30 Days in Sydney: A Wildly Distorted Account

Overview

Peter Carey captures our imagination with a brilliant and unexpected portrait of Sydney.

Bloomsbury is pleased to announce the second title in the phenomenally well-received Writer in the City series-in which some of the world's finest novelists reveal the secrets of the city they know best. In the midst of the 2000 Olympic games, Australia native Peter Carey returns to Sydney after a seventeen-year absence. Examining the urban landscape as both a tourist and a prodigal son, ...

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Overview

Peter Carey captures our imagination with a brilliant and unexpected portrait of Sydney.

Bloomsbury is pleased to announce the second title in the phenomenally well-received Writer in the City series-in which some of the world's finest novelists reveal the secrets of the city they know best. In the midst of the 2000 Olympic games, Australia native Peter Carey returns to Sydney after a seventeen-year absence. Examining the urban landscape as both a tourist and a prodigal son, Carey structures his account around the four elements-Earth, Air, Fire, and Water-insisting on the primacy of nature to this unique Australian cityscape.

As his quixotic account unfolds, Carey looks both inward into his past (as well as Sydney's own violent history) and outward onto the city's familiar landmarks and surroundings-the Opera House, the Harbour Bridge, the Blue Mountains-achieving just the right alchemy of Earth, Air, Fire, and Water to tell Sydney's extraordinary story.

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Editorial Reviews

From Barnes & Noble
When Australian novelist Peter Carey left Sydney in the early '80s, he was a relatively unknown novelist. When he returned to the city 17 years later, he was a Booker Prize winner, a New York resident, and a somewhat controversial figure in the land of his birth. His exhilarating and offbeat tour of his homeland's cultural capital engages Sydney rather than merely describing it. By turns raucous and introspective, 30 Days in Sydney presents the bustling hive as a volatile fusion of the four primal elements. Mix at your own pleasure.
Publishers Weekly
In the second volume of Bloomsbury's The Writer and the City series, Carey (Oscar and Lucinda), an Australian native, returns to Sydney after 17 years. Armed with a battery-powered tape recorder, he badgers old friends including a Vietnam vet, a lawyer and an architect to contribute stories that might define Sydney. "A metropolis is, by definition, inexhaustible, and by the time I departed, thirty days later, Sydney was as unknowable to me as it had been on that clear April morning when I arrived," Carey concludes. He deftly intertwines dry facts about climate, geography and history with poetic stream of consciousness. The result is a desultory, impressionistic love letter to the city, structured loosely around earth, air, fire and water (one friend protected his home from bush fires; another barely survived the "murderous seas of the 1998 Sydney-Hobart race" which sank six yachts and killed five men). The acclaimed Booker Prize winner lets his characters direct the story, stepping in briefly to explain ("A rissole, in case you are from across the sea, is a kind of hamburger patty, but it is also an arsehole and also an RSL [Returned Services League]") and describe ("On Bondi I feel the space everywhere, not just in the luxury of beach and light but in that imagined house two streets back where I will not have to throw a book away to make room for each new one"). Carey touches lightly but firmly on Sydney's own brand of white guilt and patriotism, as well as its culture and landmarks. While other travelogues may provide more information, this effort will leave more lasting impressions. (Sept. 6) Copyright 2001 Cahners Business Information.
Library Journal
This second entry in Bloomsbury's promising "The Writer and the City" series (following Edmund White's The Fl neur: A Stroll Through the Paradoxes of Paris) is anything but a typical tourist guide. In fact, its subtitle best explains the author's goal: to write "a wildly distorted account." This intimate look at Sydney, written by a native who visited Australia during the Olympics in 2000 after a 17-year absence, has little practical travel advice to offer but loads of details of the many days the author spent wandering in a stupor from too much surfing during the day and too much partying at night. This presentation of Sydney as seen through the eyes of an insider rather than a tourist gives the book its undeniable charm, but it is also its weakness. Those who want to dig deep into the Aussie psyche will be richly rewarded, but those looking for advice on whether to take a tour of the Blue Mountains or cuddle a koala at a wildlife park may be disappointed. Carey is an award-winning novelist whose most recent work is True History of the Kelly Gang. Recommended for medium and large public libraries. Joseph L. Carlson, Lompoc P.L., CA Copyright 2001 Cahners Business Information.
Kirkus Reviews
Booker-winning novelist Carey (The True History of the Kelly Gang, 2001, etc.) turns in a "distorted" tour of Sydney during last year's Olympic Games. Though this "Writer and the City" series promises musings from well-regarded writers on "the city they know best," Carey is originally from Melbourne, and didn't live in that "vulgar crooked convict town" of Sydney until he was almost 40-and most of the time since, he has lived as a resident alien in New York. With the idiosyncratic notion of describing Sydney in terms of Earth, Air, Fire, and Water, Carey spends his 30 days with old cronies, architects and artists for the most part, all grown older, their wildness mostly behind them. His friends tell good stories, and through them Carey offers bits and pieces of the essence of Sydney: a little-known eccentric who painted "Eternity" in hundreds of unlikely places; sailors reliving the disastrous Sydney-to-Hobart race of 1998; how to catch a kingfish; and most appealingly, the story of Sheridan, an ex-hippie soap-opera writer who has holed himself up in a cave in the austere Blue Mountains to write a novel. (The Olympics are mostly ignored, regarded mainly as an intrusion.) Carey weaves in the history of Sydney's founding: the unsuitability of the land for farming; the absence of lime (needed to make mortar for laying bricks); the abuse of aborigines by the convict settlers, who were themselves abused. That convict history still informs the Australian character, Carey says, an observation commonly made. Carey's style is a pleasure, but his point is a bit hard to make out, unless one wants to take his effort as a long prose poem-an approach to travel-writing not likely to find manyreaders. Not so much "wildly distorted," it turns out, as disjointed and unfocused.
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Product Details

