An Australian Find

The Golden Age     Joan London     (2014)

I have woefully neglected Australian fiction. Before I happened on The Golden Age, the last Australian novel I’d read was Colleen McCullough’s 1977 melodramatic saga The Thorn Birds, which shouldn’t even count, because it was made into a television mini-series.

Joan London’s poignant novel The Golden Age gains its power from insightful characterizations and an unusual setting. In 1953, as polio ravages the lives of children and young adults around the world, two afflicted adolescents (Frank Gold and Elsa Briggs) meet in a polio rehabilitation center in Perth, Western Australia.

The repurposed building retains the name it had when it was a pub: The Golden Age. The author tells us in a special note that this was the name of an actual children’s polio convalescent home in the 1950s. For me, The Golden Age conjures up many appropriate images. The young patients are like ancient, wise souls—in their “golden years”—because of the life-threatening illness that they’ve survived. Frank and Elsa have a golden opportunity for friendship and love, having been placed in this rehabilitation center even though they’re both older than the other residents. The light in Perth—known for its sunny climate—has a gilded quality that London renders strikingly in descriptive passages.

London anchors her story in real-life events of the period, including the visit of the young Queen Elizabeth II to Perth in 1954. The narrative also includes powerful flashbacks to Budapest during World War II, where Frank and his parents barely survived the Holocaust before emigrating as refugees to Australia in 1947.

But the interior lives of Frank and Elsa, of their parents, and of the head nurse at The Golden Age are the heart of the novel. Here is Frank’s father, Meyer, describing his life as a refugee:

“It was like this. Budapest was the glamorous love of his life who had betrayed him. Perth was a flat-faced, wide-hipped country girl whom he’d been forced to take as a wife. Only time would tell if one day he would reach across and take her hand . . .” (92)

The characters in Frank and Elsa’s love story and in the interconnected sub-plots are genuine, flawed, struggling people. The thirteen-year-old Frank’s thoughts as he falls in love with Elsa build through the novel and ring true. He decides that he is a poet, and this vocation does not seem incongruous for him. He and Elsa scandalize their elders because of their youth, but, hey, Shakespeare’s Juliet was thirteen, and Romeo was probably not much older.

On a practical note, the Australian variants of English are not too intrusive for an American reader. I did look up “brumbies” (free-roaming feral horses), “ute” (utility vehicle), “chooks” (chickens), and “dunny” (outhouse), but context supplied enough meaning even in these cases. At first I was irritated by London’s frequent use of sentence fragments, which give a jerky, rough feel to some of her paragraphs. A few chapters in, however, I began to see this style as perhaps reflecting the erratic, lurching gait of the recovering polio patients, who are portrayed tenderly but with no mawkishness. Or perhaps the fragments express the tentativeness of many of the characters—those who don’t know what to say to polio patients, those who are refugees in a foreign land, those who have been hurt by love.

The Golden Age won several awards in Australia, including The Prime Minister’s Award for Fiction. It deserves more international attention.

Biographies of the Inklings

The Fellowship:  The Literary Lives of the Inklings     Philip Zaleski and Carol Zaleski     (2015)

Confession:  I find JRR Tolkien’s mythopoeic masterpiece The Lord of the Rings too dark. CS Lewis’s Chronicles of Narnia, which have enchanted generations of children, hammer the Christian allegory too hard for my taste. Charles Williams’ Arthurian poems in Taliessin Through Logres are impenetrable. As for Owen Barfield, I’d heard of him only vaguely as an odd writer on anthroposophy, of which I’m not a devotee.

So why did I check out from the library a 644-page biography of these four authors?  Because Lewis’s scholarly book The Allegory of Love had enormous influence on me when I was a student of medieval literature. Lewis validated the Middle Ages as producing serious literary works, not just pieces of antiquarian interest—if you were willing to learn its tenets and culture. And my copy of Tolkien’s edition of Sir Gawain and the Green Knight, my favorite Middle English work, has been thumbed so often that it’s falling apart. His glossary for that text, and for Fourteenth Century Verse and Prose, were indispensable when I worked as a lexicographer with the Middle English Dictionary.

