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Macmillan

The Transit of Venus has been widely acclaimed, and justly so: it is a great novel of passion and ambition, success and failure, written with elegance and wit, and magnificently structured. Still, despite the critical superlatives, few critics have attempted to come to grips with the power of Hazzard’s writing. There have been the inevitable comparisons with Jane Austen, and some attention has been paid to the symbolic connotations of the title, but little more. The prose and structure of the novel are worth examining in some detail because, seven years in the making, it is a most crafted and sculpted work of literary art.

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In Tirra Lirra by the River, an elderly woman, Norah Porteou, returns to live in her childhood home in Brisbane after forty years as a ‘London Australian’. The house is empty, so is her life. Norah is a ‘woman whose name is of no consequence’. She is sensitive, vaguely artistic, slightly superior (‘Mother,’ she appeals in a childhood scene, ‘don’t let Grace call me Lady Muck.’) The novel consists of a review of her past, with interruptions from half-remembered neighbours offering curious and resentful help.

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