New Chair in Australian Literature at UWA

I should think the former Prime Minister will be spitting chips that the new government is smoothly taking the credit for the new Chair in Australian Literature, rumours of which began blowing in the wind in the second half of last year after a campaign waged mainly in The Australian about the perceived decline in Australian studies, particularly Australian literature, in universities. If I have understood the sequence of events correctly, this all started with John Howard's nationalist agenda and now the Rudd/Gillard team has scooped it up and run with it. Neat.

Much talk about the 'death of Australian literature' was generated and much was made, during this campaign, of the fact that with the retirement of Professor Peter Pierce from his chair at James Cook University, Australia was left with 'only one' dedicated Chair of Australian Literature, as though there had once been many such Chairs but the numbers had been steadily dropping off for years, as with an endangered species. Those in the field, however, knew that until the original appointment of Professor Pierce, there had only ever been one to begin with: the Chair of Australian Literature at the University of Sydney, formerly held by Professors Leonie Kramer, GA Wilkes and the redoubtable Elizabeth Webby, and currently by Robert Dixon.

In fact, Australian Literature is a relatively new discipline, established in universities only tentatively in the late 1960s, by the stalwart likes of Vincent Buckley and Chris Wallace-Crabbe at the University of Melbourne and Brian Elliott at the University of Adelaide, after years of sneering resistance by the exiled English or Australian Anglophile academics who dominated Australian university English departments at the time, clutching their well-thumbed copies of Leavis and Lawrence. ("Aw-stralian Littah-rachoor? That's an oxymoron, haw haw.") The Association for the Study of Australian Literature -- still going strong, I'm glad to say -- wasn't even founded until 1978; before that there hadn't really been enough people teaching it to justify the establishment of a professional body.

Australian universities were invited to compete for the establishment of this new Chair and a number of proposals were submitted, but the University of Western Australia was the unanimous choice.

Barbara Jefferis Award, continued; Aust Lit; the lives of animals; various other stuff

The Barbara Jefferis Award, discussed in the post before last in the context of a rave about Michelle de Kretser's The Lost Dog, was in the event won by poet Rhyll McMaster for her first novel Feather Man. Which is indeed a fine book, as I've said at some length already here, and which certainly addresses, directly and on a literal level, the empowerment of girls and women.

But.

I don't know, maybe Michelle is one of those writers, like Elliot Perlman, whose work violently divides those who read it. (Perlman, whose very very long and very very detailed novel Seven Types of Ambiguity was treated to an absolute stinker of a review by Peter Craven of the kind Craven had hitherto reserved for Simon During's book about Patrick White, is regarded -- mainly on the strength of this novel -- by the French in particular not only as a very important Australian writer but as a very important writer, period. Other critical responses were dotted all along the spectrum between these two positions. Perlman's book has a dog in it, too; his name is Empson, which is one of the things that enraged Craven.)

Or maybe people think if there's an animal in the title it can't be a serious book. If so, this is sad, for there is a time-honoured and honourable tradition in Australian literature of writing about animals and putting them in your title. A quick trawl through the colourful history of the Australian short story yields the following by-no-means-exhaustive list of titles: 'The Dog', 'The Cow', 'The Bull Calf', 'The Jackass', 'The Dingo', 'The Donkey', 'The Ant-Lion', 'The Galah', 'The Pelican', 'The Seahawk', Tell Us About the Turkey, Jo', 'The White Turkey', 'The Grey Kangaroo', 'The Grey Horse', 'The Black Mare', 'Wild Red Horses', 'The Red Bullock', 'The Red 'Roo', 'The Rainbow Bird', 'The Powerful Owl', 'Singing Birds', 'The Woodpecker Toy Fact', 'The Three-Legged Bitch', 'The Loaded Dog', 'The New Australian Dog', 'Thylacine', 'Serpents', 'Snakes', 'A Snake Down Under', 'The Turtles' Graveyard', 'Goldfish', 'The Mullet', 'The Snoring Cod', 'Getting to the Pig', 'The Woman Who Wasn't Allowed to Keep Cats', 'My Bird', 'His Dog', 'Hawkins's Pigs', 'John Gilbert's Dog', and 'Nobody's Kelpie'.

