Melissa Lucashenko has just been awarded the 2019’s Miles Franklin Award, one of Australia’s premier literary prizes, for Too Much Lip. It’s the first novel from this author that I’ve read and I’ll be looking to read more of her books, such is the quality of this one.
The story revolves around the Salters, a Bundjalung family from a fictional small town in northern NSW. I know this region as a holiday destination, with rolling green hills inland and beautiful beaches along the coast. So it was sobering to read about the other side – the darker side – of places like this.
Kerry Salter had escaped the hopelessness and despair of the area to live in Queensland. She’s back – briefly she hopes – to say goodbye to her proud grandfather, a respected elder of the family and community, whose own life has its darker corners. Pop dies and Kerry longs to get the hell out of there again, but family business and conflicts get in the way. Secrets are revealed, the long threads of inter-generational trauma untangled, and wounds are healed, made afresh and healed again, before the story concludes.
There is a plot by a local corrupt real estate agent and town mayor to sell off a piece of ancestral land to be thwarted, arrest warrants to be dodged, and a long lost sister to meet again. Not to mention sorting out her feelings for Steve – a school friend from long ago who is now the local gym manager and boxing trainer – and who is not only male, but white into the bargain. As someone who considers herself a lesbian and who has vowed to never get involved with a white fella, this all serves to confuse and unsettle Kerry.
The characters are all complex, not always especially likeable, but compelling. I cared a great deal about this family. And Lucashenko’s skillful revealing of their past and present traumas, their lives lived as outsiders even on the land of their ancestors, helped me to understand more of the experiences of Australia’s First Peoples. I enjoyed the way the author wove in words from the Bundjalung language through the dialogue. This is especially timely as 2019 is the International Year of Indigenous Languages.
(As an aside, anyone living on Dharug land or interested in learning more about Dharug culture and language might want to check out the online language lessons given by Dharug woman Jacinta Tobin through ABC Education)
To finish, here is a beautiful quote from the novel that spoke loudly to me, involved as I’ve been in researching family history and stories:
And that’s what graves are for, the realisation dawned on Kerry. They distilled your family history. They took what your ancestors did and who they were and gave it to you in one place, so you could go there and think about your lives and learn the lessons you needed to learn in order to keep on going.Too Much Lip, by Melissa Lucashenko, page 134
If you have read some of my previous posts, you’ll know that I’m a fan of historical fiction, especially fiction based on or inspired by real historical people and events. Mary-Anne O’Connor’s latest book, In a Great Southern Land, fits this bill nicely.
Set during the Goldrush times in Victoria and NSW (the mid nineteenth century) it follows the stories of two Irish newcomers to the colony: Eve (who arrives on a convict ship) and Keiran (who with his brother, sister and brother-in-law, arrive as free settlers.)
The book is a romance and we see the blossoming of love between the two main protagonists, with inevitable barriers placed in the way of them achieving their heart’s desires. Of course there is a happy conclusion. Because it is historical fiction, the plot complications arise from the times in which the story unfolds: the social, political and economic factors at play at this period of Australia’s history, including the poverty and hardship experienced by poor Irish farmers which drove many thousands to seek a better life elsewhere, the need for workers in the colonies due to the winding down of convict transportation to Australia, and especially, the feverish flocking to the goldfields of NSW and Victoria in search of the sought after ore.
I loved the fact that the characters and story were inspired by the author’s own Irish ancestors. It’s so important these stories of our forebears are told, not only to keep the stories themselves alive, but also to signal our beginnings as a modern nation. In these arguably much easier times, it is hard to imagine life before electricity, clean running water, accessible medicine, education, motorised transport, electronic communication devices and nearby grocery stories. The women and men who lived in the 1850’s had none of these things, yet still managed to love, laugh, establish families, argue, hold grudges, have fun, make music, learn, travel and earn a living. Just as we do today.
