A Long Way from Home - Peter Carey

A Long Way From Home is a novel that takes the reader a long way from any comfort zone. It is challenging in many ways and perhaps it is only a determined reader armed with perseverance who will unearth its depths of experience.

The basics are easy. We are in Australia in the 1950s, specifically in Bacchus March, a small town in Victoria, which is specifically and perhaps crucially not an urban environment. We meet Mrs Irene Bobs, married to Titch, and we encounter a range of the foibles that afflict families for good or ill wherever families might be. We also meet the unlikely character of Bachhuber, with professed German ancestry. He comes with an extra special mix of family foibles.

The early part of the book can be opaque. Switching between different points of view, but without major stylistic clues, the lives of people in Bacchus March and those of their parents and ancestors elsewhere emerge out of the mists of gossip, history and half-truth. There is a strong sense of competition, of doing business, of eking every morsel of value out of everything that might be tradable. There is discussion about how to establish a dealership for the cars that are becoming a way of life for expel who previously might not have considered owning one. There is certainly money to be made, but how?

Somehow a plan emerges that entails participation in the Redex Trial, a round Australia trip that will be covered by press and watched my eager spectators along the route. It's a route, however, that passes through many underpopulated areas, the crossing of which present challenges to the participants. We follow the Bobs and Mr Bachhuber in their progress through the rally and, it might be said, the book only really takes off once the race - sorry, it's not a race - starts.

Eventually, we see the aftermath of a successful campaign as the rally car and its occupants complete a continental circle down the west coast and back to Victoria. Along the way, we encounter past and present of the characters' and the nation's identity.

Central to this novel is an interplay between identity and power. A prime theme is the reality of life as experienced by Australia's indigenous people and the origins of that reality in the colonial past. This history has engendered learned behaviour as well as legal and cultural practices that seem to offer a self-justifying order to life. Things are that way because things are that way. Don't argue. But what happens when someone does argue, or does break a mould?

Bachhuber goes along for the ride with the Bobs, initially as navigator. But it is not long before we learn that his ability to get them to a place does not imply that he might be accepted when he arrives there. Despite his professed German heritage, he turns out to be black, or half black, or half white, or whatever fraction a prejudiced observer might want to ascribe. It means he can't buy a beer in bar and can't mix with those he encounters. Along the route, Bachhuber finds the reality of his parentage and leans that the German roots go only as deep as his father might have planted them.

But amidst this search through a nation's past, there are other relationships of exploitation and power, not least those between the sexes. Titch Bobs does not survive the exigencies of the rally for too long and Irene takes over the driving. She wears overalls, dresses like a man, and receives comments and treatment that identify the reduced status of her sex.

But she is a very good driver and does well in the race that is not a race. She does well in meeting all challenges, mechanical, psychological and personal that the race presents. Her relation with Bachhuber, who continues along the road with her after Titch temporarily disappears from the scene, develops, but it's greatest product seems to be the rising jealousy of her husband, whose ownership seems to be in question.

Thus, we have multi-layered aspects of exploitation based on race, sex and not least generation. None of these is resolvable, of course, but it is the relation between Australia's present and past that appears to be the one that can be changed. The experience, however, in A Long Way From Home remains somewhat opaque. Nothing is ever clear because everything is filtered through the confusion of each character's point of view, and this is always changing, perhaps even negotiable. The result is thoroughly moving, but the circular trip is less than continental and the journey is less than life-changing.

The Narrow Road to the Deep North by Richard Flanagan

The Narrow Road to the Deep North by Richard Flanagan won the Booker prize for 2014, an award that was probably deserved. Much has been made of the author’s a relationship with his father, who was a prisoner of war in southeast Asia when the Japanese were building their railroad to the north using forced labor. Approaching the book as a tale of this war time experience would be a mistake, however. The personal experience of the 1940s is most certainly there, but it is by no means the totality of the book.

On the contrary, The Narrow Road to the Deep North presents several lives in all their contemporary complexity. The style is varied, sometimes disturbingly disconnected.  Often there are short sentences delivered like punches, and then long passages that seem to meditate around the perimeters of their interest, perhaps without seeming to engage in content. But don't take any of this as criticism (except, of course, in the literary sense): it's merely an attempt at observation and description. When a reader approaches a book, it's often useful to know what not to expect.

