Recommended Books and Published Reviews

After re-reading Mrs Dalloway, which I hadn’t read for a few years and loved as much as ever, I began reading Daisy and Woolf. Cahill’s layered and captivating post-modern novel is gripping from the first paragraph. Cahill’s writing has a pleasing rhythm, the narrative sweeps up the reader and transports them to other times and places, such as England, India, and Europe in the 1920s, and a long tragic voyage between Calcutta and London. Letters play an important part in the narrative. Cahill’s novel opens with the narrator Mina receiving a letter from her recently deceased mother. The relationship between Daisy Simmons and Peter Walsh is revealed through their personal correspondence.

The structure of intertwined narratives reveals the stories of two Anglo-Indian women – Mina is an author who is travelling while researching and writing a post-colonial novel to satisfy her curiosity about Woolf’s minor character Daisy Simmons, who is described by Woolf as “dark and charming” and in Mina’s opinion “cuts a lonely figure in the novel”.

The character of Peter Walsh in Mrs Dalloway has always seemed faintly repulsive to me, though I am fascinated by him and his strange ways. He is an intriguing character and his unusual and scandalous relationship with the elusive Daisy Simmons adds to his quirkiness. We know from Woolf’s novel that Daisy has left her husband and son in India to meet Peter in England and seek a divorce in order to be with him. We soon realise Peter is still infatuated and obsessed by Clarissa Dalloway who once rejected his proposal of marriage. His idea of marriage to Daisy seems idealised, based on his imagination rather than reality.

In the contemporary strand of Cahill’s narrative author Mina, who is grieving her mother’s death, is the mother of a teenaged son. She thinks deeply about her family, her research, of the despair she feels as she tries to capture elusive and reluctant characters. This literary device allows a glimpse into the mind of Mina as she researches the characters of Woolf’s novel while writing her own narrative. The reader is privy to the author Mina’s inner thoughts through stream of consciousness, a style for which Woolf is famous. As Mina’s ideas percolate, the character of Daisy Simmons emerges and becomes much more substantial. Her life, her struggles, her opinions, her feelings and her fondest hopes and dreams are now the focus of Mina’s narrative. We see how these elements are transformed by tragedy, reality, and that singular English obsession with a brutally delineating class system – who belongs and who doesn’t.

Cahill’s novel works on several levels. The contemporary voice of Mina and the letters written by Woolf’s character Daisy draw readers into disparate and diverse narratives about relationships that may or may not exist in the interstices of time and space. Daisy’s perspective of Peter Walsh gives an alternative portrayal from that of Clarissa. He behaves differently in Daisy’s company, seeming less agitated. In a letter to Daisy, Peter writes that he has: “No reason to hide among the vegetables, like a rough, bronze statue in the moonlight. No need to feel clenched to break down and weep. No ridiculous scenes, no melodramas! The tears we shed after parting in Calcutta were tears of joy.”

In addition to a great read, this is a rigorously researched literary work, enhanced by Cahill’s intuitive development of the characters and the depth of her knowledge and understanding of Woolf’s writing. Cahill’s re-imagining of Daisy Simmons reveals an underlying racism in Woolf’s novel. She brings into focus how this racism made women of colour invisible and insignificant, their needs sublimated to serve the British ruling class. “In Virginia Woolf’s London Clarissa’s Englishness dominates, and others like Daisy Simmons are marked, a shadow devoured in the Imperial closet” From a barely delineated character, a fantasy in the mind of Peter Walsh’s memories of his time in India, Daisy emerges in Cahill’s novel as a substantial complex character with desires, aims and emotions every bit as strong as those of English women.

I don’t want to give away any spoilers, I will simply say that in the end Daisy’s situation is inevitable despite the reader wishing her a more favourable outcome as Cahill’s novel concludes. Daisy is a woman of her time, class, and position. Nonetheless in her own way, Daisy has made peace with herself. With limited choices, she has chosen to be her own mistress.

It is not necessary to read Woolf’s novel to enjoy Daisy and Woolf though those who have may view Woolf’s work in another light. I am full of admiration for Cahill’s novel.

Michelle Cahill is an Australian novelist and poet of Indian heritage who lives in Sydney.  Her debut collection of stories, Letter to Pessoa (Giramondo) was awarded the NSW Premier’s Literary Award for New Writing. She has been awarded grants from the Australia Council, the Copyright Agency Limited, her prizes include the KWS Hilary Mantel International Short Story Prize, shortlisting in the ABR Elizabeth Jolley Prize and the ABR Peter Porter Poetry Prize.

