Peter Temple's The Broken Shore was published last year to rave reviews, including mine for the SMH, and it's just won the Colin Roderick Award for 2005. This award is given by the Foundation for Australian Literary Studies at James Cook University for the best Australian book, in any genre, published in the previous calendar year: The Broken Shore won out over, among other shortlisted things, Kate Grenville's The Secret River and Tim Flannery's The Weather Makers.
As I can no longer find my review online, I reproduce it here in an attempt to lure anyone who hasn't read this book yet to do so at the first opportunity.
Synchronistically, if that is a word, this news comes within days of my stumbling over another rave review of Temple, this time of Identity Theory which I haven't read, at the blog Head Butler, where Jesse Kornbluth says this. But in the meantime, here's mine from last year:
The Broken Shore
By Peter Temple
Text Publishing, 320pp, $29.95
Detective Senior Sergeant Joe Cashin, badly damaged in the line of duty, has been seconded to a job in the relative quiet of his childhood home town on the southern coast of Victoria. When he isn’t walking his two black standard poodles through the countryside or trying to find a comfortable position for his damaged body in a chair or on the floor while he listens to opera, Cashin spends his non-work time planning the rebuilding of the ancestral ruin in which he lives.
But then a highly respected and well-heeled local is found dead in his own home, and the body shows the marks of torture. The evidence points to three Aboriginal boys from the local community, but it soon starts to look as if there might be quite a different story behind this murder.
It’s hard to know where to start praising this book. Plot, style, setting and characters are all startlingly good, and even lovers of crime fiction will recognise that Temple has taken his writing beyond the usual boundaries of that admirable genre, though it still follows the mainstream conventions. There’s the idiosyncratic detective, a troubled loner with signature tastes in music, alcohol and/or books. There’s the tight plot full of red herrings and false trails, and the deft interweaving of a romance sub-plot involving a suitably foxy heroine. And there are some very, very horrible moments as the action unfolds.
Temple’s greatest gift is for the creation of his characters: their back-stories are sketched in with great economy and clarity, their general cast of mind is conveyed through small details, and their motivations are revealed detail by small detail. But most of all, Temple has an astonishing skill in conveying the feeling between his characters: the slow accretions of trust, the red haze of hatred, the fine strands of hostility in the weave of desire. When this book is made into a movie – and it will be – the real test for the actors will be in the two-handed scenes where they have to play off each other, because the emotional currents running between the various characters are so deep and strong as to be almost visible.
Temple has an acute ear for the speech patterns of a certain kind of Australian man. Although the story is not actually told in the first person, we see events from Cashin’s point of view so the style tends to be that of the character’s own very Australian inner voice, laconic to the point of occasional incomprehensibility, its humour deadpan and drier than a chip. When Cashin and his colleague Dove notice a bit of casual private-schoolboy bullying as they pass in the street – itself a briefly eloquent counterpoint to the wasted lives of the Aboriginal boys – Dove says ‘Year ten mugging class. Been out on a prac.’
There’s also plenty of action, much of it gruesome, some of it comic. There are remarkable evocations of landscape and cityscape, in which recognisable parts of Australia melt imperceptibly into fictional ones: Temple’s Melbourne is half invented, half real, as though you could turn down an alley off Lygon Street and suddenly find yourself in one of his plots. There are also some spectacular set pieces; the scene in the abandoned theatre is brilliant and chilling, a passage of suspense and horror that’s played out in silence and leaves much of the worst to the reader’s imagination.
The subject matter combines two of the most dark and dangerous undercurrents in contemporary Australian society: the status and treatment of the Aboriginal population, and the emergence of long-buried stories of institutional sexual abuse. Temple writes about these things with enough insight and passion to make the reader ask exactly where the boundary lies between genre fiction and ‘serious’ literary fiction. The Broken Shore is one of those watershed books that make you re-think your ideas about reading.