ANNA KRIEN, AMANDA LOHREY IN CONVERSATION
Hobart 17th Sept 2010
Melbourne author Anna Krien’s book Into the Woods, dealing with
the Tasmanian forest industry, was published in 2010. Krien visited
Hobart in September 2010 to promote the book, speaking with Amanda
Lohrey at a public event hosted by Fullers Bookshop in Hobart.
Amanda portrayed Anna as the new phenomenon in Australian
writing. ‘I described her at the Melbourne Writers’ Festival as the
reincarnation of Hunter S. Thompson. – in female form –’ said Amanda,
‘and she very quickly said “But without all the substance abuse”’.
Lohrey suggested Krien had suddenly come out of left-field to
almost reinvent Gonzo journalism in Australia, the first attribute of
which is fearlessness. ‘There are moments in this book where you will
literally hold your breath, for example where she fronts up in the hotel
in Maydena in a public bar full of loggers and asks them if they’d like
to talk about Tasmania’s forest industry. And all I could think was, oh
my God. I’m glad I’m not her mother!’
Krien’s response was that she didn’t feel fronting up to the pub was
that fearless. ‘I didn’t really feel that was a brave act, I just felt it was the
only way I was going to connect to some people’.
Asked why a Victorian – ‘from St Kilda I believe, not even a bush
brat’ – came to write about Tasmania’s native forest industry, why she
came and stayed, Krien replied that she’d stayed in order to dig beneath
the surface. ‘I discovered that the forestry issue’s something of a false
battle ground,’ she said. ‘That’s what the media is mesmerised by, this
battleground of loggers versus young activists out in the forests, and
I think it’s a worthy aspect to the forestry issue in Tasmania but I also
think it’s a decoy, and it’s a very helpful decoy to people who are worthy
of more scrutiny’.
Krien said she learnt a lot from the loggers she met; appreciated that
they had it hard not just from the environmental movement but from
the woodchipping industry. She encountered a sense of sadness and lost
pride ‘which is conveniently blamed on the environmental movement
but I think a lot of that has got to do with the woodchipping industry.
I don’t think that’s been portrayed that well in a lot of the coverage of
the issues. It’s been very much “it’s our forests so we can log it” or “those
redneck loggers”, it’s never been these guys pummelled from all sides.’
Amanda continued with
questions about Krien’s style of writing. ‘Is it part of a conscious
decision to write in a particular way, in the new journalism style where
the writer is actually an active participant, forming relationships with
the main players, or did that evolve?’
‘It’s simply how I write,’ Krien responded, describing herself as an
uncertain protagonist – ‘I like to use myself as a guide’ - and positing
a view of Tasmanian issues as being ‘very cut and dried’ and needing
a narrator. ‘I think it needed an outsider to be that narrator, it needed
someone who didn’t have too much of an ego or a swagger about them,
who was happy to be proved wrong on more than one occasion’.
Asked about the sort of prejudices and predispositions she brought
to the subject, Krien said she was mostly aware of her leanings towards
having a great affection for nature – ‘I like creatures, have nothing
against fur and feathers and I was aware I was predisposed towards
the environment, wanting the trees to still stand as opposed to them
coming down’ – but was also aware of being a writer and relying on
paper. ‘I didn’t want to be a hypocrite. I was also aware of my shadowy
hippy past, aware of people being too earnest. I was aware of whose side I could fall on if I didn’t control
myself.’
‘Control yourself…. You mean, control yourself in what sense?’
Lohrey asked.
‘To be tolerant and flexible and open,’ Krien replied.
Krien mentioned that it wasn’t meant to be a book. ‘It bullied its
way into being a book, it was meant to be an essay but to me it felt
like it hadn’t been written. It wanted to be a book’ ... to which Lohrey
lamented on being old enough to have seen a number of environmental
crises in Tasmania and of waiting and waiting for a book to be written
about them, which never arrived. ‘We didn’t get a book like this on
Pedder, we didn’t get a book like this on the Franklin, so much has gone
undocumented on the ground, that really vital, interesting, emotional
dynamic, emotion, frightening…. So good
on you. And it took a Victorian!’
Krien suggested that for her generation, Green politics was more of
a mainstream issue than it had been for previous generations. There
wasn’t such a sense of it being outrageous or radical; that maybe it
started with education, in primary school where it was taught and
wasn’t an issue. ‘You were taught to recycle. The only thing that was
strange about being taught these things at school was when you left school
you learnt that it didn’t really happen’.
And maybe this is our fight to fight as well, Krien continued … in the
sense that the sexual revolution and human rights were big issues in
the sixties and seventies ... maybe this is our generation’s … this is our
gris, this is where we’re at.
‘Good. Some of us are tired,’ Lohrey responded.
In conclusion, Lohrey referred to the English critic James Wood‘s
proposal that the writer’s true obligation is to map out changes in
consciousness at any given moment. ‘I think this book is one of the
best attempts at that I’ve ever read’. She referred too to the American
critic Lionel Trilling's suggestion that the most exciting thing in
politics is to watch the moral life in the process of reinventing itself. ‘The good writers document or chronicle that event in slow motion but
more to the point they capture the emotional underbelly of it. And the
title Into the Woods is intentionally archetypal and mythic. It is about
the innocent abroad in the great issues of the day.’