Perhaps some people may think The Lost Dog "about" (and only about) a dog, and "therefore" can't be Art. Perhaps some people may have forgotten the extraordinary power of the animal symbolism in the work some of the 20th century's great writers -- Lawrence's foxes and horses, Woolf's spaniel, Hemingway's bulls and fish, Les Murray's magical animal poems, Coetzee's dogs and frogs and other critters of all kinds and the absolutely deadly serious life philosophy behind his representations of animals and our relations with them.

For we are lucky enough to have in Australia not just one but two truly great thinkers and writers who can elevate these matters to a place where no intelligent reader can ignore the dilemmas they represent even with respect to that most alien of creatures, the bat: Coetzee as a man who fearlessly follows a trail of logic with no failure of nerve and arrives at a radical point of understanding, Murray from a point of view profoundly spiritual, a conception of being and presence arrived at via Catholicism, observation and imagination all at once. Here is Coetzee's tough nut (an old bat, even) Elizabeth Costello, in full flight, on bats and being:

What is it like to be a bat? Before we can answer such a question, [philosopher Thomas] Nagel suggests, we need to be able to experience bat life through the sense modalities of a bat. But he is wrong; or at least he is sending us down a false trail. To be a living bat is to be full of being; being fully a bat is like being fully human, which is also to be full of being. Bat being in the first case, human being in the second, maybe; but those are secondary considerations. To be full of being is to live as a body-soul. One name for the experience of full being is joy.

Now if one were not aware that Les Murray had written 'Presence: Translations From the Natural World' some years earlier than this, his bat-poem would seem for all the world like a direct response, or amplification, of it, as though in conversation with Coetzee which for all I know he has been, in fact it seems very likely. I wish I'd been there.

Bats' Ultrasound

Sleeping-bagged in a duplex wing
with fleas, in rock-cleft or building
radar bats are darkness in miniature,
their whole face one tufty crinkled ear
with weak eyes, fine teeth bared to sing.

Few are vampires. None flit through the mirror.
Where they flutter at evening's a queer
tonal hunting zone above highest C.
Insect prey at the peak of our hearing
drone re to their detailing tee:

ah, eyrie-ire, aero hour, eh?
O'er our ur-area (our era aye
ere your raw row) we air our array,
err, yaw, row wry -- aura our orrery,
our eerie ü our ray, our arrow.

A rare ear, our aery Yahweh.

Cross-posted at Pavlov's Cat

Carn Michelle

I see from the current Sydney PEN newsletter that Michelle de Kretser's novel The Lost Dog has been shortlisted for the inaugural Barbara Jefferis Award, and the winner will be announced tomorrow.

(This is the prize that caused such a fuss last year when first announced, mainly because it's for women writers only. [UPDATE: My bad, my very bad, for this is completely wrong: it is open to novelists of either or indeed any sex whose book represents women and girls in a positive light; see comments thread.] Oh noes! What about Teh Menz Liberation, huh? Huh? Etc.)

As you can see if you read the link, this is a very handsome prize. Quite apart from the $35,000, there is the warm glow of winning an award named in honour and memory of a woman who contributed so much for so long to Australian literature -- and associated also with her husband John Hinde, long-standing and much-loved ABC film critic, whose will provided for the establishment of the award in his wife's name.

Peace and all to the current Miles Franklin judges, some of whom are mates of mine, but it's a matter of absolute gobsmackedness to me that The Lost Dog didn't even make the longlist for the 2008 Miles F award. It fits the award's criteria (which de Kretser's previous novel, The Hamilton Case, did not), and it's one of the best Australian novels I've read not just over the last year but for a very long time. I've got nothing against the other books that made the Miles F longlist; I just think The Lost Dog is better than most if not all of them -- for all kinds of reasons, but mostly, I think, for its delicate balance of intellectual sophistication and genuine, intense, beautifully realised feeling. That, and the fact that by about three pages in you find yourself thinking 'Oh my, this book was written by a grown-up.'

This is the review of it that I wrote last year for the Sydney Morning Herald:

The Lost Dog
By Michelle de Kretser
Allen & Unwin, 364 pp, $35 (hb)

Tom Loxley is on a kind of rural retreat when his beloved dog goes missing in the bush. Over the course of the story his search for the dog is interspersed with episodes of back-story: the story of his early childhood in India, his cramped teenage years in Australia, his unlucky and thwarted parents, and most of all his strange, tender relationship with the mysterious Nelly Zhang.

