Readers of Tea Cooper’s fiction will know that she likes to write dual timeline stories set in Australia’s past. The Cartographer’s Secret is no exception.
The protagonists are two young women: Evie in 1880, and her niece Lettie in 1911. The story connects the two: Lettie drives from Sydney to visit her Great Aunt Olivia on the family property in the Hunter Valley, to inform her that Lettie’s brother (and the heir to the property) has died. She soon gets caught up in the secrets and puzzles held within her family’s history, particularly the mysterious disappearance of her Aunt Evie, thirty years earlier.
Evie had shared her father’s fascination with maps and exploration, and become similarly obsessed by the famous explorer Ludwig Leichhardt who had disappeared without trace in 1848. She sets out to track down evidence that she believes will prove her theory of what happened to Leichhardt and his party, but she is never seen again, leaving her Aunt Olivia heartbroken.
Poring over the map of the Hunter region that Evie left behind, Lettie begins to put the pieces of the puzzle together. She wants to solve the mystery of Evie to give Olivia, and the whole family, some peace (or closure, as we would call it today.) But things don’t go smoothly and Lettie uncovers more than she’d expected.
Tea Cooper’s heroines are likeable and relateable: young women with gumption and interests unusual for women at the time (Evie with her maps, Lettie with her Model T motor car.)
I found some of the details of the plot a little complicated and often needed to refer to the copy of Evie’s hand drawn map. While there is no happy conclusion for all the characters, there is a satisfying and believable resolution.
For me the strength of Tea Cooper’s novels lie in the central role played by their settings. She takes me on a journey through time of and in doing so, shows me an earlier version of often familiar places, through the lens of history. I believe this is what historical fiction can do best: immerse readers in another time so that we can see the present in a different way.
I also enjoy how aspects of the everyday inform that picture of the past. In The Cartographer’s Secret, this includes the beginning of rail and motor travel, the genesis of the famous Bulletin magazine, rural economies, the exploits of early European explorers, and the lives of women in both city and country.
The Cartographer’s Secret is a satisfying addition to Tea Cooper’s historical fiction and fans of her novels won’t be disappointed.
It is published by HarperCollins Publishers on 29 October 2020.
My thanks to the publishers for a copy to read and review.
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.