Zero History, and other style notes

I am lolling on the couch in my favourite denim, a heavy right hand twill, but not, I'm afraid, selvedge. Nor is it slubby, unlike my partner's long sleeve t-shirt, an irresistibly slubby item.

I know all about slubby thanks to William Gibson's latest novel, Zero History, which has as its major (ahem) thread the search for the maker of a secret brand of jeans, Gabriel Hounds – and no doubt like every other slightly obsessive William Gibson fan, I now find myself googling slubby denim and wondering where I can get me a pair of those mythical Hounds.

Which is fascinating. I am not one of those women who usually spends a great deal of time thinking about clothes. I have my uniform – black or blue jeans; black or blue scoop neck top with or without subtle horizontal stripes; grey or blue jacket; coordinating scarves and sleevies for chillier days – which I almost always wear. These clothes are rarely from the high street or the mall; instead, I buy them second hand, fair trade, or from local makers. I'm hardly the stereotypical fashionista.

Yet I do have fantastically strong opinions about what I will and will not wear. I hate it when clothes fall apart or stretch out of shape; and I loathe the way garment makers are so often treated as slave labour, rather than as skilled workers. Too, I must admit that when my clothes are well made and suit me, I feel good; and when they aren't and don't, I feel self-effacing and grumpy.

So I spend time searching out clothes that are sturdy and timeless; and when I can't find or afford them – which is usually – I look for quality second hand. Then, of course, I often give up and head to the mall; but I dream of finding clothes which are made to last.

In his magnificent book Local Wonders, Ted Kooser writes about the experience of putting on a shirt his mother made for him when he was 14. Sixty years later, it still fits and still has wear in it, unimaginable to this child of the throwaway generation. It is, however, imaginable to the maker of Hounds, who is fascinated by the clothes that once were commonplace in America: 20 oz selvedge denim, and shirts and jackets so sturdy that they endured for decades; these are the clothes she is re-inventing.

Zero History is about the power of this secret brand, which has as its only advertisement the quality of each garment. It is also about the hunger of an advertising agency to find the genius behind such a simple yet powerful marketing tool; and the way even this brand is taken on board, in the end, by the fashion mavens. Concurrent themes include the way US military style has so deeply informed street wear; the phenomenon of pop up shops; and the cross over between the worlds of music, art and fashion. Just to keep it all ticking along, there are also eccentric private hotels, a few high speed chases, corruption in high places, and a performance art skydiver.

William Gibson's last three novels have investigated in one way or another the influence of branding on our lives and the infiltration of the military on general society, and while Zero History is perhaps not quite up to Pattern Recognition, the first of the three, it is still a thought provoking read and a terrific romp.

I must say, too, that it gave me quite a fillip when one of the characters revealed that he had bought his Hounds at the Rose Street Market in Fitzroy; I have bought a heap of clothing, bags and notebooks there over the years. Nice to know that one of my locals gets a mention in a novel set in London, although it gave me a jolt to realise I may be very slightly cooler than I thought.

On another fashion note, I had a weird moment this week. Having just read Zero History, I was trying to work out why some outfits make me feel terrific a la Hounds and others make me slope around. I was thinking, too, about how I almost always wear the uniform mentioned above, and so I found myself flipping through Secrets of Style at my cousin's house, To my astonishment, I discovered that the editors of In Style magazine think a uniform is good, and that it is better to have a few quality items in one's wardrobe than a mountain of ordinary clothes. They also recommend buying up big when an item suits one well, and I puffed up in pride at the thought of my three identical t-shirts and three identical black singlets sitting in the wardrobe.

The main difference between their wardrobe and mine appears to be sticky fingers and budget. Thus I wear not cashmere turtlenecks, but wool; not tailored pants, but denim; and not low heels, but amusing flat shoes. But it was an odd moment when I realised the editors of a style magazine were on the same track as William Gibson and his imaginary maker of Hounds, and me.

It was especially surprising given the astonishing waste of an industry which has as its focus the generation of desire, which leads to our insatiable and destructive hunger for the new. But once I recovered from my astonishment, and my general embarrassment at reading a style guide, I must admit Secrets of Style was very helpful, not least for giving me permission to stick to my grey, black and blue wardrobe of things which are not particularly fashionable. It was full of good tips, too, on which cuts suit which features, and what to look for when buying clothes (fabric, shape, length, stitching, seam width, and more).

Spring is here, and if you're like me you'll have just discovered you have about three things to wear. My modest tips, diffidently proffered given the lamentable state of my own wardrobe, are to read Zero History and have a think about fashion (anyway, it's great fun); flick through the style guide, which will help you send all the clothes that make you feel awful to the op shop, and understand which clothes may suit you; scroll through the ethical shopping guide I put together here; then forgive yourself for anything you have to buy new from a sweatshop reliant chain store. Just buy the best quality you can afford, so you only have to buy it once.

And look out for something slubby.

The Blizzard Voices

Everyone I love who has died has been cremated. The coffin disappeared with a mechanical whoosh, or a discreet curtain covered it up, and that's the last we saw of it. It's cold, clinical, institutional, fake, and it's not enough for me. I want to watch dirt cover the coffin and know that it's done. I want a place to visit, a place to sit and chat and cry and think.

So my husband and I will be buried. We will sink into the soil and turn into good earth. We will be in a place where our children can hold a picnic, and listen to the trees, and breathe goodbye over and again. In my fantasy world, I will be buried at a friend's block, quiet, unremarked, ignored for the most part, but a good place for a picnic; a place where the wind sings and a rainbow is often to be seen spanning the valley. In reality, we're visiting country cemeteries and seeing what's available.

