Helen Garner - Fiction Writing

Fiction Writing

Garner came to prominence at a time when Australian writers were relatively few in number, and Australian women writers were themselves something of a novelty. Australian academic and writer, Kerryn Goldsworthy, writes that "From the beginning of her writing career Garner was regarded as, and frequently called, a stylist, a realist, and a feminist".

Her first novel, Monkey Grip (1977), relates the lives of a group of welfare recipients living in student-style accommodation in Melbourne. Years later she stated that she had adapted it directly from her personal diaries. The book was very successful: it won the National Book Council Award in 1978 and was turned into a film in 1982. In fact, Goldsworthy suggests that the success of Monkey Grip may well have helped revive the careers of two older but largely ignored Australian women writers, Jessica Anderson and Thea Astley. Thea Astley wrote of the novel that "I am filled with envy by someone like Helen Garner for instance. I re-read Monkey Grip a while ago and it's even better second time through". Critics have retrospectively applied the term Grunge Lit to describe Monkey Grip, citing its depiction of urban life and social realism as being key aspects of later works in the sub-genre.

In subsequent books, she has continued to adapt her personal experiences. Her later novels are: The Children's Bach (1984) and Cosmo Cosmolino (1992). In 2008 she returned to fiction writing with the publication of The Spare Room, a fictional treatment of caring for a dying cancer patient, based on the illness and death of Garner's friend Jenya Osborne. She has also published several short story collections: Honour & Other People's Children: two stories (1980), Postcards from Surfers (1985) and My Hard Heart: Selected Fictions (1998).

In 1986, Australian academic and critic, Don Anderson, wrote of The Children's Bach: "There are four perfect short novels in the English language. They are, in chronological order, Ford Madox Ford's The Good Soldier, Scott Fitzgerald's The Great Gatsby, Hemingway's The Sun Also Rises and Garner's The Children's Bach." The Australian composer Andrew Schultz wrote an opera of the same name which premiered in 2008.

Garner said, in 1985, that writing novels was like "trying to make a patchwork quilt look seamless. A novel is made up of scraps of our own lives and bits of other people's, and things we think of in the middle of the night and whole notebooks full of randomly collected details". In an interview in 1999, she said that "My initial reason for writing is that I need to shape things so I can make them bearable or comprehensible to myself. It's my way of making sense of things that I've lived and seen other people live, things that I'm afraid of, or that I long for".

Not all critics have liked Garner's work. Goldsworthy writes that "It is certainly the case that Garner is someone whose work elicits strong feelings ... and people who dislike her work are profoundly irritated by those who think she is one of the best writers in the country". Novelist and reviewer, Peter Corris wrote in his review of Monkey Grip that Garner "has published her private journal rather than written a novel" while Peter Pierce wrote in Meanjin of Honour and Other People's Children that Garner "talks dirty and passes it off as realism". Goldsworthy suggests that these two statements imply that she is not really a writer. Craven, though, argues that her novella, The Children's Bach, "should put paid to the myth of Helen Garner as a mere literalist or reporter", arguing, in fact, that it "is light years away from any sprawling-tell-it-all naturalism, it is concentrated realism of extraordinary formal polish and the amount of tonal variation which it gets from its seemingly simple plot is multifoliate to the point of being awesome".