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Nathan Hobby, a biographer in Perth

~ The life of Katharine Susannah Prichard, the art of biography, and other things

Nathan Hobby, a biographer in Perth

Author Archives: Nathan Hobby

On finding a book from my childhood

27 Tuesday Sep 2011

Posted by Nathan Hobby in books

≈ 2 Comments

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childhood, children's books, Nina Bawden

The fiction shelves of Allanson Primary’s library took up one wall of the year 6/7 classroom. I don’t remember new books being added, but there must have been some. There were certainly never any books weeded in my years at school; if a book was in the library, you could count on it staying there.

I was obsessed with Ancient Egypt from Year 1 to Year 3, and toward the end of this, a kind girl who liked me (I, too embarrassed, shrunk away) came up to me during library time with a book I hadn’t noticed before. It had a boy lying between the legs of the Sphinx. My momentary excitement was dulled when I realised it was a novel with nothing to do with Egypt; it was set in London, and the boy was found between the legs of the replica Sphinx. I cannot remember if I even took it out, let alone whether I read it – and yet I vividly remember the girl showing me the book .

For me, it’s the books which I half remember, the ones I can’t go back to because I can’t remember the title or even the author, which have a hold on me, ghosts on the edge of memory. The few favourite childhood books which survived household purges and I still own are precious, but do not haunt.

But this time I found a ghost, found it in an opshop on Saturday, for 50c, the same edition as the one from my childhood (there are six cover variations floating around the web, none of them this one). Its title returned to me when I saw it: The Finding by Nina Bawden. It was a withdrawn library book, from another public primary school, with a borrowing card stamped with dates around the time I borrowed it.

I remember liking the cover, but now the Sphinx looks like he’s alive and it just looks so… earnest.

The first few chapters have an eerie familiarity as I read them last night, so I probably did read it. It starts woefully, with one of those terrible sentences our teachers tried to make us write in creative writing in primary school:

On the day of his Finding, the mist lay on the river; a soft, white vapour drifting on the brown Thames, lazily stirred by the slow tide of the water into smoky tendrils and curls.

But it gets much better after this, with the strange appearance of a Pentecostal tent meeting catching me offguard.

I never knew anything about Nina Bawden as a child; she occupied a good section of shelf in the library, and in that sense seemed familar but we didn’t know if these authors on the shelves were alive or dead. Born in 1925, Bawden is still alive even today, but her husband died in a train crash early this century.

How To Live 200 Years

26 Friday Aug 2011

Posted by Nathan Hobby in death, quotes

≈ 1 Comment

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death

Hence, to sum up: The most rational modes of keeping physical decay or deterioration at bay, and thus retarding the approach of old age, are avoiding all foods rich in the earth salts, using much fruit, especially juicy, uncooked apples, and by taking daily two or three tumblerfuls of distilled water with about ten or fifteen drops of diluted phosphoric acid in each glassful.

– William Kinner, North American Review 1893

The Ghost Writer / John Harwood

13 Saturday Aug 2011

Posted by Nathan Hobby in book review

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biographical quest genre

The Ghost Writer (2004) begins in regional South Australia in the 1970s, as the narrator Gerard grows up lonely in an isolated town with a protective mother, Phyllis. Phyllis is protecting secrets, and the day Gerard snoops through her locked drawer to find an old magazine and a photograph is the last time his mother even speaks of her English childhood in a country house called Staplefield. Around the same time, Gerard receives a letter from a penfriend club and begins a passionate exchange of letters with an orphaned, paralysed English girl named Alice Jessup.

Gerard takes another chance and finds the old magazine still in the drawer; inside the magazine is a ghost story by his great-grandmother, Viola, reproduced in full in the novel. Gerard keeps pouring his heart out to Alice, his ‘invisible lover’; he saves up to visit her in England as a surprise, only to hear nothing from her when he gets there. She was sick in hospital, she tells him later, and we jump forward years, to find Gerard in his thirties, still living unhappily with his mother, and still hanging on the hope that an operation will allow Alice to walk, the condition she has placed on them being able to meet in person.

After his mother dies, Gerard makes another trip to England, this time advertising for anyone who knew of his mother or great-grandmother while he waits for Alice to be ready to see him. An elderly lady writes to him and he begins to uncover the family secrets which might explain his mother’s unhappiness. At the same time, he uncovers more of Viola’s secrets, which eerily presage events in the life of Phyllis and the sister Gerard didn’t even know she had.  The prophetic stories, the family secrets and the mysterious Alice finally all come together.

The Ghost Writer is suitably haunting, carrying in it the sadnesses and disappointments which span across generations, paralleled in and engulfed by the strange world of Viola’s stories. Gerard is a likeable if self-occupied loner and his voice is clear yet affecting. This novel moved me and mystified me.

The Tree of Life

04 Monday Jul 2011

Posted by Nathan Hobby in film review

≈ 2 Comments

The Tree of Life is a rare film – so ambitious and so directly concerned with the meaning of our existence. The last film I saw to attempt so much was Synecdoche, New York, and the scale of that was smaller, because The Tree of Life places our puny lives against the scale of aeons, of the earth forming and life evolving.

