| OUR
BOOKS > DIDGERIDOO |
|
|
|
| Download
this book: |
 |
|
|
| Here’s
what it says on the cover: |
 |
| didgeridoo is a variant of one of
the oldest literary forms – a
gathering of people, each of whom tells a story. A group
makes its way every week to a tutorial where one of them
presents a paper. Each has chosen a topic and is in some
sense subject to the thing being considered. History is no
easier to get in order than a person’s life, and the
fourteen characters of this collection are depicted as they
try to do both. They have all to choose a passage, written
long ago, to illustrate their theme, and the author has a
similar challenge, because a passage of music, the art revealing
the innermost psyche of a culture, enters every story. Music
too is history: thirteen of the pieces are European, and ‘classical’,
while the sound of the didgeridoo is a vestige of the past
and a reminder that the land, timeless and anonymous, shapes
all in its unrelenting way. |
|
| To
read some extracts from the book click here: |
 |
Brigitte
Sam
Danny
Lou
Angela
Karl
Neville |
|
| To
read about the writing of this book click
here. |
|
Brigitte
‘ In
the previous cricket series, the child had grown up very
swiftly. The Australian team won easily, because it had a
new champion,
Mr Bradman ...’
Sam
grinned. ‘Don!’
Brigitte
glanced at him, intending to quell, if possible: ‘...
who made more runs ...’
She
paused. ‘There is
a psychological dimension to this which I cannot explore
today. Why are all these men gaining credit by running?
It is very odd,
if you think about it!’ Some of the group laughed, others were
puzzled.
‘Anyhow,
he made more runs than anybody had made before. This is something
he did for the whole of his career. How could the English stop him?
They thought of an idea. Bowl the ball very fast straight
at him. Frighten him. Frighten
the Australians. I am sorry to say that it is an idea that would occur
very naturally to a European power with an empire ...’
More
laughter, mostly from Karl and Max; Stephen wondered where
the thing was going. ‘Years ago,’ Brigitte said, ‘I
was teaching tennis to a girl who did not know how to play.
It was pleasant. But she had more natural
ability than I had, and once she had the idea, she started to beat
me. Then she
beat me easily. I found an excuse to stop playing. It was only a
good game while I was on top! This is what happened to
England. The colony became too
good. It
began to think it was superior. Now, you will say, this is only cricket.
Was this also happening in business? Was Australia thinking
of starting an empire
of its own? The answer is no. No. But a crack, once it is opened,
can widen very easily. Cracks have to be closed. The English
thought of an idea. They
called
it leg theory. I am sorry, there are so many terms that are strange
to me, perhaps you know them better than I do ...’ ‘Bowl at the batsman,’ Sam said, ‘and put half a dozen fieldsmen
around him so if he tries to hit the ball to leg, he’ll get caught. They
changed the rules to stop it, but that took a while!’ He was pleased with
himself. Brigitte listened, then tried to restart. ‘The Australians were
not ready for this attack, for that was what it was. The crowds who watched became
angry. At least two things are happening at the same time here. The new self-esteem
of the colony is not being allowed to grow as the colony wishes, because the
mother country wishes to stop the colony’s development. And the means used
by the mother country to stop the development look, to the eyes of the people
who go to watch the cricket, very like the means of the wealthy people in England
to keep the colonials paying their debts. As we would say today ...’ a
smile flitted across her face ‘... they felt screwed!’
‘A word with another meaning,’ Max
put in.
‘I
know. “Who is he screwing?” A strange
expression, because the word doesn’t suggest the action
it refers to.’ Lou laughed. ‘Good
one, Brigitte!’ Brigitte said, ‘I must return to
my path.’ She
took the edge of a sheet of paper. ‘Now, what I have been
telling you about is a family quarrel, I think I shall call it.
But what about this? Here is something
written fifteen years later, still about cricket, but there has
been a huge war in the meantime. England has suffered. Its empire
is breaking up. It will never
dominate the world again, but it can still play cricket, if not
very well. The Australians can beat it easily now.’ She
paused. ‘What I am going
to read is about the last time the two countries were close in
the old way. After the moment I am going to describe, they grow
apart. The maturing I spoke of has
become a separation.’ Some of them could sense a personal
sadness in her voice as she read.
