WEBVTT - Read This: All Bruce Pascoe Needs Is a Biro

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<v Speaker 1>Hey there, it's Ruby Jones. Each Sunday, we're sharing one

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<v Speaker 1>of our favorite episodes from our sister podcast, Read This.

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<v Speaker 1>The show features interviews with some of Australia's best and

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<v Speaker 1>most beloved writers. Today, we're going to hear from Bruce Pasco.

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<v Speaker 1>Bruce is a novelist and historian who's twenty fourteen book

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<v Speaker 1>At Dark Emu became a national bestseller. Michael Williams is

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<v Speaker 1>the host of Read This, and he's with me now.

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<v Speaker 2>Ruby Jones.

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<v Speaker 3>Halle Michael, how are you.

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<v Speaker 1>I am great lovely to be back with you again

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<v Speaker 1>for another episode of Read This. So on this episode,

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<v Speaker 1>listeners are going to hear your conversation with Bruce Pasco.

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<v Speaker 1>Tell me a bit about how you first came to

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<v Speaker 1>read his work.

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<v Speaker 3>Listeners are going to have to put up with me

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<v Speaker 3>waxing a little nostalgic in this episode because I first

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<v Speaker 3>met Bruce on a family camming holiday in Malacuta, where

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<v Speaker 3>he was selling copies of his book at the farmer's

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<v Speaker 3>market on a Sunday and I went and bought one

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<v Speaker 3>because I'd run out of things to read on the

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<v Speaker 3>summer holidays, and that was the first time I read

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<v Speaker 3>Bruce's book or Met Bruce the human Being, So we

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<v Speaker 3>do have a little nostalgic reverie about Malokuda. But my

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<v Speaker 3>favorite thing about this episode is that Bruce Pascoe was

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<v Speaker 3>well and truly dragooned into the culture wars when Dark

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<v Speaker 3>Emu came out, News Limited in particular decided that he

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<v Speaker 3>was public enemy number one for the ways in which

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<v Speaker 3>he wanted to rethink First Nations history in this country.

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<v Speaker 3>And so I meant that a lot was written, a

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<v Speaker 3>lot was said about Bruce that didn't represent who he is,

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<v Speaker 3>the kind of scholar he is, the kind of thinking

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<v Speaker 3>he does, and the deep integrity and generosity of his storytelling.

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<v Speaker 3>And so for me, it was very exciting to have

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<v Speaker 3>an opportunity to talk to the actual author about what

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<v Speaker 3>motivated him, rather than rely on secondhand nonsense.

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<v Speaker 1>It's true, so much of the narrative around Bruce is

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<v Speaker 1>around the controversy that has been stood up by what

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<v Speaker 1>he's written, and less on the craft of his writing.

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<v Speaker 3>Absolutely, and I think listeners will be very surprised to

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<v Speaker 3>hear what the new novels about and hear Bruce talk about.

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<v Speaker 3>And it couldn't be more diametrically opposed to the kind

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<v Speaker 3>of preconceptions that I think people bring to the table

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<v Speaker 3>when it comes to this fabulous writer.

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<v Speaker 1>Coming up in just a moment. All Bruce Pasco needs

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<v Speaker 1>is a burrow.

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<v Speaker 3>When I was a kid, my mother would take my

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<v Speaker 3>sisters and I for camping holidays in the height of summer.

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<v Speaker 3>Of the recurring destinations, Malakuda was a particular favorite, on

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<v Speaker 3>the edge of crowajing Along National Park, at the mouth

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<v Speaker 3>of this series of beautiful inlets. So I'm the far

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<v Speaker 3>north coast of Victoria and it's one of those places

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<v Speaker 3>where while the year round population is only about a thousand,

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<v Speaker 3>in summer, when the camping run is full, that number

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<v Speaker 3>is more like eight thousand. I remember those long, glorious

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<v Speaker 3>days splashing around on Becka Beach, or sitting in the

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<v Speaker 3>basketball hall watching the makeshift cinema. But of those entertainments,

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<v Speaker 3>the app sa lude pinnacle was the farmer's market each weekend,

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<v Speaker 3>not least because it was a reliable source of secondhand books.

