Peter Temple's Truth - expletive inspiring...

There’s a very good reason critics have been falling over themselves to praise Peter Temple’s new novel, Truth: it’s sublime.

It’s not often I read the last page of a book, close the cover and use an expletive to express how good it was. (The colourful language was partially a flow on of the abundance of profanity in the book, and mostly the fact it really was the best way to describe how impressed I was).

Temple is a master at fusing literary and genre writing. Truth is a gritty page-turning crime novel. It’s also a surprisingly moving study of the frailty of machismo. The Australian Review’s Peter Craven said last year that The Broken Shore “is a crime novel the way Cormac McCarthy’s All the Pretty Horses is a western”.

Truth has been described as sequel of sorts to Temple’s award-winning 2005 novel, The Broken Shore. But while it features some of the same characters (and even gives a nod to his earlier fictional creation, Jack Irish), it can be read as a stand alone story.

The central character is Stephen Villani, a peripheral character in The Broken Shore, who is now the head of Homicide for the much maligned Victorian Police. Over a few scorching summer days, Villani must face personal and professional crises as he simultaneously deals with a series of brutal murders, corruption in his own ranks, and the disintegration of his family, all while bushfires bear down on Melbourne.

It all starts with the murder of a young woman in the city’s newest luxury high-rise, followed by horrific torture killings of three hard-core drug-dealing criminals. As Villani and his fractured team investigate, he finds himself heading into murky political waters.

Villani’s world is populated by politicians on the knife edge, charismatic entrepreneurs, well-connected journalists and seedy underbelly criminals.

For those unfamiliar with Temple’s sparse prose, it can take time to settle into his rhythm and storytelling style.

As a reader, you just have to dive in and hang on, even if you have no idea who’s in a particular scene or even why. He’s a realist in the true sense. In reality, we don’t have internal monologue to provide exposition, and so it is with his characters. But patience is rewarded – often spectacularly.

Although there are crimes to be solved – and Temple gets to them – he’s primarily concerned with Villani’s personal challenges. Truth is about fathers and sons, and damaged relationships. It’s about hard men and the frailty inherent in them. It’s about authority and power, and the way men measure each other and demand respect.

When it comes to dialogue, Temple is a master. So much is conveyed with so few words. Villani, in particular gets some wonderfully wry lines.

When he asks his offsider, Bickerts about wellness spas, the detective replies:
“Respect your body. Think positive thoughts. Live in the moment.”
Villani: “What if the moment is absolutely shit?”

Or when the forensics guy gives his report about a crime scene: “Man near entrance is shot in the head at close range from behind. The other two, multiple stab wounds, genitals severed, other injuries. Also head and pubic hair ignited, shot, muzzle in mouth. Three bullets recovered, 45 calibre.”
Villani: “So you can’t rule out an accident?”

There are definitely a lot of characters – too many, to be honest – but every one and every piece of information provided is important. Nothing here is superfluous to the story. All the dots connect in the end. And brilliantly so.

Melbourne’s politicians, media and police hardly come up shining (and recent headlines make the bleak picture painted in Truth all the more disturbing), and yet Temple offers redemption for drug-crippled city in the form of honest, if not heavily flawed, men and women.

Truth had me marveling at its cleverness and honesty, and left me with a great sense of satisfaction at how it all came together. (As mentioned earlier, it also left me foul mouthed for a day or two – Villani and his mates certainly don’t talk sweetly to each other…).

I loved the Jack Irish series (particularly Temple's debut Bad Debts), and enjoyed The Broken Shore, but Truth is now without question my favourite novel, from one of my favourite authors.

Three novels explore music, fame and intimacy

It’s never fair to compare novels, but it’s hard not to when three books come out around the same time and each – on face value at least – cover similar territory.

In this case, it’s formerly famous musicians dealing with the legacy of fame, each working towards some sort of emotional redemption and relationship maturity.

I’m talking about The True Story of Butterfish by Nick Earls, Juliet Naked by Nick Hornby and 88 lines about 44 women by Steven Lang.

All three central characters were part of the creative force of their respective bands, and all three have sought out some form of seclusion and anonymity to “recover” from their experiences with fame.

In The True Story of Butterfish, Curtis is a keyboard player returning to Brisbane to escape the glare of publicity following the split of his mega-selling band Butterfish. In a quiet suburban street, Curtis tries to concentrate on his new role as a producer, slowly reconnecting with the real world around him.

But things get a little messy when he gets to know his neighbours: an attractive single mum recovering from a bitter divorce, her gothic teenage son, and her 16-year-old daughter, who thinks the only way to connect with Curtis is through sex.

Curtis’ attempts at a “normal life” are further complicated when Butterfish’s hard rocking lead singer turns up on his doorstep unannounced.

With any Earls story, Brisbane itself becomes a character, but this can actually be distracting as a reader when it’s your own home town.

Earls is a very likable writer – he’s always a favourite at festivals and after seeing him at last year’s Brisbane Writers Festival I know why – and of the three muso-focused novels, this is certainly the gentlest and safest.

On the surface, Julie Naked is another of Nick Hornby’s trademark lad lit offerings about a man whose relationships take a backseat to a more pressing obsession.

The man is Duncan and his obsession is Tucker Crowe, an American singer-songwriter from the 80s. Tucker has lived as a recluse for 20 years, but thanks to the power of the internet, his fans have been able to keep his music alive. They call themselves Crowologists, and Duncan is their king.

His long-term girlfriend Annie has ignored the cracks in their relationship for too long, so when a stripped-back version of Tucker’s best known album is released, Duncan’s slavering reaction to it finally pushes her over the edge.

She writes a scathing review on Duncan’s blog, much to his horror. But on the other side of the Atlantic, Tucker himself reads the review, respects it, and makes contact with her…

Ultimately this is Annie’s story, although we do get chapters alternating between her perspective and that of the two men.

Through Juliet Naked, Hornby explores the nature of creativity and fan obsession, but it’s also about loneliness and the struggle for intimacy. It features Hornby’s trademark wit and insights. And – like High Fidelity – made me want to trawl through my music collection and reacquaint myself with my favourite albums (in a non-obsessive way, of course…).

The capacity for emotional intimacy and honesty is the driving force of Steven Lang’s excellent 88 lines about 44 women.

Like Earls’ Curtis, the central character is a keyboard player-songwriter who has returned to a place of his youth solace and escape – in this case the bleak Scottish Highlands.

Lawrence Martin was once part of one of the biggest bands in the world, but it all fell apart after the death of his model-actress wife in calm waters not far from Sydney.

This intelligent and well crafted novel is less concerned about the music and Lawrence’s drug-fuelled career than it is with issues of male sexuality and how men find – and lose – intimacy with lovers, family and friends.

88 lines about 44 women (named after a song by The Nails) asks the questions: “Are all men emotionally disconnected? Does true intimacy bring redemption or is it the other way round?”

Despite the title, the novel is really about two women: the beautiful but damaged wife who compounded his emotional frailty, and his intelligent and well-grounded new neighbour, who may his hope for the future.

When a call from his former best friend and songwriting partner reveals a past Lawrence’s has omitted to share with the locals, he finally attempts to deconstruct his past experiences and how they’ve influenced his ability to be intimate.

As a narrative character, Lawrence is articulate, insightful, painfully honest and frequently vulnerable. Even in his self awareness, his blindspots are obvious, and as a reader, you hope he works them out.

For me, 88 lines about 44 women was the pick of the above novels, purely for its rare insight into the male psyche and the skill with which Lang uses words.

Literary tattoos

Do you love a book or character enough to immortalise them on your skin in ink?

Writer Marieke Hardy (who also appears on ABC's First Tuesday Book Club) raised the topic of literary tattoos today in the Sydney Morning Herald, with her comment piece Mark my words.

While Marieke is clearly a fan of literary tattoos in the true sense (tatts inspired by popular fiction just don't cut it for her), she makes some interesting points about the whole literary tatt trend.

Of course, the topic is not new in blogland. Bibliobibuli had the discussion back in 2008, and you only after to do a Google Images search for "literary tattoo" and you'll find an amazing range of book lovers' tattoos, like this one below, from http://community.livejournal.com/literarytattoos/434923.html. Contrariwise is also a great site for literary tattoos.

I like the idea. I just need to decide what I want and why. Given it's a piece of art that's going to stay on my skin for the rest of my life, I want to choose wisely.

Writer Lee McGowan (aka the inkstained toe-poker) had some thoughts on tattoos this week, so maybe Marieke's article will give him some food for thought in his own decision.

So, of course, it raises the question of whether you would get a literary tatt and if so, what you would get? Or do you already have one, and if so, what is it?

I promise I will write a new post for this blog soon ... but I've had a flurry of activity over at otherworlds as I've read a lot of urban fantasy in the last two weeks (yes, had some holidays and finally found time to relax!).

If you're interested, you can check reviews for:
Hush, Hush by Becca Fitzpatrick












Fallen by Lauren Kate












The Reformed Vampire Support Group by Catherine Jinks

Lili St Crow - Strange Angels

I've just posted a new review on my other blog, Other worlds, where the emphasis is on fantasy stories.

It's about Lili St Crow's Strange Angels urban fantasy series, and you can check it out here if you're interested.

Tackling Israeli-Palestinian issues through fiction

One of the hardest things to do in fiction is tackle a complex issue and still deliver an engaging story.

Randa Abdel-Fattah, a Muslim of Palestinian and Egyptian heritage who grew up in Melbourne, has a strong literary track record of tackling the challenging topic of being a teenage girl of Middle Eastern descent in urban Australia.

Her breakthrough first novel, Does my head look big in this?, was a witty and enjoyable story about an Australian-Palestinian Muslim who decides to wear the hijab, and the courage it takes to display her faith.

Her follow up, Ten things I hate about me, was more about cultural identity (rather than religious), in which a Lebanese teenager in Sydney goes to great lengths to hide her ethnicity from her friends.

