This was when I really began to explore Barbara Hanrahan’s work. I read ‘Weird Adelaide’ as part of some research I was doing at the time, and that led me to The Scent of Eucalyptus, a book which resonated with me in a way that few books have done since I was a child. It sparked an interest not only in Barbara Hanrahan’s work, but in her life.
As I read about Barbara Hanrahan’s Adelaide, I began to take my children on trips to explore the places she described. The Museum, the Botanic Gardens, the Zoo. I had been to these places before, of course, but I looked now for the details she had described, scribbling notes in my journal and taking countless photographs on my new digital camera. I layered these visits with other places I wanted my children to know – the Aboriginal flag in Tarntanyangga, the Gepps Cross drive-in, Centennial Hall.
A few months after my father died, we made an unexpected, unplanned move to Abu Dhabi and there my writing career – which was only embryonic at best – came to a standstill. There were many reasons underlying this, but one of the most significant was that I felt entirely unrooted (on top of my move from Adelaide to Abu Dhabi, we had sold my childhood home in Port Pirie). Unlike Barbara Hanrahan’s experience, the physical distance took away from me the deep connection that I needed to write with any meaning.
But my fascination with ‘Weird Adelaide’ continued, and on visits home, I continued to scribble notes, and to take my children to Adelaide places. Lasagne at Lucia’s, the rockpools at Hallett Cove, a walk across the causeway to Granite Island. At the back of my mind, I was still trying to find a way to make a ‘Weird Adelaide’ project come to life.
A year or so after I returned from a seven-year stay in Abu Dhabi, Caren Florance, a Canberra-based friend I had made online, asked me whether I would collaborate with her on a project. She’d been invited by an Adelaide printmaker, Simone Tippett, to be part of a project called Collaborative Variations, and needed a South Australian partner. I’d never worked in this way before, but the insight into the visual arts and printmaking worlds helped me see a new way that ‘Weird Adelaide’ might work. I asked Caren whether she would be interested in designing and printing some short stories that I would exhibit, and she suggested that I ask Simone and other printmakers to make their own Barbara Hanrahan-inspired prints. “Seriously,” she said, “Printmakers love this kind of thing.”
I asked Jo Harris at Mrs Harris’ Shop whether she would be interested in hosting the show in her gallery. When she said yes, I had all of the pieces of the ‘Weird Adelaide’ puzzle. And then, as with so many of this year’s best-laid plans, COVID-19 happened.
My initial disappointment at postponing the show has faded, and instead I have returned to the pieces I wrote, seeing new possibilities. This time of isolation, of shrinking into our locations, has forced me to look at my immediate surroundings with a renewed intimacy. Not only with a focus on the details, but with a fondness for them too. Bringing my attention to Adelaide makes even more sense than ever before.
As the immediate crisis lessens and we start to imagine what the world might look like, it is likely that travel will be restricted, and that we will be living local lives for some time to come. When I first returned to Adelaide four years ago and my partner still lived in Abu Dhabi, I would walk along The Esplanade and take great comfort in the planes flying in and out over the gulf. It reminded me that the world was small and that our connections would not be lost. I used to listen for the final flights of the night, knowing that they were going to Qatar or Dubai, the thread that connected us. I thought I would miss those planes, I feel that I should, but I don’t. Not yet, anyway. Rather I feel a softness in their place, a reminder to look at the place where I am.
It reminds me of the way I felt during those years of my father’s dying. But there is one significant difference. When you are with a person who is dying, you look up and realise that the world has been going on without you, that you have been in a world and a time of your own. Now, though, I step outside and I feel myself surrounded by people, all blinking in the light, all trying to make sense of things.
I cannot imagine what Barbara Hanrahan would have made of these times, how she would have seen them, written them, printed them. If anything, Adelaide is now less weird than it has ever been. Who knows how the virus will continue to affect South Australia, and what kind of city will emerge out of the crisis?
But as I write, the final words of the original piece continue to ring true: