It was a wondrous thing to sit in the Pioneer Women's Garden in Adelaide at 9:30 this morning, listening to Tim Low talk about his beautiful book, Where Song Began - Australia's birds and how they changed the world. This book is a number one must.
You can hear Tim talking to the ABC's Richard Fidler here. He blows my mind.
Grapegrowers and winemakers who wage constant warfare with grape-hungry and plain destructive vandal birds who rip things to bits for fun should all read this amazing work.
Just so's you know.
As I attempted to take a few snaps of Tim from this position, that Number 5 came down and said "You'll only be taking one photograph, won't you. I need to keep my aisles clear."
So of course I scarpered. I apologise for not getting a better shot. Click image to enlarge.
While Tim spoke with perfect erudition of the birds of Australia, dozens of them, of all sorts, cheeped and chattered and waged battle in the trees above our heads. Buy the book.
Here's an extract of another writer's reflection on Writer's Week from thirty years back:
This year, seeking
fertilisation, I travelled 10,000 miles to the Adelaide Festival Writers’
Week. I arrived knowing very little
about Adelaide: capital of South Australia, close to the Barossa Valley where
German migrants established many excellent vineyards, site of one of the most
attractive cricket grounds on earth.
Not much else, except that both David Hare, whose play A Map of the
World was premiered at an earlier Adelaide Festival, and the actor Roshan
Seth who played the lead in it, had spoken very highly of the place. Within hours of arriving, however, I was
offered a memorable summary of the city by one of my hosts. ‘It’s called the City of Churches, Adelaide’,
he said. ‘But one of the churches is now
a discotheque, and what’s more it’s the first disco in Australia to show porno
films.'
It was a useful
clue, a hint that there was more to Adelaide than meets the eye. What met the eye was conservative, spacious,
pretty, and a little bland. Adelaide was
designed from scratch by South Australia’s first Surveyor-General, Colonel
William Light, in 1836. ‘Light’s Vision’
was of a grid set in a garden, and that’s the way the city still looks. But for all its parkland and wide avenues it
retains an air of being somehow uprooted, or unexplained, which is perhaps
common to all planned cities. It is
attractive enough, with its greenery and its ‘Adelaide Lace’ - filigree wrought
iron ornamentation on many porches and balconies - but it tells you
nothing. The city’s shape does not
contain the history or unveil the nature of its people. It is a kind of disguise.
Adelaide was an
enigma, and I was getting interested in breaking its codes. Meanwhile, though, Writers' Week was
proceeding fertilely enough. The
distinguished South African novelist André Brink arrived, having been obliged
to sit throughout his flight from Africa next to an Australian farmer who had
assured him that he would enjoy Australia, ‘because we’ve got our blacks well
under control, you follow me, sport?’
However, Brink’s meeting with the exiled black South African writer
Bessie Head was the week’s most moving encounter. Bessie, a tough woman with a tiny, singsong
voice issuing from an ample frame, said it had been worth coming all the way
from Botswana to Adelaide just to meet André, ‘because, for the first time in
my life, I have met a good white South African.’
Writers’ Week takes
place in and around a large marquee set in pleasant, palm-fringed lawns across
the road from the main Festival Centre; half-establishment, half-fringe, it has
in the past irritated some of the more pompous visiting writers because of its
informality. But that seemed to me to be
its chief virtue. All week, writers and
readers meandered in and out of the marquee, strolled on the lawns, dipped into
the book tent and even, from time to time, stopped by the bar for a tinnie of
Swan. The audiences are mostly friendly,
but they sometimes heckle: Adelaide’s own Barbara Hanrahan had to put up with
one well-lubricated gentleman’s repeated advice to ‘shut up and give someone
else a chance’. And sometimes the
audience offers more interesting information than the platform speakers. While Morris West, Australia’s best-selling
novelist, spoke for an hour without once getting off the absorbing subject of
his extremely high income, I was out on the lawn discovering that D. M. Thomas’s
initials (yes, he was in town as well) were Australian slang for Deep and
Meaningful. Revenge at last, I thought;
Deep and Meaningful Thomas seemed like a fair way of getting even for Olympic
Medallist Rushdie.
And everywhere you
looked you saw excellent Australian writers.
Elizabeth Jolley, deceptively frail to look at, with a profile uncannily
close to Virginia Woolf’s, read what she called a couple of dances. ‘I don’t really dance myself,’ she told the
audience, ‘but for some reason my characters often do.’ The dances were subtle, courtly,
graceful.