Tom is an academic working on a book about Henry James; he has anchored his racially complicated heritage in English literature. This novel is haunted by James in all kinds of ways, not least by a preoccupation with the idea of haunting itself, as well by the idea of yearning. On the surface Tom’s yearning is for the lost dog, and for the beloved who refuses to become a lover, but these things are situational and remediable; what can’t be changed is Tom’s family history and geography, the complex fate of the post-colonial.

This book is so engaging and thought-provoking, and its subject matter so substantial, that the reader notices only in passing how funny it is. At one point Tom goes to ask the neighbour Corrigan to keep an eye out for the dog, whereupon the narrator produces a sentence worthy of Patrick White: ‘When the Australian desire to provide assistance meshed with the Australian dread of appearing unmanly, it produced the bluff menace that was Mick Corrigan’s default setting.’

Michelle de Kretser is one of those rare writers whose work balances substance with style. Her writing is very witty, but it also goes deep, informed at every point by a benign and far-reaching intelligence. She is still winning prizes for her 2003 novel The Hamilton Case and she is certain to win a few more for The Lost Dog. Publishers Allen and Unwin have shown their faith in her by publishing this novel as a beautifully-designed hardback.

But I only had a 320-word space and they're meant to be brief, lively, accessible shorts; if you want a good, serious, insightful, detailed critical response, go and have a read of James Ley's full-length review in the Age. (Whenever I hear someone say 'Oh but Peter Craven is the best critic in the country', I have a little smile to myself, because while there are things about Craven's writing (not his criticism, so much) that I do admire very much, it's quite obvious to me that the best critic in the country is in fact James Ley.)

And just as an added bonus, that beautiful cover and design are courtesy of the lovely and talented Ampersand Duck. What more could any reader possibly want? Here is A. Duck's fabulous post about working on this novel; give yourself time (a cup of coffee, say) to read and savour this lovely detailed post.

Cross-posted at Pavlov's Cat

Back from the Bahamas

The Sistahs have been on holidays, where they bathed, from bathing-machines, in voluminous yet child-sized bathing costumes. It was all very good for their lungs. Getting away from their father didn't hurt, either.

Many questions have been asked in their absence, so let us begin to catch up.



MINDY ASKS:Is it still easier to get published if you write under a male moniker or is the playing field level now?



Charlotte says: There are two parts to this question, and they do not necessarily have anything to do with each other. Of course it is easier for a woman to get published than it was in my day, but then everything is easier than it was in my day, and particularly than it was for me.

Anne explains: We were careful to give ourselves names that did not actually indicate that we were of the stronger sex. 'Currer', 'Ellis' and 'Acton' are not gender-specific names; we were merely counting on people opting for maleness as the default position. If people were silly enough to fall for it then that was hardly our fault. We did not mind hoisting people with their own sexist petard, but we did not wish to lie.

Emily adds: Not like that coward soul George Eliot or that pathetic cheat Mrs Henry Wood or that complete sooky la la Henry Handel Richardson, whom I believe was one of yours. Pffft.

It's all been a terrible mistake

A ground-breaking, nay, earth-shattering new discovery has revealed that the Brontë Sisters were not shy, retiring, tiny, slender, mouse-coloured Irish/Cornish hybrids from Britain's remote and mysterious Deep and Wuthering North at all. No! With the slip of a keystroke, Melbourne's Sunday Age has re-identified them as the Bronti Sisters.

This bombshell has been brought to my attention by the distinguished scholar and blogger Professor Stephanie Trigg of Humanities Researcher, in the course of whose work the discovery was accidentally made.

And in a heartbeat the mind's eye transforms the Sistahs into proud and fiery Italian heroines, statuesque of stance and flashing of glance, raven of lock, pneumatic of bosom, and altogether quite unrecognisable in every way. Reader, I give you the Bronti Sisters: Carlotta, Emilia and Anna.

Literary history will have to be rewritten.

