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‘Material World: The Six Raw Materials That Shape Modern Civilization’ by Ed Conway

Posted on January 5, 2026 | 1 comment
2025, 443 p. plus notes

When my son said that this was his favourite book of 2025, I took notice. When I told him that I had borrowed it from the library, he hedged a bit, saying that he didn’t know if I’d like it. He’s wrong: I loved it. I could barely put it down over the three days that I read it: sand, beach and grandchildren notwithstanding.

I’m not a particularly science-y person, but this book is far more than ‘just’ science. Like a Mark Kurlansky book (think Salt, Cod etc.) it combines science, history and travel, but it also packs quite a bit of political analysis as well. I’m writing this on 5 January 2025 as the reality of Trump’s bombing of Venezuela and imposition of US oil interests is sinking in, and Conway’s comments about autarky (i.e. the policy of being self-sufficient that underlies Trump’s ‘America First’ policy) seem particular apposite right now. Ed Conway is the economics and data editor of Sky News and a columnist for The Times (London), which are right-wing connections that do not engender my trust. However these contexts are not particularly apparent in Conway’s book, except perhaps for the ultimately optimistic viewpoint with which he ends the book. Quite apart from his politics, his journalist background equips him with the eagle eye for a good anecdote and the ability to bring the narrative back onto more general-reader territory when it threatens to wade into technologically and scientific details.

In the introduction he identifies himself as a denizen of what he calls ‘the ethereal world’:

…a rather lovely place, a world of ideas. In the ethereal world we sell services and management and administration; we build apps and websites; we transfer money from one column to another; we trade mostly in thoughts and advice, in haircuts and food delivery (p.13)

He distinguishes this from ‘The Material World’, which undergirds our everyday lives by actually making things work, often through companies whose names are unknown to us, but which are more important than the brands that use their output:

…operating stuff in the Material World….you have to dig and extract stuff and turn it into physical products…a difficult, dangerous and dirty business (p.14)

He chooses six raw materials – sand, salt, iron, copper, oil and lithium- which are not only important substances in the world, but are the primary building blocks of our world and have fuelled the prosperity of empires in the past. They are the very hardest to replace. These six materials form the basis of products several steps up the chain: sand, for instance, is the basis of silica which underpins optical fibre and the concrete and cement that makes modern high-rise cities possible. In analysing these materials, he traces back their ‘discovery’ to ancient civilizations, often by accident or through observation, before being intentionally created with processes that often form the basis of present methods. Concrete, for example, was ‘discovered’ three times: there is evidence of cement use in Neolithic ruins in Turkey that date back more than 10,000 years; the Bedouins created concrete-like structures in 6500BCE, and the Roman used a form of concrete in many of their buildings before the recipe was lost for hundreds of years following the fall of the Roman Empire. The discovery of On Architecture by Roman architect Vitruvius, and its translation into French and English, triggered the 18th and 19th century quest for new concoctions to replicate or surpass the Roman recipe (p. 75). Perhaps because he is a British journalist, he highlights deposits in the British Isles rather more than we would think of today, and both German and British ingenuity are highlighted, as well as American. Thomas Edison makes several appearances, but the complete absence of any women at all highlights the male-dominated nature of science and invention.

The structure of the book has a sense of symmetry that I find appealing: six raw materials examined in six parts, each with three chapters, an introduction to the book and a conclusion. I can’t vouch for the reliability of his information, but each time I exclaimed “Hey, did you know…?” to my much more scientifically-oriented husband, he already did know and what he knew aligned with the information in the book.

Unlike many in the media companies and publications he works for, Conrad does not deny the reality of climate change and the environmental degradation that occurs as part of the mining and extraction of his six materials. However, as he points out, the production of an environmentally harmful material was often prompted by the desire to replace an earlier, even more harmful energy source which would have brought about an even more devastating environmental impact. e.g. coal replacing wood, kerosene replacing whale oil, or polyethylene replacing gutta-percha from the rapidly disappearing Malaysian guttapercha tree. It is this pattern that contributes to his optimism about our ability to mitigate climate change in the long term, if we can overcome the short-termism of the political cycle and make financial and lifestyle sacrifices for an unborn generation- actions for which there is equivocal evidence so far.

However, he is not completely Panglossian. Australia, and Rio Tinto in particular come in for trenchant criticism over the destruction of the Juukan Gorge for the extraction of iron ore. As he points out, part of the luxury of living in the ‘Ethereal World’ is that we can shunt the environmental impacts of our lifestyle into the ‘Material World’ which often happens to be a third world country. Wealthier countries, like Chile and Australia to a lesser extent are starting to question the environmental costs when the extraction occurs in their country instead of someone else’s.

Despite the shift towards autarky promoted by Trump in particular, and turbo-charged by the world’s realization of the precariousness of supply chains during COVID, the story of these six materials is also the story of globalization. Here in Australia we see the shipping out of raw materials (especially to China), but the circulation is much broader than this, with the finished product integrating multiple processing steps from right across the globe. Such processes make the world more inter-connected than America/Australia/China first politicians might desire.

