Monday musings on Australian literature: Screen adaptations, update

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Back in 2012, I wrote three posts (here, here and here) sharing some of my favourite film and television adaptations of Australian novels and plays. With recent(ish) announcements about more adaptations in the offing, I thought it worth writing an updating post.

To get us going, here are some of the adaptations that have been announced over the last few years, which is not to say that they will actually make it to the screen:

  • Emily Bitto’s The strays (my review)
  • Trent Dalton’s Boy swallows universe (my review)
  • Peter Goldsworthy’s Wish
  • Hannah Kent’s Burial rites (my review)
  • Hannah Kent’s The good people 
  • Alice Pung’s Laurinda

When these announcements are made it can be very early in the process. It may simply be that developmental funding has been allocated – and, as the saying goes, there can be many a slip betwixt cup and lip.

Meanwhile, I was intrigued while researching this update, to come across an announcement for a symposium on Adaptation and the Australian Novel being run by the Centre for Critical and Creative Writing at the University of Queensland in June this year. The announcement starts with this:

Landmark Australian novels are being adapted for the stage and screen at a rate we’ve not seen for many decades. In the 2015 to 2020 period alone, what was previously a steady trickle has become a flood as the nation’s various mediums of cultural transmission have offered reimagined versions of much-loved novels …

They name many titles we have seen on our screens over the last few years including, on TV, The slap (my review) and Barracuda (my review), and on the big screen, Jasper Jones (my review) and The ladies in black (my review).

The symposium will include keynote speeches by “international critical adaptation theorist Frances Babbage” and “internationally-acclaimed stage and screen writer, and adaptor of the landmark The Secret River text, Andrew Bovell”. There will also be an in-conversation session between Christos Tsiolkas and Andrew Bovell, discussing Bovell’s adaptation of Tsiolkas’s novel Loaded for the screen. The announcement also calls for proposals for 20-minute papers. They list the sorts of topics they’re looking for, such as Adaptations and gender, and Indigeneity, race and ethnicity, and landscape, and so on. You can see the complete list at the link above.

These topics draw from what I thought was the most interesting paragraph in the announcement, the paragraph that poses the questions they think need to be considered:

Questions that arise here include: Why the rush on Australian adaptation now? What’s fuelling the appetite for this locally themed work, and why is it being distributed internationally via digital platforms such as Amazon and Netflix? Is there a ‘house style’ emerging either at particular theatre companies or television production houses who are leading this push? Whose stories are being canonised in this tranche of largely Anglo-Celtic authored works, and whose voices are doing the adapting? What version of Australian national identity becomes enshrined in this process, and whose perspectives are elided or omitted?

While all these are valid questions, I have highlighted those that I think are of most interest to Whispering Gums readers. In my brief research of the internet, I found nothing much else discussing this issue of perspective and representation, so I hope these papers are podcast and/or published.

Unrelated to this issue, but interesting too, is that of why so few adaptations, comparatively speaking, in the Australian screen industry. This was raised in The Guardian back in 2014. Apparently, in Hollywood, more than half of its movies are adaptations, while in Australia it’s less than 20%. MIFF (Melbourne International Film Festival) apparently hosted an event which brought together Australian book publishers and film producers. The thinking was that “if a successful film can be crafted from a book, more sales will result, benefitting publishers and authors as well as the filmmakers.” Makes sense to me. Various reasons for the low rate of adaptations are put forward in the article, including cost and the fact that book culture is very different to film culture. Overall, the reasons seemed to me to be applicable to the adaptation industry in general, rather than explaining why the Australia-Hollywood discrepancy, although one panelist believed that in the USA “distributors and agents are constantly on the lookout for book properties that are capable of being turned into films”.

Finally, though this goes back even further to 2010, there’s an Occasional Paper published by Screen Australia, titled Mitigating Risk: The case for more adaptations in the Australian film industry. It was written by Matthew Hancock, as part of the Master of Arts program at the Australian Film, Television and Radio School. He notes the declining proportion of adaptations in Australia to under 20% since 1999, which, he says, “is significant because adaptations, both in Australia and in foreign markets like the US, tend to perform well, attracting a higher proportion of box office than their proportion in release”.

So, my question is: Do you prefer adaptations over original screen stories? And, leading question, thinking particularly of that issue of perspective and representation, is there a literary work that you would love to see adapted? 

Six degrees of separation, FROM Fleishman is in trouble TO …

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Here we are at our second Six Degrees of Separation meme of 2020. For those of you who don’t know what this meme is and how it works, please check out meme host Kate’s blog – booksaremyfavouriteandbest.

Once again, but I’m used to this now, I haven’t read Kate’s starting book, Fleishman is in trouble by Taffy Brodesser-Akner. However, I devised a lovely – well, I think it was – chain for it. Then, as the fires and smoke in my area just got worse and worse this week, I decided to go off script and riff off the title to create my own theme for this post, Australia is in trouble! I’m not going to link my books, but just share six that I’ve read which address, in some way, climate change.

In his 1946 essay, “Why I write”, George Orwell lists four main purposes for writing, the fourth being:

Political purpose: Using the word ‘political’ in the widest possible sense. Desire to push the world in a certain direction, to alter other peoples’ idea of the kind of society that they should strive after. Once again, no book is genuinely free from political bias. The opinion that art should have nothing to do with politics is itself a political attitude.

The other purposes, if you want to know, are “sheer egoism”, “aesthetic enthusiasm”, and “historical impulse”. Orwell goes on to say that “in a peaceful age I might have written ornate or merely descriptive books, and might have remained almost unaware of my political loyalties. As it is I have been forced into becoming a sort of pamphleteer.” Of course his times were different, so his issue – totalitarianism – is different to the ones confronting us now (though, then again, perhaps not!) Anyhow, my point is that in this post I’m going to share six works by writers who also write with a political purpose.

Melissa Lucashenko’s “How green is my valley” (2006) (my review): an essay in Griffith Review’s climate-change-focused issue (12), Hot air: How nigh’s the end. Indigenous writer, Lucashenko addresses climate change, recognising that many non-Indigenous Australians also love the land. She suggests that a “bicultural” approach, which spans the chasm “between industrial and indigenous views of the ‘good life’ and what constitutes a proper society”, would be a good place to start.

Jane Rawson’s A wrong turn at the Office of Unmade Lists (2013) (my review): set in a bleak climate-damaged Melbourne of 2030, where it’s very hot, and clean water is harder to come by and more expensive than beer. Its main protagonist, Caddy, is living rough, having lost her husband and home in a heatwave-induced fire a couple of years before the novel opens.

