Fiction

Rivers seem to be something of a preoccupation for Melbourne writer Anna MacDonald. They feature prominently in her 2019 essay collection, Between the Word and the World, and are both setting and centrepiece to her first novel, A Jealous Tide.

When you begin to read a book about a remote town heralded by the sign ‘Darnmoor, The Gateway to Happiness’, you know it’s not going to be a happy place. The opening chapter of Nardi Simpson’s first novel describes a neat, drab town of streets with names like Grace and Hope. Under a vast cerulean sky, a whitewashed war memorial lies at its ‘bleeding and dead centre’.

Since the publication of her acclaimed first novel, Blood Kin (2007), Ceridwen Dovey has established herself as an intelligent author who typically probes what it means, and might mean in the future, to be human. Equally au fait with literary analysis, politics, and science, Dovey has since 2007 published several more books of fiction, two non-fiction books, and numerous essays, contributing regularly to The Monthly and The New Yorker. Now she has extended her range in fiction to a lighter mode, focusing on contemporary life and the pleasures of storytelling. Publishing in audio form has worked well in signalling Dovey’s new voice: Life After Truth was first published through the Australian and New Zealand Audible Originals program in November 2019, and her novel Once More with Feeling was released as an Audible Original in May 2020.

There are at least two types of ‘snowdroppers’ in the world. I grew up around economic snowdroppers, working-class women who stole laundry from clothing lines in more affluent suburbs and sold the contraband, mostly linen and women’s clothing, to pawnshops across inner Melbourne. The snowdropper introduced early in Garry Disher’s new crime novel, Consolation, is of another variety. He steals underwear, women’s underwear specifically, then trophies the garments home and enjoys their company. The thief is pursued by Constable Paul Hirschhausen, the local cop in the town of Tiverton, whom we know from Disher’s previous novels in this series, Bitter Wash Road (2013) and Peace (2019).

Kate Mildenhall’s confronting new novel, The Mother Fault, is set in an alarming near-future Australia. Climate change has left refugees ‘marking trails like new currents on the maps as they swarm to higher, cooler ground’. Sea levels have risen, species have died out, farmlands have been contaminated, and meat is a luxury. Unprecedented bushfires occur regularly; technology and surveillance are ubiquitous, with bulbous cameras hanging ‘like oddly uniform fruit bats from the streetlights’. The media is controlled, and Australian citizens are microchipped and monitored by a totalitarian government known as ‘the Department’. The ‘Dob in Disunity’ app offers ‘gamified’ rewards to informants (‘Even kids could join in the fun!’), while troublemakers can be relocated to ‘BestLife’ housing estates where the reality is far from the Instagram hashtag. Reflecting on the events that led to this, protagonist Mim notes that the world ‘shifted slowly, then so fast, while they watched but didn’t see. They weren’t stupid. Or even oppressed in the beginning.’

In 1976, Sigrid Nunez moved into an apartment on Riverside Drive in New York with her then boyfriend, David Reiff, and his mother, Susan Sontag. Nunez is a person who cherishes solitude. In Sempre Susan, her tribute to Sontag, she describes the strain of living with extroverts when her dream, from her teenage years, had been: ‘A single room. A chair, a table, a bed. Windows on a garden. Music. Books. A cat to teach me how to be alone with dignity.’ Sontag never wanted to be alone. Nunez was drawn into constant dinners, movies, and mountainous correspondence interrupted by telephone calls and visits, often from Joseph Brodsky, the Russian poet, who sometimes meowed like a cat instead of saying hello. (Although Nunez liked him, Brodsky was clearly not the cat of her dreams.) Sontag, objecting to a routine interview, grumbled that ‘Beckett wouldn’t do it’, which became a private refrain for Nunez, oppressed by the relentless activity of the household and the pressure for her to join in.

To read a novel by Marilynne Robinson is to step into a god-haunted world. Hers is a universe both recognisable and brilliant with strangeness, where glory and mystery abound, where revelation is never finished and souls are argued over with the greatest of gravity. At once mythic in scale and deeply attentive to the textures of this world, Robinson’s novels are full of people for whom notions of grace, redemption, and salvation are not abstractions but aspirations – people who, as Robinson once wrote of herself, look to Galilee for meaning.

‘Literary talent,’ writes Martin Amis in his new ‘novel’, Inside Story, ‘has perhaps four or five ways of dying. Most writers simply become watery and subtly stale.’ Not so the eighty-three-year-old Don DeLillo, who has published seventeen novels over the last fifty years, all of them muscular, intelligent, prescient. In 1988, he told an interviewer from Rolling Stone, ‘I think fiction rescues history from its confusions.’

For a protagonist that is self-professedly unlikeable, Martha commands attention – and is likeable. In Meg Mason’s tragicomedy Sorrow and Bliss, Martha navigates living with an undiagnosed mental illness. The novel solidifies Mason’s thematic preoccupations by revisiting those of her previous works: as in her memoir Say It Again in a Nice Voice (2012) and her first novel, You Be Mother (2017), the power of female relationships, loneliness, and the bleak humour of motherhood are apparent.

In Western culture’s calendar year, is there some hidden fifth season, and if there is, what is it? The main character of Philip Salom’s fifth novel, a writer called Jack, asks himself near the end of the book whether the fifth season might be ‘Time, which holds the seasons together’, or perhaps the fifth season is simply ‘the Unknown’. Jack is preoccupied with the lost: with those people whose bodies are found but never identified, or those who, suffering amnesia, can’t be identified, but who need ‘to find their proper location in the story. In the seasons. A lost person must be allowed other dimensions.’