The Material World is – well, material- but it has political implications. While the rest of the world panics about China’s dominance of the battery supply chain, China panics about its reliance on the rest of the world for its raw materials- hence China’s Belt and Road strategy. Particularly in relation to the production of advanced silicon chips, security is uppermost in the attempt to prevent industrial espionage and to make sure that China does not gain this ability. Ironically, China is unlikely to develop the hyper-pure silicon from which the silicon chip ‘wafers’ are made because the crucibles to melt it are available (so far) only from a single site at Spruce Pine, in North Carolina, operated by only two companies, Sibelco (Belgium) and the Quartz Corp (Norway). This raises the unsettling question of the effects of a landslide on the road that winds to Spruce Pine, or the malicious spraying of the mines with a particular chemical. But this single source is unusual: there is usually another source or another product to take the place of a threatened material. His six materials highlight the international reach of companies based in one country, and the diversification of such companies into new processes as part of the evolution of products and materials.

This evolution of products and materials lies at the heart of the optimism of the book. We have worked out how to turn complex products into commonplace and increasingly cheap items (for example solar panels and semiconductors). Although he has chosen six materials for his analysis, they are intertwined: batteries are just as reliant on copper as they are on the lithium inside them; steel inside concrete is a better building product than either alone. Even though we need to keep extracting materials to make the very ambitious transition to net zero, with solutions like hydrogen and wind turbines requiring huge amounts of energy, there is one major difference. In the past we used fossil fuels to burn, but now we are using them to build.

For years, people assumed that it would be impossible to make iron and steel at the scale we can today. Rediscovering the recipe for concrete seemed like a pipe dream. Scientists doubted that we would ever be able to tame extreme ultraviolet light, let alone use it to mass produce silicon chips. Will we look back in a decade or two and wonder why we ever fretted about producing enough hydrogen to back up the world’s energy grids, or why we struggled to generate copious power from the hot rocks deep beneath the earth?…If there is one lesson you should take from our trip through the Material World, it is that with enough time, effort and collaboration, these things usually happen….Humankind has, since its very first days, left a visible imprint on the earth. There is no point pretending otherwise. It is part of our story. It has allowed us to live longer, more comfortable lives than ever before. It has enabled us to fill the planet with more individuals than anyone could have imagines, with 8 billion brains and 8 billion sets of hopes and dreams. We are also capable of living far more sustainable, cleaner lives, diminishing our destruction and contamination and living in closer harmony with the planet. We will do so not by eschewing or dismissing the Material World, but by embracing it and understanding it. (p. 443)

I hope he’s right.

My rating: 9/10

Sourced from: Yarra Plenty Regional Library.

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‘The Dust Never Settles’ by Karina Lickorish Quinn

Posted on January 4, 2026 | 1 comment

2021, 352 p.

I don’t very often read a book just on the basis of a blurb alone, but in this case I did. Paul Lynch, the author of Prophet Song spoke highly of Quinn’s book in author interviews and his blurb describing it as ‘a mesmerising feat of imagination and a masterful debut’ graces the back cover. It’s a beautiful front cover, and the yellow butterflies evoke Gabriel Garcia Marquez, to whom this book owes quite a debt.

Anaïs Echeverría Gest has returned to her childhood home in Peru after an absence of several years in England. The family is expecting her to sign the papers authorizing the sale and inevitable demolition of her grandmother’s house, la Casa Echeverría in order to free up the inheritance. The house, which is a character in its own right, is a large yellow colonial mansion and garden overlooking the shacks and slums built by squatters on the dry plain behind the house called Los Polvos de Nadie y Nunca (the dusts of no-one and nothing) during the Agrarian Reforms of the 1960s. As soon as she steps over the threshold, she is assailed by the memories of the house- not just her life in that house, but the memories of the house itself- and the ghosts of family members and employees who had lived and worked there. Time seems to stretch and contract in the house; one minute the rooms are intact and the furniture dusted and lights illuminated, and the next minute the house is derelict and dark.

Anaïs has left her fiance Rupert Napier, a thoroughly English gentleman, in order to come home to Peru. She is curiously detached from Rupert, telling herself that she loves him but never really feeling it, and she is likewise ambivalent about her pregnancy. The future baby exists as a little pink fish in the corner of her vision, and as her pregnancy progresses the little fish changes shape until it is a huge, snapping lobster. When Rupert comes over to Peru, probably at the request of the extended family who are frustrated by Anaïs’ refusal to sign the papers, he brings with him all the Englishness of his family, an Englishness that Anaïs resented in her own English father’s refusal to acknowledge his second family in Peru, choosing instead to stay with his wife in England.

The house, built at the turn of the century, has seen multiple deaths, that are only just hinted at: a baby whose cries still echo through the house, the suicide of her Aunt Paloma and most importantly, the death of a 17 year old maid, Julia Álvarez Yupanqui who died when she fell (jumped?) from a window. As Julia falls from the window, the Earth falls away from her and is like a sheet of cloth; she sees Time “spread like an ocean, flowing this way and that, tossing up moments, driving them forwards on the crest of a wave then swallowing them again, pulling them back into the deep“. (p. 96) A disembodied presence, Julia wanders unseen through generations of the Echeverría family, right back to the Conquistadors and through centuries of dispossession, enslavement, poverty and violence. The people of Los Polvos, who saw her fall, believe that she has become a saint- and indeed, it seems that she has, as she walks unseen through history dispensing kindnesses as she passes.

