September 2012

The Nation Reviewed

Riches to Rags

By Fiona Harari
Illustration by Jeff Fisher.
Down and Out in Double Bay

Everything about him seems muted: his greying, threadbare clothes; his fixed expression, somewhere between a grimace and a half-smile; the way he always crosses the street when someone approaches.

He is a very tall man, close to 2 metres, and once might have struck an imposing figure. Now he seems to seep into the background of Sydney’s eastern suburbs so that, beyond the odd aside about his shabbiness, hardly anyone really has very much at all to say about him. Still, locals know exactly who you are talking about if you bother to ask: he is the man who walks.

His beat brims with luxury. Day after day, for years now, he has paced across great tracts of waterfront land, past high-walled estates and lavish mansions, as if in a bubble.

Where his long walks begin and end is unclear. He travels mostly empty handed, occasionally stopping to wash himself discreetly in the harbour, and if he carries anything it is an old knitted beanie that completes his regular outfit: worn tracksuit pants, thongs and a misshapen fisherman’s jumper, regardless of the weather.

One winter weekday morning, he appears near the busy Rose Bay shopping strip, where carefully coiffed women are alighting from double-parked four-wheel drives. Towards the harbour, tables of young mothers are lamenting over coffee the rapidly disappearing hours between dropping off and collecting their children from private schools.

He stands alone, leaning against the fence of someone else’s home, and slowly looks up and down a side street, as though contemplating where to next. He heads towards Dover Road but just as he reaches the intersection, seems to change his mind and sits down on a bench.

A local walks past and wishes him good morning. He moves his mouth to produce the barest of sounds, and turns his head in a slow glancing arc from left to right, without looking directly at the woman but somehow still managing to take her in. Then, suddenly, he is up again and striding in the other direction, away from this stranger who has shattered his peace.

Where does he belong? No one can say. At the beautifully restored police station, which he often passes, officers are bound to respect the rules of privacy. The same goes for the local council, where there are no specific services for those who walk the streets all day.

A few times a week he wanders into the newsagent for a scratchie and a Redskin, and sometimes he lines up at the supermarket to buy a soft drink, always keeping a distance from the customers ahead of him. Then he’s off again. Along New South Head Road, where he easily outpaces the heavy traffic, he approaches the stately council chambers and peers through the window of a street-front office to check the time on a wall clock inside. From there, it’s a minute’s walk to the Double Bay Library, a big old home with a majestic view out to the harbour. He enters noiselessly. A huge bank of windows, almost floor to ceiling, looks down onto the gardens of adjoining mansions. At a long desk, students sit with books and computers.

He comes here often, perhaps for the heating. Today, though, it is unseasonably warm. The sun glistens on the harbour and casts a comforting glow inside. He hides himself in an alcove just beyond the window, where the sour whiff of old clothes and a slight rustling of paper betray his presence. In the silence of the library, where it is perfectly OK not to talk to anyone, he is reading the Financial Times.

Fiona Harari
Fiona Harari is a journalist and television producer. She is the author of A Tragedy in Two Acts: Marcus Einfeld and Teresa Brennan.

Cover: September 2012

September 2012

From the front page

Shooters v. Nats

The party of the bush is neither listening nor thinking

The hyperbole machine

Social media and streaming services are changing what and how we watch

‘Zebra and Other Stories’ by Debra Adelaide

Difficult-to-grasp characters populate this new collection

The right reverts to form after Christchurch

Insisting that both sides are to blame does nothing to arrest far-right extremism


In This Issue

Quarterly Essay 47, 'Political Animal: The Making of Tony Abbott' by David Marr, Black Inc., 140pp; $19.95

Political Animal: The Making of Tony Abbott

Words: Shane Maloney | Illustration: Chris Grosz

Reg Ansett & Deborah Wardley

Obama's election day cheer squad, Harlem, New York, 4 November 2008. © Ingvar Kenne

Waiting for Barack

The improbable president

'Hemingway and Gellhorn', Philip Kaufman (director).Screening on Showtime in September.

‘Hemingway & Gellhorn’ by Philip Kaufman (director)


More in The Nation Reviewed

Illustration

Tuckshop intervention

How did buying lunch in a Northern Territory school get so complicated?

Illustration

Screen addiction

As more of our lives are lived online, more people aren’t coping

Illustration

Ben Quilty in bleeding colour

The Australian artist opens up on the eve of a retrospective exhibition

Illustration

The search for the Endeavour

After all that, where did Cook’s ship end up?


Read on

The hyperbole machine

Social media and streaming services are changing what and how we watch

The right reverts to form after Christchurch

Insisting that both sides are to blame does nothing to arrest far-right extremism

Image of ‘The Seventies’ by Michelle Arrow

Making the private public: ‘The Seventies’ by Michelle Arrow

This new history traces how the decade’s redefined politics shaped modern Australia

Image from ‘Destroyer’

Hell hath no fury: Karyn Kusama’s ‘Destroyer’

Nicole Kidman confronts in this LA crime thriller


×
×