Recoils like snails shot with vinegar: Vernon God Little by DBC Pierre

 

 

It’s not the first time I’ve quoted Vernon God Little, and since I’m only part way in ( and being a fan of DBC Pierre I’ve also quoted from Lights out in Wonderland ) I don’t think this will be the last time you see me quoting from this book. He really does have a way with words to be envious of.

 

On mothers. (I am one, I can quote it. ):

 

Between you and me, it’s like she planted a knife in my back when I was born, and now every fucken noise she makes just gives it a turn. P7

 

One for the writers:

 

When the rubbing of her thighs has faded, I crane my nostrils for any vague comfort; a whiff of warm toast, a spearmint breath. But all I whiff, over the sweat and the barbecue sauce, is school – the kind of pulse bullyboys give off when they spot a quiet one, a wordsmith, in a corner. The scent of lumber being cut for a fucken cross. P11

 

Describing the weather without  putting yourself and readers to sleep can be a challenge, no fear here:

 

Outside a jungle of clouds has grown over the sun. They kindle a whiff of damp dog that always blows around here before a storm, burping lightening without a sound. Fate clouds. They mean get the fuck out of town, go visit Nana or something, until things quiet down, until the truth seeps out. Get rid of the drugs from home, then take a road trip. P13

 

One I wish I’d thought of first:

 

Gurie’s chin recoils like snails shot with vinegar. P26

 

 

Jesus Sandals and Anchovette, by Joanna Atherfold Finn

 

 

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Delicate and sweet writing from the point-of-view of an eight-year-old child, but what is really great about this piece is that it’s written in second person. I haven’t read a second person story before this that isn’t in the form of letter or diary. (If you know of any, comment below I’d love to read it) In this instance it gives the reader a strong sense of being right with the character and somehow helps to put you in the mind of the child. There’s nothing bad to say about this; it’s gorgeous, a must read.

This story is from the Amanda Lohrey Selects series at Spineless Wonders Publishing.

There is so much information about the little girl (and the family) to be gleaned from these few opening sentences.

You look out the back window of the lime-green Galant to the curved struts of the rusting balcony, the top step where you grinned (gap-toothed) for your first-day-of-school photo, the pine tree with its dying centre. Behind the gate is your cubby house with foundations so deep it can’t be moved. Next door, Mr Carter is spraying his cumquat trees. You picture Mrs Carter inside sitting at the kitchen table doing her crossword, and Jesus hanging from his cross, observing her forlornly. She has told you he is all-knowing. You wonder why he doesn’t drop a hint now and then.

The sentences are dripping with descriptions of colour and images,

A row of blue-headed pins protruded from her pillowy lips. Her smooth forehead bobbed as you revolved in tiny increments.

and descriptions that can pull you back right there with the little girl. We know where they are even before it’s made clear.

He leads you through glass doors with his hand clamped around the back of your neck, past nicotine-yellow tables, over kaleidoscope carpet. A row of men are perched on stools, their thick arms bent across blue towels, their hairy legs dangling. Their hair is shrinking into their skulls. They are stunted and swollen like the puffer fish you poke with a stick on the beach.

 

 

Black Juice, by Margo Lanagan

 

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This is a short story collection, one of five by Margo. I read the e-book version from Amazon

These passages are from the first story in Black Juice, singing my sister down. The sentences are plump with meaning and expression in a subtle and beautiful and intriguing style. This particular story will also break your heart. Love it, can’t wait to delve into more.

 

And Mumma was talking, wearily, as if she’d been going on a long time, and soothingly, which was like a beautiful guide-rope out of my sickness, which my brain was following hand over hand.

 

The style has a biblical tone with the repetition of the word ‘And’ at the beginning of many sentences, and also the repetition of sentences – which I love, but avoid doing myself for fear of being criticized for it.

 

–and into my Mumma, whose arms were ready. She couldn’t’ve carried me out on the tar. We’d both have sunk, with me grown so big now. But here on the hard ground she took me up, too big as I was for it. And, too big as I was, I held myself onto her, crossing my feet around her back, my arms behind her neck. And she carried me like Jappity’s wife used to carry Jappity’s idiot son, and I felt just like that boy, as if the thoughts that were all right for everyone else weren’t coming now, and never would come, to me.

Australian Women Writers challenge 2013

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This year I was a bit slow off the mark with my Australian Women Writers Reading and Reviewing Challenge. I was enjoying being headfirst in the completion of one of my own novels, and the beginning of another.

My intention was to complete the Stella challenge (read 4 –  review at least 3)  which I’ve done in the dying days of December with my final read for the year, Past the Shallows by Favel Parrett. And boy what a book it was. What a gem! Beautiful and sombre. So glad I ended the year with that one.

