Everywhere I Look (4 page)

I'm ashamed now of my bohemian contempt for the suburbs of my childhood, of my longing to be sophisticated. In the 1990s I lived in Sydney, in Elizabeth Bay, a part of town full of flats and cool cafés, but empty of children; then on the border of Bellevue Hill and Bondi Junction, to me a place of loneliness and strange humiliation, where the young residents of my apartment building would sail through the lobby each morning without even granting the fact of their neighbours' existence.

In 2000 I came back to Melbourne and rented a house in the suburb of Ascot Vale. My daughter had found it for me: she chose it because it was right opposite a primary school. Working in my kitchen I would stop still and listen to the high, long, sweet, wordless cry that rises from children at play.

Now, as a grandmother, I live in a suburb that to some of my friends is off the beaten track. To get
this far west
they have to work their way round
obstacles
: the cemetery and the university, the untracked wastes of Royal Park. They have to pass the zoo. They even have to
cross the freeway
.

I met my neighbours en masse one night after dinner, when some kids from the flats crashed a stolen car through the fence at the bottom of our street and down the bank of the railway line. Everybody rushed out to see. People introduced themselves; they welcomed me. A woman ran inside for a blanket and wrapped it round the shoulders of the driver, whose teeth were chattering with shock. When the cops turned up, an officious young policewoman told us to go back to our homes. My neighbours bristled. We all stood closer together. One bloke muttered, ‘I'm going to bring out my barbecue.' It was our street, and we weren't going inside till we were good and ready.

My next-door neighbour Chris comes out to cut her nature strip, sees that mine is bedraggled, and runs her mower across it as a matter of course, without thinking of it as a favour or asking for appreciation. Her children's white rabbit sneaks through a hole in the side fence and spends leisurely afternoons in my backyard. My grandchildren's unloved guinea pig, Guadalupe, fled under the fence into Chris's yard; a week or so later Chris let us know that it was now male, and its name was Philip. We stand out the front under the plane trees talking about chooks and the return of the foxes. We talk about compost. I begin to see that suburbia might be merely another term for
dirt
, or
children
, or
vegetation.

A few years ago the brilliantly original and eccentric Victorian writer Gerald Murnane won the Melbourne Prize for Literature. It's a big prize, and half of it is supposed to be spent on overseas travel. When Murnane heard he'd been short-listed, he told the committee to withdraw his name, since he had never left the country and was resolutely opposed to the idea of doing so. The committee had the sense to relax the travel clause and award him the prize. In his acceptance speech he explained his refusal to go abroad, and outlined his simple plan for travel
within
Australia: he was going to visit all the houses in Melbourne that he had ever lived in.

Then he tilted back his head, closed his eyes, and recited a long list of all his former addresses in the suburbs of Melbourne: plainly named streets in obscure, lower-middle-class suburbs that no one ever goes to or hears about in the news. And as he reeled them off, by heart, without hesitation, in chronological order, we all held our breath, with tears in our eyes, because we knew that he was reciting a splendid and mysterious poem. It was a naming of parts of the mighty machine that had created the imaginative world of an artist. And when he finished, and opened his eyes, the place went up in a roar of joy.

2011

PART TWO

Notes from a Brief Friendship

Dear Mrs Dunkley

IN 1952, when I was nine and my name was Helen Ford, I came from Ocean Grove State School, where the teachers were kindly country people, to a private girls' school in Geelong. I was put into your grade five class.

You were very thin, with short black hair and hands that trembled. You wore heels, a black calf-length skirt and a black jacket with a nipped-in waist.

We had Arthur Mee's Children's Encyclopedia at home, and I thought I was pretty good at General Knowledge.

‘In what year was the Great Plague of London?'

Up flew my hand. ‘1665.'

You stared at me. ‘I
beg
your pardon?' You mimicked my flat, nasal, state school accent. You corrected it. You humiliated me. I became such a blusher that other kids would call out, ‘Hey Fordie! What colour's red?'

I was weak at arithmetic. On such weakness you had no mercy. ‘Stand up, you great MOON CALF.' You made us queue at your table to show you our hopelessly scratched-out and blotted exercise books. Close up you emitted a faint and terrifying odour: a medicinal sort of perfume. On your lapel twinkled a sinister marcasite brooch.

