Family

The novel chronicles the evolution of family over the span of seven decades; from the first involvement in World War 2 to the terrorist attacks and heightened isolation experienced in a 21st century society. Using the knitted community of the outer Melbournian suburbs, the term ‘family’ expands further than just the immediate confines of the household. The four generations of the Westaway family is the focus of the narrative, with first generation Tom and Jean, their children Kip, Francis and Connie; Kip and Annabel Crouch’s daughters Constance (Stanzi) and Charlotte, and then Charlotte’s two children Alec and Libby. The auxiliary characters of Jack Husting and Annabel Crouch also form part of the Westaway family by virtue of their connection to Connie and Kip, respectively. Portraits of the Husting family and the Crouch’s are used as a comparison.

The Westaways are tried and tested as a family unit, first and foremost by the death of Tom Westaway. The absence of the breadwinner in late 1930s would not have been an isolated incident, as more Australian men enlisted in the war effort every day, but the absence of Tom changes the roles within the household and influences the narrative greatly.

Toni Jordan challenges the concept of the traditional family unit, first with the absence of the father role in the late 1930s as a result of Tom’s untimely death but then again with the choice to remove Alec’s father Craig from the household of Charlotte as she co-parents with her sister, Stanzi. It is suggested that there are many ways of forming family combinations but the message is clear: family relationships are positive and nurturing. In the absence of Tom and Craig, strong women within the family (Connie and Stanzi, respectively) must step up to hold the place of parent, the resounding influence the connection of family has on individuals is palpable.

Despite Alec’s admonishment of having ‘smother mother[s]’ raising him, the impact that Stanzi and Charlotte have on Alec is evident in the strength of character Alec displays when he declines the joyride with his friends and ‘the greatest night of my [his] life’ (p 267) in favour of returning the treasured photograph to his grandfather, Kip. Despite an attitude toward his parents, typical of a teenager on the brink of adulthood, he cherishes his mother and soothes her when, upon learning about the car accident, she becomes distraught. Charlotte and Stanzi ‘fill every gap, answer every question’ (p 248), much like Connie, who to Kip is the motherly influence that tends to him and is ‘gentle’ (p 27), becomes a redistributed version of Jean.

In a similar way, Annabel’s premature promotion to the role of caretaker for her unemployed alcoholic father means she must become the financial guardian of the household funds and bolster him in times of his depression.

Although in the more modern chapter of the novel Charlotte and Stanzi live independently as working women of the 1990s, they draw strength from their family. On two different occasions, both women retreat to the family home to seek solace and support from their loving parents, Kip and Annabel.

Traditional family roles are portrayed alternatively in the text, providing examples of individuals assuming caretaking roles when the situation calls for it. It also challenges the notion of the family unit, with the father figure of the Westaway family being absent on more than one occasion (the absences of Tom Westaway and Craig, Alec’s father), placing emphasis on feminine strength and resiliency. By having the two women raising Alec and Libby together, Jordan makes an elusive prediction to same-sex parenting in the near future.

Gender

The roles of men and women on the home front are a primary focus in the chapters of Jordan’s novel, tracking the societal changes in opinion toward issues such as premarital sex, illegitimacy and abortion. For the sake of the family reputation, already soiled by the irresponsible death of the drunken Tom, Jean organises a hasty abortion for Connie despite the risks and Connie’s initial refusal. Upon meeting the practitioner, Mrs Ottley, we learn that Jean has used the services before, cementing the frequency of these scenarios. In her mind, Jean downplays the procedure and suggests that seeking an abortion at one time or another in one’s life is simply ‘part of being a woman’ (p 230) normalising the lengths she is willing to go to to save face among the community.

Juxtaposed with Charlotte’s unplanned pregnancy in the latter part of the 20th century, Connie’s choices are more limited than Charlotte’s and although having a child would be inconvenient for Charlotte in her current situation, the option to do so is still presented as viable and a matter of choice. It is Stanzi that highlights this progression in women’s reproductive rights when she reminds Charlotte – ‘your body, your choice’ (p 134) speaking into the freedoms available for women in the present day. In addition to this, sexual liberation is referenced in Charlotte’s chapter when, in search for her mother’s pendant, she sweeps aside a vibrator in her drawer; the message of women’s freedom being key.