We learn early in the film that Jack O’Brien’s brother died at 19 and Jack has never got over it. Grief, then is the frame through which we watch the rest of a film centred on the experience of being a child and the meaning of life.

Most of the film is a series of fragments of the childhood of the O’Brien boys. Significance, perspective, scale is all through the eyes of the children. The film reminded me of what it was like to be a child, surely one of the most incredible things a work of art could do. (The only other piece of art which has done this for me is Randolph Stow’s The Merry-Go-Round in the Sea; perhaps also the beginning of James Joyce’s Portrait of the Artist as a Young Man.)

The boys love their parents. The stories their mother tells them have the same dreamy truth of all of life, the fascination of light and objects, and the unsettled laws of the universe. Their mother reads them Peter Rabbit and then they see a rabbit running through their garden. The gap between the story world and their world is still thin.The boys ask their mother to tell them a story from before they can remember. She tells them about the time she got to fly in a plane as a graduation present. It has the magical quality of all stories. And it also echoes our own imagined request of the film-maker: he tells us stories from before we can remember, the primordial history of our planet, to set our lives against and give us the right scale.

The boys mimic a crippled man in the street and feel guilty when he notices. They live in fear and admiration of their father and his tough love which can so easily turn to anger. They torture and admire frogs. Jack looks longingly at a girl in his class when he should be doing a spelling test. He follows her on his way home; it comes to nothing, and yet he felt something so strongly at that moment that it should have come to something.

And that is the experience of life shown in the film: intense moments of fear or love or insight not necessarily coming to anything so grand as the movies we watch might make us expect, but instead being followed by another day and another, much the same.

The film starts with a quote from Job – “Where were you when I laid the earth’s foundation…while the morning stars sang together and all the sons of God shouted for joy?” One of the narrators echoes this through the primordial sequence – ‘Where were you?’, ‘Where were you?’. It is a theological vision of the world similar to Job’s – who are we to complain about our suffering, measured against the infinity, the scale of God?

It is not an easy film to watch, nor a necessarily enjoyable one, but it will be talked about for decades and decades and rightly so.

Further reading – a great post on the religious dimensions of the film.

‘When I had finished reading the last of Rossi’s letters… I felt a new desolation, as if he had vanished a second time’

27 Monday Jun 2011

Posted by Nathan Hobby in Uncategorized

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biographical quest genre, Elizabeth Kostova

When I had finished reading the last of Rossi’s letters, my father said, I felt a new desolation, as if he had vanished a second time. (119)

In this opening sentence to Chapter 15 of The Historian, Elizabeth Kostova captures the gist of the genre of ‘biographical quest’ or ‘romance of the archives’. People from the past come to life again in the pages of the documents they have left behind. The quester comes to know them, only to love them again when the trail goes cold, when the last document is read.

It is an experience many of us know in part from reading letters of dead people, perhaps our family who we knew, or our ancestors who we didn’t. It is also the thrill of a kind of life beyond the grave, and the sophistication of a plausible ghost story. Perhaps this is part of the genre’s attraction.

A Tour of Bourgeois Hell: Hanif Kureishi’s Something To Tell You

04 Saturday Jun 2011

Posted by Nathan Hobby in book review

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Theologian Tom Wright understands hell as a process of dehumanization as people reflect the image of God less and less and come to resemble the things they worship. I don’t agree with him, but if he was looking for a modern day Dante’s tour of such a hell, he would find it (without Dante’s genius) in Hanif Kureishi’s Something To Tell You.

There is not a nice character in sight. Jamal is the narrator, and perhaps the most detestable of them all. Now a famous middle-aged therapist, he obsesses over his first love thirty years earlier, which ended with him murdering someone. Meanwhile, his hedonistic playwright best friend Henry embarks on an affair with his hedonistic underworld sister Miriam, and we are mildly amused by a clash of manners. Jamal himself vacillates between his estranged wife Josephine, a prostitute named Goddess he likes to confide in and his former lover Lisa, who’s always ready to get into bed with him. Things are complicated further when three of the figures from his past return.

We learn about halfway the ‘terrible secret’ in Jamal’s past, and from then on it feels the drug-addled sex-obsessed characters are dragging themselves sluggishly from scene to scene. They’re not entirely self-focused; as left wing intelligentsia they do complain about Blair’s Britain from time to time, but the complaints are not very convincing.

I’ve been trying to put my finger on my own snobby, classist tastes in film and fiction – the fact that I tend to be bored by ‘kitchen sink’ working class realism, my resonance with John Fowles’ line in his journals about ‘to hell with the inarticulate hero’. I would have said that I tended to identify more with middle class characters, with articulate middle class angst. This book proves that I can’t generalise too much; it reminds me of how boring the middle class can be.

