Tag Archives: author

Maranoa Writer

By Posted in Books, Life, Love, Work by Others, writing Tagged , , , , , , 8 Comments

In the Maranoa I met Billy Dodd, author of ‘Broken Dreams’ (UQP). I met his life. I recount his story to an able-bodied listener, who recoils on hearing how, three days before Billy’s eighteenth birthday, he came to fracture his neck and became quadriplegic. It’s the sort of shiver we feel as we recognise ourselves. As a child I dived into unplumbed streams. It was a normal action, part of the exuberant membership of the mad organism of many limbs without a brain that is a group of boys at play. We dove, we surfaced, we swam, we shouted, we splashed. Everything worked. We never thought on it. 

But here in the singular house of Billy Dodd I do think on it. Alone of the houses in Ann Street in his Maranoa township, Billy’s is not a Queenslander. That is, the structure is not elevated above flood level; it squats, its threshold at street level, hospitable to a wheelchair. Billy is glad for my visit. Although he is the town’s literary celebrity the rhythms of his life are slow. His partner is devoted and admiring, her child attentive and respectful, but the days are many, the years long.

‘How old are you now, Billy?’

‘Thirty three.’ A smile moves across his face. His chest plays its rise and fall. Nothing else of him moves.

That’s fifteen years. Fifteen years to look back, so very many to look ahead.
From across the street Billy’s house looks small. From the corner of the parlour where he reclines in his motorised conveyance the quiet rooms yawn. The spaces feel too large.
‘I’ve started to write another book.’

‘Good on you, Billy. What’s it about?’

‘About my father, my family.’

‘How’s it going?’

‘Well, I’m taking a bit of a break…’
We talk about his family, about his father’s example, his standards. Billy’s admiration outlives the old man, who never reached oldness.
Billy’s partner speaks, ‘Tell him what else you create, Billy. The paintings.’ She fetches some paintings, done by mouth, like all of Billy’s acts and works. After only a few weeks the paintings do not stand clearly in memory.
‘A cup of tea?’ The lady – Billy’s wife, as I discover – smiles her offer. ‘No thanks, no. I’m on duty, just sneaked out of the hospital, due back now. But thanks…’

Awkward, uncomfortably conscious of advantage, of my spontaneous mobility, I feel some need to redeem the situation, to rescue the moment. I speak: ’ Where can I find a copy of your book, Billy?’

‘Take this one there, on the table, it belongs to the school across the road.’
I take the school’s copy and I take my leave, running away from Billy’s empty spaces. I liked him, I liked the woman and the child. Perhaps that’s why I ran.
I read the book that evening. A short book, written in unvarnished narrative fashion, a book of real energy, written with drive. The voice is young, it speaks of family and friends, of ordinary wildness. In his retrospect Billy marvels quietly at his own transmogrification, shedding few tears. The energy of the telling contrasts with the slowness of our meeting.
And yet there was energy in the house: the child, proud of his painter-writer-stepfather, loves him. The woman, large and kind, ordinary, extraordinary, loves him too.

The lack was my own. I alone felt heaviness, defeat.

Blogging On

By Posted in Carrots and Jaffas, Family, Life, Opinion Tagged , , , , , , , , 9 Comments

I wrote a post a few days ago expecting it to pass with a yawn. That it did not is a surprise. That it might matter is an astonishment. That I’ll persist is the fault of the addressees below:

Dear palmerglassbox,

I am gratified to bring a ray of sunshine twice a week, but I am concerned about the other five sunless days. Please ask your doc to measure your vitamin D levels.

Dear Lionel Lubitz,
I like the idea of opening you (plural) up. It is ages since I performed a laparotomy. Thank you for your unhyperbole and for the teasing notion that the blog can annoy you (again plural). Someone’s taking notice.

Dear Susanne at Bilingual Options,
Your response delights me because you delight in the stories that delight me most, those about family. As one very familiar with the grandrats (Susanne is the model for the speech therapist in Carrots and Jaffas, and my twin grandsons were her patients), you know well their suicidal energies. And as for wordpress, it conquers even the mightiest intellect. Only my daughter can be its blogmeistress, and that by virtue of her power of persistence (in her childhood, read ‘stubbornness’.)

Welcome kaisywmills, who like Janus, has two faces, one feminine, the second bearded.

Claire McAlpine, bloggist and book critic, says blog on. Same to you, Claire, and more so. Your blog and your reviews bring good books to our attention.

Thank you Sulfen for what I take to be encouragement. It is no chore to write, the contrary in fact; my fear is creating a chore for the reader.

