Monday musings on Australian literature: Quiet achievers 2, Barry Scott of Transit Lounge

Back in August, I wrote the first post in my Monday Musings sub-series on Quiet Achievers in Australia’s literary landscapes, meaning people like publishers, for example. My first post was on Terri-ann White from Upswell Publishing.

Of course, most of these people aren’t really Quiet Achievers. Those in the industry will know them, often well. However, for the general reading public, people in the industry are not necessarily well-known, hence this new little sub-series.

Barry Scott (Transit Lounge)

I have read and reviewed many books published by Transit Lounge over the years because they publish the sorts of books and authors I like. According to Wikipedia, Transit Lounge was founded in Melbourne in 2005 – 20 twenty years ago – by two librarians Barry Scott and Tess Rice. It is an independent Australian literary small press, which publishes literary fiction, narrative and trade non-fiction. Its focus is to “show the diversity of Australian culture”. Their website says they are

dedicated to the publication of exciting new fiction and non-fiction.  Our tastes are broad and encompass literary fiction and upmarket genre writing such as  psychological thrillers.  We have a particular interest in creative literary publishing that explores the relationships between East and West and entertains and promotes insights into diverse cultures.

As far as I can tell, Scott works full-time on the press, while artist and photographer Rice works part-time. In 2018, Scott was interviewed by Books+Publishing, and said their books:

go in search of the outsider, the marginalised, the immigrant, the different or the disappearing. We are always searching for what seems beautiful, unique, true, and isn’t afraid to push beyond the current zeitgeist in terms of themes or genre tweaking.

AS Patric, Black rock white city

And, they have been successful in doing so. AS Patrić won the Miles Franklin Award in 2016 for his immigrant story, Black rock white city (my review), and Jane Rawson’s “genre-tweaking” From the wreck (Bill’s review), won the 2017 Aurealis Award for best science fiction novel, with its blend of historical and science fiction. Many other Transit Lounge books have been listed or won significant awards, including, recently, Lisa Kenway winning the Ned Kelly Award for Debut Crime Fiction with All you took from me (my post).  We often wonder about the impact of awards on sales, so I was interested to see a comment by Scott, in the Sydney Morning Herald (SMH) after Patrić’s win, that the company overall “will be more visible” and that he had “already noticed more people following the company on Twitter and wanting to see its books”.

In 2023, Scott was interviewed by ABR (the Australian Book Review), and here we hear his motivation for getting into publishing:

I was involved with administering the Victorian Premier’s Literary Awards in 2003 when the Unpublished Manuscript Prize was conceived. … I became acutely aware that there were many talented writers unable to achieve publication. Transit Lounge always has been and always will be about giving some of those new writers a voice, as well as publishing more established authors.

A bit like Terri-ann White! That said, Transit Lounge’s focus in terms of what they publish has changed a little over the years. In the above-mentioned SMH article, Scott said that he initially ‘wanted to publish Australian authors writing about other cultures and people writing from overseas about here. “We have moved away from that a bit; we were a bit more travel based than we are now”.’

Once in the publishing game, it seems that Barry Scott was fully invested, that is, he became involved in the industry. He was a director of the Board of the now-unfortunately-defunct Small Press Network. In 2009, he visited the US for several weeks, under a Copyright Agency Limited grant to find out about small independent publishers there, including the state of the industry. You can read his report at Overland.

Meanwhile, I’ll return to the ABR interview. Over the years, it has run several interviews with publishers, and I will refer to those – if or when I focus on those people. It’s illuminating to see their different reactions to the questions. For example, when asked about the significance of book reviews, Scott replied:

They are gold, even when negative. As Oscar Wilde said, ‘There’s only one thing in the world worse than being talked about, and that is not being talked about.’

Not all publishers responded so positively to this question, although most recognised that reviews mean something to authors. I recently listened to the interview with Graeme Simsion and Anne Buist on the Secrets from the Green Room podcast, and Simsion, a “data person” who has researched bookselling at some length, said that the main impact on sales comes from “word of mouth”. He didn’t talk about how you get that word-of-mouth started, but surely reviews, as Scott implies, are a contributing factor? I wonder whether the current fragmentation of book “reviewing” across traditional media, websites, blogs and social media, is, in fact, resulting in increased “word of mouth” exposure?

