Dislocated: A country dance


Dislocated

There was a two-roomed school in Moorine Rock, and an old weatherboard hall. There are a few other buildings, including a newly restored hotel, but there is nothing big about Moorine Rock. It’s not a town, just a tiny string of buildings along the Great Eastern Highway 400 km from Perth on the way to Southern Cross.

I was there to collect a ute. Each month for 18 months or so in the mid-1990s, I took the Prospector train to Southern Cross to lead worship in two or three centres and mentor the two farmers who were studying in the parish-based TEAM program.

The parish would organise a car for me. In an average Southern Cross weekend, I would drive several hundreds of kilometres along lonely roads, huge flat paddocks of wheat or canola my only company, in order to take services in Southern Cross and tiny settlements like Bodallin and Mount Walker, each with a half-dozen worshippers.

And on this night, a parishioner had brought me to Moorine Rock to collect my transport. It was convenient because there was a party in the hall, and I could meet some new people who weren’t churchgoers. In theory, a good idea. I thought I would be up for the social challenge, but it didn’t turn out that way.

I was nearly punched.

A line-dancing troupe from Perth had visited the school that afternoon. It stayed on to provide the music for the evening. The Principal chatted with me. Her 12 pupils were lined up on the dance floor to show their parents the moves they had learned that day.

I knew no one. I looked around the hall. There were a couple of dozen mothers chatting in twos and threes. A few of the men lounged against doorframes their fists grasping cold cans of beer. Other men were outside, all in earnest conversations. I overheard ‘wool prices’, ‘canola harvest’, ‘sheep sales’. I thought I was at home in a farming community. I thought this was like the little town where I grew up. But I knew that breaking into tightly knit conversations as a stranger was always hard. I thought I was up to the social challenge.

The music started up again after a break. The Principal called for everyone to get on the floor and join the line dancing. Two or three of the women joined in. They’d done this before. A young man from the Sons of Gwalia mine, an outsider, merrily drunk and hyperactive, took himself to the floor energetically. Not one of the farmers made a move towards the dance floor.

The Principal dragged me onto the floor. Elbows linked, we jigged in our line. The dancing was quite fun, but I noticed that the young miner and I were the only males on the floor.  It seemed men didn’t dance.

I scooted back and forth for 15 minutes or so until the Principal released me. I thought I would join a conversation outside in the black night around the barbecues. I stood outside two of the groups waiting for the opportunity to jump into the conversation, either verbally, or physically. I wasn’t there it seemed.

I thought of Tambellup. It was many years since I had seen such strict apartheid: women inside, men outside.

I wandered back inside and tried to join the women’s talk. One group was more inviting and allowed me to move into their circle. But I could find nothing to contribute to their talk of babies and home duties and being a woman on these vast farms. It was on that night I learned that many women in their forties with growing families and solid farm responsibilities were not allowed access to money. Their fathers-in-law insisted that he had sole control of the bank accounts. The women were welcome to shop, but every little item had to go on the farm account – and then be accounted for.

Moorine Rock was in no danger of being liberated, it seemed.

Pretty soon, I gave up trying to socialise. I grabbed a can of Sprite and leaned against a wall: an involuntary wallflower. One of the farmers’ wives took pity and asked me who I was and what I did. The usual small talk. Very soon, we were into her rare trips to Perth. I told her about my travels. She had cruised in Europe and around Greenland. Suddenly there was a man between us, his face red.

‘Let me have my woman back.’ He said it quietly, but I could hear the menace in his voice.

‘Sorry about my husband,’ she said as he led her away.

I assumed that he was drunk and that this was a one-off situation. I still thought I could handle the social challenge.

I repeated the very same mistake five minutes later. This time the angry husband was about to hit me, but his wife restrained him.

I decided it was time to leave. I didn’t fit in. I couldn’t meet the social challenge. I headed for the front door of the hall and out into the night. I had to find the ute. I had to be able to locate the ignition. If I couldn’t succeed in those two challenges, I would have the humiliation of having to go and ask one of the men for help.

I quickly picked out the only ute. I slid into the dark cab, felt for the key slot, started the motor and flicked the headlights on. Three challenges in the pitch dark, really: one, find the ute, two, put the key into the ignition slot, and three, find the headlight switch. Three challenges met. Much easier than the social challenge.

I followed the dirt track from the hall to the highway and piloted the rattly ute to my accommodation in Southern Cross.

I was glad to be alone.

