Tag Archives: theatre

End of year lists 2022

The Emerging Artist and I have drawn up for our traditional end-of-year lists.

Movies

Counting movies watched on TV and streaming, I saw about 80 this year, mostly in the company of the EA. We did a quick and ruthless thumbs-up/thumbs-down to reach a short list of 20, then a further short process to arrive at a list of favourite movies.

Three documentaries, all seen at the Sydney Film Festival:

Five feature films:


TV

Out of so much excellent TV, both free to air and streamed, we limited ourselves to one documentary series, one comedy series and one more or less serious series. The Australian Wars merits an award of its own.


Theatre

We went to the theatre an amazing 15 times. You’d think the pandemic was over!

Our unanimous award for best play of the year goes to The Jungle and the Sea, created by S. Shakthidharan & Eamon Flack. It’s an exhilarating, brilliantly staged epic about the civil war in Sri Lanka and the experience of refugees, with the magnificent Anandavalli as matriarch Gowrie at the centre, and wonderful music. It’s very long. We brought a picnic dinner and ate Lebanese take-away in the green room during one of the intervals.

Our runners-up were:

  • RBG: Of Many, One, a one-woman play written by Suzie Miller, directed by Priscilla Jackson and brilliantly performed by Heather Mitchell for the SydneyTheatre Company
  • Sexual Misconduct of the Middle Classes, a two-hander by Canadian Hannah Moscovitch, performed at Belvoir in an MTC production directed by Petra Kalive.

Books

The Emerging Artist read roughly 60 books. She has given me a list of her five best in non-fiction and fiction categories (art books were important but not for listing). Here they are, with comments dictated by her, with links to the LibraryThing pages or, at her request, to my blog post when I’ve blogged about her chosen book:

Fiction:

  • Mick Herron, the Slough House series. Very funny, fast-paced, delightful plot twists. The EA stayed ahead of the TV series, which she says is very faithful to the books. She didn’t seem to mind that she generally knew what was about to happen.
  • Ian McEwan, Lessons: Profoundly moving. She loved the integration of broad historical events with the stories of individual lives
  • Rajorshi Chakraborti, Shakti: Your Power, Our Rules: A surprising book, stumbled across in the local library. It’s a fast-paced fantasy that links contemporary, westernised India with ancient mystical belief systems.
  • Elizabeth Strout, Lucy by the Sea: Her usual close observation of intimate relationships. Like Lessons, it integrates these with wider world events, in this case the Covid pandemic.
  • Abdulrazak Gurnah, Afterlives: I really loved it, and individual moments are vividly in my mind months after reading it.

Non-fiction:

  • Kim Mahood, Wandering with Intent: I think she’s the best Australian writer about cross-cultural relationships. I imagine this is an essential read for any non-Indigenous person planning to work in remote First Nations communities.
  • Claudia Rankine, Just Us: I loved the writing, the humour, the format, the thought-provokingness.
  • Andrea Elliott, Invisible Child: Poverty, Survival and Hope on New York City: At times reading this I was filled with dread but was mostly wrong – underestimating how terrible the US welfare system is, but also underestimating people’s resilience and capacity to fight back.

As for me, I read 70 books (counting journals but not children’s books). I finished my slow read of the Iliad and began Middlemarch, both of which have been exhilarating when read a little each morning after Wordle and before the news. I’ve read 22 books of poetry, 21 novels and only two comics; books in translation from Homeric Greek, German, Hebrew, Portuguese, Spanish, Chinese; seven books by First Nations writers, and 14 by other writers who don’t belong to the White global minority. The book that was most fun was Niall Williams’s History of the Rain. Most instructive was With the End in Mind by Kathryn Mannix. Most deeply and warmly challenging was Claudia Rankine, Just Us. Scariest was Hugh White’s Quarterly Essay Sleepwalk to War. Most delightful discovery of a writer from the past: Charmian Clift in Mermaid Singing.


Happy New Year, everyone. Please add your own treasured movies, TV, plays or books from 2022 in the comments.

End of year lists 2021

The Emerging Artist and I have put our heads together for our traditional end-of-year list-making.

Best Movies:

We got to the pictures surprisingly often this year, and we watched a lot of movies at home. We saw roughly 50. We managed, painfully, to whittle the list down to four that we agreed on. Three of the four we saw at the Sydney Film Festival. They are, in no particular order:

We each chose one more to make five each. I’ll leave you to guess who added which:

And then we picked four documentaries, all from the Sydney Film Festival except the absolutely brilliant Summer of Soul:


Theatre:

We subscribed to Belvoir Street and Griffin, but Covid–19 meant we didn’t actually see much. We agreed, however, that our top theatre experience lay elsewhere, in commercial musical theatre:


Books:

The Emerging Artist read 35 books in hard copy and roughly 10 on her device. She read 25 books by women and 20 by men. She has given me a list of her five best books in non-fiction and fiction categories (art books were important but not for listing). Here they are then:

Fiction

Ayad Akhtar, Homeland Elegies (Headline 2020)

This is my outstanding book of the year: funny, serious, filled with ideas. It’s a biting commentary on where the USA is now, written while Trump was still president, but it’s still relevant. It’s a novel that reads uncannily like a memoir. (Link to Jonathan’s blog post)

Susan Abulhawa, Against the Loveless World (Bloomsbury 2020)

Completely engrossing story of the Palestinian diaspora in the Middle East and life in an Israeli prison.