The issue of women’s physical appearance is shown to evolve throughout the text also. Although Connie’s haggard appearance is noted after adopting the household duties, working to highlight the sacrifices she made for her family, feminine physicality only becomes the focus in the 1990s, when Stanzi’s language begins to adapt, reflecting her inhibitions about her weight after being insulted by her client Violet Church. In addition, Violet’s superficiality can be gleaned from her reference to the ‘new nail bar that’s opened up in her neighbourhood’ (p 47) and her childlike dancing around the therapy office indicates an immaturity.

Charlotte’s dedication to her body and health however, signifies that the focus for females in modern society has changed and pivots around mental and spiritual wellbeing. Her part time position as a yoga instructor and health food retailer fails to suffice and she compares herself to her twin Stanzi who she believes is ‘going places’ (p 127) and is successful.

In addition, this notion is reflected decades earlier at the dance Annabel attends with Francis. Annabel feels out of her depth discussing fashion with Millie Mathers and Jos, who have long been emancipated from their parents and both work at a store for ladies wear – ‘I’d like to compliment their dresses, but I don’t know what to say. I don’t know how to discuss the fabric of the trimmings. I can’t find words for the colours… they are dresses for drinking sherry in, not pouring beer’ (p 190). This superficiality is confirmed once more through Alec, who upon seeing the photograph of Connie, classifies her by her ‘old fashioned wavy hair and her shape’ (p 258), reaffirming the concept of body image being the focus in the 21st century for both men and women.

The role of men, particularly as fathers, is remarkable in that they are so often absent. Jack’s untimely death in war ensures he had no say as to what happens to his child that Connie carries, and although Craig plays a role in Alec’s life, it is small and insignificant within the text. Alec normalises the estranged relationship his sister Libby has with her brother Ben, who had ‘this whole other family that she visits for two weeks in the Christmas holidays… but that’s it’ (p 248). Coupled with the ineptitude of Mr Crouch and the disappointing demise of Mr Westaway, women rise to the forefront of the narrative.

The question of what it is to be a man is presented through the chapter from Jack Husting, when local townsfolk question whether dissenters are ‘lacking in the spine department’ (p 82), aligning masculinity with warfare. In reality, Jack’s enlistment into the war effort comes with hardly any warning and may very well be a product of society’s pressures on him. Similarly, the gang of boys led by the insufferable Mac make numerous appearances throughout the novel and make both Francis and Kip’s life difficult as children. Even the language of the young boys reflects a masculine ideology that they strive to validate. This concept is reflected when Alec considers joining Tim on the impromptu road trip and urges himself to ‘be one of the guys’ (p 267) and resents being called a ‘pussy’ (p 267) when he rejects the invitation. Alec’s sensitivities on this subject stem from the fact that in the absence of a father figure, Charlotte and Stanzi raise Alec and Libby together and feed into the concept of what it means to be a ‘proper man’.

 

Pretence

In a time of crisis, citizens believed nothing was more important then normality and traditions. As a symptom of this preservation of custom keeping up a façade, no matter the situation, became essential. The greatest example of this notion is the hasty reaction to Connie’s pregnancy. Jean’s reflex is to immediately marry Connie off to Mr Ward (whom she assumes to be the father of the child) and then when she learns this is no longer an option, she organises to have the situation handled that very same day. Jean’s meticulously spun web of lies means that both ladies take the day off and make the trip to inner city Melbourne. Connie is surprised they have landed in front of an elegant dressmaker’s, in the nicer part of town – a façade for the clinic. Even Jean suspects Mrs Ottley, who will be performing the procedure, is using a pseudonym.

During the period of the Second World War, keeping up appearances was essential. Annabel’s efforts to continue normality by creating mock meals from the Women’s Weekly Magazine, implies that this was normal practice for lower wage income families. Even Mr Crouch’s admittance that they ‘should draw the curtains… [we] don’t want the neighbours dobbing us in’ (p 176) insinuates that the Husting’s practice of keeping the curtains closed upon learning of their only son’s death, confirmed that raw emotion in a time of such propriety was considered private and a sense of civility, once again, was prioritised.

Indeed, the entire relationship of Jack and Connie is conducted in secret. Their final meeting takes place after dark, when the remaining residents are asleep, as does their only night of passion. Their connection is kept so hidden throughout the text, that even as readers we are unsure of the actualities of their relationship until the final chapter when we are exposed to the carnal truth. Given the death of both Jack and Connie, the only proof left of their connection is the photograph hidden in the back garden of the Westaway family home.

