Edition 87
No Place Like Home

- Published 4th February, 2025
- ISBN: 978-1-923213-04-3
- Extent: 196 pp
- Paperback, ebook. PDF
There’s no place like home – although home isn’t always a place. It could be a feeling, an instinct, a language, a person, a memory; it could be where we long to return or can’t wait to escape. But for all its symbolic resonance, home also has myriad material consequences: from the picket fence to the political arena, it raises questions of sovereignty, identity, economics, class and domestic labour.
In this edition, we consider the problem of home ownership, unveil the hauntings of heritage, explore the wonders of the tip shop, examine our national history of colonial dispossession, reflect on what it means to be a third-culture kid, contemplate the many meanings of migration, reveal the secrets of our domestic interiors – and much, much more.
Griffith Review 87: No Place Like Home heads out in search of home – what it means to us, why it matters and how it shapes our sense of self.
Edited by Carody Culver with contributing editors Samantha Faulkner and Darby Jones.
Cover image: Phoebe Paradise, Subtropical Surreal (2020) HD video (still). Courtesy of the artist and Brisbane City Council’s Public Art Collection. Animation by Helena Papageorgiou.
In this Edition
No secret passageway
In 2001 I read an article in The Guardian newspaper about a man who fell from the sky, landing in a superstore car park not far from where I live in London. The article, by journalists Esther Addley and Rory McCarthy, detailed how the Metropolitan Police discovered the dead man’s identity through a combination of luck, Interpol and British-Pakistani community workers. Muhammad Ayaz had managed to slip through security at Bahrain airport, run across the tarmac and, according to witnesses on the plane, disappear beneath the wing of the British Airways Boeing 777. The article quotes a spokesman from the International Air Transport Association: a myth circulates that there is a ‘secret hatch from the wheel bay into the cargo bay, and then into the passenger cabin, as if it were a castle with a dungeon and a series of secret passageways’. No such passageway exists and Muhammad would have found himself trapped in the wheel bay with no oxygen, no heating and no air pressure as well as no way out. If he wasn’t crushed or burned by the retracting wheels, he may have frozen to death once the flight reached 30,000 feet, finally falling out hours later when the plane lowered its landing gear as it prepared to touch down at Heathrow.
Home is where the haunt is
Ghosts, like people, tend to be attached to a particular place. The term ‘to haunt’ in English has three linked meanings. First, for a ghost to manifest itself at a place regularly: a grey lady who haunts the chapel. Second, to be persistently and disturbingly present in someone’s mind: the sight haunted me for years. Third, to frequent a place often and repeatedly: that’s his old haunt. Home and haunting go hand in hand. Ghosts don’t haunt an entire city. They haunt a specific house, a dwelling, usually assumed to be the place where they died.
Interstitial
American sociologists John and Ruth Hill Useem first coined the term ‘third culture kid’ in the 1950s to describe the experience of Americans who were raised abroad in a culture different to their birth culture. This term reflects the way children raised overseas straddle three cultures: the culture of their birth, the culture within which they are raised, and a third, nebulous culture – the culture they create through the way they learn to relate to each other. The third culture is interstitial, not an amalgam. ‘Third culture kid’ (TCK) is a term often used as shorthand. Many TCKs will have experienced more than one cultural shift too. Those with diplomatic, military or missionary families are often raised in multiple countries, and others, like me, will continue their travels overseas as adults too, exercising the global and economic mobility they know well.
Home as a weapon of cultural destruction
It was simply expected that Aboriginal people would accept the values and behaviour of the dominant European culture. The Welfare Board insisted that Aboriginal people not only earn an independent living but show the Board they could save money in a bank account. They had to demonstrate that they were avoiding contact with other Aboriginal people and refusing to participate in community-oriented activities, such as sharing resources with kinsfolk and travelling to visit their relatives and home Country. Over and over again, the Board’s reports criticised Aboriginal people for being among their own kind and clinging together in groups. To achieve their assimilation aims, the Welfare Board implemented a crude ‘carrot and stick’ incentive in an attempt to modify Aboriginal behaviour: if Aboriginal people could convince the Welfare Officers that they had cut themselves off entirely from their culture, family and land, they would be rewarded with an ‘Exemption Certificate’.
Buy, recycle, repeat
The tip shop creates a vacuum of sentimentality. This only adds to the thrill of the hunt, where the search becomes bigger than the thing itself. In that moment, time alters. The past and present merge and we step outside, just for a second, the familiar cycles of desire and need that shape our daily lives. For a moment, something can be treasured, even if the object of our fantasy exists only in our minds. We look for it in the piles of things people leave behind, searching through the rubbish; all we’re really looking for is ourselves. Reflected back to us are the rain-washed artefacts of our consumption that are lined up and sorted on pallets and old tables. The metallic shells of old fireplace flues, stacks of doors and aluminium windows, fishing nets and old tyres that fill the outside lot. And inside: old Tupperware containers; several plastic lids, the kind you put over food warming in the microwave; all of Stephanie Meyer’s books; a DVD box set of Felicity; every movie starring Katherine Heigl; novelty mugs and champagne glasses.
Home is a long way away
The Australian housing market is a wealth-generating machine, not a home-generating machine. So much is wrong with the current situation. No doubt you see it too; everybody seems to on some level. That’s why we keep hearing about the ‘Australian housing crisis’. I can see it, and I proudly consider myself an old-school capitalist, with a preference for free enterprise, fair competition, private property rights and the chance to make an occasional profit. We now find ourselves with a de facto caste system in Australia: the home owners relative to the home renters. Both groups need homes, but there is a marked wealth division between those collecting passive income on houses they own and those living solely on direct income who are forever chasing a rising market.
Shelf life
Early in his career, Charles Dickens notably underestimated the reputational risk of library-shelf browsing when he invited the critic George Henry Lewes home for tea. Over steaming cups, Lewes eyed naff triple-decker novels and bland travel books, ‘all obviously the presentation copies from authors and publishers’. He recalled the experience in a waspish elegy published shortly after Dickens’ death: ‘A man’s library expresses much of his hidden life, I did not expect to find a bookworm, nor even a student, in the marvellous “Boz” but nevertheless this collection of books was a shock.’
More than maternity
Principle among art-history instances of breastfeeding are paintings, sculptures, tapestries and stained-glass art in churches that relay key Biblical moments of the Virgin Mary nursing the baby Jesus. Should you find yourself in the corridors of the Louvre, in the same halls where kings and princes are eternalised, one singular image of breastfeeding will make its way towards you time and time again: that of the Virgin Mary nursing the baby Jesus, which emerged in the twelfth century and proliferated in full bloom from the fourteenth as her cult of worship grew. In art, the nursing Virgin is called the Madonna Lactans, and she is a sanctity. Most of all, as the Church’s model of maternity, she is silent.
Steering upriver
At dawn I cross the bridge, Missouri to Iowa, and turn down the gravel drive. Though I’m different now, this place is the same as it always is this time of year: the sun glowing red over the paddock next door, the grass not yet green, the maple stark. I go away, come back again, and home is like a photograph where time winds back, slows into stasis; where the carpet has changed, but the dishes have not, the cookbooks have not, the piano and artwork and bath towels have not.
Here, I can be a child again, my best self, briefly. I hold on to this moment for as long as I can, because too soon I’ll remember how disobedient I am, how bossy and domineering, how I slammed my door until Dad took it off its hinges, how soap tastes in my mouth, how I pushed on these walls until they subsided.
Follow the road to the yellow house
I first visited Varuna in 1994. I had just left my job as the Aboriginal Curator at the Australian National Maritime Museum, where I was involved in establishing the first gallery dedicated to addressing Aboriginal and Torres Strait Islander maritime history. I remember that visit well – even then I felt at home. I grew up in the Blue Mountains. My parents bought our family home there in the early 1970s. It was built in the 1940s, which means that it has a similar interior to Varuna, with ornate cornices, creamy white bathroom tiles, a green basin and bath, Bakelite door handles and even an old black phone.
Songs of the underclasses
Diē was the best driver I knew. ‘When you drive, you stare at everything but see nothing. You’re inexperienced,’ he lectured. ‘When I drive, I stare at nothing – I can chat, I can sing. But I see everything. Parking spaces, jaywalkers with a death wish, doggies and kitties. And for hours at time, without breaking concentration. It’s like meditation.’
Diē’s love language included showing me footage of near-miss traffic incidents on WeChat. Each trip of ours decreased my risk of appearing in his feed. These hours became the most time we had ever spent together.
Mudth
My family has its roots in several parts of the world: the Lui branch in New Caledonia, the Mosby branch in Virginia in the US, and the Baragud branch in Mabudawan village and Old Mawatta in the Western Province of PNG. Growing up, I spent most of my childhood with my Lui family at my family home, Kantok, on Iama Island. Kantok is a name we identify with as a family – it’s not a clan, it’s a dynasty. It carries important family beliefs and values, passed down from generation to generation. At Kantok, I learnt the true value and meaning of family: love, unity, respect and togetherness. My cousins were like my brothers and sisters – we had heaps of sleepovers and would go reef fishing together, play on the beach and walk out to the saiup (mud flats). I am reminded of these words spoken by an Elder in my family: ‘Teachings blor piknini [for children] must first come from within the four corners of your house.’
One language among many
What soon became clear was that sounds other than my voice, such as birdsong and wind passing through trees, were being picked up by the software and ‘translated’ into words. Mulga came up as ‘will will’, desert oak as ‘with with’, birds varying according to song. At first I deleted these words from the text – treated them as errors or intrusions – but gradually I recognised what they were showing me. The direction the wind was travelling. The proximity of birds and their conversations, sometimes interspecies. Other languages. Whole worlds. Everything that, until now, I’d failed to see and hear. Once, while narrating a scene where the car of the main character, Saul, has just broken down in the desert and he’s wondering what to do next, an answer appeared on the screen: push push. I hadn’t said this. A western bowerbird had – its voice picked up by the software, as if fallen in sync with the story. I left it in.
