KUDOS FOR
FLYING HERO CLASS
“DELIVERS ALL THE ROLLER-COASTER APPEAL OF A CONVENTIONAL THRILLER … to raise hard questions about moral responsibility in the face of political oppression.”
—New York Newsday
“THIS CLIFF-HANGER IS A MUST-READ.… Only rarely can the publishing world offer a truly universal novel, a book that could translate into any language without sacrificing a poetic phrase, a nuance, a subplot.”
—United Press International
“IF THERE IS ANOTHER NOVEL PUBLISHED THIS YEAR THAT SUCCEEDS ON AS MANY LEVELS, WE WILL BE LUCKY INDEED … Keneally’s prose immediately invites comparison to writers such as Graham Greene, Anthony Burgess and Brian Moore—and comes off well.”
—San Diego Union
“ELEGANTLY-MADE, EXCITING.”
—Lawrence Thornton, author of Imagining Argentina
“COULDN’T BE MORE COMPELLING—OR TIMELY … the ideas are deep and compelling, and the characterizations are absorbing in their complexity.”
—Chicago Sun-Times
“GRIPPING … A STORY OF DISCOVERY AND COMMON HUMANITY.”
—Philadelphia Inquirer
“‘HERO’ FLIES IN A CLASS BY ITSELF. Thomas Keneally is a Booker Prize and Los Angeles Times Book Award winner. If Flying Hero Class is any measure, this Australian author had better get a larger trophy case.”
—Boston Herald
“CLIFF-HANGING DRAMA … [THAT] EASILY SIDESTEPS ALL THE USUAL CLICHES.”
—Milwaukee Journal
“A MOVING PSYCHOLOGICAL TALE … in prose that has earned Mr. Keneally consistent praise.”
—Dallas Morning News
“I LOVED IT! AN EXTRAORDINARY NOVEL—INTRICATE, OFTEN CHILLING, ALWAYS GRIPPING.”
—James Kunetka, author of Shadow Man
“FIRST-CLASS CONFLICT … PACKS A WALLOP”
—Detroit News and Free Press
“A RICH AND REWARDING READ … a fascinating study of the psychology of terrorism.”
—Los Angeles Times
“[AN] EDGE-OF-THE-SEAT SUSPENSE NOVEL WHICH BRINGS A RARE DEGREE OF PSYCHOLOGICAL NUANCE TO THE THRILLER GENRE.”
—Publishers Weekly
“TAUT, COMPELLING … Keneally is a masterful storyteller, with an uncanny ability to employ humor, suspense, and meditations on morality in equal quantities, while crafting almost flawless works containing flesh-and-blood heroes.”
—Newark Star-Ledger
“A COMPELLING DRAMA CARRIED BY FINELY SHADED CHARACTERS.”
—Booklist
“STRIKES AN EXCITING, BELIEVABLE BALANCE between incisive analysis of terrorism, the psychology of hostages, primitive magic and the transforming power of personal courage.”
—Hartford Courant
Flying Hero Class
A Novel
Thomas Keneally
By the same author:
The Place at Whitton
The Fear
Bring Larks and Heroes
Three Cheers for the Paraclete
The Survivor
A Dutiful Daughter
The Chant of Jimmie Blacksmith
Blood Red, Sister Rose
Gossip from the Forest
Season in Purgatory
A Victim of the Aurora
Passenger
Confederates
Cut Rate Kingdom
Schindler’s List
A Family Madness
The Playmaker
To Asmara
Non-fiction
Outback
For children
Ned Kelly and the City of Bees
To my daughter Margaret,
for her splendid research into the minds
of hijackers.
A question heard among Western Australian desert Aboriginal tribes:
“Who dreamed you,
Carried you,
Set you down?”
PROLOGUE
The remote Australian tribe called the Barramatjara had two early brushes with Christianity, both of them so different as to make the tribespeople question whether Christianity was one entity or a series of intrusions from remote space.
For some reason Benedictine monks from Spain had, in the last years of the nineteenth century, conceived an ambition to bring the Barramatjara to Catholicism. The Benedictines traveled with camels on the tracks of the first European explorers, four-square British travelers who had not intended to blaze a trail for papism, who were good members of the established church or of rugged nonconformism.
