Documentos de Académico
Documentos de Profesional
Documentos de Cultura
ASHLEY HAY
is about the many small decisionsthe invisible moments
that come to make a life. The intertwined lives of two women
from different generations tell a rich and intimate story of how
we feel what it is to be human, and how place can transform
who we are. It takes account of what it means to be mother
or daughter; father or son. Its a story of love, and of life.
When Elsie Gormley falls and is forced to leave her Brisbane home
of sixty-two years, Lucy Kiss and her family move in, with their new
lifenew house, new city, new baby. Lucy and her husband Ben are
struggling to transform from adventurous lovers to new parents, and
seek to smooth the rough edges of their present with memories of
their past as they try to discover their future selves.
In her nearby nursing home, Elsie revisits the span of her lifethe
moments she cant bear to let go; the haunts to which she might
yet return. Her memories of marriage, motherhood, love and death A N OVEL
are intertwined with her old house, whose rooms seem to breathe
Elsies secrets into Lucy.
Through one hot, wet Brisbane summer, seven livesand two
different slices of timewind along with the flow of the river, as two
families chart the ways in which we come, sudden and oblivious,
into each others stories, and the unexpected ripples that flow out
from those chance encounters.
ASH LEY H AY
Cover design: Emily ONeill
Cover photography: Reilika Landen;
Paul Moore/Arcangel Images; Shutterstock
Every effort has been made to trace the holders of copyright material. If you have any
information concerning copyright material in this book please contact the publishers
at the address below.
First published in 2017
Copyright Ashley Hay 2017
All rights reserved. No part of this book may be reproduced or transmitted in
any form or by any means, electronic or mechanical, including photocopying,
recording or by any information storage and retrieval system, without prior
permission in writing from the publisher. The Australian Copyright Act 1968
(the Act) allows a maximum of one chapter or 10 per cent of this book, whichever
is the greater, to be photocopied by any educational institution for its educational
purposes provided that the educational institution (or body that administers it) has
given a remuneration notice to the Copyright Agency (Australia) under the Act.
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Narrative non-fiction
The Secret: The Strange Marriage of Annabella Milbanke
and Lord Byron
Gum: The Story of Eucalypts and Their Champions
As editor
Best Australian Science Writing 2014
Elsies house
The house was sold, as the real estate agent had promised, in
next to no time. Abig block like this, with the park at the
back, and the shops, and so close to the cityno trouble at
all, the agent had said.
Elsies children, the twins, Don and Elaine, came to empty
the house for the sale. Elaine swept shelves of items into bags,
disposing of them in the gaping maw of a skip emptied once,
emptied twice. Don went through things piece by piece:
cutlery drawers, button boxes, the old letter rack from the
high kitchen shelf. Some of its receipts and notes dated from
decades before. There were photos in there too: agallery of
grandkids, an image of Elsie before her own children were
born, and the house up to its windows in water during the 74
flood. He stood a while, wiping the dust off this last image.
That bloody floodyou know, Idont think she ever got
over it. We should have made her sell the house back then.
And made no money on itwhod have bought here,
after that? Were lucky that people forget. Elaine had the
fridge door open and shovelled jars and packets into a garbage
bag. Look at thisall out of date.
Carol used to take her shopping once a week; some of it
should be all right. Don slipped the flood photo underneath
When the new people came, they put the stool and the fern
into a skip along with all the wallpapera different pattern
in every room, said the husband, Ben, laughingand the
thick green carpet. Last vacuumed . . . he shrugged, glancing
down at his small son. I think Toms found a cockroach
to eat. Ben was taller than he stood, his shoulders curled
from years hunched over writing. His dark hair was greying
and he kept his glasses on top of his head, ready to read
things at a moments notice. He looked down at his son,
his hands busy with the desiccated insect, with a detached
kind of appraisal.
But these floorboards are going to look lovely, said his
wife, Lucy, taking the cockroach out of the boys hand. Its
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Don had brought for her, cracking it into four or five pieces
as it smashed against the floor. Shed never liked itit had
been a present from one of Clems friends when they were
first married. She dropped the pieces into the rubbish bin,
wondering why it was so dark. Then she heard the rain against
the window and nodded. This time of year, you could expect
a thundery shower on a Brisbane afternoon.
She looked into the street: it was very quiet, and although
she watched and watched, no cars or buses came. Perhaps
there was a strike she didnt know about. Still, it wasnt far
to walk: through the park towards the river and then along
the road.
Shed see her garden, her lilies, her hydrangeas, her azaleas.
Shed see how theyd fixed the front door Donny said
it was bright red now, which she wasnt sure about and
how the walls inside had all been stripped of their carefully
papered patterns.
She smiled: there and back in an hour. Shed feel like
herself again once she was home. Shed let this strange dark
rain ease up before she went.
The next morning, taking Tom into the garden, Lucy paused
at the top of the stairs, registering the stray flecks of the new
front-door paint spattered on the porchs balustrade. Such a
strong colour, somewhere between vermillion and scarlet. Fire
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