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<v Speaker 3>It was there one summer, having exhausted the reading I

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<v Speaker 3>packed for the holiday, that I picked up my first

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<v Speaker 3>Bruce Pascoe novel. In hindsight, it's clear to me that

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<v Speaker 3>the quiet bloke with the big beard who sold it

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<v Speaker 3>to me was the author himself. This wasn't a second

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<v Speaker 3>hand stall. This was someone who loved to write, making

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<v Speaker 3>a connection with potential readers in between the DreamCatcher stall

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<v Speaker 3>and the homemade chutneys. That more than two decades later

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<v Speaker 3>Bruce Pascoe would be a household name was unthinkable at

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<v Speaker 3>the time that he would still be writing, still honoring

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<v Speaker 3>his commitment to telling a great story. That is utterly unsurprising.

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<v Speaker 3>I'm Michael Williams, and this is Read. This the show

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<v Speaker 3>about the books we love and the stories behind them.

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<v Speaker 3>It was twenty fourteen when Bruce Pascoe went from being

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<v Speaker 3>a prolific yet relatively unknown writer to public enemy number

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<v Speaker 3>one in Australia's culture wars. That was the year he

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<v Speaker 3>published his now infamous book Dark Emu and its re

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<v Speaker 3>examination of accepted historical accounts of pre invasion Australia. It's

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<v Speaker 3>a book that struck a chord. More than three hundred

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<v Speaker 3>and sixty thousand copies have been sold so far, and

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<v Speaker 3>it's inspired various spin off books, from a young adult

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<v Speaker 3>edition to entire books published to refute its claims about

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<v Speaker 3>First Nations people and their relationship with the land. Newscorps

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<v Speaker 3>in particular, have expended a lot of energy framing Bruce

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<v Speaker 3>as this ahistorical force of propaganda. Its nasty, ugly stuff.

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<v Speaker 3>But part of what I like about Bruce Pasco is

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<v Speaker 3>his calm, implacable generosity, his engaged critics and detractors, and

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<v Speaker 3>welcome the debate. For all the attempts to co of

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<v Speaker 3>them into the culture was Bruce is not so interested.

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<v Speaker 3>He has other stories to tell, and the latest one

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<v Speaker 3>is his novel Imperial Harvest. It's set in thirteenth century Mongolia,

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<v Speaker 3>and it follows a one armed soldier, yen See, as

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<v Speaker 3>he contemplates the expectations of others and how a single

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<v Speaker 3>person can navigate war and colonialism with grace and endurance.

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<v Speaker 3>And it begins with a disclaimer, this author's warning that

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<v Speaker 3>sums up how Bruce Pasco approaches the world.

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<v Speaker 2>This novel tells a story of great armies, the calumny

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<v Speaker 2>of powerful men traveling across the vast lands of Eurasia.

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<v Speaker 2>But if there's a date here or a town there

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<v Speaker 2>which seems strange, remember that history tosses all fact in

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<v Speaker 2>the air, so the victor can choose his own confetti.

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<v Speaker 2>In this case, the confetti is chose by the losers,

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<v Speaker 2>so be patient. It's not always possible to catch the

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<v Speaker 2>polics in their original order, and in any case, it

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<v Speaker 2>will be confetti again tomorrow. Don't be dismayed by this fact.

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<v Speaker 2>You're alive, aren't you.

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<v Speaker 3>I love the idea of returning to confetti and also

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<v Speaker 3>telling your readers not to be dismayed. I mean, often,

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<v Speaker 3>particularly with historical fiction, we have this anxiety of not

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<v Speaker 3>just what's true and what's not, but what's a legitimate

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<v Speaker 3>speaking position from which to tell history and what's not?

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<v Speaker 3>And setting that note at the front of the novel

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<v Speaker 3>seems to be saying, it's a book, it's here for

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<v Speaker 3>you to have farm. See what it sparks that there

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<v Speaker 3>is a lot of implied goodwill in that request of

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<v Speaker 3>your readers.

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<v Speaker 2>And because of that, it ends in a restaurant where

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<v Speaker 2>people enjoy wine, they enjoy food, and they enjoy sharing it,

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<v Speaker 2>and they are slightly alarmed by their It was meant

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<v Speaker 2>to be a kind gesture of asking people not to hate,

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<v Speaker 2>but to come together a little bit. And you know,

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<v Speaker 2>it's easy for people to polarize their situation and to

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<v Speaker 2>take positions. But I'll never forget being told by a

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<v Speaker 2>very old Hawaiian woman that when you're having these arguments,

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<v Speaker 2>leave no one behind. In my own tale of Malakuta,

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<v Speaker 2>there are debates which have ended up being polarized when

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<v Speaker 2>a perfectly good, compromised situation was available. You know, compromises messy, muddy,

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<v Speaker 2>unsatisfying to most people, but they're usually more right than wrong.

