by Cate Kennedy
The Best Australian Stories 2011
Copyright
Published by Black Inc.,
an imprint of Schwartz Media Pty Ltd
37–39 Langridge Street
Collingwood Vic 3066 Australia
email: [email protected]
http://www.blackincbooks.com
Introduction & this collection © Cate Kennedy & Black Inc., 2011. Individual stories © retained by the authors.
Every effort has been made to contact the copyright holders of material in this book. However, where an omission has occurred, the publisher will gladly include acknowledgement in any future edition.
eBook ISBN: 9781921870446
Print ISBN: 9781863955485
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Contents
Cate Kennedy
Introduction
Joanne Riccioni
Duty of Care
Gretchen Shirm
Carrying On
Rebecca Giggs
Blow In
Sarah Holland-Batt
Istanbul
Michael Sala
The Men Outside My Room
Miriam Sved
Matter
Liam Davison
Space Under the Sun
Chris Womersley
Where There’s Smoke
Debra Adelaide
The Sleepers in That Quiet Earth
Nick Smith
Everybody Wins on Kid Planet
Russell King
The Road to Nowhere
Karen Manton
The Gills of Fish
Leah Swann
Street Sweeper
Karen Hitchcock
Forging Friendship
Tim Richards
(Favoured by) Babies
Jennifer Mills
Look Down with Me
Mark Dapin
Visitors’ Day
Kate Rotherham
Shelter
Marele Day
Ten-day Socks
Marion Halligan
Shooting the Fox
Nicholas Jose
What Love Tells Me
Louis Nowra
The Index Cards
Julie Chevalier
This Awful Brew
Mark O’Flynn
Beneath the Figs
Deborah FitzGerald
The Anniversary
Penny O’Hara
Strawberry Jam
Stephanie Buckle
Fifty Years
Rodney Hall
Silence 1945
Sharon Kent
Jumping for Chicken
Favel Parrett
Izzy and Ona
Catherine Cole
Home
Publication Details
Notes on Contributors
The Best Australian Stories 2011
Edited by Cate Kennedy
Introduction
Cate Kennedy
It’s been my pleasure again this year to plunge into piles of short stories, swim lap after lap through them and emerge dripping from the deep end with my selection.
I start with this lame metaphor for two reasons. First, because starting to write a story often feels like this – feeling our way forward awkwardly with an image, trying out its heft and shape to see whether it will bear weight – something David Mitchell, at this year’s Sydney Writers’ Festival, described as hesitantly stepping forth into the minefield of plausibility, testing the ground ahead as you go. The instinctual part of our brain starts its run, finding connections, either racing ahead of us like an advance guard, if the writer is having a good day, or setting down each foot with agonised uncertainty. We know we’ll be redrafting later (Plunge into a pile? Get the red pen …), or maybe jettisoning the whole thing and starting afresh.
The second reason is because this feeling of immersion in another element, which has characterised my reading of this year’s submissions, has reminded me that this is the fundamental pleasure of reading itself. Reading is time spent in a conjured world, oblivious to ordinary demands, buoyant, afloat and finally rendered weightless. With hundreds of great stories to read this year, I spent a long time in the water.
Winnowing down my shortlist from the boxfuls I received resulted, as usual, in far more excellent stories than I had room to include, and I would like to thank all the writers who submitted stories in 2011. If their vitality and diversity of subject matter and style is anything to go by, the state of short fiction in Australia is alive and thriving. Thanks, too, to Denise O’Dea and the staff at Black Inc. for giving me the opportunity again to make this annual selection.
There are thirty-one stories in the collection this year, running the gamut from well-known authors to writers whose work I was encountering for the first time. I read from individual unpublished submissions, anthologies, literary journals and new collections. The stories ranged in word length from a few hundred words to works that could be classified as short novels, so clearly the concept of what actually constitutes a short story is also a living and shifting notion. Generally they fell between 1500 and 5000 words and authors explored an extraordinary range of subjects. From faith healing to growing tomatoes, from road trips to romance, it struck me again and again that, like life, it’s not what you start with, it’s what you do with it that matters. Stories about small, mundane things unfolded so beautifully and with such arresting imagery that they stopped me in my tracks and, conversely, stories with richly conceived plots and characters, that surged forward full of promise and dimension, occasionally lost their way. Some stories had been polished to a high sheen, some seemed barely proofread. Some strained for effect, some made their point with effortless grace and originality. All of them showed, in some way, the wonderful possibilities and constraints of the form.
Constraint can be a marvellous thing in fiction. The need for limitation demands that a writer learns to see exactly what needs to be there, and only that. Nothing teaches us what makes a story more effectively than the requirement to strip it of its inessentials, and a great short story is a perfect model of an author carefully weighing every word to fashion a miraculous whole that carries a rich, invisible freight. Such stories have a power like a depth charge, subtext roiling up to the surface at precisely the right moment.
This skill, I’m convinced, is learned in the doing and in the development of each writer’s own idiosyncratic voice. The stylistic diversity of the stories contained here attests to how difficult it is to reduce this process to formula or aphorism. Just as a great meal is a different thing from a recipe, a fine story offers satisfactions on many levels. Allow me to drag the blackboard menu over.
Nicholas Jose’s delicate handling of grief and the unstoppable rise of unbidden memory in ‘What Love Tells Me’ explores a terrain of family tragedy and loss similar to ‘The Anniversary’ by Deborah FitzGerald but makes very different stylistic decisions. Marele Day’s slyly witty ‘Ten-day Socks’ and Marion Halligan’s sumptuously gothic ‘Shooting the Fox,’ meanwhile, share a knowing humour but are worlds apart in subject matter.
Subtle layering of detail that seems casually incidental at first is found in
Mark O’Flynn’s ‘Beneath the Figs’ – skilful use of tone has you smiling right up until the story reveals its poignant underside.
I enjoyed the expertly handled shifts and balances in Joanne Riccioni’s ‘Duty of Care,’ in which a past wrong drives the story along like an inescapable undercurrent, and Louis Nowra’s ‘The Index Cards,’ a story which gradually unfolds from a stack of implication and rising dread. I am pleased to include ‘Matter,’ one of Miriam Sved’s excellent AFL-themed stories, some of which have appeared in Overland and Meanjin, and Sharon Kent’s ‘Jumping for Chicken,’ both of which delineate with great empathy the inner lives of their troubled male narrators. The utter despair of Mark Dapin’s female protagonist in ‘Visiting Day’ is drawn with equal credibility and care.
Chris Womersley and Jennifer Mills are both masters of creating atmosphere and their stories here demonstrate how a short story’s constraint and brevity – what John Marsden calls ‘the eyedropper rather than the bucket’ approach – can evoke tension and suspense.
When Rodney Hall’s ‘Silence 1945’ appeared in the Good Weekend Summer Fiction issue in January this year, he was quoted as saying: ‘Isolating a moment in fiction feels like walking into a forgotten room. At a glance you know everything that’s there.’ That isolating of a salient moment drives many of the stories represented here, including Penny O’Hara’s ‘Strawberry Jam,’ which manages to pack an intensely felt realisation into less than a thousand words, and Karen Stanton’s ‘The Gills of Fish,’ in which the moment of birth itself turns a souring relationship back on course. Julie Chevalier’s protagonist in ‘This Awful Brew’ finds it when she suddenly castigates herself for her own credulity, as do the protagonists of the stories by Michael Sala and Sarah Holland-Batt as they recognise the scar tissue of old trauma. Gretchen Shirm’s compromised mother makes an awful choice for her own child and is left to live with her decision and its hidden, unresolved effects.
Childhood and adolescence, in particular their unexpected and frequently unwelcome rites of passage, were explored to wonderful effect by many writers, and Leah Swann’s piece from her impressive first collection Bearings mines this territory. Totally different again in tone, Nick Smith’s ‘Everybody Wins on Kid Planet’ takes an afternoon at an indoor playground and skillfully morphs it to present a mordantly comic overview of the state of childhood itself.
‘Izzy and Ona’ by Favel Parrett shows the same economy and deftness in revealing the stakes for her juvenile characters here, in the distilled space of a short story, as she does in her highly praised debut novel Into the Shallows.
The twin dilemmas of failing elderly parents and/or demanding adult children on overworked, middle-aged protagonists featured strongly in this year’s submissions – I fully expect to see a reality TV show soon, capitalising on this demographic zeitgeist – and ‘Fifty Years’ by Stephanie Buckle and ‘The Sleepers in That Quiet Earth’ by Debra Adelaide tackle this fraught subject with great style. Russell King, in ‘The Road to Nowhere,’ expertly skewers the expectations of more instantly recognisable protagonists as they set off in their spanking new motorhome to hilarious holiday disaster.
While many writers wrote of pregnancy and infants, nobody did it with quite the same playfully light touch and intriguing implication as Tim Richards in ‘(Favoured by) Babies.’ Liam Davison’s ‘Space Under the Sun’ poignantly explores the ethical dilemmas of gender selection in a terrain where there are no easy answers.
Karen Hitchcock’s always-edgy prose snaps and crackles with energy in ‘Forging Friendship,’ while Kate Rotherham’s subtle ‘Shelter’ works on a gentle register of suggestion and precision. Catherine Cole’s ‘Home’ also uses implication for impact, presenting us with a numbed refugee desperate for his daughter and grandchild to arrive by boat to join him in his patched-together life in Australia. For the reader, the knowledge of the catastrophe of the Siev X and other disasters like it hangs like a pall over this character’s tremulous hope for peace and asylum – a perfect example of how a short story can carry a particular depth charge of subtextual implication solely by working on something the reader, but not the character, is privy to.
Finally, I was totally immersed in ‘Blow In,’ an unusual and sophisticated piece from Rebecca Giggs, one of four writers under thirty featured in Overland 201, a special expanded fiction edition curated by Kalinda Ashton and Samuel Cooney.