A big part of the plot of In a Great Southern Land centres on the story of the Eureka rebellion, when miners banded together against the injustices of the colonial authorities, ultimately facing off at the doomed Eureka Stockade. This battle is up there with Ned Kelly and Gallipoli in terms of iconic Australian history, but I sometimes wonder how many Australians know much about it or about the injustices that sparked the rebellion. Mary-Anne O’Connor has deftly woven these events in and around the stories of her characters and it makes an effective climax for her novel. There are some coincidences that perhaps stretch credibility a little, but all in all this is a satisfying novel, firmly placed in a very Australian context, with deep Irish roots.
This well researched historical fiction for young adults tells the story of Nanberry, a young Cadigal boy who was ‘adopted’ by John White, the Surgeon at the early colony of Sydney. Nanberry’s story is a remarkable one, as so many of the stories to be found in Australia’s history are. Orphaned when his parents and most of his clan died from the smallpox that devastated so much of the First Peoples communities of the Sydney region, Nanberry lived in Surgeon White’s house and learned to speak English, use English clothes and manners, yet maintained strong links with the remaining survivors of the Eora nation. As Jackie French tells it, in adulthood he gravitated between life as a sailor, travelling the seas on board English ships, and returning at times to the Cadigal people.
The novel is told from multiple viewpoints, which I appreciated because it’s an effective way to weave in some of those other stories that we don’t always hear about. The stories of Maria, for example, an ‘ordinary’ convict girl assigned to Surgeon White as servant, and that of Rachel Turner, another convict servant and a real figure from history, who after serving her sentence, became one of the wealthiest and most admired women in the early colony. Rachel’s son by the Surgeon, Andrew, also features—another remarkable life. The ‘white’ brother in the title, Andrew was left as an infant with his mother when White was recalled to England (though White made sure he and Rachel were well provided for.) Andrew later returned to England to attend school and went on to become one of the ‘heroes of Waterloo’, the crucial battle by the English against Napoleon’s army.
We also see the colony, with all it’s vice, filth, disease and despair, through the eyes of the Surgeon whose unenviable job it was to treat injury and illness with few medicines and fewer facilities. I marvel when I read accounts of life in these early days of Sydney. That anyone survived, let alone a settlement that developed into a global city, is something of a miracle.
Of particular note, of course, are the parts told from the viewpoint of Nanberry. Governor Phillip used the boy to interpret for him with Eora people he came across, because of the youngster’s facility with English. Through Nanberry we meet other Eora figures including Coleby, Bennelong and Balloonderry. Writing from an indigenous viewpoint when you are not yourself indigenous is a contested thing nowadays. However, I do think that this book manages to convey multiple viewpoints with skill and sensitivity.
Nanberry: Black Brother White is a terrific way for young people to see Australia’s history through story—the vibrant, tragic, astounding stories that make up the whole of this nation’s history since European colonisation.
Australian author Heather Rose’s 2016 novel The Museum of Modern Love’ is her eight novel and the winner of the 2017 Stella Prize.
It is unlike any book I have read before. Literary in its style, it is an accessible read and populated by a varied cast of characters, most of whom could be described as ‘creative types’ – musicians, artists, writers, poets, broadcasters, journalists. The novel takes the viewpoint of several characters, though it circles back to two main protagonists: Arky Levin, a film score composer, and Marina Abramovic, a well known performance artist.
Now, part way through the book I had to stop and ‘Google’ Marina Abramovic. I needed to check if the performances described by Rose in the novel were based on real events. They struck me as especially far-fetched. To my astonishment, there they all were, listed on various websites describing Abramovic’s artistic career. For example, Let’s See what happens, 1972, in which the artist sat in a room equipped with seventy two items (including wine, scissors, a knife, a whip, a gun – with a single bullet – paper, flowers…) and invited people to use the objects on her as they wished; Balkan Baroque, 2000, in which the artist sat scrubbing an enormous pile of cow bones; and the performance at the centre of this novel, The Artist is Present, which took New York by storm in 2010.
