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Rough Injustice: Only Killers and Thieves

14 Monday May 2018

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Review: Only Killers and Thieves, by Paul Howarth
HarperCollins, 2018. 319 pp. $27

It’s 1885, and Billy and Tommy McBride, Australian teenagers in a drought-ridden wilderness, have grown up within the confines of their family’s failing cattle ranch. They’ve met few people other than their parents, younger sister, and hired hands, and they’ve felt themselves secure within that society. So when the boys return home one afternoon following a rare moment of leisure, an excursion to a swimming hole, they see that they are bereft beyond their imagining. Someone has murdered their parents, gravely wounded their sister, and even killed the dogs.

Suspicion immediately falls on a former Aboriginal hired hand who’d left the McBrides’ employ under a cloud, and whose distinctive pistol is found at the scene. At least, sixteen-year-old Billy’s convinced of the man’s guilt, precisely what the McBrides’ wealthy neighbor, John Sullivan, wants to hear. He’s a rancher who seems to own everything and everyone, hates anyone who’s not white, and anyone of any race who doesn’t pledge him fealty, which he calls “respect.” Sullivan hires a police officer and his Aboriginal troops to hunt down the killer, and he insists that both boys come along. But Tommy, almost fifteen and forever in his older brother’s shadow, isn’t so sure. He mistrusts Sullivan, with whom his father never got along, and, unlike his older brother, wants to know the how and why of things.

I like this facet of the novel very much, how the interplay between the brothers sets so much into motion. Billy, pigheaded and more terrified than he’s willing to admit, accepts all he’s told as the only choice and refuses to ask questions — sometimes the obvious ones. After all, the McBride boys are orphans, and as minors, they have no rights to hold their deceased parents’ property. Tommy acquiesces because he can’t exist on his own, idealizes Billy, and wants just as much to be accepted. Yet he keeps a skeptical mind about what doesn’t make sense, including details of the murder that don’t add up. And he tries to ask questions, only to be shouted down or threatened.

But Howarth is after bigger game than sibling rivalry, however deadly it may turn. He aims to explore how murder — what today would be called genocide — can happen, and how decent people can subscribe to it. So far, so good, but I wish the author hadn’t stacked the deck. Sullivan speaks and acts the way I imagine such a man might, yet his villainy and lust for power seem too grand and without nuance. (There’s also a Freudian cliché employed to explain why he throws his weight around, but it’s too cheap by half.) Far more interesting, and complex, is Noone, the police officer Sullivan hires.

At first, Noone cultivates Tommy, whom he senses has an astute, roving intelligence like his own. To Tommy’s surprise, Noone even answers questions about Sullivan’s questionable activities, the boy having assumed that the two men trust one another, if they’re not actually friends. But Tommy soon learns that Noone trusts no one and has no human feeling as the boy (and just about anyone) would define it. Noone’s a thinker, a theoretical follower of Darwin who’s twisted “survival of the fittest” to his murderous agenda. His kind is timeless; call him proto-fascist, white supremacist, sociopath, or all three.

One of the pleasures of Only Killers and Thieves is the way Howarth’s prose brings out the struggle for survival, the isolation, the loneliness of this hardscrabble patch of earth. Consider this passage, when Tommy and his mother drive to the nearest town:

The dray rattled along, Mother holding her hat against the wind, Tommy squinting into the glare, both of them grimacing at the ride. There was no give in the axle. Every rock and divot jarred through the bench. Before them the road stretched straight and narrow, little more than a horse track beaten through the bush, but the only road Bewley had. It ran through the center of town and continued east for hundreds of miles, supposedly to the mountains then the coast and an ocean so big it covered half the earth. Tommy could hardly imagine it. But then the same could be said of the interior, which no man had ever crossed; must have been the size of an ocean at least. The thought made him woozy: the scale of it all, what lay out there, the world.

Only Killers and Thieves lives up to its title, a grisly, powerful, unflinching book, the type you don’t want to put down but fear to pick up once you have because of what might happen next. After a taut, laconic narrative, however, the climax gets talky, with Noone spewing stuff that seems pulled out of Nietzsche, irrelevant and redundant. The entire dénouement, in fact, feels stilted and arranged.