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<v Speaker 2>And we need to treasure the messiness of democracy because

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<v Speaker 2>the cleanliness of autocracy is to be a bored and

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<v Speaker 2>we've seen no good example in the world of autocracies

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<v Speaker 2>where marginal groups weren't flayed. So I hope we can

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<v Speaker 2>sit down in a restaurant together, the restaurant being the

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<v Speaker 2>world and keep talking.

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<v Speaker 3>When people think Bruce Pasco, they don't generally think thirteenth

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<v Speaker 3>century Mongolia. So what's that about.

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<v Speaker 2>Yeah, I know everyone was expecting a certain kind of novel,

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<v Speaker 2>and it did come as a bit of a surprise

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<v Speaker 2>to a lot of people. But the whole idea of

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<v Speaker 2>the novel is to look at the propensity of men

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<v Speaker 2>to commit violence, where does it come from? And I

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<v Speaker 2>didn't want to just concentrate on the Europeans because people

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<v Speaker 2>are expecting me to be critical of European colonialism, but

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<v Speaker 2>there are other examples of colonialism, and Genjis Khan is

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<v Speaker 2>as good as anything.

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<v Speaker 3>It's one of the biggiest. That's a decent one to

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<v Speaker 3>go for.

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<v Speaker 2>To leave me well, to cover an entire continent is

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<v Speaker 2>pretty ambitious before.

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<v Speaker 3>We get to calm temperamentially? Is that typical of you, Bruce,

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<v Speaker 3>Like you know what people expect from you, and so

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<v Speaker 3>you're determined not to give it to them.

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<v Speaker 2>It wasn't a determination this novel. I've been writing for

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<v Speaker 2>fifteen years, so it began before Dark Emu. So I'm

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<v Speaker 2>not a curmudgeon in that sense. I am a curmudgeon

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<v Speaker 2>in many senses, but not that particular one. It's just

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<v Speaker 2>the way my thoughts have been going, and they're a

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<v Speaker 2>little bit out of sync. But to me, it doesn't matter.

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<v Speaker 2>I'm just looking forward to talking about the book and

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<v Speaker 2>for readers to wonder about the book, and then let's

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<v Speaker 2>have a conversation about it, because it's the conversations very timely.

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<v Speaker 3>The conversation is incredibly timely, and sadly it always will

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<v Speaker 3>be a conversation about the nature of war, about the

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<v Speaker 3>ways in which it impacts a life, a psyche, a people.

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<v Speaker 3>More generally, you're always going to be blessed with that

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<v Speaker 3>feeling topical.

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<v Speaker 2>Yeah. Look, when I went to school, I was taught

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<v Speaker 2>that war is the natural condition of man. And I

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<v Speaker 2>thought at the time, what a bleak prospect for the world,

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<v Speaker 2>what a bleak prospect for people individuals, that we have

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<v Speaker 2>to do that. I remember in primary school listening to

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<v Speaker 2>the last post on Anzac Day and being so deeply

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<v Speaker 2>affected by it because you know, our family had lost

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<v Speaker 2>people in both wars and there were very emotional services,

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<v Speaker 2>and I thought, Gee, we're just going to keep doing

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<v Speaker 2>this forever. There'll be a new Anzac Day and it'll

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<v Speaker 2>just repeat ad infinitum. And I thought how sad that was.

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<v Speaker 2>But I didn't have the resources as a kid to

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<v Speaker 2>look at whether or not that is the truth. And

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<v Speaker 2>I've been very fortunate to have met and lived with

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<v Speaker 2>people who have another experience of the world, the Aboriginal

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<v Speaker 2>cultural world, and our families are connected to that story,

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<v Speaker 2>and it's a story without war. So what I'm really

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<v Speaker 2>hopeful for is that Australia can have this conversation that

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<v Speaker 2>is war the natural condition of man? Is there another

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<v Speaker 2>way for humans to behave towards each other, and I

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<v Speaker 2>think there is I think that's a fabulous philosophical challenge

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<v Speaker 2>for this country to think that it might have on

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<v Speaker 2>this continent a solution to what's happening in Palestine at

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<v Speaker 2>the moment.

