Tara Moss is a Australian-Canadian author of many bestselling books, including the non fiction titles Speaking Out and The Fictional Woman, and her crime fiction and paranormal series. She is also a journalist, former model, documentary maker and presenter. In 2015 she was a recipient of an Edna Ryan Award for her significant contribution to feminist debate, speaking out for women and children. Oh, and she is UNICEF national ambassador for child survival. Probably all this keeps her pretty busy.
Luckily for lovers of crime and historical fiction, she has found time to begin a new series that is a happy marriage of the two. Dead Man Switch (published 2019 by Harper Collins) is the first in the Billie Walker series and features a terrific new female protagonist. Billie is a ‘PI’ (Private Inquiry agent) who returns to Sydney at the end of WWII to re-open her deceased father’s agency. She is stylish and courageous and, I was happy to note, compassionate.
Her experiences as a journalist, following the events of the war in Europe, have left her with some difficult memories and current challenges, not least of which is her photographer husband, Jack, who disappeared on a mission towards the end of the war and has been missing since. Also, Billie needs to make a living, which she does by taking on cases for people needing evidence of spousal infidelity in order to get a divorce – hardly satisfying work. So when she is approached by a woman to find her missing 17 year old son, Billie jumps at the chance of getting her teeth into a challenging case.
And challenging it proves to be. The sinister tentacles of the murderous Nazis have found their way to Australia and Billie gets caught up in a much bigger and nastier plot than she could have expected.
The author weaves a whole lot of history into the fabric of her story. Social history (the return of women to the home after having done important jobs during the war, changing fashions, the lingering effects of wartime rationing), events of the war (the shocking cruelties of the Nazi concentration camps), the inhumane treatment of Aboriginal people during the period, and attitudes to women, are all encapsulated in a vivid portrayal of post war Australia and the world.
I was especially thrilled when the action moved to my own territory: the Blue Mountains including Katoomba, Mt Victoria, Colo, Bilpin (where I grew up) and Richmond. It’s not often I read about these places in contemporary fiction, so that was fun!
The plot has enough twists to keep a reader turning the page, and some interesting and likeable characters: Sam (Billie’s assistant), her mother Eva and Eva’s ‘ladies’ maid/companion’, women police officers (very unusual at that time), and a courageous young Aboriginal woman who I hope to see more of in future books in the series.
Dead Man Switch introduces a new player in the Australian historical crime genre. It’s a little noir, though Billie is certainly no Sam Spade – thank goodness. She’s very human and relatable even while up to her stylish hat in adventure. I’m looking forward to the next in the series.
You can find out more about Tara Moss and her books here:
The Woman in the Green Dress (Pub 2019 by HQ Fiction) is Tea Cooper’s latest historical fiction and the first by her that I have read. I enjoyed it very much and I’m putting her on my ‘favourite authors’ list – which is, I might add, rather long. It’s always a pleasure to discover a ‘new’ author especially when they have written lots of other books, so there are plenty of others to enjoy. I’m not at all sure why I’d not discovered this author before now!
The reason I picked up this particular novel was its setting, both time and place. It is a dual narrative / dual timeline novel, with two interweaving stories that play out separately, but of course overlap at crucial moments – to say any more would be to give spoilers so I’ll leave it at that, except to say that I particularly enjoy dual time frame novels. There’s something about them that when done well, brings the past more fully into the present.
There are two main settings in this book: Mogo Creek, a remote tiny settlement on the Hawkesbury River, and Sydney. The dual time settings are the mid nineteenth century, and the (slightly more modern) early twentieth century – just after WWI draws to its bloody conclusion. I was attracted to the Hawkesbury setting because it is where my own roots lie, though my ancestors settled in the more ‘tameable’ farming land around Windsor and Richmond. For readers of The Secret River by Kate Grenville (one of my all-time favourite and most admired historical fiction novels) Mogo Creek is not too far from the area explored in that book.
There are two protagonists: Della, in the 1853 story, and Fleur, who we meet in the novel’s opening, in 1918. Fleur is an ordinary English woman who lost her parents in the bombing of London during the war. Added to that, her husband Hugh, whom she married in a hasty ceremony just before he went off to fight, is reported as killed in action – but Fleur refuses to believe it. After all, there has been no official telegram, no parcel of his personal items sent to her. Her life turns a somersault when she is informed that Hugh has left her a substantial fortune and parcels of land – in far off Australia. Not a particularly adventurous woman, Fleur is astonished to find herself on a ship bound for Australia. She is convinced she can ‘sort out the misunderstanding’, return to England and wait for Hugh.
In this she is proven wrong. She finds herself trying to get to the bottom of the mystery, but obstacles present themselves. Eventually she travels to Mogo Creek herself and meets a strange old man there. She discovers other clues in the boarded up Curio Shop of Wonders, a Sydney store owned by Hugh’s family for many years.
Gradually we come to see how Fleur’s story overlaps with Della’s. Della is a taxidermist, an unusual occupation for a woman in the nineteenth century. Della is sympathetic to the Aboriginal people she knows – the Darkinjung of the upper Hawkesbury – and distressed to learn of brutal raids and attacks against them by some white settlers and also by the collectors of wildlife ‘specimens’ for her aunt’s store in Sydney – the very same Curio Shop that puzzles Fleur in the later timeline. I enjoyed the descriptions of Sydney across the two timelines, as well as the more rugged parts of the Hawkesbury river and its valleys. The characters of Fleur and Della are both very likeable and we see how they each change as the novel progresses.
A motif throughout the novel is the opal, which in the mid nineteenth century garnered a reputation as a stone that brought bad luck to its owners. It was interesting to read of the very beginnings of the opal industry in Australia as it is now an iconic Australian gemstone, and (as far as I know) it no longer brings bad luck!
Sometimes in dual narrative stories, the reader needs to suspend disbelief a little at the neat way the stories get tied together. In The Woman in the Green Dress, the clues are planted throughout, resulting in a climax and resolution that feels satisfying and believable. I enjoyed this novel and have already added another of Tea Cooper’s books to my ‘To Be Read’ pile.
Reflections on the Historical Novel Society Australasia Conference 2019, 25/26 October, Parramatta NSW
1: It is enormously endearing for an audience to be referred to as ‘Dear hearts’, which Kate Forsyth (HNSA patron) did as she began her introductory address. She went on to deliver a call to action: to let everyone know of the active and vibrant community of lovers of historical fiction in our part of the world. https://hnsa.org.au/kate-forsyth/
2: Keynote speaker Paula Morris, from NZ, spoke of her Maori culture in which history is seen as a spiral, and reminded us that all characters are a combination of their past and present – and that ‘historical figures’ existed in their own contemporary world and didn’t know they were to become historical. Interesting to contemplate that for our own times and selves.
Literature can make visible the unbroken lines with the past and the unbroken lines to the future.Paula Morris
3: Jackie French, Conference Guest of Honour, never sets out to write a book- she writes scenes which then become a book.
4: Kelly Gardiner, in the session ‘The Versatile Writer’, divulged that she is working on a book about her Great Grandmother who was active in Australia’s Suffrage and Women’s Peace movements.
Definitely a book I’d like to read. https://hnsa.org.au/kelly-gardiner/
5: Jane Caro shares my interest in the life of Elizabeth I, so much so that she wrote a trilogy about her. In Jane’s view, female heroic figures often had to pay horribly for their independence. Not so Elizabeth, says Jane:
Elizabeth I became her own Prince and rescued herself.
6: Paula Morris again, on ‘Respectful research’:
Living in the internet era it’s easy to think we should have access to everything and all information. Not everyone has the right to everything. The notions of ‘no secrets’ and ‘nothing is sacred’ are problematic.Paula Morris
7: If you have emotional connection to a place it comes out naturally in the words you write. (Lucy Treloar on the resonance of place in fiction.) https://hnsa.org.au/lucy-treloar/
8: A strong pitch to a literary agent or publisher will contain the following: Emotion, a strong sense of the protagonist and their challenge, and the stakes will be clear. (First Pages Pitch Contest)
9: When considering using personal or family stories as the basis for fiction (yes, that’s me) look at one aspect or kernel of a story and expand your fiction around that, don’t try to tell the whole story (excellent advice from Nicole Alexander which spoke straight to me as I’m currently wrestling with these sorts of issues) https://hnsa.org.au/nicole-alexander/
10. Madison Shakespeare, a Gadigal woman living in Adelaide, spoke on the panel on Dispossession and Betrayal: Recovering the erased history of First Nations. She reminded us that we were on Dharug land – pertinent land for its history of dispossession and violence.
It’s difficult going back, looking back…Ancestors we thank you, for your tenacity, dignity and diplomacy.Madison Shakespeare https://hnsa.org.au/madison-shakespeare/
On the question of writers worrying that, if when writing about indigenous people or indigenous histories, they might ‘get it wrong’, Madison posed the question: How much more damage if you don’t do it at all?
11. The reason I love dual narrative or timeline books is this, as put by Carla Caruso:
There’s a point in your life when you realise realise that your parents, grandparents etc have experienced loss and heartache. That fashions and technologies change but we humans go on and we all want the same things: security, love, passion.Carla Caruso https://hnsa.org.au/carla-caruso/
12: Expert use of point of view allows the writer to take the reader by the hand and lead them through the story. It’s the first splash of colour on the page. Greg Johnson at the ‘I am a Camera: Exploring point of view’ panel session.
13. Juliet Marieller and Elizabeth Jane Corbett write strong female protagonists set during times in which women did not always have great agency or independence, by focusing on how they confront their challenges, find inner strength, have the courage to face truths and move forward.
14. Watching demonstrations of historical fencing over lunch is surprisingly engrossing.
15: Meg Keneally, when talking about the partnership between novelist and historian, described herself as historian Gay Hendriksen‘s
This in reply to Gay being asked by an audience member if she sometimes comes across a story from the historical record or archives and thinks I wish I could find a novelist to write that.
16: The second conference day (27th October) was the anniversary of the first ever female industrial action since colonisation: otherwise known as the 1827 ‘Parramatta Female Factory Riot‘.
17: Kate Forsyth has had enormous respect for the power of words since she delivered a magic curse to a bully in primary school and it worked.
Magic is for the powerless, when you want something so much you exert your full intention upon the universe until it comes true.
Kate told this story in the conference’s final session, Love Potions and Witchcraft.
18: As I suspected, the historical fiction writing community is friendly, energetic, encouraging and inclusive. And the HNSA puts on a jam-packed and satisfying conference. Thanks to all involved:
I had a ball.