Elizabeth Strout, Oh William! (Random House 2021)

What can you say about Elizabeth Strout? She’s such a delight to read. Beautifully written, this follows on from Lucy Barton.

Jonathan Franzen, Crossroads (HarperCollins 2021)

I’m not always a Franzen fan, but I loved the way this captures a period in one family’s life that echoes across US cultural life in the 70s

Richard Russo, Nobody’s Fool (Allen & Unwin 2017)

I’ve become a fan if Richard Russo. Nobody’s Fool needs to be read in conjunction with Everybody’s Fool. Like Elizabeth Strout and Jonathan Franzen, this examines small town life, where people do bad things but are recognisably human – no big villains.

Non-Fiction

Mark McKenna, Return to Uluru (Black Inc 2021)

A beautifully written, meandering history of a particular moment. (Link to Jonathan’s blog post)

Grace Karskens, People of the River (Allen & Unwin 2020))

This should be read in conjunction with Grace Karsken’s The Colony. Both are large volumes of brilliantly-written history. The river of the title is the Hawkesbury–Nepean / Dyarubbin, and the book covers the geology, flora and fauna, and human history, both before and since settlement.

Jonathan Bardo, A History of Ireland in 250 Episodes (Gill Books 2009)

It’s hard to find a general history of Ireland in bookshops and libraries in Sydney. This is a great introduction, originally created as 250 five-minute radio programs broadcast over a year in Ireland. Ireland’s history is much bloodier than I knew from when it was first inhabited, and the English are not the only source of the violence.

Bart Van Es, The Cut Out Girl (Penguin 2018)

Prompted by an interview with the author in a Conversations podcast, I borrowed this from the library. It’s a memoir about family secrets and silences that tracks the missing links in a Jewish woman’s childhood hiding from the Nazi regime.

As for me, I read 77 books (counting journals but not every children’s book). I can’t pick bests. Most successful scratching of a longstanding itch was Wordsworth’s The Prelude. Most fun was Bernadine Evaristo’s Mr Loverman. Most mind-altering was Andy Jackson’s Human Looking. Most reader-friendly Nobel laureate was Abdulrazak Gurnah’s Gravel Heart. Most likely to produce lasting behavioural change was Joe Keohane’s The Power of Strangers. Most magical revisit was Ursula K LeGuin’s Catwings. The one that made me wish I was writing my own memoirs was Brendan Ryan’s Walk Like a Cow. The one that made me think my memoir would get it all wrong was Evelyn Araluen’s Dropbear.


Happy New Year, everyone. Please add your own treasured movies, plays or books from 2021 in the comments.

500 people: Week 39

See this post for a brief description of my 500 People challenge.

This has been the second week of the Sydney Film Festival, at one session of which I found myself seated next to the chap from encounter Nº 14 in my last post in this series (link here). We took up our conversation where we’d left off. But there were more new encounters, most of them fleeting.

1. Sunday morning 7 November, we came across a ‘cupboard house’ in the park near our place. Someone has created this prototype shelter for a homeless person from a discarded cupboard, put it up in our park and asked for feedback on Insta at old.butstillgood. We were admiring it when another person arrived, ready for a chat. Once we’d negotiated the awkward ideological difference – he said, ‘There aren’t any homeless really,’ a comment which we ignored – we admired the handiwork, opened the cupboard door together, and commented on basic bedding inside. We swapped news about the shameful amount of old furniture going to waste, and also about what each of us had noticed about homeless people who live in the park and their complex relationships to authority.

Photo by Penny Ryan

2. Tuesday. During the Sydney Film Festival, the Emerging Artist and I are making sure we get some exercise by walking to most of our films – abut a 90 minute walk when the movie is on in the city. On this morning, a little before 9 am, we met a woman carrying a small child – school age, but no older than seven – pietà-like, except that the child was struggling and the woman was doing her best to run. As she approached us she was saying to the child, ‘If you knock me over we’ll be late.’ She then noticed us, and we must have both looked we’ve-been-there friendly. She rolled her eyes in mock despair, or maybe real but good-natured despair, and hurried on her way.

