Category Archives: Retrieved from ‘Family Life’

Vale Les Murray

Les Murray died yesterday. On the ABC News last night, David Malouf said,

He could be very funny. He could be very harsh. But we all listened to him, and we all needed to hear what he had to say.

Lisa at ANZ LitLovers LitBlog has posted an excellent summary of his life and career, and I expect that over the next couple of days there will be many learned accounts of his vast contribution to the culture of Australia and the world.

I was going to write a brief personal piece, but then I found in my old blog, Family Life, a 2006 review of the collection of his poetry intended to introduce him to US readers, and realised it said everything I’d want to say now, except how crushingly sad it is that he has died, and that as literary editor of Quadrant he first rejected a poem I submitted with generous marginal comments, and then, also in 2006, accepted a revised version, informing me of the acceptance in a handwritten note on a postcard of a bush shack.

Here’s what I wrote in 2006 about Learning Human, beginning with a reference to a review in the New York Times.

The review sees him as aspiring to be the poetic voice of Australia. In so far as he seeks to speak for anyone, I don’t think it’s any nation, but a class, the rural poor, and perhaps another constituency – the non-human world.

Some of Les’s descriptions of the natural world are extraordinary: it’s like walking beneath the trees, sitting and watching the birds, strolling among the cattle. But he’s an incredibly uncomfortable read. You never know when he’s going to lash out at some aspect of the modern world, and I for one often feel I’m being unfairly attacked. I found this time – I’d read most of these poems before – that it helped to take him at his word and think of him as writing from the point of view of someone with Asperger’s. There’s an odd sense of alienation from other people, of not quite being part of the human race that underlies his conservative contrarianism: ‘Demo’ comes close to identifying its disdain for political rallies as a neurotic consequence of having been bullied at school; in what can be read as an acknowledgement of his own lack of empathy, the narrator of ‘Suspended Vessels’ turns away from a hot-air-ballooon accident where 13 people had a ‘hideous’ death to mutter what seems to be a big-abstract-word equivalent of ‘Serves them right, the spoiled rich kids.’

That is to say, even though I suspect Les Murray, at least when in his poet state, wouldn’t be sorry to see me and my kind wiped from the face of the earth, I am still grateful for what he gives me in his poems. I do feel a personal affection for him. I met him at a Sydney Push party in the 1970s. He was a big man then, and wore a badge, ‘If you’ve got it, flaunt it.’ We were talking about Taoism, and he said to me, words I should have taken to heart, ‘There is no tao for stumbling in the dark. If you had the tao you’d walk.’

I’ve just remembered another part of that conversation. It was early days of the Women’s Liberation movement. Les said, ‘Mine is the only profession where men and women are truly equal.’ Obtuse as ever, I said, ‘You mean translators?’ (He was working as a translator in Canberra at the time.) ‘I mean poets,’ he said and that was prabably the end of the conversation.

Again a little while and we will see it

It’s Passion Sunday. The statues in the Catholic churches are swathed in purple (or used to be when I was a frequenter of churches). We’re in the countdown to Easter. If you’ve been following the saga of our corner shop, about to be a cafe, you’ll undoubtedly remember that Easter is the latest of a series of promised opening dates. There’s been definite movement. I don’t know if you can tell from these phone photos, but the balcony with its bullnose awning is coming along well. A stylish grey paint job is under way on the upper outside of the building. We’ve had some heavy rain – who can complain? – but the two or three guys who’ve been up on the scaffolding for weeks now seem to be cheerful about progress. I’m not banking on an Easter rising, but I’ll be surprised if Revolver (as the shop is to be named) fails to be there by the Ascension Thursday. A little while and we won’t see it, but again a little while …

This slideshow requires JavaScript.

Dispatch from the corner store

A couple of days ago:

scaffolding

Today:

Broken

You don’t make an omelette without breaking eggs.

Posted: Fri – February 20, 2009 at 07:45 PM

Waiting for Latte, episode cxxvii

[Because the older version of this blog has become unreachable, I am retrieving at least occasional posts from it that I see people trying to click on. This is one from January 2009.]

