20 books of summer, 20 books of summer (2022), Australia, Author, Book review, essays, Non-fiction, Publisher, Sean O'Beirne, Setting

‘On Helen Garner’ by Sean O’Beirne (Writers on Writers series)

Non-fiction – hardcover; Black Inc.; 138 pages; 2022.

On Helen Garner is the latest volume in an ongoing series about Australian writers written by Australian writers. There are ten in the series so far (see below) and this is the latest to be published.

Sean O’Beirne is a Melbourne writer, so it seems fitting that he would write about Helen Garner, who is also a Melbourne writer. I’m not familiar with O’Beirne’s work, but according to the blurb, he wrote a satirical short story collection, A Couple of Things Before the End, which was shortlisted for several awards. He also works as a bookseller at Readings at the State Library Victoria.

In this essay, it’s clear he is a deep thinker and not afraid to write intimate details about himself, traits he shares with Garner.

His main thesis is that Garner writes a “closeness to self” that allows her to be completely honest and open, to say the things that others may think but never say, and in doing so this allows her to get closer to the truth.

He argues that she does this in both her fiction and her non-fiction. Her fiction, he says, is particularly close to the truth because much of it is based on her first-hand experiences or people she knows, and, indeed, Monkey Grip, her debut novel, was basically her diaries just with the names of people and locations and dates changed, something to which she confessed later on in her career.

He compares this approach with other writers, including himself, who may get to the truth but only by using fictional characters as a foil to say the things the actual writer would be too guarded to say in non-fiction. He puts it like this:

And I notice too that in this whole book I haven’t given you one specific incident, telling as me, about my family, my dad, my mum. About Mr and Mrs O’Beirne. I can’t, I can’t give them to you. But ‘Mr and Mrs O’Dingle’ — I’ll tell you what those people did. As soon as I make some new names, as soon as I get the freedom of some substitution, it is remarkable, I get a feeling in my head like all the lights coming on, my own lit-up feeling of permission.

He explains how it isn’t just as simple as the use of first-person narratives, of inserting an “I” in the story, to get to this truth. The use of “I” is to act as an eye witness, to give a “sort of limited verification” of being present, that “I was in the room, these things happened, I saw them”.

But for many writers, including Janet Malcolm whom he references (and whom I love), this is a device used to suggest that the writer is a “participant observer” and that they know about the subject and are reporting it with a level of intelligence.

But what Garner does, argues O’Beirne, is to go one step further and not be afraid to admit that she’s confused or frustrated or angered or is out of her depth in situations in which she is reporting. And in doing that, the veil of objectivity, of being a passive observer, is lifted.

The book looks at Garner’s novels and short stories as well as her non-fiction books to make these points. Anyone who is familiar with Garner’s back catalogue will enjoy the references.

I have not read much of Garner’s fictional work so these did not resonate as much as her narrative non-fiction, including The First Stone (read pre-blog), Joe Cinque’s Consolation, This House of Grief and her diaries. It does make me keen to explore those works of fiction, though.

Writers on Writers series

The 10 books in the series are as follows:

And there’s a new one forthcoming: ‘On Tim Winton’ by Geraldine Brooks, which I will look forward to reading when it is available.

This is my 6th book for #20booksofsummer 2022 edition. I bought it earlier this year because I am a Garner fan and thought this would make for an interesting read.

Allen & Unwin, Australia, Australian Women Writers Challenge, Author, AWW2019, Book review, Bri Lee, long form essay, Non-fiction, Publisher, Setting

‘Beauty’ by Bri Lee

Non-fiction – paperback; Allen & Unwin; 150 pages; 2019.

Earlier this year I read Bri Lee’s memoir Eggshell Skull, which was long- and shortlisted for many literary awards and was named Biography of the Year at the 2019 Australian Book Industry Awards. It is one of the best books I’ve read this year and will undoubtedly make my top 10 when I compile it in a few days’ time.

Beauty is Lee’s latest work of narrative non-fiction. It’s essentially a long-form essay, which was initially written as part of the author’s MPhil in Creative Writing at the University of Queensland, and has since been published by Allen & Unwin in an attractive small-format book with a striking cover image (the painting is by artist Loribelle Spirovski) and French flaps.

It focuses primarily on body image and the ways in which young women are conditioned to think that being thin is the only route to happiness and acceptance. It charts Lee’s own struggles with body dysmorphia and eating disorders (topics she also addressed in Eggshell Skull) and examines how her own obsession with thinness has eaten away (no pun intended) at her self-esteem and self-worth.

These issues may not be new, but Lee’s book is the first I’ve read that focuses on how the obsession with thinness as a beauty ideal has worsened in recent times thanks to the influence of social media. She talks about the need to be “photo-ready” at every minute of the day because camera phones are so prevalent.

Until the proliferation of smartphones around 2010, we would only feel conscious of being observed in scenarios that were laden with photo opportunities, but now, with social media being the omnipresent mass-reaching norm, we self-police in perpetuity.

She goes on to explain why young women now spend extraordinary amounts of money on make-up and take forever to “put their face on” and highlights how this peer pressure can cripple everyday decisions such as what to wear at work and play.

