With limited time, these blog posts just have to flow from my head onto the screen. Please forgive all unfiltered thoughts, badly chosen words, grammatical errors and digressions of narrative and theme…
I want to start with what just happened. I invited the five writers Zac, Craig, Ash, Sam and Nick, and filmmaker Tim, into my parents’ home in Coffs. They needed a good feed, and I knew Dad’s homemade bread and pesto would suffice. There was quite a spread, and the red wine flowed. As we were arriving in Coffs, I began to shake, which I think nobody noticed. I always get a bit shaky here. Nothing very bad ever happened, but I was often in a bad place when I lived here, and I had wanted to leave, but remained for a variety of reasons. Let me just say that this had nothing to do with my folks, they’re great people; it was more my own psychological ‘stuff’. One way I dealt with it was to start this blog more than seven years ago.
Here we were. Old worlds and new, colliding on the back veranda. And it was lovely.
Memory and the past can be fuel for writing. Craig Sherborne has spoken a lot about his mother on the trip (and you would be familiar with her if you’ve read his memoirs Hoi Polloi and Muck). He has described her as ‘big, loud, intimidating and proper’. She both pressured and smothered him, and for him there was deep love and deep antagonism.
Ashley Hay’s grandfather was killed on the railway, and her grandmother was employed as a librarian for the railway, which made Ashley think about what it would be like for her grandmother to hear the noise of the trains, constantly; to be reminded of her husband’s death over and over. This was part of the impetus for writing The Railwayman’s Wife.
The past is layered through Samuel Wagan Watson’s work. In Lismore, when the topic of literary influences came up, Sam went to childhood and Saturday mornings: Scooby Doo, Land of the Lost, and Cheech and Chong (with a perfect impression). The poem ‘Hallowed Ground’ opens on Saturday morning on Logan Road in Brisbane. The poet is taking his lady to a cafe. Four stanzas are indented within the poem, emphasising the past in place. Here are two:
Dinosaurs are buried here with the remains of their
tracks; this place was one only known as Central.
This place was where my mum and dad had their first
kiss on the tram!
His lady says, in the poem, that he is distant, but he is ‘very HERE’, he writes; he is taking in past and present all at once. At the end he is moving across the table to attempt a kiss, sealing past and present together, ‘safe from chaos for the time being’.
The Lifeboat came out of experiences in Zacharey Jane’s past. She didn’t realise until years later that seeing an old couple at various times on a holiday, and then seeing the old man die in a storm, had had such an effect on her. When she was leaving Mexico, the whole novel came to her as she wondered what would happen if the ferry sank, and there were no markings on the lifeboat, and one’s memory was erased. It was an old couple who became her castaways in the novel.
Nick Earls told us an amazing story from his past (related to someone else’s past) that has never gone into a novel, because no one would find it plausible. When he was a doctor, he saw a woman in emergency who was having some trouble she’d never had before. She was perplexed by people playing cricket on TV, and was wondering why her hands looked so strange. He asked her some questions and she told him her father was a bootmaker, and that they’d come over from England on a big ship. She said she remembered her father taking her to Southampton to see a ship like the one they’d leave on. She knew she’d gotten to Australia but she had no idea that the ship she saw had in fact sunk. Nick realised that her father must have kept the news from her, about the Titanic, so she wouldn’t be afraid of the journey on another large ship not long afterwards. So Nick was talking to a woman who had not only seen the Titanic, but who had no idea (in that present moment) that it had sunk. It turned out that the memory loss was a very rare side effect of her medication, and the remaining years filled in once that had been adjusted.
So stories arise from the past. And in the present, a writer collects (knowingly and unknowingly) images, moments, bits of dialogue and anecdotes which may become story sparks. Craig aptly summed up this process in Tweed Heads: ‘As a writer, you’re a parasite.’
I’m sure this trip will result in many more stories.
Comedians are parasites, too. We had a good laugh seeing a couple of them at the Tatts Hotel in Lismore last night after our gig. With the magic of YouTube, I can share the experience with you. Here’s Loz, he’s good at wordplay:
And bringing more LOLs, here’s Matthew Ford:
Tonight we’re at the Coast Hotel, a place I associate with short shorts, Smirnoff Ice, sneaky cigarettes, and finding a $50 note. WORLDS COLLIDE.
Here’s a cool dog we saw in a car today. He treated the #555writers tour with skepticism: