by Cate Kennedy
Winner of the People’s Choice Award,
NSW Premier’s Literary Awards 2010
Shortlisted for the Christina Stead Prize for Fiction 2010
Shortlisted for the ASA Barbara Jefferis Award 2010
Shortlisted for Literary Fiction Book of the Year,
Australian Book Industry Awards 2010
Shortlisted for the ALS Gold Medal 2009
‘Written in precise and singing prose, Cate Kennedy’s
powerful first novel begins with three unlikeable characters
and blossoms into a work of mythic depth, lyrical description
and gripping suspense.’ Adelaide Advertiser
‘Vivid and robust realism shading occasionally into satire, full of
humour and drama, told through different and conflicting points
of view ... an unsentimental, beady-eyed look at contemporary
Australian middle age and its treatment of its children.’
Australian Literary Review
‘The World Beneath displays all the hallmarks of the short-story
writer’s art; acute observation and concise execution.’
The Courier Mail
‘Cate Kennedy, celebrated for her short fiction, this year began
her long-distance career with The World Beneath. To my mind, she
enters the stadium a hundred metres in front of the next novice
and with the best time for many years.’ Peter Temple, The Age
‘The World Beneath is an intelligent, equivocal, unusual and often
amusing novel, one that comprehends the comfort of stereotypes
and pushes beyond them.’ Sydney Morning Herald
‘Kennedy has delivered an outstanding story.’
Notebook [Pick of the Month]
‘Cate Kennedy manages to address serious subjects with an
entertaining and sometimes humorous light touch. But she
doesn’t shy away from the big questions or neglect to offer hope
when there seems to be none. This is what makes her writing
so deeply attractive, transformative and satisfying.’
The Big Issue *****
‘The World Beneath is an intelligent modern Australian novel,
displaying that fine eye for unexpected humour and everyday
tragedies that made Kennedy’s stories so appealing … The writing
here is of the highest quality.’ Bookseller & Publisher
‘The World Beneath is a rare combination of a pacy, gripping plot
with very real characters and spare, elegant writing. Beautifully
observed, Kennedy’s novel is painfully honest about the ways
in which family members hurt — and heal — each other.’
Who
‘This is a thought-provoking journey into contemporary
Australia; an impressive debut novel.’ Australian Book Review
‘It’s a feisty tale wonderfully told; rigorous, clever, and yes,
highly recommended.’ Readings Monthly
‘The World Beneath is the first novel by Cate Kennedy,
often cited as Australia’s queen of the short story. In the longer
format Kennedy doesn’t disappoint, delivering her characters
with unnerving accuracy — the disdain of a teenager,
the searing frustration of a man whose life has passed him by —
while the Tasmanian wilderness looms as vividly as anyone
else on the page.’ Time Out Sydney
‘Full of rueful and cutting insights, this is an acutely intelligent
novel about contemporary Australian life.’ AEU News
‘Undeniably one of Australia’s finest writers, Cate Kennedy
continues her reputation for gripping stories that leave you
questioning your own life and those within it ... Kennedy creates
a plot filled with intrigue, fear, betrayal, lost love, disillusion
and redemption.’ Yen
‘Cate Kennedy is a brilliant storyteller. She possesses the power
to find in ordinary lives their poetic and mythic dimensions and
to remind us that vernacular speech and everyday experiences
betoken the tender mysteries that lie beneath family life.’
Gail Jones
‘A riveting family drama played out in Tasmania’s wilderness.
Kennedy has made a seamless transition from award-winning
short-story writer to breathtaking novelist.’
Mandy Sayer
Scribe Publications
THE WORLD BENEATH
Cate Kennedy is an award-winning short-story writer whose work has been published widely. Her collection, Dark Roots, was shortlisted for the Steele Rudd Award in the Queensland Premier’s Literary Awards and for the Australian Literature Society Gold Medal. Cate is also the author of the travel memoir Sing, and Don’t Cry, and the poetry collections Joyflight and Signs of Other Fires.
THE
WORLD
BENEATH
Cate Kennedy
Scribe Publications Pty Ltd
PO Box 523
Carlton North, Victoria, Australia 3054
Email: [email protected]
First published by Scribe 2009
Reprinted 2010
This edition published 2010
Copyright © Cate Kennedy 2009
Lyric on p. 122 from ‘Let The Franklin Flow’ © 1983 Shane Howard
(Big Heart Music/Mushroom Music) reprinted by kind permission.
All rights reserved. Without limiting the rights under copyright
reserved above, no part of this publication may be reproduced,
stored in or introduced into a retrieval system, or transmitted,
in any form or by any means (electronic, mechanical, photocopying,
recording or otherwise) without the prior written permission
of the publisher of this book.
National Library of Australia
Cataloguing-in-Publication data
Kennedy, Cate
The World Beneath
New ed.
9781921640551 (pbk.)
