Introduction

"Vertigo" begins with introducing Luke Worley, a 34-year-old man who has found an unexpected interest in bird-watching since moving to the coast with his wife, Anna. Previously, they lived at the edge of the city where the hustle and bustle drowned out the natural environment. Changes start with Anna developing asthma, which is exacerbated by their urban life. Luke's innate optimism starts to crack under the pressure of city living, rising interest rates, and the feeling that the future is looming over him—a future not as bright as he once imagined.

Feeling trapped by the lack of home ownership and the encroaching health issues, Luke and Anna decide to leave the city for a quieter life in the country. As editors, their work can be done remotely, allowing them a certain degree of location flexibility. Despite warnings from Anna’s GP about rural asthma rates, they are set on the move and resolve to give themselves two years to try this new lifestyle—a choice that is as much about escaping their respiratory issues as it is about fleeing from a life of unmet expectations and financial struggle.

Even though their friends perceive this move as a reaction to Anna’s health challenges, in truth, the couple also grapples with a disillusionment stemming from the increasing financial pressures of city life and a sense that their once-bohemian ethos is being suffocated by a desire for material security that they cannot fulfill.

The book appears to be an exploration of a couple’s journey towards a different way of life and a reflection on the internal shift from youthfulness to a more grave, reality-bound adulthood filled with compromises and unexpected turns.

Characters

Anna Worley

Anna Worley emerges as a resilient yet complex character, grappling with change and an evolving sense of self. Married to Luke, she experiences a deep disruption in her life after developing asthma, a diagnosis that profoundly impacts her self-image and precipitates a relocation from the city to a coastal hamlet.

Lohrey paints Anna as a woman who prided herself on her physical fitness and vitality—a contrast to her husband's more sedentary and intellectual persona. The onset of asthma makes her "feel like an invalid," causing her to feel weepy and vulnerable as she confronts a new, unwelcome facet of her identity. The illness strips Anna of her vigor and compels the couple to reassess their lives in the urban environment, which they feel exacerbates her health issues.

The decision to move to the country is also fueled by financial constraints and a shared disillusionment with their urban existence. Anna's youthful bohemian spirit, which once allowed her to be "serious about the right things and carefree about the rest," transitions into a "woman on the edge of becoming anxiously acquisitive". Her struggle is not just with health or wealth, but also with the erosion of her once idealistic outlook on life. Moving to Garra Nalla signifies a retreat from the materialism and envy that tainted her wellbeing.

Anna's character is continuously shaped by her surroundings. In Garra Nalla, she is drawn to the natural landscape, reflecting a need for simplicity and purity, as they choose a settlement that represents an "uncultivated landscape out of time". Yet, in the homestead they take over, Anna is not entirely free from her past concerns. Even the choice to keep the old cast-iron stove in their new kitchen hints at a desire to warm the cold reality of adulthood with the fires of a more romantic, bygone era.

Life in Garra Nalla does not offer a complete respite, however, as Lohrey documents the incessant coastal winds that disturb Anna's peace, symbolising the uncontrollable forces that buffet her life. Her determination to swim in the lagoon and run on the beach, despite the punishing wind, shows a persistent will to confront adversity head-on.

A particularly harrowing encounter with a snake during the wind-plagued season underscores Anna's vulnerability. The snake, coiled under a blown off sheet, is a stark embodiment of the latent dangers lurking beneath the surface of their seemingly idyllic new life. Anna's fear and visceral reaction—drenching herself with water and seeking help—reveal a woman still reeling from life's unexpected turns, but willing to face them, perhaps underlining her transition from being a person reacting to life, to one taking charge despite her fears.

Overall, Anna Worley is a character marked by a journey of self-discovery, as she navigates the vertiginous changes in her life. She transitions from a carefree youthfulness to an adulthood fraught with unforeseen challenges, all the while searching for a space where she can regain her sense of self and command over her circumstances. Lohrey's depiction of Anna reflects the universal human struggle against the unpredictable winds of fate and the quest for a personal haven amidst life's turbulences.

Luke Worley

Luke Worley is portrayed as a man undergoing a significant transition in his life. His character arc in "Vertigo" mirrors deep, personal evolution shaped by the forces of anxiety, reality, and change. Far from the uninterested youth who never paid attention to birds in his neatly maintained suburban home, the Luke becomes interested in bird-watching after moving to the coast with his wife, Anna. This newfound interest marks a departure from the cacophony of city life and a shift towards introspection and connection with the natural world.

Luke's initial lack of concern about the materialistic pressures of city living transforms into a feeling of burden when confronted with the relentless rise of interest rates and his wife's concerning health condition. His role as Anna's driven counterpart is underscored when he begins to experience self-doubt and a "metabolism" of his formerly inherent optimism into something "jittery" as they face the inability to achieve homeownership and her asthma diagnosis. Lohrey describes a remarkable awakening in Luke that clouds the clarity of his youth.

The tangible concern Luke feels for Anna, as she struggles with her breathing in the mould and damp of their city apartment, compels him to suggest a move to the countryside, despite her asthma doctor's warnings against it. It’s an action that indicates practicality infused with a dreamer’s hope—and a will to combat the invisible forces eroding his vitality.

