This interview is the most comprehensive I have been part of to date; discussing walking, poetry, environment, music, ecology and death.
This interview is the most comprehensive I have been part of to date; discussing walking, poetry, environment, music, ecology and death.
A pearl has no meaning to the pig, says South Korean director and writer Kim Ki Duk. His 2002 film Spring Summer Autumn Winter …and Spring is an anecdotal portrayal of time. Phrases, movements, events and conflicts circle back on themselves. People are shown as unwitting participants in a world with its own logic. Buddhist and mystic symbolism underpin and overlay the action. We learn about the characters through their actions, not what they say. The film requires little dialogue to convey its meaning.
In the opening sequence a young boy teases a frog, a snake and fish by tying a rock to them. The little creatures struggle. His grandfather – we can only assume they’re related – watches the kid torture the animals. That night while the kid is asleep the grandfather ties a rock to the boy. When he wakes up he’s distressed and is told the rock can be removed once he has seen to it that the rock is removed from the frog, snake and fish. If, by this time, any of the creatures have died then the boy will live with this burden. The boy drags the rock around the great lagoon where they live. The frog is alive. The Fish is alive. The snake has died overnight. The boy is distraught. The boy has a heavy heart.
If the grandfather had not disciplined the boy then we can assume he would have continued on in life thinking torturing animals was okay. We have seen already that it is in the boys nature to be cruel. Discipline is a way of altering that nature.
Later on in the film, the grandfather paints the heart sutra on the deck of the house that floats on the lagoon. The young boy, now a man, has returned, a fugitive after having fled the home with a girl who was visiting. Viewers do not witness this, but the young man murdered the woman one night when she sleeps with another man. The boy returns home and when detectives find him the grandfather requests that before he leaves the boy carve out the heart sutra with a knife.
The rationale of the film dictates the Buddhists wishes are respected and the detectives wait all day until the boy has finished carving. Only then can the boy begin healing his heavy heart, that began with the murder of the snake, some fifteen years before the murder of the woman. The return of the heart motif shows that the master played a small part in the boys downfall. As Phillip Larkin wrote: Your parents, they fuck you up, even if they don’t mean to, they do.
There were three of them sitting around a table at a diner. Don Quixote, Sancho and Pockets were sitting around a table in a diner that served good ice-cream, they had discovered; but not strawberry ice-cream they had discovered, to their disappointment. Pockets, which was not her real name, had no sense of humour and even when she ate nearly all of her ice-cream cone and the ice-cream exploded out the bottom of the cone and went all over her face and blouse and table she didn’t laugh, even though Don Quixote and Sancho were laughing at her she didn’t laugh along, instead she went to the bathroom and cleaned herself up. When she was in the bathroom cleaning herself up, Sancho looked at Don Quixote and Don Quixote looked at Sancho. They both knew what their looks meant and Sancho asked Don Quixote why, on a Friday night, they were eating ice-cream instead of drinking at a bar somewhere. Don Quixote replied by saying that all Sancho ever thought about was drinking beer, and eating, and that perhaps he might need his strength for the trail and the adventures they would encounter. Sancho said that sugar is bad for you, just as bad as alcohol and that people eat sugar all the time, they’re addicted to sugar and they don’t even realise they can’t go a day or two without a sugar hit.
Ken lay awake, content in his sleeping bag, and thought about how this short journey was beginning to end. He imagined boarding the plane tomorrow and how the inflight procedures were identical to the ones he witnessed on his way out here, but would now feel in reverse, as if all that had been built, the friendships made and landforms experienced, were being unravelled. He would arrive at the airport early, he thought, putting on his beanie, and sit at a bench and try to summarise his last twelve days on paper. He knew this trip was not about details. Twelve days was not long enough to get a feel for the subtleties of Alice Springs, the West Macdonnell Ranges and Uluru. It was too late to learn even a single word of the Arrente language, he told himself, but he’d be better prepared next time, if there was a next time. In less than twenty four hours the plane would taxi to the take off position and a baby would be screaming and the professionals would be reading, and he’d remember a critical comment a hiker made that allowed him to realise that when you spend most of your time traveling you rarely spend long enough with anyone to see the nasty side of their character. Lying on his back on the inflatable mattress that had developed a slow leak, Ken looked up at the stars and the tops of the ghost gums and the outline of the gorge falling to the sandy riverbank where he lay, and he thought to himself that we allow ourselves to roam where nothing is sacred, that we’re afraid of going to sacred places for fear of spoiling them with our presence and that it’s better to have been to a sacred place without knowing it is sacred, that the landform is merely a landform where no rituals and stories had taken place. That way you avoid being culpable of destroying the magic of the place. The rituals we do hear about, Ken repeated to himself, tell an ancient story of ownership through having lived there, and you cannot know the stories that make these places unless you live there for a long time.
