The Best Australian Humorous Writing (2 page)

Unlike essayists, writers of humour often set their sights low, microscopically low, targeting the minutiae of everyday life. For Catherine Deveny it's the outrage at the owners of 4WDs; for Barry Cohen it's the problem of modern telecommunication providers; and for Wendy Harmer it's the gripe of entertaining children, even her own. Tiny targets and large truths.

The media, television in particular, continue to play a growing role in the lives of all Australians and they have a commensurate significance in many of our contributions, including
The Chaser
's
thoughts about the Logie Awards and Marieke Hardy's reflections on the curvaceous television chef Nigella Lawson.

Surprisingly, Australia lacks a tradition of publications dedicated to humorous writing, such as Britain's
Punch, Private Eye
and
Spectator
, or
National Lampoon
and
The New Yorker
in the United States. In any case, we have sought to include a diversity of original publishers and intended readers—newspapers, quarterly essays, academic journals, magazines, speeches, public broadcasters. And there is a spread of the internationally famous and those who deserve to be much better known.

As to the perennial question—Do Australians have a distinctively Australian sense of humour?—we leave that to the reader. It is true that the editor's job is to make a selection, and it goes without saying that this anthology is representative of what we find humorous. But at its heart, this is a selection intended for those who want to find their own connections. There is no fundamental order. There is no narrative throughline, no implied thesis, nor a beginning, middle and end. On the contrary, there are myriad beginnings, plenty of middles and at least two ends. The connections in this anthology might be found less in the order we have imposed upon the works, more in what the reader finds and how the reader uses them. The connections will be found in random readings on a beach towel, on a toilet or waiting in an airport lounge. It is a lucky dip. It is a lazy Sunday morning yum cha. It is a best value showbag.

Something for everyone might be one way of describing this collection.

Whether the something is enough, or the everyone is too many, is ultimately a matter for each reader. It is true the anthology contains almost fifty pieces, a ridiculous number even by Hits of the Seventies compilation standards. Some will argue less is more. Possibly. But this anthology is designed for those who remember hotter, bluer, sunnier summers and believe more is more.

Many years on, I can say with certainty that the small box of postage stamps was indeed the best collection in the only way that mattered. It was the best to me.

Andrew O'Keefe
and Steve Vizard
September 2008

OLGA PAVLINOVA OLENICH

Perhaps a quarter of a century ago. Can it be that long? A tech school in the northern suburbs of Melbourne. Near the large sprawling cemetery and the big Ford factory. Convenient for the Turkish workers who are dying like flies. Not so convenient for me. I have to come in from the city on the train which smells of piss and beer and cigarettes. I try not to look at my fellow passengers. Eye contact not recommended.

I am very young. Straight out of uni. I've decided to become a teacher because I want to travel and I need the money. Around Christmas I saw an ad in the papers asking for graduates to swell the depleted ranks of the much-maligned profession. The offer is a good one. It is not the conventional route into teaching. There is no contract to go out there and teach in some godforsaken country town for two years; there is just the offer of money and some “training” which turns out to be the biggest hoax since Ern Malley had a go. The lecturers are less qualified than I am and more interested in getting me into the sack than imparting any skills or knowledge of the “how to be a teacher” kind. Not that you can teach anyone to be a teacher. As I am about to find out. Of course, I have volunteered for the least palatable of the schools on offer. I figure, if I'm going to do this, I'm going to do it without the sugar coating. No
Prime of Miss Jean Brodie
for me.

Roger Hale is sitting in the rubbish bin again. He is a squirt of a kid with a nasty intelligent little face. The intelligence is a surprise but not a good one. He gets away with murder in a place where intelligence goes unrecognised. I leave him in the rubbish bin. From the first English lesson, I have realised that making a fuss about it is just what he expects and hopes for. He is prepared for the standoff. Past experience has taught him he will win. He is a lot more clever than the average teacher and he knows it. He starts classes by sitting in the rubbish bin and shocking his teacher. This is how he provokes the first joust and how he gets control. So he was outraged when I ignored him the first time and let him spend the whole hour in the bin, which must have been uncomfortable. Now it's a matter of principle for him to sit in the bin throughout my English class.

