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Product Details
| ISBN-13: | 9781776562459 |
|---|---|
| Publisher: | Victoria University Press |
| Publication date: | 03/01/2019 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 256 |
| File size: | 2 MB |
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CHAPTER 1
Hapuku
The road home was gravelled, loose in places and rising into mounds at either bank. It was a straight road, for the most part, clinging to the edges of a flat stretch of coastline, elevated a little way above the sea. Despite the water in plain sight it felt hot — or at least, it all seemed to evoke hotness; the tussock burnt yellow-green and dry, the charcoal-coloured sand of the beach. That day it seared, heat rising out of the ground and blurring everything, the dreaded hole in the ozone layer like a vast, invisible puncture overhead.
Old Beach Road, Hapuku. At first our new address had appealed in an underdog kind of way — a name belonging to a beach whose beauty had been overlooked, eclipsed by whiter sand and milder water. In fact, it was the opposite, pushing people away with its burning black dunes and crashing, volatile waves. Sometimes it was so windy down there we couldn't hear ourselves talk, sand whipping our exposed legs, the sound of the waves roaring into our bedrooms at night. To stand out there on the edge of the tussock, and have it all spread out before you — it had us whooping, just to make ourselves heard against the wildness.
We weren't allowed to swim in the water. Sometimes in the summer we saw hippies going in, when the roads were busier and people drifted down to the ocean. Tourists would sit around kissing and burning, leaning their backpacks up against the rough sand. Once, a nudist — we spied him from where we were playing along the tussocked dunes, with his hands on hips and sporting a floppy sunhat, tufts of white hair down his back. He stared out across the water, and then strode in, his backside small and deflated in the midday sun. We clapped our hands across our eyes and cackled, horrified. Who would pull a naked guy out of the water if he got caught in a rip? Not us.
Running between the beach and the road was the TranzCoastal railway line, tracking its rickety course along the tracks behind our house. The trains roared past periodically, a rush of cargo or blurred faces, the coins we left out on the tracks turned flat and pictureless. We figured the noise was a small price to pay for our little home on the edge of everything, a hidden gem between the snow-covered mountains and sea. This was our house before Clarence, and before earthquakes. Years later, when we returned to Hapuku, the road would be tar-sealed, summer heat rising from the black asphalt in a hazy mirage. But back then it was gravel, and the cars that passed were always followed by white clouds of gritty dust. The dust textured your hair if you left the windows down as you drove along — or biked, as I did that day.
I was thirteen, and I was on my way home from the purple-and-yellow dairy, a lurid legoblock building which marked the end of Old Beach Road and the meeting of the highway as it swept into Kaikoura. We were allowed to bike as far as the dairy, returning with tongues turned red from popsicle slushies and sherbet, salt and vinegar chips burning the roofs of our mouths. It was five k's back to the house. I pumped my feet up and down on the pedals, the seat hot from where I'd left the bike out in the sun, sugar singing in my veins.
I turned to look back when I heard the sirens, the familiar shape of Dad's Land Rover humming towards me in the distance, a dust cloud in his wake. I could see the lights glittering — inside the car there was a button, a wire winding up and outside the window to where they were screwed onto the roof. He would turn them on for us sometimes when he was coming up the driveway, the siren wailing to us that he was home. I was nearly too old for it: the squealing Dad's back! and the race to the door, hopping our bare feet over the sharp limestone chips of the garden path.
On the side of the road, I swung my legs off my bike, ready to flag him down for a pick-up. I put one hand to my shoulder, feeling its hot burn. We always forgot to wear sunblock — my nose was hard and cracked, my arms turned dark. When I held them up against my pale stomach in the shower, it was as though they were separate from my body; a stranger's limbs.
I watched his eyes flick towards me as he sped past, forcing me to turn my back against the dust. I was still some distance from the house, and I watched him race away, the car disappearing after he crossed the one-way bridge and the road curved out of sight. 'Shit,' I said loudly, letting the expletive hang in the otherwise emptiness, the quiet left behind once the sirens had passed. I kicked my feet back on the pedals and pushed forward, irritated and thirsty. Dumb, I thought, stupid. Why didn't he stop for me?
I pedalled over the little bridge, the creek below mostly dried up, white towering flowers with their thick, aggressive stems lining the way. The stalks oozed out sap when you snapped them, milky white and sharp-smelling. Spiders laid their nests in the weeds here, creamy sacs bulging in the sun. I left it all behind, the road rising upwards — a short burst of incline followed by the steady sweep down. On the up my cheeks burned, streaks of dirt on my forearm where I'd wiped my mouth. Halfway I stopped to walk my bike, hoping no cars drove up behind me and saw. My brothers biked this stretch like it was nothing, their legs moving like water. I felt slow and hot, hair slick down the back of my neck.