3. Friday morning, I met the young man who had constructed the cupboard house we saw on Monday. He was taking it apart in the yard of a block of flats near the park. It turned out that the Council had emailed instructing him to remove it, he had wheeled it to this small concrete yard, where it had attracted the indignant attention of the landlord who demanded its immediate removal. As it happened, someone was sleeping in it at the time and rain was pouring down, so he – the creator – insisted on waiting until this morning to remove it. He said that someone had slept in it every night it was in the park, and that a small group of uni students had used it as a drinking and smoking room, burning a hole in the tarp while the homeless man was outside. I made generally sympathetic noises: he has no illusions that his little project is a solution to homelessness, but it has provided shelter to one man for several nights, and may have some kind of future.

4. Again on Friday morning, back in the sauna, where before the last lockdown there was a limit of three people at a time, now the limit is two. When I arrived there was one other man there. I said, ‘You have to be lucky with your timing these days.’ Neither of us was keen for a proper conversation, but we agreed that it was odd that the limit had been decreased, speculated on the reasons and agreed that the regulation was likely to be ignored anyhow. A little later, a third man joined us. All three of us sat in total silence for about 90 seconds, and hen the left. ‘Typical,’ my new friend said. ‘Yes,’ I said, ‘no stamina.’ ‘And no regard for the rules,’ he said. And we went back into our separate sweatinesses.

5. Saturday, again on our way to the Film Festival, we stopped for breakfast at Zenius, a little cafe in Chippendale. It’s a rare treat for us to have breakfast out, especially in Covid times, and we both breakfasts were excellent – an avo and mash and a granola with fruit pieces.Our host/waiter was a bit taken aback by the enthusiastic praise we heaped on him and his cook. He asked if we lived nearby, and we responded that sadly no, we were just passing through, walking to town from Marrickville.

Running total is 247.

500 people: Weeks 35 to 38

See this post for a brief description of my 500 People challenge.

In the four weeks after lockdown eased, I didn’t manage to be any more gregarious with new people.

1 & 2. Wednesday 13 October. Masked and flashing my vaccination certificate, I stepped into a non-essential retail shop for the first time in many weeks. My mission was to buy new shoes to replace my much loved, double patched and disintegrating old pair. I’d tried to buy a pair online, but had to return them because they just didn’t work. The two people working in the shop were fabulous: they were helpful and informative, and we also got to chat about the state of things. They don’t expect retail in the city to be back to the old normal any time this year; they too have suffered from the lack of barbers/hairdressers – the man removed his mask briefly to reveal a splendid beard which is due for the chop and which, he said, he has to shampoo daily so as not to make his mask smell vile.

3. Monday 18 October. In another post-lockdown first, I went to a movie in an actual cinema. Just a few days after I’d told someone I wasn’t interested in Marvel movies, I went to see Shang-Chi and the Legend of the Ten Rings, which actually doesn’t look like a Marvel movie, at least for the first two thirds. It was wonderful to be in a temporary community watching a film for the first time in months. There was a silent moment of mutual recognition when no one moved at the start of the credits – a sign that we all knew what to expect from a Marvel movie. Maybe a quarter of the audience left after a brief postscript that came on a couple of minutes into the credits, but most of us stayed to the bitter end. As the final logos rolled up the screen, I said to the woman nearest me (a Covid-safe distance away and masked), ‘They sure make you wait!’ Just as the final scene was firing up, she said, ‘Every time!’

4. Sunday 24 October. On our morning walk by the Cooks river, we passed a young man, possibly Aboriginal, fishing with a rod and line. I seized the moment: ‘Had any luck?’ Yes, he had caught five flathead, and two had got away. I asked if he ate them. ‘No,’ he said, ‘not from here. I just do catch-and-release, strictly for fun.’ I expressed a hope that the river would be clean enough one day for fish to be edible again. He agreed, but said that would mean the river would be fished out, like a couple of less polluted places nearby.

5. Saturday night, the Emerging Artist and I broke out, walked to town, had our first meal out in a very long time, and went to the theatre. Not only the theatre, but a musical in a big theatre – Come From Away at the Capitol in Sydney’s Haymarket, where I hadn’t been since I saw Hair there in the 1970s. It was wonderful to be with a big crowd, feeling things together. I attempted to start a conversation with the man I was sitting next to, and although he wasn’t having any of it, I’m counting this failed attempt as one of my 500 conversations.

6. Sunday 31 October. In another reopening adventure, I was drawn to a display of hats at the Addison Road markets. The object on my head was unpleasantly sweat-stained, ragged-rimmed and badly misshapen. As I entered the booth, the merchant said, ‘I’m sorry, sir, but I don’t offer trade-ins.’ This got us off to a good start, and we had a pleasant chat about hats, specifically the kind I like to wear. I left with a new one.