But on the Western Australian coast, the Benedictine monks had already found an echo of Spain and—as had been the case with Spanish missionaries in California and New Mexico—it grew to be a matter of urgency for them in the name of Catholic Spain to find the farthest place and the farthest people. They were not frightened off by the prospect either of thirst or of the spear. Their Savior and their template had already died of thirst and the spear upon the cross.
The Benedictines brought lay brothers who were carpenters and who built the remotest boys’ and girls’ dormitories in the world out of sawn planks, transported from the coast by camel. The dormitories were meant to separate the Barramatjara young from the calls and rituals of night, of marsupial rat and banded possum, of euro and wallaby, of blue-tongued lizard and crow, of numbat and desert eagle.
A century later, Frank McCloud, manager of the renowned Barramatjara Dance Troupe, imagined Dom Estevez, the abbot of the Barramatjara, patrolling the dormitories on horseback by night, a carbine on his shoulder to prevent the kidnapping of his students and their bearing away for instruction in the older initiations.
Dom Estevez—it needed to be said—also had the humane intention of saving young girls from marriage to the older men to whom they’d been promised in childhood.
Reading briefly into the history of the Benedictine Order in Australia, McCloud was informed that by abandoning the coastline to the heavy-handed Irish priests, the Benedictines would lose their sway over the nation as a whole. But it was as if they were conscious of the sacrifice and were still content, if it came to a choice, to hold its Barramatjara core.
In the early years of the twentieth century they ordained eight of the Barramatjara Dance Troupe’s great-grandfathers and great-uncles priests. Vestments and chalices were shipped from Catalonia and carried across the wilderness by camel train to be employed in the ordination of the Barramatjara priests. As Pizarro strangled the king of the Incas, the Spanish friars now sealed up the lips of the Barramatjara with the sacraments of Christ.
The priesthood didn’t take with the Barramatjara, however. Dom Estevez, riding around the thirsty borders of the Gibson Desert to visit his parishes and priests, found chalices tossed under bushes, dispensed with as no good for holding water. He would discover sets of vestments—the red of martyrs, the white of virgins and of the requiems of children, the black of Easter week and of the death of adults, the purple of Lent—all these gifts of devout Spaniards to the remote Barramatjara priests—cut up and distributed among various elders. Estevez records his shock at finding a Barramatjara man out hunting and dressed in a cutaway green Pentecost chasuble. The priests themselves had taken wives from the neighboring people, the Arritjula, whom the Benedictines had not yet instructed in the mysteries of faith.
Estevez was not a narrow man, although his grief now was heroic in scale and put him in the way of his own death. He wrote in his notebook, “They are not guilty, because they are the most complacent race on earth. When they were under my training, they did everything they could to please me and to believe courteously what I believed. What I took to be an understanding of Catholic dogma may have simply been politeness. And likely they were polit
e to any old man in the wilderness who asked them for their Lenten vestments, and to any woman who offered herself.”
After the failed ordinations, Estevez stayed on in Baruda a further three years, vicar-general for the Barramatjara. But he had lost credit with his superiors. Some of the lay brothers were withdrawn by their superiors in Spain, and donations were sporadic. Even in Barcelona the faithful could sense the unsuccess of the mission to the Barramatjara. The Barramatjara were no longer interesting or hopeful pulpit news.
In the end Estevez himself, with his one remaining aged lay brother, was ordered back to the coast. As he went into his dotage on the shore of the Indian Ocean north of Perth, the dormitories built to separate Barramatjara children from the mysteries became prey to sandstorms and termites and Barramatjara people looking for wood for their campfires.
For the next twenty years many of the Barramatjara lived on in Baruda, addicted to rations of tea and sugar, flour and tobacco, doled out by the protector of Aborigines, a government official.
Baruda, after all, lay at the meeting place of two dry creek beds, and there was always water there, if not on the surface, then in deep waterholes. So what the Barramatjara called “big ceremonies” could be performed there, when people from all over the region, united by some common ancestors—by the Two Brothers, for example, who had pierced each other’s nasal septum with a bone just two miles out on the Easter Creek road; or by Malu the Kangaroo Man—could collect in large numbers.