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<v Speaker 3>I love that idea and it's a kind of stirring

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<v Speaker 3>and wonderful thought, but I can't help but feel that

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<v Speaker 3>colonial Australia, settler Australia does what so many countries do

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<v Speaker 3>in its national myth building, which is it appears to

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<v Speaker 3>believe that war is essential for your sense of yourself.

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<v Speaker 3>We fetishize that experience of war rather than look for

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<v Speaker 3>a way to never reproduce it.

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<v Speaker 2>Yeah, we see it as essential to ourselves and that

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<v Speaker 2>you know, if an argument gets to a certain point,

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<v Speaker 2>then eventually you will go to arms. And that's a

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<v Speaker 2>legitimate political and philosophical stance to take. So to consider

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<v Speaker 2>something else is going to take maybe two hundred and

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<v Speaker 2>thirty years, and I obviously won't be around, but I'm

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<v Speaker 2>determined contribute to that debate and for Australia to consider

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<v Speaker 2>that their idea of Australian history might need some refinement,

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<v Speaker 2>or that what Aboriginal Australian people were doing was not

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<v Speaker 2>hunting and gathering. We can see by the turmoil that

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<v Speaker 2>has erupted subsequent to that discussion taking place that it's

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<v Speaker 2>really hard to change people's minds and that they won't

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<v Speaker 2>change them peacefully.

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<v Speaker 3>I do think there is something in what you had

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<v Speaker 3>to endure in response to Darkama that is a real

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<v Speaker 3>precursor to the way the Voice referendum took place, which

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<v Speaker 3>is that there was a request, an offering of a

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<v Speaker 3>space for a conversation, and instead of responding to that

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<v Speaker 3>in good faith and taking it as a conversation, recognizing

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<v Speaker 3>that there might be ground to be met in the middle,

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<v Speaker 3>there might be disagreement, there might be whatever, but the

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<v Speaker 3>conversation itself is valuable. Instead of responding in that way,

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<v Speaker 3>the response was vitriolic and violent and about tearing down

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<v Speaker 3>rather than about being willing to take the chat further.

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<v Speaker 2>Yeah, I think there is a great parallel there. But

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<v Speaker 2>I believe strongly that say, in one hundred and fifty years,

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<v Speaker 2>when kids are at university is sitting down to do

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<v Speaker 2>their essays, that they will be looking at the events

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<v Speaker 2>of last year and the no vote will be a footnote.

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<v Speaker 2>But I think Australia has an enormous and positive opportunity

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<v Speaker 2>to lead the world intellectually on this point. Not always.

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<v Speaker 2>You know, it's not a league ladder and you don't

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<v Speaker 2>remain champion for a But in this particular little moment

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<v Speaker 2>of time, I think Australia can make a really decent

0:15:09.120 --> 0:15:14.560
<v Speaker 2>contribution to world conversation about how we behave as humans.

0:15:15.080 --> 0:15:20.240
<v Speaker 2>And what I love about the old people and all

0:15:20.280 --> 0:15:25.120
<v Speaker 2>the so called myths or stories. It's really philosophy that

0:15:25.200 --> 0:15:29.480
<v Speaker 2>we're talking about, and that philosophy is one of enormous

0:15:29.520 --> 0:15:33.040
<v Speaker 2>piece about the kind of structures you put in place

0:15:33.520 --> 0:15:37.880
<v Speaker 2>to control humans. Because the human is a really difficult animal.

0:15:38.080 --> 0:15:42.880
<v Speaker 2>The human will always be jealous, always be violent, always

0:15:42.920 --> 0:15:46.520
<v Speaker 2>be loving, always be honorable. That mix that is in

0:15:46.560 --> 0:15:49.520
<v Speaker 2>all of us, the humans always going to be like that.

0:15:49.640 --> 0:15:55.160
<v Speaker 2>But to consider how best to use each of those,

0:15:56.200 --> 0:16:00.359
<v Speaker 2>suppress some and enhance others, I think it's an enormous

0:16:00.880 --> 0:16:04.520
<v Speaker 2>I just think it's a great thing for humans to

0:16:05.000 --> 0:16:10.240
<v Speaker 2>consider and for us to discuss. It's not a blueprint

0:16:10.240 --> 0:16:13.640
<v Speaker 2>that will be built tomorrow. It's up for discussion.

