 | Garry Disher's new novel, Wyatt, has just been published by Text Publishing. It is the first novel in the Wyatt series since The Fallout in 1997. He was recently interviewed by Jo Case for "Readings": |
Wyatt is 'an old-style hold-up man: cash, jewels, paintings'. He avoids the drug scene and is restricted in what he does by the fact that new technology has outstripped his expertise. Is there a certain appeal in writing an 'old-style' criminal like him? Does this add an extra challenge for you when deciding which situations he'll be embroiled in, and how he'll deal with them?
It's probably beyond my skills to create a loveable drug dealer. The face of crime has changed with drugs. There's a greater chance of viciousness and unpredictability when greed, addiction and huge profit potential are involved. Besides, it's more fun, and somehow more worthy, to show Wyatt holding up a payroll van rather than ripping off an addict or a dealer. The problem for me (and him) is finding ways to get the cash without having to hire a dozen guys with specialist technical know-how and gadgetry, not to mention showing the reader how it all works.
Your books - both the Wyatt and Challis and Destry series - are often very Melbourne in tone. Wyatt evokes a range of city locations, from Frankston's teenage mothers, to dodgy stallholders at the Queen Vic markets, architectural monstrosities in Mount Eliza and young yuppies in Southbank. How important is place to your writing?
Setting should be a vital element of all fiction and it's crucial in crime fiction. From a writing craft point of view, I can't see the characters until I see the ground they walk on, and vice versa. Setting is useful in all kinds of ways: adding to our sense of the characters, creating an appropriate mood (e.g., distress), appealing to our senses (we've all had a bus belch on us), and, more broadly, showing the social as well as the topographical diversity of a region.