A kind of interloper, Ken concluded he did not have knowledge enough of these stories to respect the places as they should be respected. He longed to be given the truth of the situation, instead of having to determine that truth for himself, for then he felt he could understand clearly what was the admirable way to behave and the best possible way to look after the land. As he lay out in the open this ambiguity kept him awake and he knew that he never fell asleep on his back and that he might sleep for an hour or so on tomorrow’s flight home.
Ken’s thoughts, as always, were about the next day, the next passage that awaited him and as he watched the flight path of a plane overhead he imagined himself the next day reading the inflight magazine with the grey kangaroo on the front and he would read through from cover to cover the mining advertisements and the articles about miners and then he would look out the scratched window overlooking Alice Springs and know he’d been down there somewhere and that when he was there he could not see the shape of the river as it cascaded between the ridges and conglomerates and he could not know, as he later read, that no water had flowed there for hundreds of centuries when the entire region was submerged in salt water. Now when the rains fell only puddles formed on the surface of the riverbed and a subterranean stream may trickle slowly on top of the cap rock. Ken pulled his sleeping bag upwards to allow his body enough space to rotate so he could lay on his side and the mattress made a crinkling sound and then he sensed movement under him and he sat up and saw in the depression he had dug where his canister stove sat, the sand turning to a darker colour. He knew water was rising all around him and at first he thought of collecting his belongings and moving to higher ground, the liquid now filling the spaces between the ridges of his mattress, yet he could still feel the ground firm underneath him. He unzipped the sleeping bag and pulled his legs up to his chest to remove his feet and he threw the sleeping bag on top of a large boulder nearby, and at first he was scared but he soon realised the water was not flowing downstream but coming straight up out of the earth and now the mattress was holding his weight and keeping him just below the surface of the rising water. Leaves and twigs circled around him and his empty water bottle, shoes and headlight floated nearby. With his legs in the water and his lower half now soaked Ken grabbed the headlight and pressed the on button and looked below as his feet could no longer touch the ground he could see the groundsheet held down with rocks. In the opening of his backpack he shone the torchlight on his notebooks and at first he was sad to see that they were now ruined, saturated with clouds of blue ink spiraling to the surface. He knew the notes for his stories were now ruined, and a condensed sense of the effort he put into compiling them now struck him, and he winced and shook his head in disappointment, and from the surface of the water he collected his small lighter and put it in the fold of his beanie to dry. A whining from a dingo could be heard and Ken made no hissing noises to stop her.
In June of 2014, I took two buses and a train from my home in Fremantle to the trail head of the Bibbulmun Track in Kalamunda. In rain and a leaky jacket I walked for three hours to Hewitt’s Hut, arriving in the dark. Already at the hut was my friend, his brother and two friends of theirs I had never met before. My friend was walking the entire track. His mates had driven in as close they could to the hut. They had brought eskys full of alcohol, meat for the bbq and mobile phones to watch AFL on.
This story appeared in Rumble Strip.
Sorcha told me that whenever she walks in the wind blown streets of Fremantle, she always tends to think of the place underwater. She said she doesn’t know exactly how the buildings will change, but some will have a permanent watermark and their basements and ground floor will become fish tanks. The warming air is warming the oceans and melting icesheets and sea levels are predicted to rise as much as one point one metres over the coming decades and if the seas rise a salt water triangle beginning at the northern end of Packenham street, to Bathers beach, to Little Creatures and then up to South Terrace will all be inundated, the waters rising and falling with the tide each day. The skatepark that runs south-east along the line of the train tracks within the grounds of the Esplanade park will have water rising half way up the half pipes and filling the bowls. This, she said, as if she had been pondering the image for some time, will be an unexpected reversal, as swimming pools are usually drained to make bowls for skateboarding.