I have a few Transit Lounge books on my TBR, as I write, including Carmel Bird’s latest novel – a foray into historical fiction with Crimson velvet heart, set in Versailles at the end of the 17th century.

I’ll conclude, however, with a comment made by another author. In the blog, In Their Own Write, Mandy Sayer says

Barry Scott at Transit Lounge is a truly collaborative publisher, and I’m grateful for the opportunity to work with him.

This was August 2025, just before the publication of her memoir, No dancing in the lift. It seems that the fire is still burning in Scott.

Finlay Lloyd 20/40 Publishing Prize 2025: Winners announced

In August I wrote a progress report on Finlay Lloyd’s 20/40 Publishing Prize, a prize in which I have special interest because I love novella-length writing and the publisher behind this prize, Finlay Lloyd.

So just a quick recap on the prize: 20/40 is a manuscript award, with the prize being publication. It is not limited to debut or young or women or any other subgroup of writers, as some manuscript awards are. However, it does have its own criteria, which is implied in its name. It is for prose writing that is between 20,000 and 40,000 words. Outside these criteria – prose and length – the submissions can be from “all genres … including hybrid forms”. The aim is to choose two winners, preferably one fiction and one non-fiction, as they did last year.

And now, the Shortlist and Winners

The shortlist, announced on Finlay Lloyd’s website, was:

  • Angus GauntAnna: a novel which “steps with deep insight into the dire circumstances of a girl who has little more than her own inner resources to deal with sustained privation and the threat of violence”.
  • Kim KellyTouched: “a memoir that uses self-deprecation and humour to turn her own experience of intense panic attacks into a lively and profound reflection on the prevalent role of anxiety in so many of our lives.”
  • Monica RaszewskiMystic Vera and Lottie the shadow puppet: another novel, this one “centred on eccentric, flighty, Vera who dances with happy abandon around her sister, Lottie’s flailing attempts to control her excesses.
  • Paul TooheyBad face: an historical novel “set on the late 19th Century US frontier, where totemic violence between settlers, cattle ranchers and rustlers, and native Americans is played out with vital gothic intensity”.

And the winners are Angus Gaunt’s Anna and Kim Kelly’s Touched. You can read more about them on the Winner Announcement page. The judges were last year’s winners – Sonya Voumard, Penelope Cottier and Nick – plus Finlay Lloyd author John Clancy and the publisher Julian Davies.

The judges liked Gaunt’s novel because “the extreme circumstances of this story are written with a quiet yet incisive humanity”. Gaunt as born and educated in England, coming to Australia in 1987. He now lives in Dharug/Guringai country on the northern edge of Sydney. He has been published and nominated for awards in Australia, England and Ireland.

They liked Kelly’s memoir because of its “breadth of understanding—of the author’s own crazily complex family, of the wider issue of anxiety across society, and of her own voyage as a highly competent yet vulnerable being in a worryingly unhinged world”. Kelly was one of the two inaugural winners of this prize with her historical fiction novella, The Ladies Rest and Writing Room (my review). She lives and works on Wiradjuri and Eora lands in central west NSW and Sydney. Kelly has written historical fiction, short stories and essays, and is completing a PhD in Literature at Macquarie University. She is also a book editor (as Kim Swivel).

I was able to attend the launch of the 2023 and 2024 winners, as they were held in Canberra. This year, however, because both authors have Sydney bases, the launch will be held there next week when I’m in Melbourne, so I will not be able to report on the winners’ conversation, unfortunately. However, I do have the books and plan to read both for this year’s Novellas in November. And, there is an excellent interview with the authors available RIGHT NOW on the above-linked Winner Announcement page!

I am thrilled that this prize has now passed its third year, and hope it continues for many years more. If you like the sound of these books, and would like to support them (and the prize), you can order the books at Finlay Lloyd (though great bookstores will carry them too.) The recommended retail price is AUD26, but you can buy them from FL at AUD23.40 each (plus postage).

Congratulations to Finlay Lloyd and this year’s winners.

