Have you met my housekeeper?’ Dorothy was palpitating. ‘In your old room. Practically as you left it. One has to respect what other people are — esse… - Patrick White

In recent years we have been served up a lot of claptrap about the need for a national identity. We have been urged to sing imbecile jingles, flex our muscles like the sportsmen from telly commercials, and display a heart optimism totally unconvincing because so superficial an unnatural. Those who preach this doctrine are usually the kind of chauvinist who is preparing his country, not to avert war, but to engage in it.

Why can't a writer use writing as a painter uses paint? I try to. When I wrote The Tree of Man I felt I couldn't write about simple, illiterate people in a perfectly literate way; but in my present novel the language is more sophisticated. I think perhaps I have clarified my style quite a lot over the years. I find it a great help to hear the language going on around me; not that what I write, the narrative, is idiomatic Australian, but the whole work has a balance and rhythm which is influenced by what is going on around you. When you first write the narrative it might be unconscious, but when you come to work it over you do it more consciously. It gives what I am writing a greater feeling of reality.

they were both shocked, if not positively alarmed, by an interruption to their celebration. The door opened. ‘Sister, can she be seen?’ It was Mr Wyburd in something too loud for a whisper and less than his usual grammar. ‘The princess has arrived. Her daughter.’ As if this were not enough, a second figure was pushing rustling past the one at the door: for Mrs Hunter it was sound perfume joy despair; whereas Sister Badgery saw a tall thin hatless woman, somewhere around fifty (to be on the kind side) her dress unsurprising except for its simplicity and the pearls bounding about around her neck, and on her bosom, as she half ran half staggered. A princess shouldn’t run, the nurse recovered herself enough to disapprove; and she shouldn’t have a horse face. But Dorothy floundered, imperviously, on. ‘O mon Dieu, aidez-moi !’ she gasped, before assuming another of her selves, or voices, to utter, ‘Mother!’ and lower, ‘Mum!’ Then, by act of special grace, a blind was drawn over the expression the intruder was wearing for this old mummy propped up in bed, a thermometer sticking out of its mouth; if life were present, it was the life generated by jewels with which the rigid claws were loaded.