AustLit

'Briohny Doyle’s third novel, Why We Are Here, threads together just about every literary, philosophical, and pop culture perspective on death and aftermath there is. But nothing represents the heart of the book better than its exploration of both/and thinking. Embraced by the fields of business, psychology, and beyond, both/and thinking is a method of overcoming paradoxes, not by solving them but by honouring how two apparently contradictory truths can co-exist. There’s no explaining the singular effect of this book without it.'(Introduction)

'Clairaudience, says the Macquarie dictionary, is the alleged power of hearing voices of ‘spirits’, or sounds inaudible to normal ears. The protagonist of Why We Are Here is not a psychic, but she is an aspiring dog-whisperer, and her landscape is punctuated with muted strains of grief as she mourns the loss of her father and partner during the pandemic. In the absence of others, she ‘hears’ the voices of her loved ones. Her partner is deified in biblical pronouns, with ‘He’ and ‘His’ capitalised. ‘I never met Him then, but I love, love, love that child,’ she writes of her partner’s young self. Her father, also, has a distinct voice and character that weaves into BB’s narration. With her dog, a subtle inversion takes place. The name BB derives from the Spanish ‘Bebe’, which also means ‘baby’. BB’s voice is acerbic and tender, wryly observant, unmistakeably human. Baby the dog’s voice comes in staccato spurts of commands, evocative of the dialogue from The Animals in That Country by Laura Jean McKay. The exception to this is a surprisingly affecting monologue by Baby at the conclusion of Why We Are Here. ‘I know that I was not always like this,’ the dog telegraphs.' (Introduction)

'In Briohny Doyle’s fourth book, a writer called BB has lost both her partner and father in close succession, and, in the aftermath of their deaths, experiences the first wave of pandemic lockdowns. Certain that further quarantine will see her petrified in viscous grief—that she will ‘crawl out of [her] share-house bedroom an old woman in a post-apocalyptic ruin’—she retreats to a beachfront rental above a condemned shop in the seaside area of Balboa Bay. Her plan is to heal by the ocean, ‘weightless and untethered for a short time’, before returning to real life.' (Introduction)