Paul Laurence Dunbar, The scapegoat (#Review)

Paul Laurence Dunbar’s short story “The scapegoat” is the fourth in the anthology Great short stories by African-American writers, which my American friend Carolyn sent me. Compared with the previous author, Gertrude H. Dorsey Browne, Dunbar is much better known.

Paul Laurence Dunbar

Paul Dunbar c. 1890, from The African-American Experience in Ohio, 1850-1920, Public domain, via Wikimedia Commons

The biographical note at the end of the anthology provides good background, and Wikipedia has a detailed article on him. Dunbar (1872-1906) was, says Wikipedia, “an American poet, novelist, and short story writer of the late 19th and early 20th centuries”, and “became the first African-American poet to earn national distinction and acceptance”. In fact, it is through his poetry, which is frequently anthologised, that I recognised him when he popped up in the book. He was born in Dayton, Ohio, to parents who had been slaves. Indeed, his father had escaped slavery before the Civil War ended, and fought with the Union Army.

Dunbar, says Wikipedia, wrote his first poem when he was six, and gave his first public recital at nine. Both sources say he was the only African-American in his high school. He was apparently well-accepted, being elected president of the school’s literary society, as well as being the editor of the school newspaper and a debate club member.

Wikipedia provides much detail about his work and publishing history, his health issues (particularly with tuberculosis which killed him), and his failed marriage to Alice Ruth Moore, whose story, “A carnival jangle” (my review), opened this anthology. He was a prolific writer, and was famous for his use of dialect, although he also wrote in standard English. Recognised in his own time, his influence and legacy continues. Maya Angelou titled her book I know why the caged bird sings, from a line in his poem “Sympathy“. But I will conclude with an assessment from his friend, the writer James Weldon Johnson (1871-1938), who wrote in his 1922 anthology, The book of American Negro poetry:

He was the first to rise to a height from which he could take a perspective view of his own race. He was the first to see objectively its humor, its superstitions, its short-comings; the first to feel sympathetically its heart-wounds, its yearnings, its aspirations, and to voice them all in a purely literary form.

We see some of this in the short story chosen for this anthology.

“The scapegoat”

“The scapegoat” is the opening story in Dunbar’s 1904-published collection The heart of Happy Hollow. My anthology describes it as “Dunbar’s story of an ambitious and intelligent young man who sees no reason to sell himself short or accept defeat”. This is accurate, but only half the story.

It is told in two parts, the first before the protagonist Mr Robinson Asbury goes to prison, and the second after his release. The opening paragraph, after referencing the saying that the law is “a stern mistress”, chronicles young Asbury’s fast rise from a bootblack, through porter and messenger in a barber shop, to owning his own shop. The second and third paragraphs describe the story’s setting, the “Negro quarter” of “the growing town of Cadgers”. Here Asbury sets up his barber shop, and attracts customers with his ‘significant sign, “Equal Rights Barber Shop”‘, which our third person narrator says

was quite unnecessary because there was only one race about to patronise the place but it was a delicate sop to the peoples vanity and it served its purpose.

Whatever the reason, he was successful, and his shop became “a sort of club”, where the men of the community gathered to socialise and discuss the news. As a result Asbury soon comes to the notice of “party managers” who, seeing his potential to win them black votes, give him money, power and patronage. This Asbury accepts, and his power and status in the community grows. He then decides he’d like to join the bar, which, with the help of the white Judge Davis, he does.

And so the story continues. With success, he does not “leave the quarter” to “move uptown” as expected, though Judge Davis is prescient:

“Asbury,” he said, “you are–you are–well, you ought to be white, that’s all. When we find a black man like you we send him to State’ prison. If you were white, you’d go to the Senate.”

By now, Asbury’s success is arousing jealousy among his peers, particularly at a local coloured law firm. Two, Bingo and Latchett (great names eh?), are alarmed by Asbury’s fast rise to the top, but his putting out his shingle is “the last straw”. They plan to pull him down, and engage the services of another to lead an opposing faction in the community. However, with the continued help of the “party managers”, Asbury holds the day.

Now politics is messy, and allegiances switch. Along the way Bingo comes over to Asbury’s side. There’s an election, and Asbury’s side wins, but our narrator says:

the first cry of the defeated party was, as usual, “Fraud! Fraud!”