The
nature of the welcome given to the Australian team in all
parts of the country was quite remarkable. Conventional language
scarcely
does
justice to it. It was,
I believe, much more than the traditional welcome to our brethren
from overseas;
it was in some measure a thanksgiving that one of the great
institutions
of our common life had been restored. The great crowds that
gathered wherever the Australians
appeared did more than testify to their love of cricket; they
did more than pay their affectionate tribute to a consummate
captain
of a great
team; they
did
more than give expression to their joy in seeing that team
once more in their midst; they gave utterance to their deep-seated
satisfaction, after
years
of darkness and danger, that cricket had once more come into
its kingdom in these
great and historic encounters.
Brigitte
paused, then tried to go on. She got a few more words out
before she stopped. For
not the least of the deprivations
of war
is that the
glory and ...
Something
prevented her. She raised a hand as if to touch her heart,
then lowered it. The group looked
at her. She
swallowed.
Something
was wrong. ‘Excuse
me,’ she said. She tried to cough. ‘Give me a
moment, if you please.’. > back
to TOP |
|
Sam
They
had dinner in a roadside hotel. Sam wanted to drink, but
Ola let him have two glasses. ‘That’s your
limit,’ she said, and he stared at her, not bothering
to reply. She sipped once, but left the glass standing;
her lips felt too dry. She wanted to go on, but he wanted
to wait until it was dark. She sensed that if she hadn’t
been there he’d have drunk himself silly and driven
into the night to find his end against a tree, a telephone
post, the wall of something near the road. She was with
him, wanting to restrain, knowing that if she exerted
a force on him he’d fight it, and her end would
be as certain as his.
It
was dark when they left. She dared not ask where he’d
stop because there was no answer. It could only be when a
process inside him reached its end.
He drove reasonably for the first half hour, then speeded
up. He put the wireless
on, something he’d rarely allowed himself, even in his driving days,
because it didn’t help his concentration. His agitation showed in the
endless pressing of buttons to change stations, sending the figures on the
dial in crazy sequence
until another burst of booming sound came through the speakers. ‘Sam!’ she
said, in a moment when she lost control, but it only excited him: he wanted
her fear to help him overcome his own. There were cars and frequent trucks;
Sam overtook
them wildly, veering in front of them to express contempt. ‘Letting
them know I’m leaving them behind!’ he yelled. The changing of
stations speeded up, then his probing fingers led him to something that mirrored
the
frenzy inside him: drums were rolling, attacking the minds of listeners,
and orchestral
protests cut across; a quarrel of gargantuan proportions was being argued
in their ears, the drums releasing destructive energies that expressed themselves
in the rabid fury of the car. Ola saw a small, poorly lit car some distance
in front; Sam pushed his foot down to consume this wayfarer, but as he was
swinging
out to overtake, a truck came over the brow of a hill, storming forward without
thought of swaying from its path. In an ecstasy of destructive rage Sam took
them in front of the truck, flicked the wheel so their tail dodged the car
they were passing, in which a terrified man took his hands from the wheel
and
covered
his eyes - Ola saw this, looking away from what was rushing at them - and,
late in returning to their side of the road, forced the mighty truck to wobble,
its
multiple wheels straining to react properly, to remain stable though almost
over the edge of track, the music, all this time, roaring in its quarrel
- civilisation
faces the darkness it carries within itself, and surges when it senses triumph,
the madness of war giving way to purposeful, intelligently-driven life.
Ola
felt her husband go limp. ‘Pull over,’ she told him. ‘Not
here, on the highway. In the next town. Turn down a side street, so nobody
knows who we are! We’ll stop. You’ve come through. You don’t
deserve it, but you have!’. > back
to TOP |
|
Danny
As
classes drew to an end, the system was preparing to roll
over for the long vacation, and the semester that would
follow, when summer had come and gone. ‘I need a job,’ Danny
told Ruby, ‘to keep up the rent if I stay here,
or to pay for somewhere else if I move. Maybe I should
say
when,’ he said. ‘I’m starting to lose
my way.’ Ruby had got herself a job as a make-up
consultant at a city store. The kitchen was full of magazines
about how to make yourself attractive, how to have multiple
orgasms, which of the female figures of the day said
they wanted to have babies, and how many, and who they’d
prefer as the father. Or fathers; some thought that multiple
babies meant multiple men. Fidelity was a virtue that
filled only occasional columns. Infidelity was what sold. ‘Those
girls that come into the shop,’ Ruby told Danny, ‘they’re
changing. They know what make-up is. It’s a mask.