It was not only the Polvorinos who saw her fall: Anaïs did too, crouched under a geranium bush. She becomes electively mute, and is seen by a succession of psychiatrists and doctors who try to make her talk. Anaïs could see the ghosts in the house and the adult Anaïs has a tenuous grasp on reality, and you are never really sure whether she is going mad.

So the story shifts back and forth between two realities: that English reality (denoted by chapters with English numerals) and the Peruvian reality in chapters with Spanish numbers. The Spanish chapters follow the disembodied Julia Álvarez Yupanqui and take us on a meandering journey through Peruvian history. There is an exhaustive list of characters in the appendix of the book, divided into the Echeverría family and a longer list of historical and imagined characters who feature in small, passing vignettes as Julia crosses the earth. These vignettes are beautifully written and draw you in just enough to feel disappointed as Julia passes by, leaving that narrative thread hanging loose. Reflecting the tragedy and complexity (and complicity) of various generations of the Echeverría family, there is a convoluted family tree that challenges the one found in One Hundred Years of Solitude with its seventeen Aureliano Buendías.

The complexity of this book is both its great strength, and its greatest weakness, particularly as the book goes on. The last quarter of the book is Julia’s journey through history, and Anaïs’ story drops away. I found myself having to consult the list of characters at the back of the book, having ‘met’ these characters earlier in the book but having forgotten them in the cavalcade of ghosts passing by. I enjoyed the frequent use of Spanish, which she paraphrases in the following sentences, but I don’t know if I would have felt that way had I not been able to read Spanish.

Because this book is just as much about time, land and colonialism as it is about individual people, it reminded me of Alexis Wright’s Carpentaria, which was similarly shape-shifting and which caused you to think “am I even understanding this?” In fact, I often said that out loud while I picked it up each night, enjoying the experience of reading it, but unable to hold it all in my head.

I like magical realism, but many people do not. This is a really ambitious, fearless book, and I suspect it is more memorable for its overall shape than for its details. It is flawed, but it’s very good.

My rating: 9/10

Read because: I loved Paul Lynch’s Prophet Song and I thought- if he loves this book, perhaps I will too. I did.

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‘The Season’ by Helen Garner

Posted on December 30, 2025 | Leave a comment
2024, 208 p.

This book should have ticked all my boxes: set in Melbourne, written by a much-loved Australian author, written with a nanna’s-eye (and I do embrace my nanna-dom). But it sounded as if it would be a bit slight, and I probably wouldn’t have read it had it not been an Ivanhoe Reading Circle selection, read and discussed amongst all the other nannas.

Even Garner herself sounded a bit ambivalent about the whole project, admitting that she wrote the book because she needed something to do, but didn’t have the energy to embark on one of her investigative non-fiction books. It traces the footy season of her grandson Amby’s under-16s footy team, at the J. J. Holland reserve in Kensington. As she always does, Garner conveys a strong sense of suburban place, and in this case, the football ground she describes so closely fitted with the oval that I walk through to my volunteer job in Kensington that I actually researched the club and found that, indeed, it is the J. J. Holland reserve. She’s there for the team’s matches; she’s there for their training sessions on cold weekday nights, and she’s there for the conversations in the car driving there and back.

Although ostensibly about football, it’s even more about young men growing into masculinity, and at under-16 Amby is at that liminal stage, with signs of the little boy still visible under the swagger of adolescence. Garner’s daughter lives next door, and she has a strong and enviable relationship with her grandchildren, especially Amby. At the same time, she is aging and feeling irrelevant and frustrated by her increasing deafness. In places she veers into idealization of these young men, seeing them as warriors, and even admitting to a slightly ‘off’ recognition of their adolescent sexuality (Garner has always been, and remains, perhaps more honest than she should be).

It is the football season that gives this book its beginning and ending, and the book was more a reflection than a plot-driven story. I had feared that it would be slight, and unfortunately it was.

My rating: 6.5/10

Sourced from: purchased e-book

Read because: October 2025 selection for the Ivanhoe Reading Circle.

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‘Any Ordinary Day’ by Leigh Sales

Posted on December 22, 2025 | 1 comment
2019, 272 p.

Whenever I drive past the flashing lights of ambulances and police at a road accident, I think of the couple of minutes before that collision: the conversation that would have been abruptly cut short, the reason the occupants were in the car, how they would have got up that morning oblivious to how their lives were going to change in the next 12 hours.

This is pretty much the same impulse that led Leigh Sales to write this book. As a journalist, she had been on the media side of many interviews and stories about people whose lives changed dramatically. She had also had her own brush with death when a placental abruption in what had been a normal pregnancy led suddenly to a life-threatening situation, and fears for both her baby’s life and her own. Shaken by the experience, she came to believe that we are all vulnerable to sudden, unexpected change and yet we do not live that way. Why?

Her book revolves around the case studies of various people, some of who became caught up in ‘newsworthy’ events, others who experienced the death of a loved one (something that we all face) or had suffered a catastrophic injury or illness. The chapters are re-tellings of her interviews, interwoven with some ‘easy to digest’ research which veers at times into pop-psychology, and her own reflections of how she would have responded in similar circumstances.

