Teachers Notes

Written by Pam MacIntyre

Nine Hours North

by Tim Sinclair

Plot summary

Twenty-one-year-old, dreamy Adam is teaching English to businessmen in Japan

with his girlfriend, Sarah who teaches at a prestigious school. He feels hemmed
in by unfulfilling work, a claustrophobic Nagoyan apartment, and a four year
relationship that is spiralling to its conclusion. The disintegration of the
relationship is heightened by being in another country, landscape and culture.

Adam hasnt immersed himself in the expatriate life, undertaking only part time
work, maintaining his distance. He is moping and drifting when Marianne enters
his life and he falls for her in a big way. She prompts him to take back some
control over his life, though perhaps not how he imagined. There are only two
months more teaching English until Adam and Sarah embark on a cycling trip
around the scenically beautiful Hokkaido, and then Europe. The trip results in an
ending, new beginnings, and dreams waiting to be fulfilled.

For older students, this verse novel explores a complex intermingling of the
relationship and the country, and contrasts such as order versus spontaneity,
day-by-day existence versus the possibilities of the future.

Mode of telling: Verse Novel

Free verse
This is a verse novel which tells its narrative in free verse which does not rhyme,
and whose rhythm or cadence varies throughout in an uneven pattern. While
verse novels appeal to a wide range of readers, they are particularly attractive to
students who are not readily engaged as readers: they are read easily and
quickly and compress actions, detail and thoughts into intense, impressionistic
snapshots.

Cinematic Style
While this is an internal story of Adams growth and move to taking some action
over his fate, it is also very visual, cinematic in style: read page twelve, with its
panning birds eye view, a zoom in on the characters, followed by a close-up of
the taxi and then an even closer concentration on the expression on the face.
Sinclair uses cinematic language in this poem: zoom, close-up.

Vivid Imagery
Verse novels readily allow readers into events and the minds of the characters.
Also, being poetic texts they scaffold readers into the metaphoric and playful
nature of language and are linguistically rich without the prolix description of
prose: For instance on page 28, Sinclair evokes the landscape:

This city sprawls industrial creep

highways heavy with trucks.
Diesel churns over houses and apartments,
over rice paddies those sad rural remnants
over two small cyclists/on the side of the road.

And other example:

She has a backpack and a frontpack

And duty-free bags and a coat and scarf,
And seems quite unbothered
By it all (p. 5)

Subsistence (beginning page 12) could be story boarded or computer animated

as interpretation: the words suggest a tone of ennui that could be expressed
visually through colour, body language, angle etc.
Have students find other examples that are highly visual and yet also
suggest an emotional tone, such as The castle on Dog Mountain (page
41)

Colloquial language/vernacular
Verse novels often use colloquial language or the vernacular. For example, on
page 21:

arms spread wide in my wanker car salesman

some day all of this could be yours.

Invite students to find other examples that they enjoy and consider why Sinclair
has used this language, what it reveals about Adams character and personality,
for instance.

Pared down language

There is less description than in a novel, less background information given so
readers have to work actively to fill in information. Students are often familiar with
this form of language from song lyrics. It gives a sense of immediacy and veracity
about everyday life. For example, read the poem Eggplant Tempura, and
examine how the cooking and the conversation happen simultaneously as they
do in daily life (p. 4).

Poetic Language
While it is a novel there is much poetic language to be enjoyed in this story and
which is worth exploring with students for its economy and punchy effects. Look
for examples of compression of image and feeling, such as:

after a long ugly drunken (p. 20)

Hot water sucks the day
from our bones (p. 34)
how I blacksoled
around the street of Adelaide. (p. 101)
apartment buildings
Blade Runner up
to the low-slung sky.
Two aliens
cycling through techno city
laughing (p.74)
Another shoe box,
But Ive been battery caged for so long
It seems normal (p.20)
Bones of the earth
with the breath not far behind -
The rocky slope fissured
with jets of steam (p.164)
Were somewhere in the pointlessness
of three quarters up and one quarter down (p.165)
the weep of kisses
the wordless hold (p.179).

These stylistic examples can be rich models for writing. Ask students to find
examples that resonate with them and try writing in this style.

Japanese Language
Apart from the examples of poetic and playful language drawn attention to above,
is the pleasure of Adams world weary tone, wry humour and the sprinkling of
Japanese words that add an exotic feel, and sense of place to the story. No
glossary is supplied but we can gauge meaning from the context. For example:
Gaijin (p5)
Tatami p7)
Sensei (p13)
Genkan (p46)
Izakaya (p82)
Edadame (p82)
Tofu dengaku (p.83)
Gomi (p113, 114)
Raman (p130)
Anpan (p.130)
Omiyage (p.147)
Onsen (p.159)

Playful Language
On page 86 Sinclair uses a couple of evocative collective nouns:
its ooze of lecherous gaijin men
and its pout of rebellious Japanese women.