Annabel Smith’s The ark (2014) (my review): set in the 2040s, during, as Smith describes it, “a post-peak oil crisis. The polar ice caps have melted. Crops are failing. People are starving and freezing to death.” Interestingly, given my George Orwell intro, a major theme of this novel is how, in such a world, charismatic-despotic leaders can come to the fore.

Alice Robinson’s Anchor point (2015) (my review): a family drama, but one framed by farming and the land. Climate change hangs over this novel, with its depiction of father Bruce and daughter Laura struggling against drought, bushfires and land degradation to keep their farm going. By 2018 (a little into the future at the time the novel was written), Laura has given up the struggle, because “the climate had long stopped being something she understood”.

Cassie Flanagan Willanski’s Here where we live (2016) (my review): a collection of short stories about the relationships between non-Indigenous and Indigenous Australians, and the relationship both have with the land. Although not specifically a cli-fi book, concern about land, the environment, and climate change suffuses the stories. In the last story, a terrible storm occurs, and a character says:

‘It’s climate change, of course,’ you say knowingly. ‘They say that these one-hundred year storms are occurring so frequently now that the name no longer bears any meaning. But we need to keep the name so that we can understand that this kind of storm is so severe it should only occur once every hundred years. We need the name so we understand that something has gone wrong.’

Catherine McKinnon’s Storyland (2017) (my review): set in the Illawarra region south of Sydney, and tells the story of the Australian continent, post-white settlement, from 1796 to 2717. One of its five time-periods is 2033 in which climate-change has caused utter devastation to the land and a dystopia is playing out.

So, a different Six Degrees post, and one not necessarily featuring all the most obvious Australian climate-related books. Although all mine are by women, men have written some too. It’s just that I haven’t read them. The main point is that writers are addressing this issue, doing their best “to push” all to see that Australia is in trouble. The question is whether the people who need to read them are in fact reading them?

And now, the usual: Have you read Fleishman is in trouble? And, regardless, what would you link to? 

Steven Carroll, The lost life (#BookReview)

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Audiobook coverLast year, Mr Gums and I bought a new car to replace our loved but aging 15-year-old Subaru Forester. We’ve been keen to move into the hybrid world but wanted to stay with the SUV-style for various practical reasons, so, as soon as a reasonably-priced hybrid SUV appeared on the market here – the Toyota RAV4 – we were in, and so far so good. However, the real reason I’m sharing this is because another impetus for buying a new car was all the new technology, including the audio systems that enable you to play music – and books – via your phones. And so it was that I borrowed my first ever e-audiobook from our local library, Steven Carroll’s The lost life. The technology worked a treat.

Long-term readers here know that I’m not a huge fan of audiobooks, for reasons I’ve explained before. Fortunately, the reader here, Deirdre Rubenstein, did an excellent job. She was expressive, appropriately English-sounding, but read more than played the characters. That helps a lot.

So now, the book. I chose it for two reasons – it was short, making it a good test case, and it was by Aussie author Steven Carroll, whom I haven’t read yet, and whose Eliot Quartet series I’ve been wanting to read. The lost life, the first book in this series, is inspired by the poem “Burnt Norton”, the first of Eliot’s Four Quartets. Makes sense, huh! “Burnt Norton” was published in 1935, and most of Carroll’s novel is set in September 1934. The novel is framed by the story of Eliot and Emily Hale*, who did, in fact, visit Burnt Norton manor in 1934, but their love is paralleled by that of a young couple, 18-year-old Catherine and 22-year-old Daniel. Eliot, himself, is a fairly shadowy figure in the story, with the focus here being on Miss Hale and Catherine.

The story starts at Burnt Norton, a country estate to which Catherine and Daniel have gone for a romantic picnic and maybe a swim. It’s summer, and Carroll beautifully evokes the passion beating in the “ardent” young Catherine’s breast as she looks forward to further development of their physical relationship, which has not yet been consummated. But, they are interrupted by the appearance of two older people, who turn out to be, of course, Eliot and Miss Hale, and they scurry away because they are trespassing. However, they do observe, from behind the shrubs, a little lovers’ ceremony between the older couple, one that Daniel later violates, fortunately unbeknownst to Eliot and Miss Hale, but distressing to Catherine.

Here, I might pause and refer to the poem which inspired this novel. It starts:

Time present and time past
Are both perhaps present in time future,
And time future contained in time past.

A little later come the lines that I remember so well from my university days:

At the still point of the turning world. Neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement.

I don’t know what it is about Eliot’s lines that move me so, but I think it’s their almost confounding spareness and mesmerising rhythm. Putting that aside though, it’s this sense of timelessness, of past, present and future being tied to the here and now, of both stillness and movement, of almost suspended animation too, that pervades Carroll’s novel as the protagonists work through their ideas about love and life.

“a felt experience”

Now, Catherine and Miss Hale know each other, as Catherine’s summer job is cleaning the house in which Miss Hale is staying. The plot is, to a degree, predictable. However, it is not the point. The point is how the characters react and feel about what happens. This is an introspective novel in which the two women reflect on love, their own attitudes to it, and what they see, or think they see, in each other. Miss Hale sees her young self in Catherine, her eighteen-year-old self whose disappointment she does not what to see repeated, while Catherine sees wisdom but also sadness in Miss Hale. She comes to realise, in fact, that Miss Hale, who describes her love with Eliot as “a different kind of love”, is a virgin. It is this experience of love, this mystery that endows a special knowledge, that drives the plot.

There is, though, so much to this novel. The tone is gorgeously melancholic, mirroring the poem that inspired it. Carroll also uses images from the poem – sunlight, roses, light – to suffuse his book with a sense of lost time. Repetitions like “young man of whom great things were expected”, “ardent ways”, and “the woman who won’t let go long after she has any right” add to the melancholic tone, while also anchoring our understanding of the characters.

There is also a link drawn between performance and reality. Catherine sometimes feels she is in a play or story, and this contributes to the theme of “the lost life”. Literally, it is the life Miss Hale lost by waiting all those years for Eliot rather grabbing life herself, but more broadly it can encompass all those lives we never have. Even if we, as Miss Hale realises we should, “grasp our moments as they arrive”, there will always be other lives not taken or lived. As Eliot writes in “Burnt Norton”:

Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened.

Ironically, Catherine, who delivers “a felt experience” for Miss Hale, becomes an actor who can “deliver a felt experience on cue”, offering up other lives to her audiences, while living her own moments as they arrive. It’s an inspired conclusion to a book about love, living, and the biggest of them all, time.

Lisa (ANZLitLovers) loved this book.

Steven Smith
The lost life (Audio)
(Read by Deirdre Rubenstein)
Bolinda Audio, 2010 (Orig. pub. 2009)
5:57 e-audiobook (Unabridged)
ISBN: 9781742333830

* Check Wikipedia for more on the relationship between Eliot and Hale.

