It was an insight both liberating and shocking. Tom Loxley, dusty-toed, felt the foundations of his world tremble. It would always be possible to stroll around to the back of knowledge and look at it from the other side.
Mogs’s long stride carried her away, past the ringleted Goth buckled into black texting at the tram stop; Death to Moonlight read the legend on his T-shirt. A girl emerged from a juice bar and pranced across the street, a golden ring winking in her brown belly. A courier astride a motorcycle turned his glass face to watch her.
On a car radio, children sang, Christmas in Australia ’s hot, / Cold and frosty is what it’s not. Two boys with clipboards and biros closed in on a woman trying to slip into the supermarket. Tom put on his sunglasses against the gaudy day.
Listening to Mogs deny it, he had known he had been duped; now he was no longer certain. His mind was running with what Nelly might say, with assurances she might offer or withhold. On a suburban pavement he was privy to the interrogator’s exquisite dilemma: nothing less than the truth could satisfy, but when was satisfaction ever a guarantee of truth?
But even as he framed the problem, Tom rejected its terms. If he had got everything wrong, a mistake, levering open prospects, can reveal far more than mere precision. He saw that knowledge, which had sheltered him round for so long, had been allowed to shrink to a constraint. Over the clanking of a green tram, he was aware of unruly starlings making mock.
The lights changed. The traffic coursed forward. A skateboarder crossing the other way said, ‘I wouldn’t call it a Kodak moment, dude.’ Nelly’s laughter rolled through Tom again.
On the far pavement, iron railings clasped a municipal gum. A window held a crayonned image of a red-cloaked child and a grinning beast. Tom went slowly past uphill. Of where he was heading he had no clear sense. But what he wished, with all the force of imperial afternoon, was that he might yet be graced with courage and loving conduct in the face of everything that can never be known.
There came, at that moment, a soft vibration against his hip. He took out his phone and found he was reading a message he had sent himself. It was time to feed the dog.
Iris’s fingers tightened on the handles of her walker as it approached the step. The front wheels tilted into space; and ‘I’m falling!’ screamed Iris. ‘I’m falling!’
Tom said, ‘I won’t let you fall.’
Acknowledgments
I had the good fortune to benefit from the editorial guidance of Jane Palfreyman, Alison Samuel and Pat Strachan. Sarah Lutyens did what she does brilliantly, and it was a pleasure to work with Caren Florance and Ali Lavau.
Ian Britain, Glenn D’Cruz, Gail Jones, Anna Schwartz and Chris Wallace-Crabbe advised me on the manuscript. Jan Nelson offered conversation about art and artists, while John Chambers enlightened me about bond trading in the 1980s. Kate Darian-Smith and Glenda Sluga facilitated my research by offering me a fellowship at the Australian Centre in the School of Historical Studies at the University of Melbourne. I am grateful to them all.
Thank you also to Émilie Asselineau, Alexandre Asselineau and Ned Lutyens for their hand in this book.
Chris Andrews read every draft of the manuscript, and was always insightful and encouraging; which is a wholly inadequate acknowledgment of the extent of my debt to him.
The following books were particularly useful in the writing of this one: Illuminations (Fontana 1973) and One-Way Street and Other Writings (NLB 1979) by Walter Benjamin; The Lie of the Land (Faber 1996) by Paul Carter; Farewell to an Idea: Episodes in the History of Modernism (Yale University Press 1999) by T. J. Clark; The Practice of Everyday Life (University of Minnesota Press 1988) by Michel de Certeau; The Oxford Book of Australian Ghost Stories (Oxford University Press 1994) edited by Ken Gelder; A Private Life of Henry James: Two Women and His Art (Chatto & Windus 1998) by Lyndall Gordon; and The Country of Lost Children: An Australian Anxiety (Cambridge University Press 1999) by Peter Pierce.
The Lost Dog also draws directly and obliquely on works by Henry James.
The lines quoted on page 37 are from ‘The Lost Man’ by Judith Wright in A Human Pattern: Selected Poems (ETT Imprint, Sydney 1996). Reprinted by permission of ETT Imprint.
The line quoted on page 237 is from ‘The Choice’ by W. B. Yeats in Collected Poems of W. B. Yeats (Macmillan, London 1967). Reprinted by permission of A. P. Watt Ltd on behalf of Gráinne Yeats.
The lyrics quoted on page 341 are from Christmas Where the Gum Trees Grow by Lesley Davies. Reprinted by permission of Lesley Davies.
Michelle de Kretser
Michelle de Kretser was born in Sri Lanka and emigrated to Australia when she was 14. She was educated in Melbourne and Paris. Michelle has worked as a university tutor, editor and a book reviewer. She is the author of two other novels, The Rose Grower and The Hamilton Case.