Later in the week Rodney Hall
read from his magnificent novel Just Relations, winner of the Miles
Franklin award: it was so good that you wished you had written it
yourself. And there was Blanche
d’Alpuget, the acute, level-headed biographer of Bob Hawke, the Prime Minister
with a 78 per cent popularity rating, a Labour leader who misses no opportunity
of beating up the Left. ‘His physical
appeal is huge,’ Blanche d’Alpuget told me.
‘Men write to him to say they carry his photograph in their wallets and
it gives them strength.’ What does that
do to a man, I wondered, that adulation.
When he arrives at rock concerts and walks through the crowd, people
stand up as he passes. Bob, it’s Bob.
G’day Bob, good on yer, Bob. It seemed
alarming to me, this leader-worship. How
far from good-old-Bob to ‘Duce! Duce!’?
‘Well, of course,’
Blanche said, ‘what’s happening to him is totally corrupting.’
Jolley, Hall,
d’Alpuget; Thomas Keneally beaming at everyone and standing them drinks; and
Patrick White, David Malouf, Peter Carey and Murray Bail weren’t even there
.... Australian literature seemed to be in extremely good shape. I was ashamed
to have arrived knowing so little; I left knowing a little more; it was a good
week.
‘Don’t you find,’
Angela Carter said one evening, ‘that there’s something a little exhausted
about the place names around here? I
mean, Mount Lofty. Windy Point.’ On another occasion, Bruce Chatwin said
something similar: ‘It’s a tired country, not young at all. It tires its inhabitants. It’s too ancient, too old.’
I was looking for
the keys to Adelaide. And gradually
things did come bubbling up from under that smooth, solid facade. On an excursion into the Adelaide Hills I was
told how fires regularly devastated the region.
I heard about the famous blaze on ‘Ash Wednesday’. Freak effects - as the flames surged over a
road on which there were two petrol pumps, one blew up and the other was
unharmed. And finally, almost casually,
I was given hints about arson. What sort
of people are these that burn the landscape?
There is strangeness here.
Hindley Street, Adelaide,
looks lively when you first walk down it.
Young people, nightspots, restaurants, street life. Then you notice the brothels and the
winos. And one night a trail of blood
along the pavement. Shoeprints in blood
staggering along, ending up in a dark doorway.
Another clue. And a couple of days
later I hear about the vanishing youngsters.
Sixteen-year-old girls and boys, disappearing into thin air. The police do nothing, shrug; teenagers are
always leaving home. But they never turn
up. I am told that parents of these
dematerialised children have formed their own search organisations. Adelaide seems more eerie by the minute.
On my last night in
town, many of us go to a party thrown by Jim, a local sheep king. It is a housewarming; his last house with its
priceless art collection was destroyed in the Ash Wednesday fire. The new place is in ritzy North
Adelaide. An excellent party, and Jim is
a generous and literate host. But then I
am buttonholed by someone who wants to reminisce about his days in an English
public school, and the double vision begins again.
Later in the evening, a beautiful woman
starts telling me about the weirdo murders.
‘Adelaide’s famous for them,’ she
says , excitedly. ‘Gay pair slay young
girls. Parents axe children and inter
them under lawn. Stuff like that. You know.’
Now I begin to
understand Adelaide. Adelaide is the
ideal setting for a Stephen King novel, or horror film. You know why those films and books are always
set in sleepy, conservative towns? Because
sleepy, conservative towns are where those things happen. Exorcisms, omens, shinings,
poltergeists. Adelaide is Amityville, or
Salem, and things here go bump in the night.
I flew out from Adelaide
at the end of Writers’ Week, heading for Alice Springs. Very quickly the greenery of Adelaide was
replaced by the desert. The great, red
infinity of that awesome moonscape set the previous week in its proper
context. The desert, the harsh pure
desert, was the reality, was Australia, was the truth; the town I was leaving
stood revealed as a mirage, alien, a prevarication. I settled back into my seat, eager to reach
the Alice.
... the above is an excerpt from 'Rushdie on Adelaide - Salman Rushdie has words with the world at Writers' Week'; Tatler, London, October
1984.
Way back when ... Jim and the Drinkster (in the new house)
3 comments:
Sexist bastard, obvioulsy sugesting the chocolate wheel girl is a bird!
Big Irma
UP THE AISLE CLEANERS!
Geez, I thought it was you writing about Adelaide writers' festival 30 years ago.
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