Have students come up with some of their own such as:

school
with its whinge of teachers,
and its ringtone of students

Structure

Nine Hours North does not proceed in a linear fashion but moves forwards and
backwards in time, giving us snapshots of Adam and Sarahs lives, rather than a
full explication.

Consider the effect of this on the reader how it positions us to see their lives,
and also why the author chose to do this relationship between form and
content.

The story opens with a prologue and a title including the word conclusion, in
which Adam reveals that he is in a state of indecision. We know then that the rest
of the novel will be tracking the journey to this point. This creates a sense of
anticipation, and helpful clues as how the events might unfold.

Sinclair uses foreshadowing:

How easily
these decisions
are made. (p.4)

Each chapter is given a title sometimes cryptic, sometimes descriptive - rather

than a number.
Discuss reactions to this and what it achieves for the reading.
Also, each chapter begins with an image, a sketch that suggests the tone of what
is to follow.
What is the effect of the illustrations? Could you read them without the
chapter titles?

Central events
This is a carefully structured novel in which the reader must pay attention to all
the parts, and the following are worth close analysis in particular:

The Id Bar
Adam and Marianne talk for two hours.
How do you read Mariannes reply Its amazing every time?
Does Adam read into it what he wants to find there? (p.80)

Discuss this sequence in the Id Bar (pp.85-89).

What do you make of Mariannes actions?
Is she trying to tell Adam something?
Is she displacing her feelings about Adam?
Is she playing games or letting Adam go gently?

Consider that we only have Adams point of view and interpretation of events and
that Sarah and Marianne are presented to us through his lens.
Particularly since Adam has such a world weary take on the world, it might
be useful to write some scenes, such as these in the nightclub, from either
or both Sarah and Mariannes perspective.

In the Storm (page 92 onwards)

Adam expresses eloquently his feelings for Marianne.
Consider whether you think he is genuinely in love, obsessed, or attracted
because she represents the freedom he longs for.
Discuss the significance of Marianne. Is she, perhaps, the catalyst for
change rather than the love of Adams life?

Adam has left work and he and Marianne spend an evening together doing silly,
childish things running barefoot in the rain (clich?) and rolling down a grassy
slope. And yet he is unable to kiss her or tell her how he feels (pp.101-106).
Is he the nice guy as he says, or simply gutless, or unable to make any
decisions on his own?

Marianne hugs him to say goodbye.

What does this suggest about her feelings towards Adam? (p.109).

Last before leaving (page 112 onwards)

Adam ritualises that last time for various actions: Last meal, last drinks, last bath
(p.118).
Why does he do this, do you think?

Snapshots (page 122 onwards)

This section, the journey to Hokkaido, marks important turning points for Adam.
Consider that while it is an actual journey, it is also an important
metaphoric journey for Adam in terms of his life.
On page 125 it is as if Adam is in Japan for the first time. Sinclair uses pastoral
imagery in this section and it might be valuable to explore the notion of the
pastoral and how it has been used by writers over time. For example, the
serenity of the countryside lifts of the page, and on page 126 Sinclair conjures
the attraction of the simple life of the fisherfolk. The whole feel of the book
changes here. See also page 132.

This idyllic image is marred somewhat by Adams constant longing for Marianne,
comparing what he imagines she would do with the reality of Sarah.
How much is Marianne constructed, idealised by Adam?

Shiraoi
There are subtle changes in Adams behaviour and attitudes that signal he is
finally accepting his lot rather than always dreaming of something better, and
taking some control and decision making, such as on pages 137 and 138.

There is also some greater self-awareness:

Cant help feeling suspicious.
Cant help feeling ignorant, either.
I dont know enough to be impressed
and I dont know enough to be disgusted,
so all I can do is be cynical (p.139).

Shikotsuko (pages 144 onwards)

Consider language choices here and what they reveal about Adams evolving
state, serenity for example, and laughing at the invasive Winnebago.

Reacting to the food crisis, Adam calls himself self-reliant and on page 150 I
could do this on my own. And he does find the courage to ring Marianne.
There are other language choices that signal the subtle change anonymity, free
self-reliance.