On Monday, back in Perth, I visited my physio. The boot-scooting had put my back out . Dislocated – badly.

ooooooooooooo

Photo credit: jjparsonsphotography

Caravanning around

…extremely funny and bitingly serious about the state of the arts in Australian society.


Wayne Macauley, Caravan Story, Melbourne: Text, 2012 (2007)

ISBN 9781922079121

208 pages

Paperback from $15. Kindle $11.96

Reviewed by Ted Witham

The humour is Australian; the settings are banally Australian. There is a lot to like in this savage satire by Melbourne writer Wayne Macauley. Caravan Story was his second novel.

Wayne Macauley

Since the original publication of Caravan Story in 2007, Macauley has published The Cook (2011)and Simpson Returns (2020). A book of stories Other Stories was released in 2011. He has received a number of prestigious prizes for his writing.

In Caravan Story, the writer, ‘Wayne Macauley’, wakes up one morning in a caravan being towed away. The destination is a country town on the footy oval turned into a caravan park.

He finds himself in an oval full of artists, carted here by the Government. They are instructed to make themselves useful members of society. They are fed and housed while they create.

The painters and the actors soon find ways of turning a dollar, but the writers are unable to be so enterprising. Their writing efforts are collected, but it turns out that the rejection slips have already been written. The plot shows ‘Wayne Macauley’ and his partner escaping home from this crazy world of disillusion, and on the way is extremely funny and bitingly serious about the state of the arts in Australian society.

As a writer, I revelled in this book, both for its questioning of the ‘usefulness’ of poems and stories, and for the loving attention to the details of footy clubs, high schools and caravan living. But it is a book for people other than writers, simply to have a laugh at Governments’ total incomprehension of the arts, and the importance of writers, and all of us, to ground ourselves, to have a place that is ours — a home.

Why and How I Write


Jodie How is a fellow-writer in our Busselton-based writing group, Just Write. Jodie blogs at Motions and Musings and has tagged me to blog about my writing. I will then tag a couple of others to carry on the assignment!

What am I working on at the moment?

As usual, I am working on several pieces. I have just drafted a feature article on Australian musician Dorothea Angus. Dorothea was the Head of Music at Perth College for 32 years. She was also one of Australia’s best performers on piano and organ, regularly appearing on ABC Radio.

I have started a hymn for the competition for the 150th Anniversary of St Paul’s Cathedral in Melbourne. I’d better get a wriggle on, because I think the closing date is the end of this month!

I’m also sitting on a romance I have just finished exploring grief when an older man is widowed. I’m waiting for a magazine or competition wanting a short story of a 1,000 words.

How does my work differ from others in my genre?

The honest feedback I get on my poems is twofold. One: people enjoy their musicality, their wordplay and rhymes. Two: they find them too dense in thought, and wonder whether I should put my thoughts more simply.

My stories tend to show detail of landscape and character where other writers leave more to readers’ imaginations.

Like most writers, I struggle to see myself as writing in a preferred genre. I write some fantasy, some SF, even a little romance, some political drama: I see myself writing stories.

Why do I write what I do?

I write about my interests. [I try to be interested in everything.] But I do want my writing to do more than entertain: I want to engage readers. I want them not just to read my hymns, but to sing them. I want them not just to appreciate my point of view in a blog post, but to re-consider their own. I write to persuade; or at least to lay out a viewpoint for real consideration.

I write stories that show characters responding with honesty to challenges that require love and truth. I show people not always being able to rise to challenges, but who can grow to be honest with themselves about their lack of courage or love. I try to avoid the Hollywood solution of bringing a good ending by violent means.

How does my writing/creative process work?

An idea presents itself to me, and I churn it in my head, and it keeps churning until it turns into a story or a poem or blog piece. If it needs research, I research.

There are exceptions: I do write sermons when I am on a roster; I do look for poems to translate. In those cases, the passion comes as I go about the task of uncovering the heart of what I must write.

I write best when I first walk in the morning either along the beach or around the wetlands of Broadwater. I enjoy walking in the quiet of the moment with an empty meditative mind. As I approach the actual writing of the piece, the words gather in my mind to the rhythm of my walking.

Then I sit at my computer and type for an hour and two. I like silence when I write. When I have finished a draft, I go back and edit and re-write until I am reasonably satisfied with the piece.

Ted launches his book of Advent devotions (2014)
Archbishop Roger Herft launches Ted’s 2014 book of Advent devotions (Photo courtesy Sally Buckley)