If you want to do something risky, you need something
to hide behind. That’s what I sell’em. That’s
what we talk about. How much longer are we living here,
Danny? Aren’t you going to make a pass at me? Juliet’ll
never know.’
He’d
thought of it, because Ruby had a good body, and a way of
advertising sex in placing
herself, whether close or standing back, but he felt
- he believed:
he had faith - that Juliet was thinking of him, and that she’d write.
She wouldn’t know any other place to write to, she didn’t know
any of his friends and, come to think of it, he didn’t have friends
any more because he wasn’t drinking at McAdam’s or anywhere else.
He was waiting. He couldn’t leave his house, between twenty nine and
eighty seven, until she’d released him.
Then
it came. A pink envelope and handwriting he knew well. The
postmark was Darwin. He put it in his pocket
and went for a walk. Something guided
him to
a park in process of revegetation with native trees and grasses. He took
himself to a monument to some explorers, hardly more than a pile of rocks,
but possessing
a lingering craziness that seemed right for their adventure, and he sat
at the bottom, his back against the stones. ‘I’m putting craziness
behind me,’ he told the air about him, and, worried, relieved - scared,
really - he opened the envelope. It was only a page, nothing on the back,
her name written
at the bottom. ‘I love you, Juliet’.
‘Dearest
Danny,’ it began. ‘I’m so far, far, far
from you but we both know we’re close. How can that
be? According to the nuns, Jesus said, “I am always
with you”; that makes sense to me. Mum -
how does she manage it every time? - found a nuns’ school for me,
even here, but they only run it, the teachers are, well, half normal.
They live in
the top end and they work for nuns! I have to study and pass, and go
on to study some more and if I keep passing one day I’ll be free.
It’s getting
closer, I know I’ll last the distance. I want you to last the distance
too. I’m sixteen now, Danny. That’s the main thing I wanted
to tell you, and the other is ...’
He
read her last three words, and her name. He whispered them
to the air, then he stood up and shouted
them to the city he could see at the
edge
of the park,
the powerful skyline surrounding him. ‘I love you, Juliet!’ He
shouted it three more times, holding the letter scrunched in the grip
of his hand: ‘I
love you, Juliet! I love you, Juliet! I love you, Juliet!’. > back
to TOP |
|
Lou
‘ Ken?’
‘What is it Lou?’
‘Ken, do you like this
desert?’
‘I
can’t live without it Lou. I brought my wife out here
once, not long after we were married. In our car, not the
truck, and we went camping. Down
by the sea, I’ll show you the turn-off, and we had a look in one
of the underground caves. There’s quite a few, as you probably
know. Tina’s
got a lot of spirit, she was game to go down, though she knew even less
about it than I did. I made all the mistakes in the book! However, luck
was on our
side, we didn’t get into any trouble, but when we’d done
the cave, swum in the water down there, done a bit of exploring with
torches, all that,
and came back up, she said to me that it wasn’t her thing. All
our holidays since then have been in places where there’s people.
She’s very social,
my Tina. Now that’s all right, but she said to me that day when
we were back on the surface ...’ he paused, and this time his eyes
roamed the horizon, as if looking for a trace of what had happened ‘...
she said to me, “Ken,
I want us both to be happy, but I know I have to be careful how I make
that happen.” Notice
what she said? I have to be careful how I make that happen. Then she
said, “I
don’t want to reduce you, Ken.” Reduce me. I asked
her what she meant, but she couldn’t say. But she’s given me my freedom,
though I know she’s lonely a lot of the time. The kids are starting
to lead lives of their own, it won’t be long before they’ve
left home.’ He looked
at her through his dark lenses. ‘I don’t know if they’re
going to study like you, Lulu. Maybe they will, after they’ve had
a wild time, a lot of young’uns do. Here’s hoping, anyway.’
His
eyes were back on the road. Lou said, ‘Do you feel big out here,
Ken? Increased? That’s the opposite, isn’t it?’
He
nodded. ‘I do and I don’t. I have to say I’m selfish.
That’s
another way of saying I’m lucky. I’ve got what I want.
An enormous space with nothing in it except me and my rig to give me
something to do. So
far so good. It’s the life I always wanted, but it broke Tina’s
heart when she had a look, and saw that it was ... strange to her.
Distant. It didn’t
touch her. It didn’t give her what she wanted. We bought a good
house after I’d had a few years on the road, she’s made
it look nice, I feel proud of her when I’m home, but I think
she’d give it all away if
she could take possession of this cabin.’ He paused, as if he’d
said too much, but, Lou felt, it was as if she’d been allowed
a space in his mind when she was allowed to sit in his truck.
