Category Archives: Rural Childhood

Don’t come home: a sample of Tank Water

JAMES Brandt didn’t look back when he got away from his rural hometown as a teenager. Now, he’s returned to Kippen for the first time in twenty years because his cousin Tony has been found dead under the local bridge.

The news that Tony has left him the entire family farm triggers James’s journalistic curiosity – and his anxiety – both of which cropped up during his turbulent journey to adulthood. But it is the unexpected homophobic attack he survives that draws James into a hunt for the reasons one lonely Kippen farm boy in every generation kills himself.

Standing in the way is James’s father, the town’s recently retired top cop, who is not prepared to investigate crimes no-one reckons have taken place. James must use every newshound’s trick he ever learned in order to uncover the brutal truth.

A coming-of-age story and crime thriller with a large and gentle heart.


The prologue of Tank Water

Daniel listened to his son’s idiotic answering machine for the fourth or fifth time, waited for the beep, cleared his throat and went to say everything; but when the right words still wouldn’t come, he threw the receiver down and went for another drink.

Bottles rattled in the fridge door as he yanked it open. He twisted the top off one and threw his head back for the first gulp. From that angle the leftover sausages on the top shelf looked like his best option for tea, but their yellowed skin reminded him of his nephew’s bloated body inside the freezer at the police station.

Even after shutting his fridge the smell was there. It’d been hanging around for days, like there was mortuary fluid on his shoes. Whenever he noticed that sickly blend of chemicals, Daniel couldn’t help but picture the photographs of Tony’s remains before they’d removed him from the river below the Kippen Bridge.

He turned to the sink and washed his hands again, but the mossy scent coming down the pipes from the tank didn’t help. What water did to a corpse — filling it with more death than it seemed to have room for — was the very worst thing he’d seen in twenty-five years of police work. The head, shoulders and most of the torso had been submerged, swelling the guts. The legs were broken and lying at awkward angles, entirely concealed by reeds and the thicket of poplars.

Daniel reached for his beer and flicked the radio on. Music he didn’t recognise unsettled him, but the news would come on in a few minutes. Word was already getting around town. He hoped no one had contacted the Kippen station with the worst of the stories. Tony would probably still be lying there if a jogger’s dog hadn’t sniffed him out. The park below the bridge was known for attracting lonely types, and his nephew certainly fit the bill. Every ten years or so, one of them jumped.

He reached into the bread bin. Only crusts left. Everything else was in the fridge, but Daniel wasn’t game to open that again. Nothing much in the cupboards. He wasn’t in the habit of going into Kippen just for shopping, not since he’d finished up at the police station. Anyhow, there were beers left from his retirement party on the back seat of his car.

As he pushed through the screen door onto the verandah, rabbits scurried off the last patch of lawn by the tap. A cloud of dust in the middle distance partly shrouded his brother inside his tractor cabin, heading for home. Beyond that, already out of the sun’s reach, Deloraine’s homestead blended into the dark furrows that would push up Bill’s cheeky early sorghum crop soon enough.

Daniel sucked at his drink and swirled each mouthful around his teeth before swallowing, testing whether it could somehow be right to head over there and hang around for something to eat. For more than twenty years, Doris had told him to come around for a meal whenever he needed. He had a whole unopened carton of beer to offer.

Sitting up in his cabin, Bill was a bloody wonder. He never let the farm go, even after the worst life threw at him. With the chance of frost right through to November it was dicey to plant so early, but Daniel knew why his brother did things that way. It was like they couldn’t lose no matter how much they gambled. Bill planted crops even if the conditions were all wrong. He loved feeling like a winner in spite of the weather reports, and there was no one out here to overlook your failures. It had been a huge risk, but he’d pulled the tough older brother act and forced Daniel into sowing sorghum on every square inch of Deloraine and The Mulgas, less than a month after little Gregory had died.

Daniel gnawed the inside of his cheek, remembering his own dead boy. The hard work of that huge crop had paid off richly for them, but it had been Daniel’s last full season of farming before he’d pulled the skittish younger brother act, sold the land and applied to become a cop. Harvesting his share of nearly five thousand acres in the solitude of his cabin while he’d sobbed for Gregory had done him in. All that was left of The Mulgas’ perfect cropping country was the home yard.

‘Thank Christ,’ he muttered as though someone was there. His colleagues were right. He’d started talking to himself. Former colleagues. Bill changed gears and the tractor disappeared behind the tall pine trees that obscured the machinery shed at Deloraine. As Daniel watched, he felt the air cool and noticed the gloom of his own house stretching over the field between the homesteads. The unmistakeable shadow of The Mulgas’ water tank steadily covered the dried grass, the gravel laneway and the bare fruit trees along the fence.

He shouldn’t go and bother his brother and sister-in-law. The Mulgas had him in its grasp, and staying in was better than witnessing poor old Bill having to go home to Doris. He’d be trying to disappear into the woodwork even more than usual, and she would be busy with funeral arrangements like it was a bloody dance at the town hall.

