Cirrus@Austlit

'Elizabeth Harrower’s third novel, The Catherine Wheel (1960) – the only one set outside Australia – begins with an example of what Jon Hegglund terms modernist “metageography”: that is, a use of maps and the conventions of cartographic representation in such a way as to defamiliarise the social production of space, and of national and personal identity. 1 Clemency James, a young Australian woman, has come to London in the late 1950s to study for the bar, and as she returns to her bedsitting room from a shopping trip to Notting Hill Gate, she takes her bearings from a weather report that locates London in relation to the landmass of hemispheric Europe:

“The wind from Siberia as announced by the BBC came down Bayswater Road from the direction of Marble Arch somewhere in a straight line beyond which, half a world away, Siberia was taken to be”. 2 Zooming in to a local scale, Clem locates her “centre of the universe” (3) in a boarding house just off Bayswater Road: Across the road the enigmatic façades of a row of semi-public buildings ended where the railings of Kensington Gardens began. Just opposite this corner of the gardens Miss Evans had her service-house, and it was here I had a room with a diagonal view of bare black avenues and paths and empty seats and grass. (4)' (Introduction)