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shifting: The Creation and Theoretical Exploration of a Collaborative Autobiographical Novel Helen Cerne MA 1998 VICTORIA UNIVERSITY OF TECHNOLOGY 3 0001 00534 9347 SHIFTING: THE CREATION AND THEORETICAL EXPLORATION OF A COLLABORATIVE AUTOBIOGRAPHICAL NOVEL Helen Cerne VOLUME ONE f^ f ••'Amm STA THESIS A823.3 CER 30001005349347 Cerne, Helen, 1947- Shifting : the creation ancd theoretical exploration of a collaborative This thesis. Shifting: The creation and theoretical exploration of a collaborative novel, is submitted in two volumes. Volume One comprises the creative component of the thesis, the novel. Shifting, written collaboratively in alternate chapters by Helen and Serge Cerne. Volume Two comprises the theoretical component of the thesis, a commentary which explores aspects of collaborative writing with particular reference to Shifting. SHIFUNG: THE CREATION AND THEORETICAL EXPLORATION OF A COLLABORATIVE AUTOBIOGRAPHICAL NOVEL Submitted by Helen Cerne Trained Primary Teacher's Certificate (Toorak Teacher's College, Deakin); Bachelor of Arts (University of Melbourne); Graduate Diploma in Teaching English as a Second Language (Deakin University) A thesis submitted in total fulfilment of the requirements of the degree of Master of Arts (Research) Department of Communication, Language and Cultural Studies Faculty of Arts Victoria University of Technology St Albans, Victoria 3021 Australia March 1998 CONTENTS Volume One Page Abstract iii Acknowledgments iv Declaration of Authorship v SHIFTING, the novel vi Contents of the novel vii SHIFTING References for the novel 193 11 Abstract This Master of Arts thesis has two parts: a collaborative autobiographical novel Shifting, written by Helen and Serge Cerne, and a theoretical commentary which explores aspects of collaborative writing. The research material in this thesis has come from a variety of resources: primary and secondary sources, literature data bases, a journal I kept while writing the novel, interviews with family members, discussions with my partner and field visits to places represented in the novel. Only my part of the novel has been submitted for examination but the whole of Shifting has been included because all of it must be read to understand the thesis. The novel, written from a male and female narrative perspective, has alternate chapters which tell the story of an Italian migrant boy and an Australian-born girl growing up during the 1950s and 1960s. The story deals with physical, emotional and psychological changes in the lives of the two central characters. Shifting is a social history of the period which mainly documents the western suburbs of Melbourne. The central argument of the thesis, both novel and commentary, is that identity is not fixed but constantly changes or shifts, especially in moments of crisis such as migration. Displacement and marginalisation, or repositioning of identity, are delineated in each chapter of Shifting to contrast or echo the 'other' narrative. The theoretical commentary also discusses various models of collaboration, collaborative agreement, dialogue and negotiation, with special references to Shifting. An analysis of heterosexual collaboration shows how socio-economic circumstances or gender expectations can limit the female partner's contribution to the creative partnership. Finally, autobiography as a form of self narrative is explored as a form of personal mythologising. Ill Acknowledgments There are many people to thank for their encouragement and interest in the writing of this thesis. I acknowledge with gratitude the support of staff and fellow post-graduate students of the Department of Communication, Language and Cultural Studies at the Victoria University of Technology. I thank all my family, but in particular, my parents, Doris and Noel Dougherty, and Serge's parents, Maria and Pietro Cerne, for their contributions to the project and their willingness to have their stories told. Lastly, I wish to thank Serge, my husband, for his patience, time and cooperation in writing half of the collaborative autobiographical novel. Shifting. IV Declaration of Authorship 1. I hereby certify that half of the novel (alternate chapters) is my own research and original written work. Due acknowledgment has been made in this thesis to my husband. Serge Geme, for writing half of Shifting. All of the theoretical component is my own research and original work and has not been submitted previously, in whole or in part, in respect of any other academic award. The Victoria University Human Research Ethics Committee approved the research project in March, 1996, (HREC 97/355). 