Was there fraud? Certainly there’s intimation of skulduggery, but without evidence it’s decided a “scapegoat” must be found – a big man – and so Asbury is deserted by the party “Machine”, and by his peers including Bingo, and charged. After the jury finds him guilty, Asbury seeks leave to make his statement, which Judge Davis allows:

He gave the ins and outs of some of the misdemeanours of which he stood accused showed who were the men behind the throne. And still, pale and transfixed Judge Davis waited for his own sentence.

It doesn’t come, because Asbury recognises Davis as “my friend”, but he exposes “every other man who had been concerned in his downfall”. He is sent to prison, for the shortest sentence the Judge can give, and is away for ten months, just long enough for him not to have been forgotten and, in fact, to be recognised as “the greatest and smartest man in Cadgers”. (This rehabilitation of Asbury in the eyes of the community while he is absent is just one of the many astute insights Dunbar makes about the way humans think and behave.) Part Two details Asbury’s revenge, but you can read it for yourself at the link below.

“The scapegoat” is a well-written, well-structured story set primarily within the black community, though the “party managers” who want the “black vote” are clearly white. Its main theme concerns political ambition and corruption, and racial oppression. It shows Asbury’s peers working to bring him down, putting their own ambition ahead of the good of the community, and overlays this with oppression by the string-pulling “Machine” uptown. I particularly liked the measured, neutral tone Dunbar employs which, together with his frequent insights into political behaviour and human nature, enables this story to read almost like a fable, a morality tale that says something in particular about this community, about the unfortunate behaviour of people who should support each other, but also something universal about politics and oppression.

It’s unemotional, clever, true – and, unfortunately, still relevant.

Paul Laurence Dunbar
“The scapegoat” (first published in The heart of Happy Hollow, 1904)
in Christine Rudisel and Bob Blaisdell (ed.), Great short stories by African-American writers
Garden City: Dover Publications, 2015
pp. 45-56
ISBN: 9780486471396
Available online (you can find the whole collection at this site)

Monday musings on Australian literature: Australian writers and AI

Today I saw an Instagram post promoting the latest interview on Irma Gold and Karen Viggers’ podcast, Secrets From the Green Room. The interview was with Emily Maguire, and the promo shared this:

Other people of my age who’ve been working at something for as long as I’ve been working at writing – they have a better lifestyle than me. They’re able to live in a way that I can’t, even though I feel successful. (Emily Maguire)

Emily Maguire, An isolated incident

Emily Maguire should indeed feel successful. She has written seven novels, and three works of nonfiction. In 2013 she was named one of The Sydney Morning Herald Best Young Australian Novelists. Her fifth novel, An isolated incident (my review) was shortlisted for several significant literary awards including the Stella Prize and the Miles Franklin Literary Award. Her latest novel, Rapture, won the Queensland Literary Award for Fiction and was listed for other awards.

And yet, she doesn’t have the same lifestyle as her peers. This brings me to the issue which is currently causing concern among writers internationally, including those in Australia. I’m talking of course about the AI industry’s use of copyrighted material to “train AI models”. This issue has been bubbling along for some time now and I’m not going to track it all here. The Conversation published an article in September summarising the current state of play in Australia, including these points:

  • The Productivity Commission’s interim report (published in August) “proposed a text and data mining exception to the Australian Copyright Act, which would allow AI training on copyrighted Australian work”.
  • The Minister for the Arts, Tony Burke, said in that same month that the government had “no plans, no intention, no appetite to be weakening” our copyright laws. 
  • Both the Australian Society of Authors (ASA) and the Australian Publishers Association oppose the the Productivity Commission’s proposal. The publishing industry is not entirely opposed to AI, but recognises significant legal and ethical challenges. The Australian Publishers Association wants government policies on AI to prioritise “a clear ethical framework, transparency, appropriate incentives and protections for creators”. They want a balanced policy which enables both AI development and cultural industries to flourish.

The concerns make sense to me. I am a librarian by profession, which means that freedom of information is one of my founding principles. It also means that I love the Internet and all that it offers us in terms of being able to find (discover) the things we want to know. However, this doesn’t mean that I believe these things should come at a cost to others.

