Jacqueline Kent

At a time when President Donald Trump seeks to extinguish the legal recognition of trans and gender diverse people, Bonjour, Mademoiselle! and the life of April Ashley feel unexpectedly topical. Ashley, best known in Australia for her role in Corbett v Corbett, a precedent-setting divorce case that set back the legal right of trans people for generations, is the subject of a new biography by Jacqueline Kent and Tom Roberts.

Robyn Davidson is still best known as the ‘camel lady’, the young writer whose account of her desert trek from Alice Springs to the Indian Ocean with four camels and a dog made her internationally famous. Tracks, published in 1980, has never been out of print. Since then Davidson has led a nomadic life – sometimes living in London, sometimes New York, and often exploring the world’s remote places and writing about them and her encounters with desert dwellers. Now, in her early seventies she has returned to her roots, spurred – like many writers at the same stage of their lives – by the need to examine her own past.

'Who hasn’t longed to run away?’ asks Susan Johnson at the beginning of this memoir-cum-travel book about her time on the Greek island of Kythera. It is a question that invites a show of hands. Fewer people, however, might be inclined to bring their mothers with them. 

This book has one of the most off-putting jackets of recent memory. Elizabeth Jane Howard, glass in hand, is gazing attentively at her celebrated novelist husband Kingsley Amis, who is beaming with self-congratulatory pleasure at someone out of shot. Howard, no mean writer herself, seems to be performing the good wife’s duty of smiling at a joke she has heard at least ten times. It is a photo that invites the reader to buckle up for five essays about the wives of prominent writers who gave up their own ambitions for the greater good of being ‘handmaidens to genius’. 

In the introduction to her book about Bryce Courtenay (1933–2012), Christine Courtenay writes: ‘To be Bryce’s wife was both a joy and a privilege, and I remain proud of the contribution I made to our years together. Not long after we became a couple, he said, “I love you very deeply and we make a fantastic team, but you do realise you have taken on a full-time job looking after me? Plus, for seven months a year you’re a writer’s widow while you wait for me to finish each book.”’ It is a paragraph that reveals something about their relationship, including its power balance.

'This is a book about friendship and storytelling’, writes Marilla North in her prologue to this artfully arranged selection of correspondence. It begins in 1928 and covers the next twenty-seven years, chronicling the large and small events in the lives of Dymphna Cusack, Florence James, and Miles Franklin, three of Australia’s most vital, fluent, and committed women writers.

Telling one’s own story comes naturally: we are all in some sense autobiographers. There is nothing new in the urge to seek a pattern in a life while living it, to advertise an ego, to explain, confess, justify, understand – or simply to say ‘I was there’. What is new is the comparative ease with which the urge can be accommodated and the ‘self-life’ made into text.

The current interest in the narratives of ‘ordinary people’ is attested by the extraordinary success of Albert Facey’s A Fortunate Life. It may also be seen in some recent and important scholarly enterprises such as the nineteenth century Australian women’s diaries published by Lucy Frost in No Place for a Nervous Lady or the oral histories from which Janet McCalman constructed inner urban Richmond in the depression years as Struggletown.

In 1959, David Hill, aged twelve, left England and sailed on the Strathaird to Australia with two of his three brothers. Like thousands of children before them the Hill boys were bound for a Fairbridge farm school. Like thousands of children before them, they had come from a poor background, with a struggling single mother who believed that Fairbridge would give her boys a better education and greater opportunities in life than she possibly could.

It’s always interesting to see biographers decide to turn the spotlight upon themselves, and to ask why. Will it be another case of ‘now it’s my turn’? The need to confess, even to enter into the Land of Too Much Information?

There’s a Judy Horacek cartoon in which a woman tells a friend that she once intended to be the perfect wife, a domestic goddess. When the friend asks, ‘So what happened?’, the woman replies, ‘They taught me to read.’