As you may recall, a cheerfully apologetic sign in the window promised wistfully that our corner shop would be opened for Christmas. The sign is still there, and though there has been much progress on ‘the residence’ out the back, there has been no grand opening, indeed no sign of progress in the shop itself. The same sign is there, and cobwebs, dead leaves and dust have accumulated on the window sill.

cobwebs.jpg

L’aspetta continua.

Title thanks to The Witty Knitter

The corner shop opening day recedes again

[Because the older version of this blog has become unreachable, I am retrieving at least occasional posts from it that I see people trying to click on. This is one from November 2008.]

Many besa bricks are being assembled into walls in the back yard of the coming corner shop, to be part of the residence. Meanwhile, the shop itself remains opaque to the passerby. This morning an A4 sheet of paper had been wedged into the frame of the boarded-up window:
16112008.jpg

Asymptotic movement at the corner

[Because the older version of this blog has become unreachable, I am retrieving at least occasional posts from it that I see people trying to click on. This is one from October 2008.]

As promised, here’s an update on the corner shop. It’s something like 21 months since it began its painfully slow rise from the dead. Like the June deadline before it, the September deadline has come and gone.

A new bulletin has appeared in the window:

14102008.jpg

I don’t know if it’s significant, but Chie has moved to the front of the list of signatories, and she and Rod have been joined by Ron. I’ve not yet met Chie, and Ron is probably the older man I’ve seen about the place fairly regularly, though given the amount of time that’s passed, it’s quite possible that our prospective storekeepers have a baby or even two. Oddly à propos, Penny and I were talking to an old friend last night who has transformed from a leftist university student into a property developer, and he evoked for us the agonies caused by paperwork sitting for weeks, even months on a desk somewhere in a bureaucracy waiting for someone to pass it on for gazetting. It sounds as if our ever closer but never quite here corner shop may have had its share of such experiences

The back yard has been opened up and is in the process of being paved, or perhaps built on.

13102008(001).jpg
13102008.jpg

And here’s a bonus photo, found in my phone, of a plastic omelette as seen at Narita Airport. Mmmmm!
09092008(001).jpg

Konnichiwa

[Because the older version of this blog has become unreachable, I am retrieving at least occasional posts from it that I see people trying to click on. This is one from September 2008.]

We’re home from nearly four excellent weeks in Japan. As assiduous readers of this blog will realise, my blogging software (iBlog) sits on my laptop, which spent the last weeks on our kitchen table at home. Hence my blog silence except an occasional comment posted from Internet cafes. Now I’m back to a slightly changed world: the ornamental plum tree on our nature strip is in bloom, my elder son has appeared in a small speaking role in a show on national television (he speaks in series 2, episode 4, at about 6 minutes and 30 seconds), a pile of mail has accumulated, the dog is fat and healthy, the corner shop has still not re-opened for business, and the state Labor Party is in deep trouble. And I’ve told you almost nothing of my holiday.

But I don’t intend to leave the trip totally unblogged, partly because I’m an addicted blogger, and partly because I am now convinced that people need to know how fabulous Japan is to visit (unless you’re allergic to seafood, of course). Inspired by franzy’s current-sentence-a day-project, I plan to put up a post a day, reporting on the day exactly a month before — as we left on 15 August, my first travel blog entry will go up on 15 September. I’m setting a time limit for myself, so I don’t get intimidated by the task. And in the couple of days between now and the 15th I’ll post about the books I read, of which there were many, since as it turned out we hardly went out at night at all. Um, so if you were hoping for graphic tales of the famous risqué nightlife, abandon that hope now. Tomorrow: Japan books # 1.

Corner store update

[Because the older version of this blog has become unreachable, I am retrieving at least occasional posts from it that I see people trying to click on. This is one from October 2008.]

