Spring

The closest thing I have to a goddaughter is M, the soccer-playing soprano and third-year Aerospace Engineering student who has made occasional appearances on this blog before, and of whom I stood in awe even before she reported earlier this year that she'd scored a 95 for a subject called Space Vehicle Design.

Her birthday is on the last day of winter -- I remember the first one well; I have a vivid memory of sitting on some hard institutional seat in the maternity hospital with her late father, handing him the hip-flask of brandy that my own father had thoughtfully provided for his use -- and yesterday she turned 21, an occasion celebrated with an afternoon tea party.

As she floated down the hall of her auntie's house to greet me I was dumbstruck by what she was wearing --




-- not only because of its perfectly-preserved beauty as a piece of vintage clothing but also because the last time I'd seen it, her mother (above right, and below) was wearing it at my own 25th birthday party, 30 years ago:




I don't get a lot of opportunities to observe the young en masse, but there would have been about 60 people there yesterday, of whom only ten or fifteen were my generation or older. Most of the more-or-less-21-year-olds would have been from either the soccer team or the Adelaide U Choral Society, though in their tea-party clobber -- there were some very pretty floral frocks, waistcoats, bow ties and so on -- it was impossible to tell these two groups apart right up to the moment, not long after that photo was taken, when it came to sing Happy Birthday, which was the most brilliantly tuneful and certainly the only eight-part rendering of Happy Birthday that I've ever heard in my life. Having warmed up with that, the AUCS members present -- at least 25 of them -- sang several other things, most of them through mouthfuls of cake or champagne, and were magnificent.

To a person, the younguns were friendly, sociable and courteous, some of them showing a degree of social adroitness that I don't even have now, much less when I was their age. I saw a great deal of thoughtful behaviour, particularly towards M. Nobody was rude, nobody got drunk, nobody whined and nobody behaved like a prat. Perhaps young persons who join choirs and soccer teams are not necessarily representative of their generation, but I'd like to think they are. Watching and listening to them made me very happy.

Memory loop

This morning after I'd dropped off the car for its regular service, I wandered down to the nearby Hutt Street Precinct for a protracted mooch and dawdle in flâneuse mode till the garage should call and let me know the car was ready to be picked up.

Some time later I found myself passing a narrowish restaurant frontage: old black-painted wooden door, delicate little old-fashioned door-knocker in the shape of a little wreath, ancient art nouveau leadlight panel above the door. All incredibly familiar. I peered inside and recognised it as the restaurant that four of us went to for dinner the night our English Honours results came out in 1976; we'd hung out as a gang all year, and had planned the dinner as an act of solidarity no matter how well or badly each of us turned out to have done in the exams. And we did.

The restaurant was Neddy's, which had been opened by the now-legendary Cheong Liew the previous year, and was already one of the earliest signs that Adelaide was about to transform itself into a city of excellent restaurants, with radically new fusion-style cooking and an equally radically new emphasis on fresh local produce.

I found a near-empty cafe in an old and not-too-tarted-up building, ordered a hot chocolate and had just sat down with my novel when the music started up: Jimmy Barnes, another Adelaide boy, singing 'Flame Trees'.

... and I'm just savouring familiar sights
We share some history, this town and I ...

Blue and yellow

I grew these, from bulbs my sisters gave me -- the daffs from C this year as an Easter present instead of chocolate when the family came down here for a hot cross bun arvo tea, the hyacinths from W for my birthday in May. The vase is green alabaster from San Gimignano in Tuscany, a town made famous by E.M. Forster, bought there and brought home in a little backpack, heavily wrapped in soft clothes.

Given that I had a black thumb till I was 45, I think our mother would be proud. Not that I did anything but bung them in pots and forget about them.




For me this picture is both nothing but itself -- flowers, perfect and powerful, with intense and brief and burning lives -- and also immediately about an accreted mass of memory from a life spent mostly reading. Wordsworth. Ovid. Forster. A.S. Byatt. My mother chanting 'daffy-down-dilly'. The perfume I wore circa 1981, whose name I now can't remember, but which smelt of hyacinths, dense and ever so slightly bruised, not exactly sweet.

