say goodbye to family? can a hospital specialist who is as drenched in ageism as the rest of us and has no personal knowledge of a patient be trusted to make a sound judgement about the futility or otherwise of treatment?

She savagely rips into the often heard argument that the increasingly aged population will make the health care system unsustainable.  ‘Sustainable’, she argues, ‘is just a word for “what we are willing to pay”.’ And the real challenge to the health system comes not from the aged but from ‘a population of increasingly poor, obese, diabetic, sedentary young and middle-aged who are the multi-morbid patients of the future and who will require many drugs, doctors, operations (joint replacements, bariatic surgery, amputations, coronary vessel interventions) and hospitalisations’.

Advanced medical directives, documents that spell out ahead of time conditions that are not to be treated if a person is incapable of making their wishes known, are singled out for special opprobrium. Hitchcock is an excellent storyteller, and her story of 84-year-old Fred who came to hospital begging to be allowed to die is enough to win her case without any further discussion: he was wretched, and didn’t want to be a burden (an often heard internalised version of the message with which older people are too often bombarded); she listened to him, encouraged him, treated him, and followed up some time after he was discharged:

I said, ‘Fred , you told me you didn’t ever want to come back to hospital.’
He said, ‘Of course I want to come back if I get sick. I get silly when I’m sick. I hate everything. I say silly things.’

Not all her stories have such cheerful endings. Death does happen. But if we are to have a national electronic system where people’s advanced care directives are recorded, then these directives, she argues, should be reviewed regularly, even monthly, by the people whose lives they concern.

The essay discusses the isolation that is the lot of many elderly people, including those who are placed in nursing homes when their families can no longer care for them. It argues that this is an issue that should be taken up by the society as a whole – ‘if we are to attend to the social needs of our elderly citizens both inside and out of institutions, then we need government interventions and funding, along with the community’s engagement and help.’ What is needed, and what is beginning to happen in some places is

a shift in perspective: the elderly are not a growing cost to be managed or a burden to be shifted or a horror to be hidden away, but people whose needs require us to change our society. They are those for whom we are responsible and to whom we owe real care.

Another sacred cow the essay takes head-on is the idea that it is better to die at home than in hospital. My own father had himself discharged from hospital in Townsville when he knew he was dying, and was flown and driven the 500 miles to Innisfail because he wanted to die at home. I have no doubt that that was a good decision: he spent his last days surrounded by friends and family, being visited by a doctor he’d known most of his life and a nurse he’d known all hers. He died in bed beside my mother, his wife of more than 50 years. But Hitchcock makes it very clear that his situation was exceptional in the western world today. A hospital death can be a good death.

In short, this Quarterly Essay is a call to arms against the oppressive attitudes and practices which we have insinuated their way into our minds and practices around older people. I’m 68, not yet in the frail and/or demented group that Hitchcock is talking about. I hope I never will be. But reading her essay, I wonder if my GP’s slightly disturbing lack of interest in my symptoms on my most recent visit, which I put down to his having had a long day or perhaps the lack of drama in my presentation, might have grown from an assumption that once you’re past a certain age you just have to put up with a certain amount of suffering. And that’s partly Karen Hitchcock’s point: if the problems she writes about are chickens, then we are all roosts waiting to happen.

aww-badge-2015

This is the fourth book I’ve read for the Australian Women Writers Challenge for 2015.

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Tim Winton’s That Eye, the Sky at the Book Group

Posted on 2 Apr 2015 | 5 comments

Tim Winton, That Eye, the Sky (McPhee Gribble 1986)

1TETSBefore the Meeting: That Eye, the Sky isn’t an obvious choice to discuss at a book club close to 30 years after it was published. It’s even less obvious, given that one or two of our members have disparaged Winton’s work (apart from Cloudstreet) fairly comprehensively. But we were looking for a film–book pairing and a couple of us – at least, I hope it wasn’t only me – remembered being moved by John Ruane’s movie based on this book. And it’s short.