Every morning, first thing after the bell, you would write in chalk on the blackboard the numerals of the clock face, then take the long wooden pointer and touch the figures, one by one, in random order, in a slow, inexorable rhythm. We had to add them silently in our heads, and have the answer ready when you stopped. The name of this daily practice was THE DIGIT RING.

You made us keep our hands on the desks so we couldn't count on our fingers, but I learnt to make my movements too small to be visible: to this day I can add up on my fingers like lightning. But the psychic cost of the digit ring was high. My mother had to wake me from nightmares. ‘You were calling out in your sleep,' she'd say. ‘You were screaming out “The digit ring! The digit ring!” What on earth,' she asked innocently, ‘
is
a digit ring?'

Dear Mrs Dunkley. You taught us not only arithmetic. One day, making us all sick with shame that our mothers had neglected their duties, you taught grade five to darn a sock. You taught us to spell, and how to write a proper letter: the address, the date, the courteous salutation, the correct layout of the page, the formal signing off. But most crucially, you taught us grammar and syntax. On the blackboard you drew up meticulous columns, and introduced us to Parts of Speech, Parsing, Analysis. You showed us how to take a sentence apart, identify its components, and fit them back together with a fresh understanding of the way they worked.

One day you listed the functions of the adverb. You said, ‘An adverb can modify an adjective.' Until that moment I had known only that adverbs modified verbs:
they laughed loudly; merrily we roll along.
I knew I was supposed to be scratching away with my dip pen, copying the list into my exercise book, but I was so excited by this new idea that I put up my hand and said, ‘Mrs Dunkley, how can an adverb modify an adjective?'

You paused, up there in front of the board with the pointer in your hand. My cheeks were just about to start burning when I saw on your face a mysterious thing. It was a tiny, crooked smile. You looked at me for a long moment—a slow, careful, serious look. You looked at me, and, for the first time, I knew that you had seen me.

‘Here's an example,' you said, in an almost intimate tone. ‘
The wind was terribly cold
.'

I got it, and you saw me get it. Then your face snapped shut.

I never lost my terror of you, nor you your savage contempt. But if arithmetic lessons continued to be a hell of failure and derision, your English classes were a paradise of branching and blossoming knowledge.

Many years later, dear Mrs Dunkley, when I had turned you into an entertaining ogre from my childhood whose antics made people laugh and shudder, when I had published four books and felt at last that I could call myself a writer, I had a dream about you. In this dream I walked along the sandstone veranda of the school where you had taught me, and looked in through the French doors of the staffroom. Instead of the long tables at which the teachers of my childhood used to sit, marking exercise books and inventing horrible tests and exams, I saw a bizarre and miraculous scene.

I saw you, Mrs Dunkley, moving in slow motion across the staffroom—but instead of your grim black 1940s wool suit, you were dressed in a jacket made of some wondrously tender and flexible material, like suede or buckskin, in soft, unstable colours that streamed off you into the air in wavy bands and ribbons and garlands, so that as you walked you drew along behind you a thick, smudged rainbow trail.

In 1996 I described this dream in the introduction to a collection of my essays. A few months after the book came out, I received a letter from a stranger. She had enjoyed my book, she said, particularly the introduction. She enclosed a photo that she thought I might like to see.

The photo shows a woman and a teenage girl standing in front of a leafy tree, in a suburban backyard. It's an amateurish black-and-white snap of a mother and daughter: it cuts off both subjects at the ankles. The girl is dressed in a gingham school uniform. Her haircut places the picture in about 1960. She is slightly taller than the woman, and is looking at the camera with the corners of her mouth drawn back into her cheeks; but her eyes are not smiling; they are wary and guarded.

The woman in the photo is in her late forties. She has short, dark, wavy hair combed back off her forehead. Her brows are dark and level, her nose thin, her lips firmly closed in an expression of bitter constraint. Deep, hard lines bracket her mouth. She's wearing a straight black skirt and a black cardigan undone to show a neat white blouse buttoned to the neck. Her hands are hanging by her sides.

I showed the photo to my husband. ‘What enormous hands!' he said.