But Only Killers and Thieves is a brilliant novel, more remarkable for being Howarth’s first. I think he’s an author to watch.

Disclaimer: I obtained my reading copy of this book from the publisher via Historical Novels Review, in which this post was published in shorter, different form.

A Ship of Fools: Dangerous Crossing

08 Monday Jan 2018

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Review: Dangerous Crossing, by Rachel Rhys
Atria, 2018. 351 pp. $26

In late July 1939, Lily Shepard sails from her native England to Australia, among other young women recruited for domestic service (and duly chaperoned). Like her half-dozen peers and, indeed, most everyone else on the Orontes, Lily’s escaping a crushing disappointment, or trying to. Only it seems that her past haunts her in new guises, whether it’s the same sort of unsuitable man to whom she’s drawn or increasingly complicated moral decisions that seem all too familiar. And though Lily doesn’t realize it, or prefers not to, the world is sliding rapidly toward war.

It’s hard to read this novel without recalling Katherine Anne Porter’s Ship of Fools, which featured a similar collection of thwarted escapists butting heads against their shortcomings or one another en route to prewar Nazi Germany. But Dangerous Crossing has its own pleasures, chief among them the psychological suspense. A prologue, which jumps ahead to when the ship docks in Australia, reveals that a crime has been committed on board. After finishing the book, I understand why Rhys has done this, and it’s extremely clever, but Dangerous Crossing isn’t a mystery per se.

The narrative derives its considerable tension from Lily’s confused attempts to understand her fellow passengers’ behavior, especially that of a young man who seems attracted to her, yet inexplicably blows hot and cold. She’s particularly vulnerable, because, in her last domestic situation, the young man of the house nearly seduced her with false claims of love, only to abandon her and damage someone else. Also puzzling are the Campbells, two wealthy, spoiled libertines rumored to have a scandalous past. They’ve clearly offended their fellows in first class and force themselves on Lily’s circle a deck below. The Campbells treat her and her friends like playthings, but she’s fascinated, despite herself. Then there’s a Jewish woman who just managed to get out of Austria, but who hasn’t heard from her family and who’s being persecuted by an unidentified enemy on board — or is it, as the ship’s many anti-Semites suggest, her fantasies?

As these puzzles proliferate and deepen in complexity, conflicting social prejudices and mores emerge. Rhys excels here, portraying class divisions and various shades of racial bigotry and anti-Semitism, turning the Orontes into a microcosm of a hate-filled world pole-vaulting toward catastrophe. In these circumstances, a lesser writer would content herself with stereotypes, but Rhys takes the high road, peeling away layers of bitterness and jealousy to reveal the yearnings underneath. Lily, too, has her moral failures, though I wish Rhys had plumbed her nascent envy a little further.

Rhys sets her scene well, both in ports of call and aboard ship:

After dinner there is a palpable frisson in the air as the band sets up… Though she hasn’t had anything to drink, Lily nevertheless feels intoxicated. It’s a mixture of the music and the beautiful clothes, the silks and velvets and chiffons, the peacock greens and sapphire blues, the russets and magentas; of the different fragrances, so recently applied, that mingle in the heady air — musks and florals and citruses, the woody smell of the cigar smokers.… And, above all that, the awareness that they are here on this floating world, apart from all other worlds, bound all of them by the country they have come from and the one they are going to, and by all the thousands of miles of travel that lie in between.

Dangerous Crossing feels entirely comfortable in its portrayal of 1939, and yet it’s the author’s first historical novel, so kudos there. I wish, though, she hadn’t told her story mostly in the present tense, because the shifts in time are sometimes jarring. Beyond that, though, she’s so sure-handed that I wonder why she included the prologue. Did she fear that her depiction of the competitive shipboard atmosphere, intensified by the heat of the southern latitudes, would fail to hold the reader? Did she not trust her skill at creating suspense without revealing that a crime has taken place?

Read Dangerous Crossing and decide for yourself.

