Richard Flanagan may well be the only writer in the history of the prestigious prize to win the Man Booker, and be nominated for the worst sex scene in fiction in the same book by the London Literary Review, in the same week. The scene is in The Narrow Road to the Deep North, and involves “circumnavigating” lovers being interrupted in their coitus by a dog with a dead fairy penguin in its mouth. I have to agree, it isn’t one of the book’s best bits.
Flanagan is interested in desire, the myriad ways in which it might manifest, the unforeseen consequences when it is lost, repressed or denied, and when it is fulfilled. I first felt the impact of the author’s reflections on this topic when I read his 2008 novel Wanting in which he dissects the complex desires of Lady Jane Franklin and her explorer husband Sir John, as well as those of Charles Dickens for his mistress, Ellen Ternan. I thought the link between Dickens and the Franklins a tenuous one on which to hang the novel, but Flanagan has such insight into the human condition I can forgive him almost anything.
In The Narrow Road, protagonist Dorrigo Evans enters into what is to become a long, unsatisfactory but absolutely binding marriage that creates in him “the most complete and unassailable loneliness, so loud a solitude that he sought to crack its ringing silence again and again with yet another woman.” The presence of the absent woman he deeply loved and lost has shaped his life and his marriage: “As a meteorite strike long ago explains the large lake now, so Amy’s absence shaped everything, even when – and sometimes particularly when – he wasn’t thinking of her.” Yes.
It takes determination to stay with the descriptions of life in the Japanese POW camp on the Thai-Burma railway, and yet it would be cowardly to turn away from knowledge of what humans perpetrate on one another, what can be survived, and how desperate the desire for survival can become in conditions where one would imagine death to be a better option. Oh, he is a fine, fine writer is Flanagan.
It’s been about ten years since I last listened to Rachmaninoff’s Piano Concerto No. 2 in C Minor. I came across the CD this morning, put it in the player and lay down on the floor to listen. It’s a big, dramatic concerto with surging melodies, rhapsodic in nature, and has at times been dismissed by critics because of its “gushing” romanticism and alleged lack of subtlety. It’s been used in a remarkable variety of films, including David Lean’s Brief Encounter, Billy Wilder’s The Seven Year Itch, Clint Eastwood’s Hereafter, and Japanese anime. I don’t know how it became so familiar to me, but when I listened again after so long, I knew it as well as if I’d been listening to it every day. It is, I think, quite beautiful. There was a tosser in the seventies who used one of the themes for his popular song, All By Myself, for which he should have been hung.
And finally, today has been a very sad day. Our vet Terry, Mrs Chook and I decided it’s time to say goodbye to our old Big Dog. He’s fourteen, almost blind, full of arthritis, deaf as a post and Terry says his lungs are fucked. I did tell him to stop smoking but would he listen? We have him till Wednesday, and after that he’ll be under the mango tree in the back yard. He’s a ripper dog, Terry always says. I don’t quite know how we’ll get used to being without him.
No Place For Sheep 
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