2. The content of the thesis is the result of work carried out since the official date of commencement of the program Signed: Date: 13 h MS SHIFTING Helen and Serge Cerne 1998 VI CONTENTS OF THE NOVEL Chapters Prologue: Beginning 1 I. Fiume, 1944, Italy * 7 2. Beulah to Melbourne 1938-1940s 12 3. After War, Rijeka, Yugolslavia* 16 4. Bendigol950 23 5. Voyage* 28 6. Mildura 35 7. Mildura Migrant Camp* 43 8. Dandenong 54 9. Somers* 60 10. Korumburra 65 II. Yarraville 1952* 71 12. Kingsville, Melbourne 80 13. School at Seven * 90 14. Two Departures* 97 15. Two Arrivals* 104 16. Growing Up Australian 113 17. AMDG with Featherduster* 122 18. Catholic Neighbours 130 19. Who Are You? * 135 20. Footscray High School 144 21. Seeing Things* 155 22. Where's Home? 166 23. Meeting ** 174 24. Epilogue** 187 References for the novel 193 Key Unasterisked chapters written by Helen Cerne * Written by Serge Cerne ** Written Ijy Helen & Serge Cerne vii Shifting BEGINNING Christmas 1987 Caught in time they reminisce, living in a world no longer there. H Cerne Thirteen of us sit around the dining room overflowing with presents, food and festive trimmings. Everyone talks at once. Wine and champagne are poured into long-stemmed crystal goblets and someone makes a toast but no-one listens. Suddenly a loud male voice shouts, 'AH the best, all the best!' It is my father, Noel, at the head of the table, overseeing this annual celebration. We raise our glasses and clink them together. My in-laws say quietly, 'Chin, chin, buon natale, buon natale.' My children bang their drinks against their cousins'. We all laugh, mainly because we're together. My m.other, Doris, is in the kitchen freliing over the turkey and the gravy. It is a hot Australian day but it is the full traditional English Christmas with plum pudding, chestnut stuffing and cranberry sauce. Maria, my mother-in-law, has made lasagne oozing with mozzarella and button mushrooms. The aroma of garlic and meat hit our hunger as she offers us a slice. 'No thank you Maria,' says my father, 'I don't want it to spoil my meal.' She smiles at him, perhaps not understanding. We start pulling bonbons and read out fortunes and jokes. 'Here's a good one,' says my son. 'What's the best way to serve Turkey? Join the Turkish Army. Why does Santa come down chimneys? Because they soot him. What do gorillas sing at ... ' 'Did you hear the one about the Irish soldier?' cuts in Dad. 'Yes pop!' shout his grandchildren. But he tells them an)rway. 'Pietro you want something?' says my father in a loud, flat, mono­ syllabic tone. 'No, thank you, Noel, grazie, grazie.' Serge sits opposite me eyeing the gathering. My brother Ian is telling him about a racehorse he backed. Dad is in on it too. They just missed out on a fortune again. But they have a cert for next Saturday. If it doesn't rain or if the jockey ... Sliifting My daughter is giggling about something with her favourite cousin. Maybe it's about a boy, maybe it's about us, maybe it's being fifteen. Ian goes to carve the turkey and I decide to help serve the vegetables. It's hard to keep it all hot. Marlene, lan's wife, checks on the custard bubbling on the stove. The children sit filled with lasagne: chewing nuts, grabbing dinner mints, refolding serviettes in intricate origami patterns, ignoring us oldies with our set ways. It is a good day. I look at my family growing older. My parents move more slowly now. Mum has arthritis. She can hardly open jars and lids for toppings and garnishes. But she radiates warmth and optimism. All will be well. Her face is still young, framed by auburn hair. Dad's is now nearly white but he looks healthy, objects to being quizzed on his physical condition. 'You'll have to kill me with a bloody brick!' he always says. His face shows intelligence, strength and a tendency to frown. My Italian in-laws are both well, despite their long years in factories on twelve hour shifts. They are reserved people. Polite, shy, respectful in social situations. It is hard for them in English. They can speak it but they have some difficulty in understanding Australians, especially when some idiomatic expression is thrown in like, 'Would you like to wet your whistle before the real tucker arrives?' Maria is slim, grey and small-boned. Pietro is tarmed, bald and sinewy. He moves quickly and prides himself on his fitness. Loves to exercise and keep busy. He walks to Footscray to shop even though it's several kilometres and he's well over seventy. Has done it for thirty years. They are people with simple needs. They love their family above everything else. Italy is another time for both of them. Visits back there make them love Australia more. Still there is that remembering of origins that nothing can replace ... It is the same with my parents. Their memories are now more real than each day in retirement. They talk of the Mallee, of Mildura, of Bendigo, of Korumburra, of Ian and me as kids. It is a happy past. They treasure it. The meal is over and we are full, wanting to sleep it off.

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