Disclaimer: I obtained my reading copy of this book from the publisher in exchange for an honest review.

Child Love: The Light Between Oceans

24 Monday Jul 2017

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Review: The Light Between Oceans, by M. L. Stedman
Scribner, 2012. 343 pp. $25

Tom Sherbourne returns to his native Australia after the First World War deeply disturbed by what he saw and did and seeking solitude. He has nothing and no one to hold onto, and he finds what he thinks is the perfect job, tending a lighthouse on a forlorn island off the Australian coast. There, no one will ask him about his past, and his exacting, meticulous duties will keep him busy for the months that stretch between brief shore leaves.

Tom wonders why he survived the war when so many others didn’t or came home physically or emotionally maimed. But that’s not the only trauma to trouble his dreams. His mother left home when he was a young boy–or did his father, a cold tyrant with no access to any feelings except anger, throw her out? Either way, both have passed from Tom’s life, and his brother Cecil, the favored son due to inherit the family business, is equally unapproachable in Tom’s eyes, though it’s not clear why. But it’s enough to know that Tom Sherbourne has no family to speak of, or to.

Supplies being unloaded for South Solitary Island lighthouse, Australia, 1946, unknown photographer (courtesy Wikimedia Commons, public domain)

However, on shore leave, he meets Isabelle Graysmark, a spirited, adventurous young woman, and they’re immediately attracted. Tom, much older and badly bruised, distrusts the vulnerability where tender feelings lead, and she practically has to convince him to marry her. He dares hope that Izzy will be his reward, however undeserved, for having survived a miserable childhood and the war. For her part, Izzy believes implicitly that she couldn’t have found a more loyal, steadfast, and loving husband, or a more nurturing father for their children. She only wishes he’d tell her what happened to him before they met.

To their delight, Izzy becomes pregnant almost immediately but miscarries–and again, and again. Each time, she blames herself, and what’s worse, she can’t understand his reaction. He aches for her, he’s sad and sorry, but he’s not devastated for himself. He cherishes their lives together as the first tenderness he’s ever known, a gift that many soldiers serving under him never got the chance to receive. He understands what she doesn’t, that life is often unfair, and that there’s no malign intent involved or blame to pass around, only bad luck and circumstance. But Izzy thinks his gratitude for what they have means that he’s cold and hurtful, incapable of feeling. And one night, when a rowboat lands near the lighthouse carrying a dead man and a young infant, the Sherbournes make a desperate decision that will mark their lives and others’.

The Light Between Oceans is an accomplished novel, and Stedman’s first. At its best, the narrative touches the lyrical and depth of insight and makes them one. Consider Tom’s first view of the island, before he meets Izzy:

Hundreds of feet above sea level, he was mesmerized by the drop to the ocean crashing against the cliffs directly below. The water sloshed like white paint, milky-thick, the foam occasionally scraped off long enough to reveal a deep blue undercoat. At the other end of the island, a row of immense boulders created a break against the surf and left the water inside it as calm as a bath. He had the impression he was hanging from the sky, not rising from the earth. Very slowly, he turned a full circle, taking in the nothingness of it all. It seemed his lungs could never be large enough to breathe in this much air, his eyes could never see this much space, nor could he hear the full extent of the rolling, roaring ocean. For the briefest moment, he had no edges.

It’s a good novelist who can make beautiful sentences draw the reader into a character’s inner life without calling attention to themselves. And in focusing her characters on the most primal attachment, that for a child, Stedman evokes tremendous power from a relatively simple story. I say relatively because she requires more coincidence and suspension of disbelief than I like, but once you get past that, there’s no denying the passions or the moral issues involved.

I have a harder time getting around Izzy’s character. I like how the spontaneous girlishness hides other, dangerous levels, but–without giving away too much–I think she becomes unglued, and by the time I finished the book, I didn’t like her much. Liking a main character isn’t requisite, but I wanted to feel more sympathy for her than I did, and I might have, had she struggled with the momentous decision that drives the narrative or consider how it might affect someone else. Instead, she sets her mind and seldom thinks about it again–refuses to, even.