Which brings me in a roundabout way to The Blizzard Voices. I find most poetry to be unutterably omphaloskeptical (I have always wanted to use that word in a sentence) and excruciatingly tedious.

And then there's Ted Kooser. Kooser is a poet who uses the cool spare language of the Great Plains. He is the poet for people who like stories, and other people. His language is clear, strong and wiry; and he tells the most wonderful tales.

The Blizzard Voices is a collection of poems about the terrible storm which struck the Plains in the late nineteenth century. Teachers and students were trapped in schoolhouses with limited fuel and food. Farmhands perished in the fields, unable to find their way home. Fathers sheltered under upturned wagons with their livestock, and lost hands and feet to the cold. Mothers sat anxiously at home waiting for their husbands and children to return: from school, from the neighbour's house, even from the barn just yards away.

Kooser collected the stories from those who remembered, and from old diaries and other reports. He shaped the material into a series of short poems, each speaking in a different voice to relate an image, a snippet, or an experience. Together, the poems form a chorus, and provide a sense of the many faces of the blizzard: finding a loved one dead in a snowdrift, and the methodical calm of a plainsman in dealing with it; the surprising experience of discovering turkeys days later, buried by the snow but alive and well; the quiet devastation of a young teacher who lost her way and held three young charges close as they died in the night; the sight of a man who lost arms and legs to frostbite being loaded onto a train; the line of sunflowers which led a teacher and her children to safety.

Reading the book, I felt I was sitting at the feet of a grandmother or a great-uncle, listening as they told stories by the fire. It is a deeply nourishing set of poems, tied to a particular time and place, but drawing the reader into a collective history, and giving the reader a sense that the history is part of our shared story.

As in his book Local Wonders, Kooser finishes the collection with a deeply moving piece which is a benediction of sorts; here, a blessing on those who died. He writes that the names of those buried unremarked and unremembered in the corners of fields are still carried on the wind. And I'm back to where I began. Two lifetimes and half a world away, I think of those lines whenever the wind blows, and hope that I too can one day be buried in a field somewhere, remembered for a few years, then left to the song of swaying grasses, and the ever changing crooning of the wind.

(You can read more about Kooser's book Local Wonders: Seasons in the Bohemian Alps here.)

Life in Abundance

I am an Australian wandering the world for a couple of months, chivvied out of my house by my travel-loving husband. A few weeks ago, in Glasgow, I found a tiny second hand bookshop in an alleyway off a nondescript side street. While my six- and three-year-olds chatted to the owner and played with the resident cats, I negotiated the poky aisles. It was one of those stores with books shelved to the ceiling, books stacked 30 high in front of the shelves, and books stacked 20 high in front of the stacks in front of the shelves. I spent most of the time saying 'excuse me' to the other customers as we squeezed past each other, arching over stacks and bending our bodies around one another like a literary form of twister.

The shop was intriguing. And in one teetering pile, a slim purple book caught my eye. I slid it out, opened it up, began to read, and immediately experienced that electrical jolt you get when you pick up the exact book you need, the book you know you will read time and again until you die.

Local Wonders: Seasons in the Bohemian Alps (American Lives), by Ted Kooser, is an account of daily life in rural Nebraska. It is not a linear telling, nor a story as such, but instead a collection of observations and memories grouped by season. I mean no disrespect when I say that it reads like an unusually beautiful blog, the posts lovingly crafted. Individually, each piece stands alone, whether a paragraph or three pages, and provides much to reflect on. Together, the pieces create an intimate portrait of place, person and community.

The notes are suffused with gentle humour and tinged with sadness. This is the writing of a man aware of his mortality and our frailty, who yet sees that life is good. He uses the stories of fields and families, small towns and tools, to create something strong and good. The writing drew me in so that I, too, smelled the wild plums in the hedgerow and saw the beer cans nestled in the undergrowth; lay in his son's tree house and listened to the breeze rustle the branches; sat on his outdoor toilet in the early morning watching the sunrise; experienced the theatre of a garage sale; sniffed the cloves from his mother's ancient can; and longed to see a fox. And I too felt frustration at the louts spraying herbicide, the school board which closes the schools and busses the kids for miles, the farmer who dumps insecticide into the water in his irrigation well. Kooser takes the reader on a ramble through his observations and memories such that, by the benediction – the only way to describe the final piece – I felt I had come to know him.

Local Wonders has taken its place on my mental shelf of all time favourites, along with works by Annie Dillard, Kathleen Norris, Marilynne Robinson and Robert Farrar Capon – all writers who cherish the mundane. Like these authors, Kooser has written a book about the everyday, to read slowly and savour, to dip into again and again, to draw nourishment from.

My life's thesis is this: if we could learn to see and cherish the gifts of the daily – the sight of a spider web as we walk down the street, the thread of song that comes to mind as we wash dishes, a baby's smile – then we would have a means to counter the gnawing insatiable appetite for more which dominates our culture: more clothes, more food, more sex, more experience, more power, more money, more thrills. This book invites the reader to step back, take a breath, and look around. By reading such a book, and learning to paying attention to our own lives, we might discover a deep and joyful truth: that all of us have not only enough, but riches and life in abundance.

> Ted Kooser Local Wonders: Seasons in the Bohemian Alps (American Lives) (Lincoln and London: University of Nebraska Press, 2002).