Further to my musings about the nature of horror, as a literary genre, as evidenced at the recently announced and fabulously conducted Aurealis Awards in Brisbane, the judges’ reports are now up at the awards site. I’m still grappling with the horror content of the winning novel, I confess. Maybe it’s because I grew up in the bush, but I don’t share the sense of menace supposedly posed by the landscape in Red Queen at all. And I wasn’t aware of the characters reacting that way. Why would country boys respond like that? The only thing they were frightened of in the Australian bush was other people — in this case, plague carriers. I think it’s very cool that a book like this can nudge ahead of a field with comparatively quite strong horror tropes; it certainly broadens the horizon. Anyway, food for thought, and I’ll continue to digest. (I certainly concur with other comments in this report, though not all.) (My musings shouldn’t detract in any way from the decision, by the way, nor the fact that Red Queen is a solid debut novel with plenty to recommend it; that’s not the purpose of this blog. I write ‘horror’ stories, call them what you will. I’m always interested to know what other people think of as horror.)
musings
Wendy Rule, Midsummer fairies and the Christmas club
Wendy Rule
It’s Midsummer tomorrow here in Melbourne and we’re in the swing of the season with drinks tonight and what should be a fab outing to the Botanic Gardens for A Midsummer Night’s Dream tomorrow. We kicked off last night with Wendy Rule’s Fairy Ball at the gorgeous Thornbury Theatre (except for the loos, which smelled like a bat cave by the end of the night, and the absence of napkins to accompany the scrummy finger food).
Rule is a Melbourne singer-songwriter with an international reputation in pagan circles. She and her guitars were backed with cello, vibraphone, percussion, violin and clarinet last night, playing two sets that included songs from her forthcoming album, Guided by Venus, as well as favourites such as Wolf Sky, Artemis and Hecate.
The first set, heavy on slow songs, struggled to make an impact over the chatter and the delightful squeals of children dancing and playing with balloons, but the second, ramping up the tempo and volume, got us where we needed to be, and filled the dance floor.
The most powerful gig I’ve seen Rule play was in a delicious venue in Brisbane, a converted church, where, to judge by the vibe and appreciative quiet in the room, the audience was mostly pagan, there not just for the music but for the message as well. There was a similar atmosphere last year when Rule and cellist Rachel Samuel played a gig in our backyard. That was a different ‘our’, and a different backyard, but the magic of that night endures.
A highlight of last night’s gig was Zero, a song Rule dedicated to the energy of creativity. Midsummer was a good time, she said, for looking ahead to projects about to begin, and back to those accomplished. A time to take stock, and draw up energy for the year ahead.
Sitting at the gig, watching the parade of fairy wings and glitter faces, I was reminded of a recent discussion on Radio National about atheism. The discussion itself was illuminating, offering a wide variety of experiences explaining why callers did not believe, or had abandoned their belief, in a deity. (The Life Matters episode was anchored off a new collection of essays about atheism, 50 Voices of Disbelief co-edited by Aussie Russell Blackford.)
The program’s website has a comment board, where one delightful respondent opined that those who didn’t belong to the Jesus club had no right to celebrate Christmas. So, presumably, all these little fairy kids in front of me, prancing and laughing in their colourful costumes, were denied a present under the tree because of their parents’ non-Christian beliefs. As if Santa Claus has anything to do with the Christian faith. Given the festival has been appropriated from pagan origins anyway, how downright cheeky and short-sighted. And, of course, how bloody typical of the fascism that turned me off organised religion in the first place.
Humans are social animals who like to feel they belong. I get that. What I don’t get is that we make this feeling through a policy of exclusion. You can belong to God’s love club, but only if you meet certain requirements. Otherwise, you burn, and good riddance to you. Is this “with us or against us” approach really the best social construct we can find?
Don’t get me wrong. I fully appreciate the commonsense laws, fundamentally Christian, that grease the wheels of modern Western society. The do unto others, the shalt not kills and covets… a lot of these make perfect sense. But to tell me who I should love? To dictate my path to understanding my spirituality and my relationship with the world and the people around me? To tell a whole lot of other people that they’re damned because they belong to a different club, and treat them as such? I don’t think so.
Christmas is a time to get in touch and share the love. We should be doing it all year round, but we’re busy, aren’t we? But to take time out as a community, to draw a breath, once a year, and remind ourselves of who and what’s important, of our blessings and our achievements and our goals, well, that seems a good idea to me. Regardless of which club you belong to.
Merry Christmas. Or whatever you call it, and however you celebrate it. Enjoy, and share the love. Blessed be.
The Flood at La Mama and thoughts of home
Home is where the heart is, or it’s wherever you lay your hat. I think it goes deeper than either of those aphorisms, certainly the latter. It’s something that’s been on my mind lately, now that I’m looking down the barrel at my third move in 12 months.
So when I went to La Mama Theatre’s production of The Flood the other night, I found myself plunged into the theme.
This was my first outing to La Mama, and what a wonderful theatre it is. The entrance is in a courtyard reached from an alley, with a plumbed thunderbox standing at the gate like a sentry box. There’s a wee bar on the porch with quite reasonable wine, and plunger coffee if you’re quick.
Inside, the theatre is the size of a lounge room. Quite possibly it was, once. It gives enough space for a couple of rows of seats along two walls. We sat in the front and our feet were touching the props. It’s what a real estate agent might call intimate.
The set design for The Flood was superb. A two-seater lounge buried in domestic detritus so only one person could sit on it with any comfort. Piles of magazines turning the floor into a maze. Lamps added to the minefield. The walls of the set were of timber and mesh, evoking the image of a country fly screen, with painted dark foliage backdrops. Lighting and sound effects were admirable for creating mood with the minimum of fuss, such as dawn’s soft light and the morning song of birds.
It was not bucolic.
Set on an isolated, dilapidated homestead, the story concerned an ageing mother and her two adult daughters coming to terms with the truth of the absent father’s role in their lives, and their reaction to it.
One sister, Cathy, is returned from London after living abroad for more than a decade. The other, Dorothy, has manned the post, propped up by alcohol now that her husband has abandoned her, caring for their mother who is flirting with the border of senility. The sheep have been sold, the dogs have been given away. It is the sense of home and duty that keeps mother and daughter there.
Rising floodwaters mean Cathy is stuck in the house, unable to take her room at the motel in town. Thus begins the atmosphere of entrapment, enhanced by the cage-like, restrictive set, as the three women thrust and parry about the past, and their future.
More than once, Cathy proclaims her interest in the station as being her home. She was happy there, she says, though Dorothy disagrees, pointing out that Cathy’s memories of a rural childhood are rose-coloured.
It’s a tense little play, nothing too complicated, leavened with deadpan, dry Aussie humour, and the actors are each superb within their roles and utterly believable. Even the weather got in on the act, providing mood rain.
And it got me thinking. What is it about ‘home’ that keeps us coming back, even when the home itself is gone? How long does it take to make a home, and is it a function of people, place or both? Can you have more than one? And how do you know that you’ve found it, or is it only when you lose it that you realise you had it?