All the same, Stedman’s a very good writer, and The Light Between Oceans will make you think.

Disclaimer: I obtained my reading copy of this book from the public library.

Selfless and Selfish: Rush Oh!

02 Monday May 2016

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Review: Rush Oh!, by Shirley Barrett
Little, Brown, 2016. 353 pp. $25

Where I live, in Seattle, whales are both a cultural icon and a marvel. Only the other week, a gray whale wandered into the locks between Lakes Union and Washington. As you may imagine, that created a stir and a delicate rescue operation, as cetaceans aren’t known for their ability to make U-turns in narrow lanes. I also fondly recall family vacations with the kids in Canada’s Gulf Islands, between the coast of Washington and Vancouver Island, where we often saw pods of orcas swim past, a marine ballet of such beauty that I felt honored, small, and insignificant.

Twofold Bay, New South Wales, was an important whaling center (Courtesy Wikemedia Commons; public domain).

Twofold Bay, New South Wales, was an important whaling center (Courtesy Wikemedia Commons; public domain).

So I picked up Rush Oh!, a novel about whaling in Australia during the early twentieth century, with a stone in my heart. Was I supposed to root for the impoverished whaling families who went hungry if they sold no whale oil or whalebone, or the magnificent creatures of the deep? And, once I began reading, what was I supposed to make of the orcas that harried the larger whales into harpoon range in return for a literal cut of the profits? Were they traitors or friends?

However, I’m happy to report that Rush Oh! is a wonderful book, a delicate authorial operation that surprises and enchants with no heavy lifting. Barrett glosses over nothing, neither the brutality of killing and capturing a whale, nor the characters of the men who do this work at Twofold Bay, nor the hardscrabble life of Eden, New South Wales. But this isn’t a novel about whaling as much as it is about love, or the lengths a person can and should go to get what he or she wants. Just as it takes great effort to track and capture a whale, so it does to find love or realize a dream.

At nineteen, Mary Davidson has particular trouble realizing her own–or even allowing herself to have them. In the six years since her mother died, she’s been maid-of-all-work at her father’s whaling station and surrogate mother to her younger brothers and sisters. She cooks for the family and the whaling crews, keeps house, teaches her siblings their letters, and makes sure her father, a respected man of whom she’s in awe, has what he needs. Mary wants more from life but also assumes that servitude is her lot and that she has no choice, either as a woman or as George “Fearless” Davidson’s eldest child. She might have had an easier time had she social graces, a fair face, or the courage to speak up. Those belong to the next sister in line, Louisa; their rivalry frames the story.

Mary hungers for warmth, whether from her father, siblings, or a man, and gets precious little. She notices that the whaling men stop swearing and mind their manners when Louisa’s around, entranced by her looks and “the will-o’-the-wisp way she floated about, avoiding anything that might look like work. The various flaws of her character seemed to pass undetected.”

One pleasure of reading Rush Oh! is Mary’s wry, naive voice, a pitch-perfect narration. You see what she sees and laugh, but you also see what she misses, which is a lot. For instance, Louisa is indeed a piece of work, selfish and willful. But her real advantage over Mary is that she knows what she wants and sets out to get it. Nowhere is the comparison more evident than in Mary’s attraction for John Beck, a newcomer to the whaling crew who may (or may not) have been a Methodist minister. In fact, there are several things he may or may not have done. But Mary falls for him, and the reader senses that hers is a heart about to be broken.

I love witty writing, and there’s plenty here. Consider this passage about Mr. and Mrs. Maudry, the family’s name for a pair of aggressive plovers that

. . . when they were not preoccupied with matters nesting . . . contented themselves with stalking broodingly about the garden and glowering at us. Mr. Maudry in particular possessed a malevolent air similar to that of a Land and Tax officer or Customs agent, an effect enhanced by the plovers’ plumage, in which nature appeared to be imitating the black-collared suit coats of the kind favored by my late paternal grandfather. By all accounts entirely capable of flight, the Maudrys for the most part elected not to, preferring to spend their days instead lurking ominously amongst the jonquils.