7. Near our flat a little later on Sunday, we passed a man with a little boy, possibly 18 months old. The man was barefoot, so probably lives nearby. From a reasonable distance, we saw the man, almost certainly the boy’s father, rub his hand affectionately over the boy’s head as he spoke to him from his great height. As we got close, we realised that the little boy was tearful. The man picked him up, carried him pietà-style for a little, then put him back down on his feet. By this time we were within talking distance. I said something, or maybe I just smiled, and the man responded, ‘He’s unhappy today. Something is going on.’ There was a tiny bit more to the conversation, but I was struck once again by the changes that have happened in parenting in the last hallf century: that man spoke to a neighbour-stranger like an engaged parent as if fatherly engagement was completely normal. When I was a father of infants, I was asked more than once if I was babysitting – unthinkable that the father would be simply being a parent.

8 & 9. I wouldn’t include these encounters, but since there were two of them I’m telling you about them. Within days of each other, a passing man has commented on my T-shirt. The first time was on our usual walk at the Cooks river, and I was wearing a T-shirt with semi-abstract images of bright birds. The second time, I had just walked past a couple of Council vehicles. A man in yellow jacket came up behind me from one of them and as he passed, said, ‘I like your T-shirt.’ To save me the trouble of looking down, he added, ‘The periodic table.’ And so it was.

10. On Wednesday morning 3 November, a little after 9 o’clock, we passed a young man sitting under a tree near Enmore TAFE with a baby standing in his lap, gripping his fingers and pulling themselves upright. We made smiling contact with the man and locked eyes briefly with the baby. ‘Nearly standing up,’ I said inanely. ‘Getting dangerous,’ the man said.

11. Thursday morning, we passed a woman who was grooming her dog. By grooming, I mean she was rubbing her hand over the dog’s back and releasing astonishing cascades of fur. I stopped to comment, admiringly, that she was removing so much fur with her bare hand. She said he produced huge amounts. He was a cross beagle and cattle dog, with the double coat (I didn’t understand that term but didn’t pursue it). I chatted a little about cattle dogs from my childhood that were outside dogs, then we all commiserated about how much work these shedding creatures make. Luckily, our interlocutor’s floors are all polished wood.

12. Thursday, on the same walk, we passed a group of old men teeing off at the point where the riverside walk climbs to the teeing ground. One of them said to a man who was about to swing, ‘Patience is a virtue. Wait for these good people to pass.’ We thanked them, and once we were safely behind them, I said, ‘My mother used to say, “Patience is a virtue, possess it if you can, found seldom in a woman and never in a man.”‘ Surprisingly, the little verse wasn’t familiar to any of the men, nor to the Emerging Artist. Maybe those old men weren’t as old as me.

13. The Sydney Film Festival is on! On Thursday evening, I chatted in a celebratory kind of way with the woman sitting a Covid-safe two seats from me.

14. Saturday morning, before Quo Vadis, Aida, I struck up a conversation with man seated right next to me. We exchanged news and views abut the movies each of us had seen – there were no overlaps. It turns out that we lived a couple of blocks apart a couple of decades ago. he now lives near Wollongong and makes a pilgrimage with his wife each year for the Festival. In the movie, there’s a horrific moment when people are ordered to leave a place of refuge quietly, five at a time, and we’r pretty sure they’re going to their death. As the credits rolled we were asked to bear Covid restrictions in mind and to leave in a =n orderly manner. My new acquaintance and I said, in unison, ‘Five at a time.’

Running total is 242.

500 people: Week Twelve

I started the week at the Sydney Writers’ Festival, which you’d think would be a great place for talking to new people. But, though I caught up with a number of people I hadn’t seen for a long while, and was pretty awkward with a couple of writers whom I admire, even love, I didn’t do a lot of talking to strangers as such. See this post for a brief description of my 500 People challenge.

