Writing The Silence of Water took many years, including a period of several years when it sat untouched. I can’t adequately express my gratitude to everyone who has helped to bring it into the world.
The majority of this novel was written on Whadjuk Noongar land. Parts of it are set on Whadjuk and Ballardong lands in Western Australia, and the lands of the Kaurna people of the Adelaide Plains in South Australia. I offer my respects to Elders past and present and acknowledge Aboriginal peoples’ continuing connection to land and culture. Depictions of Aboriginal people in this novel reflect some of the attitudes of colonial times; I have attempted to write these with sensitivity and dignity. The flower used to help Smith with his sleeping during the walk to York was based on information in the book Noongar Bush Medicine: Medicinal Plants of the South-West of Western Australia, written by Vivienne Hansen and John Horsfall, published in 2016 by UWA Publishing in Western Australia.
The title of this novel was drawn from José Saramago’s Small Memories, published by Harvill Secker in 2009.
The two verses of Robert Louis Stevenson’s poem, ‘Keepsake Mill’, come from my treasured copy of A Child’s Garden of Verses, Chatto & Windus, London, 1919.
An earlier version of The Silence of Water formed part of my doctoral thesis completed at Edith Cowan University (ECU). I am grateful for an Australian Postgraduate Award scholarship, an ECU Excellence scholarship and a travel bursary which gave me the time and resources for research I would otherwise not have been able to undertake.
I am so incredibly grateful to the City of Fremantle Hungerford Award judges Brenda Walker, Sisonke Msimang and Richard Rossiter for shortlisting The Silence of Water in 2020. The Hungerford is a major opportunity for unpublished Western Australian writers and to be part of the Hungerford tradition is an honour and privilege. Richard’s early encouragement of my writing was instrumental in my decision to start, and eventually finish, this novel.
I would like to acknowledge the many librarians and archivists who dealt patiently with this rookie researcher. In particular, staff at The National Archives in Kew, the National Records of Scotland, the Lothians Family History Society, the Lichfield Record Office, the City of Port Adelaide Enfield Library, the Western Australian Genealogical Society, the State Records Office of Western Australia, the J.S. Battye Library, Landgate, the Archives Office of the Catholic Archdiocese of Perth, the Family History Centres of the Church of Jesus Christ of Latter Day Saints and many UK registry offices.
I was fortunate to be awarded a residency at the Katharine Susannah Prichard Writers’ Centre at the very start of this journey. Apart from the inspiration and peaceful writing time I found there, I discovered an old bird’s nest in an overgrown bush in the gardens. That moment was the inspiration for the nest that Edwin finds in Stowe Pool, and it set the story in motion.
Thanks to Ffion Murphy, Jill Durey, Ian Reid, Leigh Straw and Ari Chavez for insights, constructive feedback and encouragement over the time it has taken to grow this story from a thought to an idea to a manuscript to a novel. In particular, Ffion steadfastly believed in my ability to be a novelist and to write this story, even when I lost faith in myself.
My grateful thanks to Fremantle Press publisher Georgia Richter who understood what I was trying to do. Georgia’s thoughtful questions encouraged me to think even harder about the characters, and find ways to be a better writer. Thanks to Armelle Davies for the astute conversations, commitment to this story and a keen eye. To Jane Fraser, Claire Miller and everyone at Fremantle Press, thank you so much for championing the work of Western Australian writers and helping local stories find their way into the hands and hearts of readers. I have always felt this novel has been in very safe hands. I am blown away by the support and care shown to my manuscript, and to me as a first-time author. Thank you also to Nada Backovic for the absolutely beautiful cover design.
I am deeply grateful to Amanda Curtin and Kiera Lindsey for endorsing this novel. Amanda’s exceptional novel The Sinkings inspired and educated me about the Western Australian convict era and was the catalyst for this book. Kiera’s engaging and considered feedback on my doctoral thesis, and her own work in bringing the stories of colonial women to life led to improvements in my work that wouldn’t have happened otherwise.
To my Atlantic College family, thank you for showing me what was possible. I’m so proud I get to call myself one of the class of ’83 and I love you more than I can articulate. In particular, big love to Maz, PV, Nicola, Ragini, Daz, Sarah, Sam, Amal, Silla and Tanya W for always encouraging me to write.
Thanks to my parents for having the courage to let their sixteen-year-old daughter travel twelve thousand miles to an extraordinary school, and for always being proud of me.
Special mention to the Women Who Walk and Whinge, without whom the past few years would have been impossible to live through. Also to Elda, Renee, Cindy, Lissa and Clare for soul-sustaining friendship when I really needed it.
My brilliant boyfriend, Adam. Thanks for going all the way to Semaphore before our second date, just because I told you about this book. And for the unconditional love and moral support, the hours spent reading, the really useful feedback and the many writerly conversations about story and character that have helped me do a much better job.
Biggest thanks of all to my sister Caroline, who is my role model and my rock, and Phil, Lilly and Beth. None of this would be worth doing without being able to drive to South Fremantle, sit in your kitchen and share it with you.