0:16:14.120 --> 0:16:17.120
<v Speaker 3>It's one of the things I so enjoy about your

0:16:17.280 --> 0:16:23.080
<v Speaker 3>intellectual and cultural contribution generally, Bruce, is the optimism I

0:16:23.080 --> 0:16:25.920
<v Speaker 3>don't understand. I'm sorry, I'm glad you hold it, and

0:16:26.000 --> 0:16:28.160
<v Speaker 3>I wish I shared it, and that is great. But

0:16:29.240 --> 0:16:35.040
<v Speaker 3>the generosity of inviting the conversation, inviting the chad, responding

0:16:35.120 --> 0:16:38.680
<v Speaker 3>to your critics by saying, absolutely, let's talk about it.

0:16:38.720 --> 0:16:41.080
<v Speaker 3>That's not like. There are very few people in public

0:16:41.120 --> 0:16:44.200
<v Speaker 3>life I can think of who have more grace when

0:16:44.280 --> 0:16:49.200
<v Speaker 3>it comes to believing in the value of what you're doing,

0:16:49.560 --> 0:16:52.800
<v Speaker 3>beyond whether people agree with you or don't agree with you.

0:16:52.800 --> 0:16:56.080
<v Speaker 2>You can blame my mother and grandmother for that, Yeah,

0:16:56.320 --> 0:17:00.960
<v Speaker 2>because they insisted on decency. I haven't been able to

0:17:01.120 --> 0:17:06.640
<v Speaker 2>escape that tug in my brain. But also, I think

0:17:06.680 --> 0:17:09.360
<v Speaker 2>I'm in a good position to be in the argument

0:17:10.119 --> 0:17:14.800
<v Speaker 2>because you know, obviously over eighty percent of our family

0:17:14.880 --> 0:17:20.920
<v Speaker 2>is white and a small percentage is Aboriginal. So I've

0:17:20.920 --> 0:17:23.359
<v Speaker 2>got an obligation to both sides. And I've got a

0:17:23.480 --> 0:17:28.320
<v Speaker 2>huge obligation to white Australia because that's where most of

0:17:28.359 --> 0:17:31.520
<v Speaker 2>our genes come from. I have an obligation to that

0:17:31.600 --> 0:17:35.400
<v Speaker 2>side of the family to say, look, I'm not ignoring

0:17:36.040 --> 0:17:40.440
<v Speaker 2>the cornishman. I'm not ignoring the Englishman. But there's this

0:17:40.520 --> 0:17:43.879
<v Speaker 2>other thing, and it's Australia. This is where we can

0:17:43.920 --> 0:17:49.000
<v Speaker 2>have an effect on the history of the country.

0:17:50.200 --> 0:17:54.160
<v Speaker 3>When we return. Bruce Reveal's way, seas had towns are

0:17:54.200 --> 0:18:12.879
<v Speaker 3>places of descent. We'll be right back. I remember reading

0:18:12.960 --> 0:18:15.640
<v Speaker 3>one of your novels many many years ago and being

0:18:17.040 --> 0:18:20.240
<v Speaker 3>so moved by the way you wrote, being so kind

0:18:20.280 --> 0:18:25.280
<v Speaker 3>of carried along by the story. But also you write

0:18:25.320 --> 0:18:28.800
<v Speaker 3>books clearly from a place of having an idea about

0:18:28.800 --> 0:18:32.720
<v Speaker 3>the world that you want to share, you want to prosecute,

0:18:32.760 --> 0:18:35.760
<v Speaker 3>you want to imagine.

0:18:36.920 --> 0:18:41.360
<v Speaker 2>Yeah, And I was talking to Melissa Lukashenko and Deborah

0:18:41.400 --> 0:18:46.679
<v Speaker 2>Dank yesterday morning about Charles Dickens. This is a good conversation,

0:18:46.880 --> 0:18:52.680
<v Speaker 2>good literary conversation, because we'd all read Dickens and we'd

0:18:52.720 --> 0:18:59.880
<v Speaker 2>all felt touched by his compassion. But I've just read

0:19:00.400 --> 0:19:07.560
<v Speaker 2>Preyo Satia Times Monster where she talks about Dickens's fascism

0:19:08.200 --> 0:19:12.879
<v Speaker 2>as well, and that was incredibly disappointing. But he's a human,

0:19:14.119 --> 0:19:18.440
<v Speaker 2>He's a flawed human. We're all flawed humans. And it

0:19:18.600 --> 0:19:21.840
<v Speaker 2>was just a fascinating conversation and it's very relevant when

0:19:21.840 --> 0:19:26.320
<v Speaker 2>we're having these conversations. It's never black and white. The

0:19:26.359 --> 0:19:31.640
<v Speaker 2>shades of gray and other literary reference are immense, and

0:19:31.760 --> 0:19:34.199
<v Speaker 2>we have to accommodate that. We have to continue to

0:19:34.240 --> 0:19:38.639
<v Speaker 2>have the conversation rather than saying you're too white or

0:19:38.680 --> 0:19:43.359
<v Speaker 2>you're too black, you're so gray, and just keep talking.

