Historical Fiction

Australian involvement in World War I has in recent years attained a high profile in books, film and television. The trend has been to demythologise the legends of heroism and courage associated with war, and the theme often adopted is the rapid and brutal transformation from naivety to understanding of how baseless the myth was. Although this might be considered well covered ground, Geoff Page in his first novel, Benton’s Conviction, has returned to the war setting. However, because he concentrates on an aspect which hitherto has not been fully explored, and sustains the work with deft prose, Page has succeeded in producing a novel of originality and consistent interest.

Australia in the thirties – tough, innocent, conservative and patriarchal to the ninth degree. In A House with Verandahs Nene Gare writes about men dispossessed by the Depression and who become working class casualties, unable to grasp the world outside and clinging tenaciously to the world of domesticity and the comfort of women. And, in tum, the women struggle to maintain their world and to support each other through the petty obstinacy of their men. Nene Gare’s novel is drawn from her own childhood – its form is close to the autobiographical fiction of the Canadian writer Alice Munro. It also has similarities to Glen Tomasetti’s Thoroughly Decent People, and to a much earlier Australian classic, Ethel Turner’s Seven Little Australians. All depict the culture of women and the linked culture of children. Like much of the fiction written by women, A House with Verandahs is episodic as it meanders through the intricacies of human relationships. The world outside makes very few impingements even the man’s work as a tradesman is spent in the backyard workshop. The Hounslow family are poor. They recycle everything in their battle to survive. Women’s skills are endlessly on call to save the day-old cast-off adult wear clothes are cut and made into children’s Fruit is bottled and preserved and served up as jams and chutneys. House­hold repairs are done by the family members usually again by the women or left to languish. The men are so debilitated that all their energy is spent keeping face. Anything extra is a threat to their identity and to their position. Molly Hounslow must continually remind her more rebellious and impatient daughters to be careful of Dad. She says after any crisis: ‘Don’t say anything to your father ... it might worry him. We all knew about not worrying Dad. It made him nervy . . . newspapers also upset him. He said people would get the idea from newspapers that the world was full of criminals.’

Rites of Passage qualifies for a notice in ABR because, although it is written and published in Britain, it is among other things an account of the adventures of one Edmund Talbot who has taken a passage to Australia sometime during a lull in the wars with France, towards the end of the eighteenth century.

Dust jacket blurbs are usually misleading, but at least one point made by the back cover of Blanche d’Alpuget’s new novel, Turtle Beach, is authentic. It refers to the ‘Graham Greene sense of inevitability’ of the events of the work. As an admirer of Greene, especially in his Third World novels, I can confidently recommend Turtle Beach as a worthy successor to such socially important novels as The Quiet American and The Comedians. D’Alpuget has the same keen sense of the inadequacies, irrelevance and wrongheadedness of Western involvement in the East, the same wryly ironic depiction of the frailty of human nature regardless of class, colour, creed or sex.

On one of the early chaotic army days of World War II in France, I was combining the disagreeable tasks of eating and censoring letters home written by the men in my section.