About those orcas, known as Killers. They have names, behaviors particular to each individual, a sense of humor, and loyalty to the whalers, who consider it a crime to kill one–especially the Aboriginal hunters, who believe each orca holds an ancestor’s spirit. These creatures actually existed; one, known as Tom, lived about sixty years, and when he died in 1930, the newspapers noted the fact.

All of which underlines how Rush Oh! plumbs the space between truth and fiction, and what you think you know about each.

Disclaimer: I obtained my reading copy of this book from the public library.

Will the Walking Wounded Speak Up?: The Railwayman’s Wife

18 Monday Apr 2016

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Review: The Railwayman’s Wife, by Ashley Hay
Atria, 2013. 269 pp. $26

One moment, you’re feeling confident, happy, because you believe that you’ve preserved the most precious part of life. The next moment, your security has vanished; how do you cope?

That’s the question behind this gorgeously written, deceptively gentle novel about loss. World War II has hardly ended, and Anneke Lachlan lives with her husband, Mac, and their ten-year-old daughter, Isabel, in an Australian coastal village. They’re the sort of people you’d love to know–thoughtful, passionate, delighting in beauty. They have little money, but their only regret on that score is not being able to visit Mac’s birthplace in Scotland, a trip they’ve both yearned to make. Nevertheless, they delight in fashioning or finding gifts for one another that offer new experiences or ways of seeing things.

Three Australian soldiers, all winners of the Victoria Cross, 1946 (Courtesy Australian War Memorial; public domain).

These three Australian soldiers all won the Victoria Cross and were lucky enough to live to tell about it (1946, courtesy Australian War Memorial; public domain).

But behind that warmth lurks the terrible suffering of the war, whose survivors are conscious that many people didn’t make it. Anneke, known as Ani, is glad her husband kept his job with the railroad rather than enlist. But in the back of her mind, she still worries sometimes, vaguely, that chance will take Mac from her yet. And that’s what happens; a railway accident claims his life, and the pain overwhelms her.

How Ani faces her loss–or not–makes a touching, subtle narrative, of small moments carefully rendered that reveal her character, her place in the village, how people look out for her, and what they expect. She takes a part-time job in the tiny local library and tries to find solace in books. Nor is she the only one to suffer. Frank Draper, a doctor who served in the war, can’t forget the liberated concentration camp inmates whose lives he couldn’t save. He returns to his native village irritable, cynical, and morose, taking up a medical practice but unsure whether he’ll stay.

His boyhood friend Roy McKinnon, a poet who also saw wartime action and won fame for a single poem about it, has come back also, so shaken that he can’t write. He lives with his lonely, difficult sister, Iris, who loved Frank Draper before the war and still hopes to marry him. Roy takes a fancy to Ani, first as a muse, as he struggles to find words worth putting on a page, and then more deeply. But will any of these people have the emotional resilience to break out of the hardened defenses they’ve built for themselves? There are still words they can never say (or write), because they seem risky or paltry or ridiculous next to how they’ve been hurt, or too challenging for the myths they’ve woven to comfort themselves.

A lesser authorial hand might have surrendered to the temptation to dip these familiar themes and situations in treacle and serve up an easier story. Not here. Hay has taken the high road, climbing a good, long way to do so. With one exception, nobody makes life simple for themselves or anyone else, whatever kindness or generosity they may have, and they often refuse to see what’s plainly before them. That makes them utterly believable. And as I suggested above, the prose doesn’t hurt, either:

It’s a still and sunny day, the water flat and inky, the escarpment colored golden and orange, pink and brown. As the train takes the curves and bends of its line, the mountain’s rock faces become great stone monoliths that might have come from Easter Island, and then the geometric edges of some desert temple. Here are the hellish-red gashes of coke ovens; here is the thin space where there’s only room, it seems, for a narrow road, a narrow track, between the demands of sea and stone.

