|Program theme: Conflict & Identity|
Paddy O'Reilly, Gregory Day, Elliot Perlman and Maxine Beneba Clarke
Which reminds me, if anyone knows Tony Birch please let him know that I apologise for staring at him a couple of times in Readings last Thursday. He really should be able to shop without a stranger listening to him asking one of the staff to show him where to find a book.
Eliot Perlman has been a writer hero since 'Three Dollars' came out (1998), and though I didn't see him arrive I spotted him in his seat inside straight away.
Maxine Beneba Clarke I've had the pleasure of seeing a few times, and as guest editor for Overland Audio II she accepted a poem of mine. I'd also volunteered at her 'Coping Techniques' Writers Victoria workshop on Sunday, so I clocked her (and her deep green feather earrings) when she turned up.
Our fourth reader, I'm ashamed to say, I hadn't read and wouldn't have recognised. In fact when we went inside he was sitting right behind me but it was only when he was introduced and approached the stage that I realised that. I may not have known much about him before Monday night but I'll not be forgetting him now.
Day read from 'The Madeness' (new material, yet to be published) which is a layered collection of stories set in contemporary South West Victoria. The notes I made during his reading make little sense - I was clearly impressed with how he grounded us in the setting as I've jotted a couple of lines that include bark, melaleucas, ti-tree, wind and moonah bushes. For some reason garfish appeared amongst this, perhaps because I loved the specificity of the male protagonist announcing that he's going garfish fishing.
The narrative wove through an afternoon where a father takes his daughter fishing and the wife/mother is home trying to write about Gunter Grass' second volume of his memoir. She'd found his writing 'too damn neat' and almost enjoyed the first volume of his memoir for finally showing the truth of him as a man, and not a very nice one. She stops frequently, focuses on key words and thinks about her association with them. I remember deciding in Year 10 that 'indelible' was my favourite word. I can't remember what I was reading when it appeared in my mind, but it's stayed with me ever since. Day's character arrives at 'insouciance' and ponders it. She remembers falling in love with it as a teenager and first associating it with Muriel Spark. It's such a simple trait yet reveals so much about character and Day's skill with subtlety like this kept impressing me.
A tension builds throughout the story as it gets late, and dark, and there's no sign of her husband and daughter, and we learn slowly of the daughter's intellectual disability and quickly feel the vulnerability. During a battle through the bushes to get to the fishing spot Day gives us the horrible sequence of thoughts that charge with fear - blame and anger, picturing worst-case scenarios and remembering different family members' responses to her daughter at birth. She's our eyes and insight and the downstairs room was filled with people barely breathing for the last few minutes of this story. You know it's powerful when everyone is still after the last word, needing an interval to breathe before their applause.
Continuing my groupie shamelessness, as Day returned to his seat I turned to say something, and not knowing quite what to say I said thank you, congratulations, that was so powerful. A gentleman, though he probably needed some breathing space himself didn't show it, he nodded and smiled at me and I turned back to the front.
As Mary Lou Jelbart (Director and Founder of fortyfive downstairs) told us we'd be taking a short break the word 'artless' appeared in my mind. My appreciation is 'artless'. I feel inept at handling my response to writing I admire, but hope that at the very least 'sincerity' is a word that is associated with me.