October 2012

Arts & Letters

The Best of Australian Literature 2012

By Geordie Williamson

Let’s prick the bubble of contemporaneity for once. Two lost books by a centenarian author were published in 2012. Happy Valley is the first reissue of Patrick White’s 1939 debut, a novel that was later so effectively quashed by its creator that many of White’s partisans have rejected the work on his say-so alone.

We were wrong. Happy Valley is not a great novel but something more interesting: an apprentice work by a novelist who will go on to become great. Yes, it can be ungainly; White admitted to writing it while drunk on the technique of the modernists he was reading: Gertrude Stein, DH Lawrence and, most of all, James Joyce. However, there is a pleasure to be had in watching as White gropes his way towards a voice that belongs to him alone.

His many-stranded story of a New South Wales country town and its torpid captives may be refreshingly straightforward in narrative outline, but the tortured psychologising for which White would later be known is already present. The mud and bleached yellow grass of the Monaro high country are the dominant tones of the work. White’s biographer David Marr notes the colour. The young author’s mentor, the determinedly synaesthetic painter Roy de Maistre, assigned it the musical key of G minor: the most suitable key for tragedy and sadness, according to Mozart.

The Hanging Garden is a late, unfinished novel, set aside by White in the early 1980s and latterly rediscovered by David Marr. He and White’s executor, literary agent Barbara Mobbs, have done us all a service by seeing it into print. This is not a masterpiece either, in the sense that Riders in the Chariot or The Tree of Man are masterpieces. Rather, it is a surprisingly gentle, compassionate novella: the kind of second-order effort that shows up the intermittently alienating fierceness of White’s major works.

Its account of two young wartime evacuees boarding in an old house overlooking Sydney Harbour during World War II is not without swipes at Australia’s bourgeoisie and their ludicrous old-country fealties. Nonetheless there is a stillness and beauty at its heart, arising from the innocent, quasi-mystical love that its child protagonists share. Critics have tended to concentrate on the long fragment’s aesthetic weaknesses. They shouldn’t. Anything that revives interest in one of the twentieth century’s supreme makers of fiction is worth attending to. The two titles, with all their flaws, only lead us back to White’s inexhaustible oeuvre.

Geordie Williamson

Geordie Williamson is a writer, editor and critic.

@gamwilliamson

Patrick White at Cambridge in the early 1930s. National Library of Australia
Cover: October 2012

October 2012

From the front page

Coalition comedy hour

The PM’s “victory” on energy didn’t last a week

Image of Peter Temple

Remembering Peter Temple

The acclaimed Australian crime writer had a deep appreciation for the folly of things

The death doula

Annie Whitlocke is helping to break the silence around grief and dying

Alt right on the night

One of the extreme right’s greatest harms may turn out to be opportunity cost


In This Issue

'Lore' by Cate Shortland (director)

'Silent House', Orhan Pamuk, Hamish Hamilton; $29.99

'Silent House' by Orhan Pamuk

'Questions of Travel', Michelle de Kretser,
Allen and Unwin; $39.99

'Questions of Travel' by Michelle de Kretser

'Montebello', Robert Drewe, Hamish Hamilton; $29.99

'Montebello' by Robert Drewe


More in Arts & Letters

Covers of Motherhood and Mothers

To have or not to have: Sheila Heti’s ‘Motherhood’ and Jacqueline Rose’s ‘Mothers’

Heti’s novel asks if a woman should have a child; Rose’s nonfiction considers how society treats her if she does

Image of Beyoncé and Jay-Z

The disappointment of The Carters’ ‘Everything Is Love’ and Kanye West’s ‘Ye’

New albums from Beyoncé and Jay-Z and Kanye West bare all yet share nothing

Image of Mike Parr, Underneath the Bitumen the Artist

Mike Parr’s invisible performance and Tasmania’s complex past

Underneath the bitumen in Hobart, history becomes art

Image of Ronan Farrow

The end of American diplomacy: Ronan Farrow’s ‘War on Peace’

The Pulitzer Prize winner explains how the State Department’s problems started long before Trump


More in The Best of Australian Art 2012

The Best of Australian Arts 2012

'Hail', Amiel Courtin-Wilson, 2011. Image supplied.

The Best of Australian Film 2012

Plain tobacco packaging, Australian Government, 2012. Image supplied.

The Best of Australian Design 2012

RMIT Swanston Academic Building, Lyons Architects, 2012. Image supplied.

The Best of Australian Architecture 2012


Read on

Image of Peter Temple

Remembering Peter Temple

The acclaimed Australian crime writer had a deep appreciation for the folly of things

Image from BADFAITH Collective’s ‘Exquisite Corpse’

‘Exquisite Corpse’: reinventing a parlour game in immersive VR

BADFAITH Collective build a Surrealist body at the Melbourne International Film Festival

Image of Peter Dutton

Peter Dutton’s leadership ambitions

A reminder of why the minister’s recent dog-whistling should be of concern

Image from ‘Sharp Objects’

‘Sharp Objects’ blurs the edges

The cruel complexities of women’s lives propel this Amy Adams-led thriller


×
×