A character who remain central to the novel is an individual called Dorrigo Evans. We follow his life, his loves and, to some extent, his profession. Married to Ella, he loves Amy. And, for Dorrigo Evans, it seems that however fleeting the thought, however inconsequential the encounter, it is destined to be remembered, to be recorded and then recalled when least considered, if, and only if, Dorrigo Evans chooses to do so. Thus, life seems to aggregate around these characters to create a shell of allusion, association and chance, mixed with a fixer of self.

The wartime experiences are indeed central, however. They are not a blow-by-blow account of conflict, nor of the confinement which ensues after capture. There is something of the day-to-day suffering via forced labor and deprivation that these men suffered, some in the extreme, but more important is the continual challenge of survival, the daily challenge of reaching tomorrow. How these men cope with their privatization is central to Richard Flanagan's approach. And by the end of their captivity, everyone involved remains forever changed, forever scarred by the experience. Except for the legion who died, of course, for perhaps they were by then beyond suffering.

It's not a one-sided account, by the way. Richard Flanagan attempts to enter the minds of the captors, the Japanese soldiers who are responsible for creating the conditions that impose suffering on the captives. The attempt is not totally convincing, but the story of the Korean guard, conscripted to do Japan's dirty work, with the same level of choice as the captives he helps to torture and who is eventually tried for war crimes, is one of the most successful, powerful and memorable aspects of her book. And then there is the amputation episode… Realism rears its features here, and they are vivid.

The Narrow Road to the Deep North is not a novel that can be reviewed easily. It is complex, involved, subtle and involving. These are characters – particularly Dorrigo Evans – who seem utterly credible. We are interested in their lives, because they make mistakes, imagine themselves in the wrong while doing something right. This makes them as vulnerable as the real people they never quite become. But they get do on with it. The Narrow Road to the Deep North by Richard Flanagan is a beautiful book.

30 Days In Sydney by Peter Carey

Peter Carey’s 30 Days In Sydney claims to present a wildly distorted account of a writer’s return to a city he knows well. After ten years in New York, the author spends a month in the city he left behind and he records the experience. It’s not at all distorted, except interestingly via an essential personal perspective. It’s more than a travelogue, less than a memoir, certainly not a guidebook. The form is intriguing. It could pass as a commonplace book, the merely fleshed out notes of an individual’s visit to his own past. And the form works well. The idea, it seems, is to communicate a feel for a place.

The result is a collected experience where the personal rubs shoulders with the historical, where memory meets geography, where the past is partly lived again through recollection and the lives of others who themselves have moved on. And all of this takes place in less than sixty thousand words. Peter Carey’s aim of using the ancient elements, fire, air, earth and water, as a thread to bind his impressions, however, simply does not work. The idea appears and then seems to be forgotten for some time. The earth is surely special in Australia, quite unlike anywhere else. 

And water is everywhere in Sydney, whose harbour is surely one of the world’s most beautiful places. Fire certainly formed – and continues to form – this landscape: no Australian needs to be reminded of this. Air, however, did not seem to have its own angle, apart form the author having arrived by plane. Looking back now, perhaps the thread was there, despite the fact that at the time it seemed something of a complication.

Themes apart, 30 Days In Sydney is a delightful read because of the characters that Peter Carey meets, depicts and describes, both the living and the dead, the contemporary and the historical. The mix is unique. The rawness is abrasive, but the sophistication alongside is always breathtaking. Sydney is the kind of city where multiple cultures coexist. In that it is not unique. But it is also the largest city of a nation that has recently rediscovered an aboriginal identity that is being apologetically sanctified. It’s a city where the bar at the opera probably has a poker machine.

In Manly, the multi-class seaside suburb, a beautiful person with headphones and roller blades can flash past the open door of an amusement arcade while the police swing band, live in the open air, all in uniform and wearing shades, plays a Glen Miller selection. It’s a place where you can be pushed off the sidewalk by a redneck right outside the most utterly twee of art galleries. Such contrasts are all there in Peter Carey’s book.