  • ISBN-13: 9781582341668
  • Publisher: Bloomsbury USA
  • Publication date: 9/28/2001
  • Series: Writer and the City Series
  • Edition description: 1ST US
  • Pages: 212
  • Product dimensions: 4.34 (w) x 7.60 (h) x 0.80 (d)

Meet the Author

Peter Carey is the author of seven highly praised novels, including the 1988 winner of the Booker Prize, Oscar and Lucinda. His latest novel is True History of the Kelly Gang. He lives in New York.

Biography

"My fictional project has always been the invention or discovery of my own country," the prizewinning Australian author Peter Carey has said. This postcolonial undertaking has sometimes led Carey to wrestle with the great works of English literature: The Unusual Life of Tristan Smith (1994) draws on Laurence Sterne's Tristram Shandy, while in Jack Maggs (1997), a version of Dickens's Great Expectations, is told from the perspective of the convict who returns to England from Australia.

But although Carey went to what he calls "a particularly posh" Australian boarding school, he claims he didn't discover literature until he was out of school. He studied chemistry at Monash University for just a year before leaving to work in advertising. There, surrounded by readers and would-be writers, he discovered the great literature of the 20th century, including authors like Joyce, Faulkner and Beckett. "To read Faulkner for the first time was for me like discovering another planet," Carey said in an interview with The Guardian. "The pleasure of that language, the politics of giving voice to the voiceless."

Publishers rejected Carey's first three novels, so he began writing short stories. These, he later said, "felt like the first authentic things I had done." He was still working for an advertising agency when his first collection of short stories appeared in 1973, and he kept the part-time job after moving to an "alternative community" in Queensland. His first published novel, Bliss (1981), won a prestigious Australian literary prize, the Miles Franklin Award. The book is about an advertising executive who has a near-death experience and ends up living in a rural commune.

Carey's later novels ranged farther outside the bounds of his own experience, but he continued to develop his concern with Australian identity. 1988's Oscar and Lucinda, which tells the story of a colonial Australian heiress and her ill-fated love for an English clergyman, won the Booker Prize and helped establish Carey as one of the literary heavyweights of his generation. He won another Booker Prize for True History of the Kelly Gang (2000), the story of a notorious 19th-century outlaw whose legacy still shapes Australia's consciousness.

Though Carey now lives and teaches in New York City, his home country and its past still possess his imagination. ''History,'' he writes, ''is like a bloodstain that keeps on showing on the wall no matter how many new owners take possession, no matter how many times we paint over it.''

Good To Know

Peter Carey and J. M. Coetzee are the only two-time Booker Prize winners to date.

Carey caused a stir in the British press when he declined an invitation to meet Queen Elizabeth II. The royal invitation is extended to all winners of the Commonwealth Writers Prize, which Carey received in 1998 for Jack Maggs. He did meet the Queen after he won the award a second time, for True History of the Kelly Gang in 2001.

Fans of Carey's work know that in 1997, Oscar and Lucinda was made into a critically acclaimed movie starring Ralph Fiennes and Cate Blanchett. But they may not know that Carey wrote the screenplay for the critically panned Wim Wenders film Until the End of the World (1991) as well as the screenplay adaptation of his own novel, Bliss (1991).