  1. Sunday 2 May, at an afternoon session, I fell into conversation with the woman sitting beside me. (I’m not counting the man in a wheelchair a couple of seats further away who unleashed on the subject of accessibility.) We’d seen Mehreen Faruqi in different sessions, and it was fun sharing our slightly different perspectives on her.
  2. Monday early morning at the pharmacy check-out, I got into one of those slightly awkward dances about where the queue actually went. I said to the woman at the till, ‘In Spain, instead of having queues you just ask when you arrive, “Who’s last?”‘ She said, ‘Yes, it’s the same in Cuba. You arrive and say, “Qui es ultima?” Then everyone can sit, or move around , or chat with people who arrived much earlier.’ The man I’d had the little dance with chimed in: ‘That’s what we do in my barbershop around the corner. When a customer arrives, they ask, “Who’s last?”‘
  3. Monday evening at the Griffin Theatre for Dogged (which I recommend), I was sitting next to a woman who seemed to be alone. Ever original, I asked, ‘Do you come to this theatre regularly?’ ‘No,’ she said, ‘I’m from Albury.’ and we had a very pleasant chat, reminiscing about theatre (we both used to come to that one when it was the Nimrod), grandchildren (she has more than me, and she comes to Sydney to visit them as well as go to the theatre), etc. Despite being masked, we may well recognise each other on future nights at the Griffin.
  4. & 5. Tuesday in the checkout at the supermarket, a small child (about a year old) was calling, ‘Baby,’ to the world in general. I asked where the baby was, and he pointed to the stroller with the woman ahead of him. Then he said, ‘Dog,’ and pointed over my shoulder to where there was indeed a cardboard cutout dog. I observed that there was a cat next to it, and he said, ‘Cat.’ Other words were exchanged, and his father joined the conversation less monosyllabically.
    6 & 7. Thursday morning at GymKidz, little girl came up to me and wordlessly showed me a sticker on her hand. when I admired it she peeled it off and offered it to me. I graciously accepted it, and asked if she’d like me to stick it back on her hand. She held the hand out to me, and I stuck it back on. Then I realised her father was the burly bald man with a pirate beard a couple of seats away who was wrestling an older child into his socks and shoes. I said something about the juggling act he was performing. ‘Yes,’ he said, ‘you learn how to stay cool under pressure and be in two places at once.’
    8 & 9. Thursday evening at the launch of Radicals, I mostly chatted with people I know. One conversation was joined by a Famous Person who, if we’ve met previously, certainly doesn’t remember me. ‘Hi E–,’ I said. ‘Who are you?’ she replied, and soon I was being eased out of the conversation she had just joined. Not rudely, but definitely. Later I had a chat with a man I’d not met before. It was an evening for reminiscence and ancient gossip, and that’s what we did. The bit I remember is that Geoffrey Roberson had told him he was radicalised by realising that the copies of a Shakespeare play given out at his school had had the rude bits cut out. I told him my story about the pious Brother who taught me Macbeth dictating the rude bits so we could write them back into our bowdlerised books: ‘Showed like a rebel’s whore, that’s W-H-O-R-E.’
    10 & 11. Saturday, at the Dobell Drawing Prize exhibition at the National Art School, I was entranced by a video component of Maryanne Coutts’s Dress Code, when two women who seemed to know a bit about art started chatting about the work. ‘It’s got a bit of everything in it,’ one of them said. I boldly offered, “I love the video.’ We watched companionably for a while. The other one said, ‘I like that outfit.’ (The video shows the artist emerging from a closet, walking about with large, Frankensteinish movements, then crawling back into the closet, her outfit changing every second or so.)

Running total is now 114.

End of year lists

The Emerging Artist and I are once again in Victoria for the New Year, and squeezing in our end-of-year lists.

Best Movies:

We saw about 50 movies this year. It’s an approximate figure because we don’t know if we should count the two we walked out of or the ones we watched on TV. We each gave every film a score out of 5. Four films scored the full 10. Here they are in random order (click on the images for my brief blog reviews):

We each chose one more to make five each:

Of documentaries seen in the cinema we agreed on a top four, all seen at the Sydney Film Festival:

A special award for earliest walk-out of a movie goes to Etan Cohen’s Holmes and Watson. Having seen less than a quarter of an hour of it, our only regret was not leaving earlier.

Theatre (best and worst):

We subscribed to Belvoir Street again and there wasn’t a single dud. As for naming a best, we couldn’t go past Counting and Cracking, written by S Shakthidharan and directed by Eamon Flack in a Sydney Town Hall transformed into a huge Indian fort set. I want to give a special mention for Biggest Disappointment to Paul Capsis reading Oscar Wilde’s De Profundis at the Old Fitz, directed by Dino Dimitriadis which was inexplicably beyond terrible (and cost $50 a seat).

Books:

The Emerging Artist read 35 books in hard copy and roughly 17 on her device. Of the hard copy books, 22 were by women. She has given me a list of her five best books in non-fiction and fiction categories, but couldn’t be induced to dictate any comments. Here they are then, non-fiction first, none of which I’ve read (yet), all of them with explanatory subtitles:

And the fiction (the last two with links to my blog posts, which don’t claim to represent the EA’s opinions):

As for me, I don’t know how to pick best books from my year. Reading À la recherche du temps perdu, the first two novels so far, has been a delight and a fascination. Moments from Melissa Lucashenko’s Too Much Lip keep surfacing vividly months after reading it. Edna O’Brien’s The Little Red Chairs knocked me back on my heels. Rebecca Huntley’s Quarterly Essay Australia Fair changed my understanding of the meaning of elections. Nadia Wheatley’s Her Mother’s Daughter and Fiona Wright’s The World Was Whole make me look at the people around me differently, with greater respect for their unseen struggles and heroism. I’ve read much wonderful poetry, and rediscovered brilliant books for very small children. I’ve done a quick gender breakdown in an earlier post (here).

