The Glass Canoe, David Ireland

Feature Author 2019: David Ireland

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The Glass Canoe (1976) was David Ireland’s fifth novel and his second (of three) Miles Franklin Award winners. It’s a blokey book, everything I’ve read of Ireland’s including, as I’ve already argued A Woman of the Future (1979), is blokey, reflecting his age, his generation. The Glass Canoe is set, although it’s nowhere stated, in the 1950s, in the years after the War when Ireland was in his young manhood, but before the white Australian working class was swamped by waves of southern European immigration.

The writing however is of its time, post-60s and the sexual revolution, one of the reasons that Ireland’s age – he was born in 1927 (here) – sometimes comes as a surprise. If he were younger this would almost be ‘grunge’.

This is the story of a young man, Lance, the Meat Man, ‘Meat’, in Sydney’s west, out Parramatta way, he calls it ‘the Mead’ – Westmead? (map) – working as a groundsman at the local golf club, a serious drinker at his local, the Southern Cross, and secretly recording the stories of his ‘tribe’, the men who gather daily to drink in this dilapidated, yellow-tiled, suburban blood house.

On hot days we jumped fully clothed into our bottomless beer glasses and pushed off from shore without a backward look. Heading for the deep, where it was calm and cool.

The Mead was our territory, the Southern Cross our waterhole. The next tribe west drank at the Bull, and on the other side the nearest tribe holed up at the Exchange. While your tribe’s waterhole flowed, you never went walkabout to another tribe’s waterhole.

Unless there was trouble, some little matter to be settled.

The novel consists of short chapters of half, one or two pages each, sketches from his life, his past, his work, his darling, sketches of his mates and their lives as members of the tribe. A style reminiscent in both the writing and the layout (as I remember them) of Richard Brautigan’s The Abortion: An Historical Romance 1966 (1971).

In many ways this is what the Australian Legend had come to – from bushmen cutting out their cheques at the nearest pub in the 1890s after months shearing or droving, to working men in the endless suburbs gathering daily to drink and fight. There are women, as there always are, to serve the beer, to wait at home and cook the dinner and shout at the kids, to have down the creek or up against a wall or in the back of the car, there are even some, as big and tough as the men, drinking at the bar, and then there is his darling, petite, beautiful, endlessly pleased to see him.

To the extent there is a plot it concerns Sibley, the boy who chose to escape from the Mead but who returns to study drinkers, whom he sees as outside of and beneath society, for his PhD; Meat’s ongoing and probably failing relationship with his darling; and the decline and eventual redevelopment of the Southern Cross, foreshadowing the decline of the Tribe.

Ireland uses Meat, who was good at school but chose not to do anything with it and instead muses whimsically about how things work, from record players to the universe, without ever wishing to know, to tell the story, but uses another character, Alky Jack whom Meat admires, to present Ireland’s own libertarian views.

‘The population must be kept passive,’ I heard him say. ‘This is done by myth. These myths are put in your cornflakes every morning …’

‘… that it’s a free society … human rights are respected … we’re all equal, the elite is generous and just and the best people to be in charge … that our bosses work like buggery and the mob is lazy, they’re honest and we’re dishonest, they’re superior and we’re inferior. That’s the myth.’

The Glass Canoe is a contradiction, and I think this is true of much of Ireland’s work, brilliantly written and politically, hopelessly old-fashioned, though he’s pretty modern, gross even, about fucking and fighting. The following year, 1977, Helen Garner’s Monkey Grip came out, another novel of inner suburban substance abuse in which the characters are clearly a generation younger than Meat’s ‘tribe’ (though the MF judges went with another old fashioned work, Ruth Park’s Swords and Crowns and Rings). Ireland is old fashioned to the point of being reactionary about male bonding, about the subservience of women, and about the irrelevance of Aborigines and the appropriation of their stories

Being forced to drink at another pub was cruel. Like black men forced to leave their sacred places and water holes and become strangers in another tribe.