Monday musings on Australian literature: Literary series

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Series and literary fiction are not, I’d say, common bedfellows, not the way, for example, that series and crime, or series and fantasy, or, even, series and children’s/YA books are. However, there are significant literary fiction series, of which I’ve reviewed some of here – Willa Cather’s Great Plains trilogy, Marilynne Robinson’s Gilead trilogy, and Hilary Mantel’s Cromwell series. The first two Cromwell books – Wolf Hall (my review) and Bring up the bodies (my review) – won Booker Prizes, and the final one is scheduled (at last) for publication this year.

This week, I expect to post a review of a book in an Australian literary fiction series, and it’s this which inspired me to write today’s post. As I do with these sorts of posts, I’m just going to present my selection (as this by no means comprehensive) in list-form – in chronological order of the publication date for the first book in the series.

  • Miles Franklin’s My brilliant career series: Unlike the rest of the series below, there are just two books in Franklin’s series, My brilliant career (1901) and My career goes bung (1946). This latter she wrote soon after the first but it wasn’t published until much later. However, like others below, the first has become a much-loved and studied classic.
  • Eleanor Dark’s The timeless land trilogy: This is an historical fiction series dealing with the early history of European settlement in Australia. The first book, The timeless land (1941), is an Australian classic and has been taught in schools. It is significant, particularly given its time, for telling the story from both European and Aboriginal Australian points of view. The subsequent books are Storm of time (1948) and No barrier (1953). 
    Book cover
  • Ruth Park’s The harp in the south trilogy: The first book in this series, The harp in the south, was published in 1948, and is now an Australian classic which is regularly taught in schools. I wrote a little about it in my recent review of Park and husband Niland’s memoir, The drums go bang. The other two books in the series are Poor man’s orange (1948), and the prequel in terms of story chronology but the last written, Missus (1985) (my review). The series, an example of Australian social realism, tells the story of the Darcy family of Surry Hills, Sydney. The harp in the south won The Sydney Morning Herald’s competition for an unpublished novel, in 1946.
  • Book coverGeorge Johnston’s My brother Jack series: George Johnston’s My brother Jack (1964) is also now an Australian classic. Both it and its sequel, Clean straw for nothing (1969), won the Miles Franklin Award, and both are regularly taught in schools and/or universities. The third book is A cartload of clay (1971). The series is semi-autobiographical, about Johnston’s own life, starting in the between-the-war years.
  • Rodney Hall’s The Yandilli Trilogy (also known as A Dream More Luminous Than Love): This series comprises Captivity captive (1988), The second bridgeroom (1991), and The grisly wife (1993). All three have been shortlisted and/or won significant literary awards, including, for The grisly wife, the Miles Franklin.
  • Steven Carroll’s Glenroy series: This six book series comprises The art of the engine driver (2001), The gift of speed (2004), The time we have taken (2007), Spirit of progress (2011), Forever young (2015), and The year of the beast (2019). Like Johnston’s series above, it is based on his own family and their life in the Melbourne suburb of Glenroy. As in Park’s series, the final novel is a prequel, so the first, chronologically, and is set in the country rather than the city/suburb where the rest are set. Four of the titles have been shortlisted for significant literary awards, with The time we have taken winning the Miles Franklin Award.
  • Kate Grenville’s The secret river series which started with a controversial bang with The secret river (2005), when Grenville locked horns with historian Inga Clendinnen over novelists writing history. Anyhow, this series is a little different from some because The lieutenant (2008) (my review) deals with early settlement but is based on an historical figure, not Grenville’s fictional Thornhills, while the third book, Sarah Thornhill (2011), is a more traditional  sequel to The secret river. The secret river was shortlisted for several awards and won the NSW Premier’s Literary Award for fiction.
  • Audiobook coverSteven Carroll’s Eliot Quartet: Carroll must love writing series, because he also has a series inspired by TS Eliot’s Four Quartets. Three of the four have been written, to date: The lost life (2009), A world of other people (2013), and A New England affair (2017). A world of other people was a joint winner of the Prime Minister’s Literary Award (Fiction).

While I don’t naturally gravitate to series, I have read and enjoyed some. It’s interesting that so many of the above have won awards and/or have been (or still are) standard literature texts. It suggests that authors can and do sustain both literary quality and readers’ interest in a continuing subject. Many of the above have also been adapted to other art forms, including plays and television miniseries.

Lisa (ANZLitLovers) has reviewed many of these, which you can find by searching her blog.

Do you have favourite literary fiction series (and yes, you can include The lord of the rings if you must!)?

Angela Thirkell, Trooper to the Southern Cross (#BookReview)

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Book coverUnlike many, I think, I have not read Angela Thirkell’s Barsetshire novels which, I understand are very different to her only Australian-set novel, Trooper to the Southern Cross, which, in fact, she published under the male pseudonym of Leslie Parker. It has been on my TBR for some time, so I’m grateful that Bill’s AWW Gen 3 Week provided the impetus for me to finally pull it off the shelves and read it.

That said, Angela Thirkell is a bit of a ring-in. Wikipedia describes her as an Australian and English novelist, but really, she, who lived from 1890 to 1961, only lived in Australia from 1920 to 1929. All her novels were published after her return to England, so, although she did some journalistic writing in Australia, it’s a bit of a stretch to call her an “Australian” novelist. Nonetheless, I’d argue that this book, which has an Australian protagonistwas and was published in 1934, is worthy of Bill’s week, and the Australian Women Writers Challenge.

Before I get on with the book, I should tell you that Thirkell’s father was William Morris’ good friend and biographer, and her maternal grandfather was Pre-Raphaelite painter Edward Burne-Jones. She had Rudyard Kipling and Stanley Baldwin as cousins, JM Barrie as godfather, and Beatrix Potter as a neighbour. She moved, then, in interesting circles.

Hilarious and affectionate satire

GoodReads writes that in Trooper to the Southern Cross, Thirkell “assumes the voice of an Australian army officer and relates an amusing, rough-and-tumble sea story about an eventful, post-World War I journey on a troop-carrying vessel deservedly labeled a ‘hell-ship.’ Thirkell’s keen ear for dialogue, and her skillful use of her own first-hand experience of a voyage on a similarly rumbustious vessel, combine to create an amusing and spirited yarn.” This is a fair description, but Virago’s back cover does a better job, describing it as “an hilarious and affectionate satire on the manners and mores of Australia”, “satire” being the operative word.

