May 2024

The Nation Reviewed

Dream homes

By Ashley Hay
Illustration by Jeff Fisher
Flood-prone houses are being demolished across Brisbane’s riverside suburbs, leaving unnervingly uniform blocks of bright green grass

This will sound like a thought experiment, or a dystopian daydream, or the plot of a sci-fi film. You walk the dog early one morning, and a house down the road has disappeared. The block where it stood has been cleared, smoothed and planted with perfect and brightly green grass. A row of bollards has been installed to divide this newly park-like space from the width of the road’s footpath, with the punctuation of one bright yellow access gate. You walk on. In another street, another house has disappeared, replaced by the same assemblage of things. You walk a little more. Another house has gone; and then another.

This is what is happening around me. In the inner-city Brisbane suburbs where I live and walk and work. In Fairfield and Yeronga. This is what is happening here now.

Let me try to describe the sounds that precede this transformation. Like truckloads of rocks being tipped out by semi-trailers. Or large crates and boxes hefted in a shopping centre car park. But that’s not what it is. It’s a steam shovel destroying a house, bashing and butting at its solidity and converting it to rubble. The tiles or the tin from the roof. The outer casing – sometimes brick, but mostly the differently splintering wrench that’s made by crunched-up weatherboard. The bashing, butting, crushing of the walls, ceilings, floors, doors that once made rooms that once made spaces that once delineated lives. All of this transformed into piles of detritus that are scooped up, dump-trucked and carried away.

Houses have been disappearing around here for a while now. Last year, in the wake of the 2021–22 floods in south-east Queensland, the state’s Reconstruction Authority offered a first round of buyback contracts to 407 property owners, 260 of which were taken up. As of mid March this year, a total of 678 offers for voluntary home buyback had been accepted by home owners.

Under this scheme, residences are vacated and demolished, and the land on which they sat returned to local councils – in my part of the world, that’s Brisbane City Council. And what Brisbane City Council has done, in the short term, is to institute a kind of holding pattern: these insta-park ordinary suburban blocks. Sometimes they’re adjacent to each other but more often they’re separated by still-extant dwellings, some sitting where they’ve always sat and some raised up high on thin poles towards the sky. Empty spaces transformed with uniform squares of turf and bright yellow access gateways, as if emergency vehicles might later require safe passageway into their emptinesses.

There’s been community consultation on what might happen in these spaces next – what kinds of plantings might be undertaken, what kinds of trees. “Generally speaking,” said the letter from my local councillor, as she requested the neighbourhood’s input, “there is ongoing funding available for trees and vegetation.” I thought about urban rewilding, about Miyawaki pocket forests – compressed forests for small spaces (as small as three square metres) that claim positive impacts on local health, reduced urban temperatures and some impacts of climate change – and about America’s Homegrown National Parks, “the largest cooperative conservation project ever conceived or attempted”, now also championed in Canada by the David Suzuki Foundation. I sent my input in.

As of mid March this year, a hundred properties have been demolished or removed in this council ward alone, almost a third of the 335 properties already demolished or removed across Brisbane City Council’s reach. Three hundred and thirty-five erasures of houses, of homes; distinct pieces of streetscape. With their grass watered to a verdant furry greenness before last summer’s unexpectedly drenching El Niño, they’re strangely beautiful and utterly unnerving. Coming into being so quickly – a house can be cleared in a matter of hours, the block levelled and the grass, punctuated by those pine posts, often laid only a few days after that – they emanate an immediate sense of permanence.

As if the houses that they held had never been there at all.

This coming and going as houses and families are located, dislocated, relocated – it conjures up the idea of a presence/absence survey. These are a kind of biological monitoring to pinpoint where species are extant and where they are not. Via this metric, in these suburbs, here are 21st century humans in metropolitan Brisbane; here are 21st century humans in metropolitan Brisbane. And here are not.

Perhaps this is important to register; that this latest change, these erasures, are a next change in population, habitation, in a landscape already changed and altered so much. This suburb is called Fairfield for a simple reason: it offered loads of rich topsoil for early colonial-settler farmers – the first, in 1857, was an arrowroot farm. And it had that luscious topsoil thanks to its proximity to Maiwar, which those colonial-settlers called the Brisbane River. This suburb’s landscape sits so close to that river’s waters that it’s occasionally in them. Maiwar: “a river with a city problem”, as Margaret Cook’s recent history of Brisbane’s floods so eloquently phrased it. (Cook, who has now updated her book to take in these latest floods, points out how much of Brisbane is built on floodplain – and what that means.) But it’s so recently that these landscapes and the lives they held were broken apart for these new houses to be built here in the first place – farmhouses in the second half of the 19th century, the first weatherboards of 20th century subdivisions, and on, and on.

Here we are. Agents of change, to put it mildly.

At night, the streetlights make this new bright green grass glow with iridescence. The dog and I stand – one sniffing the evening for possums, the other gazing at these spaces like they’re paintings, trying to read them, understand them, think into how they make me feel. Around us, the solid blocks of standing houses, lights on and lives inside. These structures we trick ourselves into thinking are permanent, safe – how quickly they can vanish. Disappear.

As if they had never been there.

Nearly 10 years ago, my son and I were caught in a bus stop during a supercell storm. (Two of the three houses that stood behind us on that stretch of road that day are now these bright green insta-parks.) Trying to write about that day, that weather, that sense of threat, precarity and change, I bugged my partner for a way to connect the narratives of an unexpected meteorological moment and the broader reaches of climate change. How, I asked him back then, could I try to join those dots, of bigger individual weather events and the reaches of climate change? I thought it sounded so small when he told me: “You can say that they’re consistent with projections.”

