Shirley Hazzard – so in love with Italy she spoke in arias

Shirley Hazzard’s ‘untimeliness’ is a recurrent aspect in most descriptions of her, both the writing and the person. She came to represent ‘a vanished age of civility’: there is something Victorian about her novels, despite the last of them, The Great Fire, being published in 2003, by which time she was starting to resemble ‘an exotic bird blown off course’.

This first biography, by Brigitta Olubas, an academic who has already written a monograph on Hazzard and edited her collected short stories, gives us a portrait of the self-created artist throwing off the ‘suffocating gentility’ of postwar life in her native Australia, its ‘tyranny of distance’ from what she saw as the swim of things, the permanent elsewhere, and seeking a life of books and worldly high culture. Her parents were both British imports, Welsh Reg and Scottish Kit, who met while working on the construction of Sydney Harbour Bridge. Hazzard’s own life, especially in its early, striving years, would involve regular attempts to traverse seemingly impossible divides.