In the 1970s and 80s I devoured Ireland. I still think he is one of our great writers. But it is obvious too that I had absorbed the myths of Australian manhood and hadn’t – despite a decade’s immersion in socialist, anarchist and anti-war philosophy – begun to even remotely understand the problems race and gender identity.

Do I think you should read The Glass Canoe, yes I do. It’s an accurate portrait of working men, of working men who drank, of our fathers’ generation. If you’re a baby boomer who spent endless afternoons and evenings in the backseat, in the car park of the local hotel, then you will know Meat, you will know King and Mick and Serge and Alky Jack and Darkfella. David Ireland is worth reading, but read him (read everyone!) critically.

Above all, read David Ireland and post a review so I can share it and link it to my page (it’s coming!).

 

David Ireland, The Glass Canoe, Penguin, Melbourne, 1976

see also:
Lisa’s review at ANZLitLovers (here)
David Ireland (here)

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The Strange Library, Haruki Murakami

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I know I came to Murakami late, but now I’m coming to know him I enjoy his work, a blend of literature, grunge, and SF bordering on (dreaded!) magic realism. Murakami’s first three works make up the Trilogy of the Rat. I reviewed the first two, Wind/Pinball (here) some time ago and gave teacher son the third, A Wild Sheep Chase (1989) this Christmas, expecting him to have it finished on Boxing Day as usual. Inconsiderately, he took it with him to Morocco from whence he wrote –

I thought you despised magical realism. I liked most of it. The psychic girlfriend, and the historic davinci-code of a mystery, and the banality of everyday life- I expected him to stop by Nighthawks, or find a flatmate dead with a falafel on any given page. The symbolic sheep was exposed in a way that made it a genuine wonder. Not sure about meeting the Rat, though. I felt cheated when even the almost explicable mystical became brazenly magical.

Not all of this makes sense so, in the library for audiobooks this week, I thought to borrow a copy for myself but there wasn’t one and I borrowed The Strange Library (2005) instead. The Strange Library is a strange and beautiful book, seemingly a novella for children/YAs. I think I would read it to Mr 8 and Ms 7, my younger grandkids, and yet I enjoyed it well enough myself. It’s in that rarefied territory occupied by Lewis Carroll, The Magic Pudding and Old Possum’s Book of Practical Cats, and there are the most wonderful illustrations throughout taken “from old books in the London Library”.

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The protagonist, a schoolboy, enters his local library and is ushered downstairs to a strange basement area he never knew existed nor thought the local council could afford.

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A little old man asks him “the manner of books that he seeks” and the boy is flustered into answering ‘tax collection in the Ottoman Empire’ which has just popped into his head. The old man ducks through a heavy steel door and returns with three terribly old books, The Ottoman Tax System, The Diary of an Ottoman Tax Collector and Tax Revolts and Their Suppression in the Ottoman-Turkish Empire. I might have to explain to the grandkids what an ottoman is (when it’s not being a couch).

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The boy is fearful of being late home to his mother, who has been in a state of nerves since he was attacked by a big black dog with green eyes and a jewel-encrusted collar, and anyway she may, she will forget to feed his pet starling, but the old man is insistent the books must be read on site and straight away.

Are you planning to read this for yourself, then Spoiler Alert. The boy is led away through a maze of corridors, to a prison cell. A warder clad only in a sheepskin attaches a ball and chain to his ankle and warns him that when he is finished reading the old man will remove the top of his head and eat his knowledge-rich brains.

Despite this, The Diary of an Ottoman Tax Collector comes alive as he reads it.

The old man came to check on me that evening. He was delighted to find me lost in my book. Seeing how happy he was made me feel a little happier. No matter what the situation may be, I still take pleasure in witnessing the joy of others.

A pretty girl brings him meals. The sheep man bakes him doughnuts. In the darkness of the night of a new moon they escape together only to find their last exit barred by the old man. And the big black hound.

The starling, or it might be the girl, comes to their rescue. The boy goes home where his mother seems not to have noticed that he has been gone.