I knew your hands, Mrs Dunkley. Not that they ever touched me, but I recall them as thin and sinewy and fierce looking, with purplish skin that seemed fragile. They quivered, in 1952, with what I thought was rage, as you skimmed your scornful pencil-point down my wonky long divisions and multiplications.

‘My mother,' wrote the stranger in her letter, ‘was an alcoholic.'

I thought I knew you, Mrs Dunkley. I thought that by writing about you I had tamed you and made you a part of me. But when I looked at that photo, I felt as if I'd walked into a strange room at night, and something imperfectly familiar had turned to me in the dark. The real Mrs Dunkley shifted out from under the grid of my creation, and I saw you at last, my teacher: an intense, damaged, dreadfully unhappy woman, only just holding on, fronting up to the school each morning, buttoned into your black clothes, savagely impatient, craving, suffering: a lost soul.

Dear Mrs Dunkley. You're long gone, and I'm nearly seventy. But, oh, I wish you weren't dead. I've got some things here that I wouldn't be ashamed to show you. And I've got something I want to say. I would like to thank you. It's probably what you would have called
hyperbole
, but, Mrs Dunkley, you taught me everything I know. Other teachers, later, consolidated it. But you were the one who laid the groundwork. You showed me the glory and the power of an English sentence and the skills I would need to build one. You put into my hands the tools for the job.

Dear Mrs Dunkley. I know that your first name was Grace; I hope you found some, in the end. Please accept, in whatever afterlife you earned or were vouchsafed, the enduring love, the sincere respect, and the eternal gratitude of your Great Moon Calf, Helen.

2011

Eight Views of Tim Winton

one

The first time I clapped eyes on the physical Tim Winton was in 1982. I'd reviewed his novel
An Open Swimmer
in the
National Times
, one of those publications ‘over east' which Tim regarded with the dark suspicion of the dyed-in-the-wool West Australian.

Soon after this, I was one of the east-coast guests, along with David Marr and Blanche d'Alpuget, at a writers' weekend in Fremantle. On the plane out Blanche befriended me. I was impressed by her negative ion generator, her neat little cream suit and her work-in-progress, a biography of Bob Hawke. She and I were given adjoining rooms at the hotel. Early on the first morning she called me in. Charming, blonde, glamorous, she gave a brilliant demonstration of how to manage a laden breakfast tray while reclining against voluptuous movie-star pillows. I trudged to the day's session, Bertha Bigfoot from Geelong.

From the stage I scanned the audience. One young man's head was tilted in a way I'd seen in a photo somewhere. A fall of straight shiny brown hair. An expression of earnest concentration on an egg-smooth, freckled face. And he was staring at
me
. Hell, wasn't that Winton? Stabbed with panic, I scoured my memory for what I'd said in the review. I liked the novel and had said so; but from the lofty eminence of a minimalist who'd published fully two books, I'd drawn attention to what I saw as his overworked metaphors: a character doesn't just take a mouthful of beer, for example, but
nudges the bitter foam
. Oh, Gawd. I dreaded the tea-break. And yet I knew I'd be more at home with this provincial long hair than with the suave political journalists from Sydney.

two

Cut to the state of having known each other forever. It's an unlikely friendship—I'm almost as old as his mother. That day at Fremantle was the start of a long conversation. Thick envelopes arrived from Perth, neatly addressed in his sloping, clear, best-writer-grade-six hand, which is still the same today. Were the letters about what he was reading and writing, what vegetables they were planting, what fish they were catching and eating? He and Denise had just got married. They'd known each other since primary school. They were very happy. Secretly, in my inner-city, divorced feminist way, I thought what they'd done was
very dangerous
. When I eventually got to visit their house, I looked at their wedding photos on the mantelpiece and noticed once again that earnest expression of Tim's. He stood behind Denise with his arms round her, and glared into the camera, his eyes almost crossing with intensity.
I am her husband: she is my wife
. Denise looked calm and sweet and funny. She was doing nursing, back then. On night shifts she used to write me quietly delirious letters on lined lecture pads and sign them Nurse Pam. Who the hell was Nurse Pam? A cartoon character? Our friendship was constructed on a grid of these references. And on jokes about farting, bums and general scatology, which are a Winton family tradition.