54 Crossover Month #3: Novel Dialogue with Helen Garner (Elizabeth McMahon, JP)


Crossover Month continues with a scintillating Australian fiction episode from Novel Dialogue, a new podcast hosted by the awesome Aarthi Vadde of Duke, and RTB’s own JP. If you like what you hear, please share the love by recommending it to friends, tagging @noveldialogue in your tweets, and subscribing to it via Apple Podcasts, Spotify or Stitcher.

Helen Garner sits down with John and Elizabeth McMahon, a distinguished scholar  of Australian literature. Helen’s novels range from the anti-patriarchy exuberance of Monkey Grip (1977) to the heartbreaking mortality at the heart of The Spare Room (2008). She has also authored a slew of nonfiction, plus screenplays for Jane Campion’s Two Friends and Gillian Armstrong’s wonderfully Garneresque The Last Days of Chez Nous. After a reading from John’s favorite, The Children’s Bach, the trio discusses Garner’s capacity for cutting and cutting, creating resonant, thought-inducing gaps. Garner connects that taste for excision, perhaps paradoxically, to her tendency to accumulate scraps, bits and pieces of life. She relates her father’s restlessness to her own life-total of houses inhabited (27). “Why wouldn’t I write about households?” asks Helen, “They’re just so endlessly interesting.”

Who shaped her writing? Raymond Carver: packed with power, but the pages white with omissions and excisions. Helen offers an anecdote about her own pruning that ends with her “ankle-deep in adverbs.” That’s how to escape the “fat writing” that stems for distrust of the reader. She thoughtfully compares the practical virtues of keeping notebooks for the “music” of everyday life to the nightly process of diary-writing (more analytical). John raises the question of pervasive musical metaphors in Helen’s writing, and she reports her passion for “boring pieces” and the “formal” side of Bach, which makes a listener feel that there is such a thing as meaning. “There’s something about shaping a sentence, too, which can be musical.”

Mentioned in the Episode

Listen to and read the Episode

53 Crossover Month #2: Novel Dialogue (Orhan Pamuk, Bruce Robbins, JP)

Crossover Month continues with something completely different, and only a little bit incestuous. Novel Dialogue is a new podcast hosted by the awesome Aarthi Vadde of Duke, and RTB’s own JP. John and Aarthi serve as the third wheel (or if you prefer the social lubricant) for a scholar and a novelist who sit down each week to explore the making of novels, and what to make of them. If you like what you hear, please share the love by recommending it to friends, tagging @noveldialogue in your tweets, and subscribing to it via Apple Podcasts  Spotify or Stitcher

In Novel Dialogue’s second episode, critic and scholar Bruce Robbins sits down with Nobel Laureate Orhan Pamuk. They have taught classes on the political novel together at Columbia for years, and it shows. They ask how the novel can ever escape its roots in middle-class sensibility and perspective: Joseph Conrad comes up, and so does modern Brazilian film. Then they discuss the demonic appeal of Russian novels—and why retired military  officers produced so many great Turkish translations of Russian novels.

We hear tantalizing details about Pamuk’s forthcoming pandemic novel, Nights of Plague. He discusses his move away from “highbrow ironical postmodernist” fiction and reveals his affection for talking about politics–along with his distaste for what the consequences of speaking out may be. “I am not shy about talking…but there are consequences!”

Mentioned in the Episode:

City of God (Brazilian film, 2002)
Joseph Conrad (Under Western Eyes, Nostromo)
Ivan Turgenev
Gayatri Spivak, “Can the Subaltern Speak?
Karl Marx, “18th Brumaire of Louis Bonaparte”
Fyodor Dostoyevsky, The Demons (1871-2), A Writer’s Diary,
James Joyce, Dubliners
Louis Aragon, (Zolaesque romances at the end of his career), Aurélien
Vladimir Nabokov, Lolita

Read and Listen: