Cirrus@Austlit

'The past shapes the present – they teach us that in schools and universities. (Shapes?  Infiltrates, more like; imbues, infuses.) This past cannot be visited like an ageing aunt. It doesn’t live in little zoo enclosures. Half the time, this past is nothing less than the beating heart of the present. So, how to speak of the searing, unpindownable power that the past – ours, our family’s, our culture’s – wields in the present?

'Stories are not enough, even though they are essential. And books about history, books of psychology – the best of them take us closer, but still not close enough.

'Maria Tumarkin's Axiomatic is a boundary-shifting fusion of thinking, storytelling, reportage and meditation. It takes as its starting point five axioms:

• ‘Give Me a Child Before the Age of Seven and I’ll Give You the Woman’
• ‘History Repeats Itself…’
• ‘Those Who Forget the Past are Condemned to Repeat It’
• ‘You Can’t Enter The Same River Twice’
• ‘Time Heals All Wounds’

'These beliefs—or intuitions—about the role the past plays in our present are often evoked as if they are timeless and self-evident truths. It is precisely because they are neither, yet still we are persuaded by them, that they tell us a great deal about the forces that shape our culture and the way we live. 

'Axiomatic is Tumarkin's fourth book of non-fiction, and her most pioneering. Her three previous books, Otherland  (2010), Courage  (2007), and Traumascapes  (2005), have each and all been critically acclaimed and shortlisted for major prizes.

'More than seven full and long years in the making, and utilising her time as a Sidney Myer Creative Fellow, Axiomatic actively seeks to reset the non-fiction form in Australia.'

Source: Publisher's blurb.

'Colin dreams of escaping his parents' New Zealand farm for a grand stage career. He makes it to London and a disastrous audition before meeting Tilda—beautiful Tilda, older, an artist—who brings his future with her. A heady romance leads to a new home in a decaying former bank in a small town hours from Melbourne. They are building a life together—but there are cracks in the foundation. This is a love story, told from passionate beginning to spectacular end. It is intimate and honest, blackly funny and emotionally devastating.' (From the publisher's website.)

'In the magnificent opening story, "Love and Honor and Pity and Pride and Compassion and Sacrifice," a young writer is urged by his friends to mine his father's experiences in Vietnam - and what seems at first a satire on turning one's life into literary commerce becomes a transcendent exploration of homeland, and the ties between father and son. "Cartagena" provides a visceral glimpse of life in Colombia as it enters the mind of a fourteen-year-old hit man facing the ultimate test. In "Meeting Elise" an ageing New York painter mourns his body's decline as he prepares to meet his daughter on the eve of her Carnegie Hall debut. And with graceful symmetry, the final, title story returns to Vietnam, to a fishing trawler crowded with refugees where a young woman's bond with a mother and her small son forces both women to a shattering decision.' (From the author's website.)

Isaac is a photographer in his mid-30, travelling through Europe. It is the post-Cold War Europe of a united currency, illegal immigration and of a globalised homogenous culture. In his mother's mountain village he encounters a Balkan vampire. Subsequently, as his journey continues across Italy, Eastern Europe and Britain he discovers that ghosts keep appearing in the photographs he takes, providing clues to a family secret and tragedy. Parallel to Isaac's story we are in the Greece of World War II. A peasant family is asked to provide protection to a Jewish boy fleeing the Germans. It is this boy who will become the vampire. From the mountains of Greece to the inner-city streets of 1960s Melbourne, we trace the journey of this malevolent force as it feeds on generation after generation of Isaac's family, seeking revenge and justice.

From Christos Tsiolkas: 'In attempting to trace back through the mythologies, lies and truths of history, I want to examine how the legacies of the past still actively disturb our sleep in the present. Isaac's story is written in a contemporary idiom, in the first person, as he reflects on his alienation from Europe, on what it means to be an artist, to be a man in love, to be an ethical human in a supposedly post-ideological age . . . I am also attempting to understand the longest standing of all European racial legacies: anti-Semitism. The vampire is not only the restless spirit of a dead boy. It is also the golem, the Christ Killer, the killer of children. It is this legacy that Isaac must face . . .
(Source: Penguin Website)