So, what do librarians think about this? In February this year, the National Library of Australia published its Artificial Intelligence Framework. It recognises that “AI technologies present opportunities for developing new ways to collect, understand and share the collection” (p. 3) but also that:

Responsible AI governance includes recognition of legal rights holders and their valid commercial interests. Where legal frameworks for AI are evolving or unclear, any development will proceed with caution and consent from relevant stakeholders and copyright owners will be sought. This includes engaging with external stakeholders such as the NED Steering Group, publishers and independent publishing communities. We will not on-sell or share in-copyright data under any circumstances. As discussed below, we recognise the rights of Indigenous peoples to control their own cultural and intellectual property.

And, under their principles, they include that “We will always respect Australian copyright law and protect valid commercial interests”.

Meanwhile, Australian authors and musicians spoke last week at a Senate committee hearing on the Productivity Commission proposal to introduce the exception to the Copyright Act to allow AI training. Anna Funder, Thomas Keneally and other authors spoke powerfully on the importance of copyright to sustaining writers’ careers. I loved that Keneally invoked Frank Moorhouse, the author who was significant in the development of Copyright law in Australia, but he also made his own points:

It’s not copy-charity. It’s not copy-privilege. It’s not copy-indulgence. It’s copyright.

Anna Funder concluded her comments with:

If Australia would like books to delight itself, to know itself, to be itself, and not a source of raw materials for American or Australian computer companies, we will need books. But without copyright, no one will write them.’

(I saw these on Instagram, but you can read a summary on the ASA’s page.)

AMPAL, the Australia Music Publishers Association Limited, posted on Instagram that:

If AI needs our songs to learn … then our songwriters deserve to earn.

Life is tough for creatives, and yet what they create for us is, as one person told me many years ago, what makes life worth living! (Besides our family and friends of course.) So, I stand with Australian creatives in their fight to retain the right to say who can use their material, and how, and to be recompensed for that.

Six degrees of separation, FROM I want everything TO …

We are now in spring, not my favourite season of the year, but it’s also Daylight Savings Weekend here in Australia, which is a favourite time for me. I love longer evenings and mornings being not so quickly light! I’m not sure why I frequently start these posts with the weather, but perhaps it’s because we six-degrees participants are from all parts of the world and it sets the scene for where I’m from! I’ll leave that thought there, now, and just get onto the meme. If you don’t know how the #SixDegrees meme works, please check Kate’s blog – booksaremyfavouriteandbest.

The first rule is that Kate sets our starting book. This month, it’s a recent Australian debut novel, Dominic Amerena’s I want everything. I have clearly been out of touch because I didn’t know this author or book, but my research found that it was inspired by Australia’s rich tradition of literary hoaxes.

So that is where I am going, and I wonder whether others – particularly Australians – will too. The book I’m linking to is Stephen Orr’s Sincerely, Ethel Malley (my review). It is about what is probably Australia’s most famous literary hoax, the Ern Malley affair, when two poets who disliked modernist poetry wrote and submitted such poetry to a literary magazine under the name, Ern Malley.

David Mitchell, The thousand autumns of Jacob de Poet

Now, I don’t want to stick to hoaxes, so I’m going on title for my next link, that is, on a book titled with the main character’s full name, David Mitchell’s The thousand autumns of Jacob de Zoet (my review). This book felt appropriate too, because it is set in Japan where I have just been. It is set during that time in history when most of Japan was closed off from the rest of the world. However, Japan and history are not related to my next link so let’s move on …

My next link is a bit cheeky. David Mitchell writes big books, and I referred in my post on his novel that he wasn’t one of Kate Jennings’ “taker-outers” or “takers-out”. Jennings wrote in praise of takers-out and I like them too, so my next link is to such a work, as an antidote to Mitchell, much as I enjoy him too. It’s a work of autofiction by Kate Jennings herself, Snake (my review). It’s a tight, memorable read.

Book cover

I do like to mix up the sorts of links I make, so we are shifting again, this time to genre or form, that is, to autofiction. My link is to a recent autofiction work that I’ve posted on, Winnie Dunn’s Dirt poor islanders (my review). It is the first book published in Australia by a Tongan Australian, and it makes a significant contribution to our body of migrant literature.