The Dead Heart by Douglas Kennedy

We first meet Nick Hawthorne in a Darwin bar. As a stripper offers contorted perspectives on what Australia has to offer, our hero from Maine meets a fellow countryman from Detroit intent on doing to Asia what America does to most places. (Personal opinions, eh?) Nick has some of those. He has a personal approach to life, but feels he gets little out of it, despite having achieved the status of being the first person principal character of Douglas Kennedy’s novel The Dead Heart.

Nick is a journalist who has only ever had bit jobs. They interested him bit, earned him a bit, stimulated somewhat less. Then he found a map of Australia and became so obsessed with the continent’s emptiness that he sold up and left the US to discover the unknown, to visit the unvisited. He is less than impressed with Darwin. It’s not a good start. But a VW camper van bought from a Jesus freak promises a great escape along the road to Broome. Not round the corner…

A hitcher called Angie provides welcome diversion from the repetition of the road. She seems easy-going, not to mention easy, and a little threatening. She is travelling for the first time, but exudes confidence. Nick, however, retains control. Or so he thinks… Until he finds himself in Wollanup. It’s a town whose recent tragic history has removed it from the map. Nick has arrived at nowhere, the dead heart of a land. 

He is now unknown, has sex and beer on tap and an awful diet. A horror story haunted by powdered eggs… Until Krystal starts to cook… His mechanical skills come into play. The rebuilt camper van is destroyed again. Its renewed mobility is a threat. Events happen, like they do… Douglas Kennedy’s The Dead Heart evolves into a kind of fast-moving, page-turning thriller. But there are characters here. Something – not sure what! – seems almost credible. Nick is not the most likeable person, but this rather self-centred, thirty-odd, overweight hedonist does realise that there might be more to life than unlimited sex and beer on tap. He wants both, but clearly somewhere other than Wollanup.

What happens in The Dead Heart is crucial. It’s a plot-led work, but it is also engaging and well written. Its racy style fits the characters´ obvious preoccupations and helps to create a vivid portrait of lives that know only the here and now. The Dead Heart is a book to be read in a single sitting. The process will leave readers wondering how they might have reacted in such circumstances. And what about Australia as depicted? Is this a stereotype? You bet…

The Chant of Jimmy Blacksmith by Thomas Keneally

The Chant of Jimmy Blacksmith by Thomas Keneally is based on the life of an Australian bushranger called Jimmy Governor. Fictionalised as Jimmy Blacksmith, the character takes several steps down the social ladder in terms of his name, but remains at the bottom of the pile in reality by virtue of being not only black, but also an Aborigine. As Jimmy Blacksmith, however, the character is not without skills. 

He speaks English and can build a uniform fence as strong and even as anyone. He can work as hard and deliver as much as any hired hand, except, of course, by definition. Thomas Keneally’s novel is highly successful in its presentation of white people’s assumptions of superiority.

Knowing that they occupy a level much higher up the Victorian pyramid of life that has God and The Queen at the top, they can be imperially confident that anything they might think or do must necessarily outshine what the likes of Jimmy Blacksmith can achieve. When reality suggests a contradiction, then their position of privilege allows them to change the rules in order to belittle achievement and deny results.

To label such attitudes as merely racist is to miss much of the point. These whites, always eager to proffer judgment at the turn of twentieth century Australia, did not regard their attitudes as based on race. The relevant word was surely not race, but species, since the indigenous population was seen as something less than human. So even when Jimmy Blacksmith displays complete competence, strength, endurance or cooperation, even if he becomes a Methodist Christian, marries a white woman according to God and The Law, even if he speaks the master’s language, he remains by definition something short of human. An ultimate irony of Jimmy’s acceptance of his duty to marry the pregnant girl, by the way, is that the child turns out to be white, fathered by another of the girl’s recent acquaintances.

So, as an oppressed black man, Jimmy Blacksmith is left carrying another white man’s burden. Jimmy reacts against his treatment. His reaction is violent. He takes an axe to several victims, most of them women. He then flees and is joined in crime by his brother, Mort. Together they evade capture, despite being pursued by thousands until an inevitable fate materialises. Jimmy Blacksmith presents several problems for the modern reader, however. Powerful it may be, but then Thomas Keneally’s attempt to render an accent in writing does not work. As a consequence, the dialogue sometimes seems confused and opaque.