1. Environmentalists–Fiction. 2. Dysfunctional families–Fiction.
3. Tasmania–Fiction.
A823.4
This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
The author would like to acknowledge the assistance of the Tasmanian Writers’ Centre and the Island of Residency Program, which is funded through CAL (Copyright Agency Limited)
www.scribepublications.com.au
To Rosie,
for all the hours this book has taken
Contents
ONE
TWO
THREE
FOUR
FIVE
SIX
SEVEN
EIGHT
NINE
TEN
ELEVEN
TWELVE
THIRTEEN
FOURTEEN
FIFTEEN
SIXTEEN
SEVENTEEN
EIGHTEEN
NINETEEN
TWENTY
TWENTY-ONE
TWENTY-TWO
TWENTY-THREE
TWENTY-FOUR
TWENTY-FIVE
ACKNOWLEDGEMENTS
In every walk with nature one receives far more than he seeks.
John Muir
The heart of another is a dark forest.
Turgenev
One
It was the broken-resolution end of January already, and Sandy was sitting in the kitchen drinking decaffeinated coffee with her oven�
�s green, digital-clock display panel flashing, if you could believe it, HELP HELP HELP instead of the time. Last night, full of the beady-eyed purpose a late-night joint always gave her, she’d stood there trying to reprogram it to bring the clock back without making the bloody oven alarm go off, pressing and fiddling and relighting the stub of her roach, until finally she’d sworn at it and given up.
So now it was signalling her for help. Her oven, for crying out loud. An appliance.
And even though she couldn’t fix the timer, the clock still ran with a snickering whirr, a nasty little calibrated sound of time mouse-wheeling itself determinedly away, even if she was sitting here marooned in the long slack middle of the afternoon, picking hard candle wax off the tablecloth and waiting for the caffeine rush that would never come.
Sandy raised the mug awkwardly in her left hand and took another sip. She was right-handed but her friend Alison had made these mugs on her new pottery wheel a few years back and Sandy had loyally bought them, and there were fragments of grit embedded in a dribble of glaze on the other side, just at the point where you sipped. Just one little gravelly flake of grit, but enough to drive you nuts. It was hard enough picking the things up with the lumpy handles Alison had stuck on. Proletariat cups, Sandy would think as she washed them roughly in the sink, hoping to break one so that she could justifiably throw it out. Nothing would kill them. They were made to withstand a revolution.
She’d recognised the handwriting as soon as she’d fished the envelope out of the mailbox, felt that little twisting jump of tension. No return address, of course. And inside, just a postcard, one of those free ones you get in coffee shops, with his message scribbled on the back.
Would like to ring Sophie for her fifteenth birthday. Please let her know. I’ll call around 6.30 your time. Hope life is treating you well. And a mobile number. That was all. As if he was paying by the bloody word.
Was life treating her well? Sandy frowned, lifted a splatter of candle wax with her fingernail from the batik cloth. Everybody seemed finally to have accepted resignedly that this was the state of play, she thought: you let life happen to you. In it came like a party-crasher, ignoring any plans you might have had for yourself, and treated you to whatever it had in mind.
And you just sat there and took it. Nobody ever said, for example, how have you been treating your life? which made you sound a bit less passive, at least. Maybe that could be the start of an article, something she could write for the community-centre newsletter, or even the local paper.
Did he really have to be so terse, even in a postcard? Not that his brusqueness surprised her — that was Richard all over, exactly as she remembered. Hope life is treating you well would be just what she would have expected — one of a couple of careless, studiously distant sentences as if he’d spoken to her last month instead of about five years ago.
Sandy, in uncharitable moments — and OK, these surfaced occasionally, she was the first to admit — believed that Rich did this on purpose. Whatever he was doing now, and God knows he was evasive enough about that, he made a point of being somewhere exotic around Christmas and Sophie’s birthday, just so he could write things like Greetings from Dharamsala! or Not sure if this will get to you, boat’s not docking in Borneo till next week.
Like this one: 6.30 your time. Please. As if he had to calculate time zones. Like he was going to call from bloody Bhutan.
She hoped the romance was a deliberate, manufactured illusion, hoped he was, in reality, writing from his dead-end job or cramped bedsit. She should have paid attention to the postmarks over the years, except that sometimes Sophie made a point of casually collecting the mail around her birthday and Christmas before she did, so she didn’t have a chance.
She’d laid the whole thing on the line for Sophie, early on.
‘He walked out on us when you were just a tiny baby. So don’t go expecting anything from him. Put him out of your life, like I have.’
And for years Sophie had given her that inscrutable child’s look and shrugged, even though Sandy was sure she kept all those cards, with their pathetically non-committal messages, hidden away somewhere. Hanging onto something. Some possibility. And then last year, when Sophie had been turning a scary fourteen, she’d stunned her by saying, ‘If you’ve put him out of your life, why are you always talking about him?’
She had felt herself blustering, hot suddenly. ‘I don’t.’
‘Yes, you do.’
‘No, I don’t.’
‘You do. When all your friends are here. You’re all shouting to get a word in about who’s got the worst ex.’