Some of the people and the events described are well-known: Louise Hope, who as well as suffering from MS, was also one of the hostages in the Lindt Cafe siege in Sydney in September 2002; Walter Mikac who lost his wife and two daughters in the Port Arthur killings; James Scott, the ‘Mars Bar’ man who disappeared in Nepal and Stuart Diver, who survived the Thredbo landslide but his wife did not. Others are less well-known, Matt Richell, who died in a surfing accident, Juliet Darling whose husband was killed by her psychotic step-son and Michael Spence, the vice chancellor of the University of Sydney, whose wife died within 3 weeks of her cancer diagnosis, leaving him with five children.

As it happens, the first two case studies are both of people with deep Christian faith. In the case of Michael Spence, it was precisely because of his religious faith that she interviewed him, even though Sales herself is not a believer. As a former-believer myself, I found myself dreading that the book was going to become religious tract. It didn’t, but I still found it strange that she was to organize her case studies in this way, giving such prominence to faith and a belief in a higher purpose for suffering.

She locates herself as a journalist in these retellings, having presented many of the news stories herself. She tells us that she often becomes tearful during her interviews, perhaps as a counter to the perception of the sang-froid of the television presenter. The intensity of media scrutiny led several of her interviewees to engage a publicity agent to manage media appearances. This did not always work out well: you glimpse the newshound in her when she talks about James Scott, dubbed ‘Mars Bar Man’. He was advised by his agent not to name the chocolate that was his only food, in the hope that he could secure a sponsorship deal later. It wasn’t actually a Mars Bar, but instead a Cadbury’s chocolate, but when he fudged (terrible pun) the brand of the chocolate in an interview, the interviewee (Richard Carleton) sensed obfuscation and toughened his questions. Although Carleton came in for criticism for the ferocity of his questioning, Sales admitted that she would have done the same thing once she sensed evasiveness.

She returns several times to the idea that, having had one dreadful thing happen to you, you were inoculated against further trauma. Statistically, this is not logical even though emotionally, it is. She seems to feel that Louise Hope’s MS should have been enough, without the Lindt siege, and she spends some time on the idea of the ‘jinx’ on the women that Stuart Diver (Thredbo) has married, his second wife having died with breast cancer. Diver speaks of being a ‘memory locker’- capturing and keeping happy times for when the bad times come – but Sales seems somewhat resistant to such a stoic and clinical response to pain.

She devotes several chapters to people who helped: Detective Norris who accompanies a grieving wife to the morgue; counsellors Jane Howell and Wendy Liu at the morgue; Mary Jerram at the coroner’s office; pastor Father Steve who has a strong belief that families should see the body.

All of this is told in an intimate, rather confidential tone of voice. I used to listen to Chat 10 Looks 3, the podcast she made with political commentator Annabelle Crabb (still going, I see) and this book had much the same sort of feel to it. Interesting, personal but something that you could listen to (read) without much effort or challenge.

My rating: 7/10

Read because: Bookgroup Ladies selection. Now that the CAE has wound up, we have no identity!

Sourced from: Darebin Libraries Book Group collection.

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‘Prophet Song’ by Paul Lynch

Posted on December 15, 2025 | 1 comment
2024, 320 p.

SPOILER ALERT

I am writing some weeks after I finished reading this book, and I really regret that I didn’t sit down and write it immediately afterwards. My response to it has dulled with time, but I do remember slamming it shut and announcing “Fantastic!!” I read it for the Ivanhoe Reading Circle immediately after finishing Sally Carson’s Crooked Cross (review here) and the two books complement each other beautifully. In fact, I think I will always link them mentally because they seemed to be a similar response to an uneasy, suffocating situation, separated by nearly ninety years.

The book is set in Dublin, at some unspecified time, two years after the National Alliance Party has passed the Emergency Powers Act, which gives expanded powers to the Garda National Services Bureau, (GNSB) a new secret police force. Eilish, the mother of four teenaged children, the last only a baby, answers the door to two policemen seeking her husband Larry, a teacher and trade union organizer. Within the first chapter, her husband disappears after a peaceful union march, and her attempts to find where he has been taken fail. Eilish is a mother, daughter, wife, scientist and a long-time resident of Dublin. For much of the book, and as the world becomes a sharper place, she concentrates on the mundane, the quotidian, trying to keep routines together. She holds on to the life that she had before, that she thought was immutable, too afraid to look beyond her house, her community, her family. Catching sight of herself in the mirror in the hallway

[f]or an instant she sees the past held in the open gaze of the mirror as though
the mirror contains all it has seen seeing herself sleepwalking before the glass the
mindless comings and goings throughout the years watching herself usher the
children out of the car and they’re all ages before her and Mark has lost another
shoe and Molly is refusing to wear a coat and Larry is asking if they’ve had their
schoolbags and she sees how happiness hides in the humdrum how it abides in
the everyday toing and froing as though happiness were a thing that should
not be seen as though it were a note that cannot be heard until it sounds from
the past seeing her own countless reflections vain and satisfied before the glass (p.43)

Her friend Carole, whose husband has also disappeared, urges her to resist and to look at what is going on around her as people in her street beginning hanging National Alliance Party flags from their windows, and as her house and car is vandalized. People stop talking:

…the brilliance of the act they take something from you and replace it
with silence and you’re confronted by that silence every waking moment and cannot
live you cease to be yourself and become a thing before this silence a thing waiting
for the silence to end a thing on your knees begging and whispering to it all night and
day a thing waiting for what was taken to be returned and only then can you resume
your life but silence doesn’t end you see they leave open the possibility that what you
want will be returned someday and so you remain reduced paralysed dollars an old
knife and the silence doesn’t end because the silence is the source of their power that
is its secret meaning silence is permanent. (p.165)

Eilish’s father Simon is living alone and subsiding into dementia, but he still has flashes of clarity which pierce through the domestic cotton-wool that Eilish is trying to cocoon herself within.

…if you change ownership of the institutions then you can
change ownership of the facts you can alter the structure of belief what is agreed
upon that is what they’re doing Eilish it’s really quite simple the NAP is trying to
change what you and I call reality. If you say one thing is another thing and you say it
enough times, then it must be so and if you keep saying it over and over people
accept it as true this is an old idea of course it’s really nothing you but you’re
watching it happen in your own time not in a book. (p 20)

Her sister Aine in Canada is urging her to leave while she can, but Eilish feels rooted to Dublin, still hoping that her husband Larry will return. She tries to protect her eldest son Mark by sending him away; and it is only when her thirteen year old son Bailey is killed -and she finds his body in the morgue, tortured- that she finds the strength to act. And here we come to Lynch’s purpose in writing the book. As the world hardened against refugees, he asks us to engage in ‘radical empathy’ by seeing the leaving and flight from a repressive regime from the perspective that it could happen to us, just as it has with Eilish, just as it has again and again throughout history:

…it is vanity to think that the world will end during your lifetime in some sudden event, that what ends is your life and only your life, that what is sung by the prophets is but the same song sung across time, the coming of the sword, the world devoured by fire, the sun gone down into the earth at noon and the world cast in darkness, the fury of some god incarnate in the mouth of the prophet ranging at the wickedness that will be cast out of sight and the prophet sings not of the end of the world but of what has been done and what will be done and what is being done to some but not others, that the world is always ending over and over again in one place but not another and that the end of the world is always a local event, it comes to your country and visits your town and knocks on the door of your house, and becomes to other but some distant warning, a brief report on the news, an echo of events that has passed into folklore… p. 304

There is only one perspective in this book- that of Eilish- and as you can tell from the quotes, it is told in a breathless, relentless suffocating urgency with no punctuation and few paragraphs. Yet, it was not hard to read once you relaxed into it- just as the people of Dublin relaxed into autocracy and violence, I guess. I can think of few books that frightened me as much as this one did. Absolutely fantastic.

My rating: 10/10

Read because: Ivanhoe Reading Circle selection

Sourced from: own copy

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‘Miss Gymkhana, R. G. Menzies and Me’ by Kathy Skelton

Posted on November 14, 2025 | Leave a comment
1990, 153 p.

I hadn’t heard of this book, which was sent to our former CAE bookgroup as part of their mop-up operations, now that the CAE no longer runs its bookgroup program. Apparently my group read it about 25 years ago, but I hadn’t joined at that stage. I am the youngest (!!) in the bookgroup, and as the book is about ‘small town life in the Fifties’, my fellow bookgroupers probably recognized even more in the book than I did. But even for me, born in the mid-50s, there was much that was familiar but is lost now, in a world that is much more complex and hurried today.

I guess you’d classify it as a memoir, but it is more a memoir of a time rather than events. The author, Kathy Skelton, was born in 1946 and grew up in Sorrento, a sea-side town that still has its tourist season and its quiet season. It’s a strange place, Sorrento: there have always been very wealthy people there, but also just ‘ordinary’ small town people there as well. In her introduction, she reflects on the nature of memory. Reflecting on famous people that she was aware of at the time- President Nasser, Archbishop Mannix, the voice of Mr Menzies, the young Queen Elizabeth and the Petrovs- she reflects:

Have I printed their images, acquired much later, on a childhood, half grasped and half remembered? Have I overlaid fragments of memory with layers of stories, recounted by others, stories that in turn are their fragments of memory?

I have done all these things, yet still believe I know these events and people intimately, that I have remembered accurately, and that these memories are shared with others who did and did not live in our town. (p.4)

Her book is centred on Sorrento, but she takes a wider view as an observer. She has a child’s-eye view of politics. Her father’s family were Liberal voters: her mother’s family were Labor, and even Communist. The arrest of the Petrovs made an impression on her, although she thought that they looked a lot like Cec and Una Burley, who lived around the corner. Cec was the school bus driver, and Una Burley was the local gossip, and many paragraphs are prefaced with “According to Una Burley….”. Robert Gordon Menzies, the Prime Minister, seemed to be an immovable fixture of the 50s and early 60s, almost beyond politics to the eyes of child (I remember feeling the same way). As with the Queen, political figures were just there, unquestioned. The school turned out to see the Queen, catching the bus into Melbourne to line up along Toorak Road, only to see a “white-gloved hand and a pale face below a thatch of violets” (p. 98). The next Sunday it appeared that the Queen might be coming down to Sorrento to visit prominent resident M. H. Baillieu, but these ended up being put aside because the Royal Couple were resting “their shoes off, stretched out on a spare bed in Government House. Their intended visit was nothing more than a rumour started by persons unknown.” (p. 99)