Asahidake
The physical and metaphoric meet on the top of the mountain peek. Adam and
Sarah reach it, separately, and it is shrouded in mist (p.166).
Consider that the poem The other side is a description of their
relationship, rather than just the decent from the mountain (p167). Also
contrast its symbolism with Consensus (p182).

The storm and the rain that threatens to blow their tent apart is often used
symbolically in films, to return to the cinematic style, to signal a turning point.
Is this how Sinclair is using it here? (p.172-174). Think of examples of
when it has been used in movies.

It is Sarah who raises the issue of the end of the relationship and reveals that
she has been aware of it for weeks (p.176).
 What does it tell us about Adam that he has never considered this?

On page 177 Sinclair returns to his filmic associations, with Adam believing he is
in a movie.
What was he expecting? That he would go on longing for Marianne while
staying with Sarah?
Is Sinclair suggesting that Adam has just been acting a role he has
created for himself all along? Is this because he cant accept himself?

Discuss the shift on the following page and what it tells us about Adam now and
what he understands about himself:

Im this Adam now

this moment this reality,
this scene is taking place
and Im in it so completely
I forget to watch myself.
I forget to take notes (p178)

In transit
The title of this suggests that Adam is still a work in progress. He can confess to
Sarah about Marianne, and chooses finally to speak of the relationship, if that is
what it was, in the past tense (p.193).

Adams recognition of his short-sightedness in Japan prepares him for new

attitudes and choices (p196).

The final words in the novel are of a beginning, not an ending.

Imagine what you think will happen to Adam on the next leg of his journey.
Write, act or storyboard the possibilities.
Imagine you met Adam in five years. Write a poem in the style of Sinclair
to evoke the adult Adam.

Tone

Adam relates events in a kind of cynical melancholy manner, as if being angry

might expend too much energy.
Is Adam being self-indulgently maudlin? Does nothing please him?

For example even the park, despite its green beauty, is too ordered for him:

golf-green grass on hills

that are earth-mover smooth (p.32)

Is it fair to say that Adam likes life to be jagged and messy? Consider his
reactions to Sarahs planning.
 Also on page 93 he says that Marianne is making his life beautifully
confusing. Is Adam simply immature, and unable to accept that adult life
involves routine and commitment?

Perhaps track some of the events that lead to Adams ennui. He and Sarah went
to Japan for the overseas experience, but find themselves living the lives of
expatriates. For instance, on page 38, while Sarah has made a friend in Midori,
Adam teases her about going native.
Mariannes dont care attitude appeals to Adam, but isnt he just as
uptight as Sarah in his own way? (pp. 39-40).
Discuss what attitude is revealed in It is worth seeing/Ive got to admit it.
(p.41)
Why has Adam deliberately kept his distance from the language and the
culture? He suggests that it is because it makes the ubiquitous advertising
look beautiful: smoking prohibitions/become exotic (p. 41)

Michaels house symbolises the Japan that Adam thought he was coming to:

the Japan of sushi and Sumo wrestlers,

of Samurai and sake (p.46)

What does this reliance on stereotypes tell us about Adams

preconceptions of what life would be like in Japan?
Michael comes to the door in a kimono, and shoes must be left at the door
in his house, suggesting that he has embraced cultural conventions. Why
cant Adam?
Discuss some common stereotypes held about Australia, and how the way
most of us live might shock and disrupt those who come to live here.

Adam cant remember when the interesting parts of his life became obstacles.
Is this because of the relationship breaking down? Or is it perhaps that
Adams gap between expectations and reality is too wide? (p.67)
Adam feels sorry for what he has lost almost as if it is out of his control. Is
that the way it happens, or do we make choices about our lives? (p.67)

Characters

Adam
If you had to describe Adam in one word, what would it be?
Would it be the same word at the beginning, middle and end of the story?

He is cynical when we meet him first: how he describes his training and his boss
on page 14. Sinclair is very frank about Adam and we see him warts and all. We
build up a more complex picture of him as the story progresses: his need for
greenery and open spaces (p. 20); he tunes out of talk about jobs (p.22); he likes
living in the moment (p.30); I like my dreams fantastic,/and I like my future/day
by day/ (p.59).

He is self-absorbed and wants Sarah to be playing a role like he is (p.52).

Is it the hypocrisy that offends him? Or is he playing the game too? (p.53)

Powerful images of disconnection and a sense of oppression:

The lake with its moon-tinted ripples

might as well be tatami,
the night all around us,
the crumbling walls
of our apartment (p.55)

He makes constant comparisons with home (p.57) although he felt hemmed in

before he left Adelaide.
There are moments of junction with the world, but they are rare (p.33).
Find some others and talk about what they reveal about Adam.
What does Adams experience tell us about the idea that you cant escape
yourself?
He thought Japan would settle his unease and disaffection, yet it
exacerbates it. How does he finally move to some resolution and sense of
equilibrium?

