You are currently browsing the tag archive for the ‘David Malouf’ tag.
Despite having them in my life for 30 years, more or less, I don’t really know what they are. They flit about like a type of butterfly that may or may not exist.
I can remember being in the Fifth or Sixth Form of the rather well-healed Anglican school I attended on Sydney’s North Shore, my English teacher, Mr Cowdroy, leading us through the reading of a short story, the author of which I regrettably can’t recall. I loved the conciseness of the story – that life could be created and explored and examined in so few pages – and the sense of compression, the cleverness of the ending, which made me want to start reading the story all over again. It also made me want to keep writing, for by that time I had been writing for some years, albeit for school assessment.
Fast forward to my twenties, when I realised that doing little more than hanging out with mates at the pub was not good and deep living and would most likely lead to misery, I began writing stories again, but only because I wanted to. I also read stories, mainly in anthologies. Collections that resonated were Risks (Fremantle Arts Centre Press, 1996; edited by Brenda Walker) and the Faber Book of Gay Short Fiction (Faber and Faber, 1991; edited by Edmund White). I also enjoyed Fishing in the Sloe-Black River by Colum McCann (Phoenix House, 1994) and that other Irish chap who did quite well in the form, James Joyce with his Dubliners. I’d go on to discover the short works of Tolstoy and Chekhov, and contemporary writers such as Peter Carey, Annie Proulx, David Malouf, Marion Halligan, John Clanchy, Tim Winton, Nam Le, and Alice Munro. I subscribed to and read Australian literary journals, including Meanjin, Overland, Island, Tirra Lirra, and Wet Ink.
Over the years that followed I began having my own stories published, at first in relatively minor journals now gathering dust in the National Library of Australia’s vast vaults, before some of my stories were ‘accepted’ (for that appeared to be the termed used) in the journals mentioned above. It was, of course, all very thrilling. To see my name in an edition of Meanjin (2: 2000) alongside writers such as Merlinda Bobis, Thomas Shapcott, Dorothy Hewett, Arnold Zable, and Dorothy Porter. Eventually my published stories were collected in two humble volumes, Homelife (1999) and Joy (2000). The Australia Book Review (no. 224 Sept 2000) described the latter as ‘beautifully poised, warm, lush, humane, with lots of surprises and shocks.’ Which made my heart sing, and still does. I say all this not to brag but to suggest that slowly but surely I have been taking steps; I have, I think, been making progress.
Soon I gathered the confidence to write longer works, including three published novellas and a novel, but rarely does a year go by when I don’t write – and try to have published – short stories. Perhaps part of the attraction is being able to take a break from convoluted, complicated works and spend a week crafting a little tale. But I’m not sure if that’s true and/or wise. Short stories can be just as complex as longer works, if not more so, and they can be just as difficult to write, if not more so. It is common for fiction writers to say that short stories are closer to poetry than prose, in that they are suggestions more than full explorations. In the best fiction, regardless of length, words need to be deployed artfully so life can rise from the page. But perhaps in a short story, as in a poem, each word has to do some impressive – and exhaustive – heavy lifting, often (hopefully) with spectacular results.
Sometimes with spectacular results. My filing cabinet and PC hard-drive are littered with rubbish work.
Recently, to be frank, I’ve been doubting the worth of the short story as a viable form. Australian literary journals do continue to publish them, although, depending on the journal, it could be said that only writers are reading them. On the whole mainstream publishers turn up their noses at collections of stories, claiming readers want a more immersive experience; and some writers who have excelled at the form have simply given up, claiming there is no point when ‘it’s just too hard to find a readership’. So, if the readership is limited, why do it? Isn’t it like, say, insisting on painting miniature portraits, the sort that galleries won’t touch with a barge-pole? But, but, but: every so often single-author collections, such as Nam Le’s The Boat (Penguin, 2008) and Maxine Beneba Clarke’s Foreign Soil (Hachette, 2014), make a big public splash.
What am I trying to say? The short story is a surprising and tenacious beast.
A similarly surprising and tenacious beast is the Review of Australian Fiction, which publishes – electronically – two stories every two weeks and often takes the opportunity to publish works that print journals consider ‘too long’ (over 4,000 words); a worthy venture to say the least, considering also that individual issues cost only $2.99. It’s an honour to be published in the Review a second time, especially as I’ve been paired with Marion Halligan, whose collection Shooting the Fox (Allen & Unwin, 2011) was choc-full of literary magic. My story, ‘The Blue Bottle’, has been emerging for many years – decades you could say – because it uses an event from my twenties as a place for jumping off (no, it’s not set in a pub). On the page the story is nothing more or less than fiction, but there must have been something in the original event that had stayed with me and I’d wanted to turn it over with words and sentences and characters and plot. As is so common (predictable?) in my work, the narrative involves an old house and landscape and music and friendship and intimacy and longing and glimpses – glimpses – of love. But I won’t go on.
All I really wanted to tell you is this: ‘The Blue Bottle’ exists, it is here.
There are times – like these last two days – when I feel as though I’m the luckiest man alive, because I’ve been starting the mornings reading on the couch in my library room. For some, luck might be scoring that high-paid job, or travelling overseas, or being able to fill the house with the boundless rush of children, but for me it’s reading, it’s stillness, it’s silence, a book in my lap, a real book, one that needs to be held, one that has pages that have to be turned.
I’m in a writing lull, which sounds bad, as in I’ve lost some kind of fire. But the fire is there; it’s still burning, raging even, it’s just that a manuscript has been completed and sent to my publisher and I’m not yet ready to start a new project. So I’m filling these deliciously long, slow empty days with reading.
Where reading happens
Reading happens all over the house: there’s lap-top and iPad reading at the breakfast-/lunch-/dinner-table; there’s living-room couch reading; there’s writing-room reading, the conscientious, studious sort; and there’s bed-time reading. But the reading I enjoy the most is the sort that happens in the library room, which I also sometimes call ‘the front room’ or ‘the fireplace room’. When it’s really good, both the reading and the room, it’s cold and wet and windy outside, and I light the fire, pour myself a coffee, and cover my body with my grandmother’s black and red and yellow mohair blanket and get lost in the words.
David Malouf and the smell of smoke
Yesterday and this morning the words have been written by David Malouf: The Complete Stories (Knopf 2007). It’s a grandly handsome book, in every possible way, and, at over 500 pages, it’s big, it has such weight – you need two hands to read these stories. Sometimes, when the story is a long one, almost novella length, and I’m far too engrossed to rise for a break, I prop up the top of the book on the repositioned piano stool, which is the perfect height for the task.
Ah, the words on the page, Malouf’s words: searching, circling, yearning, but they’re always so warm; they take you in and have you. Crafted but not overly crafted; satisfying, so very satisfying – days after living for such a brief period with these stories, the people of the stories stay with the reader, demanding just a little more time, a little more understanding, because they’re complex, and their predicaments are complex too – but they don’t wallop you; they’re intelligent, but never clever; they’re absolutely finished but not always perfect. All the while there’s the fire crackling and hissing and popping and creaking away, the heat coming before waning, a thin fog in the room, sometimes even a sting in the eyes, but always the smell of smoke on my hands from getting the fire going in the first place.
When it’s as good as this
Perhaps it’s the stillness I love the most, and the silence, the sort of silence that seems to embrace that which is made by the fire, even enhanced by the fire. And enhanced by the words, David Malouf’s words. What does it mean to read like this? Yes, it’s transportation, and communication, entertainment even. It’s a good, worthy, even noble pursuit. And, with the fire, there’s a kind of romance to the whole practice. But there’s much more to it. There’s depth, great depth, and illumination, everything stripped bare, everything and nothing is sacred, you can’t hide, the words will come for you – yes, you – in the end. Exposed, that’s it; we’re all made raw. Despite the fire and the blanket and the coffee and the couch, it’s uncomfortable to read. When the reading is as good as this.
Okay, stand well back, because I’m about to do something I’ve never done before, and, dare I say it, you’ve probably never seen done before. Am I about to turn myself inside out? Levitate while cross-legged? Speak in two languages at once? No. What I’m about to do is quote Australian literary legend David Malouf in what’s essentially a review of three pop-music records. In his article titled ‘Music, the most abstract of the arts, is mathematics on the move’, published in the Sydney Morning Herald on 15 May 2010, Malouf asks, So what is music for? What does it do to us or for us? What happens when we give ourselves over to actually listening to it? Music vibrates in the air around us and involves us; it touches and moves us. Its rhythms take us back to primitive foot-tapping and finger-clicking or clapping; the regularity of its beat excites our heartbeats and pleases us with its natural order; it invites the body, even when the body remains still, to sway and dance. All music takes us back to the body; all instruments discover what they do in what the body does.