Likewise, she observes but does not participate in the sectarian split that divided 1950s Australian society, played out at the political level through the ALP/DLP split, and at the personal level through family allegiances to either the Catholic or Protestant churches. As the child of a ‘mixed’ marriage, she attended both the Catholic and Anglican churches. She writes of the Billy Graham crusade at the MCG on 15 March, attended by 130,000 people, 15,000 more than had watched the Melbourne 1956 premiership. She was there: she made her decision for Christ, but “I knew already that I didn’t want to enter into correspondence about God and Jesus and whether I was leading a Christian life, with anyone” (p. 63)

Her description of school life, marching, grammar classes, the march through Australian history of Explorers and Sheep are all familiar to me: obviously school rooms didn’t change much in the 50s and 60s.

Her family was not rich, and her father was a “drinker”. She feared the Continental Hotel (still prominent on the hill in Sorrento) and wished that her father was one of the Men Who Were Not Interested in Drink.

The men who were interested were in the front bar of the Continental every evening, drinking more desperately and rapidly as six o’clock approached. I tried never to go past the Conti after five because of the frightening noise, the hot air, and the beery smoke that might rush out to engulf me as the door opened with men going in and out. But more than the small and the noise, I feared looking up through the golden letters on the window, PUBLIC BAR, into my father’s eyes. (p. 132)

They only had television for two weeks in 1958 when they borrowed another family’s television and kelpie while they were on holidays. They went to the movies, they listened to the radio. They had purchased a refrigerator on hire-purchase, but her father forgot to make the payments and a note was left warning that it would be repossessed unless the money was found. As a result, her mother never bought anything else on hire purchase, and so it took years for the wood stove to give way to the white electric stove, the Hoover to take over from the straw broom, or the wireless to give way to the television.

From her child’s eye viewpoint, she observes her mother’s anger and bitterness towards her father, his family and small town life, but it is somehow separate from her. She sees the young girls who win beauty contests, marry the local footballer, and suddenly are saddled with children and shabby cardigans, all the glamour gone from their lives.

Sex, politics and religion: she sees all these but they are not questioned or challenged. It’s a world that has been congealed in aspic, with certainties and truths, petty triumphs and small luxuries. A very different world. I think that much of the appeal of this book is the nostalgia and sense of safety that it evokes. You can understand why conservatives turn to the past to go ‘back on track’ or making America/ or whatever country you choose ‘great again’. There’s not a lot of analysis, but it’s not completely local either: Skelton has, as she said, evoked memories that are both local to Sorrento, but also common to other Australians at the time. At times I felt as if I were suffocating in mothballs and tight clothes, at other times I yearned for the simplicity and innocence of earlier times. I do wonder how someone born in the 1980s or 1990s would read this book. I suspect that it really would seem, as L.P. Hartley said, like a foreign country, where they do things differently.

My rating: 7/10

Read because: Bookgroup

Sourced from: Left-over CAE book.

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Six Degrees of Separation: from ‘We Have Always Lived in the Castle’ to…

Posted on November 1, 2025 | 13 comments

It’s literally the first Saturday of the month, which makes it Six Degrees of Separation day. This meme, hosted by Kate at Books Are My Favourite and Best involves Kate nominating a book I have rarely read (in this case, We Have Always Lived in the Castle by Shirley Jackson) and then nominating six other titles of books that spring to mind.

  1. With ‘castle’ in the title of the starting book, what else could I go for but I Capture the Castle by Dodie Smith? In Grade 7 and 8, I just loved this book and kept reborrowing it from the school library. I saw the film, but it didn’t have the magic for me now that it had as a young girl. I have a copy on my shelves, but I don’t know if I want to re-read it or not. Perhaps some books are best left as memories.
  2. Brideshead Revisited had a castle in it too. I loved the series with Jeremy Irons. I know that I read the book too, while I was at university.
  3. L.P. Hartley’s The Go-Between was set in a big house as well, told from the perspective of a visitor from a lower class who doesn’t know the ‘rules’ of the gentry. We read it in Matric (yes, I’m that old), and I think that it has one of the best starting lines in literature: “The past is a foreign country. They do things differently there.”
  4. Like everyone else in the world, we read To Kill a Mockingbird at school too. I have re-read this one, many times, and every time I hear the music to the absolutely perfect movie, my eyes fill with tears. To me, this book is emblematic of the Deep South
  5. Another book set in the South- New Orleans this time- is The Yellow House by Sarah M.Broom (my review here). The youngest of twelve children in a working class family, she tells the story of her family home in New Orleans, interweaving national and local history, family stories and her own story of place and identity.
  6. The Lives of Houses, edited by Kate Kennedy and Hermione Lee is a collection of essays that emerged from a 2017 conference titled ‘The Lives of Houses’ held at the Oxford Centre for Life-Writing at Wolfson College, Oxford. This conference brought together scholars from different disciplines and professions, with an emphasis on British, Irish, American and European houses. The ‘big’ names include Hermione Lee, Margaret Macmillan, David Cannadine, Jenny Uglow, Julian Barnes, and it focuses on 19th century British writers and a peculiarly British form of being ‘the writer’ in a mixture of eccentricity and domesticity. (My review here)

So somehow or other I started off with a castle and ended up in a house.

