The Best Australian Stories 2016

by Charlotte Wood

  Published by Black Inc.,

  an imprint of Schwartz Publishing Pty Ltd

  Level 1, 221 Drummond Street

  Carlton VIC 3053, Australia

  enquiries@blackincbooks.com

  www.blackincbooks.com

  Introduction and selection © Charlotte Wood and Black Inc. 2016.

  Charlotte Wood asserts her moral rights in the collection.

  Individual stories © retained by authors, who assert their rights to be known as the author of their work.

  ISBN 9781863958868 (paperback)

  ISBN 9781925435337 (ebook)

  ALL RIGHTS RESERVED.

  No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form by any means electronic, mechanical, photocopying, recording or otherwise without the prior consent of the publishers.

  Cover design by Peter Long Typesetting by Duncan Blachford

  Contents

  Introduction

  * * *

  Paddy O’Reilly

  Monster Diary

  Tegan Bennett Daylight

  Animals of the Savannah

  Gregory Day

  Moth Sea Fog

  Elizabeth Harrower

  A Few Days in the Country

  Ellen van Neerven

  Blueglass

  Nasrin Mahoutchi

  Standing in the Cold

  Jack Latimore

  Where Waters Meet

  Brian Castro

  Love, Actually

  Georgia Blain

  Far From Home

  Julie Koh

  The Fat Girl in History

  Trevor Shearston

  A Step, a Stumble

  Fiona McFarlane

  Good News for Modern Man

  Jennifer Down

  Alpine Road

  Elizabeth Tan

  Coca-Cola Birds Sing Sweetest in the Morning

  Michael McGirr

  A Review of Over There by Stanislaus Nguyen

  Kate Ryan

  Where Her Sisters Live

  James Bradley

  Martian Triptych

  Michelle Wright

  Blur

  David Brooks

  Grief

  Abigail Ulman

  Frida Boyelski’s Shiva

  * * *

  Publication Details

  Notes on Contributors

  Introduction

  Charlotte Wood

  Like many writers, I keep a collection of talismanic, consoling or provocative quotations from other artists close to hand. Lately these seem to be coming from painters more than writers – like the American abstractionist Laurie Fendrich, who says the notion that abstraction is always about self-expression is both romantic and narcissistic. Abstraction can also be about ideas, she says: ‘The complex struggle between order and chaos, for example, or how the flux of the organic world modifies the rigor of geometry.’

  Something else Fendrich wrote struck me with great force: ‘Ever since the invention of painting on canvas, paint itself has been part of the meaning of a painting.’ She was lamenting the pressure on young painters to offer explanations about the intentions behind their work, sometimes even before they had made it. But meaning comes, Fendrich asserts, not just from the artist’s internal process, but from the actual application of the paint.

  For me, this concept may also offer the best explanation for what gives life to a piece of writing: meaning is generated in the application of language itself, rather than purely from the writer’s desires or intentions.

  While I believe this truth is present in any writing that pulses with brightness and energy, no matter how inexperienced the writer, perhaps the mature artist is best placed to articulate it. The novelist Lloyd Jones, for example, has often quoted Samuel Beckett saying of James Joyce that the latter’s writing ‘is not about something, it is that something itself’. When I asked Jones to elaborate in a Writer’s Room interview, he said:

  Yes. He’s not writing about something – ‘about’ suggests an object. In other words, it thrusts you into the task of describing something that’s already there. But the something is emerging from the actual writing. So it’s not starting with any objective in mind, but an objective actually results from the act of writing. It’s a subtle distinction.

  Michelle Orange also expresses this distinction in the New Yorker when she says, in relation to Vivian Gornick’s The Odd Woman and the City, ‘Gornick’s voice … does not just tell the story, it is the story.’

  The paint itself is part of the painting’s meaning; the words do not merely tell, but are the story.

  I think an acceptance of this might result in what novelist Amanda Lohrey says she demands of any book: the presence of ‘messages from another realm’.

  ‘There’s the literal surface of life,’ Lohrey told me, ‘and then there’s that oceanic meaning underneath … any narrative that doesn’t have a few messages from that realm is, for me, deficient. Too mastered, too known, too literal.’

  I’ve slowly come to realise that, for me, this sense of meaning arising from the words as they are placed, this ‘message from another realm’ that arrives in the act of writing, is what distinguishes art from mere storytelling. And at the end of the selection process for this anthology, I can see that it’s this sense more than anything else that has guided my choice of stories. (The title of this collection, by the way, must surely be a headache for every editor. The idea that one could choose the ‘best’ twenty from the hundreds of submitted stories – or even that there’s such a thing as ‘best’ in the first place – feels nonsensical to me.)

  If anything unifies the stories in this collection, it might be my own preoccupation, which emerged as I read, with what I came to think of as the trio of ghosts, monsters and visitations.

  The presence of these in some stories will be clear from the outset, as in Paddy O’Reilly’s magnificent ‘Monster Diary’. Or they might be buried a little deeper, rising up, say, from the ominous line of graffiti in Kate Ryan’s ‘Where Her Sisters Live’, or from the sudden clarifying mirror-glimpse of the narrator and her friends offered in Tegan Bennett Daylight’s ‘Animals of the Savannah’. Other visitations – perhaps benign, perhaps monstrous – come from the natural world, in stories by Gregory Day, Ellen van Neerven, Michelle Wright and Fiona McFarlane.

  Sometimes they come from the inner self, such as the hovering spectre of suicide for Elizabeth Harrower’s protagonist, or death’s aftermath in the stories by Trevor Shearston, Georgia Blain and David Brooks. In these – and Nasrin Mahoutchi’s ‘Standing in the Cold’ – the space between the living and the dead is never straightforward, and never quite breached.

  Some threats are delivered from the realist realm of looming economic and class despair, as in the stories of Jack Latimore and Jennifer Down, or they might come from the future, as they do in the ‘glimpse [of] the possibility of other lives, as yet unknown’ in James Bradley’s and Elizabeth Tan’s poetic speculative visions.

  Another aura, or sense of mystery, is created by formal experimentation and semantic playfulness – the paint itself being part of the meaning – in the pieces from Brian Castro, Julie Koh and Michael McGirr. Finally, there is the simple, yet hard-won, joy of acceptance in Abigail Ulman’s story, when a mother learns that attachment to one child can only come from allowing another to become a ghost.

  Every editor of this collection has faced the inevitable agony of choice and omission, and I was sorry not to be able to include at least another five, if not ten, stories I very much admired. I hope you enjoy the pieces I have chosen, and the ways they continue to echo within and speak to one another.

 
Monster Diary

  Paddy O’Reilly

  A monster is something too big or too small, too dark or too light, too much of one thing or not enough of another. It is ugly and its ugliness makes people turn away. A monster is unable to speak like us. A monster cannot fit comfortably into a chair. It thinks about flesh and eating and pain and misery and ecstasy. It cannot articulate these needs but must enact them. Sometimes the monster does not know it is a monster. It lurches towards you expecting you to open your arms and embrace its desires, its needs, its drive.

  Near my flat is a block of housing commission units. Five fibro-cement units on raised stumps with a mean three steps to the front door cluster under a copse of undersized sunburnt she-oaks whose dry needles collect in drifts around the rubbish bin enclosure. A monster lives in Unit 5. I see the lights go on in the evening behind the yellowed net curtain and the blind is pulled down immediately. No cooking smells issue from the unit. When I walk past I hear no television or radio noise. The monster is in bed by nine.

  Even people who pity the monster shy away when it approaches. Do they know the monster’s DNA is identical to ours? There are people in government departments whose job is to deal with the monster. In my research I’ve heard those people sigh and complain about the difficulty of working with monsters, the impossibility of teaching the monster and of bringing the monster into the community. They shrug, eventually, and say that their best is all they can do.

  When monsters come together they recognise the other as a monster, but not themselves. This inability or unwillingness to recognise their ilk leaves them solitary. No one knows where they come from. A child monster has never been identified.

  I want to befriend the monster, if that can be done. I have questions to ask, even though the monster probably cannot answer, either through inability to speak or inability to explain its own monstrousness. But surely asking the questions is important. I understand that I can never truly know the monster, but if I can only acknowledge it, perhaps touch it, offer it a peppermint sweet or lay out a bed for it, then something will change in me, I am certain.

  *

  The monster sits on a picnic bench under the she-oaks. She is docile. Her hair is fluffy and her nails filed. I can never predict what kind of a day she will be having, so I approach warily. Today she humps her arm over my shoulders and I lean into her warmth. Tentatively. Remembering the time she bit my ear savagely and the other time she tried to wrench my arm from my torso.

  The stink from her armpit is less meaty than I had first expected. She exudes an odour of freshly sawn timber mixed with coffee grounds and fermented grain. I have thought about this odour a great deal. Is it from what she eats, or from the metabolic processes of her body? Occasionally I bring gifts of food and she has consumed everything I have brought, although it is difficult to tell whether she enjoys the food or simply consumes it because it is food. Her vocabulary of grunts, hawking, wheezy high-pitched gibbering and growls is as yet unintelligible to me.

  My visits take place in the early morning or the evening. During the day she is employed to clear the stormwater rubbish that washes into the river and collects with branches and leaf matter at the trap on the south side of the city. Summer and winter she wades back and forth across the river, dragging out the sodden mats of plastic bottles and wet paper and woody material and scooping up cigarette butts and condoms into a net that she empties into the council skip on the bank.

  On a warm day, the heat the monster generates is intense, and I cannot nestle under her comforting arm for long. I ease my way out, after which I make sure to face her and look into her eyes as soon as I am free. I want her to know that I am not repelled or disgusted but simply hot. She stares back at me, her muddy yellow eyes revealing nothing of her inner life. We hold each other’s gaze for a few moments, then I feel I can look away. There have been days when, the moment I let my gaze drop, she has swatted me in a gesture that may have been playful or may have been tinged with anger. I can’t tell. I am so far off reading her that I’m beginning to think my attempts at communication might be hopeless.

  I stand before her ready to take my leave. She is magnificent, frightening, pitiful.

  *

  It is said that you cannot make a pact with a monster because the monster has no ethics, morals or apprehension of contractual law. This hasn’t stopped me trying. I told her that I would bring freshly baked meat pies every Thursday if she would teach me her language. I thought she understood my meaning but we immediately came to an impasse. She cannot speak English (although I honestly believe she comprehends everything I say) and she cannot read or write, so how is she to explain anything to me?

  Last week I pointed at the pie and said, ‘Pie.’ I waited for her, in turn, to point at the pie and make a sound in her own language, but she snatched the pie from the wooden picnic table and crammed it into her mouth, issuing gluey squeals of pain because the filling was very hot. I should have warned her.

  Obviously, pointing at food and speaking its name had been a failure because the monster assumed I was offering her the food. So I printed off photos from the internet to show her. A pie. A cat. A plate. An orange.

  I thought I should track down pictures online of some things she would be familiar with. I found a plastic bottle. A cigarette butt. Dirty supermarket bags. An icy-pole stick. The more images I collected of the things the monster encounters in her daily life, the more dispirited I became. Where is the beauty in her life? Wading day after day through polluted water, handling the detritus of our civilisation. When I found a photo of a used condom I began to cry. How can we treat our monsters like this? What does she think of us?

