In Cassetown, Geologue Bay, Iris and her extended family ― her ex-husband and his wife and their new baby; her son and her best friend’s daughter ― gather on a midwinter long weekend, to pack up the family holiday house now that it has been sold. They are together for one last time, one last weekend, one last party. As the house is stripped bare, their secrets ― and the complex, messy nature of family relationships ― will be revealed.
The Hope Fault is a celebration of the complexities of family ― aunties and steps and exes, and a baby in need of a name; parents and partners who are missing, and the people who replace them.
It’s about the faultlines that run under the surface, and it’s about uncertainty ― the unsettling notion that the earth might shift, literally or metaphorically, at any moment. It’s a contemporary novel that plays with time and with ways of telling stories. It finds poetry and beauty in science, and pattern and magic in landscape.
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As I wrote it, the idea that I held uppermost in my mind was ‘celebration’. I described it as ‘a novel about a bunch of people’, their various connections and celebrations; it was about family, and home, and the different things those might encompass. It wasn’t until I’d finished the novel, and started talking about it and looking back at it with some distance, that I realised that it’s also very much about anxiety, and what I’ve come to call the unsettling certainty of uncertainty; the idea that the earth might (or might not!) shift, literally or metaphorically, at any moment, but we can’t know where or when, or what the consequences might be.
Tracy Farr is a writer and former research scientist who grew up in Perth, Western Australia. She left Australia in 1991; since then she’s lived and worked in Canada and, for the past twenty years, New Zealand. She lives in Wellington.
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