I’m not sticking with migrant literature, however, despite that hint. My next book is about islanders, albeit on their home soil. It’s Audrey Magee’s The colony (my review). This is one of those memorable books (for me) that captures at the micro level what colonisation means for those in the sights of colonisers.

For my final book, we are shifting again, and looking at the name Audrey, but not as author. I like the name Audrey. It was one of my mother’s middle names. It’s also the name of one of the voices telling Karen Viggers’ most recent novel, Sidelines (my review). Given it’s footy final fever time in Australia (albeit a different sort of football), this novel about the challenges of youth sport seems a fitting way to close out this month’s Six Degrees.

Four of my six selections this month are by women, but we have moved a little across the globe, including spending time on three islands (in Mitchell, Dunn, briefly, and Magee). We have also confronted the challenges of growing up (in Jennings, Dunn, Magee, to some degree, and Viggers), of colonisation and migration, and of course of literary hoaxes and heists!

Have you read I want everything and, regardless, what would you link to?

Louise Erdrich, The night watchman (#BookReview)

Louise Erdrich’s Pulitzer Prizewinning The night watchman is historical fiction about a community fighting back against a government set on “terminating them”. Erdrich, whom I have reviewed before, is an enrolled citizen of the Turtle Mountain Band of Chippewa Indians of North Dakota and it is the story of this community’s response to something called the House Concurrent Resolution 108 that she tells in The night watchman.

Passed by Congress on August 1, 1953, this Resolution would, says Erdrich in her Afterword, “sever legal, sacred, and immutable promises made in nation-to-nation treaties”. Or, as Wikipedia explains, it would “end reservations and tribal sovereignty” and “integrate Native Americans into mainstream American society”.

As it happens, Erdrich’s grandfather, Patrick Gourneau, was Chairman of the Turtle Mountain Band of Chippewa Advisory Committee at the time and recognised this resolution for what it was. He is the inspiration for Thomas Wazhushk, one of Erdrich’s two protagonists. Thomas is a man of two cultures:

Watching the night sky, he was Thomas who had learned about the stars in boarding school. He was also Wazhashk who had learned about the stars from his grandfather, the original Wazhashk. (p. 17)

Throughout the novel Thomas strategically draws on these two selves in order to perform his role, which is to keep the community safe (or, at least, safer, than they would be if the Government’s plans came to fruition).

This is both a sophisticated and a grounded novel. Grounded in the way Erdrich uses her storytelling ability to create a compelling narrative peopled by a large cast of wonderfully individuated characters. We are interested in them all, and this makes the novel a darned good read. Sophisticated in how Erdrich subtly layers her story to enrich its meaning. The overall structure comprises two parallel but related stories or journeys: Thomas’s fight for his community’s survival, and his niece Patrice’s journey to find both her missing sister and her own path in life. Erdrich’s writing is simple, plain, but also imbued with gorgeous lyricism, metaphor and symbolism. The novel is threaded, for example, with physical holes, wells, caves, ship holds, and falls, which never let us forget the precariousness of these people’s lives.

She also peppers the story with humour, which reminds us no matter how serious things are, people can still have a laugh. There are many laugh-out-loud moments, alongside a recognition of humour’s role in how we navigate the things we confront. In Minneapolis, Patrice finds herself in a strange and potentially dangerous situation, and has

the sort of feeling and thinking that could only be described in Chippewa, where the strangeness was also humorous and the danger surrounding this entire situation was of the sort that you might laugh at, even though you could also get hurt… (p. 131)

“Survival is a changing game” (Biboon)

Overlaying all this is Erdrich’s exploration of how language works, how it can be used to clarify or obfuscate, to inspire or deflate. Her writing embodies this knowledge. So, for example, Thomas receives the Resolution papers and reads them carefully. He sees

their unbelievable intent. Unbelievable because the unthinkable was couched in such innocuous dry language. Unbelievable because the intent was, finally, to unmake, to unrecognize. To erase as Indians … his people, all of us invisible and as if we never were here, from the beginning, here. (p. 79)

His people were being targeted, the papers said,

for emancipation. E-man-ci-pation. Eman-cipation. This word would not stop banging around in his head. Emancipated. But they were not enslaved. Freed from being Indians* was the idea. Emancipated from their land. Freed from the treaties that Thomas’s father and grandfather had signed and that were promised to last forever. (p. 80)