Daisy and Woolf is published by Hachette Australia (2002) and Hachette UK. It is available at Hatchette Australia and UK, selected book shops and at Amazon Au and UK.

Dr Sharon Rundle is a professional member of the Institute of Professional Editors, and Chair of the University of Technology Sydney Alumni Writers’ Network. She has co-edited several anthologies of short fiction and edited books, literary magazines, and journals. Her stories, essays and articles have been published world-wide in books, anthologies, magazines, websites, and broadcast on radio. Sharon encourages international people-to-people literary links.

The narrative takes the reader between two worlds, into a troubled past and a mystery. Keen observations and conversations from the past impinge on and affect parallel stories in the author’s present life. Born in Calcutta, India, with a caul enveloping her face, her arrival is disconcerting for the family and other people present. The caul becomes an important motif in this narrative, not only because it’s a rare occurrence but also because it brings in metaphysical and preternatural aspects to the narrative.

 “As if in Catholic Communion, she [her mother] raised up the gold box that she held. ‘Dr Nag lifted the membrane for me to see. It is inside this box and is the size of a lady’s handkerchief. With his chest puffed-up, he carefully placed the membrane on a nearby table, that was lined with a sterile cloth and identified it as a “Caul” and said that you were a special girl to be born with it … This child is going to be very lucky. She will never want, but life will not always be easy for her. She will have extrasensory ability to see beyond the ordinary.”

Readers are given an insight into what it means to have visions, premonitions, a sixth sense and second sight. The hierarchy, bureaucracy, and mysterious workings of India almost drive the author to distraction but her strong belief in India and her right to be recognised as Indian in the country of her birth keep her striving for this recognition.

The reader is transported as the author arrives in Kolkata and travels through India. The author’s deep insight and evocative authentic recreation of these scenes immerse the reader in the story as Bitti captures the essence of the paradox that is India. The benefits of yoga are explored, as it is unusual for Anglo-Indians but a boon for the author who is a regular practitioner and teacher.

Gwen meets a friend Diana whom she stays with in Kolkata, and a past neighbour from her childhood, Melvyn. Melvyn has an excellent memory and helps Gwen revive scenes from the past, including a terrible memory of being trapped in a water tank.

Unexpectedly, scenes of violence, insurgency, fear, and secrecy emerge which are palpable and contrast vividly with the comfortable lifestyle, and the privilege and status of Bitti’s family. These experiences continue to play on her mind and induce a fear of repercussions now that she is back in India.

“The police car is parallel to the car that I am travelling in. A policeman motions to the driver to pull over. I pray to be invisible. The police car pulls in at the nearest curb and my driver pulls up behind it. The driver turns to me and says, ‘Ma’am.’

I startle and jump a little out of my seat. The blood in my head is pumping with the terror of being thrown into the back of a police car and taken to the authorities to be questioned about my father. I compose myself, ‘Yes, Driver.’”

The author’s quest for formal, official recognition of her status as a citizen of India sets off sensory triggers which bring up sharply focussed episodes from her past as she re-lives her experiences of her childhood there.

Gwen Bitti has an engaging style with a distinct narrative voice and rhythm. The prose is accomplished and has great clarity. The storyline is exciting, unique, and revelatory. 

The striking book cover catches the eye and depicts the author’s caul box, passports and photos against a vivid background.

I strongly recommend this book. 

Gwen Bitti  lives in Sydney, Australia. She was born in Kolkata, ( formerly Calcutta) India She has had short stories, haiku and tanka published. In 2020 her short story, New Life in Kolkata was selected for an online publication in Agathokakological Aussie Summer. She is a businesswoman, yoga teacher, meditation facilitator and former lecturer for the International Yoga Teachers Association (IYTA). In 2010, together with three other people, Gwen contributed to building a three-storey yoga/community centre in Rimbik, India, as a thank you gift to her birthland. She has served her local community since the early 80s.

Published by Ginninderra Press, 2023. ISBN: 9781761095375

Available on Amazon https://www.amazon.com.au/Between-Two-Worlds-Gwen-Bitti-ebook/dp/B0C2S3B9MD

And Apple Books https://books.apple.com/au/book/between-two-worlds/id6447923222

Dr Sharon Rundle Institute of Professional Editors. Chair, University of Technology Sydney Alumni Writers’ Network. Co-editor of several published anthologies of short fiction. Her stories, essays and articles appear in books, anthologies, journals, magazines, and have been broadcast on radio. She has taught at universities and presented conference papers in Australia, the UK and India. Sharon was a finalist in the Indian Business and Community Awards 2023. She encourages international people to people links while nurturing new writing.   https://sharonrundle.com.au