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‘Homegoing’ by Yaa Gyashi

Posted on October 25, 2025 | Leave a comment
2016, 300 p.

Despite its modest 300 pages, this book covers a huge scope, covering three hundred years over two continents: Africa and America. It opens in Ghana in the mid 18th century, with two half-sisters who are unknown to each other. One sister Effia, of Fante tribal heritage, is coerced into marrying a white British officer sent to oversee Cape Coast Castle, a staging post for enslaved Africans prior to being shipped across the Middle Passage. Living in luxury at the Castle, she is oblivious to her half-sister Esi, of Asante tribal heritage, imprisoned as “cargo” in the basement holding pens, before being shipped to America. The two family trees bifurcate at this point as Effia’s line stays mainly based in Ghana, with the ongoing effects of colonization affecting the life events of generation after generation. Esi’s line is based in America, spanning slavery, Jim Crow legislation, the Harlem Renaissance and drug-fuelled urban life.

The opening pages of the book have a time line, tracing the generations in two distinct branches. The narrative alternates between the two branches, in a series of fourteen separate but linked short stories. They could be read separately because each one in effect starts again in its opening paragraphs, although there are small familial references that allow the reader to place the character within their familial context. In many ways this disjointed narrative reflects the dislocation of slavery and the rootlessness of not knowing where you come from. It was a rather jarring reading experience: you would come to be invested in a character, only to have the narrative whisk you across the ocean and time into a new story.

Running through the book is the theme of betrayal and complicity. The coastal Fante tribe capture and sell the Asante people to white slavers. In Harlem Renaissance New York, a black man who ‘passes’ as white leaves his wife to marry a white woman. Step-mothers are cruel to their step-children; families shun their gay children. There is also the theme of severance: two half-sisters growing up on different sides of the globe; and particularly in the American part of the narrative, severance between parents and children, one of the tools of enslavement, but which recurs from generation to generation. This severance lies at the heart of identity and reflects the title of the book: one of the characters, speaking of the Back to Africa movement says “We can’t go back to something we ain’t never been to in the first place. It ain’t ours anymore.”

A rather heavy-handed motif of the book was a pair of gold-flecked stones, one each given to the two half-sisters by their mother Maame. Esi’s stone was soon lost, buried in the mud of the holding cell at Cape Coast Castle, while the other stone was handed from generation to generation. I was dreading a rather mawkish resolution of the two stones at the end of the book but fortunately Gyasi was an astute enough writer not to fall to such an easy trope.

I enjoyed the book, with the equal weight given to the Ghanan and American experience, a weight judiciously and scrupulously meted out. I did find myself thinking of Alex Haley’s Roots which took a similar generational approach but from memory, there was not the bifocal approach of both African and American stories in that book.

It is particularly impressive that this is a debut novel, as the author has such control of a tightly structured dual narrative. The structure did feel a bit like a straitjacket at times, and not all characters were as fully developed as others. But it is a good exploration of slavery, colonialism, inter-generational trauma and the intersection of colour, class and gender- in many ways a book of its time, despite its historical focus.

My rating: 8/10

Read because: Ivanhoe Reading Circle selection. I wish that I had written this review soon after reading the book, instead of waiting weeks. You’d think that I’d know by now.

Sourced from: Readings paperback.

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‘No Dancing in the Lift: A Memoir’ by Mandy Sayer

Posted on October 17, 2025 | Leave a comment
2025, 227 p.

I feel a bit as if I’ve come half-way into a conversation with this book, because this memoir by Mandy Sayer is in fact her fourth (no fear of an unexamined life, here). But although it is discussing her life, it is more a love letter to her father, Gerry, addressed to him in the second person.

At my age, one attends an increasing number of funerals. I’ve often been struck by the practice in giving eulogies where the deceased person is addressed as “you”, as if they are present and listening. This is how Sayer speaks to her father, as she revisits their shared life and describes the last months of his life as she visits him daily as he moves between hospice care and her own apartment.

Her father had not been a constant presence in her life. Her parents, Gerry and Betty, separated when she was ten years old. It was an erratic, bohemian, drug-and-alcohol fuelled upbringing, and when she went to live with her mother, along with her siblings Lisa and Gene, her mother subsided further into alcoholism and toxic relationships. There were reconciliations, and further falling aparts. Her father came back into her life when, at the age of 20 she travelled with him to the United States to busk on the streets and parks of New York City, New Orleans and Colorado, he on drum, she tap-dancing. Now, in No Dancing in the Lift her own marriage has ended and she is a published author circulating in the literary scene in Sydney, and her father is dying of cancer.

Her father had been a noted jazz drummer in Sydney, playing with both local and international acts. He had a cleft lip and palate, which affected his speech badly. As I have a cleft myself, I was interested to see the child’s-eye view of the parent’s condition. It was accepted completely, and she knew that he had spent years at Westmead Children’s Hospital having surgery. (Actually, having experienced it myself, I know that surgery was more a recurrent than ongoing event, often with years in between surgeries- although it might not have been remembered that way). At one stage, her father falls asleep open-mouthed, and for the first time, she could see into his mouth and was appalled to see how incompletely the palate had been repaired.