There were two lemons amongst the plums, to intensify the colour. How would one find the exact word for the colour of the plum-skins? (There was a further question of why one might want to do so ... It was a fact that the lemons and the plums, together, made a pattern that he recognised with pleasure, and the pleasure was so fundamentally human it asked to be noted and understood.)

... Language might relate the plum to the night sky, or to certain ways of seeing a burning coal, or to a soft case enwrapping a hard nugget of treasure. Or it might introduce an abstraction, a reflection, of mind, not mirror. 'Ripeness is all,' language might say, after observing 'We must endure Our going hence even as our coming hither.' Paint too could do these things. ... Van Gogh's painting of the Reaper in his furnace of white light and billowing corn said also 'Ripeness is all.' But the difference, the distance, fascinated Alexander. Paint itself declares itself as a force of analogy and connection, a kind of metaphor-making between the flat surface of purple pigment and yellow pigment and the statement 'This is a plum.' 'This is a lemon.'

... Alexander ... became obsessed with a small painting of a breakfast table, on which Van Gogh painted the household things he had bought for his artist's house ... held together by the contrast and coherence of blue and yellow. Vncent described it to Theo:

A coffee pot in blue enamel, a cup (on the left) royal blue and gold, a milk jug checkered light blue and white, a cup (on the right) white with blue and orange patterns on a plate of earthenware yellow-grey, a pot of barbotine or majolica blue ... finally two oranges and three lemons: the table is covered with a blue cloth, the background yellow-green, thus six different blues and four or five yellows and oranges.

-- A.S. Byatt, Still Life

Any sighted combination of blue and yellow has immediately evoked these pages from Still Life ever since I first read it, and the date I've written on the flyleaf is 1985.

They don't make 'em like they used to

And speaking of people (as I was at the end of that last post) who may have got old and fat and drug-addled but can still perform like fiends and angels, have a listen to this:




(NB this was a concert in Japan in 1991 so the word 'still' is misleading up there, in a way -- though I gather they can still still do this.)

Attention Adelaideans: back to the olden days

I can't remember when it was that we actually got onto the power grid, down on the farm in the old days. I was probably still quite a little kid but I do have clear memories of the days before that when power came from the generator in the shed, and if something went wrong with the generator then it was back to kerosene lamps and candles. (And, if it was winter, open fires in the bedrooms and hot-water bottles in the beds, though I think we had those anyway.) Traditionally when the generator went cattywumpus we all sat round the kitchen table in the soft lamplight and played board games.

Given that the farmhouse was three miles from the township and a mile from the next farmhouse, we were a little island of light in a sea of darkness, unless of course there was a moon, or someone drove up the road past our gate and we watched as the headlights approached and then receded. My folks could usually tell who the driver was by the sound of the engine, the direction the car was travelling in, and the time of night. And I now know from experience that you internalise that kind of early security and carry it with you for the rest of your life.

What is it that has me musing on these bygone idylls? Why, the fact that Adelaide broke two more heat records over the last 24 hours, including Hottest March Night On Record (it didn't get below 30 degrees last night) and the power supply is being tested to its limits. There was a stressed-looking woman on the teeve tonight (though everyone in Adelaide is stressed-looking at the moment, so perhaps that's not relevant) from ETSA saying she thought that although the power supplies have held up amazingly so far, sooner or later all the aircon being left on all night -- few Adelaide houses are currently habitable without doing this -- was going to blow up something important and the power outages would start.

So I hope my fellow Adelaideans all know where the torches and the candles are and can find them in the dark when the lights go out. Last time I lost power here I set up five or six candles at different heights on the lounge-room table and sat there reading by candlelight. It was eerie and beautiful, with its interlocking circles of soft silver-gilt light, and most of all it was astonishingly peaceful and restful. I'm almost looking forward to a power cut so I can sit in the candlelight again, think of my late lamented Ma, and feel as though I'm pushing back the dark.