Sorcha said you can feel the planet getting hotter and nowadays nobody goes out during the middle of the day and just last night, the temperature rose two point five degrees from 11pm to 1am and has continued to rise all morning until only the brave or those with air-conditioning venture out. The heat, especially standing in direct sunlight, is hot enough to burn the dash board of cars and many arguments have erupted about the apparent ownership of shaded parking bays closest to the markets or to the Woolstores shopping centre. These violent outbursts directed at complete strangers occur daily and onlookers are seen filming the incidents on their mobile phones to upload on social media. I too, began Sorcha, witnessed one of these outbursts, when a woman with black hair and black clothing had been attempting to reverse into a parking bay and a man snuck into her spot near a paperbark tree. When the passengers of the mans car opened their doors they were ambushed by the woman, speaking in Cantonese, which they understood, except for the driver who instructed the woman to get lost, before making his way through the steaming vehicles to the food court. The irate woman who missed her spot left her car stationary in the middle of the car park causing a traffic jam and all kinds of honking from other drivers. As the passengers were following the man to the food court they spotted another car leaving and stood at the entrance of the bay until the angry woman was able to slowly reverse her late model Mercedes into the spot and hastily throw her foil sun protection screen inside the windscreen and secured it with the visors. I often wonder, said Sorcha, if people suddenly find themselves at a breaking point and lose their shit one day or live their lives going from one confrontation to another without realising.
Yesterday I finished reading Extinction by Thomas Bernhard. The novel took about two weeks for me to read and during that time I have taken the train to Armadale, walked about 100km on the Bibbulmun track and traveled around north east Bali. My copy now has dried chocolate on the cover, some black residue on the outside from my girlfriends purse, a few dog ears and various notes in different coloured pen throughout. The Vintage edition has a pretty poxy cover but the contents inside make up for that.
I wasn’t looking for any technique or angle in particular as I read. Extinction is a novel I was able to sit back and enjoy and let the author take me on a ride through the main characters psyche. The novel is one long monologue inside the ideas and thoughts of Franz-Josef Murau after he receives a telegram that his parents and brother have died in a car accident. It feels more appropriate to say the novel is separated into two paragraphs than two chapters. The first chapter is one paragraph and the second chapter is one paragraph. There are no breaks. At first this seems a little daunting but after fifty or so pages you get used to it and by the end you start to wonder why all books are not written like that. Actually, Extinction is the kind of book that is unique. Without the paragraph breaks you can see how this would force the writer to examine closely how enmeshed each of their ideas are – how interlinked each event and scene is and if they are not seamless, more words need to fill out the gaps until the bridge is crossed.
With the long paragraphs and deep psychological examination of the characters you can draw comparisons to Austerlitz by Sebald. In an interview Sebald acknowledges Bernhard as an influence. [At the 14:50 section of this interview] The influence on Austerlitz from Extinction becomes clear once you start reading both. Sebald calls Bernhard’s unique form of narration ‘periscopic’, where we receive the story through the voice of one character inside of another of another. The sentences in Austerlitz are much longer than those found in Extinction. I’m not sure which novel influenced Bernhard to write Extinction, but finding out will be a great pleasure for me.
Sebald is much more tender with his characters, but both authors are uncompromising in their pursuit of challenging the power structures of our society that lead us away from being kind to one another. You could argue that Extinction deals with the aftermath of WW2 more directly than Austerlitz, but I would prefer to say that WW2 is more of an open wound to the character Franz-Josef Murau, than Austerlitz. Bernhard is more about subterfuge from within, whereas Sebald is more about personal understanding around the periphery.
I remember reading a few years ago in one of the many how to write fiction books, that your characters should have attitude. Murau, the main character of Extinction, has a lot of attitude. By attitude I mean the character has convictions and is not afraid of sharing them. This attitude will put a lot of people off Extinction. But this is what I liked. We are told that having strong convictions can be isolating, because you can be shown to be a hypocrite, or you never know what lead these other people to behave the way they do. Just because you don’t necessarily agree with someones convictions at least they have convictions, and it is this premise that appears to underline Bernhard’s work.