‘Men
like to be isolated. Women hate it.’
He
nodded. ‘Most
of the truckies I know think the same. They all say you can’t
live with women and you can’t live without’em.
Bloody silly, isn’t it?’ Again, he looked to
see what her response would be. She nodded, as she felt he
wanted, then she said, ‘When I was lying
up there a minute ago, I was thinking ...’
‘Whoops,’ he
said, looking at some tyre marks veering into the sand, ‘someone
went to sleep for a minute. Not too bad, by the look of it.
Buggers think they can drive on pills. Fuckin ridiculous.
Sorry Lou, you were saying?’
> back
to TOP |
|
Angela
She
arranged to have lunch with Carlo afterwards. He asked her
to meet him at Tessa’s: ‘We can take a taxi from
there. We’ll go somewhere special, a long way away.’ She
knew he was thinking of Rome; they were still full of hopes.
He met her across the road before the talk, wished her luck,
and went to his sister’s room to add his energy to
what she was doing. Tessa was there, and surprised to see
him. ‘What’s bringing you here this morning?
It’s not your usual time!’ Carlo told her, ‘It’s
a big morning for Ange. She’s got to give a paper.
I’m backing her up.’ Tessa had never heard him
say anything like this before. ‘Getting serious, are
we? Is there going to be an announcement soon, maybe? Huh?’ Carlo
said nervously, ‘Might be. We’ve got things to
work through first.’
Tessa
left him, and he realised he had brought nothing to fill
the time. He looked around
his sister’s room. There was a newspaper on the table,
opened out. It featured a photo of a man singing, his arms extended in a
gesture that would be silly offstage. In the background
was a woman with a coiffure
so elaborate that he wondered how long she’d sat before the performance
having it arranged. Idly he scanned the column. ‘David Symmonds’ rendition
of the tenor aria in the middle of Act 1, the opera’s turning point,
was rousing to the point of being overwhelming, the most notable performance
in this country since the late Donald Smith thirty years ago. I asked myself
if Strauss and Hofmannsthal meant it to be so energetic, or simply a graceful
distraction, and found it hard to make up my mind. Symmonds certainly achieved
the purpose of the aria, which is to divert us from what’s going on
inside the Countess. The production underlined the trick being played on
the audience
by reminding us, only for a moment, by using a searing beam of light, that
the true action was elsewhere.’
Carlo
studied the picture. ‘The
true action was elsewhere.’ He
could relate to that. How was she doing, the woman who shared his sister’s
bed with him? Were they going to marry? He sensed that if she gave him
the chance to ask, then he’d be accepted. Some men - males, boys
- he realised, would be happy with what was already happening; the sex
would be enough. ‘I’m
being joined to her,’ he told himself. ‘I went into this not
knowing what was going to happen.’ It struck him that if he wanted
to escape, he had a little less than an hour to do it, and if he was still
in the room
when Angela arrived, he was hers. At her disposition. He saw, too, that
this joining sometimes took place by one person capitulating to another,
and sometimes
by negotiations that took years. He looked at the trees in the college
garden. Everything was still, shaded, and the flowerbeds were well-groomed.
The place
where Tessa was a resident was old by local standards. Would he and Angela
ever get to Rome together? He hoped so, and then it came to him again:
if I want to get away, it has to be now.
Now!
He
stood stock-still in the middle of the room, wishing impossible
things. That he could hear what Angela was
saying. That he could sing like the
man in the photo, commanding attention with the power of art. He’s
got music pouring through him, Carlo thought, so where does that leave
me?
He
searched himself. He had no wish to move. He was in Angela’s
hands. He looked at the critic’s words again. ‘The trick
being played on the audience.’ ‘The true action was elsewhere.’ Angela
could do with him what she liked. That was the position he’d
placed himself in. He wasn’t going to run. ‘It’s
my fate,’ he said, ‘and
I wish I knew how she’s going.’
As
twelve o’clock
came closer he became restless, trying to work out how long it
would take her to walk to the college. Would she get away
quickly,
or would someone keep her talking? Would her body be readying itself
to press against him in the room they’d made their own? To
his surprise, he noticed a taxi swing into the college grounds.
