I immediately jumped at the chance to review Kyra Geddes’ debut novel, The Story Thief (2024). As an avid lover of Australian History, especially Australian women’s history, I was hooked by the novel’s provocation neatly displayed on its front cover: “Her family’s story made Henry Lawson famous. But was it his to tell?” I was curious as to both how the novel would discuss and perhaps problematize Henry Lawson, the ever-acclaimed Australian author, and if it would effectively challenge readers to consider how women have often been neglected in Australian history. The Story Thief did not disappoint. The novel proved to be a brilliant exploration of Australian history, providing rich insight into how and why we remember certain figures and not others, and ultimately showcasing the power of stories, both fact and fiction, to shape our lives.
Described by fellow novelist Liane Moriarty as “Australian historical fiction at its finest,” The Story Thief is an impressive feat for this first-time novelist. Born in Adelaide as the daughter of German immigrants, Geddes worked in marketing before returning to university to study English and pursue her passion for writing, publishing two short stories before writing The Story Thief.
Set in Sydney in the first half of the 20th century, The Story Thief tells the story of Lillian Taylor. Born in 1892 — the same year that Lawson’s most famous short story ‘The Drover’s Wife’ was first published — Lillian’s teenage and adult life is shaped by a fascination with Lawson’s work. Upon reading ‘The Drover’s Wife’ during an English lesson at her Catholic Girls’ boarding school, Lillian becomes convinced that Lawson’s famous work is based on the story of her own family. However, as Lillian quickly realises, it is only her male family members that feature in this work; the women of her family, primarily her mother, remain nameless and thus lost to history. As Lillian notices, even the family dog, Alligator, receives a name while her mother — known simply as ‘the drover’s wife — does not. Sparked by this realisation, Lillian becomes determined to prove that Lawson’s story is her family’s, thereby rendering the acclaimed Australian writer ‘a story thief.’ The novel takes us on Lillian’s journey of grappling with this theft throughout her life. The reader also bears witness to some monumental moments in Australian history, including both World Wars, the women’s suffrage movement, and the birth of nuclear warfare.
Geddes’ primary intention behind writing this narrative was to shine a light on those untold stories of Australian women from the past. Historical female figures remain little researched and remembered in both academic and public historical circles; while one can find many plaques and statutes of Australia’s well-known historical men.A decade ago, the novelist discovered Lawson’s ‘The Drover’s Wife’ during her university studies and was immediately struck by how little Lawson reveals about the female characters. Geddes’ determination to portray historical Australian women as agentic participants in society are epitomised in her protagonist, Lillian. Throughout the novel, we track Lillian’s involvement in feminist causes along with her passion to reclaim the true story of Lawson’s ‘The Drover’s Wife.’
Stemming from Geedes’ decade-long research for the novel, a core strength of The Story Thief is its focus on real-life events, people, and places in Australian history that seem to jump off each page in their vivid imagery and mimetic resemblance. A particularly noteworthy scene comes towards the beginning of the novel where Lillian and her school friend Hilda venture to Quang Tart’s Tea Rooms in the Queen Victoria Building. Geddes vividly portrays the carriage ride from the girls’ Sacred Heart boarding school — today more commonly known as Kincoppal-Rose Bay — through the Sydney of 1908, describing the “grand sandstone buildings and elegant townhouses” and the “spectacular sight of Sydney Harbour.” There are also cameos to real-life historical figures throughout the novel, such as Louisa Macdonald, Evelyn Dickinson, and Treania Smith.
Overall, The Story Thief was a joy to read in its vivid painting of familiar Sydney scenes, interesting and likeable characters, and its interrogation of what we commonly remember — and don’t remember – in Australian history. This is an idea we can export from this novel into our everyday understanding of our society today.
The Story Thief (2024) will be available across bookstores from April 30.