Cate Kennedy

In this week’s episode of the ABR Podcast we revisit Cate Kennedy’s short story ‘Sleepers’, which won second prize in the 2010 ABR Elizabeth Jolley Short Story Prize. ‘Sleepers’ was also included in Kennedy’s 2012 short-story collection Like a House on Fire. Cate Kennedy is an award-winning writer of fiction, non-fiction and poetry. Listen to Cate Kennedy’s ‘Sleepers’.

Alex is watching his wife as she stands at the pale stone bench and raises her canister of Chinese herbal tonic to her shoulder to give it a quick shake. She gives him a game, faintly ...

You are perfect for this story. I will never meet you.’ We are invited into Australian Love Stories and into Bruce Pascoe’s erotic reverie with this line from ‘Dawn’. The reader is embraced, as the luxuriating eye of Pascoe’s narrator embraces the recumbent body of the woman beside him. His gaze is illicit, touch forbidden. We are privileged voyeurs, given temporary access to hidden thoughts and lives. Love. This paltry word hardly describes the myriad guises of friendship, affection, homosexual and heterosexual relationship, desire, lust, loneliness, and satisfaction; the gamut of emotions expressed in the twenty-nine stories editor Cate Kennedy selected from the ‘sea of stories’ she received. I do not have enough room here to mention each singular invocation of love by name. Some stories follow the constraints of realism, others are more expressionistic, but each holds a gift – a kernel of some essential truth about the human condition. The ones I mention simply struck a special chord for me.

In order to appeal to a child audience, picture books often deal with similar subjects or themes. To compete in the marketplace, they therefore need a point of difference – something in the artist’s style, the author’s approach, the design of the book to set them apart.

Cate Kennedy’s fine second collection of short stories, Like a House on Fire, is of a determinedly realist bent. Metafictional play does not generally form part of Kennedy’s armoury, and the mostly low-rent settings and struggling characters reprise what in the 1980s and early 1990s was briefly known as dirty realism, though Kennedy’s prose is not as resolutely spare as that of some writers associated with that movement.

The ABC Shop is currently selling online The Best Australian Stories 2010 for $14.99. ‘Ideal for summer reading’ its advertising says, and it surely doesn’t matter which summer. At that price you might get yourself a copy and sling it in your beach bag, unless you suspect it might dampen your holiday mood. More than a few reviewers found the overall tone of the collection bleak and negative: ‘one of the more depressing reads of the year’, wrote Chris Flynn in these pages (February 2011). If that doesn’t sound like ideal beach reading, shell out the full RRP and buy The Best Australian Stories 2011.

Amore appropriate moniker for this year’s Black Inc. collection might be ‘Bleak Australian Stories 2010’. Either the editor’s taste runs to the morose or Australian writers need to venture outside and enjoy the sunshine a little more...

 Ray was stuck in traffic, an unusual feeling in a town the size of his, inching forward through a detour round the railway crossing. He watched the orange text changing on the roadside electronic billboard in the kind of trance he had recently found himself lapsing into more and more. TRACK UPGRADE he read absently. DELAYS EXPECTED. DETOUR AHEAD.

He’d forgotten – they all had. Barrelled up to the intersection into town as usual to find the contractors had been hard at it from 6 a.m. just as they’d promised, a squadron of shining earthmovers and excavators hacking away already. Thousands of dollars being spent every minute by whatever construction company had won the tender. Not anyone local, that’s for sure. Ray might have had some contract work himself, then.

Cate Kennedy’s début collection, Dark Roots (2006), marked a change in publishers’ thinking about the commercial potential of short stories, and helped create the atmosphere in which Nam Le was signed up for his bestselling collection, The Boat (2008).

Kennedy was well known in literary circles before her book was published; she has won several of Australia’s leading short story competitions, including the Age Short Story competition twice. Dark Roots gained her a public following and cemented her status as one of Australia’s most accomplished writers, regardless of genre. The stories in Dark Roots are master classes in style and precision: a series of lives intimately sketched by way of carefully chosen, closely observed detail and elegant metaphors. Now readers will see how Kennedy manages the tightrope transition to the long form in her first novel, The World Beneath.