It stopped below Tessa’s window,
and Angela got out. She said something to the driver, then looked
up. Seeing him, she beckoned him down. They’d never been
in a taxi before, and it struck him as strange in a way that he
could
only interpret as a warning. He
looked back, in the moment before closing Tessa’s door, and
saw his sister’s
bed, neatly made, as if it had never a thought in its head about
who would use it next.
> back
to TOP |
|
Karl
He
went into the next room, fiddled with the video, and came
back. The sound of commentators’ voices came through.
‘Nice ball. Well left though. He picked up the swing the moment it started,
which was much later than we’ve seen so far this morning. And he let it
go through to the keeper. Now what’s the bowler doing? I think he wants
a change in the field. He’s signalling ...’ ‘What’s
all this about?’
Ronny
lifted a finger, meaning wait. The commentators babbled for
another three or four balls,
then a deep drone
came through the speaker of the set, and into
their kitchen, filling the room, the flat ... Karl banged down the knife
he was using on his toast. ‘Shit!’
Ronny
was amused. Karl felt he’d been taken over,
body and soul. He’d
asked for a day and a night away from love, and now there was something
else. ‘What
is it?’
Ronny
got up, Karl followed. Ronny squatted on the floor not far
from the screen, grinning. Karl pulled over a chair. It was
a
cricket match
replayed
from years
before. Though not a follower of the game, Karl knew that the signage
on the players’ clothes was out of date. Australia was playing
somebody, and the ground, he could see, was Adelaide. The camera kept
panning, trying to locate
who it was that was filling the stadium with sound. The commentators
were at first nonplussed, then they realised that what they were hearing
was a didgeridoo. ‘What
a ... what a ... what a noise!’ Karl said. ‘Fuckin fantastic,’ Ronny
returned, in charge of their relationship at last.
Karl’s eyes
were on the screen. ‘Where’s it coming from?’
‘Keep
watchin.’
The
camera continued its search, passing quickly, for once, over
skimpily clad young women, children with dobs
of cream on their noses, old men
with wrinkled faces comparing the players with their efforts of years before.
The cathedral
crept across the top of the screen as the camera searched. Eventually
it located a man with a wooden pole somewhat longer than his legs.
His cheeks
were puffed
with the air he was pushing down the pipe. The cricketers, when
the camera returned to them, batted and bowled as
if nothing was happening, but
everything
was happening.
Everything was changing. ‘Nothing’s ever going to
be the same!’ Karl
yelled. ‘Thought it might getya,’ Ronny said. He
was grinning. ‘How
long have you had this?’ Karl wanted to know. ‘Coupla
weeks now.’ Karl
thought. ‘How did you get onto it?’ Ronny reverted
to his normal self. ‘Huntin through the replays one night.
Couldn’t sleep, they
had this on. Fortunately
I was tapin it. No good decidin you like somethin and
then turn on the tape, ya miss the best part of
it.’
Karl
looked at the accidentally but amazingly preserved record
of a moment that was changing his life.
Wwwwwoooaaaoooaaaoooaaa ...
The
sound was
so deep that
it lay below any normal music. It was scarcely more than
a reverberation, but it seemed to be booming off something
both
close and an infinity
away. Though
the camera lingered on the man - was it a white man?
- playing the tube, it was as if he was only miming, pretending
to locate
what
came from
a mental space,
a vast collective of all the minds that watched over,
and
received the magic of his country. Their country. Our
country. My country.. > back
to TOP |
|
Neville
Neville
knew everyone in the room was with her, with the exception,
perhaps, of Stephen. ‘Perhaps not,’ he said, ‘but
they couldn’t think of anything better, and it
was consistent with the way they imagined the universe
to be.
Heaven and earth. Hell and damnation. Eternity in pain,
or eternity in bliss, illuminated by the Almighty. This
is the heart of what I want to say.’ He leaned
forward, the humour that had tinged his presentation
disappearing,
though none of them noticed: ‘Most of what repels
us about that prison was simply a part of the time. Most
of the rest can be put down to stuff-ups, bad planning,
those on high not wanting to know what those lower down
did with the problems they dumped on them. Imagine trying
to run a prison system, hard enough at any time, when
the orders come from the other side of the world, and
in a
sailing ship at that! Foul-ups and confusion were inevitable.
It’s common to blame the people who ran the prison.
That isn’t fair.’ He tapped some books he
had on the table. ‘Governor Arthur, O’Hara
Booth ... they couldn’t stop British problems being
shipped to the arse-end of the earth, excuse my French.’ He
looked at Brigitte and felt stupid. She glanced at him
with fire in her eye. ‘A silly expression,’ he
said. ‘Forgive me, I wasn’t thinking ...’