I thought that I might skim the Zaleskis’ book The Fellowship for bits on the relation of Lewis and Tolkien and on the context of their era at Oxford. I ended up gobbling the story of the Inklings whole, fascinated by the Zaleskis’ ability to selectively include minute detail and still maintain readability for chapter after chapter, decade after decade of the tumultuous twentieth century. The Fellowship follows the Inklings before, during, and after two world wars and innumerable academic skirmishes. The dates of the four principal Inklings reveal the scope: Lewis (1898-1963), Tolkien (1892-1973), Williams (1886-1945), and Barfield (1898-1997).

The bulk of the biography is dedicated to these four Inklings, whom the Zaleskis have wisely selected for their literary prominence. I was bemused at first about the inclusion of Barfield, since he didn’t seem to write much in the 1930s and 1940s, when the other Inklings were prolific. It turns out that, to make a living, Barfield had to spend decades toiling as a lawyer, finding little time for his own pursuits. Finally, in 1957, he was able to move into semi-retirement and spend the rest of his very long life probing issues of consciousness.

The Zaleskis had to draw a circle around the core of the Inklings, who held weekly discussions for thirty years, but other members and hangers-on enter into the narrative, too. I hadn’t expected that Lewis’s older brother Warren, called “Warnie,” would be a part of the extended group. Warnie, who struggled with alcoholism throughout his life (1895-1973), was a respected historian in his own right and assisted his brother on both practical and intellectual fronts.

Even Dorothy L. Sayers (1893-1957) comes in for several mentions, although as a female she would not have been invited to join the Inklings. Sayers, who’s a favorite of mine, produced both scholarly works on Dante and popular murder mysteries (the Lord Peter Wimsey series).

Neville Coghill (1899-1980) and JAW Bennett (1911-1981) were other distinguished medievalists associated with the Inklings at one time or another. In fact, a fascination with the medieval period was a hallmark of much of the writing of the Inklings. As the Zaleskis tell us, “Their great hope was to restore Western culture to its religious roots, to unleash the powers of the imagination, to reenchant the world through Christian faith and pagan beauty.” The fields they plowed were fantasy and epic, allegory and myth, philology and theology—all rooted in the past. In 1954 Lewis gave a controversial lecture at Cambridge called “De Descriptione Temporum” (“On the Description of Eras”), in which he argued that the divisions of history into Antiquity, the Dark Ages, the Middles Ages, and the Renaissance are artificial, ignoring the continuities of Western culture. Lewis saw a much more significant break from this culture, which he revered, in the early nineteenth century, with the beginnings of modernism.

Lewis was much sought after as a speaker on ethics who was able to convey complex philosophical principles and Christian religious doctrines in simple language. I hadn’t known that he presented many well-received lecture series on the radio for the BBC, especially during World War II. The account of Tolkien’s literary life also held some surprises for me. He didn’t create Middle Earth solely as a parallel universe in which to situate his non-human characters. His larger goal was to construct an entire British mythology, comparable to that found in medieval Scandinavian literatures.

The Inklings were astonishingly hard-working and well-read, fluent in dozens of ancient, medieval, and modern languages. Yet they all had unsuccessful books, difficulties in their family lives, and crises of faith. This biography doesn’t spare the reader their blunders, their arguments, and their occasional pigheadedness. So, while fans of The Hobbit or of Perelandra will find plenty of background on the genesis of the Inklings’ writings, they’ll also find the brilliant—and flawed—Inklings in The Fellowship. 

Tasting the Moon with Chabon

Moonglow     Michael Chabon     (2016)

With a review of a work by Michael Chabon, it’s difficult to avoid gushing out superlatives. Bare superlatives, however, don’t give the readers of the review a taste of the specific delicacies that are on offer in the writing. And Moonglow has many delicious bites.