Daniel heaved a sigh, drowned it with another mouthful, and prepared to sit with the sorrow in the homestead that once rattled with a wife and kids. There was just one more thing to do before he’d put the lock on the top gate, fetch the beers in and call it a night.

He flung the door open, killed the radio, went for the phone and dialed the number he’d circled in the newspaper next to his son’s photograph. While he waited for the comedy act of Jamie’s message, still with that girlish tone, Daniel finished his beer.

‘You’ve reached James Brandt, journalist at the newspaper everyone loves to hate. I’m not available to take your call at the moment, but please leave me a message if you’ve got the scoop.’

Right off the beep, Daniel spoke.

‘Jamie,’ he said and burped. He wasn’t about to let his son imagine anything had changed. ‘It’s Dad. Look, I’ve been trying to catch you for a few days. It’s just that, well there’s no easy way to say it. There’s been a death in the family. Just call me, son. Funeral’s next week. There’s a couple of things to discuss, but you don’t need to be here.’

© Michael Burge, all rights reserved.

Meet the country writers boosting a festival’s word count

“It’s like living on a writer’s retreat and I love it.”

AUSTRALIA’S rural heartlands are renowned for cultivating works of literature, and in the northern NSW region of Glen Innes the second annual High Country Writers Festival is busy fostering wordsmiths ahead of its final sessions on Saturday October 24. It’s also getting help from plenty of country-born locals who are great with words.

International travel writer and blogger Amanda Woods has had her wings (slightly) clipped by the global COVID-19 pandemic, yet this New England born-and-bred journalist will be chatting at the High Country Writers Retreat with authors Mary Moody and Mary Garden (also renowned travel and adventure writers) about capturing the world on the page, especially at this time of ‘armchair travel’.

Glen Innes-based travel writer Amanda Woods

According to Amanda, being able to live and write in the country is “a gift”.

“The simple fact that I am woken up by the sounds of magpies rather than construction work, as I used to be in the city, allows me to start the day gently and slip into my writing with ease, rather than having to fight to centre myself and block out what’s happening around me.

“It’s like living on a writer’s retreat and I love it.”

A regular contributor to popular publication Escape, Amanda has also been published in Mindfood and Australian Traveller. She creates stories for her own site, Adventures All Around, and is currently working on a piece showcasing the New England region for The Telegraph UK.

“It’s such a great feeling to be a part of something special in my home town. I love the way the festival not only brings great authors to Glen Innes but also brings local people together to bond over books,” she said.

Call To Home

Deepwater-based writer Lucy Munro

Deepwater-based writer Lucy Munro will be chatting with Mary Moody about cool-climate kitchen gardening at The Makers Shed, and finds inspiration on her 45-minute commute into Glen Innes.

“Whole paragraphs sometimes appear to me somewhere along the New England Highway,” she said.

“The smallest and most uncomplicated day-to-day moments evoke so much creative feeling within me, and I regularly leave interactions with people with a fully-formed story in mind.

“I think this is because for the most part, country people – and country life too – is genuine and meaningful. What you see is what you get, and there is no greater stimulation for writing than that.”

Published in The Planthunter, Belle Magazine, and Smith Journal, Lucy is undertaking a Masters in Writing at the University of New England, and will have an essay ‘Call to Home’ included in Trisha Dixon’s new book Spirit of the Garden. She cites isolation and poor Wi-Fi as challenges for country writers.

“But time has taught me that these are elements that are precious and needed most for my writing. It also helps that I have an expanse of paddocks to wander and animals to ‘anthropomorphise’ when the disconnect is too much.”

“There is so much creative work happening in this region and around rural Australia. Writers festivals like this provide space for this community to connect and share ideas and stories. “

Author Walk

Inverell Shire-based writer D’Arcy Lloyd

Emerging author D’Arcy Lloyd is currently working on a series of short fiction works based on the story of Waterloo Station, home of the High Country Writers Retreat.  

Raised in the Inverell Shire and drawn back to it after four decades living in cities and coastal regions, she was inspired to revive her writing output as a result of the move.

“I started dabbling with fictional writing in the 1980s, but it wasn’t until I returned a few years ago that I realised the various book concepts and a number of draft short stories that had grown out of the sites, colours, sounds and smells of the New England.  

“Cosmopolitan inner-city living is thrilling and stimulating, and I miss it, but this region nourishes me, inescapably.  It’s like a vast emptiness pregnant with whatever we allow our dreams to make it.”

D’Arcy will be launching her website at the High Country Writers Retreat during an ‘author walk’ of Waterloo Station with co-owner Deborah Anderson, complete with heritage tales that are part of her new ‘Waterloo Series’ of micro fiction.

Box Seat

Deepwater-based author Michael Burge

The support of this team of local wordsmiths is wonderful. They’ll lead conversations with our visiting authors and get to the heart of some fabulous books and storytelling now available in this region. Every one of us grew up on a New England farm, or still farms today, and we all have a connection to this landscape and its ongoing stories.

My first novel (a coming-of-age crime story to be published by MidnightSun Publishing in 2021) is set in a mythical place, although the towns, locations, buildings, streetscapes and farmlands are unmistakably the uplands between Delungra and Bingara, the country I came from.

I’ll be joining Moree-based author Nicole Alexander for a chat about breathing life into historical fiction, which I’m probably looking forward to more than just about anyone else planning to attend the session!

Since moving to Deepwater in 2017 I’ve been working on two manuscripts set in the past, one of which revolves around the 19th century railway gatekeeper’s cottage I call home.

It’s a great privilege for me to be able to sit in the box seat and hear an acclaimed author like Nicole open the door on how she creates an historical novel.

The High Country Writers Festival & Retreat continues on Saturday October 24, 2020 in the Glen Innes Highlands.

 

 

The greening of Deepwater Country

“Artists sometimes whisper to one another about the new palette that emerges when the rains stay away”

I TEND to blend into the landscape wherever I am living. The hues of the Blue Mountains were wrought on my vision for three decades, and I lived on Moreton Bay long enough for its marine palette to become second nature; but I was born in the New England, this vast cluster of upland valleys known as ‘tablelands’ after the plateaus and mesas that rise in their midst.

The Blue Mountains are draped with scrub and fern. Moreton Bay might be at sea level, but its islands are the leftover pinnacles of ridges and peaks that once rose above river valleys, their crowns layered with red earth and sand. The New England’s surface is blanketed with remnant wood- and grass-lands, now tucked in by pastures as varied as patchwork quilts.

DELUNGRA DAZE: The head of the driveway where I waited for the school bus

My first view from our settler’s homestead was of the distant chalky-blue hills running north from Bingara to Warialda, sometimes lit like rich strips of indigo against the gold of crops. The shapes of these tree-studded hills, mottled with dusty greens, came leaping out of me in a series of works I executed within months of returning to live in the Deepwater region in 2017.

The green ridges of Tenterfield, stooped under mist, became a theme in early 2018. By the time I was throwing paint around on canvas regularly, some of the high country around Glen Innes had started to brown off. We assumed it was the usual wintering of grass crisped by frosts, but when the spring rain drizzled instead of pelted, the ‘D-word’ crept into conversation.

It is harsh, there’s no arguing with the reality, but even drought doesn’t dampen the creative spirit. Artists sometimes whisper to one another about the new palette that emerges when the rains stay away… the pinks, yellows and apricots keep the landscape alive while the crops and cattle fail.

It’s not something to crow about, but as my brush kept at it though 2018, I noticed how the perennial blue of the sky started to offset land gilded by drought. 

The result was a small collection of works that told the story of local woman Ada Bezzant, who drowned herself in the Deepwater River in 1927.

The Choices of Ada Bezzant

Her reasons seemed as clear as Virginia Woolf’s, to me: a decade of loss that started with a young son blown apart on the Western Front, and ended with an ailing husband dead in faraway Newcastle.

Ada and her family ran a sawmill further along the road that still bears their name, situated just metres from the river she chose to end her life in.

CHOICES: ‘Ada and the Dam’ (oil on canvas by Michael Burge, 2018. Private collection)

Creating art about suicide encouraged me to make works of sufficient beauty that the pain of loss runs seamlessly into the landscape, so it was gratifying when a judge at the 2018 Frost Over Barraba Art Show commented in his notes that awarded ‘Ada and the Dam’ a painting prize, that the bittersweet feeling of loss and regret shone through.

DROUGHT: ‘Drowning Without Water’ (oil on canvas by Michael Burge, 2018. Private collection)

‘Drowning Without Water’ is the work that told me I was capturing the colours of a parched landscape. Perhaps that’s why I wanted to express the presence of water in the title and the blatant droplets of paint? Here is Ada, her clothes rightly just out of style for 1927, walking to an unseen river.

I spent a year thinking of her, even found her grave off to the to the side at Deepwater’s cemetery. I understand the challenges of country living, how they can wreak havoc on families when death makes its inevitable call. With apologies to Ada’s surviving relatives, some of whom we have met since moving here, I borrowed her tale for a while for this series of ‘New England Gothic’.

Creative Juices

By 2019 even my brushed dried up… bushfires are hardly inspiring, and adrenalin drains creative juices almost completely.

GREENING: ‘Torrington Plateau from Deepwater’ (pastel on paper by Michael Burge, 2020)

Almost… when the green tinge returned I could barely contain my desire to capture it, and a series of works emerged with greens so impossible that no-one would believe such bright hues, captured not with liquid paint but dirt-dry chalk pastels.

The drought is not over for everyone, but the rains have stayed for us, and the Deepwater River is flowing again. I saw the plain of Dundee so water-soaked the pools reflected rays of light. I saw hillsides with verdant green at their feet, while the seed heads of the grasslands tinged the sloped with a new dry gold. I saw weather where for so long there had really been nothing but dry skies. I saw change that seemed like it was never going to come again.

GOLD: ‘Hill above Yoongan Creek, Deepwater’ (oil on canvas by Michael Burge, 2020)

The Deepwater Country collection bleeds from greens and greys, to a fool’s gold, and then back to a surreal burst of colour that I’ve heard some locals confess to being desperate for. I know I was.

Deepwater Country runs until the end of August at The Makers Shed.