Painting behind bars
Every time I grab a toothbrush, it makes me smile that [this all began] at Manus. I mean, this technique comes from suffering. This is not from university. I am forbidden from studying or getting a qualification here, but sometimes we can learn from suffering. I am managing to heal my trauma [with] painting. Whenever I feel sad, I paint. Whenever I feel happy, I paint. It’s like a treasure, how can I explain it? It’s invention, it’s something that hasn’t happened before. Everyone uses a toothbrush, but when I paint with a toothbrush I feel it helps me understand that my work, the marks I make, are very unique. It brings the story back. I don’t want people to forget about the story because I don’t want to escape from who I was, who I am. I would like to share the truth that this happened to me.
Dining in
The intimate, private setting naturally creates a close connection between the chef and diners, making it easier for the chef to share the stories, heritage and traditions behind each dish. For diners, the cosy, welcoming atmosphere makes them feel as though they’ve been invited into a friend’s home.
From a business perspective, a home-based restaurant comes with fewer overhead costs, such as rent and wages. This allows me, as the business owner, to deliver high-quality food at a more affordable price, as these expenses are not factored into the food cost.
The blue room
Mum did not tell us that Sabina had tried to kill herself. She said that she was unwell, and because she was unmarried and her children lived interstate Sabina would stay with us while she convalesced. We figured it out after she arrived; she did not appear sick, but lively and plump. Nor was there any regularity to her medical appointments. Though Phoebe was irritated that she would have to share her bathroom we found the situation morbidly glamorous, the sick woman with the elegant name whose stay would end with recovery or its opposite. So many sibilant words: suicide, convalescence, Sabina. Having no knowledge of death or any conviction we would ever die, suicide seemed tinged with romance. That Sabina lived confirmed our belief that death was not serious.
The pool
Mum always says to me, you know what he’s like – your father. As if the old man is my responsibility and mine alone. Little wonder that legacy and liable have the same number of syllables. Of course I know what he’s like…so much so that I’m not even remotely surprised when one afternoon I hop off the school bus and come wandering inside with my little brother Jeremy in tow to find a big bald bloke sitting cross-legged at the dining table blabbering on about fibre glass this, solar heating that. On the table in front of Dad, a corona of shiny brochures.
‘We’re getting a pool, sons!’ Dad winks at Jeremy.
Trash and treasure
In the middle of the night he had a dream where the dirty pasta bowls he’d left out were on fire, smoking up the apartment. When he shot up in bed, he could still smell the smoke. He remembered Karim, the whole previous day and night flashing through his head. In five strides he was in the living room. Karim wasn’t on the couch. The balcony door was open and he was out there, shirtless, leaning on the balustrade smoking a cigarette. The nodules rising out of his spine pinged the moonlight over his back like a prism. Ben went out, shut the door behind him, leaned over the balcony by Karim. Their arms touched and neither of them pulled away. The forum was emptier than empty. Completely still, like they were peering into a photograph.
Sissys and bros
‘Sydneysiders woke up to a red dawn this morning due to an eerie once-in-a-century weather phenomenon.’ This was straight after school, before my shift. Channel 9’s Peter Overton was blaring from the TV. My five sisters and two brothers yelled about Mumma hogging the remote. Overton’s robot voice followed me into my room. I tugged off my Holy Fire High School blazer. Our emblem: Bible beneath a burning bush. Our motto: Souls Alight for the Lord and Learning. Fumbled through the dirty laundry basket for my dress-like work shirt that stunk of rancid onion. Our logo: a pepperoni pizza wearing a fedora and holding a Tommy gun. Our motto: Happy Mafias Pizza: Real Italians Leave the Gun and Take the Cannoli.
Load
When I wake up from being a dishwasher, curled on the floor of my apartment, it’s like I have woken from the perfect slumber. I don’t think I have felt like this since the womb. Imagine being able to temporarily kill yourself. The world, the body, weighs heavy. Being a dishwasher is the closest I have ever felt to bliss. Before this, the closest I got to bliss, true bliss, was getting high with my dad and eating a cream corn and cheddar toastie at the Murchison Tea Rooms.
Mesopotamia
Their camp is on a floodplain, dirt baked dry for now, among a stand of black box trees. Close to the bank, river red gums tower and would provide better shade, but Kim had been worried about falling branches. From a rise near their tent, they can monitor the vast, slow drift of the watercourse, progress marked by its bobbing contents. Wordlessly, this is how they spend most of their time.
Bellend
‘Nice little bell, buddy,’ snipes some guy holding space in the bike lane as I nearly swipe him on my way to the shops. Low and loitering, bushfire smoke undercuts the darkening cloud above the Inner West – a ‘rainbomb’ is forecast. I slip beneath awnings to chain up...
Blackheath mating rituals
Clouds ripple, sunshine splashes, a white dove tests its wings. Bella and Houdini are hanging clothes on the line of the landlord when flirtation greets them: the post- coital aerial antics of satin bower birds. They’ve made a cosy nest in cool mulch under the shrubbery – a home replete...
hearth
yes, one day, finally, it will all fall away like all dead things we will sit again by the campfire story illuminating the fall of empire one day again we will choose enough lean away from more pull our hands from its heat lean wandunban nguliindu always into the earth quickening its molten heart we will draw from...