It’s not a spoiler if you know that the Michael Chabon who is the narrator of Moonglow is fictional and is not the same as the Michael Chabon who is the author of the novel. And Moonglow is truly a novel, though it’s set up as an autobiographical and biographical memoir. Chabon-the-author is expert at inducing you to believe that the fiction he’s creating is really the reconstructed history of his family.

In recent interviews, Chabon-the-author has made it clear that he’s used only brief incidents from his family history as sites from which he has leapt into the fictional worlds of Moonglow. He prefaces the book with a tongue-in-cheek “Author’s Note” in which he disclaims veracity for the “facts” he presents. But as a reader of Moonglow you keep wanting to believe that Chabon-the-narrator is Chabon-the-author, against all this evidence.

The underlying premise of Moonglow is straightforward. In 1989, Chabon-the-narrator sat at the bedside of his dying grandfather as the grandfather spoke about events of his life. He was a daredevil kid in Philadelphia, an engineer with tremendous inventive capacity, an intelligence officer in Europe at the tail end of World War II, an inmate in a minimum security prison in New York State in the 1950s, a snake-hunting retiree in Florida. The grandfather (who never has any other name in the novel) was passionately in love with his wife, a Jewish French refugee ravaged by the Holocaust, whom he met in 1947. The story of this grandmother weaves in and out of the novel about the grandfather.

As with Chabon’s  Pulitzer-winning The Amazing Adventures of Kavalier and Clay (2000), World War II hangs menacingly over the characters. Having wedged his grandfather in to the Allied mop-up operations in Germany in 1945, Chabon-the-author can explore alternate realities that never made it into the history books. What if, for example, a Jewish American officer with extensive knowledge of rocketry were to capture Nazi rocket scientist Wernher von Braun? What if that officer were to uncover the trove of documents revealing the secrets of the V-2 rocket?

Speculative history is a specialty of Chabon-the-author, most notably executed, I think, in The Yiddish Policemen’s Union (2007). In that novel, the alternate history is set up when Jews from around the world establish a homeland in Sitka, Alaska, in the 1940s, and the tale plays out for the next sixty years.

Jewish identity is a key theme for Chabon-the-author, but I see other themes also echoing through his writing: the malleability of fact, the raw beauty of the everyday, the strength of the human spirit in the face of evil (in other people or in the international order). A trademark stylistic device of his that I especially admire is what I call his “extended list,” in which he ranges through all the possibilities of a situation. Here he’s describing sleeping conditions for soldiers in war-torn Europe:

“My grandfather had shared all manner of billets: with dogfaces and officers, in misery and in comfort, in attack and in retreat, and pinned down by snow or German ordnance. He had bedded down under a bearskin in a schloss and in foxholes flecked pink with the tissue of previous occupants. If an hour’s sleep were to be had, he seized it, in the bedrooms or basements of elegant townhouses, in ravaged hotels, on clean straw and straw that crawled with vermin, on featherbeds and canvas webbing slung across the bed of a half-track, on mud, sandbags, and raw pine planks.”

Mimicking the discursive flow of reminiscence, Moonglow see-saws through the life of the grandfather, constantly shifting time and place, occasionally returning to the 1989 scene of the grandson feeding Jello to the dying man. Chabon-the-narrator does not set down his grandfather’s words verbatim but rather casts the episodes he recounts in third person. This technique allows Chabon-the-author to insert astonishing detail. One of my favorite scenes has the grandfather, who does not usually observe religious rites, stopping at a Reform temple on a Friday to pray the kaddish, the prayer of mourning. The congregation is housed in a building that was formerly an International House of Pancakes. As the service goes on, the grandfather feels distant from the other worshipers:

“They might have been strangers in a bus station, solo travelers bound for all points. They might have been separate parties at a pancake house, awash in the syrup emerging from a Wurlitzer organ, played by an old Jew with a Shinola-black pompadour, dressed in a curious tan coverall or jumpsuit and platform saddle shoes.”

Oh, that’s just a taste. You should savor the entire book.