More than just a flag in the streets

Sydney Cove back when it all started: are they ominous storm-clouds on the horizon or is it an approaching bushfire?

It’s January in Australia and I’m hot and bothered. Hot, because that’s exactly what it is: for weeks now it’s been thirty degrees Celsius in the shade, some days thirty-five. Last Friday went over forty; Sydney, just two hours drive north of me, had its hottest day ever – it breached the forty-five-degree mark. Here at home the chooks have their beaks open and their wings out and hanging low, so I’ve covered their run as much as I can with an old tent-fly – it seems to help, for now. But hot is hot is hot and there’s not much I can do about it. And I can’t do much about the alarming waft of smoke as it comes into town and gets us coughing. Last week there was an automated message left on the landline: ‘Tomorrow’s bushfire conditions are CATASTROPHIC. Activate your bushfire survival plan now.’ I put the sprinkler into the garden and, rather uselessly, turned it on.

All this is enough to make anyone hot and bothered, but it’s not all.

On 26 January there’s Australia Day; yes, it’s come around yet again. So the flags are out and about: they’re being stuck on cars and utes and trucks, they’re hung in shop windows, and they’re sent flapping in front gardens, stating the bleeding obvious, but also as though staking a claim all over again. We do it every year, our national day to commemorate the beginning of British settlement, when Governor Phillip landed at Sydney Cove in 1788. I was born and bred here, my forebears arriving by boat only a handful of years after that adventurous governor. Despite this ancestral longevity, however, and whatever blood I have in my veins, and all my thinking on the topic, I don’t really know this nation of mine; as I age I’m understanding it less and less. So, this summer, this dreadful, pressure-cooked summer, I’ve turned to our writers for assistance, for succour even, because their imagination, observation and skilful way with words are surely better than simply hanging out a flag.

Keep reading at Overland.  Thanks to Jeff Sparrow and Jacinda Woodhead.

Ten books that have completely and utterly moved me, and what they have in common

Ten books that have completely and utterly moved me to the core so that even now, when I look at the titles below, something reacts in my heart:

• Disgrace by JM Coetzee
• Holding The Man by Timothy Conigrove
• The Blackwater Lightship by Colm Toibin
• Brokeback Mountain by Annie Proulx
• In Cold Blood by Truman Capote
• The Riders by Tim Winton
• Last Orders by Graham Swift
• Eminence by Morris West
• The Remains of the Day by Kazuo Ishigo
• The Curious Incident of the Dog in the Night-Time by Mark Haddon

Twenty-three things these books have in common (and I’ve been thinking about this for ages, years really, and for a long long time I had this list up on my wall and I’d add to it and take things off until now I think it might actually mean something):

1. They’re all late twentieth-century literature
2. They’re all set in relatively contemporary times (i.e. 1980s and beyond), except, perhaps, Brokeback Mountain, In Cold Blood, The Remains of the Day
3. The main characters are all men, except those in The Blackwater Lightship
4. They’re all written by men, except Brokeback Mountain
5. They’re all about men, even The Blackwater Lightship in a roundabout way
6. The writers are all Caucasian, except Kazuo Ishigo
7. They’re all fiction, except In Cold Blood and Holding the Man
8. They’re all set in the Western World
9. They’re all dramas
10. Only one of them is gay-lit per se: Holding the Man
11. Most of the main characters have clear occupations: academic, schoolboy, cowboy, butler, priest
12. They all understand their political context
13. They all ask questions about nationhood, except The Curious Incident of the Dog in the Night-time
14. The passage and complexity of time is very important to them
15. Family – in the broadest sense – is at their heart
16. They all have strong senses of place
17. Apart from Brokeback Mountain, they’re all single point-of-view narratives – simple
18. They’re also all relatively straight-forward in terms of structure, but they lead the reader into tough and dark terrain: murder, mental illness, racism, religion, homophobia, right-wing ideologies, death, grief, the weight of history…but there’s also a whole lot of love
19. They’re all driven by clear ‘what ifs’ e.g. Eminence: what if the Pope-in-waiting was in fact an atheist
20. The prose is accessible, sometimes understated, but always beautiful
21. The writers appear to be burning to find something out through the writing of their works
22. There’s an overt sense of warmth and humanity – this is their true power
23. My life would be less without them