The author stated some years later that if he were to write the book now he would describe events from the perspective of a white observer. This would, however, render Jimmy an object, and the reader is often surprised by occupying the role of subject in this book. Thomas Keneally does create some wonderful scenes. Jimmy’s shedding of blood is brutal, but is it any less brutal than the slaughter of thousands by the British? And in the end, did those with power treat their working class subjects any better than they treated Jimmy? Was the young white bride Jimmy took any better off than him by virtue of her species superiority?

Alongside Peter Carey’s Kelly Gang and, from a factual perspective, Alan Moorehead’s Fatal Impact, Jimmy Blacksmith provides a different and complementary insight. To experience the book’s power, the modern reader has to know something of Australia’s history and, crucially, something of the 1970s attitudes that prevailed at the time of writing. Any shortcomings then pale into insignificance when compared with the novel’s achievement.

My Life As A Fake by Peter Carey

My Life As A Fake by Peter Carey is a strange, multi-layered journey through a man’s past, his artistic inspiration and his products, both illusory and real. 

Christopher Chubb is Australian and a budding poet. He resents the privilege of a certain litterateur and so he decides to nail him. An apparently genuine but actually bogus set of poems is supplied and adjudged significantly more than competent. The agent publishes. The material is fake. Chubb is accused and stands trial for his sins against artistic identity and integrity. 

Some years later John Slater and Sarah Elizabeth Jane Wode-Douglas visit Kuala Lumpur. Slater is an accomplished poet who has hobnobbed with anyone worth hobnobbing with, Eliot, Pound, Auden, etc. He also something of a lady’s man on the side. Sarah is an upper crust girl who developed a liking for other girls at school. Aspects of her origins are a matter of some conjecture, however. Slater seems to have played a role. Her present is clear. She is the editor in chief of a miniscule literary journal devoted mainly to new poetry. 

In Kuala Lumpur she discovers the story of Bob McCorkle´s fabled poetry, the fake created by Christopher Chubb. Chubb is resident in KL and has been so for several years. He has a bicycle repair shop, but still writes his own doggerel. Sarah meets him and dismisses his work as dire, derivative at best. McCorkle´s poems, however, are blissful and she tries everything possible to get her hands on the material so that she can publish it. The problem for her is the fact that McCorkle is apparently an invention of Chubb, so the only way that she can get near to the material is through him. 

The Australian is now a poor artisan with ragged clothes and tropical ulcers. He speaks English strongly peppered with bits of Malay and plays hard to get. The only way that Sarah can access the McCorkle poems is to suffer Chubb’s life story, its fantasies, inventions and questionable realities. And it’s a story that comes and goes to and from Australia. It progresses through Indonesia and peninsular Malaya. We visit Penang, sup tea in the E and O as Chubb pursues McCorkle, his own now demonic invention, across south east Asia. His alter ego becomes something real, something apart from himself. The book is packed with literary references, but is in no way academic. 

There is a strong sense of place, with the sights, sounds and smells of Kuala Lumpur oozing from the page. The only aspect missing is the taste, and in Malaysia food is much more pervasive an influence in the culture than we encounter via Chubb’s adoption of it. It’s a minor point. Eventual reconciliation of the Chubb-McCorkle conflict, Sarah’s pursuit of the poems and Slater’s apparent management of the process is truly surprising and it is for the reader to discover this empirically. 

 Overall the pace of the book is varied and, here and there, one feels that Peter Carey has over-complicated things and thus detracted from the directness that could have achieved increased impact. But then poetry is like that, isn’t it? If it was linear, uncomplicated, What Katy Did, then it would not have the richness that makes it poetry. It would lack the diversion, the invention. My Life As A Fake has all these things and probably stands alone, eventually, as an examination of the nature of creativity and invention. When viewed in retrospect, Chubb’s life, his haunting by the accomplished poet he has ostensibly created and his pursuit of the same to reclaim a daughter he believes is his own at times beggars belief. 

But just try predicting tomorrow’s news, or even, especially, your own emotions or reactions. We all become inventors, with neither a past nor a future solid in our present. Eliot again. 

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