English! Now there's a subject you want to be teaching in a flimsy portable classroom stuck out on a dry paddock away from the main buildings like some stinking outhouse, especially to a class of boys, described on the tatty cover of their class roll as “3F–K”. 3F–K
.
What brilliant bureaucratic mind decided that the dead-end class of adolescent boys who were just waiting to get out of school at the magic age of fifteen should be categorised as 3F–K? Were there no other cut-off points in the alphabet that might have served just as well? Of course, some of the boys have got to the roll already. The cover is very decorative. The word
fuck
appears forty-two times, mostly spelt correctly but with the occasional aberration, a “c” left out, an “o” where the “u” should be. ESL I presume, or perhaps not. Everything is possible in 3F–K. And then there are the illustrations. Crude is an inadequate word to describe what has been drawn on the cover of the 3F–K roll. Anyway, it's a start, I tell them, waving the thing in front of me. It's a poem. An illustrated poem. It rhymes. What does it rhyme with, apart from itself: fuck, fuck, fuck?

“Stuck,” says Roger from the bin and I start laughing. So do the 3F–K boys. Even Roger can't help laughing. He makes a show of struggling out of the bin.

“Fuck miss, I'm stuck,” he says. It's hilarious. We are screaming with laughter. I sober up eventually and take up the posture of the schoolteacher again. It strikes me, for the first time, that it's lucky I'm in a portable where no-one can hear us. It also strikes me that I was born to this teaching thing. A frightening thought, but the adrenalin is pumping. I'm actually loving this. And I can smell victory. Blow me away if I haven't got to these boys. They're laughing: they're looking at me with anticipation, and laughing. I've actually got to them. It's going to be some struggle but I just know that I've got to them. In an instant, I know.

The Turks are okay. They've still got a residual respect for the institution of school, not quite the veneration they would have had for the village school back in Turkey, but something of the old attitudes remains, something their parents have managed to drill into them between the crippling shifts at the Ford factory. The teacher is the teacher. An important person. Well, maybe. The Yugoslavs are a different matter. They're just plain insolent. I'm young. I'm a “girl” with a Russian name, not so foreign to their ears, and there is no way they're going to let me boss them around. Three of them are called Dragan. I find this quite amusing. So amusing that I invent an excuse to call them over the PA system under the eye of the very conventional principal who doesn't suspect me until I make the announcement. “Would all the dragons in 3F–K come to the music room to practise their scales,” I say glibly, and I give the principal a sweet look. He is clearly confused. Not so the Dragans who may be thick but have never been called up like this before and see it as a kind of honour. The staff are laughing. The Dragans are laughing.

“Gotcha!” I think.

It's not all as sweet as that, however. One of the Turks is accused of raping a girl in 3A–E. We never see the girl again. She is removed to a Catholic school where it is presumed she will be safe and I meet a policeman who warns me about the boy.

“Now listen, luv,” he says, “don't you worry. We've got him scared. He should be okay in the classroom. Any trouble, let me know.”

“Yes, constable,” I say and feel as if I'm in a
Carry On
movie. But even though I've grown up in the western suburbs, the daughter of poor reffos, I've had a sheltered life. I've never come across situations like this before. I am both horrified by the boy and understanding, in a strange way. I hope the girl hasn't been raped, but I can never be sure. I waver between crying for her and crying for the boy who comes to school looking like a whipped dog. I'm on a seesaw and I feel sick. Some days I wonder if I can face another day at this school.

I have no choice but to get better. After Easter, I begin to teach art as well as English. This is decided when the art teacher leaves without warning. Something to do with despair, I should imagine, but I am excited by the art room which is astonishingly big and well equipped. I have also become the form-teacher of 3F–K which means I see them first thing every morning and that they come to me when they're in trouble.
When
they're in trouble! I don't often get away from school until well after five, sometimes as late as seven when it is getting dark and the walk to the station becomes a bit of a nightmare. With the requisite tombstones, no less.

