When we had cleared the wire away, we came back across the road to the craft and, seeing the daughter occupied the front cockpit, I enquired whether the mother might not like a ride in the back.

Jack was surprised to see her accept- she was always so nervous -but he didn't reckon on my eyes. I took her hand and helped her up. She giggled like a young girl and her daughter was nice enough to say nothing of the third passenger: the king brown snake beneath her mother's seat.

When the Farman was safely behind the hall, I tied it to the fence on one side and lashed it to some heavy rocks on the other. The women stayed seated in the cockpit. Vogelnest edged towards the road, but seemed reluctant to make the journey alone. Jack wanted to talk about knots. When he began, tucking in his shirt over his strong man's belly, I thought he was criticizing the knots I had tied. I missed the point -Jack liked the "idea" of a knot.

"It is a great thing, the knot," he said. "A great thing."

Vogelnest seemed to understand more than I did. He squatted on the ground and surveyed O'Hagen's paddocks with a critical eye. As Jack continued the light grew mellow and the colour started to come back into the landscape.

"What sort of fellow," he said, "would invent the Donaldson lash?"

"A fellow called Donaldson," I suggested.

"An astonishing man," said Jack, mentally picturing the unsung Donaldson in some draughty shed alone with his ropes. "What a grasp he had of the principles. And what a memory. Two over, then back, down, hitch, double hitch and through. It's a knot you need to practise for a week before you get the hang of it."

I never heard of the Donaldson lash before or since, or half the other knots I heard celebrated that afternoon while the sky lost its intense cobalt and went powdery and soft, and the grasses that had looked so bleached and lifeless now turned dun and gold, pale green and russet.

Jack wondered out loud about the saddler's bow and argued the comparative merits of the reef and the double latch. Phoebe stayed in the front cockpit with her hands folded in her lap. The late sun set her hair afire. Vogelnest saw me looking at her and smiled and ducked his head.

"Ah," said Jack who seemed, at last to have exhausted his subject, "I do like a good knot."

Everybody started to move like they do in a church when the bridal party has gone out to sign the registry. Phoebe yawned and stretched. Vogelnest stood and brushed his knees. Molly declared herself frightened of snakes and would not walk back through the long grass. Jack picked her up like a bride and carried here across the paddock and when they arrived, laughing, on the roadway, he refused to put her down.

Molly squealed like a young girl and Mrs Vogelnest, still standing guard at the fence with the long-handled shovel, allowed a small smile to break up the unhappy lines Jeparit had engraved on her tiny clenched-up face.

8

Ernest Vogelnest sat in his kitchen. His wife was in bed, asleep. He was finishing the last of the schnapps. He had been keeping the schnapps for five years and tonight had been the right time to drink it.

He could hear the music, the piano accordion and the young girl's voice. It drifted across the desolate paddocks from O'Hagen's where the aviator and the picnickers had gone to explain the aeroplane. It was a party. He guessed, quite correctly, that there was dancing. He raised his glass towards the house where Herbert Badgery and Mrs O'Hagen were doing an Irish jig.

Ernest Vogelnest had spent his pound well. He was not merely happy, he was overwhelmed by the niceness of people, the blissful absence of the aeroplane. It had been a quid well spent. When he saw the lights of the Hispano Suiza come bumping down the long dirt road from O'Hagen's he extinguished his hurricane lamp and watched the car pass by his darkened window. He thought he saw the aviator in the driver's seat, his face reflected in the glow of the instruments, and he raised his glass to him, wishing him well.

9

I always had an aversion to hotel rooms, guest houses, boarding houses or anywhere else where a man was forced into giving up money for a place to stay. I always built a place of my own when I could. I built from mud and wire netting (which is better than it sounds and more comfortable than the girl from Bacchus Marsh had realized). I was also a dab hand at a slab hut, a skill that has now died out, but which made a very satisfactory house, one that'd last a hundred years. I made houses from the wooden crates they shipped the T Models in. I made houses from galvanized iron (from rainwater tanks on one occasion). I even spent one summer in the Mallee living in a hole in the ground. It was cool and comfortable in that hot climate and I would have got married but a poddy calf fell in on top of us one night and broke the woman's arm. You can call that bad luck, but it was my stupidity. I should have fenced it.

You could say I was obsessed with houses, but I was not abnormal. My only abnormality was that I did not have one. I had been forced to leave my houses behind me, evicted from them, disappointed in them, fleeing them because of various events. I left them to rot and rust and be shat on by cattle on the land of the so-called legal owners who were called squatters because they'd done exactly what I'd done.

While a house was always my aim, it wasn't always possible in the short term. I was an expert, however, at getting "put up". I was not just an expert. I was an ace. I never had to be formally invited and I always left them before my welcome was worn out. Don't think I cheated the legal owners, because I never did. I delivered value in whatever way it was required.

I applied this principle to the McGraths.

I was an Aviator. That was my value to them. I set to work to reinforce this value. I propped it up and embellished it a little. God damn, I danced around it like a bloody bower-bird putting on a display. I added silver to it. I put small blue stones around it.

By the time I swung the headlights of the Hispano Suiza on to the McGrath house in Western Avenue, Jack McGrath could see the factory I said – it was a pleasant whim – I was going to establish, a factory that was going to build Australian-designed aircraft. It was splendid. Everyone in the car could see it, shimmering in the moonlight.

You call it a lie. I call it a gift.

When I saw the size of the house, I was pleased I had taken so much trouble with my story. It was the equal of the lace-decorated Victorian mansion I saw in the headlights. It was capped with a splendid tower and the tower was capped with a crown of wrought-iron lace. For a building with a tower I could not have taken too much trouble.

In an instant, it seemed, they had the mansion blazing with electric light. It poured forth in luxury from every window, washed across the flower beds and flooded the lawn. Even the yellow-brick garage had its own set of lights and as I garaged the Hispano Suiza I could hear the voices of the two women as they called to the maid who fluttered like a moth inside the kitchen windows and threw fleeting shadows out across the lawn.

I liked the electricity. I liked the sheer quantity of it. It was right that a house like this, grander than any I had ever stayed in, should be so enthusiastically illuminated.

The cicadas, as if they were wired on the same circuit, suddenly filled the garden with a loud burst of celebration. If fireworks had now illuminated the summer sky they would not have been out of keeping with my emotions. I had never seen anything like it. I had never seen anything approaching it. There was a ballroom, a music room, a library, a tower. Don't worry that there was no dancing in the ballroom, no music in the music room, and not a single book in the library. To dwell on those empty shelves would be to miss the point. There were stained-glass windows made by M. Ives of Melbourne. There were carpets, wall to wall, made in Lancashire from Western District wool. There were ice chests, music machines, and electric wiring everywhere.