You could say Extinction is an exercise in ridiculousness. It is ridiculousness that verges on the hilarious. I’m not sure I would keep reading if the voice of the novel continued on ranting and ranting without dipping into the ridiculous from time to time, to remind us that he’s taking us to the extremities of his consciousness – as far as that can conveyed through words on a page. The rant, or stream of consciousness, unravels in a cascading swirl where the topic of discussion is repeated or referred back to until the subject is covered sufficiently. You’d think the repetition would be annoying, but because it works on a microlevel it reads more like a poem. Where subjects are recovered on a macro level they are enlivened with a new context so that you’re seeing them in a new light. I’ll try to quote a section that covers the elements I’ve just identified – periscopic narration, attitude, ridiculousness, swirl, repetition:
“My parents had told me that the village was a dangerous place, but I discovered that it was not in the least bit dangerous. I thought nothing of going in and out of all the doors and looking through all the windows. My curiosity knew no bounds. My brother never accompanied me on my expeditions. He’s been down to the village again, he would say, and look on shamelessly, not batting an eyelid, as I was punished for my offense. My mother would beat me with a rawhide that she always kept in readiness, and my father would box my ears. I had many whippings, but I cannot remember my brother being whipped or having his ears boxed. I was interested in anything that was different, but my brother was not, I thought, examining the photo of him in his sailboat on the Wolfgangsee. I once told Gambetti that my brother was always an affection seeker, but I never was. I tried to explain what I meant by the term. At mealtimes my brother was always silent and never dared ask a question. I constantly asked questions and was reprimanded by my parents for asking the most impossible questions. I wanted to know everything – no question must remain unanswered. My brother was a slow eater; I always ate hastily, still do. I always walked fast, wanting to reach my destination as soon as possible; my brother had a slow, one might almost say deliberate, gait. As for my handwriting, it was fast and careless and, as I have said, almost illegible, whereas he always wrote in careful, regular hand. When we went to confession he always spent a long time in the confessional, whereas I was in and out in no time. It did not take me long to list the many sins I felt obliged to confess, while he took at least twice as long over the few he had committed.” p44.
Some eighty pages later Bernhard returns to the rivalry between Franz-Josef and his now deceased brother Johannes. This time Franz-Josef is looking at some pictures of his family as he tells Gambetti:
“My brother, unlike me, was a calm person: at Wolfsegg I had always been the restless spirit, but he was the soul of calm. My parents always referred to him as the contented one and to me as the malcontent. If we got in trouble, it was always my fault, never his. They believed his explanations, not mine. If, for example, I lost money that had been entrusted to me for some reason, they refused to believe I had lost it, despite all my asseverations. They preferred to believe that I had pocketed it and only pretended to have lost it, but if my brother said he had lost some money they believed him. If he told them that he had lost his way in the wood, they instantly believed him, but if I told the same story they refused to believe me. I always had to justify myself at great length and in great detail. On one occasion my brother pushed me into the pond at the Children’s Villa. Whether intentionally or not, he pushed me in while passing me at the edge of the pond, where the wall is not wide enough for two people to pass. I had the greatest difficulty keeping my head above water and not going under. I actually thought I was going to drown, and I also thought that my brother might have pushed me in on purpose, not inadvertently out of clumsiness. This thought tormented me as I struggled for dear life in the pond. My brother could not help me without risking his own life. He naturally made many attempts, but failed.” p127
Maybe you have to read the entire book but I found this passage quite funny. I think it’s the language that gives away that the writer is having a laugh. What I like is that the novel isn’t packaged into sections. Bernhard focuses on making each individual scene as vivid as possible and lets one scene flow into the next without regard to how it fits within the overall scheme of the book. You could argue that the pond drowning passage could flow on from the earlier passage on page forty four. But Bernhard is able to reference back to the contrast between him and his brother with just a sentence or two, a topic that had been canvassed over a number of pages beforehand, and then continue on with an event that had come to his mind. This is how our minds work when we stare out the window in a reflective mood. At first we’re going over old ground but then something may come to us that we hadn’t thought of earlier.