And Kerryn, who wrote so thoughtfully: Kerryn, when you encourage me to tell stories, you give my inner minstrel voice to sing. And your suggestion for a story about the bloke in my wedding photo is irresistible. (Watch this space.) Further, if, dear Kerryn you were born on New Year’s Eve about 35 years ago, you might have been delivered by me; and in that case you have met that man, you knew that face: he is my forever friend, my former partner in the medical practice you attended in childhood.

And dear Louis De Vries – the publisher all writers dream of and none can deserve – we know where the readers are: they are all reading on tablets, which were invented to bankrupt you, to frustrate me and to allow people to read in the dunny.

Dear Miriam Abud,
How delightful to find you finding me in this way. Suddenly the invention of the computer is justified, the existence of the internet worthwhile. The thought of anyone settling down to half a dozen of my writings thrills and amazes me. That it is YOU fills me with smiles of pleasure. I’ll keep going. And I think the radio would bring out all that is boring and pompous and opinionated in me. But if it would sell books…

And you, Helen, in urging more poetry you open a mare’s nest, a can of sperms, and a mix of metaphors. My own verse is largely limited to medical referral letters where, because they are confidential and hence unpublishable, the verse does least harm. On the odd occasion I post the verse of true poets, women – generally young undergraduates – drool and swoon, a pleasant surprise for an old gent. I suspect poetry drives many men away.

Hello, misssophiablog, welcome to this blog. I am impressed that yours has a FAQ section. Golly. When I need fashion advice I’ll turn to you, Courtney.

Hello Spot, your remark, ‘in the outback you give us another window on the world’ is unexpected and brings the sudden thought that a casual smartarse blogger might actually be some sort of postman to another person waiting for a letter, any letter. Suddenly, all this might be serious. Or significant. Thank you and golly!

Hello dear Faye Colls,
No writer could ever earn your unwavering loyalty. You are a warm and kindly spirit. Fair dinkum.

Dear Dear Bruce,
In your steadfast attention to my musings you create a blog of your own, revealing a soldier of the law who defended the weak to his own cost. You show us your wounds of honour, your human vulnerability. In all your humility you lift us up.

Dear Hilary Custance Green,
As well as having the very most remarkable and unforgettable and rhymable name an author or a blogger could desire, you write most thoughtfully and I should say, faithfully. Everyone should read your new novel, which I will buy in the UK in January – despite Amazon’s best efforts to sabotage you – and which I’ll review in this blog. Please ensure Foyles stocks the book.
I have just received your remarkable (and generous) review of Carrots and Jaffas. You have expressed my purposes so adroitly and divined my approach so comprehensively, you’ve actually deepened my understanding of my own book. Thank you, quite humbly, HCG. (in my trade hcg is the acronym for human chorionic gonadotrophin, which is the substance in a woman’s urine that tells her she’s pregnant when she pees onto a stick. You have elevated HCG to a more refined level.)

Dear Nick Miller,
Like you I find myself thwarted by wordpress. I’m all the gratefuller for your close attention to the blog, as to all of my writing. Carrots and Jaffas would have been a much poorer book without your criticisms.

Gerard Oosterman, hello, and thank you for commenting. Your own blog is masterly and you seem to have conquered wordpress. Bravo! (note to readers – chase up gerard’s blog: it’s a ripper!)

Dear I L Wolf, dear Margot Mann (in fact, beloved MCM), dear Glitchy Mind, dear Claire Word by Word, dear the chattyrachel, dear M. Talmage Moorhead (a name to rival Hilary’s), dear mannyrutinel, dear amandalyle, dear fictionistasan (intriguing monniker), dear M. Funk l PHOTOGRAPHY, dear Greg Mercer, MSN, dear jackiewilson, dear bluchickenninja – you all liked a blogpost that ran the risk of becoming a fishing expedition for compliments. You forgave me and you wrote. Thank you all.

And dear DovTheRov, you make me larrf, Thank you for the encouragement. You write a mean weekly newsletter. How many rabbis can make a minyan smile?

In Hebrew we have an expression: “acharon, acharon chaviv” – last mentioned, most beloved. Thank you Rachel, thank you, thank you.

Yours, twice weekly, I’m afraid.

Blog Wail

By Posted in Books, Life, Literature, Medical, Opinion, Work by Others Tagged , , , , , , , , , 3 Comments

A week or so ago this blog wailed about the darkness of the news, the darkness at the heart of man. Two readers responded.
One referred to my wailing as my de profundis, an expression I’d seen bobbing along on the high cultural current over my decades, passing by unpassed. Now it came to me: from the depths. That rang a bell: David, warrior poet, king of ancient Israel, wrote a psalm,
min ha’ma’amakim, From the depths I called…’

Well, two answered my call.