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    1. Also Known As:
      Peter Philip Carey
    1. Date of Birth:
      May 7, 1943
    2. Place of Birth:
      Bacchus Marsh, Victoria, Australia
    1. Education:
      Monash University (no degree)
    2. Website:

Read an Excerpt


Chapter One


I DESPAIR OF BEING able to convey to any readermy own idea of the beauty of Sydney Harbour,wrote Anthony Trollope. I have seen nothingequal to it in the way of landlocked scenery, — nothing,second to it. Dublin Bay, the Bay ofSpezia, New York and the Cove of Cork are allpicturesquely fine. Bantry Bay, with the nooks ofthe sea running up to Glengarrif, is very lovely.But they are not the equal of Sydney either inshape, in colour, or in variety. I have never seenNaples, or Rio Janeiro, or Lisbon; — but from thedescription and pictures I am led to think thatnone of them can possess such a world of lovelinessof water as lies within Sydney Heads.

    I could not see the harbour from the aisle seatof the Boeing 747 that brought me home fromNew York and I squirmed and craned just likemy broad-shouldered companions from Connecticut,each dressed in spectacular outfits tailoredfrom the stars and stripes. Members of a martial-artsteam, they were so aflame about this journey,had been loudly excited since we left LA thirteenhours before, that they had tested the powers ofmy Temazepam to the limits. It had taken two15mg capsules and four glasses of red winebefore I could finally sleep. Our conversationshad been brief. I knew only that they wished towin some medals in Sydney. They knew that Ilived in New York City. I am sure they had noidea that I was an Australian trying to get aglimpse of home.

    Home? I did not come to live in Sydney until Iwas almost forty and even then I carried in mybaggage a typical Melbournian distrust of thatvulgar crooked convict town. I rented aleakingramshackle semi in Balmain because I knew thateven if my mother was correct, even if Sydneywas just like Liberace, I could never be sorry towake in the morning and look out on that harbour.This was in Wharf Road, Balmain, betweenStannard's shipyard and the Caltex terminal.Balmain was an old working-class suburb withvanilla slices in the bakers' windows, bad restaurants,bleak beer-sour pubs patronised by dockworkers, communists, crims, cops and the oddmythologiser who wistfully described its literarylife to a reporter from Le Monde as `Le Ghetto deBalmain'.

    There were writers, yes, but in those yearsBalmain had a working waterfront and at thebottom of my neglected garden I could watch thelow-riding brown work boats, oil tankers, containerships, and smell the fuel oil and watch theflying foxes swooping like Tolkien's Nazguls inthe hot subtropical nights when Margot Hutcheson,who I lived with in those years, slept besideme on a mattress right on the harbour's edge. Theoily iridescent dark throbbed with the sounds ofships' generators.

    Now, twenty-seven years later, a resident alien inthe United States, I was making claim on the city2,000 feet below. The video display showed Sydneyonly three miles distant, but the choppy Pacificwas still obscured by low cloud and when wefinally broke through, I didn't know where Iwas. We could not take the perfect flight path Ihad dreamed of, one which would bring mestraight into the familiar mouth of Sydney, betweenthose two high yellow bluffs they call the Heads.

    These bright yellow cliffs show the city's DNA— that is, it is a sandstone city, and sandstoneshows everywhere amongst the black and khakibush, in the convict buildings of old Sydney andin the retaining walls of all those steep harboursidestreets. Sydney sandstone has many qualities.It is soft and easily worked (to the convicts asandstone was a man who cried and broke beneaththe lash). It is also highly porous, and thefirst settlers would use it to filter water. When itrains in Sydney, which it does as dramatically as aHong Kong monsoon, the water drains rapidly,leaving a thin dry topsoil from which the nutrientshave long ago been leached. This in turndetermines the unique flora which thrives here.

    With nutrients so scarce, Tim Flannery writes,plants can't afford to lose leaves to herbivores. Asa result they defend their foliage with a deadlycocktail of toxins and it's these toxins that givethe bush its distinctive smell — the antisepticaroma of the eucalypts and the pungent scentof the mint bush. When the leaves of such plantsfall to the ground the decomposers in the soiloften find it difficult to digest them, for they areladen with poisons. The dead leaves thus lie onthe rapidly draining sand until a very hot spell.Then, fanned by searing north winds, there is fire.

    So the very perfume of the Sydney air is aconsequence of sandstone. It is also sandstonethat dictates the terms of human settlement. For40,000 years Aboriginal hunters and gatherershad known how to eat, to sometimes feast here,but the British who began their creeping invasionin 1788 had no clue of where they were. They setout to farm as they might in Kent or Surrey andthe sandstone nearly killed them for it. Starvation.That is what the yellow cliffs of Sydney spellif you wish to read them. But there is more, muchmore. This modern good-time city of beaches andrestaurants, of sailing boats and boozy Fridaynights, was formed by traumas that it cloaks socasually you might easily miss them. If you comefrom New York City all you may notice is theapparent easiness of life, the lightness, the senseof a population forever on holiday. But there wasa bitter war fought here upon and about thisearth. The Eora tribe, who still thought of Sydneyas their country, were given smallpox and fell likeflies. Convicts were flogged. Convicts raped Eorawomen. Eora men trapped and murdered convicts.Two hundred years later the past continuesto insist itself upon the present in ways that aredazzlingly and almost unbelievably clear.