I read Landscape With Animals early in the year when I was looking for a book with well written sex scenes to use as a study for my own book. Kristen Krauth from over at  Wild Colonial Girl, interviewed Krissy Kneen (author of two collections of erotica, Swallow the Sound and Triptych) about writing sex scenes. Krissy noted that Landscape With Animals is her favourite erotic book. That was enough for me. And I’d have to agree, it really is  a great study in writing sex scenes, as well as being a beautifully written book.

Eleven of the books or collections I’ve purchased this year just happened to be by Australian Women so I’ve got plenty to catch up on, and to go on into AWW2014!

Landscape With Animals by Cameron S Redfern (Sonya hartnett) ✔

Jesus Sandals and Anchovette, by Joanna Atherfold Finn from the  – Amanda Lohey Selects, The Women’s Long Stories collection put out by Spineless Wonders  ✔

Black Juice by Margo Lanagan ✔

Past The Shallows by Favel Parrett  ✔

Unloched, by Candice Lemon-Scott 

Cracklescape by Margo Lanagan

Floundering by Romy Ash

Chameleon by Kathy Stewart

The Young Widow’s Book of Home Improvement by Virginia lloyd

In the Shadows of the garden by Sharon Kernot

Surrender by Sonya Hartnett

Passages of Writing: Point Omega by Don DeLillo


Book: Point Omega, Don DeLillo. Picador 2010.

Why: It’s intimate, kind, sad and quiet. The set up of this little piece is that these two men, who don’t really know each other that well, are waiting for something. Can’t say what in case you’d like to read it yourself. Suffice to say there is tension around them and this intimate moment is shrouded in sadness and kindness.

I stood behind him with a pair of scissors and a comb and told him it was time for a haircut.

He turned his head slightly, in inquiry, but I repositioned it and began to trim his sideburns. I talked as I worked. I talked in a kind of audiostream, combing and cutting through the tangled strands on one side of his head. I told him this was different from shaving. The day would come when he’d want to shave and he’d have to do it himself but the hair on his head was a question of morale, his and mine. I said many empty things that morning, matter-of-factly, half believing. I removed the wormy rubberband from the weave of braided hair at the back of his neck and tried to comb and trim. I kept skipping to other parts of the head. He spoke about Jessie’s mother, her face and her eyes, his admiration, voice trailing off, low and hoarse. I felt compelled to trim the hair in his ears, long white fibers curling out of the dark. I tried to unsnarl every inch of matted vegetation before I cut. He spoke about his sons. You don’t know this, he said. I have two sons from the first marriage. Their mother was a paleontologist. Then he said it again. Their mother was a paleontologist. He was remembering her, seeing her in the word. She loved this place and so did the boys. I did not, he said. But this changed over the years. He began to look forward to his time here, he said, and then the marriage broke up and the boys were young men and that was all he was able to say.

p 90.

Passages of Writing: Imperial Bedrooms by Bret Easton Ellis

 

 

Book: Imperial Bedrooms, Bret Easton Ellis. 2010 Alfred A. Knoph.

 

Why: The many ‘ands’ create a desperately increasing anxiousness that builds up to a crescendo of awfullness. The increasing number of ‘ands’ gives you a sense of hurried breathless anxiety. Speeds the pace up as well as initiating expectation and stress.

 

Driving along sunset I keep checking the rearview mirror and Julian sits in the passenger seat texting someone, probably Rain, and I keep turning on the radio and then turning it off but he doesn’t notice, and then we’re crossing Highland and the Eurythmics song fades into a voice from the radio talking about the aftershocks from an earthquake earlier, something that I slept through, and I have to roll down all the windows and pull the car over three times in order to steady myself because I keep hearing sirens all around us and my eyes are fixed on the rearview mirror because two black Escalades are following us and the last time I pull over, in front of the Cinerama Dome, Julian finally asks, “what’s wrong? Why do you keep stopping?” and where Sunset Boulevard and Hollywood intersect I smile at him coolly as if this is all going to be okay, because in the condo I felt like I was sinking into a rage but now, turning onto Hillhurst, I’m feeling better.

Outside a building past Franklin that’s surrounded by eucalyptus trees Julian gets out of the BMW, and starts walking toward the entrance just as I receive a text that says don’t get out of the car

p160

 

The ranch house was in the movie colony and had walls that were cream-colored and mirrored and pillars that lined the pool shaped like a baby-grand and raked gravel blanketed the yard and small planes flew above it in the dry air before landing at the airport nearby. At night the moon would hang over the silver-rimmed desert and the streets were empty and the girl and the boy would get stoned by the fire pit and sometimes dogs could be heard barking over the wind thrashing the palm trees as I pounded into the girl and the house was infested with crickets and the boy’s mouth was warm but I didn’t feel anything until I hit him, always panting, my eyes gazing at the steam rising from the pool at dawn.

165

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