From England, author, bloggish fruitcake maker and novelist Hilary Custance Green is writing her account of her father, a POW in the same camp as Weary Dunlop. He was
one of many untrained medical orderlies who worked in the camp under Canadian surgeon Jacob Markovitz. She writes: “I used to weep continuously as I read these accounts, but I found a dreadful tendency to habituate to the misery and cruelty…”

Robert Hillman, Australian novelist and ghostwriter of lives in ghastly times and climes, sent an antidote:

“Dear Howard – I’ve read your De Frofundis, and your blog about the Richard Flanagan book. I’ll get that book, most certainly, after all you had to say about it. The De Profundis was wonderful in its sincerity, Howard. It’s what all of (us) want to say. But you actually said it. And yet, you know, thank God that there are people of courage and grace in the world who also have a say. I’ve just finished writing a book (‘The Wailing Song’) for a guy who served – most reluctantly – in the Iranian armed forces in the last two years of the Iran-Iraq war. A situation arose when his most senior officer made a mistake, failing to issue an order to 2500 men under his command to withdraw to a ceasefire position in the face of an Iraqi advance. My guy knew of the mistake, and after awful soul-searching, decided to issue the order himself. If he had not, those 2500 men would have been massacred by the vastly superior Iraqi force. Usurping the authority of a Colonel when you are no more than a humble corporal will almost certainly get you court-martialed and hanged in the Iranian army. My guy accepted that he would be hanged, but went ahead and issued the order anyway – he was circumstantially in a position to do so, without having his authority questioned. The men were saved, my guy wasn’t hanged, due to the difficulty the Colonel would have had in explaining his blunder. Its one of those existential situations, a moment of truth, when all that you hope about yourself and believe about yourself is suddenly up for testing: do you have the courage to die at the end of noose in order to save others? Will your life have any meaning if you find a way to duck out? It must be like being thrust into an arena, a bright light directed at you. Here’s your chance. Yes or no?”

I know that moment of moral choice. I know it from reading with growing dread Conrad’s Lord Jim. I read it in the dread of self-knowledge that I would not rise to that challenge. However, since the start of my sixth decade I have imagined that I might.
(Free advice: read ‘Joyful’, which I enthused over in this blog half a year ago. Hillman writes in his own and in many voices of those who struggle in these depths and of some who rise in them).

On the Passing of a Great Writer

By Posted in Books, Life, Literature Tagged , , , , , , , , , , 2 Comments

At the time of writing this, I have read scores of tributes to Gabriel Garcia Marquez, all of them as tweets. In other words, I have read nothing so far in mature media, (an expression that identifies me as a culturally bewildered old fart).

Great writers will have their say in traditional media.
Thus far the twitterers. Now me.

I was intrigued as I read these tweets. They poured, a growing stream of tributes, pausing at intervals, I suppose, to gather electronic breath, then flowing again. The process seemed as alive, as dynamic, as the flowing of a swift rivulet that paused on reaching rocks, only to cascade over and around them and plunge downstream in a Gabriel Garcia Marquezswelling spate. I felt excited by the energy I witnessed. I felt I heard the whisperings of legion one-hundred-and-thirty-character authors, everyone of them sounding forty years younger, forty years more at home here than I. Their twittering grew and grew to a chorus.
The energy was mildly thrilling as it gathered strength. It could frighten me if (forget “if”; think ‘\’when!”) it becomes a mob. I remember, too well I remember the cries at Cronulla; the cries of the mob as Dreyfus is cashiered (“Death to the Jew!”).
But I digress. Or do I digress? Only if the medium is not the message.

And what did I hear, what sense as the tweeting reached crescendo?
I heard love. I heard grateful appreciation. Marquez became a beloved writer. And his writing was the antithesis of the tweet. Substantial, considered, it paced itself with the uneven gait of the human.

I was impressed by the way tweeters reached for language worthy. None found his writing “awesome”; no-one said Marquez was “amazing”. No-one buried him in dead language.
Instead they offered back beloved lines. I record the four most quoted in ascending order of popularity:

Fourth: The only regret I will have in dying is if it is not for love.

Third: Nothing in this world was more difficult than love.

Second: Nobody deserves your tears, but whoever deserves them will never make you cry.

First: What matters in life is not what happens to you but what your remember and how you remember it.

Of these the first three are switches planted onto the pages of Marquez’ writing that light up a remembered feeling, an emotion recognised by the grateful reader.
The lines on memory appear more elusive than allusive. Subtle, demanding a pause, requiring meditation, the memory quote speaks to all who are mortal of what might remain, of the immortal.