The burden of European presence was next taken up by cattlemen. Many of the younger Barramatjara scattered to cattle stations at the eastern end of the desert country and earned their rations rounding up cattle. The Barramatjara worked with the cattle for eighty years. Few of them listened to their Arritjula relatives from farther north, who had found work in bauxite mines and who believed that to be the best way to absorb the impact of the newcomers, to work them out, to find a way of living with them. The horse and cattle mustering was the way the Barramatjara chose. The way of cattle had been ordained for them by the dreams some of their elders had. The way of mining had not been ordained by any of their dreams.
In the early 1920s, German Lutherans appeared at Baruda. Using trucks, they had crossed the arid stretch from Alice Springs in the east. To get through sand bogs, they used matting, which they laid under the wheels of their vehicles. Like Estevez, they were men of powerful character. Like him, too, they built dormitories for the young men and women.
They would stay there for fifty years.
All the Barramatjara remembered Pastor Freiniemer, who protected them from massacre in the twenties and thirties, who made himself unpopular with cattlemen by demanding better terms for those of them who worked as stockmen farther east. They considered him one of those mystifying whitefeller Christians, so different from the whitefeller miners and cattlemen, since he frowned on booze and fornication, the preferred activities of the others. Less mystifyingly, he frowned on brutality as well, more than he did on their mysteries. He was moderately loved by them for it.
It had been in Freiniemer’s dormitories that most of the Barramatjara Dance Troupe took their first instruction as Christians. McCloud the troupe manager could imagine them accepting it all in the same spirit their grandfathers had accepted ordination from Estevez. Attending services with their native politeness. Absenting themselves in the bush, however, for three months at a time for the big ceremonies of initiation.
Even early in the tour, before he was further enlightened on the matter, McCloud liked to think that the Barramatjara were now on their own mission to those who lay in that outer dark which went by the name of Europe and America.
CHAPTER ONE:
Before the Takeoff
It always surprised the troupe manager, Frank McCloud, how calmly they sat. In their big first-class seats, all of them, even tormented Bluey Kannata, looked as self-contained as rich children. They had conquered New York, and it was hard to know what that mean to them. Now they were going—composedly—to Frankfurt. There the full-color programs had already been printed up in a language Whitey Wappitji and the others had no familiarity with.
The troupe were calm about that venue, too. Here, at the start of their flight, they were suffering no preperformance trembles for the sake of Frankfurt. They never seemed to hold any narrow postmortems that McCloud could see, or blame each other for mistakes on stage. They didn’t worry about the perversity or mental blinkers of critics.
It was clear to McCloud now, at the close of their New York adventure, that they suffered from dreads and obsessions of their own: Whitey and the Christian Phil and the movie actor Bluey. But they lacked the sort of self-absorption artists were supposed to have. Their show business was in some ways more light, more casual, than show business itself. It was something they did without fear. It was as familiar as buttoning a shirt.
McCloud noticed too this night of the takeoff from New York how Whitey Wappitji, the man of authority and—if there was such a thing in this troupe—tacitly recognized leader, sat in his large aisle seat, hemming in high-living Bluey Kannata from the good things which would soon be rolling up the aisle on the cocktail trolley.
In a jazz bar in the Village, just ten days back, Bluey—a man famous quite apart from his dancing—had asked McCloud, “You reckon I could get any work as a gigolo round here?”
“Here? In New York?”
McCloud was sure he was joking. Bluey was—as he’d frequently proved—the jetsetter of the troupe. Still, you couldn’t help but wonder what knowledge of dream trails in the deserts could lead Bluey, the only Barramatjara gigolo in New York, along those complicated streets down there, in SoHo and TriBeCa. Or up the island, for that matter, where the streets were all on a grid and dubbed with numbers but were just as treacherous.
Bluey had been born in the center of an old and therefore apparently barren continent, on a dry river four hundred miles from Alice Springs. He was made from the blood of people who could paint and dance well before anyone else could. The oldest painters then, the oldest dancers.