0:19:43.560 --> 0:19:46.800
<v Speaker 2>And democracy is the slowest beast on earth, but it's

0:19:46.840 --> 0:19:50.479
<v Speaker 2>a very very good beast to have in our paddock.

0:19:51.440 --> 0:19:55.200
<v Speaker 3>So accepting that you knew you wanted to write about

0:19:55.400 --> 0:19:58.919
<v Speaker 3>the nature and the legacy of war and colonialism, you

0:19:59.000 --> 0:20:02.760
<v Speaker 3>knew you wanted to begin that story that journey in

0:20:02.800 --> 0:20:08.560
<v Speaker 3>the Northern hemisphere, and you knew that actually European colonialism

0:20:09.600 --> 0:20:12.400
<v Speaker 3>wasn't the path that you wanted to look at. That

0:20:12.560 --> 0:20:16.800
<v Speaker 3>kind of explains thirteenth century Mongolia as a choice. But

0:20:17.080 --> 0:20:21.040
<v Speaker 3>tell us a little bit about a particular one armed

0:20:21.040 --> 0:20:24.679
<v Speaker 3>horseman called yEnc and why he was the vessel for

0:20:24.760 --> 0:20:26.720
<v Speaker 3>the story that you wanted to tell.

0:20:26.880 --> 0:20:32.240
<v Speaker 2>Well, I really wanted to choose someone who history would ignore.

0:20:33.160 --> 0:20:37.360
<v Speaker 2>He wasn't a general, he wasn't even a particularly brave soldier.

0:20:38.600 --> 0:20:42.240
<v Speaker 2>He was nothing. He was on the scrap heap of humanity.

0:20:42.960 --> 0:20:48.440
<v Speaker 2>But he had the good fortune to fall into the

0:20:48.520 --> 0:20:53.840
<v Speaker 2>company of a really good man who was also never

0:20:53.920 --> 0:20:58.040
<v Speaker 2>going to be noticed by history, a baker, a Miller,

0:20:58.480 --> 0:21:03.479
<v Speaker 2>But that Miller, his life's journey had taught him because

0:21:03.480 --> 0:21:08.760
<v Speaker 2>of the pain he had endured, that people need care.

0:21:10.200 --> 0:21:14.760
<v Speaker 2>So in a way, it's Penkei who is the driver

0:21:15.160 --> 0:21:19.720
<v Speaker 2>of the story. Yen say, He's just swept up in

0:21:19.840 --> 0:21:26.320
<v Speaker 2>the stream and becomes more worldly and becomes more aware

0:21:26.880 --> 0:21:33.000
<v Speaker 2>of his position as a human and finds himself in

0:21:33.040 --> 0:21:38.160
<v Speaker 2>a position to make change. So I wanted an anonymous person.

0:21:38.720 --> 0:21:43.199
<v Speaker 2>When I began writing Imperial Harvest, I was very anonymous.

0:21:43.760 --> 0:21:46.000
<v Speaker 2>You know. You mentioned having read my novels. Well, I

0:21:46.080 --> 0:21:51.800
<v Speaker 2>wondered who bought that book, because I've written seven or

0:21:51.840 --> 0:21:55.760
<v Speaker 2>eight novels and the sales of each was really small.

0:21:55.920 --> 0:21:58.399
<v Speaker 3>I reckon I bought it from you in person and

0:21:58.520 --> 0:22:02.680
<v Speaker 3>Malakuda camping around there, and when the market's set up,

0:22:02.920 --> 0:22:05.240
<v Speaker 3>and I bought it from you then on a camping holiday.

0:22:05.440 --> 0:22:10.640
<v Speaker 2>Yeah. Well, we sold books from that little tent for

0:22:11.240 --> 0:22:18.040
<v Speaker 2>a decade or more, nearly two decades. And the conversations

0:22:18.080 --> 0:22:23.600
<v Speaker 2>in that tent, if they ever got to the Australia's

0:22:23.600 --> 0:22:27.359
<v Speaker 2>spy Agency, we've been all in trouble. Because it was

0:22:27.400 --> 0:22:31.399
<v Speaker 2>a ferment of rebellion.

