Thursday, 10 May 2012

Nothing is lost

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In Malouf’s DreamStuff, the message that encapsulates all the stories in his collection, that everything is recoverable, emphasises how multifaceted loss can be. Whether it is a human life or a mere wallet, Malouf asserts that our emotional connection with a lost object ensures the survival of the person or thing in our memories. Though it is this emotional connection that allows us to see Malouf’s character’s struggle to fathom their past and their present. While Sally in ‘Sally’s story’ is trying to recover her lost intimacy and wholeness through discovering Brad, Audley in ‘Great day’ comes to term with the fire that has burnt down the family museum. In Malouf’s exploration of his characters he stresses the continuity of all things as interpreted in Clem’s summation of his speech, and that only through the sense of loss can people move forward with their lives.

In ‘Sally’s Story’, Sally, a nineteen year old, out-of-work actor moves from her hometown in the country to Sydney’s King’s Cross to work as what the people at the time had call them, the ‘Vietnam Widows’, for the American soldiers on leave from fighting. Unlike prostitutes, Sally’s job maintains a temporary ‘…illusion of domestic felicity…’ (p75). Ironically, like her past job as an actor, she has to act a role required of her by each of her clients, though her youthfulness and lack of experience in life has not prepared her for the physical and physiological scars the soldiers has induced on her. The soldiers at a time of war employed their authority brutally and constantly on Sally as they had to reinforce a sense of power in a time when they really were powerless, thus the demands of subservience and endless intercourse, “…a wife out of porno magazines…” (p78), had accelerated her premature stage of life. From her practice, the true meaning of intimacy among her ‘…phantom marriages…’ (p81), has evitablely made her see that her role of a widow was a perpetual one, and that these multiple divorces created a sense of vulnerability and repetitive loss of her innocence and partial intimacy. As she begins to feel haunted by her unfinished and unresolved job she returns home to attempt to relieve the pain and suffering.

When Sally returns home, a country town and a place of dull routinal life she is reminded why she evitablely left her home earlier. Though her stay does not end with a dull note. Sally is attracted to one of townsmen, Brad Jenkins, an easy, light-spirited, single father whose wife left him under mysterious circumstances. Jenkins like Sally, is a widow, however Jenkins does not play out his role like Sally does. It is quite ironic how similar Brad and Sally are, as they are both without partners and both survivors to a wretched life. Sally’s discovery of Brad wife’s clothes and undisturbed preservation of her things while she was changing, shows Brad’s way of not forgetting his past, through the presence of his wife’s things.

It seems Brad and Sally relationship is an integral part to making both of them, complete and whole. Sally’s insecure and extreme lifestyle is replaced with newfound intimacy, comfort and warmth provided by Brads caring and nurturing role as a father, while Brad’s life is now more meaningful as Sally’s aura is essential to rebuilding and rehealing the loss affiliation in the past. Sally’s feeling of secureness and healing can be seen when Brad with the baby strokes Sally’s cheek in bed, an unseen intimacy from the American soldiers.

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Unlike ‘Sally’s Story’, Audley in ‘Great Day’ losses something more tangible, the family museum, however this loss mentally prepares him, with the speech addressed by Clem, to look at his life in a totally

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