I make this point because, as Bill will be interested to know, HM Green, in his History of Australian literature, believed, says Virago, this book was written by a male, and described it as an example of “unconscious humour” rather than as satire. It’s an easy mistake to make, particularly if you don’t know the full story. At this point, of course, I had to check out Trove, where I found two contemporary reviews. One, from Sydney’s The Sun (18 November 1934), is scathing, describing it as “without literary merit, with just a touch of sardonic humor and a good deal of unrestrained nastiness”. The main complaint is that the book “portrays the Australian soldier as something between a savage and a simpleton”.

The other review, from The Sydney Morning Herald (29 September 1934), is a little more positive. It has its criticism, though, saying that the “language and outlook” of its army doctor narrator “is that of the common soldier and rather difficult to reconcile with his rank and the assumption that he is a graduate in medicine of an Australian university. Our Medical Faculties hardly turn out their diamonds quite as rough as this unpolished specimen.” However, this reviewer finds the book funny, and concludes:

The voyage was full of incident, and the episodes, tragic, thrilling, or amusing, lose none of their interest in the free manner of telling. From the major’s mouth came artless revelations of opinions on all subjects that are reminiscent of “Gentlemen Prefer Blondes,” though the artlessness has not the subtlety of the art of Anita Loos. Diggers will chuckle over this book.

Hmmm … not The Sun’s diggers, perhaps.

“a reserved kind of chap”

Trooper to the Southern Cross is based on Thirkell’s own trip to Australia in 1920 on the requisitioned German troopship SS Friedrichsruh which, like the novel’s fictional Rudolstadt, had been ingeniously sabotaged by the Germans. For example, the toilets flushed boiling water and salt water flowed from freshwater taps. Not surprisingly this added to the havoc on a ship that was carrying officers with their wives and families, “ordinary” diggers, and prisoner diggers who soon had it over the soldiers guarding them. As Thirkell tells it in her novel, there was much violence on board and at the only two stops made en route, Port Said and Colombo. All this is told in the voice of Major Tom Bowen, who is modelled on Thirkell’s husband, albeit her husband wasn’t a doctor or a major. Bowen’s wife, Celia, however, is not based on herself, says Tony Gould in Virago’s introduction, but Mrs Jerry, the Colonel’s wife, is.

The novel is interesting to read for a number of reasons, one being simply for its history, its being, according to its publisher, the first book to deal with “the repatriation of Australian troops after the war.” A very particular repatriation one would hope, but a story of such nonetheless. Mostly, though, it’s interesting for the voice of its narrator. He is quite something, and I can imagine different readers responding very differently to him. He, like George Thirkell, served in the war from the Gallipoli Campaign right through to Armistice. He’s reasonably educated, having done medicine in Sydney, but he uses Australian vernacular and his cultural tastes are popular. Virago’s Gould notes that Thirkell “became extremely well versed in Australian literature and culture and uses it to comic effect” in the book. Here, for example, is Bowen soon after meeting “the wonderfully pretty little thing” who was to become his wife:

The girl didn’t know what back-blocks were, so I had to explain that they were way out beyond everything. I asked her if she’d read ‘On Our Selection’, because that gives you some idea of the back-blocks. But she hadn’t. And she hadn’t read ‘We  of the Never Never’, nor ‘While the Billy Boils’, so I knew she wasn’t literary.

You can imagine the female Thirkell enjoying writing this male character – and she does it so well. He makes you cringe – with his frequently smug patronising manner, sexism, racism, and general all round chauvinism – and yet you can’t help liking him too. He has nous dealing with men, particularly the diggers for whom he has a clear-eyed affection; he is resourceful; and he shows tenderness to others in need, regardless of who they are. He’s even open to having his mind changed, such as when the Roman Catholic padre helps him out:

To think of an R.C. showing me what Christianity really was. It gave quite a shock to a lot of my ideas.

As a document of 1920s Australian manners and culture, told with a lightly satiric eye, Trooper to the Southern Cross is a surprisingly entertaining read.

Challenge logoAngela Thirkell
Trooper to the Southern Cross
London: Virago, 1985 (Orig. pub. 1934)
(Virago Modern Classic No. 171)
177pp.
ISBN: 0860685926

Monday musings on Australian literature: Christina Stead’s 1930s, Beauties and Bankers

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Today’s Monday Musings post is the second of two on Christina Stead that I promised for Bill’s (The Australian Legend) AWW Gen 3 Week. These two posts – last week’s and this – focus on contemporary Australian responses to her four 1930s-published books, based primarily on my research of Trove.

Last week’s post looked at The Salzburg tales (1934) and Seven poor men of Sydney (1934), so this week The beauties and the furies (1936) and House of all nations (1938) get their turn. Although I’ve only read For love alone, plus some short stories of hers, I know many of her books, including last week’s two. However, this week’s books are less familiar to me.

Book cover

The beauties and the furies was not one of Stead’s most successful books, it has to be said, and I had to dig a bit deeper in Trove to find reviews. It’s the story of a woman who, married to a boring man, runs off to Paris to be with her student lover. The reviews were not kind, mostly for the writing than the content.

The Sydney Morning Herald’s reviewer (22 May 1936) writes that her “definite tendency to develop an artificial style” appeared in her second book, but suggests that

That “visionary imagination,” for which she has been commended, runs away with reality altogether in “The Beauties and Furies” at times.

S/he then quotes from the book, and, I must say that out of context at least it is a little over-the-top, but the review isn’t all bad, saying that despite these passages and “a leaning towards redundancy”, Stead has “a definite flair for delineation of character and a good sense of dialogue and situation”. The book is, however, “too long”, presumable because of the redundancy.

Book coverThe Mail’s review (30 May 1936) is similarly critical, and is titled, in fact, “Not recommended”. This reviewer attacks both the writing and the content, describing the story as

merely a sordid one, not of a beautiful comradeship, but of an illicit love affair between two people, whose ideals are about as spiritual as those of a pair of monkeys.

S/he ends the review with the parenthetical comment “(Censors please note)”. However, even so, this reviewer does see skill, saying “she can write vigorously, yet with simplicity and charm”.

The Australian Women’s Weekly (20 June 1936) joined the chorus:

A good story spoilt by a maddening cascade of words to water the purple patches of the plot. Of course, some of them have their uses. “Endoped dome of misery” might be applied to the reader’s head after ploughing through some of these passages. It seems a pity, for the book might have been a good one had the author stuck to her undoubted gift for descriptive phrases only as the means of telling her story.