As a writer do we then package the same subjects together or write about them as they occur to us? Bernhard could have separated the the book into smaller sections titled Johannes, Mother, Father, Sisters, The Wine Cork Manufacturer and so on, but this would detract from the swirling nature of the prose. The way the characters interlink is masterful. Without giving too much away, the juxtaposition between the values and apparent principles of the characters all coming together for the funeral elucidates such a realistic feeling inside of me that I understood exactly where Franz-Josef was coming from, why he acts the way he does and why he has such an attitude. Imagine having to greet Nazi SS officers at your fathers funeral because they were ‘friends’.
It was my first time reading Austerlitz and I had the usual experience of all Sebald texts of drifting from pure fascination to having read a few pages and not comprehending a single word of what my eyes had passed over – only to note that they were fine words and then to retrace where I had last understood what was going on and start again. I’m not sure Austerlitz will have as great an impact on me as Rings of Saturn – but only time will tell. I don’t really have any worthwhile conclusions about Austerlitz without reading it again, and I’m sure other people have already made such points and you’ve read a lot about it already.
One thing I was looking for as I read – a point made by Sebald in an interview – is that he is constantly reminding the reader that the author, and the characters – had given their preoccupations considerable thought. This is kind of reflexive, as they wouldn’t be preoccupations unless they demanded ones attention, but I suppose the interesting thing to note is the way Sebald handles this in the text – and how these become clues to the greater questions asked in the book. Here are a few examples:
“From the first I was astonished by the way Austerlitz put his ideas together as he talked, forming perfectly balanced sentences out of whatever occurred to him, so to speak, and the way in which, in his mind, the passing on of his knowledge seemed to become a gradual approach to a kind of historical metaphysic, bringing remembered events back to life.” p14
“Histories, for instance, like those of the straw mattresses which lay, shadow-like, on the stacked plank beds and which had become thinner and shorter because the chaff in them disintegrating over the years, shrunken – and now, in writing this, I do remember that such an idea occurred to me at the time – as if they were the mortal frames of those who once lay there in that darkness.” p31
“Though I really gave up my architectural studies long ago, he said, I sometimes relapse into my old habits, even if I don’t make notes and sketches any more, but simply marvel at the strange edifices we construct.” p57
“He would always emerge from his study in the evening in a state of deep despondency, only to disappear into it again next morning. But on Sunday, when he stood up in the chapel in front of his congregation and often addressed them for a full hour, he was a changed man; he spoke with a moving eloquence which I still feel I can hear, conjuring up before the eyes of his flock the Last Judgement awaiting them all, the lurid fires of purgatory, the torments of damnation and then, with the most wonderful stellar and celestial imagery, the entry of the righteous into eternal bliss.” p64
These prompts, I think, are an interesting technique in giving the story and the characters sub-text. An issue that occupies someones thoughts doesn’t just explain events of their past but reveals, in a clever way, why they are where they are and what might motivate them into the future. This also echoes one of Stanley Kubrick’s axiom: concept as subtext.
On Creaturely Life: I thought this book might be a good segue between thinking about walking tracks and nature and the notion of Natural History in Sebald’s work. Maybe I’m stupid but the book lacks a coherent overall thread. For example, in the final chapter Santer begins discussing the references to animals in Sebald’s work – but it only lasts a few pages before switching to discussing humour and then Sebald’s use of photography. Maybe I’ll have to read the book again to gain an overall perspective but at the moment I’m seeing it all piecemeal. The piecemeal take away ideas I have identified follow.
One of the things I do when I go ‘out bush’ is think about animals and what their thinking capacity is. Seeing wild animals is what makes the wilderness wilderness, I suppose. Landscapes and their vegetation are managed, and wildlife populations are managed too, but the nature of animals and how we relate to them remains separate. Santer doesn’t discuss this in relation to wild places but some of the conversation is still relevant:
“For the animal, beings are open, but not accessible; that is to say, they are open in an inaccessibility and an opacity – that is, in some way, in a non-relation. This openness without disconcealment distinguishes the animals poverty in the world from the man forming which characterises man.” p9 from Agamben.
Santer wants to use the contrast between the way animals think and the way man thinks to develop a picture of natural history and how that plays out in various literature. To be in a natural state is to be bored. This is certainly true when you’ve been sitting in a camp somewhere for more than six hours. Boredom, Santer states, is to be in a state that obstinately refuses itself. This may explain why bushwalking is simultaneously exhilarating and utterly boring. The thrill of starting a long walk is quickly tempered by the mundanity of the act.