To be honest, I was worried before writing this review that I might have missed the point, so I have since been making my way through the reviews I could find on the net. This from the Independent:

It is an odd and beautiful thing – a thing more than a book, whose design doesn’t just adorn but penetrates the story, melting into it with its dainty, surreal and haunting images that almost, at times, seem to finish Murakami’s sentences.

It had me enthralled, a pretty artefact that was a story of childhood, death and reading, drawn in both words and pictures, like a fairytale, yet there was nothing childish about it. (Arifa Akbar, 27 Nov. 2014. here)

So I guess I got it right.

 

Haruki Murakami, The Strange Library, Harville Secker, London, 2008. First pub. in Japanese, 2005. Translated by Ted Goossen.

 

David Ireland

Feature Author 2019: David Ireland

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Sydney, the emerald city towards which all politicians, businessmen and other spivs naturally gravitate is little more than a fringe of high rises and multi million dollar mansions with Harbour or Ocean views. The rest, from inner suburban Glebe to the Blue Mountains, 4 million plus of Sydney’s official 5 million population, is the West, its heart Parramatta, these days a CBD in its own right, 20 km up river (map). And it is the West which is David Ireland’s home.

Reportedly born on a table in Lakemba (south-west Sydney) in 1927, Ireland grew up around Parramatta and was employed for a number of years at the Siverwater oil refinery, on the river downstream of Parramatta, and the setting for his most famous novel, The Unknown Industrial Prisoner. In another novel, The Glass Canoe, the protagonist discusses being good at school work but chucking it in to be with his mates. Interestingly, although it occupied most of his teen years, he does not seem to write about the War (WWII).

Over the last couple of years looking at early Australian women writers we have been building up an idea of the characteristics of each “generation” (see Gen 1, Gen 2). We’ll see later in the year that my Gen 3, which encompasses the 1920s through 1950s, is marked both by social realism and the last decades of white monoculturalism, although plenty of guys in particular stuck with the tropes of Gen 2 – nationalism, the Bush, mateship (and that is still true today), extending them into writing about the two World Wars.

It is often said that ‘the sixties’ didn’t arrive in Australia until the 1970s, but realistically they arrived and Gen 4 dates from, around 1966 or 67, with anti-Vietnam War protests, second wave feminism and the advent of multiculturalism following post war migration from southern Europe, dates in fact from the late teenage years of us Baby Boomers.

The relevance of this to Ireland is that he, like Thomas Keneally for instance, is too old to be a baby boomer but his writing mostly fits within Gen 4, though he does look back in his early work to a male, Anglo working class that by the time he began writing was coming to an end. Still it is very easy, reading his novels to think of Ireland as 20 years younger than he actually is. His novels are –

The Chantic Bird (1968)
The Unknown Industrial Prisoner (1971) – Miles Franklin winner
The Flesheaters (1972)
Burn (1974)
The Glass Canoe (1976) – Miles Franklin winner
A Woman of the Future (1979) – Miles Franklin winner
City of Women (1981)
Archimedes and the Seagle (1984)
Bloodfather (1987)
The Chosen (1997)
The World Repair Video Game (2015)

Over the course of 2019 I hope to write and/or collect reviews (from you!) for all Ireland’s novels, and of course to set up a page so that they are all accessible. Ireland is undoubtedly an important Australian writer and The Unknown Industrial Prisoner especially is one of our great books. For various reasons Ireland has become unpopular with readers and with publishers and his reputed right-wing politics may be part of this though I could find nothing through google. His most recent work The World Repair Video Game was eventually serialized and then published in hardback by Tasmania’s Island literary mag (who may still have copies on hand).

Ireland will be 92 this year. Is he still writing? You’d think not. But I suspect that 18 year gap after The Chosen contains more than one unpublished novel.

