Tag Archives: short story

A Response to “In the Shadow Of Monte Cassino” by Lauren Keenan

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It’s not easy to act according your parents’ will, especially when you do not know what secrets they live with.

In the short story “In the Shadow of Monte Cassino”, published in 2017 in Huia Short Stories 12 by Māori author Laruen Keenan, the journey of Eruera, a Māori man who reflects on his lifelong attempt to fulfil his father’s expectations, is described. Instead of focusing on himself, Eruera continues to base his life on his father’s judgements.

The only active part of the story is Eruera. He visits the battlefield in Italy where his father supposedly fought as soldier in the Second World War. As he walks towards Monte Cassino, his thoughts revolve around his late father and what the latter might say to him in this situation. When Eruera passes a cemetery, he coincidentally finds the grave of his uncle, at whom his late father was always angry. Now Eruera realises that his father never took part in WWII and just made it all up.

“Stupid, cheap map. He should have bought one from someone who spoke English while he was in Rome.”

(p. 71)

The story is told from Eruera’s point of view, but in the third person. Right from the beginning, I had a strange feeling that the main character has a really negative mindset in that sentence. As the story continued and Eruera made his way to Monte Cassino, I had the impression that the closer he got to the hill, the crazier his mind went. He is always looking for excuses not to climb up Monte Cassino. All these twists and turns are really well done by the author. When I read the story, I had an odd and intense feeling because he seemed stressed. At first I thought that he was looking forward to the trip, but when I looked at him more closely, I realised that his self-esteem decreased a bit every time he thought about his father (e.g. “Man up, boy, you wouldn’t lasted a day at Monte Cassino with that attitude.” p. 72). It seemed as though Eruera believed that no one respects him. Especially his own father was never proud of him, regardless of what he achieved.

In my opinion, the short story unrolls a lot of emotions from WWII. When we meet Eruera, he thinks he is the son of a Māori soldier who took part in the war to gain respect for his tribe, to be treated equally and to receive the full privilege of citizenship for his family. So Eruera has to respect his father and believes everything he says. Yet his father used to denigrate him by comparing him with his Uncle Gerry, who supposedly “died of shame after all these heroes came home. You’re just like your Uncle Gerry, both of you couldn’t have climbed Monte Cassino if you’d tried.” (p. 72) I strongly believe that is a reason why Eruera has such low self-esteem. Always being compared is hard, but being compared to someone who cannot climb up a hill is even worse. I suppose that the relationship between Eruera and his father was really toxic. As a result, he just remembers negative comments and bad comparisons. Even in the narrative present, when Eruera’s father is long dead, he feels the disappointment in every step he takes.

“Dad was long gone but Eruera still let him down.”

(p. 73)

After all the emotional ups and downs, this passage reveals that Eruera thinks he is failing and disappointing his father once again. It seems to me that he has the urge to show his father that he is capable of doing something right, like climbing Monte Cassino.

“Eruera should have paid better attention. He should have found out more about the war before dad dies.” (p. 72). On the one hand, Eruera remembers his father’s aggressive behaviour, on the other hand he misses him and regrets the time when he did not listen to his stories. I’m honestly surprised that Eruera’s feelings and his development could touch me so strongly. This turn of events throws a pitiful shadow on Eruera and makes him even smaller than he is. From time to time, his mind clears and he notices his surroundings. However, I guess Eruera is just looking for excuses not to climb the mountain.

In my opinion, the author is highly successful in creating a great tension. When I finally thought Eruera would climb up and feel relieved and happy, he entered the cemetery. Even though this moment was really dark, it also fascinated me. When Eruera recognized the name on the gravestone and found out what Uncle Gerry had done, it felt for me like Eruera’s world was falling apart because he finally understood why his grandparents had no contact to his father and why others gave him ugly nicknames.

I think Eruera must have been shocked at the first moment, but right after he likely felt relieved because he had uncovered the secret of his heroic father and lightened the big shadow hanging over him. To come back to my first impression of the short story, and having reread it, I feel like there is much to read between the lines. At first I thought that Eruera was a pitiful and sad man who has no goal, and only thinks about everything that has already happened, even imitating his father’s comments. From a more aware point of view I am certain that Eruera always had the strength to be himself, but was too afraid to be that person. So he hid behind the role of his father, but after discovering the big lie he grew up with, he finally understands that he is better than his father because at least he is honest.

Home and Uprooting in Kelly Joseph’s “Transient”

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Home.

What does home mean to people?

Is it the place where one grew up? The place where one is living now? The place where one’s ancestors lived?

Or is home defined by the people with whom one lives together? Family. Friends. Neighbours. Those people surely are needed to make a simple geographical location into a home. Connection to a place is often tied to experiences, shared between a certain group of people.

Māori culture and literature can show us how ambivalent and varied the perception of home may be. As Polynesians, Māori have a nomadic history where mobility and the impetus to find a new home play a huge role. Even today, after living in Aotearoa for hundreds of years, the mythical home island of Hawaiki (where Māori originally came from) is central to Māori spirituality and folklore. The connection to one’s ancestors and family also is an important part of Māori culture. Whakapapa (genealogy) is an integral part of identity for Māori people.

“Transient” is a short story about the uprooting and feeling of disconnection a lot of Māori (and Indigenous people in general) are confronted with. It mostly takes place in New York and is written from the perspective of a Māori woman living in the US.

Deep down I ache constantly for home and family. I have flown back a few times but things have changed since I left. It’s clear to me that my homesickness is not just longing for a place; it’s a yearning for people and a time that have passed, that no longer exist and that can never be reached again.

(p. 147)

This part of the short story shows the struggle with being disconnected from the place where, and people with whom, you feel at home. Even though the protagonist has been living in the States for five years already, she is still homesick and feels foreign in her new “home”. This may also be connected to the struggle of all Māori people after the arrival of the people who are now called Pākehā. Like a lot of other Indigenous peoples, Māori had their home stolen (in a geographical and cultural sense). Their land was forcefully taken from them or was purloined through unfair contracts (most guarantees to Māori in those contracts were not maintained). Additionally, Māori people were (directly or indireclty) forced to live like Pākehā people did and were encouraged to abandon their spiritual beliefs. These experiences may have led Māori people to travel to other countries in the hope of finding a new home, a chance to get different tools to fight for their rights back in Aotearoa, or as a means of proving their worth (e.g. the Māori Battalion in the Second World War).

An uprooting is also shown in the short story through the waka huia, an item which may have been stolen and is now exhibited in the museum the protagonist decided to visit. A waka huia is an intimate object which contains personal treasures and is exchanged between different generations, families and tribes. It was often displayed hanging from the ceiling in traditional Māori whare (houses), hence part of a family’s home. In my opinion the waka huia symbolizes the violation of Māori people through colonialism and imperialism. Both the waka huia and the protagonist are uprooted from their homes and stuck in a foreign place. While one could argue that the protagonist is studying in the States of her own volition, I believe that it shows that even though Māori people aren’t direct colonial subjects in today’s world, the collective uprooting that was done to them in the past and the social and cultural problems caused by that still have considerable repercussions on contemporary Māori society.

In conclusion, I think that “Transient” does a good job of showing the relation of Māori to their home and the personal problems and feelings they are confronted with due to the continuous violent occupation of their home. It’s not possible to understand the problems Māori face in today’s world and the society of Aotearoa without understanding the connection between Māori and their home, which is why I believe that it’s important to read literature written by Māori authors.

Reference

Joseph, Kelly. 2003. “Transient”. In Huia Short Stories 5. Wellington: HUIA PUBLISHERS.

Othering and Orientalism in “A Pearling Tale” by Maxine McArthur

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The short story A Pearling Tale by Maxine McArthur is about Jiro Aoyanagi, a diver who is forced to go on a boat ride with his crew at the end of the diving season. His job is to dive for pearl shells which the crew later sells for profit. On this boat ride, however, Kamei, another diver of the crew, dies underwater. For this reason, the crew decides to return home after Jiro was tasked to obtain Kamei’s lost shell bag. While on their way home, they are approached by a ghost ship. The ghosts onboard demand to have Kamei’s body and threaten the crew, even though giving them what they want would also mean death for the crew. Jiro is the only one who knows how to deal with the ghosts and saves his crew by throwing Kamei’s broken shell bag onto the ghost ship, earning some respect from Flynn, the boat’s master and tender.

In A Pearling Tale readers can find many situations in which both “Othering” and “Orientalism” play a huge role. Already at the beginning of the short story, Jiro is characterized as different than those
around him. His otherness is not kept a secret, and instead often referred to, especially in comparison to Flynn, who is portrayed as Jiro’s direct counterpart.

Jiro is depicted as an Asian who believes in Ebisu, the God of the Sea. His worship for Ebisu is frowned upon not only by other citizens but also by Flynn, who is presumably white and, just like other people, doesn’t think that Ebisu can exist in their country. He is equally convinced that the Sea doesn’t belong to all countries, only to his own, and shuts down Jiro’s attempts at arguing with him, forcing him to work instead. This power dynamic between Flynn and Jiro is constantly evident throughout the short story and only flipped at the end.

On board the ship, Flynn is focused on making money and doesn’t care about the consequences. He doesn’t fear the mysteries that lie beneath the sea; nor does he fear ghosts, unlike the rest of his crew, which seems to mostly consist of Asians. Portrayed as calm and rational, Flynn stays focused on making profit even when Kamei dies and doesn’t feel unease like Jiro and the rest of the crew. He forces Jiro to dive back down to retrieve Kamei’s lost shell bag and only then agrees to sail back home due to the complaints and worries of the crew.

When the crew is attacked by a ghost ship on their way home, however, Jiro is the only one who can save them. But even when confronted with the truth that Jiro’s beliefs were correct and that ghosts do exist, Flynn still largely keeps his composure, except for a brief moment during which even he prays to his own God. Flynn refuses to hand over Kamei’s body to the ghost ship, convinced that no one would believe them if they claimed that they were attacked by ghosts who demanded Kamei’s body. He argues against the other crew members who believe that their only way out of the situation is to give the ghosts what they want.

Jiro, who had no choice but to do everything Flynn asked of him whether he liked it or not, gains power at this point of the short story. He is the only one who knows how to deal with the ghosts and ends up saving his crew. It is his Otherness that prevails in the end and manages to earn him the respect of Flynn. While Flynn continues to order the crew around as if nothing happened at the end of the short story, he also acknowledges that Jiro was correct about his God.

Flynn grinned and clapped him on the shoulders.

“Sea god all country, eh, boyo.”

(p.120)

A big part of Jiro’s otherness lies in the depiction of orientalism connected to him. He believes in different Gods, as well as in ghosts and other mysteries. The power one culture holds over another, mostly represented through Flynn and Jiro, is equally typical in orientalism. This superiority is also portrayed through Muratsu. Muratsu is a character who also owns boats, speaks the same language as his crew, and believes in the same Gods as Jiro. But it seems to be this exoticness of Muratsu which hinders him from being as successful as Flynn. He doesn’t own the newest diving dress which offers more protection to divers, allowing them to find more pearl shells and thus gain more profit. His counterpart Flynn does own the state-of-the-art diving gear and is for that reason more successful and superior.

However, in comparison to other works in which orientalism and otherness play a huge role, A Pearling Tale uses them to defuse some of the usual depictions of white superiority, and of the Other being something abhorrent. It succeeds in doing so by inverting Jiro and Flynn’s positions at the end, making Jiro the hero of the story who manages to gain the respect of someone who had previously seen him as the Other and thus considered him inferior.

Bibliography

  • McArthur, Maxine. “A Pearling Tale.” In Baggage. Tales of Speculative Fiction, edited by Gillian Polack. Borgo Press, 2014. 110-120

Lucy Sussex, Sonia Lovecraft, and Women’s Voices in Literature

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Literature is a key tool to connect people from all places with other cultures, stories, and histories. Thus, the popularity that American and English writers and stories have had in the last centuries has been undeniably successful in their sales numbers and their popularity worldwide, as well as their quickness of spreading their Anglophone literature around the globe. Therefore, on some level Australian literature has most definitely come a bit short in their representation of print media and both e-books.
Thus, Australian literature did not have the amount of presence in print media until a couple of decades ago. Due to the variety of different literature options such as podcasts, graphic novels, movies and TV shows Australian fiction has been able to spread quicker, particularly throughout the last years.

For some readers, a new story might be in their spectrum of interest but due to the lack of advertisement of Australian literature in media and bookstores, they might never stumble across them. Therefore, short stories are a great possibility to intrigue and draw in new readers and audiences to catch attention of Australian literature.

In a world which is dominated by English and American literature, Australian short stories are a great option for a different approach to the Anglophone literature world. The value of short stories should not be underestimated. Their importance should be acknowledged because they can help readers to get an insight into some topics that can be overseen at times. Examples of these are marginalized voices such as Indigenous, queer, and women narratives which have been drawing a lot of attention.

However, short stories should not be perceived as a transit to lengthier books etc. Short stories can capture just as important themes and motifs that readers are used to from novels for instance. Topics such as and content regarding the Indigenous people of Australia or horror stories with traditional myths and legends can be intriguing for some readers.

There is a wide range of different topics to choose from because if there is one thing that is great about Australian literature and short stories; it is the variety and representation of different groups of people.

Today, I would like to introduce you to a notable Australian author, whose short story is definitely worth taking a look at. The summary and brief introductions will not include spoilers – because to be honest, who likes spoilers anyways? The story will be so much more enjoyable to read first-hand instead of reading about them.

The short story is called “Wife to Mr Lovecraft” and was written by New Zealand-born author Lucy Sussex. Her work has specifically been associated with feminist science fiction, the history of women’s writing and Australian.

As the title of the short story indicates, Sussex wrote a tribute story about H.P. Lovecraft’s wife Sonia Lovecraft. In April 2021, she published a tweet, where she states, ”I had the good fun of writing a Lovecraft tribute story in postcards from Sonia Lovecraft. She was quite a personality.” Although the story was about Lovecraft’s ex-wife Sonia Greene, the postcards and the story take place after their split and during her marriage to Dr. Nathaniel Abraham Davis. The short story also refers to the promise H.P. Lovecraft gave to his wife Sonia regarding their divorce. Due to circumstances and a form that had not been signed by Lovecraft, the marriage was never legally annulled. The story gives the reader a chance to touch upon a perspective, which has formerly only been given to Lovecraft himself.

Now, it is time for Sonia to share her thoughts and feelings – even if only in fiction.

Sussex’s short story gives an interesting, fictional insight to H.P. Lovecraft and his ex-wife Sonia’s postcard exchange. It is an interesting and beautiful diffusion between an Australia-based author, who touches upon the story of one of the most renowned American authors of history and his successful, businesswoman and writer (ex-)wife, Sonia Greene.

How Suspense is Created in Grace Chan’s “Of Hunger and Fury” (2020)

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by Benedikt von Laufenberg

In this blog post, I want to discuss Grace Chan’s short story “Of Hunger and Fury“ (2020) by focussing on three different aspects. First, it should be illustrated how the village in which the mysterious incidents occur is set apart from the rest of the world. Second, I want to show how verisimilitude is created by mentioning various details and how this verisimilitude increases the mysteriousness of other elements in the story. Third, I want to investigate the relation between dreams and waking life and how this relation highlights the increasing tension of the story.

The story begins with a young couple visiting the wife’s family in Malaysia: “It’s late in the day when we drive east from Kuala Lumpur in our rented Proton. (…) I turn to the passengers window. The shopping malls and housing estates are far behind us now (p.78).“ They leave a metropolitan area behind to drive to a more rural area in which the wife’s family lives: “We drive down the main street of the village under a swollen bruise-purple sky. It’s not even five o’clock, but all the shops have drawn their rollers. Their doors are plastered with talismans: yellow strips of paper, thick with black writing (p.79).“ “Shopping malls and housing estates“ (p.78) become “talismans“ (ibid.), thereby indicating a shift of scene which changes the atmosphere and the tone. This passage is highlighted by an incident: while driving there, the husband hits something on the road but does not bother to stop (cf. p. 78).

Within the story, various details are mentioned that increase the verisimilitude: “She [the mother] smells like imitation Chanel, just as she always did (p. 80) or “Behind a fly screen, the door of my parent’s bedroom is ajar. The smell of unwashed clothes wafts out. A swaddled shape slumps in the rattan armchair, facing the curtained window. It could be my father, it could be a mountain of blankets. I think about pushing the door open, bringing a basin of water, washing his gnarled hands – hands that lashed a bamboo cane, too many times, and drew bloody welts on my little legs. I step back, ashamed (p.83).“ This abundance of details, with special focus on smells, helps to place the reader within the story. One is drawn into the narrative, which is important for every fictional narrative but might be of special importance to narratives which have mysterious elements in it. Once one is drawn into it, one is readier to accept the mysterious elements.

Dreams play an important role in the narrative. While the first dream section (cf. p. 82) is relatively short, compared with the other passages, the dream sections become longer and its contents also has an effect on the waking life, but more about that later. In the first dream section, the wife encounters the girl who has been presumably murdered. At this point it is still possible to read the dream section as what it first appears to be: a dream with no bearing on reality. The second dream section, however, has an effect on reality and is much longer. In it, the narrator has a “amber bracelet“ (p. 87) on her arm which she tries to wash away the next day. Thus, the reader no longer has the option of reading the section as literal dream passages unless the reader is willing to concede that the narrator might be unreliable. In any case, the tension of the narrative increases because the dreams with their mysterious content become more prevalent.

In this blog post, I have shown that the setting of the narrative in the village is set apart from more metropolitan areas. Moreover, I have demonstrated that the focus on details increases the verisimilitude and thus helps to ground the reader in the narrative. Lastly, it was illustrated how dreams contribute to increase the tension.

Works Cited

Chan, Grace. Of Hunger and Fury in „Black Cranes – Tales of Unquiet Women“. ed. Lee Murray and Geneve Flynn. Omnium Gatherum Los Angeles CA: 2020