It’s been my pleasure putting this final collection together, and I hope it’s as much of a pleasure for you to read.
Enough whetting of your appetite, though. It’s time for you to pull your chair up to the table, and start.
Cate Kennedy
Duty of Care
Joanne Riccioni
When it’s just him and me, when I’m prodding for the pulse between the bones of his wrist, or strapping the cuff around his wasted arm to take his blood pressure, my own heart races with unspoken words. Sometimes I imagine spitting them, hot and shocking, into his face. Other times, when I’m calm, I want to loom over him and whisper them as an icy draft across his bared skin. Instead I give him his bed bath in silence and focus on the task at hand: I straighten his clenched fingers, watch them retract, tease them out again with my sponge. The right hand is more gnarled and seized than the other and the movement makes him grunt. So I uncurl it again and push my sponge between each arthritic claw, watching him flinch, listening again for the complaint gargling in his lungs. When I roll him over, his weight always surprises me, catching me in the small of the back. It’s as if death, like some silty sediment, is already settling into his hollow bones. When I let go he rolls back neatly into his own shape imprinted on the mattress, the fossil of a grown man.
Some days I can’t manage to turn him on my own. I call Manjit in to help me. She holds him on his side while I wash his back. His skin is almost transparent, so thin you could tear his arse with a broken fingernail. ‘I hope you’ve been manicurrring,’ Manjit says primly, rolling the R’s. She’s hamming up Shona, our nursing director from Dundee. Manjit plays her like Miss Jean Brodie’s evil twin. ‘Now little gels,’ Manjit mimics through taut lips, ‘I like to rrrun a tight shep. There’s no rrroom for slovenly on my watch. I do things by the buke.’
Shona likes to line us all up to inspect our nails as if we’re in boarding school. She comes back to check Manjit’s twice, as if she might have somehow overlooked chipped red nail polish and a forearm of noisy bangles in every colour of the rainbow. ‘Jesus, I reckon she thinks I’m some bloody checkout chick at the Caltex, just off the plane from Delhi,’ Manjit snorts. She does that half-nodding, half-shaking thing with her head, like a Bollywood star. When I laugh he moans softly at the sudden sound. His mouth wrestles with the beginnings of words. ‘Don’t you start,’ I tell him, as I begin the brittle operation of dressing him, grinding my teeth as I slowly thread his arms through his pyjama top.
Manjit smiles and strokes his head. His white hair is thin and wild and innocent as fairy floss above his ears. ‘All right, Mr B. Toni’s nearly done,’ she coos. ‘Then I’ll bring you tea in your crossword mug. If you give me a smile I might even pop in an extra sugar. OK? OK, Mr B?’ He manages an animated gargle. It could mean, ‘That would be lovely, dear.’ Or it could mean, ‘Go to hell, you stupid bitch.’
Manjit doesn’t care either way. Any response is a miracle with the end-stagers. I’ve seen her chase the life in them like some kind of Holy Grail. She’s young. She still has the energy to talk to them as though she expects an answer, touch them as though she remembers who they were. Most of us in Acute have become slack with all that. It’s easy to drop the pretence when you get nothing in return. We’re too busy following Shona’s manual of day-to-day maintenance: the correct method of spoon feeding, bed bathing, turning, strapping in, the temperature and blood-sugar monitoring. In between all that, who has the energy to talk or touch for no reason? No one but Manjit, anyway. Sometimes, not oft
en, but sometimes, she gets the flicker of a brightened eye following her across the room, the locking of fingers around her wrist, a suddenly girlish giggle or snatch of half words, all where there was nothing before. She bites on her brown lips then and her smile is stubborn. She doesn’t tell Shona or the doctors. What do such things mean in a patient who is slowly forgetting how to chew, how to swallow, how to breathe? She looks up when she knows I’m watching. ‘See, Antonella? See?’ She blinks at me, like I’m complicit in her secret, like we’re partners. But I look away.
*
Manjit brings Mr B’s tea in a plastic beaker with a straw in the lid. She has put the plastic beaker inside a mug printed with a blank crossword. When I roll my eyes, she shrugs and says, ‘Well? He likes it in his crossword mug. He drinks more.’ She pushes the straw between his lips and I hear her murmur soft encouragements to him, like a mother to a child. When I wheel in the trolley from the meds room, Manjit says, ‘Someone left him halfway through his bed bath last week. Did you know?’ She catches the drips of tea on his chin with a flannel and doesn’t look at me. ‘Didn’t they, Mr B? Poor thing.’ She puts the mug down and begins to check the names taped to the plastic trays of pills on the trolley. ‘When I found him he had no pyjama top on and a wet sponge on his chest. Blue as ice, he was. God knows how long he’d been like that.’ She doesn’t say anything else as she crosschecks the meds. The discordant ragtime ring of a piano drifts down the corridor as if from some haunted old-time music hall. I imagine the rows of ghosts nodding their grey heads in music therapy. She looks up and searches my eyes carefully, one and then the other. I turn away and take a pill tray from the trolley.