As her father’s cancer progresses, he becomes hostile and belligerent, although this subsides after further health conditions emerge. Her siblings, having survived the same childhood that she did, are troubled people as well: either distant in the case of her sister, or manipulative in the case of her brother. Both parents had embarked on complicated relationships after the marriage breakup, and as Gerry becomes sicker, people and situations emerge from his past. But fellow musicians and writers emerge as well, and the reefers and drinks flow in what must have seemed a racketty lifestyle in the midst of the inflexibility and judgement of hospitals and institutions.

In the midst of this, Sayer meets fellow author Louis Nowra, who was married at the time and their relationship deepens from initial attraction, to a chaste and tentative friendship, then to a full-blown love affair, observed and encouraged by her father Gerry. Death and love, both becoming stronger at the same time: it is a confronting, and yet in many ways, perfectly natural conjunction.

She has not changed names in this book, and so you meet authors Louis Nowra and Linda Jaivan, musician Jeff Duff, and actors Geoffrey Rush and Cate Blanchett move in and out of the pages. It is an intensely local book, with the landscapes of Sydney and Darlinghurst described evocatively.

From the start of the book, you know as a reader how the book is going to end. What did surprise me was that these events took place twenty five years ago, as the rawness and the hollowness seemed so recent. Although I shouldn’t really be surprised because, as the child, you are always the child. Although, as she says, her father has taught her how to grow old- and in his case, unrepentantly and without necessarily growing up.

My rating: 8.5/10

Sourced from: review copy from Transit Lounge, via Scott Eathorne.

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‘The Casual Vacancy’ by J.R. Rowling

Posted on August 20, 2025 | 1 comment
2012, 503 p.

As I have related several times in this blog over the years, when I was young I read Hans Christian Anderson’s The Snow Queen. In that story, a shard from an evil, broken mirror entered the eye of a little boy, Kay, who from then on could only see ugliness in everything. I think that J. R. Rowling may have a similar shard in her eye, at least in this book. It was her first book for adults, written after the Harry Potter series that had captured young readers and accompanied them into adulthood. It is ugly, snarky and ends in a tragic melodramatic conclusion. I was hooked, after a very slow start, but in the closing pages of the book, I just thought “this is ridiculous”.

I’ve always thought that Rowling is very good with her beginnings, particularly in her Cormonan Strike books- three pages and you’re in. She starts well here too, with a death in the first few pages, but instead of jump-starting the book, the impetus dissipates as various people in the fictional town of Pagford learn that their local councillor Barry Fairbrother has died. The ‘casual vacancy’ caused by his death prompts a local election to fill his seat, and Rowling introduces a wide range of people who are taking a particular interest in this election.

Pagford is an older town, established in the days when ‘parishes’ were the backbone of local government, but time has brought many changes. A council estate called rather ironically The Fields, with low-income and social housing, had been built nearby and had been attached to the Pagford Parish. At the time of Barry’s death, the council had been engaged in negotiations to sever The Fields, and have it come under the jurisdiction of the larger, more modern city of Yarvil. For many Pagford ratepayers, this would shift the problem of drug addiction and social dislocation onto another council but Barry Fairbrother, as a former Fields boy himself, was leading the push to have The Fields remain in Pagford. The now-vacant seat on the parish council was a means to influence the outcome.

There is a huge range of characters in this book, and it took quite a while for me to embed who-was-who into my mind. They’re a rather unsavoury lot: the morbidly obese Howard Mollison who is angling to get his son onto the council; Colin ‘Cubby’ Wall, the school principal, who is tortured by the fear that he may have molested students without retaining any memory of the fact; local doctor Parminder Jawanda who supports keeping The Fields in Pagford, although her opinion is possibly influenced by her infatuation with Barry Fairweather; and Terri Weedon, a drug addict and prostitute from The Fields, whose daughter Krystal takes responsibility for caring for her young brother Robbie- among many other characters. Their partners and children resent each of them, all for various reasons, and there is barely a happy person amongst them. It’s all rather sordid in a petty, pathetic way. It’s not surprising, then, when posts under the name ‘The Ghost of Barry Fairweather’ begin appearing on the parish’s online forum, spilling the dirt on one person after another.

The narrative swings from one family constellation to the next, and gradually tightens its focus on two tragic deaths that make the election seem tawdry and petty. By this time, the pace of the book had really picked up and the majority of the characters were firmly established. But I just found myself saying “This is stupid!” as the ending became increasingly fast-paced and melodramatic. The ending was just as bleak as the whole scenario had been, and I felt as if some of the grubbiness of the book had rubbed off on me.

I gather that much of the ire against this book comes from a disappointment that it had none of the magic of Harry Potter. There’s certainly no magic here. Because of its provincial town setting, some have likened it to Middlemarch which likewise has a large cast of characters, going about their small, ultimately insignificant lives. But this is much grittier and nastier than Middlemarch, with its complexity laced through with snarkiness.

My rating: 7/10

Sourced from: a gift.

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