I Got His Blood On Me by Lawrence Patchett
Victoria University Press $35
A publisher once told me a long time ago that short stories were "best left in the bottom drawer". Thankfully, Lawrence Patchett has turned that axiom on its head, abandoning a rambling novel for the form to which, based on this remarkable collection anyway, he is very well-suited. With a couple of minor exceptions, his short stories are of the longer version - indeed, he was a winner in The Long and the Short of It competition with the excellent The Road to Tokomairiro, which takes us over the saddle of this collection and out to the excellent finishing tale, the tiny, barely conceived, What Luck.
Patchett has worked hard on the graft and mechanics of writing, ensuring there is a solid foundation for his wide-ranging imagination. As a result, he manages to execute a number of contradictions seamlessly: his subjects, despite being loosely tied in the grab bag of "frontier stories", cover a range of situations, contexts and characters, yet throughout them all, pulling them together is the unique thread of his voice. His use of historical "true" figures and events (mostly) lends the stories a realism where it could be a divisive device; his imagined observations of Dick Seddon and Zane Grey are rich and colourful yet quite believable.
There's a Cormac McCarthy-esque concision to the language, and Patchett's heroes share a similar outback fortitude and silence, and a respect for the momentousness of the landscape. Economy of movement and of speech lends weight to the slightest shift in position, the quietest utterance. And his phrases are both delicious articulations of that landscape, and expertly timed and inserted: the "flick of wet manuka", "the high silence of the leaking sky". He twists words to his purpose to stunning effect.
Edward, in the exquisite My Brother's Blood, is arrested by the sight of a gathering of seals - "brownly they heaved everywhere in their hundreds".