And that’s it for 2019. Please feel free to name your own Bests in the comments, and may all my readers have a fire-free and climate-change-mitigating New Year!

End of year lists

The Emerging Artist and I are in Victoria for the New Year, but we’re squeezing in (or should that be squeezing out?) our end-of-year lists.

Best Movies:

We allowed ourselves to pick five each. The Emerging Artist went first, and then I chose five that weren’t on her list. The last one I picked was Juliet, Naked – and it got in on the grounds that there was no comedy on the combined list. There probably should have been more.

Theatre:

It’s hard to single out best theatre for this year. Belvoir Street had a good year, beginning with My Name is Jimi and ending with The Dance of Death, with treasures in between. And we spent six weeks in London, where we managed to go to some excellent theatre. We get to name one each from London and Sydney for the year. We both chose Matthew Lopez’ The Inheritance Part 2 at the Old Vic in London (we were exhausted on the evening we’d booked for Part 1, but Part 2 was stunning as a stand-alone event). It’s about Gay men in the age of AIDS. We booked because Vanessa Redgrave was in it, but though she was terrific she was by no means the main attraction.

Back home, the EA chose debbie tucker green’s one-hander, random, directed by Leticia Cáceres, with a bravura performance by Zahra Newman. I chose Calamity Jane, directed by Richard Carroll, which was great fun – Virginia Gay’s raucous, swaggering gaucheness made Doris Day’s Jane look like a maiden aunt.

Books:

Rather than a list of our Best Books, I’ve decided to follow a meme that originated at the vlog memento mori and came to me by way of Lisa at ANZ LitLovers LitBlog.

1) What’s the longest book I read this year and the book that took me the longest to finish?

Emerging Artist: Victoria: The Queen by Julia Baird (Random House 2016) was both. It was a Christmas present, whose size meant it was awkward to read in bed, so I was reluctant to take it on, and then the detail, though fascinating, needed breaks to digest. It turned out to be an excellent complement to the British TV series, which we watched soon after I finished reading the book, and a welcome gift after all.

Me: The longest book was probably Gerald Murnane’s Collected Short Fiction (Giramondo 2018).

The one that took longest was either Jennifer Maiden’s Selected Poems 1967–2018 (Quemar Press 2018) or Judith Beveridge’s Sun Music: New and Selected Poems (Giramondo 2018): they both include decades of work by fine poets, and I enjoyed them both immensely.

2) What book did I read in 2018 that was outside of my comfort zone?

EA: Deep Time Dreaming by Billy Griffiths (Black Inc 2018) is a fascinating book about palaeontology and archaeology in Australia in relation to actual Aboriginal people, but there’s a lot of technical scientific writing that is not my favourite recreational fare.

Me: Gerald Murnane’s Collected Short Fiction again. I had gleaned something of his characteristic style some time ago and completely failed to grasp how wonderful it is. I wouldn’t have opened the book if it hadn’t been picked for the Book Group. Reading it was a joy-filled revelation.

3) How many books did I re-read in 2018?

EA: None.

Me: Just one, Jane Austen’s Emma. I loved it all over again.

5) What book did I read for the first time in 2018 that I look forward to re-reading in the future?

EA: Change the question to, ‘What writer did I read in 2018 that I look forward to re-reading?’ My answer is Geoff Dyer. I first read him years ago, and rediscovered him this year when I found The Colour of Memory on our bookshelves. I’ve just bought Out of Sheer Rage, his book about himself and D H Lawrence.

Me: There are so many, but I’ll pick David Malouf’s An Open Book (UQP 2018). I will dip into so many of the books of poetry I read this year, but I think this is the one I’m most likely to reread in its entirety. That and Jennifer Maiden’s Appalachian Fall (Quemar 2017) 

6) What’s my favourite short story or novella that I read in 2018?

EA avoids short stories and didn’t read any novellas.

Me: Given that Gerald Murnane is in a class of his own, I’ll name Suneeta Peres da Costa, Saudade (Giramondo 2018), which is a coming of age story set in the context of the Angolan war of liberation. (I was astonished to hear Ms Peres da Costa say at a reading that she has never been to Angola, as the place comes alive in this short book.)

7) Mass appeal: which book would I recommend to a wide variety of readers?

EA: Free Food for Millionaires (Head of Zeus 2018) by Min Jin Lee, author of Pachinko: it’s hard to think who wouldn’t love it.

Me: I know many people these days think of poetry as an esoteric art to be avoided by everyone except poets and cryptographers. All the same, I recommend Eileen Chong’s Rainforest (Pitt Street Poetry 2018) to anyone interested in being alive and human.

8) Specialised appeal: which book did I like but would be hesitant to recommend to just anyone?