Reviews:

The Unknown Industrial Prisoner Lisa/ANZLL (here)
Burn I found intolerably racist and could not finish.
The Glass Canoe Lisa/ANZLL (here)
A Woman of the Future (here) see Bonny Cassidy Sydney Review of Books (here)
The World Repair Video Game (here) Lisa/ANZLL (here)

Other material:

D. Musgrave, Post-Carnivalism in David Ireland’s The Unknown Industrial Prisoner, 2013 (pdf here)
The Conversation: The Case for David Ireland’s The Glass Canoe, Apr 2014 (here)
ABC podcast: The Renaissance of David Ireland, May 2015 (here)
SMH: The Return of David Ireland, Genius, May 2016 (here)
Aust Explained: The Glass Canoe, Sept 2016 (here)
J.Rank.org: David Ireland critical study (here)
Helen Daniel, Double Agent: David Ireland and His Work, Penguin, 1982
Ken Gelder, Atomic Fiction: The Novels of David Ireland UQP, 1993.

The Butcherbird Stories, A.S. Patrić

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As a writer I wonder about those of us who have been removed from our places of birth, who leave language, history and ancestry to begin anew somewhere else. We become proud owners of words inherited from parents that are not our own. Our first sentences are composed within a literary history that has given us so few pages we barely exist. (Punctuated Air).

Alex Patrić is an astonishingly good writer. I loved Black Rock White City (2015), his debut, and yet (illogically!) felt betrayed by his next, Atlantic Black (2017), read the reviews but wouldn’t read the book, wanted him back here, back in Australia, Melbourne, dissecting us, himself, Anglos and reffos, with his precis, ‘removed’ prose. And now we have him, in this collection, published by Transit Lounge in hardback. I bought a copy at Christmas, but was unable to give it away, have been reading one story each night I was sufficiently awake.

The collection consists of 11 stories, unrelated (to continue a discussion I’ve been having elsewhere), from a few pages long to sixty, that reflect in different ways Patrić’s heritage as an eastern European (Bosnian Serb) man in Australia. The longest story, Among the Ruins reads as a European fairy tale, of a street-vendor of roasted nuts, bankrupted when his nut wholesaling business burnt down, now supporting himself as a subcontractor employed to play terrifying tricks on others.

Bruna Kramzer had a wife and two children, and in-laws who lived in house, for the most part harmoniously. He lied to them every day when he told them he still ran his business selling nuts … His family came to know he was moonlighting as a professional rogue. They needed Bruno’s earnings so they didn’t speak about it openly.

So you can see the writing is simple, but deceptively simple. With each step forward we learn also a little about the past, as the tricks and tricksters circle round on each other.

In another story the protagonist attempts to stop an old widower from committing suicide. I don’t agree with him. It’s not your business. Walk away. Milly argued with me, each individual has a ‘line’ beyond which some acts, by others, are immoral. Me, I have enough trouble being moral myself without forcing it on others. I divide acts by others into the categories ‘useful’ and ‘harmful’.

Patrić resumes his love affair with his adopted home city, with the bayside suburbs he obviously knows and loves. A taxi driver and his passenger –

… had reached the car park overlooking the bay. The beach ran south for two or three kilometres. Red Bluff was barely visible in the overcast haze. The steep cliffs rose thirty metres into the air all the way out to Black Rock. The bay roiled with shallow surf below them. Hundreds of boats and ships bobbled at their berths …

What are the other stories? And more to the point what do I remember of the earlier ones? Taking notes interferes with the process of reading. Taking notes is studying, not reading. And much as I would love to, I cannot bring myself to underline, let alone to desecrate with marginalia. Ah, Avulsion. I’d forgotten the swimming story. A guy doing laps spots a small shape on the bottom:

I swim up the lane, come back. I really don’t want to see it again. I’d rather it was a hallucination… The lane ropes guide me over and past the finger …

Training is addictive, once you’re in you don’t want to stop. Just follow the line, tumble, follow the line, counting laps. But be careful, especially if you’re sharing the lane, not to drift to the side, not to catch your fingers in the hard, coloured circles that make the lane ropes float.