When
he got home his mother asked him how his talk had gone. ‘Not
too badly,’ he
said, ‘but really I don’t think I convinced anybody.’ His
mother looked shyly at him, a sign he knew of a challenge. ‘Perhaps
you weren’t
fully convinced yourself?’
His
answer came quickly. ‘It isn’t
that. My problem is that I don’t
know yet how to make people take seriously what I say. They think they can
brush it off, so they do. It’s a way of reducing the load of things
they carry, I suppose. What I said overturned a lot of what those people’ve
been saying in their talks, but I don’t think many of them bothered
about that because they don’t even know it’s happened. Oh well.’ His
mother said, ‘Can
I make you some coffee, darling? And those biscuits you like ... there’s
still a few left.’ She looked tenderly at her son. ‘No,’ he
said. ‘I’ll go upstairs. There’s a bit of music dad plays
that I like very much. I came home one night when he thought he was on his
own. Well,
he was, you were at Hilda’s, and this music was playing, and I caught
a bit of it. I want to hear it all, properly, from beginning to end.’ He
looked at his mother. ‘I think it might help. Balance me up again,
or that’s
what I hope.’ She said, ‘Your father’s got hundreds of
discs in his cupboard.’ She laughed. ‘I’m not allowed to
touch them. He says I’ll get them out of order if I go near them. What
sort of order they’re in I’m blessed if I can tell, but somehow
he finds what he wants. Do you know what the music was?’
‘It
was music that put everything in order,’ her son replied. ‘It
was very precious. I could tell, even from the bit I heard, that the
man who wrote it had to lose everything else to become what
he managed ... no, I mean
struggled ... to become. It was music ...’
His
fingers were trembling and his teeth on the verge of chattering;
his mother watched him shrewdly,
and with concern.
‘...
that says that any cost is worthwhile, if your goal is big
enough, or grand enough, dainty or delicate enough ...’
She
saw that he couldn’t finish; he was too young to conclude
anything yet. ‘Go and put it on, darling, nice and
loud, so I can hear it down here. And when you’ve finished
listening, come down and talk to me, if you feel ready. I’d
love to hear what you’ve got to say.’. > back
to TOP |
|
| The
writing of this book: |
 |
|
I
am not sure why I took on such a difficult task as this.
I had been reading Boccaccio, and Marguerite of Navarre,
and I had been struck by how broadly descriptive of a society
a collection of tales could be. There’s not much about
a society that doesn’t find its way into its stories.
Another influence feeding into this book was the two years
(1986 – 1987) I spent assisting in the creation of
a History field of study in the curriculum for years 11 & 12
in Victoria, the Australian state where I live. This was
an exhaustive and often difficult process, and although,
when I retired from education, I felt I had been on the winning
side of a range of disputes, I also felt that history was
a more complex matter than I had realised. I think that what
was happening in 1998, when I decided that history was to
be the next subject matter of my writing, was that I trying
to merge, or blend, the sorts of thinking which I had developed
in my thirty or so years in education with the things which
came naturally to me as a writer. I’d struggled for
ever so long to live the two lives, and now that I was leaving
one of them – teaching – I was trying to take
it forward into the life I would lead in obedience to the
other. Writing. I had always tried to live by the principles
of writing, but had had to squeeze it/them in with so much
else. I was free at last, and this book, complex as it is,
was the shout I wanted to give the world.
Complex.
When I look back at the notes I developed in the early months
of
1998, when this book was shaping itself, I am surprised.
I began … if anything
has a definite beginning … by taking my problem to the Caffe Sienna,
in Chapel Street, Prahran, one Sunday morning. With a hot chocolate beside
me I
listed on a piece of paper the fourteen pieces of music that would come into
the stories. Fourteen was an arbitrarily chosen number and I should say that
I rely heavily, when making formative decisions, on arbitrary decisions that
feel right. So fourteen it was. Each story would have a piece of music in it.
That shouldn’t be too hard: I listed Carl Nielsen’s 4th Symphony
(The Inextinguishable), Claude-Achilles Debussy’s Pelleas
et Melisande,
Heinrich Schutz, Hector Berlioz, and so on until I had thirteen famous names.
Who else?
Then
I remembered (it’s in the second last story, ‘Karl’)
a moment years before when I’d been watching on TV a test match at
the Adelaide oval, and someone in the crowd had started to play a didgeridoo.
