Sure / everything falls / apart but what do physicists know / about / love?

General news from the other side of Australia’s almost never-ending summer (from hell)

Snowfalls. Orange skies. Face-masks. Raging flames. Ash on the letterbox. Hail the size of apples. Half a billion animals gone. Dead trees. Lives lost. Floods.

It was the Summer from Hell in Australia.

And now the daffodils are coming up. In March. As they say in polite society: what the fuck?

Still, writing manages to happen.

Firstly, I was chuffed to have been asked to write a piece for the special Australian Issue of the CHICAGO QUARTERLY REVIEW, which is now out. I wrote about my childhood in the Blue Mountains, Patrick White, and one of the worst mistakes I’ve ever made.

The opening paragraph:

I stood on the edge of the lane and stared at the black house, at the old concrete water tank, at the lawn stones that might have been foundations. Some minutes later, after deciding that as it was midweek and the house likely a weekender, I took a step, then another— until I was standing in the garden, in the very place where my bedroom had once been. I stretched out my arms as if to touch the missing walls and said, “This is where it happened.”

Such an honour to share the pages with writers such as Claire G Coleman, Michael Mohammed Ahmad, Krissy Kneen, Ali Cobby Eckermann, Behrouz Boochani, Van Badham, David Malouf, Kim Mahood, Simon Cleary, Quinn Eades, and Inga Simpson among many others.

While writing for the page continues to be my focus, writing for the stage is something I’m doing more and more, even though I never intended to go in this direction. Ah, the twists and turns in the writing life.

So, it was rather exciting to be informed recently that three of my songs from THE WEIGHT OF LIGHT will be performed in November this year at Carnegie Hall’s Recital Hall in New York by international baritone David Wakeham.

To be frank, this is rather special: the song cycle, the score for which was written by the amazing James Humberstone, is about a high-raking Australian soldier who returns from his latest tour of Afghanistan with a dark secret; all he wants to do is heal on his family’s grazing property on the Southern Tablelands – what he doesn’t know is that his family have a dark secret of their own.

To have elements of the work performed in the US? Mind-blowing.

Finally, earlier this month I spent two days at The Street Theatre in Canberra. Three songs from THE WEIGHT OF LIGHT may well be off to New York, but I have a new work for the stage in the very early phase of development i.e. crappy words on bits of paper.

Is it another song cycle? Perhaps it’s more of a play with songs?

Thanks to some lovely funding from Create NSW, I was able to spend two days with Wollongong-based dramaturge Anne-Louise Rentell. Together we talked about big ideas and then we tore the draft into small pieces and started putting it back together.

Not all the words are coming together yet, but here are a few:

A boat, I see

an empty boat blown by the wind

to the shore

 

of a lake filled to the brim

with life-giving water

that’s no more, like three boys

 

They drowned, they said,

and I believed them

Is the script in a better shape now? Yes. What’s the next step? Who knows. But I do love being in the creative space, both physically and mentally.

Thanks again to Create NSW for the opportunity, The Street Theatre for hosting these preliminary creative-development sessions, Anne-Louise Rentell for pushing me into some uncomfortable terrain (almost literally), David Sharpe for joining the dots, and Paul Scott-Williams from the Hume Conservatorium, who, by commissioning me all those years ago to write the libretto for what became THE WEIGHT OF LIGHT, sent me in this exciting direction.

Perhaps if humanity survives long enough there might be a new work on the stage before long?

Quite honestly, who knows.

Who knows.