On truth, dogs and sex

If as WG Sebald writes, first person experience is the closest we can get to the truth, then I’m left wondering, whose truth?

You’ll regret it, my sister said when I told her I’d shaved my legs for the first time. I must have been under fourteen. We were still living in the Camberwell house.

What possessed me to do this? Whose razor did I use? 

‘Your hair is so fair,’ my sister said. ‘You can barely see it, but from now on it’ll grow back spikey, and only get darker.’

It was okay for her to save her legs. Why not for me?

In memory, I was standing in the front garden of our house in Wentworth Avenue close by the low red bricked fence where geraniums sprouted in untidy rows, tucked between the endless weeds and nasturtiums.

My father’s grey station wagon was parked at the curb in front of the house. He must have been home. Luckily this conversation took place outside his earshot. I did not want to alert my father to the fact of my body. The fact I had legs that at this moment felt as shiny as a newborn baby’s skin. 

In this same garden a week before our dog Peta was stuck to another dog in a way I knew signified sex, only I did not fully understand the process and ran inside fearful that something dreadful was happening to Peta. The dog whose name we spelled with an ‘A’ in the hope our father might believe she who had followed one of my brothers home from school was male and therefore safe from the possibility of pregnancy, and therefore okay to keep as ours. 

‘Throw a bucket of water over them,’ my mother said as I panicked. One of my brothers grabbed a plastic bucket from the laundry, filled it with water from the garden tap and drenched both dogs, who then disappeared up the street. 

Peta was a free-range dog and took delight in chasing cars up and down Wentworth Avenue. In no time she was back at it.

I grew accustomed to the terror Peta might fall under the black car wheels as they sped up our street but somehow she managed to stay alive and had litters of puppies, one after the other, until one day a woman who lived several houses up the street from us offered to take Peta off our hands.

She could afford to have the dog spayed, she told my mother, and my mother who in those days was herself considering the possibility of going onto the contraceptive pill, despite the church’s opposition, agreed. 

Peta grew fat then and slow. She stopped chasing cars.

I was sad, as sad as when my father called me into the lounge-room soon after my tenth birthday to tell me the baby my mother had gone into hospital that morning to birth had died.

As I get older my memories coagulate into a mess of times and places and I cannot get to the truth Sebald espouses.

Yesterday I cleaned the mould from my bedroom windowpane and already I feel better. As if I had decided in my mind the mould had been giving me trouble and now it is gone I can breathe freely again.

Scottish moss that bears no relation to mould except in my imagination. The way it covers a wide surface area. But I’ve yet to hear of any human allergy to moss.

All the tiny spores disappeared under the weight of the industrial strength mould remover I bought from Bunnings where all things magical line up for sale. 

‘The landlord’s friend,’ my daughter, said decrying the way landlords take easy solutions to rid their tenancies of mould, typically applying a coat of white paint over the affected area as if this alone will remove all trace. Only to know it will return soon enough as it might for me despite the promises of my industrial strength remover.

To this day I marvel at my suggestibility, the ease with which I slip into panaceas, promises of improvement, simply based on a clear liquid wiped across my windowpane.

This also happens when I take a Panadol to remove a groggy head when I’m not feeling well. Within twenty minutes I expect to feel better and most times I do, unless of course I’m sick with something Panadol cannot budge.

My mother fed us the line growing up that we kids inherited her brilliant immune system and could withstand anything. How she failed to connect this to the fact that two of her children in relatively close succession developed rheumatic fever – a bacterial infection that attacks people’s hearts – is beyond me.

On medical advice she shipped off my unwell sister and brother to Fairfield Infectious Diseases Hospital for months at a time.

My mother believed in miracles and when bad things happened she usually managed to find a way beyond them into hope and optimism. 

Mrs Milanova once talked to me about the thin line between optimism and denial when I talked of my mother’s propensity towards miraculous belief. I was sceptical. But Mrs Milanova did not agree with my take on the spiritual as somehow akin to the religious mumbo jumbo of my upbringing. She baulked at my irreligiosity. As much as she decried my almost religious fervour for the analysts.

My mother distrusted psychiaters as she called them. Anyone hell bent on religious conversion into the psychological dimensions that were rife at the time. The existentialists, gestalt practitioners, or transactional analysts.

All were dangerous in my mother’s mind. Their practices could lead to loss of faith and faith was her one constant. Without faith you might as well be an empty vessel, a creature with no moral compass, a person hell bent on pleasure alone and therefore subject to the downfall of hedonism. 

Sodom and Gomorrah, my father said in broken Dutch when he was drunk. I did not understand what he was on about, only I once read something in the bible about this place called Gomorrah and I knew the dangers of sodomy, sex with sheep, even as I did not yet understand what the two dogs stuck together in our front garden were getting at. 

Any more than I understood the process of conception, despite the fact my mother was constantly pregnant throughout my first decade of life, her body swelling into a hardness around the belly I remember well. A hardness and size I could not get my arms or mind around.

Yet I knew with all the perspicacity of any small child who as Maria Tumarkin reckons are like sniffer dogs for secrets, there was something going on here behind the scenes, something in the area of impure thoughts, worse still impure actions that we were not to know as much as they stared us in the face. 

Corellas and the archive

It’s a while since my fingers clattered across the keyboard and pushed behind the detritus of my life and all its busyness into the limbo of my past.

The corellas are back in all their caterwauling glory and the dog is fearful to go outside for a pee. Those squawking monsters in the sky that drop white feathers and shattered acorns can terrify a small dog. Corellas like mind-clutter. They arrive every autumn to visit the pin oak in our garden. The oak spreads its branches wide like an ancient muscle man to block out the light in summer until the leaves fall. 

In my dreams this morning, a neighbour chopped down the tall jacaranda beside our side fence and I was distressed at how much shade we would lose when the summer sunlight streamed through the upstairs bedrooms, already hot given their height, but soon to be impossible. The corellas woke me then and I was not able to slip back into the easy sleep of a Sunday morning.

Before the corellas came, Ross Gibson died and took with him a mind I have admired for its ability to investigate the past in ways I could only imagine. Gibson peered into the archives, crime scenes from Sydney between wars, in photographic form. The photos were abandoned in a basement of a Sydney police station, detached from their descriptive moorings, photos that so haunted Gibson he studied them with his eyes, mind and imagination then brought them to life through haiku. 

Many were prosaic, as he described, but others held a pulse or flair that made him catch his breath. We look for these diamonds among the ordinary gemstones of an archive, he said in an interview with the wonderful Maria Tumarkin, because they bring out the depth of the ordinary in our past lives. And something of the ordinary captured his imagination as it captures mine.

If I was to approach the archive of my life in the same open way as Ross Gibson approached scenes from the past, which he also explored elsewhere, including in scenes from the Mallee, to look for imprints of what once was, I could find things I do not yet know. 

When I was a child and my father took up photography, he lined the bath with pictures he had printed in trays of chemicals in his dark room. He chose them from the negatives he had pinned along a line of string fixed over the bath. A line of negatives I could never reach, black and translucent, like clouds in a darkening sky. These images awed me for their incomplete state. Like ghosts hanging from a ceiling. Ghosts that might one day become ancestors, or the living, should my father soak them in the chemical baths of his dark room. To bring them into life.

Some he tossed aside in a flat cardboard box that once carried Nestle baby food. The orange birds in a nest feeding a worm to their hatchling on the side of the box, the familiar logo that lets you know you’re buying food from this company I once thought of as a source of goodness, before I knew of their practices in employing child labour to collect cocoa beans. Shades of slavery. Other people’s ancestors and Ross Gibson might have wondered about them, too. But I was stuck with the cast-off photos if my family, all shapes and sizes, some cut to rectangular shape with crimped edges, some with straight line edges from the guillotine. 

So many casts off, including the thumb nail sketches my father developed of me and my siblings, one after the other, for the family album.

I collected a series of such tiny photographs and created my own album from scraps of paper I sewed together with a thick needle and thread. I wanted to create my own archive.

One that has not stood the test of time and lives on only in my imagination.

I placed my siblings’ images in chronological order on the grey backdrop of pages I had pinched from my father’s dark room, pages he kept for his own meticulously planned albums. 

When they first married, my father made an album with all aspects of my parents’ wedding included, the invitations, the registry details. In Holland you needed first to declare your plans to marry at the registry for Births, Deaths and Marriages in your town and only later could you marry in a church or registry office of your choice. 

The album was cream coloured and the archive it contained had yellowed with age. All of it in Dutch and hard for me to dismantle but I could guess the nature of each item, including the letters my father pasted inside, the telegrams congratulating my parents on the day they wed. 

There were other albums my father assembled once the babies came along, the four babies born in Holland. But by the time my mother and her four children arrived in Australia he stopped creating albums and my older brothers took on the task. The official record of our family life included for posterity, a type of family archive that displays only the respectable and leaves out events and people we can only imagine when we trawl through the detritus of memory.

I’m sad Ross Gibson has died. His death has saddened me in ways I find hard to describe. He was someone I met only twice. Once at a conference on creative writing, where he gave a talk on his crime scene photographs and I was stunned by his verbal acuity that accompanied such extraordinary humility. So much so it was nothing to go up to him afterwards for a chat. 

The next time we were together on a panel on memory at Swinburne University where we, among others, spoke of our various takes on memory and later that evening we went as a group for dinner in a nearby Malaysian restaurant. I sat beside Ross, and he told me that fate had not given him and his beloved partner of many years, children. But I considered the many other children he brought into the world in the form of his ideas and his respect for other people’s children from the past.

Previous generations. And if we investigate their archives, including our own, we can see things there that hint at the way others lived then, a precursor to the way we live now.