The best “review” comes from Melbourne’s The Herald (18 June 1946) which quotes America’s New Yorker critic, Clifton Fadiman, who sees more to admire than criticise:

again declares that Christina Stead, the Sydney woman who wrote “The Salzburg Tales,” “Seven Poor Men of Sydney,” and “The Beauties and Furies,” is “a simon-pure genius, showing not a trace of workaday talent.” “I say this,” he temperately adds, “knowing that ‘The Salzburg Tales’ had its excesses and that ‘Seven Poor Men of Sydney’ was no less flawed … ‘The Beauties and Furies’ though her finest book to date, is also imperfect. Yet it discloses such streaming imagination, such tireless wit, such intellectual virtuosity, that I cannot see how anyone who reads it carefully— and there is no other way to read it — can deny Miss Stead’s position as the most extraordinary woman novelist produced by the English-speaking race since Virginia Woolf. . . . The style is indescribable, the wit hardly suggestible.”

Book coverHouse of all nations (1938), which satirises bankers and financiers, garnered far more positive reviews overall. Edgar Holt in The Herald (9 July 1938) starts with

That I was not very familiar with her work before is an appropriate commentary upon the indifference of most of us to our Australian novelists. “House of All Nations” is a brilliant and exhilarating book, a superb performance of sustained wit, a crushing satire on the world of international finance.

Holt shares many quotes to show the quality of her writing, saying Stead “revels in words. They spurt from her pen, fountain-like”. He does have some criticism but, like Fadiman, is impressed, concluding that

The scope of this book is almost too ambitious; but instead of failing in an exceptionally difficult undertaking, she has written a novel which will command universal admiration.

We should be very proud to include her in the forefront of Australian novelists.

Like Holt, who described the book as a “mosaic”, Adam McCay, in Sydney’s The Sun (10 July 1938) also discusses the novel’s construction:

According to current literary jargon, “House of All Nations” might be called a cavalcade, or a pageant: but its plan is too well-made, not accidental enough, to let it be named a kaleidoscope. Looking for a word, we might say that it is a symphony, with privateering international finance as leitmotiv, and it is written wholly in scherzo movements.

McCay is fulsome in his praise, saying, among other things, that:

In her perception of financial intrigue, as well as in her naked studies of fraud, gluttony, perversion, avarice, and adultery, Miss Stead has eyes as ruthless as a studio light. It is a rare woman who can furnish scepticism and satire as unabashed as Voltaire’s.

I will just note here, in passing, the sexism in some of the commentary. It was the 1930s.

The writer in Brisbane’s The Telegraph (14 July 1938) starts by sharing the qualified assessment made by that American supporter of Australian literature, C Hartley Grattan, then goes on to quote English critic Ricard Church who said that:

Such variety of character, presented with so original and vivid a style, makes this book quite outstanding. And as for the author’s mastery of the details of the international money-market; well, that is worthy of Zola.

So far, then, Stead has been compared favourably with Virginia Woolf, Voltaire and Zola. The aforementioned Adam McCay writes in another article that while one English reviewer sees her as “the most important woman novelist in English since Virginia Woolf”, he’d “go back past Mrs. Woolf to George Eliot”.

One-time Stead friend and supporter, the Australian journalist Florence James, wrote various articles about Stead’s career during the 1930s. In The Sydney Morning Herald (22 September 1938) she noted that

at last Australia is waking up to realise that in London and New York this young Australian is considered by many famous critics to be the most important woman writing in the English language to-day.

There were, of course, naysayers who did not like Stead’s exuberant, untamed style, but we can put that down, in part at least, to the fact that her modernist style was new and innovative. Not everyone likes innovation.

Note: You can find bloggers’ reviews of various Stead works at Lisa’s ANZLitLovers Christina Stead page.

Ruth Park and D’Arcy Niland, The drums go bang! (#BookReview)

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Book coverVolume 1 of Ruth Park’s autobiography, A fence around the cuckoo, covers the period of her life up to when she lands in Australia to marry D’Arcy Niland. Not being sure, perhaps, that there’d be a sequel, Park concludes with:

We lived together for twenty-five years less five weeks. We had many fiery disagreements but no quarrels, a great deal of shared and companionable literary work, and much love and constancy. Most of all I like to remember laughter.

That autobiography was published in 1992. The drums go bang, written collaboratively by Park and Niland, was published in 1956 and covers the first five or so of these years to just after the publication in 1947 of The harp in the south.

The first thing that struck me was its point of view: it slips astonishingly between third person and first person plural, sometimes in the middle of a paragraph. And then the penny dropped, its collaborative nature. When they are talking about one of them, Tiger (Ruth’s nickname) or Evans (D’Arcy’s), third person is used, but when they are talking about them together, first person plural is used. Here is an example about their delayed honeymoon:

We didn’t mind the delay. Tiger was crazy to see Sydney, and besides she wasn’t too keen on going away to the Blue Mountains with a strange man. While Evans was away at the Railway she went around the city on her own …

Once you work out what’s going on, it works very well. However, to understand this particular paragraph, and the “strange man” comment you’ll need to read their story for yourself, as I want to move on to other things. Suffice it to say that this comment, while containing an element of truth, given the way their relationship developed, is also an example of their light, self-deprecating humour. As Park said in her autobiography, “most of all I like to remember laughter”.

The drums go bang is a short and often funny book, but it manages to cover a lot, including their struggles to find accommodation in 1940s Sydney when accommodation was scarce, their decision to go freelance and the resultant struggle to survive, their work in the outback, two pregnancies, their lives in Surry Hills and other Sydney suburbs, and their relationships with a wonderful cast of characters. The aspects which interested me most were of course Surry Hills, because it inspired The harp in the south, the writing life, and the writing itself, which provides such an insight into their skills.

Although they tell it with such humour, Park and Niland are very clear about how difficult the freelance life is. For most of the five years covered by the book they live a hand-to-mouth existence, experiencing poverty at close hand. However, there’s also good advice here for would-be writers. For example, early in the book, Tiger expresses frustration at Evans’s belief that a good story will sell regardless, but even this is told with humour:

He was convinced that if the story were good it must sell. He bailed up an amiable Salvation Army major and tried to persuade him that “The Other Side of Love” was just what was needed for the War Cry. He submitted “The Menace of Money” to the Business Man’s Monthly, and a sentimental animal story to the house magazine at the Abattoirs.

They share their Minor Carta, their manifesto for writers who wish to make a living writing. Its eight articles include some hard learnt truths, such as that you have to “write anything and everything”, you cannot afford to be “snobbish” about your art, and you can’t let rejection slips get you down. They talk about the variability of payment systems for freelance work, unscrupulous writing schools, and the importance of marketing, of needing to “shape it to fit”. They write articles, songs, short stories, radio plays, children’s radio, comedy sketches, and more – anything that might bring in a cheque (and they do it sharing one old typewriter.)

