Annah Faulkner has the kind of eyes so sharp they seem to penetrate you to the bone. When talking about her novel The Beloved, you can imagine she is as gusty as the characters she speaks of. Sally Piper, a former nurse, has just released her debut novel Grace’s Table, and this is her first appearance at a festival.
Annah talks about how love seems to have changed over the generations, how in the past love could be fierce, so fierce it was like fighting for survival. There can be a point for mothers where they want something so badly (for their child), they’re so fearful about what’s going to happen (to their child), that their love tips at a point into something else, into desperate control. This reminds me of Jeanette Winterson’s adopted mother — evangelical, deranged — in her memoir, who asks: why be happy when you could be normal?
A small comment from a parent to a small child can influence how they see the world, and their place in it, for a long time. Annah tells of drawing at the table and her mother leaning over and saying, just casually, ‘Art is definitely not your strength.’ Creativity needs to be nurtured not strangled. It was only when she reached 41, that she saw a man in the park, and thought, ‘I’d like to paint that’. In a way, she sees writing a small girl character with a talent for art as a way of healing.
Annah reveals that her mother was a journo and photographer in Papua New Guinea. I was born in PNG and returned there for a short time when I was a child. It’s more and more on the radar with Australian writers. I look forward to reading The Beloved.
In Grace’s Table, Sally’s intent was to flout the expected conventions when writing about a 70-year-old woman. She wanted to write an older woman character who had lived (as we all have lived). Sally wrote her novel as part of a degree, and said she had always been fascinated with the 50s, women in the kitchen, the post-war period where after women had the chance to work, their opportunities were then stripped right back.
Sally talked about how the way we share food defines us, and her novel revolves around how food in a domestic setting is not just about loving and caring, but can be manipulative and taunting too. Her university exegesis was about how disempowered 50s women became empowered in the home by becoming guerilla tacticians. I have a vision of someone in a demure apron and a gorilla mask, but I’ll read Grace’s Table to find out more.
In response to an audience question about characters becoming part of their lives and buzzing around in their brains, Sally admitted to being a ‘bloody idiot’ when writing and driving (the two don’t mix; I can attest to this). I don’t mean literally. But having characters talk to you when you’re at the wheel can be really distracting.
While Annah, who has set an event in her new novel at a particular block of land that she drives past regularly, always thinks ‘There’s Fred’s place!’ as she sails on by…