Hay strikes two false notes, however, in her characterizations. Isabel, Ani’s daughter, is the exception to the high road, the only person not to subvert herself. She’s impossibly adorable, empathic and perceptive beyond her years, a child you’d gladly bring home and raise as your own. Unfortunately, I don’t believe she exists. Not once does she act out, throw a tantrum, complain, or even shout or scream–and this is a girl who just lost the father she worshiped. Not only that, when Ani raises her voice to her–all two instances of it–the mother feels like a criminal, which feels too perfect.

At the other extreme, Frank Draper becomes more human, though it’s not clear how. He’s not the sort to talk about what he saw or his feelings, so I want to see how Iris expects to cozy up to him. But Hay doesn’t show this. Are we meant to assume that Iris believes her interest in Frank will melt his icy exterior? I’d need to see that happen before I agree with her.

All the same, The Railwayman’s Wife is a beautiful novel.

Disclaimer: I obtained my reading copy of this book from the public library.

Sisters in Mercy, and Much Else

10 Monday Nov 2014

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Review: The Daughters of Mars, by Thomas Keneally
Atria, 2012. 513 pp. $26.

“Fortune favors the brave,” wrote Virgil, a saying that describes both Thomas Keneally’s approach to this extraordinary tale and its two protagonists. Naomi and Sally Durance hail from Australian cattle country and a home where domestic duties wore their mother down before her excruciating death from cancer. Determined to pursue a different, more independent path, few of which exist for women in 1915, as trained nurses, they volunteer to serve the Australian forces in the Great War.

But despite what they have in common, Naomi and Sally have never been close, so they sail overseas with much left unsaid. And the elephant neither of them speaks about–a rather hefty creature, in this case–is that both sisters hoarded enough morphine to grant their mother her final wish, to die with no further suffering. What happened, exactly? Sally isn’t sure, and Naomi, who was there at the last, may or may not have told the truth.

Recruiting poster for Australian nurses, Sydney. (Courtesy Wikimedia Commons; from the Library of Congress )

Recruiting poster for Australian nurses, Sydney. (Courtesy Wikimedia Commons; from the Library of Congress )

From this premise comes a riveting story that spares nothing and no one and grabs you until the last sentences. It’s not just the hospital or dressing-station scenes at Gallipoli and northern France, conveyed with unflinching realism, or the grotesque blasphemies that steel, gas, and flame inflict on human flesh. It’s the fear that grips the nurses, which they can’t help breathing in, like the fetid odors of the wards: Be careful what attachments you form, because nobody’s safe.

How the Durance sisters cope with this terror frames the novel, especially given their sibling rivalry and mother’s death, an irony that they face daily in their work as healers. Their relationship matters more than any other, even when they allow men into their lives. There are flirtations and romances between many nurses and soldiers–how could there not be?–but the author takes care to give the women conversations and desires that have nothing to do with men.

I’d have liked even more of that, but I think Keneally does well. He goes even further, portraying the nurses’ struggles in which love or justice don’t necessarily triumph. A spoonful of sugar may help the medicine go down, but Keneally is too good a novelist and historian to offer the reader cheap candy. That’s why I was disappointed at how often he tells the reader what the characters feel, rather than show it. The clumsiest instances involve his reminders, early on, that Sally hasn’t forgotten her guilt about her mother’s death–as though she would, or anyone would assume so.

The heavy hand also blunts the way British officers treat Australians, which was no doubt shabby in reality, but tiresome here nevertheless. Every British commander in this novel seems criminally negligent, while the Aussies just do things better. Strangely, too, despite the realism Keneally insists on, the Durance sisters somehow have no trouble finding good food and drink on days off spent in hungry, ruined French towns.

Naomi’s character puzzled me, sometimes. She seems downright cold, for no apparent reason I can figure from her upbringing. Is this a simplistic authorial device with which she can keep the world (read: men) at a distance? If so, a woman of her intelligence and aplomb could have achieved the same result with subtle sexual diplomacy. To me, that would have made her more complete and believable, refining what’s already a compelling book.

If you’ve never read a novel about the First World War–or even if you have–The Daughters of Mars is  superb, faithful to the events and passions of the time, a human, moving story. I recommend it.