0:22:32.000 --> 0:22:34.120
<v Speaker 3>I think the spy agency is known not to look

0:22:34.119 --> 0:22:37.720
<v Speaker 3>at Malakuda, but it's a hotbed. There's dangerous stuff going

0:22:37.760 --> 0:22:40.040
<v Speaker 3>on there. They're better to turn a blind eye.

0:22:40.600 --> 0:22:44.520
<v Speaker 2>Well, one of my novels talks about seaside villages as

0:22:44.600 --> 0:22:48.520
<v Speaker 2>being places of descent because fishermen don't give us stuff

0:22:48.560 --> 0:22:49.240
<v Speaker 2>about anyone.

0:22:49.400 --> 0:22:53.040
<v Speaker 3>Yeah, and they've got time to talk things through. It's

0:22:53.080 --> 0:22:56.960
<v Speaker 3>not about action, it's about about scheming.

0:22:58.040 --> 0:23:03.840
<v Speaker 2>It is and in imperiod harvest through whole groups of

0:23:04.840 --> 0:23:09.639
<v Speaker 2>sailors and fishermen, and that's what they do. They because

0:23:09.680 --> 0:23:13.440
<v Speaker 2>their life is on the sea. They feel themselves totally

0:23:13.440 --> 0:23:17.400
<v Speaker 2>independent of the land, and they have contempt for politicians

0:23:18.240 --> 0:23:22.119
<v Speaker 2>and the pirates. You know, the sea and piracy go together.

0:23:22.320 --> 0:23:25.680
<v Speaker 3>It's one of the very nice things about how the

0:23:25.680 --> 0:23:29.160
<v Speaker 3>book functions. Imperial harvest functions, and you kind of alluded

0:23:29.200 --> 0:23:33.440
<v Speaker 3>to this before, But because it centers around a protagonist

0:23:33.440 --> 0:23:36.200
<v Speaker 3>who is passive is the wrong word, but is kind

0:23:36.200 --> 0:23:40.920
<v Speaker 3>of buffeted by war, by circumstance, by history, it means

0:23:40.920 --> 0:23:44.679
<v Speaker 3>that the characters who emerge around the fringes of the

0:23:44.760 --> 0:23:49.159
<v Speaker 3>story are often incredibly compelling. They're pushing it forward in

0:23:49.200 --> 0:23:50.280
<v Speaker 3>really interesting ways.

0:23:51.560 --> 0:23:55.200
<v Speaker 2>Well, I'm glad you see it like that, because I

0:23:56.680 --> 0:24:00.000
<v Speaker 2>was afraid that my mangling of history would have become

0:24:00.119 --> 0:24:04.919
<v Speaker 2>a theme. Because if it's not an historical novel, because

0:24:05.760 --> 0:24:11.640
<v Speaker 2>I've shifted geographies, I've shifted historical events. But I'm more

0:24:11.680 --> 0:24:16.359
<v Speaker 2>fascinated by people than i am by history, and people

0:24:17.600 --> 0:24:20.639
<v Speaker 2>generate history. But it's more or less like an aside.

0:24:21.240 --> 0:24:26.080
<v Speaker 2>It's the people themselves, and I think goodness and badness

0:24:27.760 --> 0:24:31.879
<v Speaker 2>drive the world, and it's that's up to us to

0:24:31.920 --> 0:24:33.000
<v Speaker 2>decide which is which.

0:24:33.480 --> 0:24:36.280
<v Speaker 3>Yeah, that makes a lot of sense. Finally, just because

0:24:36.280 --> 0:24:38.080
<v Speaker 3>I have to ask for myself, because I haven't been

0:24:38.119 --> 0:24:42.440
<v Speaker 3>back for years, how's Malakuda going past the fires?

0:24:43.600 --> 0:24:49.959
<v Speaker 2>Malakuda is his wonderful self. You know, three rivers, two lakes,

0:24:50.280 --> 0:24:56.240
<v Speaker 2>the ocean. It's hard to destroy the beauty of that.

0:24:57.840 --> 0:25:01.400
<v Speaker 2>The bush recovered very quickly, the people not as quickly.

0:25:03.400 --> 0:25:09.479
<v Speaker 2>Friends of mine put the roof on their house a

0:25:09.520 --> 0:25:13.800
<v Speaker 2>fortnight ago after losing their house in the fire. Another

0:25:13.840 --> 0:25:16.800
<v Speaker 2>good friend of mine was a renter, doesn't have a

0:25:16.800 --> 0:25:19.919
<v Speaker 2>house at all. The psyche of the town is different.