Somewhere in the relationship between man and animal is the notion of the creaturely, the space between real and symbolic death. Natural history tries to make sense of these forces:
“Natural history is born out of the dual possibilities that life can persist beyond death of the symbolic forms that give it meaning and that symbolic forms can persist beyond the death of the form of life that gave that human vitality.”
In the context of Natural history the universe doesn’t end when you die. The modes of understanding that make us human also exist and persist outside of us and continue on in a collective sense. The idea that “life can persist beyond death of the symbolic forms” leads to a fascination with violence and war and the decay of human orders in order to give structure to the narration of natural history. All of this leads to allegory which is a signifier of temporality. In allegory, Santer argues, the observer is confronted with the facies hippocratica of history. (p18) The most extreme example as represented in the skull. A ruin, for example, is irresistible decay. Therefore, in allegory, as a expression of temporality, mans subjection to nature is most obvious.
When we look at the works of Sebald and some of the take away messages of Natural History – simply being there – the thereness – and grasping the changing face of history; the impact of the observation of death and decay, is experienced as trauma. For the characters is Sebalds work, observation is not a beholding, but recollecting traces of past lives and lost possibilities. They become a medium and photographic apparatus for communion with the dead. (p.53) Hence why we get the feeling history has a strangle-hold on these people to find out what they can.
Finally, past suffering has been absorbed into the substance of lived space, into the setting of human history. Basically, natural history is all around us, a kind of morphic resonance that lies beyond the books, but is present if you know how to read the landscape and people.
All this seems a bit dark and dreary, especially when thinking about wilderness walks and their apparent healing processes, but each track will have a story to tell, and having a sense of the natural history of a track will make the story I will try to tell more informative. Pilgrimages are predicated on the movement of people and automatically trigger within us the notion of the past and salvation. Songlines bring to us the past and carry with them the stories of the past. The Bibbulmun track, for example, has aboriginal, colonial, forestry, mining histories embedded in the landscapes that it passes through. Apparently the Wilson Inlet in Walpole is the oldest inlet in the world. The track itself has its own history and the way it developed and changes.
Bill Bryson spends a bit of time discussing the history of the Appalachian trail before the character in A Walk in the Woods sets foot on the trail. I’ll be reading that book over the next week or two to see how popular walking stories work.
Hello. Please check out my first novel Bad Boy Boogie: The Adventures of Bon Scott. Click here
If you don’t have a kindle, don’t worry. You can download the kindle app on any device and read it from there. You can read on your smartphone or computer or tablet.
Bad Boy Boogie — The Adventures of Bon Scott is an historical fiction on the life of Bon Scott. Scott was the singer in the Australian band AC/DC. He was 33, in 1980, when he died. The novel intentionally blurs the boundaries between fact and fiction. By drawing on available literature and interviews with people who knew Scott, the novel develops a picture and chronology of his life. The chronology of the narrative is distorted for dramatic effect. Some of the characters are based on real people, and some are fabricated. The objective is to bring Scott to life. The hope is that readers will get a sense of the context and circumstances that brought about his choices.
The intended style of the novel is the picaresque form. The rogue protagonist, Bon Scott, works his way through life moving from one injustice to another. Scott meets most challenges with wit and humour. He is barely able to hold his job and often flirts with the boundaries of criminality. When it appears the main character has finally achieved his goal, once again something or someone conspires to restrict his advance.
The novel is separated into six chapters, covering the most important periods in his life. The first chapter follows Scott’s juvenile delinquent phase. He is sentenced to nine months in detention and discovers his desire to be a rock and roll singer. Chapter two sees Scott in the pop group the Valentines. In chapter three Scott is in Adelaide-based band Fraternity. The chapter ends with Scott crashing a motorcycle and ending up in hospital. Chapter four follows Scott’s involvement in the early days of the band AC/DC. Chapter five traces AC/DC’s rise to success. Chapter six and seven details Scott’s health decline and simultaneous rise to the top of the music world.