EA: I loved Elisabeth Åsbrink, 1947: When Now Begins, translated into English by Fiona Graham (2016, translation 2017). If you are interested in history, then the way this interweaves so many themes as they manifested in 1947 will fascinate you and illuminate our times.

Me: I’m rarely confident that books I’ve enjoyed will appeal to ‘just anyone’, so I’ve got lots to choose from, but bypassing all the titles I’ve mentioned so far, I nominate China Miéville, The Scar (Del Rey Books 2002), which, to quote my blog post about it, ‘includes, not necessarily in order of importance, vampir (sic) bureaucrats, cactus people, probability mining (I won’t try to explain), fabulously bloody sea battles, a sweetly tragic love story (not of the romantic variety), a vast crack in the universe, and a charming account of the process of learning to read.’

And that’s it for 2018. Have a great New Year, reader!

November Verse 6

Verse 6: On leaving at interval
We pays our subs and takes our chances.
Support the arts, put bums on seats,
and if the play’s a dud, well, cancer’s
worse and nothing really beats
the sense of risk when new creations
meet an audience: ovations
(standing)? or polite applause?
Will these two hours throw wide the doors
of hell and heaven? Last night neither.
We all worked hard: director, cast,
designer, writer, punters. Vast
good will drained away and by the
midpoint: ‘Who cares how this ends?’
we said, ‘Let’s go and eat with friends.’

At least we waited until the interval, unlike the occasion in 2010 that prompted the following (here’s a link to the original post):

This is just to say
We walked out of your play last night
from front row seats. We’d hung in there
for five whole scenes. The script was tight,
each actor sound, the set though spare
was spot on, and the vocal coach
had nailed the accents – no reproach
on that score. All these things were fine
but almost from the opening line
I couldn’t, couldn’t feel a thing.
I’d pay to watch two monkeys fart
if done with two boards and a heart.
Last night had timing, lines that sing
and sting. It’s heart that wasn’t there.
Sometimes a pause is just dead air.

Of Mice and Men and the Book Group

John Steinbeck, Of Mice and Men (1937)

ommEvery now and then the Book Group reads a classic. As one of us is currently performing in the play of Of Mice and Men, it seemed like an obviously good idea to read the book and see the play together.

Before the meeting: This is one of those books that you feel you don’t actually need to read. Like the photos of Dorothea Lange and Walker Evans, it’s a solid part of our understanding of the US in the 1930s. A little skinny guy and a lumbering giant with intellectual disability team up in rural USA during the Great Depression. The big man is a gentle soul, but doesn’t know his own strength and bad things happen.

Predictably, the book turned out to offer any number of surprises. First was the lyricism of the opening. I vaguely knew that Elmore Leonard’s disparagement of ‘hooptedoodle‘, the descriptive bits that readers tend to skip, cited Steinbeck as an authority. It was a surprise, then, to meet an opening paragraph that describes a pool over which arch the ‘recumbent limbs and branches’ of sycamores, and to which water ‘has slipped twinkling over the yellow sands in the sunlight’. That ‘twinkling’ challenged my assumptions mightily.

But then the humans appear, and there’s no more twinkling or recumbent arches until the final chapter, where ‘row on row of tiny wind waves flowed up the pool’s green surface’. The return to that pool carries a huge emotional thwack. Steinbeck knew a little hooptedoodle goes a long way, but he knew how to do it well. In this case, it’s the equivalent of a theatrical backdrop.

The story unfolds in six scenes, each of which observes the classical unities of time, place and action – that is, we see only what happens in a given place, and we see everything that happens there in sequence. The settings, described briefly at the start of each scene, are: an idyllic clearing on the bank of the Salinas river on a Thursday evening; a ranch bunkhouse the next morning; the bunkhouse again that evening; the harness room, which is also the bedroom of Crooks, the stable buck, on Saturday night; the barn, Sunday afternoon; the pool again, still Sunday.

Almost everything is conveyed by dialogue and action. It’s a short book, just about 100 pages – it could have been twice as long in the hands of a writer who wanted to tell us what his characters were thinking, rather than trusting us to get it.

There’s another passage of ‘fine writing’ that stands out. Unlike the other characters – the old man Candy, Crooks, Curley – who reveal themselves by their words and actions, Slim first appears in a long descriptive passage. Here’s the end of that passage:

There was a gravity in his manner and a quiet so profound that all talk stopped when he spoke. His authority was so great that his word was taken on any subject, be it politics or love. This was Slim, the jerkline skinner. His hatchet face was ageless. He might have been thirty-five or fifty. His ear heard more than was said to him, and his slow speech had overtones not of thought, but of understanding beyond thought. His hands, large and lean, were as delicate in their action as those of a temple dancer.