I hear a different magnitude in his words now: more extreme weather more often. More energy in the system. More extreme projections coming on, coming on. I hear that magnitude, too, in the ARC Centre of Excellence for Climate Extremes report released in February this year. “The State of Weather and Climate Extremes 2023” – a year that UNSW Professor Andy Pitman, director of the centre, noted “was unusual … [for] how intense some of these events were and how they kept pushing records”. I hear it when Pitman notes that some of these events occurred “one after the other or close to each other. These temporally and spatially compounding events had a substantial impact on our environment and were difficult for us to deal with.” I hear it as the lived truth of sci-fi maestro William Gibson’s observation that “the future is already here; it’s just not evenly distributed”. Here we are.

Presence and absence. Absence and presence. The streets of this town are being transformed, yes. This is what’s happening now.

Ashley Hay

Ashley Hay is a former editor of Griffith Review. Her books include Gum, and the novels The Railwayman’s Wife and A Hundred Small Lessons. She lives in Brisbane.

There is nowhere quite like The Monthly. We are told that we live in a time of diminished attention spans; a time where the 24-hour-news-cycle has produced a collective desire for hot takes and brief summaries of the news and ideas that effect us. But we don’t believe it. The need for considered, reflective, long-form journalism has never been greater, and for almost 20 years, that’s what The Monthly has offered, from some of our finest writers.

That kind of quality writing costs money, and requires the support of our readers. Your subscription to The Monthly allows us to be the home for the best, most considered, most substantial perspectives on the state of the world. It’s Australia’s only current affairs magazine, an indispensable home for cultural commentary, criticism and reviews, and home to personal and reflective essays that celebrate and elevate our humanity.

The Monthly doesn’t just comment on our culture, our society and our politics: it shapes it. And your subscription makes you part of that.

Select your digital subscription

Month selector

From the front page

The Pleasant Hill gardens at the Fletcher Jones factory

Thinker, tailor, Tesla, sphere

How menswear retailer Fletcher Jones built a factory, a community and an idea of the future in Warrnambool, Victoria

Einstürzende Neubauten, clockwise from left: Alexander Hacke, Blixa Bargeld, Jochen Arbeit, N.U. Unruh, Rudolph Moser

Heady metal: Einstürzende Neubauten’s ‘Rampen: apm (alien pop music)’

Forty-four years on, the German experimentalists continue to forge an unconventional path, delivering a double album of works improvised on tour

Fiamē Naomi Mata‘afa, 2023

The head of the house

Samoa’s formidable prime minister Fiamē Naomi Mata‘afa, a traditional leader exercising modern power

Still from ‘La Chimera’

The quirk and the dead: ‘La Chimera’ and ‘Perfect Days’

Alice Rohrwacher’s tale of love and graverobbery is transcendent, while Wim Wenders delivers a steady, meditative film from the Tokyo streets

In This Issue

Cover of ‘36 Ways of Writing a Vietnamese Poem’

Nam Le’s ‘36 Ways of Writing a Vietnamese Poem’

The writer’s long-awaited return is a poetry collection that probes the risks of reclaiming histories of colonial traumas

Illustration by Jeff Fisher

Form and beauty

A visit to a life-drawing class at Arts Project Australia, where artists living with an intellectual disability are developing professional careers

Illustration by Jeff Fisher

‘Everything that made the kernel of his life, was hidden from other people’

The author’s lifelong embrace of solitude and small enclosed spaces is reflected in a line from Chekhov

Image of salmon resting on pink satin sheets

Labor’s first extinction

State and federal governments have protected Tasmania’s foreign-owned salmon industry, and the imminent loss of the Maugean skate exposes the price of such state capture


More in The Nation Reviewed

Illustration by Jeff Fisher

A jury of her peers

Equal access to jury service has a short history, and it’s still unbalanced by gender divisions in domestic labour

Illustration by Jeff Fisher

Form and beauty

A visit to a life-drawing class at Arts Project Australia, where artists living with an intellectual disability are developing professional careers

Illustration by Jeff Fisher

The TV man

Remembering Australian film and TV great Michael Jenkins, creator of ‘Scales of Justice’ and ‘Blue Murder’, and the Ned Kelly film that got away

Illustration by Jeff Fisher

Fledglings

The parent’s dilemma of helping their children become independent while not wanting to let them go


Online latest

‘Feud – Capote vs. The Swans’ delivers camp absurdity

Plus, Ukraine through its people’s eyes, new Australian comedy on show, and ‘Shōgun’ returns in full gory glory

Osamah Sami with members of his local mosque

In ‘House of Gods’, Sydney’s Muslim community gets to be complicated

Plus, Barnaby Joyce shines in ‘Nemesis’, Emma Seligman and Rachel Sennott deliver ‘Bottoms’, and Chloë Sevigny and Molly Ringwald step up for ‘Feud: Capote vs. The Swans’.

International Film Festival Rotterdam highlights

Films from Iran, Ukraine and Bundaberg were deserving winners at this year’s festival

Two women on a train smile and shake hands

‘Expats’ drills down on Hong Kong’s class divide

Plus, Netflix swallows Trent Dalton, Deborah Mailman remains in ‘Total Control’ and ‘Vanderpump Rules’ returns for another season