I’d love to share more about their lives, and particularly the characters in it, like Evans’ brother Young Gus, the generous freelance publisher Mr Virtue, and colourful relations like Aunt Nibblestones and Uncle Looshus, but I want to get onto something that is most relevant to Bill’s AWW Gen 3 Week, their time in Surry Hills and how it inspired The harp in the south. Initially scared by “the place, with its brawling, shrieking life”, abusive drunks and fighting prostitutes, Park started to adapt, and

… began to study the people for what they were, and not what they did. Their true kindness, their generosity and charity filled her with shame. They were so much more genuinely loveable than she had given them credit for being, and she began to understand how the incredible congestion of their lives, the rabbit-warren houses, the inescapable dirt of an area which is built around the big factory chimneys all contributed to their innately lawless, conventionless attitude towards life. She began to understand that in such a place dirt ceases to become important, morals are often impracticable, and privacy is an impossibility.

As it turned out, though, The harp in the south was written, almost, you could say, accidentally. In New Zealand for some needed R&R after the birth of their second child, they are sent a clipping by Uncle Looshus which announces a Sydney Morning Herald competition for a novel, short story and poem. Park tries to convince Niland to write a novel but he refuses, saying he only writes short stories, and tells her to have a go. So, she does, and of course Surry Hills is her inspiration:

… she felt she understood them. She certainly liked them, mostly because in the midst of all their dirt and poverty and fecklessness they contrived to be happy.

She wrote down a sentence that seemed to sum up their philosophy: “I was thinking of how lucky we are”.

That sentence, the last line in the book, was the key that opened the door. From then on the story grew by itself.

This book, published serially in 1947 to both acclaim and vituperation, has become a classic of Australian social realism, albeit, as Paul Genoni says, “tempered with romanticism”. The same could be said of this delightful memoir.

Challenge logoRuth Park and D’Arcy Niland
The drums go bang!
Illustrated by Phil Taylor
Sydney: Angus and Robertson, 1956
195pp.
ISBN: None

John Clanchy, In whom we trust (#BookReview)

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Book coverMy first question when I read a book of historical fiction is why? And so it was for John Clanchy’s latest novel In whom we trust, which is set in Victoria around World War 1, albeit is not about the war. It is, in fact, about a Catholic home for orphaned children, St Barnabas, and three people associated with it, visiting chaplain Father Pearse, and two young people, inmate Thomas Stuart and scullery maid Molly Preston. Of course, when I say “about” St Barnabas, I don’t really mean that. St Barnabas frames the novel, provides its context, but the novel itself is about something far more complex, which gets me back to my opening question, why?

Now there are, to my mind, two main responses to historical fiction. One is to see it as something in the past, something that we might learn from but that overall we can leave firmly in the past. The other is to see its relevance to the present, to look at past actions or events, with the perspective of time, in order to reflect on now. This response also brings in those universals we like to talk about, those things about us that history (or time) doesn’t change. John Clanchy’s In whom we trust demands this second response: it asks us to look at the institutional abuse of children and its long history, and to see the human factors that enabled it then right on through to now. As Hilary Mantel has said, “all historical fiction is really contemporary fiction; you write out of your own time.”

In his Author’s Note and Acknowledgement, Clanchy thanks publisher Finlay Lloyd for “taking on a difficult book such as this”. What “difficult” does he mean? The difficult content or the difficulty of its execution? Probably both. The content is, of course, difficult. We have St Barnabas run by the tortured and torturing Brother Stanislaus. He is the epitome of the old-school hell-fire-and-damnation Brother. Ravaged by the Church’s constraints (particularly abstinence), he twists the scriptures, the theology, to justify his abuse of those in his care, who include, of course, Thomas and Molly.

However, this book is also “difficult” in its construction, which is not the same as saying that it’s difficult to read, because the story flows beautifully, despite frequent changes in voice or perspective. The story is told from three main – and easily differentiated – points of view: the third person subjective perspectives of Father Pearse and Thomas, and the first person voice of Molly via her diary.

The narrative is framed by a meeting between Thomas and Pearse, at the latter’s parish in Sale, some three years after the abuse had occurred. Gradually, through their conversations and private reflections, and through the insertion of Molly’s diary entries, the back story comes out and Thomas’s request of Pearse is revealed. At this point the diary entries finish and the narrative moves into a simpler chronology as Pearse works to fulfil his promise to Thomas, who has by now enlisted and wants this thing done before he leaves. What he wants done cannot right the wrongs of the past but will hopefully help prevent them continuing in the future. And that’s about all I’ll say about the plot.

“the strange, savage world”

That Clanchy can make such subject matter both engrossing and deeply moving is down to his writing and his understanding of humanity. The novel opens in Father Pearse’s head:

‘There was a boy came while you were out, Father Pearse,’ Mrs Reilly said. And stood.
The woman wanted strangling.

I loved this. So simple, but already we’ve learnt a lot, the main thing being, as the rest of the chapter confirms, that Father Pearse is not your warm-hearted priest. He’s an impatient, easily irritated one, so, when the boy, Thomas, appears, we are predisposed to like him more than we like Pearse. As the novel progresses, Thomas firmly but gently brings Pearse around to being – to use modern parlance – the best version of himself! In other words, Pearse, who is not a bad man, just a weak, cowardly one who “means no real harm”, is brought to see the right and humane thing to do.

This doesn’t come easily though. He is suspicious of and resistant to this trouble-making Thomas. He doesn’t trust him! And here is cornerstone of the novel, trust (as you might have guessed from the novel’s title.) There are many layers of trust in the novel. Clanchy shows how trust develops between people, such as between Molly and Thomas, between Thomas and his indigenous friend from St Barnabas Benton, and, eventually, between Pearse and Thomas. There is trust in authority and institutions, such as that St Barnabas will care for the children entrusted to it. There is trust in forms and rituals, like the confessional. And there is trust that people will do what they promise or undertake to do. All of these – their successes and failures, and the nuances surrounding them – are explored in this novel. The reality of the challenge becomes clear to Pearse late in the novel:

Trust. That was the crux of it. How was anyone meant to find a path through this forest of competing trusts?

Muddying this path are competing – or, shall we just call a spade a spade and say twisted – values and priorities. These include the age-old issue of abstinence and the inviolability of the confessional, and the need, as Pearse’s Bishop makes perfectly clear, to protect “our Mother Church”.

Through all this, Clanchy weaves a compelling, painfully true story about human beings – weak ones, arrogant ones, damaged ones, wise ones, loyal ones. Of all these people, it’s the young Thomas who has the clearest vision. He has, recognises Pearse, the

trick of putting his finger on truths so obvious that most other people, in search for something which redounded more to their own credit, looked right past.