>IMG_2727.jpgIt’s been a while since I’ve posted anything about our block’s long, slow journey towards once again having a functioning corner store. There have been signs of progress lately. The windows have been replaced, or at least had their woodwork scraped back and varnished, and noises and lights have been reported at odd times of the day and night, mostly on weekends. Sadly, before I could have a stickybeak and maybe take a photo of developments, all the windows had white paper sticky-taped to their insides, so developments have been shrouded in mystery … until today, when a news bulletin appeared on one of the papered windows:

IMG_2728.jpg

I don’t know that I’d thought of the corner shop as an icon, but it certainly has been a treasured institution, and I’m sure I’m not alone in thinking: ‘Come, September!’

Books I read in April [2008]

[I posted about this in my old blog in 2008, and am retrieving it to this one because it mentions Somewhere Towards the End by Diana Athill, who died in January, and whose more recent book of essays, Alive, Alive Oh! I plan to blog about soon – JS, 31 March 2019]

David Michaelis, Schulz and Peanuts: A Biography (Harper 2007) (finished)
Mary Haire, Place Is People: Annandale 1907/2007 ([Leichhardt Municipal Council?] 2008)
Helen Garner, The Spare Room (Text Publishing 2008)
David Campbell, Selected Poems 1942–1968 (Angus & Robertson 1968)
Michael Pollan, The Omnivore’s Dilemma: The Search for a Perfect Meal in a Fast-food World (© 2006, Bloomsbury 2007)
David Campbell, The Man in the Honeysuckle (Angus & Robertson 1979)
Ivor Indyk (ed), Heat 16: Inner Nebulae (Giramondo 2008)
David Campbell, The Branch of Dodona and other poems: 1969-1970 (Angus & Robertson 1970)
Diana Athill, Somewhere Towards the End (Granta 2008)

schulz As I mentioned last month, I started reading Schulz and Peanuts to check its suitability for a young fan. I’m happy to report that in general it passes with flying colours. A young woman has a termination, and the break-up of ‘Sparky’s’ first marriage is gruelling, but these are both handled with a good bit more tact than you’d find in many YA novels.

Every week, for just months short of 50 years, Charles M Schulz sat at his drawing board to produce six daily strips and a longer Sunday piece. He inked every line himself, and penned in every letter until his final stroke meant that the speech balloons in the very last frames were filled by computer-generated lettering. Peanuts was the most important thing in his life; he hated being away from home, and died the day his last cartoon was published.

This isn’t a tale of heroic physical exploits or grand public gestures, but David Michaelis seems to have interviewed every living soul who had a meaningful connection with his subject, from the psychology student who gave him an impromptu – and effective – counselling session on his agoraphobia at a tennis tournament and never had another conversation with him, to Joyce nee Halvorsen, the main model for Lucy, his first wife and the mother of his many children (one of the best bits of the book could have been titled The First Wife’s Story).

The result is a fascinating, many-faceted portrait of an artist and of a man. Peanuts strips are scattered through the pages, not as decoration but as integral elements of the narrative. Cartooning was not only Schulz’s life work, the fulfilment of a central ambition; it was also, dare I say, a spiritual discipline by which he found perspectives on the difficulties and dilemmas of his life (and the lives around him) that allowed the release of laughter. While Michaelis is very bold (and repetitive) in some of his psychologising, I found his thesis persuasive: that what we common or garden readers received as Schulz’s comic reflections on life in the abstract were often if not always born out of particular moments of pain or joy. Schulz seems to have been an excellent exemplar for Neil Gaiman’s advice on how to deal with trouble: Make good art.

Michaelis places Schulz interestingly in the history of comics – though he barely mentions comic books as opposed to strips, and surely the moral panic in the 1950s epitomised by Fredric Wertham’s Seduction of the Innocent (which led to a nun confiscating a Phantom comic from me in Grade Three, and to our teachers’ recommending that we read the boring Catholic comic Topix) had something to do with the runaway success of Schulz’s wholesome creation. It’s surely not entirely coincidence that for a time in the 1940s, before he got his big break, Schulz did lettering for Topix.

[I passed the book on to my young friend, whose mother reports that after dipping into it he said, ‘It’s not all that interesting to me, even if it is to Jonathan. But he reads everything.’ Then, softening the blow, ‘Some of it is pretty good.’]