Admittedly, as compelling and as readable as I found this highly personalised essay to be, it did make me feel about 40 million years old. It’s clear from Lee’s experience that Millennials feel enormous pressure to be thin and that they associate this (wrongly) with being successful, beautiful and sexually desirable.

I grew up in the 1980s. Yes, there was pressure to be thin — mainly conveyed via airbrushed magazine covers — but our pop stars weren’t sexualised (Kim Wilde, my hero at the time, was always covered up in a white t-shirt, and Banarama often wore overalls/dungarees as if they’d just done a shift on a building site). Nor were we under the constant surveillance of social media where our peers could judge us instantaneously and so unkindly. We weren’t living under the weight of having everything we did (or said) validated by a “like” or “share” button.

Nowadays (how old does that make me sound, starting a sentence with that word), it seems that young women feel so little in control of any aspect of their life that the only thing they can attempt to wage war on is their weight and the way they look on Instagram. It just makes me feel desperately sad.

Beauty isn’t pitched at women of my age, but I think it is probably required reading for teenage girls if only to make them aware of the social constructs that can make their lives so miserable and competitive and psychologically damaging. Lee’s experience should serve as a warning that appearances are not everything…

This is my 25th book for #AWW2019.

Alan Bennett, Author, Book review, London, memoir, Non-fiction, Profile Books, Publisher, Setting

‘The Lady in the Van’ by Alan Bennett


Non-fiction – paperback; Profile Books; 96 pages; 1999.

This short essay, labelled as Bennett’s “most  famous piece of non-fiction”, first appeared in the London Review of Books in 1989. It has since been made into a play, for both stage and radio. I decided I had to read it after hearing Bennett mention it in passing in a BBC4 documentary that I watched last year. I couldn’t quite get it out of my head that this famous writer and playwright had let a female tramp park her decrepit van, in which she resided, in his driveway for some 15 years! I mean, who does that sort of thing?

The piece, which is published in a delightfully small pocket-book format (14.8cm x 9.2cm, if you’re interested), is easily devoured in half-an-hour or so. But it’s one of those reads that packs such a powerful punch and reveals so much about the human condition that it lingers in the mind long afterwards and invites a second or third reading.

Miss Shepherd’s van

Essentially, the lady in the van was an elderly woman by the name of Miss Shepherd. She had been parked in the London street where Bennett resides and had become somewhat of a local attraction — and nuisance — since the late 1960s. By June 1971 “scarcely a day passes without some sort of incident involving the old lady” including a young man giving the van a “terrific shaking”, another banging on the side of the van to “flush out for his grinning girlfriend the old witch who lives there” and passing drunks smashing all the windows.

[…] to find such sadism and intolerance so close at hand began actively to depress me, and having to be on alert for every senseless attack made it impossible to work. There came a day when, after a long succession of such incidents, I suggested that she spend at least the nights in a lean-to at the side of my house. Initially reluctant, as with any change, over the next two years she gradually abandoned the van for the hut.

Eventually, when parking restrictions come into play, Bennett invites her to park her van in his driveway, and there it stays, sandwiched between Bennett’s front door step and his garden gate, for 15 years. If it wasn’t enough that visitors to Bennett’s house now had to squeeze past the van and be scrutinised by the mad woman living inside, they often got a glimpse of the interior, “a midden of old clothes, plastic bags and half-eaten food”. It sounds delightful, doesn’t it?

Sadly, the longer she stays put, the worse her living conditions become. Her hygienic practises, or lack of them, become questionable, and, at one point, when Bennett gets a load of manure delivered to fertilise the garden she complains that people passing might think the smell is coming from her van.

She wants me to put a notice on the gate to the effect that the smell is the manure, not her. I say no, without adding, as I could, that the manure actually smells much nicer.

A portrait of eccentricity

The book charts, diary-style, the ups and downs of having Miss Shepherd living in such close proximity. It’s a mixture of frustrating observations, outlandish humour, hopelessness, despair and melancholy. Bennett does a superb job of describing Miss Shepherd’s eccentric nature without mocking or denigrating her. While she quite clearly tries his patience — for instance, when she buys a Reliant Robin in 1984 Bennett has to constantly recharge it for her because she drains the battery by simply sitting in it and revving the motor every Sunday morning, driving all the neighbours mad — he never gives up on her.

The question that came to mind as I read this was not so much what made Miss Shepherd so kooky and “different”, but what made Bennett tolerate her for so long? There are hints of an answer in the postscript which accompanies this edition in which Bennett admits he has done almost anything to live a quiet life.

I mull it over too [a phone call he has with Miss Shepherd’s long lost brother], wondering at the bold life she has had and how it contrasts with my own timid way of going on — living, as Camus said, slightly the opposite of expressing. And I see how the location of Miss Shepherd and the van in front but to the side of where I write is the location of most of the stuff I write about; that too is to the side and never what faces me.

If you ever get the chance to read this essay then I urge you to do so. It’s a beautiful portrait of English eccentricity — and tolerance.