0:25:20.680 --> 0:25:24.879
<v Speaker 2>And maybe it's my age group because I've lost a

0:25:24.920 --> 0:25:29.480
<v Speaker 2>lot of friends I've known since nineteen seventy in the

0:25:29.560 --> 0:25:32.040
<v Speaker 2>last few years, and they were the real rebels and

0:25:32.160 --> 0:25:36.320
<v Speaker 2>rat bags and the people with whom if you caught

0:25:36.359 --> 0:25:38.240
<v Speaker 2>their eye in the street, they would not let you

0:25:38.280 --> 0:25:40.560
<v Speaker 2>go because they'd want to talk to you about politics.

0:25:40.960 --> 0:25:45.919
<v Speaker 2>They'd want to tell you how disgraceful the Australian cricket

0:25:45.960 --> 0:25:48.960
<v Speaker 2>team is all that conversation. A lot of that's gone,

0:25:49.040 --> 0:25:52.840
<v Speaker 2>so the fun for me has gone out of the town.

0:25:52.920 --> 0:25:55.880
<v Speaker 2>But there are young kids. They are making their own

0:25:56.200 --> 0:26:00.000
<v Speaker 2>legends and their own society to which I'm not a part,

0:26:00.600 --> 0:26:02.480
<v Speaker 2>and I have to get used to that because I'm

0:26:02.480 --> 0:26:03.040
<v Speaker 2>an old man.

0:26:04.560 --> 0:26:06.200
<v Speaker 3>We all have to get used to that one way

0:26:06.280 --> 0:26:08.479
<v Speaker 3>or the other. But as long as you keep writing books,

0:26:08.480 --> 0:26:11.960
<v Speaker 3>you've got that entry point straight back into that. You

0:26:12.000 --> 0:26:15.920
<v Speaker 3>can be an old man on the edge keeping an eye.

0:26:16.200 --> 0:26:18.600
<v Speaker 2>Look, I'm writing such a wonderful thing.

0:26:18.640 --> 0:26:18.840
<v Speaker 1>You know.

0:26:19.440 --> 0:26:23.040
<v Speaker 2>I look at musicians, you know, tugging their cello onto

0:26:23.040 --> 0:26:27.480
<v Speaker 2>the airplane, artists you know, with rolls and rolls of

0:26:27.680 --> 0:26:32.119
<v Speaker 2>fine paper, and you know, I jump on the plane

0:26:32.119 --> 0:26:32.679
<v Speaker 2>with a buyer.

0:26:33.040 --> 0:26:37.040
<v Speaker 3>Yeah. Perfect, perfect. Bruce Pasco, thank you so much for

0:26:37.080 --> 0:26:42.360
<v Speaker 3>your type. Thank you Bruce Pasco's latest novel, Imperial Harvest,

0:26:42.480 --> 0:26:44.440
<v Speaker 3>is out now and you can get it at all

0:26:44.480 --> 0:26:48.200
<v Speaker 3>good independent bookstores. And just to piss off Andrew Bolt,

0:26:48.240 --> 0:26:50.600
<v Speaker 3>go buy another copy of Dark Emu while you're at it,

0:26:51.320 --> 0:26:52.359
<v Speaker 3>just to twist that If.

0:27:00.000 --> 0:27:02.720
<v Speaker 1>Thanks for listening to Bruce Pasco and read this. For

0:27:02.760 --> 0:27:04.560
<v Speaker 1>the next couple of months, we're going to bring you

0:27:04.600 --> 0:27:07.040
<v Speaker 1>some of the best interviews from the show. Every Sunday,

0:27:07.440 --> 0:27:10.960
<v Speaker 1>listen out for conversations with Eric Beacher, Mary Beard.

0:27:10.720 --> 0:27:11.200
<v Speaker 3>And more.

0:27:11.880 --> 0:27:13.800
<v Speaker 1>And if you don't want to wait until next Sunday

0:27:13.880 --> 0:27:16.240
<v Speaker 1>to dive in to read this, you can search for

0:27:16.280 --> 0:27:19.399
<v Speaker 1>it wherever you listen to podcasts. There's a whole year's

0:27:19.400 --> 0:27:32.240
<v Speaker 1>worth of fascinating conversations ready for you.