Dead Sun, a man is in hiding, in the attic room of an old couple’s house, in seemingly the room of their dead son, a longer story, placeless, strange.

Punctuated Air, a boy grows up in working class St Albans:

I was born in Belgrade, Serbia, in a part of the city called Zemun – right at the confluence of the rivers Danube and Sava. There was one small room for the three of us to sleep in… My parents were still driven by new love and talked for months about a long journey that would take us far from our two rivers… Australia was one of the first words I heard, whispered in the darkness of that cold bedroom. A word … filled with the warmth of their love for me and their hopes for the future.

In Black Rock, White City the protagonist comes to Australia as an adult, in Punctuated Air as a child, in The Flood he’s born in Mildura (Australia). The novel, these stories, are informed by his lived experience, I don’t expect, or wish, them to be biographical.

And the title story, Butcherbird. A Melbourne man, on a resort holiday with his family, wonders if butcherbird song is no more than a ringtone, mourns a dead lover, swims late at night with a flirtatious fourteen year old, a few pages, a fragment of a life.

The best story, well my favourite, and they’re all good, is Memories of Jane Doe, the last days of a young woman, told backwards.

I’m not sure how old Patrić is, fortyish I suppose. A bio (here) lists his earlier work. I look forward to reading him well into the future.

 

A.S. Patrić, The Butcherbird Stories, Transit Lounge, Melbourne, 2018

Lisa (ANZLitLovers) review (here)

 

My Brilliant Career, Miles Franklin

Australian Women Writers Gen 2 Week 13-19 Jan. 2019

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My masters was built around My Brilliant Career, my truck is named after it, I have done innumerable (well, 23) posts about Franklin, but I have never posted a review of this her first and most famous novel. Luckily however, Emma of Book Around the Corner, last year, and now Karen of Booker Talk – who coincidentally, being respectively French and Welsh, bring an ‘outsider’s’ perspective to the task – have stepped up to the plate for me.


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Every time I picked up my copy of My Brilliant Career, instead of delving straight into the narrative, I found myself simply staring at the cover image.  That girl haunted me. At times it felt as if she was glaring at me, almost daring me to judge her behaviour and her attitudes.  Other times it seemed more that she was asking me a question, inviting a response.

Maybe I’m making far too much of this but I certainly found the image mesmerising. The boldness of the girl’s look combined with her wild, unkempt appearance also perfectly matched the character of the protagonist created by Miles Franklin, Sybylla Melvyn. Read on …

Sister Sorrow, Rosa Praed

Australian Women Writers Gen 2 Week 13-19 Jan. 2019

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Jessica White, whose Hearing Maud about Rosa Praed’s deaf and abandoned daughter Maud will be published by UWAP in July (I may get to go to my second book launch party) has chosen a late Rosa Praed novel for AWW Gen 2 Week. A few paras down she refers to Praed’s “bestselling feminist novel” The Bond Of Wedlock, which I reviewed (here). Thank you Jess.


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Praed’s oeuvre stretches from 1880 to 1931, so she slots easily into Gen2. In the late 80s and early 90s she was at the height of her fame, but I’ve chosen her penultimate novel to review, because I need to revisit her works ahead of the edits for my book. This has turned into a minor essay full of spoilers, so if you plan to read the novel, you might want to shelve this until afterwards. Read on …

 

Girls Together, Louise Mack

Australian Women Writers Gen 2 Week 13-19 Jan. 2019

 

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Sue (Whispering Gums) has posted a review of Louise Mack’s follow up to Teens which I reviewed yesterday (here). Between them they provide a fascinating insight into 1880s and 1890s Sydney, when university was a real possibility for the first time, at least for those young women whose parents could afford it.


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Well, that was, surprisingly, genuinely enjoyable. Louise Mack’s Girls together is a sequel to her novel Teens [], and features protagonist Lennie (Elinor) Leighton. It shouldn’t have been a surprise, given I know something about Mack, through my Monday Musings on her and my review of her debut novel The world is round, but it was, because … Read on …