Author Interview, Jane Rawson

Australian Women Writers Gen 5-SFF Week 15-22 Jan. 2023

Jane Rawson was brought up in Canberra, studied journalism, travelled the world writing for Lonely Planet, settled for a while in Melbourne where she was environment & energy writer for The Conversation, and now lives in Tasmania. She has had published three novels, a novella, a number of short stories and, with James Whitmore, The Handbook: Surviving and Living with Climate Change (wiki bibliography). If you haven’t read them already, you will see here that her novels fit perfectly within our definitions for AWW Gen 5-SFF.

Q. Jane, in a story in the SMH in 2014, Linda Morris writes, “When A Wrong Turn was published it turned Rawson’s life around. Suddenly, she thought she had permission to take her writing seriously.” That leads to two questions: All that writing you were doing at ‘work’, for Lonely Planet and The Conversation, did you regard that as preparation or practice for your fiction writing; and was A Wrong Turn at the Office of Unmade Lists (2013) the first novel you wrote?

A. A wrong turn was not the first novel I wrote, though it was the first novel I had published. Formaldehyde, published two years later, was the first novel I wrote (though by the time it was published, it was a novella). I wrote that in 2000, as part of National Novel Writing Month; the version that was published in 2015 had been significantly rewritten, particularly the ending – at first I was rewriting for style and coherence, but my later rewritings were because over fifteen years my views on how the world worked and what was ethical, particularly in romantic relationships, had changed a bit.

By the time I wrote Formaldehyde I’d been working as a professional non-fiction writer for nine years. I’d mostly written about environmental issues (my first four years of work as an editor in Canberra) and travel (at Lonely Planet, starting in 1996) and I’d never really thought about getting into fiction, even though I’d always been a huge reader of novels. If I had writing aspirations – and I’m not sure that I did – they were more to do with becoming a journalist. It wasn’t until I wrote 50,000 words in 30 days in 2000 that I discovered how much fun writing fiction could be (and also how impressed people were when I said I’d written a novel – that was definitely a factor). Of course it then took me another 15 years to get a book published and sometimes I wonder if it wouldn’t have been more fun to stick with writing and forget about publishing.

Q. Morris describes A Wrong Turn as “an off-beat, genre-defying, head-spinning story that defies all the rules of narrative, space and time.” Sadly, I haven’t read your short stories, a couple of which were published prior to 2013. Were they, if not SF, at least fantastical, as well? I guess I’m asking, did you start out consciously to be an SF writer?

A. Don’t be sad! You can still read them [Links below]. ‘A Dynasty of Square Standers’, 2008, later turned into ‘A wrong turn’. At this point it was about two teenagers forced to see all of America by their parents, and was a response to Lonely Planet readers who claimed to have ‘properly done’ a destination, unlike most half-arsed tourists. It was surreal, but not SF. ‘Instructions for an installation’, 2003, was the last thoughts of a woman about to be turned into an art installation – again, surreal, but not SF. And ‘In Registry’, 2009 was a lot of questions I had about random things, pretending to be a short story about an entry-level public service clerk – surrealism, again. I have so far never written a realist short story or novel, but most of my writing does take place in a world identifiably our own, but skewed in odd ways. I never really set out to be one particular thing, I’ve just written stories about the ideas that most obsess me (and a lot of those ideas are odd).

Q. It is clear the coming environmental catastrophe is an influence on your work. Many writers are addressing this, and to a lesser extent, the rise of the surveillance state, by writing ‘dystopian’ fiction without acknowledging the deep roots of dystopian fiction in SF. You do acknowledge that you write in the SF tradition, but there are also elements of surrealism and Magic Realism in your writing. What are your influences do you think? What have you been reading?

A. I’m definitely influenced by SF, though I think the books I devoured as a younger reader were on the lighter side of SF. I was very into Douglas Adams and Kurt Vonnegut and, before that, CS Lewis (his space stories as well as the Narnia books) and George McDonald’s Princess and the Goblin.

