Apparently I have read this before. Inside the back cover there’s a boarding pass Melbourne-Adelaide with my name on it and the date 03Jul16. Why the hell was I flying from Melbourne to Adelaide? And on the back of the pass there are notes, extracts and page no.s. Having got so close, I wish I’d gone on to write it up.
Checks back through blog… My posts for that week are Benang and Follow the Rabbit-Proof Fence. My work diary is a little more informative. I’d been staying with mum. On Sat Jul 2 I swam 3km in the morning and had dinner with mum and B3 that evening (for B3’s upcoming 60th). Sun 3 is blank. Mon 4, Fly home. Go with Milly to see Psyche belly dancing. I give in, I must have flown home Sun night/Mon morning with a connection through Adel.
Reading now, bits are familiar, but not the overall story.
In the Comments after West Block – my ACT read for this month, as this is QLD – I finally began to get my head around the fact that AWW Gen 4 Week is coming up fast and I have given very little thought to the underlying theory. I said then that I thought Sara Dowse’s writing was based on/was an advance on the Modernism of, say, Eleanor Dark and that this would likely prove typical of Gen 4.
Reaching Tin River (1990) is a late Astley, written at the end of the Gen 4 period (1960-1990), so that the author has had the whole period, one in which Postmodernism was increasing in importance and influence, to develop her writing. It shows.
Astley’s earlier novels reflected most the Postcolonial aspect of Postmodernism, dealing with the legacy of white oppression of the Indigenous inhabitants of particularly her home state, Queensland. There are aspects of that here, but muted. The protagonist, Belle, grows up in and subsequently takes us on a journey through central Queensland. In that context she mentions the Hornet Bank Massacre* a number of times without taking it much further.
The novel is an exploration of Belle’s progress from childhood to her thirties, told in simple, almost diaryish style, in the first person. There are subsidiary themes running through – the unsatisfactoryness of marriage (for women); music, and in particular her dislike of the piano practice piece The Rustle of Spring; and Euclid’s rules of geometry – I get frustrated when arty people misuse maths, especially chaos theory, the uncertainty principle, and Schrödinger’s cat – Belle uses Euclid’s rules as similes for her attempts to locate her ‘centre’.
I am looking for a one-storey town
and a population of under two thousand
one of whom must be called Gaden Lockyer
Mother was a drummer in her own all-women group, a throbber of a lady with midlife zest and an off-centre smile
I have decided to make a list of all the convent girls who learnt to play ‘The Rustle of Spring’ by Christian Sinding between 1945 and 1960.
This is how the book begins, in fact it’s nearly the whole of the first page. I think I’m in for Astley in experimental mode, but she soon settles down. The plot is straightforward. Belle and her mother, Bonnie live on Bonnie’s parents’ farm ‘Perjury Plains’ near the (fictional) towns of Drenchings and Jericho Flats. Belle’s absent father, for whom she later goes looking, is a mediocre trumpet player and and US serviceman from the Korean War.
Belle on a school excursion learns of and subsequently becomes infatuated with turn of the century farmer politician Gaden Lockyer (ie. someone who is long dead).
She becomes first a teacher, then a librarian. Inexperienced sexually, she marries an older workmate given to mansplaining and is soon disillusioned.
Finally, she sets out on a road trip to discover Gaden Lockyer, to put herself in places where he has been and this crosses over (fairly successfully) into Magic Realism as he, Lockyer, becomes aware that a ghost from the future is haunting him.
There’s lots of other stuff and other characters. Bonnie, who was never an attentive mother, becomes more hippyish as she gets older. We learn pretty quickly to dislike Sebastian, the mansplaining husband. Belle’s father and Bonnie are never divorced but stay in remote contact on opposite sides of the world. We get to stay in some pretty shabby boarding houses – in fact I’m not sure Belle and I don’t walk to work together in the early 1970s when we both lived in New Farm boarding houses and walked across the Valley to the Courier Mail building – and end up in one that was once the nursing home where Lockyer saw out his final years.
An enjoyable book. Yet another Astley swipe at provincial Queensland (ie. all of it). And an interesting text for the influence of Postmodernism on Australian writing.
Thea Astley, Reaching Tin River, Minerva, Melbourne, 1990. 222pp (cover painting by Faye Maxwell)
All our Thea Astley reviews are listed on Lisa/ANZLL’s Thea Astley page (here)
*Hornet Bank Massacre: In October 1857 Rosa Praed was at a corroboree which presaged the massacre of seven members of the Fraser family, and one Black worker, on neighbouring Hornet Bank Station (map), in retaliation for the usual ‘dispersal’ of the traditional inhabitants and misuse of their women. Following the massacre, posses of white settlers, in which Murray-Prior [Praed’s father] was prominent, virtually wiped out all the local Yiman people.
Oldest son, William Fraser who had been away at the time of the massacre, returned and began murdering Black people – without hindrance from the police – at every opportunity, including two men exiting Rockhampton courthouse where they had just been acquitted. Astonishingly, Fraser is the model for Colin McKeith, the hero of [Praed’s Lady Bridget in the Never Never Land] – extract from my review.
Hornet Bank is in the vicinity of Taroom, Qld about 470 km north-west of Brisbane (good cattle grazing country, though now subject to extensive fracking)
A recap of the Massacre story in The Queenslander, 15 Sep 1906 (here)