    Of course Captain Cook never recommendedthat anyone settle in Sydney Cove. It was BotanyBay, five miles to the south, that he promoted as aplace of settlement, but Governor Phillip tookone look at Botany Bay and declared it impossible.Within a week he had inspected SydneyHarbour and set his human cargo ashore.

    His Excellency, wrote Watkin Tench, seeingthe state these poor objects [the convicts] were in,ordered a piece of ground to be enclosed, for thepurposes of raising vegetables for them. Theseeds that were sown upon this occasion, on firstappearing above ground, looked promising andwell, but soon withered away.

    It is more than a little intriguing that some ofthe best vegetable gardens in Sydney can befound today at Botany Bay, and one is temptedto imagine how the city might have formed, howits character would be different, if GovernorPhillip had settled where he had been instructed.

    But Botany Bay was abandoned, and, one feelsin looking at it, punished for not being what Cookhad promised. It became the place where everythingand everyone who is not wanted — the dead,mad, criminal, and merely indigenous — could betucked away, safely out of sight. It is the back yard,the back door, the place where human shit isdumped. What better place to site an airport?

    On the day I arrived in search of home Iskimmed low across the choppy waters of BotanyBay, and landed with a hard unpleasant bump atKingsford Smith Sydney International Airport.


Customer O'Brien, Customer Figgis. These werethe first words I heard spoken on Australian soil.Customer O'Brien, Customer Figgis, please presentyourselves at the podium inside the terminal.

    The formal bureaucratic style jarred my earsand reminded me that I was indeed home, nowucking furries!

    Customer O'Brien, approach the podium.

    I turned to my companions from Connecticut.They did not know how weird they looked. Nordid they have the least idea of what a strangeplace they were in. Of course they were notoffended by this style of greeting but I wassuddenly awash with irritation more explicablein a teenager coming home from boarding schooland discovering the unsuitability of his family.God damn! Why did we talk to people like this?Customer? What sort of dreary meeting in whatwindowless conference room had produced thishonorific for international travellers? CustomerO'Brien. Customer Kane!

    You cannot expect a curious tourist to understandthat this language contains the secrets ofour history, but this was the discourse of a nationwhich began its life without a bourgeoisie, whosefirst citizens learned the polite mode of conversationfrom police reports: eg, At this stage Iapprehended the suspect, I informed him of hisrights and he come quietly with me to the podiumwhere he assisted me with my enquiries.

    Yes, this is unfair of me. The word customer isdecent enough. You are our customer. If you area customer, then you shall be served. But, damnit, we have always had trouble with service.

    In 1958 the Englishman J.D. Pringle, in hispatronising but insightful Australian Accent,made the following useful observation of Australians:they are inclined to assume that beingpolite is to be servile.

    One could give many examples of this, hecontinues. Lawrence described it perfectly inthe opening pages of Kangaroo when Somers istrying to get a taxi. A distinguished British scientistwho was staying in a small hotel during a visitto Australia once asked the hotel porter — or manof all work — to bring down his bags from hisroom. He was taken aback to be told: `Why don'tyer do it yerself — yer look big enough.' ... TheAustralian cannot see why a man should notcarry his own bags if he is strong enough todo so. The same reasoning lies behind the almostuniversal custom of sitting in the front of the taxiif you are alone. To sit behind would imply themaster-servant relationship of the rich man andhis chauffeur. The driver will not say anything ifyou sit in the back, but he will often manage tomake you feel that you have committed an errorof taste.

    Pringle seems unable to actually say why theporter and the taxi driver might be like this. Atfirst I was irritated by this apparent obtusenessbut finally, in the last page of his book, I began tosuspect that his silence was produced by caution.He had worked in Sydney after all. He knewbetter than to say that its inhabitants were stillmarked by the convict stain. But, in the last linesof Australian Accent, he finally reveals what hasbeen on his mind for 202 pages. Deep in thesecret heart of Sydney, he writes, beneath thebrashness and the pride and the boasting, is amemory of human suffering, and a resentment ofthose who caused it.

    The past in Sydney is like this, both celebratedand denied, buried yet everywhere in evidence asin this Exhibit A, this irritating honorific Customer,which I set before Your Honour as, on thisclear blue-skied morning, I come to claim ahome.


Excerpted from 30 Days in Sydney by Peter Carey. Copyright © 2001 by Peter Carey. Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.


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