As Jagath’s life unravels, the reader is immersed in the scenes, with aromas, tastes, textures and sounds complementing the vivid visual descriptions. The descriptive passages are poetic. Sirimanne Hyde’s skill at narrative withholding keeps the tension and suspense going. Jagath must face his demons, overcome obstacles, and challenge the status quo. In the process, he learns that his parents (and grandparents) have family secrets and the family name may not be as polished as they portray in public. Sepalika, too, has secret friendships and relationships. Her ‘make-over’ makes the reader realise that she is much more than the unhappy, uncooperative character that she appears in the beginning of the story. Ryan represents forbidden love, he provides a foil for Jagath, and he creates the desire for change. Additional characters are diverse and represent various attitudes, outlooks and perspectives. These contrasting views give depth to the narrative, as various aspects of human behaviour are revealed and discussed between them. Even Saeed appears like a parable to emphasise what is at risk and at stake for characters like Jagath who rely on visas and permanent residency to remain in Australia.

Three core threads run through the narrative: Jagath’s dilemma and finding a solution to the mistake he has made; Ryan and Jagath’s star-crossed love; and the teachings of the Buddha.

The teachings of the Buddha, and the meetings with a monk work extremely well. Through his Buddhist practice Jagath becomes stronger within himself, better able to face the world – and eventually to deal with it in a way that relieves everyone of their burdens – except, perhaps, his parents. Jagath realises the repercussions of his actions and through his spiritual, internal struggle reassesses his need to project an exterior image of coping and managing life.

“Outside the wind had picked up creating rustling sounds through the surrounding eucalypts. Somewhere close-by, numerous birds tweeted. Jagath sensed that Yohan was staring at him but when he glanced across, his friend had his eyes firmly focussed on the ground in front of him. When the sermon concluded, the two men bowed down in reverence and took their leave. As Jagath got up from his seat, the monk smiled and encouraged him to consider visiting the monastery again to which Jagath nodded, replying that he would definitely try to.”

These threads intertwine and the impact they have on each other clearly shows the causes and effects of events and interactions. Each thread leads towards a resolution or closure of some kind. The wisdom of the teachings of Buddha and the Dhammapada reverberates through the pages and resonates with readers.

By the end of the story, there have been remarkable and significant changes for the characters. Not all is neatly resolved, particularly with his family in Sri Lanka (as with real life), but the story ends on a note of optimism. It feels right and will strike chords with many readers. One of the illusions of writing a work of fiction, is to make the reader think that this story may or may not have happened – but it could have! Sirimanne Hyde’s novel carries that illusion beautifully.

Samantha Sirimanne Hyde was born in Colombo, Sri Lanka and now lives in Sydney, Australia. She holds a M.A. in Creative Writing from Macquarie University, has co-authored a selection of poetry (Paper Boats) and published a collection of twenty short stories called The Villawood Express & other stories. Her short fiction, free verse, haiku, tanka and other Japanese genre poetic forms have appeared in Australian and overseas publications. The Lyrebird’s Cry is her debut novel.

ISBN: 9780645538601 Cover image: Kyle Neo Design 

Available from Amazon https://www.amazon.com.au/Lyrebirds-Cry-Samantha-Sirimanne-Hyde/dp/0645538604

Dr Sharon Rundle Institute of Professional Editors. Chair, University of Technology Sydney Alumni Writers’ Network. Co-editor of several published anthologies of short fiction. Her stories, essays and articles appear in books, anthologies, journals, magazines, and have been broadcast on radio. She has taught at universities and presented conference papers in Australia, the UK and India. Sharon was a finalist in the Indian Business and Community Awards 2023. She encourages international people to people links while nurturing new writing.   https://sharonrundle.com.au

The final Part set in Australia shows how Kwong adapts to his adopted homeland and fulfils his long-held goal of studying medicine. Never one to rest on his laurels, Kwong accepts every challenge that confronts him. He doggedly pursues his aim of a medical degree, despite his yearning to see his family in Shiqi again and his concern for their welfare.

These later chapters set in Australia are not as vividly portrayed as those set in China and Hong Kong, although there are certainly memorable moments. Nonetheless, “One Bright Moon” is a gripping, true story of courage, persistence and eventually escape against incredible odds. Highly recommended.

Publisher: HarperCollins Australia https://www.harpercollins.com.au/9781460712399/one-bright-moon/
Dr Sharon Rundle is an editor, reviewer and writer who co-edits anthologies. Her latest collection: “Glass Walls: stories of tolerance and intolerance from the Indian subcontinent and Australia”; (Orient BlackSwan, 2019). She is Editor for the Society of Women Writers NSW.