And now, before I conclude, something about the writing, because it is this, alongside Clanchy’s understanding of human motivations and relationships, that make this “difficult” book also a pleasure to read. Clanchy’s ability to nail his points with a few words can take your breath away:

… then Thomas Stuart was equally checked by the massive theological boulder which the priest now rolled into his path.

AND

The crimson cloth of the Bishop’s patience was rapidly becoming threadbare.

The vernacular he creates for Molly’s diary – including words like “tumple” and “fumply” – gives her colour and character. There’s also some clever word play and light ironic touches, not to mention the little biblical in-joke about doubting Thomas, because in this book it’s the priest who doubts Thomas more than vice versa. Indeed, it’s the careful, sure way Clanchy develops the see-sawing doubting-trusting relationship between Pearse and Thomas that provides the novel’s backbone and interest.

There are of course no simple answers to the dilemma facing Father Pearse, and the ending we get is the only one it could be. It’s to Clanchy’s credit that he doesn’t opt for the easy feel-good fix. There are wins along the way but Clanchy knows, and we know, that it would be morally suspect and historically inaccurate to provide the ending we’d like. In whom we trust is a powerful and wonderful read.

John Clanchy
In whom we trust
Braidwood: Finlay Lloyd, 2019
251pp
ISBN: 9780994516558

(Review copy courtesy Finlay Lloyd)

Monday musings on Australian literature: Christina Stead’s 1930s, Salzburg and Sydney

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My first Monday musings on Christina Stead (my posts on Stead) was barely introductory, so I’m planning two more to coincide with Bill’s (The Australian Legend) AWW Gen 3 Week. These two posts – this week’s and next – focus contemporary Australian responses to the four books she published in the 1930s. I’m keeping this focus tight because Stead is such a complex figure in Australian literary history, and so much has been written about her already, including Hazel Rowley’s well-regarded biography. (See Lisa’s review at ANZLitLovers). However, I enjoyed reading, in Trove of course, what some contemporary Aussies had to say about her, and wanted to share them.

To start though, a very brief bio relevant to this period. Stead, born in Sydney in 1902, went overseas, to England initially, in 1928. She then lived, and worked in a bank, in Paris from 1930 to 1935, before spending time in the USA, Spain and England with her husband-to-be William Blake (Wilhelm Blech). In 1937, they moved to the USA. She didn’t return to Australia to live until 1968. Her first four books were published in the 1930s: The Salzburg tales (1934), Seven poor men of Sydney (1934), The beauties and the furies (1936), and House of all nations (1938).

Although over the years Stead experienced a mixed reaction from Australia, some critics denouncing her as “expatriate”, it’s clear that in the 1930s, at least, she was well-admired by Australian newspaper reviewers. It’s also clear that she was seen as both a modernist and a realist, with no nods to our bush and pioneer traditions.

Book coverThe Salzburg tales was her first published book and it immediately received positive attention from Australian newspaper reviewers. I was tickled by the writer in Melbourne’s Argus who wrote that “Many times it has been said that there is no particular demand for writers’ collections of short stories but there are authors and publishers who continue to issue books of the kind and apparently the stories find readers.” Plus ça change, it seems.

Reviews of this book noted its inventiveness and original style. For example, S.E.N., wrote in the Daily Mail on 4 April 1934, that

her book is remarkable not only for its inventiveness, but for its original style. It commingles modernism and mysticism, realism and romanticism, the dramatic and the uneventful, love, law, life, laughter, and letters in an olla podrida which is both attractive and unusual. Some of the stories are, like that of the Wanton, a little too highly spiced here and there for the less sophisticated reader; but on the whole Miss Stead has given us a collection of tales which are admirably told and admirably contrasted.

There we have it – “modernism” and “realism” – two styles/approaches that were significant the 1930s literature, and of which Stead was a major exponent. The unnamed reviewer in the Sydney Morning Herald (3 May 1934) remarked that “Miss Stead … really seems to belong in a class by herself”. This reviewer praises the variety, and concludes that “there seems no end to Miss Stead’s inventiveness and no limit to her powers of expression”. Jean Williamson, writing in the Australian Women’s Weekly (7 July 1934), is no less admiring, calling it “extraordinary in its concept, its vocabulary, its technique and its imagery.”

The reviewer in the Townsville Daily Bulletin (7 August 1934) states:

This author is, I understand, an Australian, who now lives in Paris. How long she has been there I do not know but she has accumulated experience, impressions, fed her imagination in a way that would not be possible for an author writing from this side of the world. It is not only that Miss Stead has set her scenes in such a town as Salzburg, and peopled her many pages with remarkable people. Most authors could have done that, but her story is saturated with her personality, lit up humor, knowledge, penetration, and is decidedly original.

This is an interesting comment in the context of Drusilla Modjeska’s book Exiles at home (posted on by Bill). Modjeska’s book is about “the ones who stayed” in Australia … tackling … how to live and work in this country as women and as writers and how to build a culture that has its roots in Australian histories and conditions, rather than in a foreign past” (from Introduction to Reprinted Editions.) Of course, the thing about Stead is that she too forged a contemporary literature, some of it set in or drawn from her Australian experience … which brings me to …

Christina Stead, Seven Poor Men of SydneyStead’s second book, Seven poor men of Sydney, which garnered similarly positive reviews. However, the reviewer in The Newcastle Sun (22 November 1934) makes no bones about its grittiness. It has no “Australian local color of the wattle blossom and stockwhip kind”. S/he describes it as high art, and says “it gives evidence of intuition, of skill in handling of character and of words and of high achievement in the depicting of realities.” For this writer, though, there is such a thing as being too modern, too real:

And while no one can reasonably suggest that a writer should ignore the gutter, it is not necessary to bring in the language of the gutter. It is, indeed, a great pity that a writer who shows abundantly that she is capable of far better things, should think it necessary to be “modern” in this particular way.

I know some readers who still feel this today … Anyhow, interestingly, Bookman writing in the Courier Mail (30 November 1934) has an opposing criticism, saying that “perhaps” the novel’s “weakest point” is that “the characters all talk too learnedly”! However, he too recognises the novel’s “stark realism”. He calls it “a remarkable book; the kind of book to which the word ‘powerful’ is sometimes applied”, but he also clearly fears its politics:

She has revealed the mentality out of which revolutions are made. That lesson is especially important in these days when thousands of lads, with more education than judgment, are being thrown into desperation and into the arms of extreme propagandists because all they can see ahead is blind-alley employment or no employment at all. In such conditions communism flourishes, and Miss Stead doubtless saw it thriving in Central Europe.

The aforementioned Jean Williamson, writing again in the Australian Women’s Weekly (9 March 1935) reports Stead’s own comments on the book.