But here he’d been in the jazz bar in Greenwich Village, weaving to the industrial-strength music and saying “gigolo”!
McCloud had asked him, “Have you ever been one before?”
“In Melbourne,” Bluey asserted. “After the picture finished.”
For Bluey had been a star in a number of films, but “the picture” was the first one, the one which made his name, the one which film societies gave special screenings of wherever the dancers turned up. In fact, in New York, a city which had taken to the Barramatjara Dance Troupe with passion, the film had been revived and shown on one of the networks. No doubt a print of it, dubbed in German or subtitled, was waiting for their arrival in Frankfurt and would appear on local television during the dance company’s run.
Bluey could tell McCloud was skeptical.
“I was a gigolo bloke six months,” he lightly confessed—with that brittle levity which was his style. “Got in the shit with the old blokes back home.” He said that a lot, that he was regularly in trouble with the Barramatjara elders back in the desert. And the other members of the dance troupe made veiled remarks of the same kind about him.
“I was at it six months,” said Bluey. “And listen, don’t get the wrong impression, mate. I met nice ladies. They were just fed up with hanging round with yobbos, that’s all.”
And so—Bluey Kannata: negligent tribesman, sublime dancer, movie star, believer in curses, gigolo bloke! Hemmed in now aboard this flight and for his own health by Wappitji. Because Bluey could take on an edge of bitterness, give off a hot breath of anger, or even see phantoms whenever he was allowed too much bourbon.
Behind Wappitji and Kannata, also strictly composed and already wrapped in a blanket, sat the musician Paul Mungina, who had managed to bring his didjeridoo on board with him. The didj, as Paul familiarly called it, was a tube of wood, carved and painted with totemic designs. From it Paul could evince a sound audiences of all
stripes thought of as straight from the earth’s most antique lungs. If the mountains talked, you would believe, those ground-down Barramatjara mounds of ocher forty times older than the Alps or Rockies, they would have spoken through Mungina’s didjeridoo.
Curiously, the didj came from the tropic north, not the deserts the dancers considered their home. White settlement had mixed peoples up. But whatever evils it had visited on Mungina, it had alerted him to the existence of the didj of the northern tribes, in which instrument he had become an easy master, a sort of joking James Galway of the holy tube of eucalyptus wood.
Paul’s didj was not at his side at the moment but had been stowed in the closet up the back with all the businessmen’s coats!
Beside Paul Mungina sat the sober Philip Puduma, who was both a tribal elder and a devout Christian. He hadn’t attended jazz clubs or seemed to be much tempted at all by terrible New York. Sometimes he had complained in a small voice about how bitter the city’s autumn was.
Then, third row from the nose cone, McCloud had the aisle, and the fifth troupe member, a renowned horse rider and stock drover in the Barramatjara country, a man named Tom Gullagara, nicknamed Cowboy, was already asleep, sitting formally straight in the window seat. A quiet, measured drinker, a man who waited in the corner for women with the wit to find him, Cowboy Tom had lived high in New York, but without making the sort of noise about it Bluey couldn’t help himself making.
McCloud himself had for his various reasons stayed up late in New York, even by the standards of performing groups. His vision was now ochered and speckled from whiskey excess, and he thought he might even have a minor tremble. He had needed throughout the tour to keep an eye on the fragile Bluey and to be with the troupe in the small hours when they were looking for somewhere to go. Apart from Phil Puduma, who’d suspected the city’s Satanic openness, they loved New York for its business-at-all-hours air.
McCloud’s own guilty sense now was that his wife, Pauline, had assumed the role of, or been maneuvered into being, one who kept office hours and rose early to talk to bus companies or make airline reservations—all this even though she was not on the tour payroll. She didn’t always go out with them on those late night adventures. Her professional sense told her that someone had to be at the base in the hotel, ready to take to the streets if necessary to explain to policemen Bluey’s volatile blend of innocence and worldliness. Someone had to explain in emergencies what they would never themselves explain, that they were not brothers in the New York sense. They were not party to either the wisdoms or the griefs of the black underclass. They were Barramatjara tribesmen, and their history was sad, yes, but—even by the standards of this city—fantastical.
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