Sarah
If you had to describe Sarah in one word what would it be?
Would it change throughout the story?

Adam is always critical of Sarah and her attitude towards work.

Is she a work-a-holic or a realist? (p.23) Consider her actions at the end of
the novel.

Adam often recollects Sarah as a student and becomes irritated by Sarah, the
worker and planner.
But life is different now isnt it? (pp.24-25). They have responsibilities and
it seems Adam doesnt want to be realistic about them.
It is Sarah who is making the trip happen? (p.29) Does Adam make
anything happen?
Why is Sarah crying? Is it just a movie as Adam thinks or is he extremely
thick as far as Sarahs feelings are concerned? (p. 78)
Does it surprise you at the end that Sarah is the one to initiate the split? It
might be useful to reread the story and identify sections when Adam cant
see the wood for the trees.

Marianne
What do you make of her?
 Is she the free spirit that Adam sees?
Has he created her in a sense, out of his own unhappiness and longing?
Is she enigmatic, or is it that Adam isnt very good at reading other
people? Consider for example how Adam interprets you made it and
what she means (p.99).
What do you think would have happened if Marianne had answered the
phone when Adam rang her, during the cycling trip? (p.151). Write the
conversation in free verse, or act it out.

Setting ideas of other places

Sinclair positions Japan in this story, through Adams reactions to it, as alienating
and too foreign. Trace some of these reactions and discuss whether this is an
inevitable stage in living in another culture or country, or a reaction Adam has
chosen. For example, his ride home on page 15 appears to be purely descriptive,
but think of what he has chosen to notice, to describe.

On page 31 Adam describes the countryside as a different world.

Discuss Sinclairs language and image choices here.

On page 122 are international icons associated with countries Adam names
that Eiffel Tower and that Sydney bridge.
What other symbols do people automatically recognise and associate with
particular places?
What do these symbols tell us about the places they are attached to, such
as, what is viewed as important?

Symbolism

What is the significance of bike riding (the journey) throughout the story?
What does it mean for Adam, for Sarah and finally for the narrative itself?

Think of other stories that use journeys such as Kerouacs On the Road, Pirsigs
Zen and the Art of Motorcycle Maintenance, Hatherley and Copes Off the Rails,
Ewan McGregor and Charley Boormans Long Way Round.

Music, books and movies

Its always valuable, and interesting, to follow up on the references in novels to
texts that the author connects with his story.
Play some Nick Cave and The Bad Seeds, and talk about how Caves
lyrics might connect with Adams story, and the music with Adams mood
of melancholy.
Listen to Headless Chickens tracks. Are their music and lyrics similarly
dark, like Nick Caves? What does this musical background add to the
reading?
Sinclair also makes reference to some classic works of science fiction, the film
Blade Runner and the author John Wyndham.
How do these references add to our understanding of the story, and of
Adam?
Sinclair also uses the title of a famous World War 2, Steve McQueen movie, The
Great Escape on page 17.
We dont have to recognise these references, but what is the effect on the
reader and our reading of the story if we do?

Other texts

Contemporary free verse novels can be placed within the context and tradition of
narrative poems such as Coleridges The Rime of the Ancient Mariner, and
Australian bush ballads such as The Man from Snowy River by Banjo Paterson.

As an introduction to the form of the verse novel, perhaps share some free verse
poetry such as that of Walt Whitman whose Leaves of Grass is regarded as a
significant example of cadenced verse. For example:

All truths wait in all things

They neither hasten their own delivery nor resist it,
They do not need the obstetric forceps of the surgeon.

Other poets to explore are Rilke, T.S. Eliot, Ezra Pound

Books
How the Light Gets In by M. J. Hyland is an engaging, very funny and moving
story of an Australian girl who attempts to escape her life by going on exchange
to America.

Other verse novels

A Dangerous Girl and the sequel, The Year it All Happened by Catherine
Bateson.
Love, Ghosts and Nose Hair and its sequel A Place Like This by Steven
Herrick.
Jinx, by Margaret Wild.

Films
Lost in Translation is also set in Japan and examines cultural dislocation.
The Spanish Apartment and its sequel Russian Dolls are about
expatriates - students in the former, workers in the latter - and cultural
differences and stereotypes.