Ouch

Next time you're thinking a book reviewer's lot must be a happy one, if ever you are so foolish as to think such a thing in the first place, bear in mind that as a reviewer one has two choices: one can either (a) say everything that crosses one's desk is just brilliant, or (b) do the job one is being paid for, call things as one sees them, and lay oneself wide open to retaliation from the wounded, angry author.

Particularly if you have a blog with an email address in the profile. Just ask me.

Memo to the negatively reviewed everywhere: in all but a tiny minority of cases, and certainly always in my case, it's not personal. It's about the work. Reject the judgement of reviewers by all means, but pause to reflect that if it were a positive judgement, you'd drink in every word and call it 'feedback'.

Also, as Helen Garner has said more than once about her own work, if you're going to stick your head up above the parapet then you have to expect to get it shot at. Or, as my mum used to say, if you can't stand the heat you should maybe stay out of the kitchen.

Your questions answered

THIRDCAT ASKS: How can it be that you have all the ingredients there: the idea; the motivation; the inspiration; the knowledge that life is short; the external encouragement...and yet, in the small amount of quiet, uninterrupted time you have available you find yourself vacuuming the cutlery drawer because there's just no other way to get that pesky dust out of the corners??


Charlotte says [in the at this point thinly disguised persona of Jane Eyre]:

Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts, as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings or knitting stockings, to playing on the piano and embroidering bags.

This does not, I know, directly address your question, but as it is the most specific thing I am known ever to have said about housework, I thought I should put it in. Emily used to prop up her German grammar before her in the kitchen so that she could study while she made the bread, but in the case of cutlery drawer dust I should think you would need to attend to what you were doing.

Your dilemma as I perceive it is that in taking up the 'vacuum cleaner' (exactly what this may be I find it difficult to say, but the general principle is apparent from its name -- top idea) you are waging war against yourself, an activity with which I am all too familiar.

Once I was happily married, of course, it became, as became me, my first priority to ensure the domestic comfort and happiness of my dear Arthur, as was expected of me and as I expected of myself. But this is no help to you either, is it.

It is my understanding that women in the 21st century are less oppressed than I. But then, everyone is less oppressed than I.

I do not really know how I can help you. Perhaps it is the same kind of problem that people have with computers: labour-saving devices produce in their wake an expectation that you will get more done. Temptation by vacuum cleaner was never a problem at the Parsonage for reasons that one hopes are obvious.

Besides, in the era before electric light, dust in the corners of the cutlery drawers was something one had to go out of one's way to see.


PC adds: Does it surprise you to hear that this is a very common problem? Not down to the specificities of dust and cutlery and so on, but generally. I know a man, and a gay man at that, who says the only time his house is ever clean is when he has an urgent deadline. Displacement activity is an extremely powerful thing, especially where writing is concerned.

I do it a lot and my reasons are legion. They include:

(a) Fear that whatever I have in my head will look like pathetic nonsense once I have actually put it down on the page.

(b) Not being in the Zone (do not underestimate the importance of this and try to ignore how flaky it sounds -- it's a very real problem) and/or not being able to get into the outer Zone from which you can access the inner Zone. The thing about the Brontës, Emily and Charlotte in particular, was that they were in the inner Zone most of the time. I think this had something to do with being half Irish.

What I've learned painfully over many years is that (1) it's bloody hard to get into the Zone when you know you have to snap out of it at five past three, but (2) this is not a reasonable excuse to pick up the vacuum cleaner instead. My experience is that there are two writing modes, dream and slog, and slog is the one most writers spend at least 70% of their time in.

(c) I find writing (not blogging or emailing -- 'writing' as in either 'I might have to still be looking at this in print twenty years from now' or 'I have to figure out a way to develop this idea in exactly the right words and the logical order' or 'I am being paid for this so it has to be as good as I can make it') an intensely painful activity. I am slow, reluctant and fiddly and my words are written in the proverbial bodily fluids, mainly blood. It is much, much easier and less painful to get out the vacuum cleaner and attack the corners of the cutlery drawers with it.

Perhaps you could stick a Post-It on the vacuum cleaner: PUT ME AWAY AT ONCE.

Or you could recall the words of Australian writer Carmel Bird in her book Dear Writer: 'You have the choice of a clean house or a finished story. The choice is yours.'