You can think of Audax rides a little like racing car driving. Some riders run a multiple stop strategy, some riders a no stop strategy, some riders a couple of stops strategy. Some riders will refuel; the equivalent of a wheel change, some will stop for an hour to what amounts to a full service. Some riders carry a boot load of clothes and food, some will closely examine the route sheet figuring out where to buy food. Some riders ask their girlfriends or wives to drive around after them with food and clothes, in exchange for cunnilingus. Most of the time you don’t need that much gear, but it doesn’t take much for everything to fall apart. Haven’t packed a proper rain coat and you slow down pretty quickly when you freeze on a descent. Get two flat tyres and the idea of sitting roadside hoping a patch will work isn’t that appealing. These trials don’t seem like a big deal when you imagine them from your couch, but if it’s 11pm and 5-7 degrees outside you quickly discover if you’re unprepared.
For most riders doing their first 600, simply finishing is the goal. After a couple of successful completions you figure out where you’re strong, where you could do better. Most beginners tend to break too long and too often. Some veterans like resting long and often. After a while you set yourself new goals, new challenges beyond just finishing. My aim this time was to see what happens. Having completed a 1200 six weeks earlier, I didn’t know if my energy reserves had been restored. They weren’t.
It was great to have some new faces line up for the Bunbury 600. Unfortunately I didn’t get to ride with them for very long. May be they have the bug now and will expand their long distance goals? The route was from Perth, east for a bit, through Serpentine, south to Yarloop, through Australind (yes they are good kebabs Danny) to Bunbury. This was the the end of the first 200km. Two riders stopped here. They were to skip the middle 200km and rejoin for the final 200 back to Perth. The conditions up until this point were superb. Strong tailwind, overcast, mostly smooth roads. Scarp to our left, grazing cattle either side. Tony was cruising around in the support vehicle, listening to John Butler with his arm on the window sill, offering words of advice and the odd sticky bidon. His enthusiasm knows no bounds and is infectious.
Back up a little. From Perth the riders split up into three basic groups. The fast group, the medium group and the cautious. At the back of the field was Greg, running a ‘no stop’ strategy. He didn’t even bring a change of clothes to have a shower at the back packers. The middle group, consisting of myself, Sean and Perry rolled along nicely. ‘Light em up’ Rob was clever to stay away from me so as to avoid being characterised in my report. Up front was where all the action was taking place. Guido, a fast, strong rider I’ve never ridden with before, had dragged a couple of newbies with him to Pinjarra, the 100km mark. All good. You’d hope anyone signing up for a 600 can squeeze out a 100 before breakfast. It’s usually after the 100km mark your endurance begins to be tested. Another little test Guido seemed to be running them through was navigation. After Pinjarra they missed a turn, rode a extra 6km down the road, retraced their steps and caught up to where I was taking a piss. They overtook me at 37km/h and I thought sweet, sprint to catch up, sit on and watch my heart rate go back down to 120bpm.
One of the new guys was struggling at third wheel, but then, to my amazement, he goes to the front for an all out pull. About 2km later he drifts back, rooted. Guido goes to the front for a little bit. Then another new guy in yellow has a short pull before drifting back and asking if I was doing the 600 or a local out for a cruise. Perhaps I looked too casual. We turned a corner into a head wind and both of the new guys fell off. Guido and I rode through Yarloop and took turns to the highway together where I dropped off to take it easy.
Fast forward. Guido rushes through Bunbury. The rest of us restock. Greg rolls through without even cleaning his glasses. I caught up to him on the other side of Capel and we rode together into the dark to Collie, the temperature dropping significantly. Must have been bonfire night as heaps of people were out toasting marshmallows under the stars. Over a dam bridge, fire light in the distance, owls hovering overhead. I get to thinking; you don’t see your home. Your head is full of issues. I’m sure if someone came from overseas they’d be much more descriptive. They say once you name something you don’t see it properly anymore. Having done a fair few of these rides in the south-west, I guess I’m slowly starting to call the area home; you see details, but you underestimate their significance.
Thanks to Greg’s meticulous planning and route knowledge I now knew we were on the steepest part of the route and would soon cresting the highest point of the ride. I prefer not to know about these things, but some people like to break the route down. On the main drag in Collie Tony waited for us with warm soup, camp chairs and encouragement to take a dump on the steps of the council chambers. It’s here that Tony tells us that at 325km Collie would have made for a preferable first night rest stop. But the first day distance might have put some people off. Spanner in the works occurs when his first accommodation preference is double booked and in great haste he must try to find a last minute alternative.
