I don't know, maybe Michelle is one of those writers, like Elliot Perlman, whose work violently divides those who read it. (Perlman, whose very very long and very very detailed novel Seven Types of Ambiguity was treated to an absolute stinker of a review by Peter Craven of the kind Craven had hitherto reserved for Simon During's book about Patrick White, is regarded -- mainly on the strength of this novel -- by the French in particular not only as a very important Australian writer but as a very important writer, period. Other critical responses were dotted all along the spectrum between these two positions. Perlman's book has a dog in it, too; his name is Empson, which is one of the things that enraged Craven.)
Or maybe people think if there's an animal in the title it can't be a serious book. If so, this is sad, for there is a time-honoured and honourable tradition in Australian literature of writing about animals and putting them in your title. A quick trawl through the colourful history of the Australian short story yields the following by-no-means-exhaustive list of titles: 'The Dog', 'The Cow', 'The Bull Calf', 'The Jackass', 'The Dingo', 'The Donkey', 'The Ant-Lion', 'The Galah', 'The Pelican', 'The Seahawk', Tell Us About the Turkey, Jo', 'The White Turkey', 'The Grey Kangaroo', 'The Grey Horse', 'The Black Mare', 'Wild Red Horses', 'The Red Bullock', 'The Red 'Roo', 'The Rainbow Bird', 'The Powerful Owl', 'Singing Birds', 'The Woodpecker Toy Fact', 'The Three-Legged Bitch', 'The Loaded Dog', 'The New Australian Dog', 'Thylacine', 'Serpents', 'Snakes', 'A Snake Down Under', 'The Turtles' Graveyard', 'Goldfish', 'The Mullet', 'The Snoring Cod', 'Getting to the Pig', 'The Woman Who Wasn't Allowed to Keep Cats', 'My Bird', 'His Dog', 'Hawkins's Pigs', 'John Gilbert's Dog', and 'Nobody's Kelpie'.
Perhaps some people may think The Lost Dog "about" (and only about) a dog, and "therefore" can't be Art. Perhaps some people may have forgotten the extraordinary power of the animal symbolism in the work some of the 20th century's great writers -- Lawrence's foxes and horses, Woolf's spaniel, Hemingway's bulls and fish, Les Murray's magical animal poems, Coetzee's dogs and frogs and other critters of all kinds and the absolutely deadly serious life philosophy behind his representations of animals and our relations with them.
For we are lucky enough to have in Australia not just one but two truly great thinkers and writers who can elevate these matters to a place where no intelligent reader can ignore the dilemmas they represent even with respect to that most alien of creatures, the bat: Coetzee as a man who fearlessly follows a trail of logic with no failure of nerve and arrives at a radical point of understanding, Murray from a point of view profoundly spiritual, a conception of being and presence arrived at via Catholicism, observation and imagination all at once. Here is Coetzee's tough nut (an old bat, even) Elizabeth Costello, in full flight, on bats and being:
What is it like to be a bat? Before we can answer such a question, [philosopher Thomas] Nagel suggests, we need to be able to experience bat life through the sense modalities of a bat. But he is wrong; or at least he is sending us down a false trail. To be a living bat is to be full of being; being fully a bat is like being fully human, which is also to be full of being. Bat being in the first case, human being in the second, maybe; but those are secondary considerations. To be full of being is to live as a body-soul. One name for the experience of full being is joy.
Now if one were not aware that Les Murray had written 'Presence: Translations From the Natural World' some years earlier than this, his bat-poem would seem for all the world like a direct response, or amplification, of it, as though in conversation with Coetzee which for all I know he has been, in fact it seems very likely. I wish I'd been there.
Sleeping-bagged in a duplex wing
with fleas, in rock-cleft or building
radar bats are darkness in miniature,
their whole face one tufty crinkled ear
with weak eyes, fine teeth bared to sing.
Few are vampires. None flit through the mirror.
Where they flutter at evening's a queer
tonal hunting zone above highest C.
Insect prey at the peak of our hearing
drone re to their detailing tee:
ah, eyrie-ire, aero hour, eh?
O'er our ur-area (our era aye
ere your raw row) we air our array,
err, yaw, row wry -- aura our orrery,
our eerie ü our ray, our arrow.
A rare ear, our aery Yahweh.
Cross-posted at Australian Literature Diary