On the downward slope I set off again, and as I rounded the corner I could see the Land Rover parked haphazardly in the tussock on the roadside. Its front door was open from where my father had spilled out of it. He was kneeling now, his hands working quickly over the body of a man who was lying on his back. I biked towards them slowly. There was a dune buggy on its side, and boys everywhere — lying down or sitting up, bloody. There was a quiet feeling, a buzzing, the boys silent except for a low moaning sound coming from one whose legs bent strangely out of place at the thighs. I recognised some of them — older guys, from the high school. They'd made me feel nervous, mostly, when I saw them around. A couple of times over the summer I had been to the movies in town, and they would sit at the back smelling like sweat and Lynx deodorant, shouting insults at each other and laughing, their trackpants and jackets rustling during the quiet parts. One of them had thrown a Snifter at the back of my head and I'd frozen, too afraid to turn around.
Now, I stared. One boy had pulled himself across the road to lean against a fencepost in the grass. He sat, stunned and silent, eyes set blankly towards the sea. He looked pale, his arms hanging at his sides, gravel studded across his skin.
'Dad,' I said, uncertain, still on tiptoe with my feet off the pedals. He was on his knees with his medical pack, moving calmly between the boys. He didn't answer, just looked up to smile tightly, his mind somewhere else. Blood had soaked into the gravel and was drying in the sun, dark compared with its redness on the boys' skin. There were about eight of them — more than could fit safely into the dune buggy, even I knew that. Behind them I could see tracks in the gravel, long swooping curves. One of them seemed worse than the others, quieter. He seemed to be having trouble breathing — or, in any case, Dad had set up a blue plastic breathing cup over his mouth.
I could feel heat starting to colour my cheeks, became aware of my heart beating. I wondered briefly if everyone else could hear it, if they could see the sweat prickling on the handlebars under my palms. The one with the broken legs made me feel dizzy, but really all of it did — the blue sky, the glare on the gravel and the boys' skin, so easily torn open where they'd hit the road, thrown out of the buggy like knuckle bones. Dad was making calls on his phone, talking to the boys, touching them here and here, his hands on their broken bodies like code. I stayed on my bike, wheeling myself off to the side when the ambulance showed.
I don't know when Dad appeared, but he did, clapping his hand on my elbow and squeezing me towards him. 'Well,' he said cheerfully, 'they'll all be fine. You should head home, honey. I'm relieved, I'll say that.'
He looked pale in his high-vis vest, blood streaked across his trousers where he'd wiped his hands. He could probably come home to change, I thought, because we were so close anyway. That way he wouldn't have to be bloody for the rest of the day, in front of the normal patients. 'I thought it was us, actually,' he said, nodding towards the dune buggy. 'Call out for our address, carload of boys … I thought for sure it was your brothers. Seems silly now. They can't even drive.' He smiled at me. I thought about him racing down the road, rushing past me, full up with the image of his four sons bruised and bleeding on the roadside.
My ride home was slow and heavy, as though I had been swimming in my clothes, my shoes filled up with water, weighing me down. As I crossed the railway line I stopped to put twenty cents on the tracks for later. We collected them, our flattened coins — long past wondering if they would derail the trains that thundered over them. The coin seemed bright against the rust-coloured rails; a tiny, silver full moon, unaware of what was coming for it — all heat and noise, unstoppable. I left it there and pedalled on, past the abandoned goat house and the mailbox, the giant tree and the pancake stones we had piled up into towers. I dumped my bike on the lawn and looked up towards the house. My mother was visible in the kitchen window, her head bent down, her back to me. I flopped down beside the bike, the wheels still spinning, and wondered vaguely when the next train would be. It felt like forever had passed since I'd left for the dairy, or hardly any time at all.
CHAPTER 2Drummond Street
I'm writing this from my bedroom in Wellington. Summer is on its way out, only the last keen swimmers left plunging into the harbour. Above, the sky is milky, swollen with rain. I have a big desk in my room, looking out over the Mount Cook stairs, but it's mostly for show — I always end up writing in bed, usually early in the morning. The window in my room is large and even from my bed I can see what's happening out on the stairs. It's a funny part of Wellington, a mix of students and professionals, young families, elderly people living on their own. The stairs are wide and lined with benches and plants, a public walkway connecting Tasman and Drummond Streets. Somehow the stairs became a stopping point for people passing by, school kids there to break up or make up, crying into the flax bushes. Or sweaty middle-aged running groups doing drills up and down, their breathless banter spilling into my room. Sometimes drunk guys, swaying on the benches. They smell like urine and booze, and they never seem to notice as I walk by. Once, two guys at the top of the stairs, high as kites and negotiating their route down in a small chilly bin. 'Don't do that,' I pleaded, watching one of them crush himself inside it. 'That will definitely kill you.'
'Aw, ya know,' he said. 'Gotta do it.'
Other times it's just people holding hands, or sliding down the handrails on the seat of their pants. Sometimes I see friends and I call out, but they don't hear me. Always there are Massey students — the university is just beyond the top of the stairs. When I was a student there I lived in a house nearby, dashing across the road five minutes before my classes, arriving pink-cheeked, half asleep.