“The Seven Poor Men of Sydney is not so much a novel, I suppose, as a cast of characters battling through daily life, as much passion being expended or the small accidents of daily life as on any one of the great tragic themes; in fact the great tragic themes are all melted down and infused there. That was my feeling in writing the Seven Poor Men.”

Stead, a deeply committed socialist, also says that the novel shows she hasn’t forgotten Australia, nor “the importance of the Labor Movement in everyone’s daily life”.

So, two very different books, both written in a modernist style, both hailed for their inventiveness and her “phrasemaking” – and, put together, neatly reflecting her seemingly dichotomous existence.

Note: You can find bloggers’ reviews of various Stead works at Lisa’s ANZLitLovers Christina Stead page.

Joan Didion, Quiet days in Malibu (#Review)

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Malibu from Malibu Pier, August 1993

As for many people I expect, Joan Didion’s now classic The year of magical thinking made a lasting impression on me, so I was keen to read her essay “Quiet days in Malibu” when it popped up as a Library of America (LOA) Story of the Week back in November. I was also interested in the subject matter. Having lived in Southern California in the 1990s, I wanted to see what Didion had to say about Malibu, a place that has always conveyed the romance of Californian beaches to me, largely through Gidget! There, I’ve admitted my teen-girl secret.

What Didion had to say was not what I expected. She starts with:

In a way it seems the most idiosyncratic of beach communities, twenty-seven miles of coastline with no hotel, no passable restaurant, nothing to attract the traveler’s dollar. It is not a resort. No one “vacations” or “holidays,” as those words are conventionally understood, at Malibu. Its principal residential street, the Pacific Coast Highway, is quite literally a highway, California 1, which runs from the Mexican border to the Oregon line and brings Greyhound buses and refrigerated produce trucks and sixteen-wheel gasoline tankers hurtling past the front windows of houses frequently bought and sold for over a million dollars. The water off Malibu is neither as clear nor as tropically colored as the water off La Jolla. The beaches at Malibu are neither as white nor as wide as the beach at Carmel. The hills are scrubby and barren, infested with bikers and rattlesnakes, scarred with cuts and old burns and new R.V. parks. For these and other reasons Malibu tends to astonish and disappoint those who have never before seen it, and yet its very name remains, in the imagination of people all over the world, a kind of shorthand for the easy life [my emph]. I had not before 1971 and will probably not again live in a place with a Chevrolet named after it. 

Things have, naturally, changed since Didion lived there for seven years through the 1970s, but only a little I think. Pacific Highway 1 still runs through it, alongside the beach, though the more inland 101 Freeway is the main north-south route. It is still home to many celebrities and other well-to-do living in expensive mansions. This opening paragraph, however, also introduces us Didion’s style – including her use of repetition (“The water off … The beaches at … The hills are …”) and quietly pointed commentary (as in “I had not before 1971 and will probably not again live in a place with a Chevrolet named after it.”)

This essay, published in a 1979 collection titled The white album, was in fact a reworking of two pieces published in Esquire in 1976. LOA’s notes say that those pieces “showcase the beach community” not through its celebrities but through “the lifeguards on the beach and the manager of a local orchid farm.” To these pieces, which form the bulk of the essay, Didion added the above-quoted introductory paragraph and a concluding section, about which more later.

The white album, LOA’s notes also tell us, opens with her famous line, “we tell ourselves stories in order to live”. The stories she tells in this essay are about “ordinary” people, as much as anyone, really, is ordinary. First up is lifeguard Dick Haddock. She introduces him thus – with that same use of repetition:

Dick Haddock, a family man, a man twenty-six years in the same line of work, a man who has on the telephone and in his office the crisp and easy manner of technological middle management, is in many respects the prototypical Southern California solid citizen.

She describes visiting his “office”, the lookout on Malibu’s Zuma Beach, on Thanksgiving morning in 1975, when

A Santa Ana wind was just dying after blowing in off the Mojave for three weeks and setting 69,000 acres of Los Angeles County on fire. Squadrons of planes had been dropping chemicals on the fires to no effect. Querulous interviews with burned-out householders had become a fixed element of the six o’clock news. Smoke from the fires had that week stretched a hundred miles out over the Pacific and darkened the days and lit the nights and by Thanksgiving morning there was the sense all over Southern California of living in some grave solar dislocation. It was one of those weeks when Los Angeles seemed most perilously and breathtakingly itself, a cartoon of natural disaster …

Oh no! As I post this story, we are suffering similarly from bushfires. We certainly feel that we are living in “some grave … dislocation”. Note too another of those pointed comments – on LA seeming “most perilously and breathtakingly itself, a cartoon of natural disaster”. Anyhow, Didion’s description of Haddock, his colleagues and their work, is respectful and evocative, recognising both the drama and the tedium of what they do.

The second piece is about another prototypical Southern Californian, “a Mexican from Mexico”, or “resident alien” (just as I, a wife, was a “derivative alien” to my husband’s “primary alien”!) Amado Vazquez is anything but ordinary, though, as he’s an expert orchid breeder for Arthur Freed Orchids. Didion shares with us her love of greenhouses:

all my life I had been trying to spend time in one greenhouse or another, and all my life the person in charge of one greenhouse or an- other had been trying to hustle me out.

And here, finally, was her opportunity to spend time in one! Again, in her chatty style, she explains the work of an orchid breeder – of stud plants, of orchid fertility, of the naming of plants, of the business of orchid breeding. She references that racist name-changing behaviour that white people often do, whereby the orchid named for Vazquez’s wife “mysteriously” becomes “Vasquez”.

But, I want to close on the short concluding section in which, after significantly mentioning the drowning death, “a casualty of Quaaludes”, of one of her 12-year-old daughter’s friends, she describes another horrendous fire:

Within two hours a Santa Ana wind had pushed this fire across 25,000 acres and thirteen miles to the coast, where it jumped the Pacific Coast Highway as a half-mile fire storm generating winds of 100 miles per hour and temperatures up to 2500 degrees Fahrenheit. Refugees huddled on Zuma Beach. Horses caught fire and were shot on the beach, birds exploded in the air. Houses did not explode but imploded, as in a nuclear strike. By the time this fire storm had passed 197 houses had vanished into ash …

This fire also destroyed three years of the orchid breeder’s work … Malibu, you see, with its peculiar geography, has is rife for natural disasters.

It was at this point that I realised the irony of the title. Through restrained, respectful reportage about the ordinary people of Malibu, Didion conveys that, in fact, Malibu is rarely quiet, and that few of its inhabitants enjoy an “easy life”.

Joan Didion
“Quiet days in Malibu”
First published: The white album, 1979 (sections published in Esquire in April and June 1976)
Available: Online at the Library of America