A quote from Glenn Duncan

15 Sunday May 2011

Posted by Nathan Hobby in quotes

≈ 1 Comment

The joke on me is the joke on everyone: youth makes life mythic; then leaves. If you’re lucky, first love comes along and makes it mythic again. Then leaves. For a few God, the fit having inexplicably taken Him, steps in and makes life mythic again. Then most likely leaves. For the rest only death – the mother’s funeral, the aftershaved doctor and the test results – retains the heft to make life mythic again, and that’s an awfully high price to pay.
– The Bloodstone Papers, p. 105

He’s a writer obsessed with death and God, so I’m glad my friend introduced me to him.

The debasement of language

12 Saturday Mar 2011

Posted by Nathan Hobby in politics and current affairs

≈ 1 Comment

Tags

language

We have no language left to talk about the tsunami and the earthquake. Every day we ratchet up the intensifiers, referring to rather mild things as ‘incredible’ or ‘stunning’ or ‘powerful’ or ‘phenomenal’ or ‘awful’. And then when something comes along which is all these things, we can’t use words to treat it with the import it deserves or convey its magnitude.

[Turning 30 #2] The End of Exceptionalism

01 Tuesday Mar 2011

Posted by Nathan Hobby in autobiographical

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One thing I’ve learnt in my twenties is the end of exceptionalism. It’s probably a common delusion of youth to think oneself exempt from the laws, patterns, forces which shape everyone else. Unlike those weak people I will not put on weight, do anything I don’t want to do for the sake of money, stop listening to loud, aggressive music, suffer medical indignities, grow hairs on my chest, long to sit quietly at home watching television, save for a house, or fail in my burning but impractical ambitions.

The ultimate expression of exceptionalism is the refusal to believe in one’s mortality. As a small child, I assumed I would live to 100. I did better than everyone else in every other test; wasn’t it only fair I receive the best mark in that too? I was the Judge, Fox Clane, in Carson McCullers’ Clock Without Hands, whose mortality was inconceivable, even at the end of his life.

Immortality, that was what the Judge was concerned with. It was inconceivable to him that he would actually die. He would live to a hundred years if he kept to his diet and controlled himself – deeply he regretted the extra toast. He didn’t want to limit his time for just a hundred years, wasn’t there a South American Indian who had lived to be a hundred and fifty – and would a hundred and fifty years be enough? No. It was immortality he wanted. Immortality like Shakespeare, and if ‘push came to shovel’, even like Ben Jonson. In any case he wanted no ashes and dust for Fox Clane. (p.87)

The end of exceptionalism is inevitably tied to the dulling of idealism. They are not identical, but they tend to go together. Idealism has in its twenties the quality of believing that you can make things work that no-one else has made work or that you can solve problems no-one else has solved. I used to despise the way people lost their idealism as they got older. It wasn’t going to happen to me.

I have a small hope of coming through the end of exceptionalism, and the disappointments of the last years and  compromises I’ve made for various reasons, to a post-exceptionalist idealism, the kind of wise idealism which lives quietly for what is right while no longer burning with naive certainty that things will turn out right if only one believes hard enough.

I hate vagueness, and I’ve veered toward it in the last couple of paragraphs. Yet vagueness is sometimes the price of being public. (At other times the price is writing fiction.)

[Turning 30 #1] Travel Is So Broadening

01 Tuesday Mar 2011

Posted by Nathan Hobby in autobiographical

≈ 5 Comments

I turn thirty in a few days and I have been to very few places in the world. I rationalise this as a counter-cultural decision, a radical resolution to stay put. Of course, it has more to do with a certain strange inertia. I also make myself feel better by getting irked at my peers who are always on the move, always restlessly preparing for the next big trip to Europe or Asia to find themselves.

I once lived with a Singaporean girl in student village who was contemptuous of how little I had seen of the world – and I was only twenty then. ‘You don’t understand the world yet,’ she said. But once I asked her about atheists in Singapore and she asked what an atheist was. When I explained, she said she didn’t know there were people in the world who didn’t believe in God.

I will see the world, don’t hassle me. But I’m also uneasy about the idea of tourism. I don’t think it’s possible to experience other places. Of course it’s possible, but what I mean is, it’s nothing like the experience of actually living there, it is only like the experience of visiting there. How much does it tell you of what it is to live in Perth to visit King’s Park or the Bell Tower or the Perth Mint? And then again, who wants to spend several decades living in a house with a view of a cul-de-sac in Belmont or Bibra Lake and getting stuck in traffic jams every morning, which is more like what actually living in Perth is like?

I have this nostalgia for Thomas Hardy’s village life. They didn’t travel very far in those days. (It’s always ambitions beyond one’s station which destroys Hardy’s idyll, ambitions like seeing the world.) And then I have a soft spot for Isaac Asimov’s detective who had never been further than thirty kilometres from his house in his whole life. I think he was stuck in a wheelchair. I read a number of his stories sitting in the sunlight in the brown hues of the Collie Public Library some time in 1996. I cannot remember the detective’s name, although these days I could so easily find out.

Don’t worry, I will get to Europe. I will go through the motions. I will take in the sights. But I’ll probably still be questioning the value of seeing. I’ll be outside looking in on me as a tourist and not liking it. What I will try not to do is come home and try to convey my experience to others, those long winded travel narratives people tell each other. So often masked boasts and so often self indulgent.

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