Three records that are currently doing exactly what Malouf is talking about, taking me back to my body, and getting me pretty bloody excited in the process, are ‘High Violet’ by The National, ‘Crystal Castles’ by Crystal Castles, and ‘This Is Happening’ by LCD Soundsystem, the latter band surely being the most genuinely enthralling bunch of contemporary musicians working today.
First up, The National’s ‘High Violet’. Frankly, these guys are so god-damn frustrating. They could be great, they could be huge. They could take REM’s indy-music crown, and part of me wants this to happen, because on ‘High Violet’ they get mighty, mighty close to making something truly significant. This is a big record, one that’s best played up loud so the richness and the rawness makes your rib-bones rattle. Melancholic, intimate, but still rocking, it’s an intriguing beast of a thing. In parts, especially on album-opener ‘Terrible Love’, it owes a little to Sigur Ros, in terms of the buzz-saw atmospherics, and Arcade Fire in terms of the naked ambition. ‘Afraid of Everyone’ (I put my hand up to say, yes, that’s me), ‘Bloodbuzz Ohio’, and ‘Lemonworld’ is a stunning trifecta of songs and worth the price-tag alone. The frustration comes from Matt Berninger’s voice, which while deeply attractive and listenable does tend to mangle the lyrics into an unintelligible slop so that a song’s never given the opportunity to properly blossom into a classic. But this album grows and grows on you until you just can’t live without it, and perhaps that’s where The National’s true genius lies.
Crystal Castles has now given us their second album and it’s…um…totally friggin’…beautiful. Yes, beautiful. Though I should caution that at times it’s an ugly kind of beauty. As with the duo’s first – and also self-titled – album, there’s the mix of scratchy, screechy snippets of dancey noise (a bit like a jacked-up Sonic Youth trapped in a computer-game shop) and then great big slathers of almost-but-not-quite trance. This time around, however, it all comes together in a more cohesive whole. ‘Celestica’, ‘Year of Silence’ (which samples ‘Inni Mer Syngur Vitleysingur’ by Sigur Ros, revealing the dark soul of those Icelandic noise-niks, which, to my mind, is missing from Jonsi’s solo effort ‘Go’, though the darkness is all over his and his partner Alex Somers’ extraordinary Riceboy Sleeps album) and ‘Vietnam’ make for fantastic listening. For those of an age there’s a fair bit of inspiration from the 90s-era, Rickenbacker-strumming English band Lush in many of these beguiling songs, and that’s no bad thing. As long as the world has artists like Crystal Castles in it, dance music and electronica is in very…dangerous hands indeed. Bugger it, I might just pour myself a glass of champagne, turn out the lights, crank this album up very loud, and dance around the lounge-room like a dervish until the Old Lady of the House and Cat the Ripper give me the evil eye before darting under the bed.
And so we come to LCD Soundsystem, which is the first band in years that have spun my nipples so hard that I’m amazed that I still have a chest. Mixing brilliant, thoughtful beats and the wittiest of lyrics, a gorgeous though not unchallenging pop sensibility, and perfect production, ‘This Is Happening’ is already in my Top Ten Albums of 2010. Like the band’s previous record, ‘Sound of Silver’, the influences are many, though in almost every song I’m reminded of Talking Heads’ ‘Remain in Light’, which just so happens to be in my Top Ten Albums of All Time. Having said that, the stunning, feedback-drenched ‘All I Want’ sounds suspiciously like a mash-up of David Bowie’s ‘Heroes’ and any Strokes song you care to mention, just infinitely better. While it’s true that there aren’t as many highs as on ‘Sound of Silver’, this is a more minimal record, and it’s one that deserves – and rewards – close listening, because there’s more than one devil in the detail here. And it’s all so very, very New York that I almost feel like going out to graffiti something just for the heck of it. Apparently James Murphy, LCD Soundsystem’s key protagonist, has said that this is the last outing for this particular musical incarnation. If this is true, good on him for bowing out while completely on top of his game.
David Malouf in his Sydney Morning Herald article goes on to say the following: One of the opportunities art offers us is simply to stand still for a moment and look, or to sit still and listen; the pleasure of being firmly present while the ego goes absent and our consciousness is fired with something other than ourselves. For some reason, losing ourselves in this way is a form of self-discovery. Going passive and absent energises us, gives us a renewed sense of presence. Whether you want to sit still and be swept away or dance like a complete idiot without a care in the world (I can flit between the two with remarkable ease, I should admit), being fully present in the company of these three albums could make you very happy to be living on this planet in the year 2010.
If you’re interested in reading the full Malouf article, it can be found here.