Transit Lounge

The Swan Song of Doctor Malloy, a novel about addiction, compulsion, and recovery, is set within a fast-moving thriller. Traversing the worlds of health research, drug cartels, world politics, and corporations, it is a conspiracy novel that manages to stay just within the realms of credibility due to the specialist knowledge the author brings to the tale.

With her fifth novel, Maurilia Meehan has carved out a subversive niche of chick-lit mystery. Touted as the first of a trilogy, Madame Bovary’s Haberdashery is an amusing romp for the thinking woman, with references to Flaubert, Milan Kundera, and Agatha Christie. The decidedly feminist viewpoint is tempered by a mordant use of irony and satire.

he Darkest Little Room, Patrick Holland’s latest novel, looks at sexual slavery and obsession in South-East Asia. The protagonist is Joseph, an Australian reporter travelling in Vietnam. Intent on finding a beautiful woman glimpsed briefly, he receives word that she may be working in a brothel known as ‘the darkest little room’. In pursuing this lead, Joseph meets and falls in love with a prostitute named Thuy. Attracted to her because she is ‘weak’ and ‘beautiful’, he wants to save her from her sordid way of life. Then Joseph starts purchasing heroin for Thuy. His morals are challenged and his life endangered.

Hugh Drysdale, thirtyish, appears to have it made. An ambitious account manager with a Sydney advertising agency, he seems poised for a dazzling career. Confident of future success, he has installed his wife and son in a palatial house by the sea – with a palatial mortgage to show for it.

Patrick Holland makes his plans clear in the first sentence of Riding the Trains in Japan (his fourth book and first work of non-fiction): ‘I arrived in Kyoto in the middle of the national holiday called O-Bon, the Japanese All Souls, when Buddhists believe departed spirits may return to earth and when ancestors and the elderly are honoured.’ His subjects and themes have been identified: himself, the people and places of Asia, Eastern spirituality and tradition, and the transient nature of life and all of its cultural accessories. The opening also reveals Holland’s technical approach: a willingness to conflate personal anecdote with documentary observation, the minutiae of daily life with the grandness of tradition, and the material world with a spiritual one. Clearly, he wants to test the conventional form of travel writing.

The Well in the Shadow, whose title is drawn from Katharine Susannah Prichard’s Coonardoo (1929), is an unconventional book, shaped entirely by Chester Eagle’s idiosyncratic responses to certain writers and their work. Eagle’s engagement with, and enthusiasm for, the texts he considers are undeniable. So too is his close knowledge of the books and writers discussed. The range of subjects is broad and reasonably inclusive, but I did wonder, given the book’s subtitle, about the absence of well-known writers such as Peter Carey, Tim Winton, David Malouf, and Christina Stead. Nonetheless, the choice is diverse.

Keeping Faith, Roger Averill’s first novel after his non-fiction début, Boy He Cry: An island odyssey (2009), is a quiet and resonant piece of work. Befitting a novel set partly in a labour ward and beginning with a description of a stillborn baby, it proceeds with the knowledge that finding the right words can be difficult. It speaks carefully and tactfully, in a spare language of great focus.

Keeping Faith, Roger Averill’s first novel after his non-fiction debut, Boy He Cry: An island Odyssey (2009), is a quiet and resonant piece of work. Befitting a novel set partly in a labour ward and beginning with a description of a stillborn baby, it proceeds with the knowledge that finding the right words can be difficult. It speaks carefully and tactfully, in a spare language of great focus.

‘Boy he Cry’ or ‘Gwama’idou’ is the name of a boat owned by one of the inhabitants on Nuakata, the Melanesian Island that is the setting for Roger Averill’s odyssey. The boat is a canoe, hand-carved and painted yellow, with a bright plastic sail, so there is something incongruous about its poignant caption, which, as Averill learns, refers to a local expression: when a boy is hungry and cries for fish, his father must go out and catch it, so demonstrating his love for the child. In this case, there is an additional melancholic twist because Guli, the owner of the canoe, is separated from his son and unable to hear him cry. Averill’s story is permeated by a doubleness of mood that takes a while to reveal itself.