Helen Garner

In August 2013, Robert Farquharson was denied special leave to appeal to the High Court against his conviction for the murder of his three young sons Jai, Tyler, and Bailey, aged ten, seven, and two. This was the final legal chapter in the lengthy story Helen Garner explores in This House of Grief.

Garner begins with the ‘Once’ that prefaces fairy tales – stories we think we know well enough to recite from memory; clear, oracular, and resonant: ‘Once there was a hard-working bloke who lived in a small Victorian country town with his wife and their three young sons.’ One day, ‘out of the blue, his wife told him that she was no longer in love with him’. Transformed by this into ‘the sad husband’, Farquharson packs a suitcase and leaves, saddled with the ‘shit car’ of the two owned by the couple.

While rehearsing in Martin Place for the recent Sydney Festival, my daughter found herself dancing on a plinth while a heckler below chanted ‘Wanker!’ throughout. On another platform, her fellow artists, all of them performing their intricately choreographed work, endured the calls of another passer-by, ‘You’re so predictable!’ In Australia, everybody’s a critic.

Following True Stories, published in 1996, The Feel of Steel is Helen Garner’s second collection of non-fiction. It comprises thirty-one pieces of varying lengths. Longer narratives such as ‘Regions of Thick-Ribbed Ice’, about a hair-raising trip to Antarctica, and ‘A Spy in the House of Excrement’, about the outcome ...

What do we talk about when we talk about Helen Garner? About her writing, that is, about such a consummate novella as The Children’s Bach, about extraordinary stories such as ‘A Vigil’, in Cosmo Cosmolino, about the eponymous ‘Postcards from Surfers’, and a dozen others? We talk about domestic realism, we talk about fiction that encompasses not merely the present supposedly self-obsessed Baby Boomer generation but children and grandparents also, we talk about discipline, control, and the assurance that more is less.