This eloquent prose telegraphs Slim’s function as moral touchstone: we know that his judgement is to be trusted, that his point of view is as close as we’ll get to the author’s. Then the prose snaps back to normal, not so much undercutting the hoptedoodle as saving it from itself, when Slim speaks:

‘It’s brighter’n a bitch outside,’ he said gently. ‘Can’t hardly see nothin’ in here.’

As I was reading this book, Barack Obama made headlines for using the N word. (As someone said, he is the first US President to use that word without referring to someone he claimed to own.) Given the extreme sensitivity to that word in the US today, it’s gratifying that Steinbeck’s use of it hasn’t been bowdlerised, at least not in the edition I read. The characters’ casual use of it to refer to Crooks, the only African American character, is very uneasy-making. Then there’s a scene where the woman addresses him by the vile term, and reminds him that she could have him ‘strung up on a tree so easy it ain’t even funny’. Steinbeck and Obama would agree that racism is not just a matter of it not being polite to use some words in public.

After the meeting: We didn’t have a group meeting as such, as we spent two and a half hours at the Sport for Jove production of Steinbeck’s play, directed by Iain Sinclair, with an all-round excellent cast. All good intentions of joining our actor-member after the show evaporated at the final curtain, and we all made our way home to warm mid-week beds.

It was interesting to see the play so soon after reading the novel. Maybe Steinbeck had the play in mind when he wrote the novel, because it really did feel largely as if as if the book had been magically transmogrified into flesh and blood. Maybe George wasn’t as wiry as I’d imagined, and Curley’s wife (her lack of a name much more noticeable in the play) was less sexy; the scene in Crooks’ bunk felt truncated; the dog was cuter and more alert than the book’s smelly wreck. But these were minor variations. The novel was walking and talking in front of our eyes. But no twinkling water or recumbent sycamore branches.

The Book Group go to the theatre and read the news

Alain de Botton, The News: A User’s Manual  (Hamish Hamilton 2014)

024114647X

This was an unusual meeting of the Book Group, an excursion to see a play in which one of us was performing – The Young Tycoons by C J Johnson, about the heirs apparent to two media empires. In deference to our nominal reason for meeting, we agreed to have a look at a book that’s at least tangentially related to the play. (We also read a fascinating piece of journalistic gossip for which, in lieu of further discussion, here is a link).

Before the meeting: This is a high-grade self-help book. If there’s an overall thesis, it’s this:

News stories tend to frame issues in such a way as to reduce our will or even capacity to imagine them in profoundly other ways. Through its intimidating power, news numbs. Without anyone particularly rooting for this outcome, more tentative but potentially important private thoughts get crushed.

‘The news’ is discussed in six main categories: politics, world news, economics, celebrity, disaster and consumption. In each category, de Botton discusses the way the news cycle  and the currently widespread addiction to it mitigate against thinking. There are plenty of interesting observations and insights, many of them obvious on reflection, though when dealing with addictions there’s no harm in stating the bleeding obvious. I had an uneasy feeling that ‘I’ the reader was being invited to feel superior to the ‘we’ that de Botton describes as manipulated by the news media. Maybe that, and a tendency to glibness, is something that comes with the territory..

After the meeting: It turned out, unsurprisingly, that I was the only one in the group, apart from the actor, who had read the book. We weren’t going to have much of a discussion in the foyer of the Eternity Theatre anyhow. But the conjuncrtio of the play and the book prompted at least one interesting reflection. In the chapter on disaster, de Botton compares the way heinous behaviour is typically described in the press with its treatment in ancient Greek tragedy:

The plot lines of [ancient tragedies] were unmitigatingly macabre, easily matching anything our own news could provide … But … in order for a horror (a meaningless narration of revolting events) to turn into what Aristotle called a tragedy (an educative tale fashioned from abominations), the philosopher thought it was vital that the plot should be well arranged and the motives and the personalities of the characters properly outlined to us. Extreme dramatic skill would be required in order for the audience to spontaneously reach a point at which it recognised that the apparently unhinged protagonist of the story, who had acted impetuously, arrogantly and blindly, who had perhaps killed others and destroyed his own reputation and life, the person in whom one might at first (had one come across the story in the news) have dismissed as a maniac, was, in the final analysis, rather like us in certain key ways.

C J Johnson is no Sophocles, at least not yet, and The Young Tycoons is a chronicle play rather than a tragedy, but it illustrates the point. The younger generation of the Murdoch and Packer families appear in the news as glossy celebrities, fair game when brawling with old comrades in a Bondi Street or being patted on the hand by a distraught patriarch before a Parliamentary Enquiry. In this play, stylishly delivered by a cast that has no weak links, we catch at least a whiff of just how appallingly constricted their lives are, and how callous they have been shoe-horned into becoming. I was reminded of Jamie Johnson’s extraordinary documentary, Born Rich, made a couple of years before this play was first staged in 2005.