The Maltese kid in 3F–K is my star art student. I've worried about him since the first day. He's so obviously effeminate. I wonder that they haven't done him over yet. The delicacy of his hands intrigues me. They are long, and the fingers seem to have no joints, like the fingers of Christ in a Byzantine icon. John helps me to set up the room before classes and we talk. His mother is widowed. Some factory accident, but I don't go into it because I can see how John's already pallid face drains of all colour when he mentions his father. John is fastidious. He arranges the brushes and the poster paints in long rows along the front table, explaining that it will be easier for students to see what they need, especially because he has graded the
colours of the paints, put the blues near the greens and the reds near the yellows and the purples near the … it all looks like a cubist painting. Then it looks like a mess. Because the others storm in and grab anything they can lay their hands on, anything they can flick, anything they can poke with, anything they can splash on each other in the course of the lesson. It's chaotic, but amazing things begin to happen in the chaos.

There are some good artists in the class. Valentino Calluzzi is one of them. He is a stocky Italian with eyebrows that meet over his nose like Frida Kahlo's. I tell him this and show him a picture of her with Diego Rivera. Valentino says Diego looks like his Uncle Paolo. I reckon Diego does look like someone's Uncle Paolo and I say that Frida could have had someone more attractive. Valentino says that women often like ugly men. This is the most I've ever heard from Valentino. He is reputed to have a shocking temper and I am instinctively wary of him. With good cause.

In the English class, I have the 3F–K boys working on an obscene magazine that is gradually becoming quite respectable. They've changed the name from
Fuck Off
to
I Gotta Get Outta Here
which I secretly like a lot but I keep telling them it's awful so that they feel they're winning a fight. By this stage, they have a nickname for me. It's Dracula. Not surprising. I have long dark hair and I'm usually dressed in black. Something to do with ballet, I think. All that getting about in a black leotard. Or maybe, as my friends say, I'm just morbid. Just look at my choice of schools. The school near the cemetery, I ask you. Valentino has come up with a piece about racing cars for the magazine. We are sitting together at the back of the room going over it for spelling mistakes. “Ooaah! Sucking up to Drac!” wisecracks Roger who has left the bin for good and now sits at a table he drags out of the front line of tables at the beginning of each class.

Suddenly Valentino is up on his feet. I spring to mine and throw myself between Valentino and Roger. Valentino is swinging a
chair over his head. He throws it at Roger. It hits me in the shoulder and the corner of the back clips the side of my forehead. There is blood and confusion. Valentino stands white and shaking. I think the others are going to kill him. I don't know how I do it, but I stay on my feet and calm things down. Wisecracks about blood and Dracula. A macabre song and dance. Anything for peace. When the others are sitting, I look at Valentino who is still standing and I take him by the arm and lead him outside. I don't know what I am going to say to him. I'm angry. I see that he is about to cry.

I take him by the shoulders. He is about my own height so I am looking directly into his eyes. “You are
never
,” I whisper hoarsely as the blood comes down my face in a steady trickle, “you are
never
to throw anything again. Never, never, never!” My throat is dry. I feel myself beginning to shake. I let the boy go. I cross the paddock to get to the staffroom. John runs after me.

“Are you okay miss?”

“Go back to the class, John. And don't let anyone touch Valentino.”

When I come back to the portable, they are all miraculously quiet, working away at
I Gotta Get Outta Here.
Only a few dare to sneak a look at me. A lot of them are flushed. We get through the class without a word and then they shuffle out of the classroom shame-faced, as if they had all thrown chairs at me. Valentino is at a loss. His eyebrow is a tight line over his red eyes.

“Sorry miss,” he manages to whisper, as he stumbles out of the door.

Later in the week I speak to the principal about Valentino. I do not tell him the whole story. I merely ask if the kid can have some help with controlling his temper. “He needs a good belting,” says the principal, and that's that.