In this piece, Abramovic spent seventy five days in a bare room, at a table with two chairs facing each other. She sat in one, and audience members took turns to sit in the other. During each sitting, the artist and participant did nothing except gaze on each other’s face. A sitting could last between several minutes to several hours. When one participant vacated the seat, another took their place and the gazing resumed. Abramovic kept up this still, silent sitting every day until the Museum of Modern Art closed each evening. She did not move, drink, speak, visit a toilet – she did nothing but sit and gaze at the revolving cast of people in the chair opposite.
Before reading this book, I knew very little about performance art, and thought even less of it, to be honest. If asked, I probably would have dismissed it as ‘indulgent nonsense.’ While I’m not sure that this novel has convinced me to rush to the next performance art piece I hear of, but it has made me stop and reflect on the place and value of art – in all its forms – in our human world.
In The Museum of Modern Love, Heather Rose describes the impact of sitting across from the artist, on those who chose to do so and those who watched but did not participate. A surprising number were visibly moved or shaken by the experience. In the novel, we get an inside view of this impact, from the point of view of several of the characters.
The other pleasure in this novel is Rose’s beautiful language. Here is just one example:
He saw how her students must see her. This bird of a mind leaping from branch to branch.
And here’s another little snippet, which I think sums up one of the main themes of the novel:
Art is really a sort of sport. To master the leap is essential. It is the game of the leap. Practice, practice, practice,then leap. The starting point may be different for each, but the goal is the same. Do something worthwhile before you die.
As an aside – a shout out to Blue Mountains Library Services, who have introduced a range of books printed in a font style that is easier for readers with dyslexia. The copy of The Museum of Modern Love that I borrowed from there just happened to be in that format. What a great innovation!
The French Photographer by Natasha Lester. Hachette, published 2019.
The French Photographer is this Perth-based author’s fourth work of historical fiction. Her books have been published in fairly quick succession from 2016-2019. I do marvel at such an output, as Lester’s novels are meaty with historical detail which would involve much research (although, as she pointed out at an author talk at Newtown’s ‘Better Read than Dead’ bookstore recently, research involving travel to Paris and a French chateau isn’t all hard slog.)
Her historical fiction works are also lush with settings like New York, Paris, and the French countryside, handsome heroes and beautiful protagonists. Now, if that sounds like a recipe for your classic ‘romance’, perhaps think again. Yes, her novels have a strong romance element with love and heartbreak often sharing the stage. The covers are lusciously beautiful, something I greatly enjoy. What I most enjoy about books like The French Photographer, though, is that they pay homage to those women from the past, who chose a path not normally available to women in their time.
In the case of The French Photographer, the heroine is Jessica May, fashion model turned war photographer and correspondent for Vogue magazine during the Second World War. Inspired by and based on the life of real-life model turned war correspondent Lee Miller, Jessica’s path takes her from posing for photographs to taking them, and from New York’s high life at the beginning of World War Two, to the blood, filth, butchery and despair of the war fronts in Italy, Belgium, France and Germany. On the way she meets and eventually falls in love with Dan Hallworth, the requisite handsome hero who becomes her loyal and honourable friend, then lover.
Amidst the political nonsense and misogynistic attitudes of the US Army, and concerted efforts to prevent women correspondents from getting anywhere near the war action in order to write about it, Jess has to fight her own battles, just to be allowed to do her job. The author has researched this aspect of the story particularly well and readers can trust that the more outlandish sounding reasons why women were not allowed the freedom to do this work properly, were actually trotted out at the time. Some of it is jaw dropping stuff.
Like her previous novel The Paris Seamstress (2018), this one has a dual timeline and involves complicated relationships between a modern day granddaughter, D’Arcy, her mother Victorine, and her grandmother. I won’t spoil the ending for anyone who has not yet read the novel by saying more about that. But I will mention that the character Victorine is based on a little girl that the author saw, in a newsreel about the exodus from Paris as the German army approached.
Natasha Lester’s admiration for Miller, the woman who inspired this story, shines from every page. Miller did not have an easy life and after the war, her ground-breaking work, photographing and writing about what she saw and experienced in Europe, was virtually forgotten. Jessica May, similarly, faces heartbreak and loss. There is no ‘happy ever after’ ending in this story – perhaps another feature which distinguishes it from the conventional romance story arc.
As with all good historical fiction, while reading this book I was inspired to look up Miller, to learn more about her and to see examples of her astounding photographic work, as well as her pre-war work as a model.
So thank you, Natasha Lester, for opening another door in the hidden history of women.
It’s not too often I get a thrill from reading my local newspaper, Blue Mountains Gazette. I did last week, though,when I came across an article about the awarding of an honorary doctorate degree by Western Sydney University, to Blue Mountains author Jennifer Rowe.
At first Ms Rowe’s name didn’t register, until I read on further and realised that she is also known as Emily Rodda.
Now, if you have children who like to read, that is a name you’ll recognise. When in primary school, my son and his friends loved her Rowan of Rin books, first published in 1993. She is also the author of the very popular Deltora Quest series. Emily Rodda has written over 50 books for children and young adults and is a five times winner of the Children’s Book Council of Australia Younger Readers Award. And this year, 2019, her most recent book His Name was Walter, was shortlisted for the Children’s Book of the Year.
So, quite a writing career. You can learn more about Emily Rodda here:http://www.emilyrodda.com/about
And as Jennifer Rowe, she writes crime novels for adults.
The WSU Honorary Degree was awarded in recognition of that significant career and her contribution to Australian literature. In January 2019, Jennifer Rowe was also made a Companion of the Order of Australia for her services to literature.
And until last week, I had no idea that she lived in the Blue Mountains, just up the road! Of course it matters not where she lives. But I did get a little thrill. There is something about stumbling across someone you admire, in whatever field or pursuit, and finding out that you are almost neighbours.
This is the debut novel from Claire Coleman, a Noongar woman from southern Western Australia. The book was published in 2018 by Hachette Australia and it won the black&write! Fellowship in 2016, from the State Library of Queensland.
It’s a hard book to describe, being one of those books that bend or fuse genres. The first half reads as historical fiction, based on all-too-real stories of the invasion and colonisation of Australia by Europeans, the bloody frontier wars, the massacres, the church run Missions and the Stolen Generations. It’s hard going, difficult and uncomfortable reading, but important reading for all Australians.
Given that these awful events in our nation’s history have been told through story and in non-fiction works, in films and songs, it is astounding to me that so many non-indigenous Australians can still plead ignorance, or worse, disinterest, in these darker parts of our history. While many of us are now proud to acknowledge our connections to other challenging periods of the Australian story, for example, our convict heritage, it does seem strange to me that some remain unable or unwilling to acknowledge the reality of what happened to indigenous people in this country. Let alone to respect the resilience and tenacity that enabled Aboriginal and Torres Strait Islanders to survive.
Halfway through the book, we realise that what we are reading is, in fact, speculative fiction. It switches our viewpoint in a way that feels quite disconcerting, at least to begin with. It is cleverly done.
The writing is at times clunky, with some repetition and laboured sentences. But the overall effect of this book is to leave you thinking and wondering. What if? What would that be like? How would that feel?
Which is, I believe, one of the best things that good fiction can bring: an increase in empathy.
Have you read other fictional works that do this?
Let me know in the comments below.
For those who haven’t come across her work yet, Sulari Gentill is the Australian author of the Rowland Sinclair series. Beginning with the first title, A Few Right Thinking Men, published in 2011, the (to date) nine books relate the adventures of Rowland Sinclair, “an artist and a gentleman…with a talent for scandal”. (from the cover blurb)
Along with his friends Edna (a talented sculptress and Rowland’s model for his many nude portraits as well as a possible love interest), Clyde (Communist Party of Australia member) and Milton (wannabe poet) Rowland travels Australia and further afield, stumbling into crimes that need solving.