It
was a huge
sound, it filled the ground and, I had no doubt, the area surrounding it.
This was an expression of our land possessing great force. Looking at the
notes
I made in the Caffe Sienna that morning (9/3/98) I notice that I say of the
didgeridoo
at the test match that it was an ‘invasion of an invasion’. So
the European music I was going to refer to in my stories (histories?) was
a memory
of, a borrowing from, the European culture which had imposed itself on our
ancient land. It was something we had brought here, so inevitably it would
be adapted
in some way. Even to think of Bach, Monteverdi, Wagner et al was to underscore
the difference of our land from Europe. The spirituality of Europe, and all
its other characteristics, had tremendous authority in our new land but were
also
not quite right, because not home-grown. Thinking about this, it seemed to
me that the problems of history which I had had to deal with in my last two
years
in education were starting to look simple beside the more considerable problems
I was opening up for myself.
How
to deal with them? The book would be my answer.
I
started to shuffle my ideas on the computer. Fourteen stories,
therefore
fourteen people. Each would have a story
of his/her own, and each would present
a paper
to the tutorial they shared. Each would quote a document of importance
to their argument, so that meant I had to find fourteen
quotations to incorporate.
I
started to spend days in the Borchhardt library at Latrobe University,
to the north of
where I live, and the Baillieu library at the University of Melbourne,
another favourite retreat. I love to read in libraries.
I started to put stories,
people, quotations and musical traces together. Shuffle shuffle. I started
to put the
fourteen presentations in order. Who’d start? Who’d be last?
Eventually I decided that I’d begin with Brigitte, the French woman
married to an Australian, and I’d end with Neville, a young man
the others thought didn’t
amount to much, but who surprised them when his time came. Why Brigitte?
Why Neville? I’m a writer before I’m an historian and I felt
I could get most effect from these two if I used them to begin and to
end.
Other
challenges presented themselves. I decided that the music
to slip into Angela’s story would be something from
Richard Strauss. Der Rosenkavalier?
Capriccio? I
remembered a performance of the former
opera in the Princess Theatre,
Melbourne, when the Australian Donald Smith came on for the Italian
tenor’s
aria which deceives the audience into taking its eye, and mind, away
from the Marschallin for a couple of minutes; it’s the trick
on which the whole act is constructed. Without this trick, the Marshallin
could not be wistful at
the end after being lustful at the beginning. On the night I heard
Donald
Smith he walked to the front of the stage and filled the theatre with
such a breathtaking
account that nobody could think about anything else. The trick was
perfectly performed. Well, I told myself, if you’re going to
refer to that music you have to use it to pull the same trick. (See ‘Angela’.)
Suddenly
I could see all sorts of games that might be played. Ti
Chai, the Chinese student, has to cope with a marvellous
slab of Wagner, which she
can hardly understand,
breaking into her life. My character Sam, wanting to kill
himself, mysteriously turns on the car radio to hear Carl
Nielsen’s
music saying very forcefully that life will persist one
way or another, whatever
foolish mankind does by way
of self-destruction. And into the inelegant world of prostitutes
and pimps Wolfgang Amadeus Mozart finds a way, and the
world shows all
over again how amazing it
can be.
When
it was time to start, I began all fourteen stories at more
or less the same time, advancing them a little at a time,
to
see if
there were
any problems
I
hadn’t foreseen, and to make sure that I didn’t have
any clumsy overlaps that needed to be eliminated. After a few weeks
of moving slowly I found Danny
getting ahead of the others and asking to be finished, followed
by Sam, Lou, Neville and so on. The whole book took about a year
and
I loved every moment
of it.
I
should record here my thanks to the History Department of
the University of Melbourne. Stuart McIntyre and Peter McPhee
made
it possible for
me to sit in
on three tutorials conducted by Nick Vlahogiannis, soaking up
their
atmosphere – what
was said and not said, their courtesies, silences, periods of
rumination, the sorts of things that came out when people were
exchanging thoughts. I collected
addresses and sent copies of the book to Nick’s students,
when the book was printed, but got only one reply – from
the mother of one young woman who had gone overseas and asked
her mother to send things on to her. Her mother
opened the parcel to find the book and she, at least, found it
interesting!
> back
to TOP > back
to WRITING BOOKS |
|
| Download
this book: |
 |
|
|
| OUR
BOOKS > DIDGERIDOO |
|