Pretence Quote

‘Look, Annabel,’ Kip says. ‘There’s no point Francis taking back what he said. We’re all so close together around here. There’s no way to keep secrets in those little houses.’ (Kip Westaway) p 203

Education

Throughout the text, Jordan comments on the importance of education and being employed in something rewarding. The obvious example of this is Stanzi, who experiences a life-changing moment when she realises that ‘she can’t do this job anymore’ (p 70) and that catapults her life into a different direction. In addition to becoming fit and healthy, Stanzi takes a job as a personal trainer. In contrast to remedying the mind as she once did as a counsellor, she now spends her working life on the body. The option to do this is available to Stanzi, because she has an education and lives in an era where women were afforded more freedom in their careers; whereas the restrictions experienced by Connie and Annabel reflect the punishment of not being educated and existing in a society that oppresses its women. Even Stanzi’s ‘usual assortment of middle-class, white, usually-but-not-always women with a giddying assortment of suburban problems that usually boil down to one thing’ (p 49) belong in this category; women possessing the luxury to be able to attend therapy with the sole purpose of self-retrospection.

The scholarships awarded to both Kip and Francis are a source of great pride to Jean but Kip’s unorthodox manner sees him removed from St Kevin’s and he automatically falls out of the family’s favour. At times, even Francis mimics the attitude of Jean when she argues it’s a ‘shame not all boys appreciate a good education’ (p 12) and places her hope in Francis getting another scholarship to study law so that he may elevate the family’s reputation in the neighbourhood and secure them economically.

Education Quote

‘Don’t you take that tone, Christopher Luke Westaway,’ Ma says. ‘Francis is shouldering his responsibility, keeping his scholarship.’ (Jean Westaway) p 12

Moral Values and Choices

The ripple effect of the characters’ choices can be clearly tracked throughout the chapters of Nine Days. Most of these choices are inadvertently chosen by characters that have no concept that their actions will affect others to the degree that they do. Although there are many different factors that influence characters’ moral values, most notably in the early Westaway family is that of religion. Richmond, much like many areas in the pre-war time is separated into Protestant and Catholic families that live intermingled in the small tenement houses. As the Hustings are Protestant and the Westaways Catholic, any potential marriage between Jack and Connie would have been strictly prohibited and would have caused outrage in the community. It is not surprising that few people are even aware of the connection as the two choose to meet in the cover of darkness to avoid drawing attention – ‘I look each way before I cross the street: a silly gesture. At this hour there’s no one about but him and me’ (p 279). The importance of marrying within one’s family’s religion is reinforced when Emily Stewart is invited to visit in an ill-fated matchmaking session organised by Ada Husting, who praises Emily as a good catch for Jack because ‘the Stewarts go to St Stephen’s’ (p 84) an Anglican Church.

Francis too exhibits questionable moral character, and whilst readers might excuse the juvenile theft of the pendant, the compounding untruths about how he acquired it are much harder to forgive. In the same way, his behaviour toward his brother Kip in the wake of being able to continue his education at the illustrious St Kevin’s whilst Kip cannot, is childish and speaks into the enduring insecurity he wrestles with in the presence of his brother – ‘We don’t want horse manure all over the kitchen. Maybe we should make him eat outside. As befits his station’ (p 10). His behaviour with Annabel however is deplorable, as is the choice he makes to insult her father and the conditions within which she lives. Kip’s ethical behaviour contrasts with his brother’s and as such he is awarded a happy and successful life with the woman he loves.

The morality of the characters defines the choices that they make and many of them suffer the ramifications of these choices acutely. Jean’s decision to protect the family’s reputation from further tarnish is the driver behind her convincing Connie to abort the baby, and she doesn’t hold back in her attempts to try and ‘make her see sense’ (p 220). By likening the ‘state’ (p 221) Tom was in when he died to Connie’s ‘healthy pregnancy’ (p 216), it becomes clear that she, and many others of the era, believe drunkenness and illegitimacy to be equally shameful.

Not all however suffer these effects negatively. For example, although Alec felt shamed when declining the offer for a road trip with his friends, his embarrassment was short-lived when he realises the moral obligation he feels toward Kip, although weighty, is what saved his life.