Just trying to get under her skin about something that was patently untrue. Sandy imagined all those cards somewhere, wrapped up in a box under a journal, maybe. Although Sophie had become so coolly cynical this last year it was hard to imagine any shred of sentiment surviving; it would be hanging on like a tiny gasping plant, clinging by its roots to a crack in the barren rock face of withering teenage contempt. Maybe she’d thrown away the lot. Maybe she’d incorporated them into some weird art installation at school, lying slyly in wait for Sandy to come across at the next parent–teacher night.
And she would have to smile brightly, her face stiff with mortification, and pretend she knew all about it. She was still getting over innocently strolling into the IT lab last term and having the teacher enthusiastically show her the website Sophie ran from her school computer no, not website, one of those blog things: BigPage, or MyFace, or whatever it was called.
A wildly popular site, apparently. A cluster of teachers had stood around her, enthusing.
‘She’s brilliant, really,’ the headmaster had said excitedly, clicking away with the mouse. ‘Such a thinker, and such a subversive sense of humour, wouldn’t you say?’, and he’d brought up Sophie’s blog. And smiling, still wondering what, exactly, he meant by subversive, Sandy saw that it was called My Crap Life.
‘This has had thousands of hits,’ the headmaster was saying. ‘Even the staff read it each week. And the goth twist is what makes the whole thing so exceptional.’
‘Emo goth,’ corrected the IT teacher, mystifyingly, leaning proprietarily over the back of the ergonomic chair.
Sandy nodded, grimly trying to memorise the web address. ‘She’s certainly full of surprises,’ she said faintly. There was Sophie’s face on the screen, indisputably hers, glowering out from under a curtain of black fringe, so it must have been true. Fourteen years old, and this other life going on, a secret parallel universe served up here now in a fait accompli, something for Sandy to accidentally stumble across when it was all too late.
Like that tattoo. Sandy remembered the shock of first glimpsing it, the sensation of the rug being smartly whipped out from under her. Not even a nice tattoo either, the sort that she herself had contemplated — those cute butterflies in the small of the back, say, or a Celtic band honouring your cultural heritage or some small, significant endangered flower on the ankle.
No, Sophie’s tattoo was pushing heavy metal, like an AC/DC album cover.
They’d been sitting at a barbecue, and Sandy’s eyes had wandered over to her daughter’s shoulders just as Sophie had leaned forward to pick up her drink. It was a hot day and she’d uncharacteristically taken off her black hoodie, leaving her bare pale neck and shoulders exposed. Sandy’s heart jumped into her throat and hammered there a few times. Oh Jesus, it couldn’t be permanent, could it? It was illegal to tattoo a minor, she was sure of it. Wasn’t it?
‘Oh my God, what’s that? Sophie?’
‘What’s what?’ Sophie turned around, her jet-black hair scraping against her singlet. What did she put in it, glue?
‘You know perfectly well. That thing on your back.’
Her daughter took a swallow of Diet Coke before answering, and Sandy watched her eyes flutter closed, as she gulped, through the thick sweep of black eyeliner.
‘It’s only a temporary tat,’ she’d said wearily.
‘Thank God for that. I
thought for a minute ... Sweetheart, what induced you to stick that on there? And what on earth is it? A bat?’
Sophie pulled the singlet down with her black-painted fingernails. ‘I’m trying out what I’m going to get when I turn eighteen, OK? So calm down. It’s just a bird.’
Spread wingtip to wingtip between her shoulder blades. That pale delicate flesh that she remembered pressing her face to countless times when Sophie was a baby, inhaling that scent of innocence and ayurvedic soap, that skin she’d kept so carefully from sunburn and injury. Now her daughter was planning to scar it indelibly with a ... black carrion bird.
‘You’ve got to be kidding. A crow? Right across your back like that, as if you’re some kind of ... bikie’s moll?’
That slow-motion, long-suffering blink again. Where did she get that sneering contempt?
‘Take a chill pill, will you? I told you I wouldn’t do it permanently till I was eighteen.’
‘As if those studs through your eyebrow aren’t enough.’
A snort of laughter. ‘Jesus, Mum, you sound like Grandma.’
That shut her up. Made her stand, suddenly, and go over to refill her wineglass at the trestle table, then wander shakily to another seat under a tree where friends were having a long and circuitous conversation about the local council. She did sound like her mother, awful to admit. More and more, when she forgot herself, that voice came rising out of her own throat, Janet even down to the querulous inflections. Please God, not that noble self-martyrdom next. Anything but that.
My Crap Life. Honestly, when had Sophie ever wanted for a single thing in her whole life? You did your best, you were everything to your kids your own parents weren’t, you put them first in everything, and they still thought their lives were crap. Their lives were paradise, she thought bitterly, picking at the red wax.
Her mother’s voice burbled faintly but persistently out of the ether telling her to warm up the iron and find some absorbent paper and do the job properly, and Sandy tuned her out before she could go on to add that there was still a load of wet clothes in that machine that would soon be starting to mildew and a vinegar rinse would get that smell out but why let it happen in the first place?
