Saving Francesca, Melina Marchetta

Facts must be faced. I read like a girl. I got home yesterday, after eight 16 hour days of work, which is standard, tired out of my brain, had a shower, a drink, answered the easier emails, picked up a comfort read from the shelf where it had been sitting for the last couple of years, plunged right in, watched a bit of footy, the wrong side was winning, went to bed, read on until the book was finished.

The book? Saving Francesca (2003), as of course you can see, very well written feel-good fiction for teenage girls. And aged truck drivers. Well, aged truck drivers who also read Georgette Heyer and Jane Austen, Little Women, Anne of Green Gables.

Which reminds me, Theresa Smith, in comments on a Whispering Gums post, has set me the task of reading up on Georgette Heyer’s old fashioned rightwingedness and particularly her overt anti-semitism, which I will do, though I must say I am surprised. Is it just the equating of money lending and Jewishness – and I say ‘just’ because that is unavoidable in much older fiction – or is there more? To which I have been oblivious. We will see.

Melina Marchetta (1965- ) was a history/language teacher in a Sydney boys school but is now a full time writer, no doubt following the success of her first book (and movie) Looking for Alibrandi (1992). Saving Francesca was her second and she has since written four or five others including The Piper’s Son (2010) which is apparently based around one of the boys in Saving Francesca.

I read Looking for Alibrandi some years ago, saw the movie on TV, enjoyed them both, was happy to pick up Saving Francesca when I saw it second-hand, to save for a rainy day.

Francesca is 16, starting Year 11 in the first cohort of girls in an inner-Sydney Catholic boys high school. She, Tara, Siobhan, and Justine, all ‘outsiders’, are the only girls from her old school and all her friendship group have gone on to a different school.

This morning my mother didn’t get out of bed.

Opening line

Mother, Mia is a livewire, a feminist, a university lecturer. Robert, husband, father, is laid-back, a builder. They were childhood sweethearts, and lovers it turns out, married young. It’s the sort of family where Francesca and her younger brother lie on their parents’ bed, talking to their mother late into the night while Robert sleeps and snores; where it is unremarkable, a bit gross maybe, to see each other naked.

So Mia not getting out of bed is a big deal, and it goes on for most of Francesca’s Year 11. A year of working out who your friends are – you might think there would be a ‘villain’ amongst the boys, but there’s not. They are just as awkward as the girls. And it slowly becomes apparent that the awkwardest of them have their virtues, hidden behind boy-grossness of course.

I miss … Mia. I want her to say, “Frankie, you’re silly, you’re lazy, you’re talented, you’re passionate, you’re restrained, you’re blossoming, you’re contrary.”
I want to be an adjective again.
But I’m a noun.
A nothing. A nobody. A no one.

Slowly, Francesca becomes aware that she and the other outsider girls have formed a friendship group, is surprised again, later in the year, to find that their group includes boys. It’s very well done.

Meanwhile, Mia’s depression is not being named, not being discussed, not being treated. Robert monopolizes Mia, willing her to snap out of it, bewildered when she doesn’t, refusing to discuss her illness with Francesca. But Francesca too is an unreliable narrator here, unaware that her own silence about Mia is making her unwell. As you might expect from a teacher-author, some of the teachers cut Francesca a lot of slack, and she spends days asleep in one teacher’s office. At least that teacher finally gets Francesca to see a counsellor.

Gradually, we see from their reactions – though it is not clear Francesca realizes this – that the other kids are aware of what Francesca is dealing with, and they too cut her some slack.

Only at the end, it comes out that her parents have been keeping a big secret (and I don’t think it’s in character that Mia would). Francesca has a fight with her father …

“You keep her all to yourself. You think you can fix everything by forgetting about it but you just make things worse. It’s all your fault. You’ve kept her sick, because you don’t know how to handle it. Because you’re a weakling. Everyone says you are, and I believe it and Mummy could have done better than you and I don’t know why you don’t fuck off now before you make it worse.”

… runs off, ends up in an outer suburban police station, is picked up by her father, talks to him, sits on her bed talking all night to her friends, the love interest thing is dealt with (I’ve been ignoring it).

It’s fun. Not preachy. Not overwhelmed by ‘issues’. A year in a life with lots of stuff going on, growing up getting done. Inner-western Sydney just lightly pencilled in. A happy-ish, realistic ending. Highly recommended.

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Melina Marchetta, Saving Francesca, Penguin, Melbourne, 2003