  *

  The population of monsters has never been measured, as monsters are reclusive and unlikely to participate in any kind of census. Is my monster one of hundreds? Thousands? I think of her as my monster now. My Thursday monster, something like my Monday grief or my Sunday melancholy. I can’t say our communication has improved, although I am better at recognising the moment she is about to lash out. Most of my wounds have closed and healed to scars. My monster carries on with her work, her eating, her mysterious thoughts. Each Thursday I bring a pie and new pictures, which she seems to take some pleasure in ripping up and chewing into spitballs to expectorate in my direction. I know you’re thinking this is a bad thing, but me, I’m not so sure. Spitting, after all, is an important element in the lexicon of llamas. Monsters and spitting? Perhaps I will be the first to know.

  *

  Three months on and my monster remains inscrutable. She has picked up a hat, I imagine from her work, a wide-brimmed straw hat with a once-blue nylon bow that has been battered through the river grime for who knows how many miles and now is torn and blackened and feathered where the straw has ripped. And it smells like blood and bone. When she pushes the hat towards me I imagine it is a gift. I almost weep. At last, a gesture of goodwill.

  I hold the hat for some moments, trying to block the smell by breathing through my mouth, and smile at the monster. Then I put the hat on my head. She reacts by leaping at me, snarling, and punching my face before she knocks the hat off me and stomps on it until the straw is pulp and the indestructible ribbon stretched thin and translucent. I sit still and silent with my head bowed, my hand nursing my cheek where the punch landed. For ten minutes I am afraid to move. When I lift my head she is gone. The light is on in her unit. The blind is drawn. The shoulders of the she-oaks droop with their usual despondency.

  Animals of the Savannah

  Tegan Bennett Daylight

  Raffaello’s face had grown in the years between fifteen and seventeen, forming a kind of clod, as though the new face was a growth over the first, finer one. He was going out with Katie Goldsworthy now. They were our Romeo and Juliet. You might wonder how I knew this as I had, now that Judy was gone, absolutely no friends. But it was the news, which is democratic in its reach. Even I was included when Katie told the story of the secret party on her father’s moored yac
ht, falling asleep in the cabin, being reported as missing, the police called, Katie and Raffaello dragged, beautiful with sleep, out of their berth and onto the deck. I hated myself for being interested, but the other girls made space for me in the circle around Katie, and I gratefully moved into it.

  I could have had a boyfriend. Jonathan Schultz from Year 11 was flouting everything and everyone by declaring that he loved me. I don’t know what started it. Perhaps a dream. That was how I had first fallen in love with Raffaello. If Jonathan saw me on the oval or in the concrete streets of our school he would grin and wave, or squash the palm of his hand to his mouth and kiss it furiously, to show me what he would do if he could just get hold of me. He was skinny, with brown hair in a curly corona around his head. A big smile, tanned skin, very white teeth.

  ‘I have to study,’ I said when he walked up the hill with me, giving the thumbs up to his friends as they passed in the bus. He tried to take my hand but I snatched it behind me. Instead he walked beside me, shortening his stride to mine. He grinned and laughed, he tried to tickle me, insisted on carrying my bag.

  ‘Come on. Come back to my house. My parents aren’t home.’

  ‘I have to study,’ I said again.

  ‘Study at my house.’

  ‘Go away.’

  ‘Look, I got you something.’ He made me stop while he fumbled in his backpack, and brought out a pink teddy bear with a red heart stitched on to its chest. He held it out to me. ‘It’s for you.’

  I took it.

  ‘Lovers!’ shouted some boys from the windows of the second bus. The exhaust from the bus, clear and hot, made the air ripple.

  ‘Thank you,’ I said, and gave it back to him to carry for me.

  ‘Hopelessly devoted, too-oo yooo,’ he sang.

  *

  Sometimes you’d see Andrew Johnson walking ahead of Katie and Raffaello, clearing a path for the royal couple, shoving younger kids out of the way. Andrew’s face had remained small and pinched, like a sultana. One day I stopped after the entourage had gone past, to buckle my sandal, and heard someone call my name. When I turned to look I saw Andrew, also stopped, Katie and Raffaello receding in the distance. He stood amidst the flow of people, watching me. And then Jonathan was beside me; he’d memorised my timetable and had come to carry my books, if I would let him.