Tag: Andre Dao

Other people’s words about … reading

When I get to our house, Lauren and Edith are both asleep. The house is dark and quiet, and warm too — the solidity of English homes is a welcome point of difference to Australia, where we were used to draughty Edwardian weatherboards — and, still buzzing with the thoughts that occurred to me on my walk home, I pour myself a tumbler of the Aldi whiskey we got on special, and, thinking of how a quiet house and a calm world allow a reader to become their book, and how, at the same time, it is the act of solitary reading that produces that quietness and the calmness, and how, at the same time, it is the reader’s desire to be a model reader, their desire for quietness and for calmness, that makes it so — thinking of that, I sit down at the dining table in the living room and try to remember the thoughts I had on my walk home — as if thoughts can be possessed, rather than experienced; as if my thoughts are a book that I can lean into, to which I can be true, and through such trueness of reading make order, quiet and calm where before there was none.

from ‘Anam‘
by Andre Dao

There are a couple of things that resonated with me in the passage I’ve quoted above from Andre Dao’s award-winning novel, Anam.

First, there’s the mention of draughty Australian houses. I thought, reading these words, of the grey, rainy winter days of my own childhood in South Australia, although unlike Dao, I grew up in a 1920s colonial-style house rather than a weatherboard one. Our house had french windows and a verandah with wrought-iron lace trimming and a terrazzo floor. The ceilings in the house were high and the walls were thick, and we had central heating, but we used it sparingly. In June and July, then, when the days were at their shortest, those rooms were cold; I remember going to bed with a hot water bottle to warm my feet on. Even in adulthood — perhaps especially in adulthood — the houses I’ve lived in have been chilly in winter, the kind of chilly that requires you to wear several layers to ward it off.

In Australia, we like to believe that we don’t experience cold weather, and to an extent that is true — but there is nothing like the internal climate of a poorly heated house to remind you that winter does exist here. It does indeed get cold.

Guinea Flower, Aldinga Scrub, September 2024.

But the main theme of this passage is reading, and the quietness and calmness we seek from it. A quiet house and a calm world — isn’t that what most of us want? How wonderful it is that reading, an activity whose seeming simplicity belies its complexity, can give this to us.

How wonderful, too, that in discussing this Dao takes us from the idea of reading books to reading our own thoughts — and how we may stay true to them.

Lizzie, August 2024.

Lately I’ve been reading …

• • Mine is not, I think, a rare journey. We used to be called midlist, we writers who win prizes and get great reviews but don’t sell in large numbers. I’m not sure trade publishers even use that term anymore. They’re not really interested in middling sellers. No matter the thrill and attention out of the gate, if we don’t make that transition from promising debut to big seller, trade publishing loses interest: Having had a novella published myself by a small publisher myself late last year, I was interested to read this piece by Rilla Askew, on being published by a small press after earlier publications with a trade publisher.
  
  
  • And indeed, when Shane calls escorting ‘the most exhilarating thing I’d done in my life’, it feels like she’s admitting to something forbidden: Sascha Cohen explores Charlotte Shane’s memoir of her life as a prostitute. This is an interesting read, although I was disappointed not to see a reference to Australian Kate Holden’s memoir, In My Skin, which explores similar transgressive territory. (Spoiler alert: Holden, like Shane, enjoyed working as a prostitute and often liked her male clients.)
  
  
  • All this automation could make us reconsider what we like about the manual aspects of writing. It’s a bit like the challenge photography presented to drawing and painting in the late 19th and early 20th centuries: it didn’t eliminate these techniques, but it did make people rethink what they wanted from them: Simon Reader reviews two new books that suggest that we can protect our writing from AI by practising ‘structured chaos’.
  
  
  • In these countries, where olive cultivation can be traced back thousands of years, the loss of olive groves is akin to losing a culture as well as vital income: Daphne Chouliaraki Milner explores the effect of climate change on the world’s olive growers.