I have mixed feelings about Tim Winton’s work. I loved The Turning, felt that the slow bits of Dirt Country were adequately compensated by other elements, especially the ending, and found The Riders close to pointless. His chapter in Big Surf, last year’s  essay on class  and his Palm Sunday oration about asylum seeker policy are all marvellous. Generally, I love his sentences. So, though I had loved the film (apart from a dimly remembered unease about the Peter Coyote character), I approached That Eye, the Sky with cautious optimism.

The narrator, Ort (short for Morton), is the 12 year old son of ex-hippies, living poor on the outskirts of a Western Australian city. His father has a car accident which leaves him in a coma then pretty much vegetative until the very last pages. Henry Warburton, a man Ort and his angry older sister Tegwyn have seen living rough under a nearby bridge, turns up and helps the family, bathing the incapacitated father and doing odd jobs. Henry, it turns out, is a bit of a loose cannon, but before his looseness becomes completely apparent he converts Ort and his mother to his peculiar brand of Christianity. Meanwhile, Ort is the only one who sees a strange light that hovers over their little house – possibly an after-effect of Ort having been comatose and died, twice, when he was little and had meningitis; or possibly Ort’s contact with a reality beyond this one.

The complex web of relationships is beautifully done, including Ort’s belligerent friendship with the boy from across the road, but I wasn’t convinced by the magic realism, if that’s what it is, and there were whole swathes where it felt awfully as if Tim Winton was wanting to tell us about the Bible. I was reminded of what someone said about Rob Reiner’s movie Stand by Me: there’s a lot of swearing and other stuff that lets the movie get away with its moments of tenderness. Well, Ort’s matter-of-fact description of bodily functions, and the final revelation of Henry’s moral dubiousness aren’t enough for this book to get away with its spiritual message. Not that there’s anything wrong with non-institutional Christianity – I just don’t believe in it in this book. The device of the uncomprehending child narrator – ‘What Ort Knew’ if you like – becomes annoying as one feels the ventriloquist author behind him:

The forest moves quiet tonight. Jarrahs move a long way up and out of sight. Now and then I hear little animal noises. All these trees are dying, and all these little animals will have nowhere to live. One day the whole world will die and we’ll die too. My back hurts and my bum stings and the backs of my legs too. I’ve got no clothes on out here in the forest. Prickles and burrs and twigs stick in me all over. I rub them in, squirm and shake around. It hurts a lot. I’m hurting myself. I want to hurt myself. I want to.

It made me yearn for the easy flow of Winton’s own unmediated prose.

The meeting: We couldn’t find a copy of the film anywhere. So what we had was dinner, each other and the book!

(That much was uploaded prematurely. Here’s a bit more about the meeting.) Perhaps because two of the six of us arrived late, the discussion of the book kept up for most of the evening. Each new arrival would be asked for an opinion and that opinion would set us all off again.

My impression is that we were all uneasy about the book’s supernatural/ religious/ spiritual elements , which just weren’t integrated into the story. On the other hand, when I singled out as implausible the passage where Ort summarises the Bible, someone said that a childhood friend of his had told him about this fantastic story of a bloke who gets nailed to a tree. So not so implausible.

Interestingly enough, the book triggered a spate of reminiscences: of country childhoods, of vengeful boyhood impulses involving urination, of helplessly witnessing someone’s life spiralling towards disaster.

As someone said, irritating but compelling.

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Kit Kelen’s Scavenger’s Season

Posted on 1 Apr 2015 | Leave a comment

Christopher (Kit) Kelen, Scavenger’s Season; Fragments of an almanac  (Puncher and Wattmann 2014)

scavengers_season

Kit Kelen mostly lives in Macau, but there’s a patch of bush in New South Wales where he has spent a lot of time over the last quarter century. The 150 pages of Scavenger’s Season are filled with poetry of that place – as the title page says, they are ‘poems at Markwell, via Bulahdelah to mark the quarter century’. We’re invited to immerse ourselves in the poetry as Kelen immerses himself in his bit of bush.

Drought, rain, fire, the sounds of the bush at night, bush regeneration, the passing of the seasons, white and black cockatoos, wild and domestic animals, pastoral lyric, blokes and sheds, and through it all the experience of being humble with the bush. I just loved this book. I’ve read most of it a number of times. Some of the poetry is difficult to decipher, and I just plain gave up on two long poems, but mostly the difficulty is of a kind that offers new rewards every time you go back to the poem.

Kelen’s relationship with his patch of land is a kind of groping opposite to the colonising farmer attitude so elegantly articulated in David Campbell’s ‘Cocky’s Calendar’: ‘The hawk, the hill, the loping hare, / The blue tree and the blue air, / O all the coloured world I see / And walk upon are made by me.’ The ‘me’ who makes that world does it as farmer, but also as poet. Kelen echoes this idea  uneasily in ‘minor manifesto’:

one should acknowledge mastery

among sunfall and foliage
loathed and admired
is it not I who make
the landscape looking?

But there’s no hint of Campbell’s triumphalism. It’s a question, and the next lines suggest that the answer is complex:

I am the field here
cattle numb in
rain is waiting
for thirst to be spoke
taps on my shoulder home

That might be hard to follow if you haven’t acclimatised to Kelen’s language (more about that later), but I read it as continuing the acknowledgement of ‘mastery’, but modifying it – he doesn’t just make the field for cattle to be numb in (I don’t think he likes cows much), he is the field; and in the last three lines the ‘mastery’ becomes very tenuous – thirst may give rain meaning, and rain when it comes may serve the speaker’s purpose, but rain exists independently of how we need it, understand it or welcome it.

These line’s from the title poem, ‘Scavenger Season’, are more characteristic of Kelen’s attitude:

it’s true that I make no use of the land
that the land has no use for me

if each has a voice and neither has spoken
then there might be a treaty yet

‘little manifesto’ , which I quoted from above, is one of a dozen long poems in the book – it runs to eight pages. In a moment that’s characteristic of the book’s understated humour, the poem ‘manifesto’, not a little one this time, consists of just four lines:

from my door

everywhere leads me
every way home
nowhere but the way

I want to say a little bit about the language of the poems.

From my brief time as a 19 year old schoolteacher, I  remember only one piece of student writing. It’s a sentence in an essay written by a boy in Year 8, describing his arrival home from school: ‘Dog barking and jumping and licking my face.’ I knew that this was not a proper sentence, and it was my job to correct it. I did so, but with a heavy heart because I knew that pushing the sentence into a ‘proper’ shape (‘The dog barked and jumped up and licked my face’) would rob it of vitality and only theoretically make it clearer. My student had recently arrived from somewhere in China, so I guessed that his syntax wasn’t so much mistaken as transplanted. And technically incorrect as his sentence may have been, I remember it 50 years later.

Towards the end of my second reading of in Scavenger’s Season I realised that something similar was happening. The opening lines of the first poem, ‘think of this’, are as good an example as any:

think of this
a string of pearls
trail of droppings
as you’re disposed
or as light catches

The paraphrasable meaning is clear enough, but something odd is going on. It’s as if some words have been erased: ‘Think of this [as] a string of pearls [or as a] trail of droppings, as you’re disposed  [to] or as [the] light catches [them.]’ Almost every poem in this book asks for that kind of work from the reader.

Filling in the elisions isn’t always as simple in those five lines. The very next lines are pretty opaque:

think this where you’ve always been
and this advice could not have sought you
these your ageless friends among

But mostly the words cohere in response to slow, open-minded and open-hearted reading. It’s not unpleasant: it’s a little like reading in a language one learned long ago and has a rusty hold of – there’s a deep pleasure in feeling meaning emerge. I think that Kelen, who has taught at the University of Macau for 14 years, is doing what my Year 8 student did: writing English that is influenced by Chinese syntax. The result is richly memorable.

So there you have it: a book that invites you to join the poet in an immersive experience of the Australian bush, flavoured by a deep familiarity with Chinese culture and language.

I received a complimentary copy of this book from the publishers. I’ve read and re-read, used and abused it so much I may have to buy a fresh one with my own money!

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