Allen & Unwin, 9781742374161, 2011(Aus paperback, ebook + US/Kindle)
Bright and Distant Shores is hugely imaginative historical fiction. It’s set just before the dawn of the 20th century in Chicago and the South Pacific. Owen Graves is sent by Hale Gray, the president of Chicago First Equitable, to collect some ‘special items’ to display on top of the tallest building in the city. Graves is dubious about the morals of the expedition but wants the money so he can finally marry his girlfriend, Adelaide. In Melanesia, a mission houseboy called Argus loses his master, but not his faith. He seeks out his sister and they are soon promised new prospects by the man on a ship from Chicago… This book travelled with me around the globe recently. Back at home I got in touch with its Australian-American author, Dominic Smith.
AM: I was swept up in every element of this vast story – the tensions at sea, Owen and Adelaide’s relationship, Argus caught between worlds, the skyscraper sliding into the ground – and I wondered, was it difficult having so many balls in the air while writing? You draw them all together seamlessly and somehow keep the pace steady throughout.
DS: I’m so glad to hear that you were pulled along! Writing this novel was sometimes akin to running between spinning plates, giving them each another nudge as I darted by. I was conscious from the beginning of the scope of the novel and thought about ways to handle all the moving pieces. Some of my favourite literature includes sprawling narratives and plots with many moving parts. I think of Dickens and George Eliot especially… I feel like one of the things I tried to do was to keep the plates spinning. So that meant even when we are at sea it’s worth taking a dramatic pause in the nautical action to check back in with the Chicago characters. It builds more tension - in both the Chicago and Pacific narratives – and allows the narrative to skip through passages of time. It increases the pace. I also tried to create some friction between the interweaving narratives, so that the ideas and predicaments of one storyline might echo with the storyline that is juxtaposed next to it.
It’s set in a fascinating time-period, when all the islands had already been somewhat ‘infected’ by ships of explorers, collectors, naturalists and missionaries and would never be the same again. What was it about this era that drew you in?
The 1890s was a fascinating period for both Chicago and the Pacific. When I was doing research for the novel I was shocked to discover the widespread fear among collectors of the late-19th century that ‘the bathtub had already been drained.’ There was a feeling that it was easier to get good curios in London or New York than in the Pacific islands. That surprised me. So you saw a huge collecting impetus by many museums and private collectors as the new century dawned. They were trying to get the last of the loot. So by 1900 the Pacific was already awash with European white culture; islanders were more likely to want Winchesters, ammunition, and cigarettes, than beads, glass, and ironwork. This is also a time of missionary zeal, when the Anglicans, Presbyterians, and Catholics are divvying up the Pacific, sometimes along tribal boundaries. Meanwhile, in Chicago, you have a dozen or so business tycoons who make millions from meatpacking and railways and insurance. They pour much of it into building cultural institutions - libraries, symphonies, museums. Marshall Field, of department store fame, donated $1 million to set up a museum in his name. There was a widespread interest in the exotic and ethnographic after the World’s Fair of 1893. So I was fascinated by how the tribal Pacific and commercial America could intersect in ways that were both strange and compelling. The 1890s, for me, is a crazy mash-up of conflicted ideas and visions.
Read the full interview at Crikey.