This really is a book to get lost in, and it has had an immense influence overseas in popularising Aboriginal Australian culture. (Rory Stewart, for instance, recalls this book as the one that made English travel writing "cool".) A rambling yarn, tangents upon tangents, unpleasant viewpoints and hopeful ideas mingling together like dyes being poured into a vat.

The situation is more complex now - some would say problematic but I'd argue that's going too far. Chatwin's time in Australia was fairly brief, his subjects sometimes ironic or perhaps even outright false (to be fair, he acknowledges this), and his attempt to understand an issue that Australians themselves were still grappling with in the 1980s was always going to be deeply flawed. Still, it has its place in the history, and its rather basic overview of one particular aspect of Aboriginal life - even if it is drawn without any shadow or nuance - is an intriguing viewpoint on Australia from an outsider. ( )

Very interesting read, fascinating, and quite wonderful. Chatwin interweaves his journey to observe a territorial issue between aboriginal tribes and a proposed train line, with thoughts, science, history, myth, lore, of all peoples origins in song. Life is a songline in which we doing ourselves, and all the things, into existence. Really interesting segue into the theories of human violence (innately offensive, defensive? A result of population and/or resources only—counter intuitively the less a people has the less violent they are, fascinating stuff). Personable and full of the quality I most love in humans and my limited ideas of "aboriginals": a sense of joy.

I'm curious that Chatwin considered this book fiction; perhaps by today's standards we'd brand it "creative nonfiction" the "creative" part being perhaps invented or doctored dialogue, some bending of facts to get at a more truthful narrative, etc. As a travel document, though, it maintains Chatwin's compressed ability to sketch a character or paint a landscape in a few deft strokes. And the book continues what appears to be his life-long thesis: that humans are meant to be in motion, to be migratory, to travel, mirroring the own way he lived his life.

The book takes an interesting turn just past the half-way mark when Chatwin as his own character is holed up in his caravan due to the rains and decides to finally tackle his "Paris" or moleskin notebooks: "I had a presentiment that the 'travelling' phase of my life might be passing. I felt, before the malaise of settlement crept over me, that I should reopen those notebooks. I should set down on paper a resume of the ideas, quotations and encounters which had amused and obsessed me; and which I hoped would shed light on what is, for me, the question of questions: the nature of human restlessness."

And indeed most of the rest of the book are his quotes and musings from his notebooks, at times a philosophical inquiry into our evolutionary origins, the evidence that our early adversaries were the big cats, why babies quiet down when they are walked given they were carried in slings on their mother's backs, that we are not murderous by nature reflecting on the Cain and Abel myth-story, and so on through language and poetry, the naming of the things of the world as we pass them on our journeys and sing them into being.

There is plenty more in this book for a reader: the colonial and post-colonial undertones of the British and American empires vs. the aboriginal tribes, their "progress" of train lines and mining and for the Americans military sites coming into conflict with the sacred spots, the "dream sites" and "dream lines" of the land; the quite complicated and sophisticated means of communication between the different tribes based on their dream songs; and Chatwin's own memories of his other travels, in Africa and elsewhere around the world, illuminating the connections and similarities within the very different human experiences that coexist on the planet. And there's plenty of room to analyze Chatwin's own positions and relationships to his subjects; as sympathetic and open as he portrays himself in character-narrator form to the "other", he is white and from the empire center, and so there's room to question his framing and way of seeing.

To end, a great book; only thing I found jarring was the sudden shift from the narrative of his travels to the philosophical inquiry into his notebooks. There are moments where he returns to the characters and narrative he set up in the first half of the book throughout the journal musings, and the two parts clearly speak to each other, but by the end I felt like I was reading two different books. Still, there's so much good stuff here I'd recommend to all.

Wonderfully written story of Australia. ( )

Interessante Sache das alles mit den Songlines. Chatwin selbst, ich weiss nicht ob es sein Stil ist oder ob es an der Übersetzung liegt, trägt manchmal sehr dick auf.
So wird z.B. aus Altenberg bei Wien, wo er Konrad Lorenz besucht hat (und ihm natürlich neue Erkenntnisse gelehrt hat) eine "Stadt in der Steppe, über die heisser Wind weht".
Wen er schon aus dem Tullner Becken eine Steppe macht, kann man sich auch Übertreibungen an anderen Stellen gut vorstellen. ( )