A sweeping novel of world war, migration, and the search for new beginnings in a new land, The Sound of One Hand Clapping was both critically acclaimed and a best-seller in Australia. It is a virtuoso performance from an Australian who is emerging as one of our most talented new storytellers. It was 1954, in a construction camp for a hydroelectric dam in the remote Tasmanian highlands, where Bojan Buloh had brought his family to start a new life away from Slovenia, the privations of war, and refugee settlements. One night, Bojan's wife walked off into a blizzard, never to return -- leaving Bojan to drink too much to quiet his ghosts, and to care for his three-year-old daughter Sonja alone. Thirty-five years later, Sonja returns to Tasmania and a father haunted by memories of the European war and other, more recent horrors. As the shadows of the past begin to intrude ever more forcefully into the present, Sonja's empty life and her father's living death are to change forever. The Sound of One Hand Clapping is about the barbarism of an old world left behind, about the harshness of a new country, and the destiny of those in a land beyond hope who seek to redeem themselves through love.
(Vintage, 2016)
The Sound of One Hand Clapping
( dir. Richard Flanagan
)
Adelaide
:
Artist Services
,
1997
Z1033852
1997
single work
film/TV
'It's 1968. Sixteen-year-old Sonja leaves her alcoholic father and troubled past, gets on a bus and never looks back. Twenty years later she decides it's time to find out what she was running from. Single and pregnant, she returns to the migrant worker's camp in the Tasmanian Highlands she once called home and finally uncovers the truth she wasn't told as a child.'
Source: Screen Australia. (Sighted: 18/3/2014)
Epigraph:
'Here, as in Belgrade, I see in the streets a considerable number of young women whose hair is greying, or completely grey. Their faces are tormented, but still young, while the form of their bodies betrays their youth even more clearly. It seems to me that I see how the hand of this last war has passed over the heads of these frail beings…
This sight cannot be preserved for the future; these heads will soon become even greyer and disappear. That is a pity. Nothing could speak more clearly to future generations about our times than these youthful grey heads, from which the nonchalance of youth has been stolen.
Let them at least have a memorial in this little note.'
- Ivo Andric
'Popular analyses of gendered violence focus on the need for an individually-focussed approach to the problem which calls for greater responsibility and accountability for individual men. Men who use violence are often viewed as bad apples; or as deviant to the moral codes which are necessary in a moral society. But contemporary Australian authors examine the socio-cultural, political and economic structures that promulgate inequality according to gender, class, age and culture. This inequality manifests in the gendered violence which Christos Tsiolkas, Richard Flanagan, Charlotte Wood, Zoe Morrison and Sofie Laguna portray as a product of neo-liberalism. The men within their fiction are affected by disconnection and individualism within our neo-liberal, patriarchal society. The male protagonists are subjects of, as well as producers of dominant practices of masculinity. Equally, their female characters are not merely passive victims of gendered power as they protest against and challenge the structures that support inequality. Through post-structural analyses which leaves room for contradiction and nuance within characters, these contemporary Australian authors are able to maintain hope for difference and redemption in the lives of men who use violence and abuse, and the women and children who are affected. They consciously avoid separating people in to categories of good or evil, or just and unjust, given that these dichotomies are central to the patriarchal and capitalistic systems of individuality and competition which they critique.' (Publication abstract)