If you want to find out what I’m reading now, why not subscribe to my newsletter at janerawson.substack.com? I read all kinds of things: my favourite books this year included Ed Yong’s detailed and inspirational investigation of animal perception (An immense world), which has influenced a lot of the writing I’ve done lately about nature; Hilary Mantel’s novella about the sad history of a 19^th century Irish giant trying to make it big (sorry) in England (The giant, O’Brien), which has been a huge influence on the voice of the novel I’m trying to write; and Benjamin Labatut’s berserk non-fiction novel about mathematical discovery, When we cease to understand the world, which is inspiring me to find new ways to write about facts without being boring. I’ve also really enjoyed three Australian novels this year that mess with ideas of realism – Adam Ouston’s Waypoints, about a man who wants to recreate Harry Houdini’s Australian attempt at flight; Sophie Cunningham’s This devastating fever, which is about writing and ghosts and colonialism and the climate crisis (includes jokes); and Rhett Davis’ Hovering, about a city that won’t stand still (and how confusing it is being alive now).

Q. I enjoy all your work – ok, I gave The Handbook to my greenie daughter – but there is a special place in my heart for Formaldehyde, a very short novel which might almost be described as absurdist or surreal. You complained once it didn’t sell very well, but did you have fun writing it?

A. What a whinger! I mean, for a surrealist novella published by a tiny publisher it sold pretty well. I had so much fun writing it! It was the first book I wrote, and I tried to cram every idea I’d ever had into it. I wrote it in 30 days, and that mad rush inspired all kinds of wild things to come out of my subconscious and connect with each other. I loved the feeling of existing more, for those 30 days, in the world of my book than I did in the world of my life.

Q. A History of Dreams starts out like your other novels, with little touches of ‘magic’, but as you progress, the tone becomes more serious. The topic you are dealing with, systemized misogyny, is serious, and I appreciate the parallels you imply between those 1930s National Guard times and today. Your dystopian near past is an accepted stream in SF, but did you make a conscious decision to treat the subject seriously, rather than through satire, say? Or do you think I am misreading you?

A. I do think it’s my most serious book, though there are a few jokes here and there. I wanted to write something very character-based, and which took seriously the relationships between a group of female friends who didn’t always like each other very much. Really understanding the four women in the book, and letting them work through the ethics and implications of standing up to a powerful force they’d be unlikely to defeat, was my main interest. So I guess that generated the form the novel took, which veers from a kind of 1930s ‘girls-own annual’ school days story into an oppressive dystopia.

Q. Finally, two supplementary questions which are not really anything to do with SF. My inner geography nerd keeps asking: your evocation of Melbourne’s inner western working class/industrial suburbs in A Wrong Turn was great, but From the Wreck (2017) and A History of Dreams (2022) are both set in a closely described Port Adelaide – with which I used to be familiar, though not so much these days – why?

A. I’m glad you enjoyed my near-future Yarraville/Kensington (I was a bit freaked out when the areas that get flooded in the novel were last year flooded in real life). And I’m also glad to hear you say my Port Adelaide is closely described, because I really bluffed my way through the geography in both those books – there was a lot of work on google maps and Wikipedia, though I did do some spot checks for accuracy when I made brief visits to Adelaide. The location of those two books is because they’re both based on my own family history, and my mum’s side of the family is from the Largs/Semaphore/Port area of Adelaide. ‘From the Wreck’ is based on real-life events to do with the wreck of the Admella and takes place in the Seaman’s Home where my great-great grandfather worked, so I wanted its historical portions to be as accurate as possible. By the time I finished it I’d fallen ridiculously in love with imaginary Adelaide, so I was stoked to spend another five years hanging out there while I wrote ‘A History of Dreams’. Whenever I’m in Adelaide I visit locations from my novels, forgetting that I completely made up the incidents that occurred there.

Q. And also from A History of Dreams. One of your characters is reading PC Wren’s Beau Ideal, which I read and re-read through my adolescence. How did you come to give her that particular book to read?

A. It was a book my mum always used to talk about when I was a kid, and which her mum also loved. Weirdly, I have never read it. I probably ought to.

Thank you Jane, for taking the time to discuss your work with us. And let me say how happy I am as a reader that you didn’t “forget about being published”.

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Jane Rawson short stories:
A Dynasty of Square Standers (2008) (https://janerawson.com/writing/a-dynasty-of-square-standers/)
Instructions for an installation (2003) (https://janerawson.com/writing/instructions-for-an-installation/)
In Registry (2009) (https://janerawson.com/writing/in-registry/)

Jane Rawson novels:
A Wrong Turn at the Office of Unmade Lists (2013) (my review)
Formaldehyde (2015) (my review)
From the Wreck (2017) (my review)
A History of Dreams (2022) (my review)