The books are all set in the 1930’s, the time of the Great Depression, battles between the Far Right (The New Guard and Antipodean Nazi sympathisers) and Communists; seances and spiritualism; stockmen, gangsters, and bitter politics. Gentill immerses the reader in the thinking, politics, places, fashions and fads of these turbulent times.
The settings of the novels are wonderful: from the leafy Sydney suburb of Woollhara to the grimy streets of Sydney’s slums; from the new national capital of Canberra to the heart of the ‘squattocracy’ at Yass; from the opulence of the Hydro Majestic Hotel at Medlow Bath ( my fellow Blue Mountains readers will know this one) to sailing on the Aquitania; Shanghai; London; even to Munich as Hitler rises to power.
Gentill has the knack of weaving compelling crime stories with spot- on historical detail and wry humour, all told through the eyes of her very likeable character and his chums.
I greatly enjoyed this series and can’t wait to hear the author talk about her newest title, All the Tea in China, published January 2019.
I might see some other Blue Mountains readers at the Author Talk on 9th March at 2pm. Let me know in the comments below if you are planning to come.
I was surprised to learn that the author of this 2018 published book is Australian. It is set in a town in the US state of Ohio and Foxlee captures the atmosphere of an American town in the late 1960’s and early 1970’s so well.
But,to the story…
What a lovely read this is.
The story centres around a young girl, Lenny Spink, who lives with her struggling single mother Cindy and her younger brother Davey. The family dynamics (siblings sharing secrets from the grown ups, occasional bickering, the kids’ more or less missing father, Cindy’s wannabe suitor, financial struggles and Cindy’s constant worrying) are portrayed from the viewpoint of Lenny, resulting in warm humour, the wisdom of children, and real sadness.
Davey suffers from a condition (unnamed at the book’s opening) which causes him to grow and grow and grow. Lenny reports on her brother’s growth and unusual physical appearance in a matter of fact way but the reader senses her fear and confusion.
There are moments of humour, too, in the sometimes odd, sometimes endearing, sometimes unsympathetic neighbours and others who people Lenny and Davey’s world: their babysitter Mrs Gaspar from Hungary, the revolting Mr King, ‘Great Aunt Em’, Peter Spink the absentee father, Lenny’s friends CJ and Mathew from school, the kindergarten teacher, the children’s unseen grandmother Nanny Flora…and of course Martha, from Burrell’s Publishing Company, who sends weekly issues of the Burrell’s Build-it-at-home Encyclopedia. The two children explore the world through the pages of this publishing marvel as they receive issues covering the A’s right through to ‘WXYZ’. They weave fantasies about things they are learning into their everyday lives with humorous and at times, heartbreaking effect.
The book describes a more innocent time, when home encyclopedias were to be treasured for the knowledge they held. At the same time we, the readers, wish that the setting was a modern day one because of advances in medical science that might, just might, save Davey.
This is a sweet, funny, sad and hopeful book.
I discovered this initiative only this year, at a writing workshop I attended: thank you Julian Leatherdale (http://www.julianleatherdale.com/) for the information.
The AWW aims to encourage, via Twitter and Facebook, email and websites, librarians, booksellers, publishers, book bloggers, English teachers and authors were invited to examine their reading habits, and commit to reading and reviewing more books by Australian women.
Quoted from the AWW blog, which you can find at: http://australianwomenwriters.com/
Readers can link their reviews via the AWW website, and sign up for regular emails in which AWW volunteers give ’round ups’ of the latest batch of reviews in particular genres.
If you are a reader who’d like to discover more of the wonderful works created by women writing in Australia, this is a terrific way to keep informed and across the latest (and not so recent) from women authors.