There’s a nice little art exhibition currently on show at the HATCH Contemporary Arts Space in Ivanhoe until 9 September. It’s called ‘States of Being- The Elemental Importance of Water’ and it features the work of nine artists, including the curator, that explore the concept of water in its various forms- river, sea, ice, cloud etc.
There’s a series of paintings on glass that capture the ‘glimpse-like’ nature of the Yarra River as you walk along its banks in Heidelberg and Ivanhoe. You rarely get a sense of the whole river here, because the trees and bends of the river break up your view of the water. There are a couple of installations that play with water in its liquid form, and a series of tapestries that capture the sight of water seeping through the inland desert as seen from the sky. I was very taken with a video that overlapped still photographs of Iceland, watching clouds form and dissolve around a mountain-ringed lake. Quite mesmerizing.
The HATCH gallery is at 14 Ivanhoe Pde Ivanhoe, and the free exhibition is open Tuesday-Saturday 10.00 til 5.00 until 9 September. There’s a flyer about the remaining activities associated with the exhibition at https://www.banyule.vic.gov.au/Arts-and-Events/Hatch-Contemporary-Arts-Space
1999, 352 P.
Kate Atkinson is one of our favourite authors amongst The Ladies Who Say Oooh, a.k.a. my CAE bookgroup. We have read five of her books over the last ten years or so. I first encountered Kate Atkinson with Behind the Scenes at the Museum, and that book stood out for me as a 10/10 read. After that, I read Emotionally Weird and was disappointed, because it felt like a re-hash of her earlier book. I was quite sure that I had read Human Croquet years ago and found it similarly derivative, but I can’t find any sign of it in my reading journals which predate this blog.
So, convinced that I was reading this for the second time, I found myself pleasantly surprised by Human Croquet. It is similar to Behind the Scenes in that in this case there is a missing mother, and the grief and questions that follow the disappearance of a person. Atkinson picks up on the same multiple realities/time warp themes that she would use again in Life After Life and A God in Ruins. She writes of a white-bread, Blytonesque 1960s England that is familiar to Australian readers of a certain age, but it’s a darker world with incest and abuse. There’s a lot going on here: Shakespeare, the lost forests of Olde England, the theatrical stage, destiny and timetravelling. It’s too convoluted to even try to explain what the plotline is, but there most definitely is one, even though it has been embroidered with other possible scenarios and counterfactuals.
I’ve looked through my other reviews of Atkinson’s books here in the blog, and I’m becoming Atkinsonesque myself in my sense of deja vu when reading her second book here. I do enjoy the experience of reading her books, but there’s a sameness about them that is becoming rather stale.
My rating: While reading it, 8.5. Thinking about it afterwards: 7.
Source: CAE bookgroups.