Cirrus@Austlit

'Prior to writing A Wife’s Heart (Davies 2017), I did not see myself as a flâneur. I walked in public spaces, but I often hurried rather than strolled. When I did slow, I found myself having spontaneous conversations with strangers. A flâneur seemed too leisurely an observer of the crowd; too detached. An exegetical examination of my work, however, together with a historical understanding of the flâneur, led to the realisation that flánerie was a motif integral to my writing process, and to creating a narrative of timelessness over a century of divorce and single parenting. My moments of flânerie, punctuated with engagement among the crowd, also change the dynamics of the flâneur to a dialogic and empathetic experience. A similar flânerie is evident in the auto / biography Stasiland (Funder 2002), which explores the pervasive presence of East German history after Germany’s reunification. I suggest that the fluid mindset of a flâneur suits the writer on a quest (Marr 2016-2017), augmenting specific interview, archival and site research practices with sensory awareness and a dialogic empathy in such auto / biographical works. I further argue that the slash between the auto and biography is dissolved via the flâneur becoming a motif of timelessness.'  (Publication abstract)