What is my own response to Garcia Marquez’ writing? People call it magic realism. I recognise something older. I hear the thrust of story in the bud, bursting into flower. I hear the pulsing of the “Thousand Nights and One Night”. I hear storytelling.

 

Robert Hillman’s ‘Gurrumul’ – Review by Howard Goldenberg

By Posted in Books, Family, First Australians, Life, Literature, Opinion, Work by Others Tagged , , , , , , , , , , Leave a comment
Gurrumul by Robert Hillman Publisher: ABC Books

Gurrumul by Robert Hillman
Publisher: ABC Books

If autobiography is the least reliable genre in fiction then the authorized Life sits at its flakiest edge. That this is not true of Hillman’s “Gurrumul” is on account of the slipperiness of the subject.

Geoffrey Gurrumul Yunipingu emerges as shy, remote, elusive, cryptic, mischievous – an outer island in an archipelago of tongues. He does not so much emerge as submerge himself. Blind from birth, Gurrumul seems at times to be mute by choice. At others he makes himself perfectly clear to a whitefella, especially when working with his intimate collaborator, Michael Hohnen.

By book’s end Gurrumul remains hidden; only his music and the beauty of his features – a beauty we can enjoy and he can never perceive – speak to us.

No biographer could truly represent this life, (nor for that matter could he successfully misrepresent it). Wisely, Hillman does not attempt either. Instead he places the artist in his context. Chiefly that context is the complex of family (especially his bevy of aunties), community, land and Dreaming: in short, culture.

“Culture”, a term used promiscuously in conversations between the races, embodies meanings that are layered and expressed in dance, in music, in painting, in song, in storytelling and in land husbandry. The meanings are traditionally expressed obliquely, which is to say they are in part obscured. What Gurrumul does with these enfolded meanings appears to be a risky enterprise of his own, with calibrated departures from liturgical norms, a sort of jazz move in which he improvises within a theme and extends it beyond the limits of permitted custom.

Such a variation on a theme must be perceptible only to a tiny number of the millions who respond to Gurrumul’s music making. In this sense it is a secret, yet another, in  practice that skates ever along the outer edge of theunshareable.

When Gurrumul sings, whitefellas listen, enthralled. Literally, we are in a thrall, under a spell cast upon us by the spellbinding singer. We scarcely hear the words, we cannot parse them; and when we read their translations in Hillman’s book, the words in English are so simple as to appear banal: a profoundly false impression. And yet, and yet, we are transported. If beauty be truth, then truth is shown to us precisely as it is withheld. The subtlety of all this magic is clearly rendered in Hillman’s book.

To those who have read “My Life as a Traitor” and “The Rugmaker of Mazr a Sharif”, Hillman’s skill in rendering an alien culture will be familiar. It is in his later work, “The Honey Thief”, that Hillman manages to capture the artist in the act of working his art, in this case the sublime art of the Afghan (Azari) storyteller.

In the present volume Hillman attempts the extremely ambitious exegesis of the utterly untranslatable term, “Dreaming.” He succeeds, in this reader’s view, brilliantly. In twenty five years and over sixty working visits to remote Aboriginal communities, I have never felt I came so close to apprehending (I doubt any whitefella will ever comprehend) the Dreaming, as in Hillman’s “Gurrumul, his life and music.”

Hillman has succeeded remarkably in penetrating the life of art and ceremony (the two amount to much the same thing) on Elcho Island. Seven years ago while I worked on Elcho ceremony was active but off limits for whitefellas. Clearly Robert Hillman won the trust of capable cultural brokers on the island, who ‘let him in’ wherever this was permissible. In return, Hillman repays trust with respect that neither fawns nor condescends. In this his text avoids the vapid tone of comments on the book’s photographs.

Which leads me to the one regret I have about the book, a quibble perhaps, but an important one. In an important sense Hillman’s publisher subverts the author’s enterprise, which is to render in words an art that is ineffable. It is the format of the handsome volume that works against the writing. You look at the book, you find the cover images arresting – and to one familiar with the singing – quite new. The book itself cannot be held in the hand and read: it is biography in a coffee table format. You open the book, you start to read and you find yourself distracted repeatedly from the text by beguiling photographs which tell their own story quite compellingly, but quite out of sync with Hillman’s theme at any point.

Better justice might have been done to both text and photos by physically separating them.

In the end the book succeeds to a remarkable degree. Importantly, it demonstrates how, as whitefellas embrace Aboriginal culture, Australia is becoming more Australian.

Hillman’s book is bound to succeed beyond these shores as Gurrumul’s audiences around the world drink deeply in their thirst for some understanding of his life and his music.