I first arrived in Wellington off the ferry, laden with the bags that Mum and I had packed together at home. My friend picked me up and took me back to her flat in the centre of the city, just off Cuba Street. It felt like a life I hadn't even known I'd wanted until that exact minute when we were walking round her room, the walls covered with art prints and drunken, obscure messages from new friends; inky, sprawling handwriting and joke-names I'd never heard before. She lived with long-haired boys who wore ripped jeans, and I stared openly at everyone, wanting to be like them. Wellington felt like a city where you became the person you'd always imagined — or, at least, where you sat coolly at the back of bars listening to people play jazz, or something.
I started out studying English literature at Victoria University of Wellington. It was a badly planned year, organised from a grubby internet café somewhere in London during my gap year, when decisions about classes and courses had felt like distant plans for a future self, a stranger. Soon I switched to Massey and began a degree in communications. It felt more practical than studying novels, but still, at the end of those three years, the thought nagged at me: I wanted to be a writer. In 2015 I applied for the Master's in Creative Writing at Victoria's International Institute of Modern Letters. I'd heard about the course years before — the best you could do, people said, the one that would push you out of your comfort zone. When I was accepted, the email went to my junk folder, so I almost never saw it.
The idea was to write a novel over the course of a year, and the finished product would be our thesis. I sat in a room with ten other writers, paralysed with nerves. But as the months passed, a story surfaced — a work of fiction set in an alternative, future Wellington. It was about a community rebuilding after a flood.
That novel is sitting in a folder on my desktop now, needing work. It's still a good story, I think, but I'm not ready to go back to it yet. I want to write all of this down first: a different book, one that's been swimming around my head for the last couple of years. I can feel it starting to fit together – the earthquakes, Dad and his work as a doctor, the demands of rural medicine. Fractured emotions. Feeling out of control. And then, as well: the things that keep you steady.
It's different writing something true. It actually feels a little bit like cheating — I don't have to make up the plot, develop any of the characters. They're already here, fully formed in front of me, doing things that make me want to write about them. In the months leading up to the summer of the end of my MA year, I'd talked it over with my parents, asking them how they'd feel if, for my next project, I wrote about what we'd all been through. 'Would you mind?' I asked.
'We just want you to write,' they told me. 'It doesn't matter to us what you write about.'
* * *
It's been seven years since I arrived in Wellington, and I've become my own small part of the rhythm of the city, my adoration for it only slightly less delusional. I've come and gone in that time, chasing jobs or going overseas, home for summer holidays. But still, it's a place that always sparks that same feeling, like everything is possible again. I'm surprised it can have such a hold on me, because I am equally rooted at home — small-town New Zealand, the epic spread of mountains and sea, no cellphone reception and empty black-sand beaches. There, it doesn't matter if people read your work or not. There's no anxiety; it's just big and wild. You can't shake that stuff. I come and go between these two homes, flying to Kaikoura every few months just to breathe out, to not be chasing anything.
These are my landscapes. But now that I'm writing, I'm faced with another set: the ones that belonged to my parents in their lives before New Zealand, and before us. They've taken us kids back to England to visit, but I feel out of place there — the wrong clothes, the wrong accent. The green fields and cobbled streets don't carry any significance for me. My brothers and I joke that we are the weird hillbilly cousins, turning up once every couple of years with stories of pig hunting or mincing paua, laughing about the deranged wild goat that lives in the hills in Clarence, our impossibly remote home, tucked away along the east coast of New Zealand.
In Wellington, I sit up in bed with my laptop to write. It's strange to look back over my life like this, seeing afresh how one thing leads to another. This story goes back further than me — there is stuff that only really makes sense if you know what's gone before. But once I start travelling backwards, it seems impossible to contain everything, all these lives with their influences, events from a century ago still rippling into today. I try not to think about the process, knowing there will always be an infinite number of possible tellings. Instead, my writing is an exercise of trust — pieces rise to the surface and I gather them up, order them, assign meaning based on gut-feeling. A part of me feels nervous, backing myself like this. The more I write the more the story narrows, leaving less room to change tack. But I keep going because there's a confident part of me, too. Sometimes, when I'm working, I don't feel nervous at all.
(Continues…)
Excerpted from "We Can Make a Life"
by .
Copyright © 2018 Chessie Henry.
Excerpted by permission of Victoria University Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
Hapuku,
Drummond Street,
17 July 1960,
Talismans,
Philippa,
Windfall,
Africa,
Sumner,
Kids,
Tokelau,
Going home,
Falling through,
The Fallen Gull Club,
Grand plans,
The river,
India,
Christchurch, 22 February 2011,
After,
Abi,
Hard work,
Election 2017,
Kaikoura, 14 November 2016,
A deep loss,
Brave,
We can make a life,
Acknowledgements,
Picture section,