111annandale.jpgPlace is People is a strange little book, neither an attractive collection of photographs to introduce the suburb to visitors nor a quick historical overview. It’s got elements of both those, but is something more personal and less orderly than either; if it was even more personal, it might have been an extended prose poem, but it isn’t quite that either.

Mary Haire leads walking tours, and the book has something of the serendipitous feel of such tours: here’s a little girl walking to school; let me tell you about a boy that age who went to the same school a hundred years ago. I know more about my suburb’s history having read it; some errors have been corrected, and some tantalising trails laid in my mind: Cardinal Freeman was born here, for instance, and the young woman at the florist’s is a single mother. How can I put those two snippets in the same sentence, you ask? I plead that the book sets a precedent with its gloriously unconcerned potpourri approach to its subject.

4791021-mTalking at Gleebooks recently, Helen Garner paid tribute to Elmore Leonard’s essay, ‘Ten Rules of Writing‘: she has his sentence, ‘If it sounds like writing, I rewrite it,’ on the wall above her desk. In The Spare Room, she has given us a feminine Elmore Leonard story: it’s about the emotional tangles between two women, or at least those tangles provide the language for its telling, but it has the clean lines, the sure forward movement, the lack of hooptedoodle, that give such pleasure in Leonard’s tough-guy narratives from The Tall T to, say, Pagan Babies.

It’s a very quick read, and an intense one. There’s plenty of complexity, some of which I’ve found making itself known to me weeks after finishing the book. For instance, ‘Helen’ the character, who is manifestly a version of Helen the writer, claimed my allegiance and assent to her judgements while I was reading, but has since come to seem much less reliable, much too caught up in her own emotional reactions to be able to give us the full picture (some of which the book gives us in spite of her). It’s a magnificent achievement.

4174097-mI doubt if David Campbell (1915–1979) is still studied in Eng Lit courses at many Australian unis, but I hope he is fondly remembered and occasionally reread by more than just me. He and Martin Johnston share a posthumous moment in John Forbes’s elegiac ‘Lassù in Cielo’; he cropped up in a footnote in the John Manifold collection I read last month; a recent Poetica featured his correspondence with Douglas Stewart; lines and images from his poems arrive in my mind unbidden from time to time.

Most of the poems in this selection are a strange mixture of the bucolic and the erudite (and just in case I’ve misused those words, I mean rustic and scholarly), and there’s a pleasant music to them. When I read the sequence of twelve twelve-line rhyming poems of ‘Cocky’s Calendar’, I found myself wondering how he managed to pick up his pen again after writing something so wonderful. Back in the early 1970s, in an Aust Lit seminar on this sequence, a student from North America totally didn’t get them: while the rest of us were being drawn into the poetry’s intensely personal relationship with the landscape, he lost patience altogether and said the whole thing read like verse you’d find on a Norman Rockwell calendar. I thought then that he was missing something, and I find I still do. This is the ninth poem, for September:

Under Wattles
Now, here and there, against the cold,
The hillsides smoulder into gold
And the stockman riding by
Lifts to the trees a yellow eye.

It’s here the couples from the farms
Play in one another’s arms
At yes and no – you’d think the trees
Sprang from their felicities.

So may our children grow up strong,
Got while the thrush drew out his song,
And love like you and I when we
Lie beneath the wattle tree.

How about that present tense ‘lie’, eh?