Now, if Bunbury is a shit hole, then the Wander Inn Backpackers must be the lower intestine. In all my travels, and I have stayed in many, many hostels, this was easily the worst. Tony seemed to take great joy in telling me and Greg that, as ‘hard men’ of Audax, he didn’t think we’d mind joining in ‘jumping on the grenade’ with him. The latter meant sleeping in a room with about eight other 20-30 yr old boys who seemed to have been living there for a about a month, their stinky clothes and belongings all over the joint you have to kick out of the way to get to your bed. Half a dozen of them were sleeping off their hang overs at five in the afternoon when Tony ‘checked in’.
At least I had that to look forward to as I changed into warmer clothes, the temperature dropping to 5 degrees in Collie. 80km to Bunbury and Greg and I had a good ride together on what must be one of the best roads in the south west; Mornington Rd. A quiet, smooth mining road that rises a few times before falling off to the Hwy. A light on in the middle of a paddock and your ask yourself what living in the country would be like.Greg and I knew our way there having done the same route for the Opperman earlier in the year, an event now known as Subway-gate, due to Tony’s nauseous insistence that “you blokes go on, I’m just going to have a nap outside for a while”.
A major lightning flash exploded on the horizon over Bunbury, symbolic in retrospect as we were pedalling by a power station. At about 11:30 I said goodbye to Greg and he turned around, back into the night to take on the final 200km back to Perth. The Wander Inn might be a cesspool, but it does make miracles happen. I walked into the backpackers and was getting my bearings, (having been openly laughed at by some of the inhabitants, as I must have looked like a large black dildo in my cold weather outfit) when to my amazement Perry was in room 20 getting his clothes together. This made no sense because he was behind us when we left Bunbury for the first time, we didn’t see him in Collie, and he didn’t pass us on the way.
I popped a sleeping pill hoping it will kick in by the time I had a shower. The room was as Tony described it and the lingering smell of beer breath and well worn nylon socks tickled my nostrils. I entered the shower like a overly nurtured silver spoon fed teenager sprinting across coral reef. There were three hooks for your clothes, hair all over the basin and toilet cubicles just big enough to bang your head on the door. I set my alarm for five am and let the pill work it’s magic. Three hours later I was woken by a snoring competition clearly won by the guy below me impersonating darth vader with double bronchitis. After trying to go to sleep twice I thought bugger this and started to get going. I walked out the front to try to find the kitchen when the door locked behind me so I had to walk out onto the wet street (in just my bibs) and reenter through a hole in the alley fence. Gross kitchen located, I quickly decided just to get going hoping an all night servo would have coffee chill. I packed my bag and put it in the room with the key for Tony to load in the morning.
On my way out two of the new guys were rolling in and I said good morning. The stretch from Australind to Forest hwy along the estuary is one of my favourites. The night sky clear although evidence of consistent rainfall that Greg copped. A long straight road heading into Yarloop, the high beam headlights of a car shine bright for 5km, the glow of the refinery over the horizon, the direction I’m headed. Through a dairy farm I have to pick a gap through cows crossing the road. Although the road was covered in shit, I was happy to be out of the hostel. And then…classic…a fist pump with no finishing line in sight; I’d forgotten to turn my alarm off. Like some friend or loved one thinking of you from the other side of the world, I kept getting these little thoughts that made me chuckle and I thought it was perfect revenge to get back at the snorers. Poor old Tony told me later that he’d practically jumped on two grenades as he had to lie in bed with his fingers in his ears trying to sleep. To his amazement no one else in the room seemed to be effected.
With little sleep I struggled home. I was stiffer than a sunbaked biscuit. I had no energy reserves and was running only on what I ate. I struggled to ride faster than 25km/h and couldn’t get my cadence over 90rpm. For some reason you get into a frame of mind where you’re always pushing the pain barrier. To make things worse I got a flat tyre at the start of the freeway that I couldn’t be bothered fixing, but of course had no choice about. Heaps of casual Sunday cyclists were out having a good time in post-Giro glow, whereas I was in a world of pain. Rolled into Deep Water Point solo, and to no reception, and felt like John Eyre walking into Albany having just walked across the Nullarbor. I need a significant other with a driver’s license, I guess.