Now, Abdel-Fattah has gone a step further, using her gifts as a storyteller to present a Palestinian perspective on the Israeli occupation of the West Bank.

Where the streets had a name features the likable narrative voice of Hayaat, a teenage girl whose face is scarred from an event we don’t fully understand until almost the end of the novel.

Hayaat is like most teenagers. She wants to be loved and accepted. She wants her family to be safe. She’s learned to live with the restrictions and curfews of the occupation and the bitterness of those around her who have lost homes and land to the Israelis.

Hayaat has no desire to cause trouble, but when her beloved grandmother, Sitti Zeynab, falls ill, Hayaat is convinced the only thing to lift her spirits will be to touch the soil of her village again. So she and her best friend Samy decide to go themselves, to bring back a jar of the precious dirt.

The trouble is, Sitti Zeynab’s village is on the other side of the giant concrete wall built by the Israelis to keep them separate from the West Bank Palestinians. What should only be a trip of a few miles will take Hayaat and Sami a full day, as they negotiate check points, roadblocks, unreliable public transport and Israeli soldiers.

Given the polemic nature of the Israeli-Palestinian situation itself, it’s a near impossible task to write a story about it with polarising people. But while the Abdel-Fattah’s sympathies lie with the non-violent men, women and children suffering under the occupation, she avoids the trap of painting a simple picture of villains and heroes.

This is a human story. It’s an attempt to show the human face of the occupation – on both sides of the wall. Both sides fear and mistrust the other, but – as this novel quietly suggests – there is hope on both sides too.

Hayaat is a Muslim, yet her best friend Samy is Christian and the difference in their faith appears to have very little significance to them or their community: they are all Palestinian and all living under occupation. And, interestingly, the men and women who help Hayaat and Samy the most during their journey (probably because they have the freedom to so) are Israelis, who – openly or otherwise – oppose the occupation.

Abdel-Fattah’s connection to the people and the place in this story allows her to capture the humour, spirit and humanity of a people whose plight is frequently over-shadowed by the violence perpetrated by a few, but ascribed to all.

Sitti, who has suffered the most in Hayaat’s family, also has the greatest capacity to laugh at the situation of her people.

To Hayaat’s sister, who is dieting in the lead-up to her wedding: “A little meat on a woman is nice. Do you want people to look at your on your wedding day and think you had a holiday in Gaza?”

But Sitti also carries the grief of a nation without a status. To the Israeli family who claimed her home as her own: “I’m sorry for what happened to your family and your people, but why must we be punished?”

And finally, it is Sitti who offers her granddaughter a glimmer of hope that one day the Israelis and Palestinians may find a way to live together: “Justice will come when those who hope outweigh those who despair. Hope is a force that cannot be reckoned with, ya Hayaat.”

Pride and Prejudice and Zombies

The idea is promising: weave a zombie plot through a Jane Austen classic.

In Pride and Prejudice and Zombies, Seth Grahame-Smith inserts zombie references and action throughout one of the most loved and recognisable stories in the English language.

The altered classic opening line certainly captures the mash-up idea: “It is a truth universally acknowledged that a zombie in possession of brains must be in want of more brains”.

In Grahame-Smith’s version, Elizabeth Bennett and her sisters are renowned Shaolin-trained warriors, roaming the countryside to cut down zombies – much to the disdain of higher bred women such as Mr Bingley’s sisters. Mr Darcy is also a zombie slayer of great repute and his clashes with Elizabeth are no longer just verbal…

The set up for the zombie plot is actually all there in the original: the constant presence of militia, the threat of disease and the horror associated with breaches of social etiquette.

I laughed out loud the first time I heard about this book (and then again when I found it shelved in the classics section at my local book shop).

It promises to put familiar characters in unfamiliar territory (fighting the trashiest of all pop culture supernatural baddies), and comes complete with a tongue-in-cheek study guide at the end. It should be clever. It should be fun.

And it is, for about 50 pages. Then the zombie references and B-grade-worthy fight scenes become a distraction from the real story: the tension between Elizabeth and Darcy.

Around 80 per cent of the original text remains intact, and that’s the problem. Austen’s writing and original plot are so strong, it makes the new scenes completely superfluous. It would have worked so much better if Grahame-Smith had actually re-imagined the story, rather than just inserting a few lines here and there in the original text.

Actually, the best bits for me are the sketches scattered through the pages, perhaps a sign the mash-up idea would have worked better as graphic novel.

The book’s success (which has led to other hybrids, including Sense and Sensibility and Sea Monsters) proves there are enough people with eclectic reading tastes to create a market for this type of literary bastardisation.

And I have no issue with the concept, I just wish this one had offered something more because, by the end, I just wished I’d read the original.

(According to Wikipedia, due to the success of Pride and Prejudice and Zombies, Grahame-Smith has been contracted to write two follow-up books, one of which is reported to be titled Abraham Lincoln: Vampire Hunter.)