I think the sequence as a whole speaks to me so strongly because of my father. At a family gathering once, another farmer, of a younger generation, said something about the boredom of spending a whole day driving around a paddock in a tractor (this was before the days of air-conditioned tractor cabins and iPods). When my father said mildly that he didn’t get bored, one of my female cousins asked him what he did with his mind when he was out there all day. As he drew breath to answer, my mother came to the rescue by changing the subject (‘Oh Jenny, you know you’ve been asking me about tatting, I have a pattern here I can show you’). Probably to his relief, my father didn’t get to answer the question. I like to think that David Campbell’s contemplative poems, even though his is a sheep property while my father grew sugar cane, provide some version of what my father might have wanted to say back then over tea and scones.

omnivoreWith The Omnivore’s Dilemma I was back to farming, in three categories: industrial, of which I read with a mixture of horror and curiosity; pastoral, which is not synonymous with ‘organic’, but tends to have the virtues claimed for it; and personal, in which the author creates a meal from things he has personally grown, hunted and killed, or foraged. I don’t know that anyone could read this tremendously engaging book without changing the way they think about food. It’s very heartening that it was a New York Times best seller. If you want a quick look at the central part of the book, which deals with ‘intensively managed grazing’ or clever grass farming, here’s a video from Michael Pollan’s recent TED talk:

The book integrates into its narrative any number of lively essays: on the ethics of meat-eating (in which Pollan engages with Peter Singer), the joys of hunting (ditto Ortega y Gasset), attempts at humane design in modern abattoirs (Temple Grandin), the US domestic and international politics of corn (in which he doesn’t discuss the so-called Free Trade Agreements that leave the US free to subsidise its grossly inefficient corn agribusinesses while preventing other nations from continuing with similar protections, but he makes their absurd brutality abundantly clear), on just about anything you can think of that’s related to his central question, ‘What should we have for dinner?’ Some of it is very funny. Some is inspiring. Some horrendous. All of it is engrossing.

4812008-mI hadn’t read David Campbell’s The Man in the Honeysuckle before. As with Selected Poems, I’m fairly indifferent to the learned bits, mainly translations and imitations from the Russian, but some of the lyrics, especially the Aust Pastoral pieces, are extraordinary. The book was published posthumously, and it’s hard not to read a number of the poems as being poignantly suffused with a sense of death as imminent. ‘Crab’, ‘The Broken Mask’ and the whole ‘With a Blue Dog’ section stand out for me in this first encounter. How’s this:

Wind in Casuarinas

Camped under the she-oaks
With a dog and swag

The woman a white sapling
A straight flame
Blown all ways
And the children off
On their several roads

Lives rounding like river stones
Or washing out in wheel ruts

A high sky over tree and hill
And the clouds taking fire
I am spread out I burn
Yellow and rose – blessing and blest
A still flame in the arms of the she-oaks

Life butting into the world
With five wants and a howl
And shambles out with a blue dog.

I want to put ‘five wants and a howl’ right up there with ‘helpless, naked, piping loud’.

heat16I don’t imagine Elmore Leonard would care much for this Heat. There’s hoptedoodle galore … not that there’s anything wrong with that, of course: it’s generally very high quality hoptedoodle. Ironically, the one article that seem to me to be 90 percent hoptedoodle is by a crime writer whose point seems to be that crime fiction has advantages from being bound to an absence of hoptedoodle (but maybe I was just irritated because her essay on the relationship between genre fiction and literary fiction totally ignores the existence of children’s literature and science fiction).

There’s a terrific piece on blogging by Kerryn Goldsworthy, not a hopt or a doodle in sight; a lovely pairing of a story by Eva Sallis (‘Abattoir’) and an essay by Elizabeth Campbell (called ‘Why Little Girls Love Horses’ on the contents page but ‘Envy Worship and Passion’ on its own title page); chiming mentions of the catacombs of Paris, of which I’d never heard, first in one of Jennifer Maiden’s still-intriguing George Jeffreys–Clare Collins poems and then in an engrossing essay by Sarah Knox about researching historical novels, her own and Hilary Mantel’s; and a number of memorable pieces on aspects of migration: Elisabeth Holdsworth’s memoir ‘New Holland’, a short story by Hoa Pham, poems by Ali Alizadeh (on his unborn baby) and Peter Skrzynecki (on his late father). There’s lots more. I’m a happy subscriber.

I understand that it must be a nightmare to copy edit a magazine like this: so many words, so many different voices, so little time. But there are enough lapses to present a significant obstacle to the reader, at least to this one. At one point, havoc is ‘wrecked’; as something wreaks havoc just a few pages later in the same article, it seems likely that the error resulted from an editor’s dependence on a spellchecker that didn’t recognise the author’s ‘wreaked’ (fair enough, I’d prefer ‘wrought’ there myself). In the sentence, “The memoir becomes a book about illness to many reviewers; a ‘survivors’ tale; a plumbing of the issue of women’s health, and the continuing masculinist paternalism of the public health system” it looks very much as if the apostrophe after survivors was misunderstood by someone who inserted another before it to make it function as a quote mark; and the comma after health almost derails the sense. I don’t want to go hunting for similar moments, but the erratic comma and absent apostrophe in ‘reconstruction, so redolent of the historian’s duty, and the re-enactors fancy’ just leapt up at me from further down the same page (p 172). This might be just the irritated snitchiness of an underemployed pedant, but in this context it becomes hard to tell if the truly eccentric punctuation in a number of the poems is what the poet intended or the product of editorial inattention.</curmudgeonly grumble>

4160985-mHow could I resist reopening The Branch of Dodona, my only other David Campbell book? This one had pride of place in the bathroom for a week, to allow for contemplative reading in short bursts. Again, it’s his farming poems – in this volume, the ‘Works and Days’ sequence, with its love–hate relationship to sheep – that speak most strongly to me. Even his ‘My Lai’, which I remember him reading at Vietnam Moratorium Readings in another age, works so powerfully because of the farmer-to-peasant solidarity it embodies:

I was milking the cow when a row of tall bamboo
Was mowed by rifle fire
With my wife and child in the one harvest,
And the blue milk spilt and ruined

1862079846I’m not sure what the friend had in mind who gave me Diane Athill’s reflections on old age, Somewhere Towards the End, as a present for my 61st birthday. As Ms Athill is almost exactly 30 years older than me and still going strong and luculent, I’ll assume she wasn’t hinting it’s time I hang up my spurs.

In terms of my current reading, the book’s matter-of-factness, its almost belligerent steadiness of gaze play as a sober counterpoint to the rage and evasion of The Spare Room: both books generate what Athill calls an ‘addictive excitement of the mind’, and they speak to each other. Ms Athill’s brief reference to Hilary Mantel’s A Place of Greater Safety endorses Sarah Knox’s praise of it in her essay in Heat. The book has in spades a (to me) miraculous quality that I think of as Protestant integrity, a quality also displayed, ineffably, in the manner of my friend J’s leavetaking. I wouldn’t mind having a mind like Diana Athill’s when I’m 90. She manages to be remarkably cheerful about things usually discussed, if at all, in gloomy mode. One chapter begins, for example (the emphasis is mine):

When you begin discussing old age you come up against reluctance to depress either others or yourself, so you tend to focus on the more agreeable aspects of it: coming to terms with death, the continuing presence of young people, the discovery of new pursuits and so on. But I have to say that a considerable part of my own old time is taken up by doing things or (worse) failing to do things for people older, or if not older, less resistant to age, than myself.

Can’t you just see that paragraph, followed by the word ‘Discuss’, as an exam question on The Spare Room?

Posted: Wed – April 30, 2008 at 08:47 AM

Our corner: Progress report 4

[Because the older version of this blog has become unreachable, I am retrieving at least occasional posts from it that I see people trying to click on. This is one from February 2008.]

As promised a little over a year ago, I’ve been posting about developments at our corner shop. Things seem to be coming to a head, although the only obvious sign of progress at the moment is a lot of texta on the door. Still, though we’ve lost our corner rubbish bin, arguably because of the threat of terror (though more likely because it interfered with the Indian-theme Amex ad shoot in the middle of last year), the politics of hope is alive and well in this part of the world: here’s a sample of the hopes and dreams of people of Our Block. Who knows what the blacked out request was? What will become of the mermaid — will democracy decide? Would Newtownfolk approve of being identified as lentilburger munchers? Where will the sourdough come from? Fajitas? Alcohol? These questions and more may be answered in June.

IMG_2610.jpg 
IMG_2609.jpg