Later, the once dapper but now frequently drunk Eddy Mink cuts to the chase, stunning officialdom with his plain language statement:

The services that the government provides to Indians might be likened to rent. The rent for use of the entire country of the United States. (p. 200)

Meanwhile, as Thomas builds his case, Patrice, who works in the Turtle Mountain Jewel Bearing Plant where Thomas is the titular night watchman, sets off for Minneapolis to look for her sister. Vera had gone there with her new husband but had not been heard of since. What Patrice finds in the city, how people can be exploited, is shocking, and she returns home somewhat wiser but with more to learn about herself and the ways of humans.

Surrounding Thomas and Patrice is a large community of people – family, friends, neighbours, work colleagues, teachers, coaches, visiting missionaries, and even a ghost. The interactions between these people build up a picture of a community that functions despite external stresses and the usual internal disagreements. This makes engrossing reading because these characters are so real, including the two Mormon missionaries who not only add humour and pathos but also represent the naiveté of supporters of a faith – in the form of Utah Senator Arthur V. Watkins – that was driving the Resolution.

Similarly, our protagonists’ interactions with specific individuals make great reading while also advancing the narrative and the ideas. When Thomas is with his father Biboon and Patrice with her mother Zhaanat, we feel their spiritual connection with their culture, and their desire to learn from their elders. When Thomas is with the white teacher and boxing coach, Barnes, we see how little non-Indian society understands the existing situation and the implications of the Resolution. Thomas patiently – and generously – explains to the clueless Barnes why Indians are not, and can never be, “regular Americans”. And, why he, Barnes, cannot be an Indian! Just look at this writing:

“If I married an Indian woman,” said Barnes, “would that make me an Indian? Could I join the tribe?”
He was awed at the possible sacrifice he could be making.
Thomas looked at the big childish man with his vigorous corn-yellow cowlicks and watery blue eyes. Not for the first time, he felt sorry for a white fellow. There was something about some of them—their sudden thought that to become an Indian might help. Help with what? Thomas wanted to be generous. But also, he resisted the idea that his endless work, the warmth of his family, and this identity that got him followed in stores and ejected from restaurants and movies, this way he was, for good or bad, was just another thing for a white man to acquire.
“No,” he said gently, “you could not be an Indian. But we could like you anyway.”

In statements like “he was awed at the possible sacrifice he could be making”, Erdrich conveys more about cultural superiority than just this man’s thoughts.

When Patrice is with her girlfriends and workmates, Valentine and Doris, we see how her goals diverge from their more girlish ones, and when she is with Wood Mountain we see her inner conflict about her chosen direction. As a young person, her journey is more personal than Thomas’s but they coalesce when it comes to saving the community.

“Assimilation. Their ways become your ways.” (Roderick)

I loved spending time with these characters. In fact, so did most of my reading group, as this novel was our September read. We enjoyed her vividly drawn characters – and their perfect names, like Juggie Blue, Wood Mountain, Louis Pipestone, Millie Cloud, and Patrice not Pixie. We teased out the complexity of the storytelling, the way Erdrich seemed to effortlessly incorporate complex ideas into a compelling narrative. This starts right at the title, The nightwatchman, which is both literal, Thomas’ job, and metaphorical, in his role of keeping watch as the community’s Chairman. I was reminded a little of Melissa Lucashenko’s novels, in which tough stories are told with compassion and humour to paint a picture of real people confronting a world that’s against them.

Early in the novel, Thomas moves that the Committee call the Resolution the “Termination Bill [because] Those words like emancipation and freedom are smoke”. This bill heralded what is now called the Termination Era (1953-1968). As Erdrich explains in her Afterword, this is what happened to 113 tribal nations. Although some regained recognition, “31 are now landless” and “24 are considered extinct” (p. 447).

The night watchman is one of those books that hits the spot – the heart spot and the mind spot. Recommended.

* The novel is set in 1953, and Indian is the term most commonly used when the specific Chippewa is not.

Louise Erdrich
The night watchman
London: Corsair, 2020
453pp. (Kindle edition.)
ISBN: 9781472155337