Luke's decisions throughout the narrative are informed by a need to redefine the sense of self both for him and Anna. Their move to the coastal hamlet of Garra Nalla, described as hardly a town but rather a settlement amidst the raw beauty of the Australian coast, symbolises their joint desire for a fresh start and escape from their previous discontents. The choice to live in Garra Nalla reveals Luke's yearning for simplicity, represents the complexities of urban life, and a firmer control over his own narrative.

In the small coastal hamlet, Luke displays hints of resilience and an appreciation for the untouched landscape, despite the absence of amenities that most would find essential. Yet, his layers of complexity are revealed as much by his actions as by his internal struggle with his father Ken's critical gaze. Luke's reluctance to engage in discussions about his career choice or to validate his past decision to pursue a law degree further illustrate his internal conflict between societal expectations and his own desires for a more meaningful, subdued life.

Luke's character encapsulates the theme of confrontation with the self. His adaptation to a simpler life, his feelings of inadequacy amidst the opulent urban setting, and his protective instincts towards Anna paint a nuanced portrait of a man in search of stability and contentment amidst upheaval. "Vertigo" thus positions Luke Worley as a representative of contemporary manhood, battling to reconcile personal ambition with a shifting sense of identity and the pursuit of wellness in a changing world.

The Boy

The boy in Amanda Lohrey's "Vertigo" is a vibrant character who embodies the untamed and pure essence of childhood. Unlike the tightly wound, often contemplative adult characters, the boy represents a direct connection with nature and unadulterated human emotion.

Distinctly contrasting with the adult characters, the boy is someone who is in tune with his environment yet driven by an internal wildness. His appearance is emblematic of a life lived freely and without reservations: he "can look like an angel polished by the sun but today he is a bush urchin," with a "large purple bruise" on his shin and "hair matted with dirt". These details evoke a sense of a child who is adventurous, perhaps mischievous, but undoubtedly spirited and deeply immersed in his surroundings.

Described in action, the boy interacts with his environment dynamically—whether whooping loudly and banging "his stick on the wood block as if performing a karate chop" or running off to scatter a flock of birds. The boy’s energy and abruptness, his proclivity to dash off and immerse himself in nature's play, speak to a childlike wonder and disregard for formality. His interactions are not purely for entertainment; they also indicate a measure of exploratory behavior, a desire to interact with and disrupt the environment around him playfully.

The boy's somewhat mercurial nature is evident in his interactions or lack thereof with adults in the narrative. He is notably absent when older characters like Ken and Gil enter the scene, suggesting a potential disconnect or discomfort with the older generation or perhaps a common youthful disdain for the staidness of adult life.

Despite unexplained disappearances, implied by Anna waking to find his bed empty, there is a strong undercurrent of resilience and self-sufficiency attached to the boy. Anna is "not alarmed" by his absence, evidencing a pattern of behavior and a trust that, despite everything, "he will return". This security may resonate with readers as a reminder of the reliability of youthful exuberance and the consistent cycle of homecoming inherent to the adventurous spirit of children.

Overall, the boy serves as a cipher for a life unburdened by the anxieties of adulthood depicted in the characters of Luke and Anna. His presence in the narrative is a refreshing juxtaposition against the backdrop of adults contending with existential worries and life transitions. He personifies an element of hope and unrestrained joy — perhaps a manifestation of the very essence of the coastal hamlet of Garra Nalla that Luke and Anna seek refuge in. The boy’s spirit is one with the wild, unpredictable, and enchanting natural world that surrounds them all.

Ken

Ken is depicted as a traditional, perhaps somewhat outmoded figure in "Vertigo." He is a man without grandchildren, a situation that seems to render him feeling "helpless," indicative of his old-fashioned values surrounding family and legacy.

Ken's portrayal as a man who "took responsibility for everything around him" and felt "a duty to protect the weak" speaks to a paternal and protective nature, characteristics of an archetype that prizes responsibility and guardianship over the more intimate, emotional connections typical of modern family dynamics.

Despite his best efforts, Ken cannot entirely conceal his true feelings. His struggle to maintain engagement and hide his boredom during his visit does not go unnoticed by Anna, who compares him to an "old-fashioned school inspector." This comparison suggests that Ken's demeanor and judgmental attitude may engender a sense of inadequacy or pressure in others, particularly when it comes to living up to his standards or expectations.

Anna's perspective that Ken views her and Luke as not "coming up to scratch" implies that Ken might be uncomfortable with or disapproving of change, especially when it deviates from his understanding of success or propriety. The use of the term "yokels" specifically captures his disdain for their chosen lifestyle away from the city, reflecting a disconnect between Ken's values and those of the younger generation.

Luke's interactions with Ken are strained, marked by mutual frustration. Luke despises "the way [Ken] patronises Gil," which further exposes Ken's inability to relate to those who live outside his own set of experiences or beliefs. Luke’s use of “mumbles” illustrates his hesitance or inability to directly confront Ken, highlighting the customary distance and formality in their relationship.

The character of Ken represents a generational gap, embodying the frictions that can arise from intergenerational differences in perspective, aspiration, and lifestyle. In a broader sense, Ken serves as a symbol of the traditional expectations of masculinity and patriarchy, and the ways in which these can clash with contemporary values and the pursuit of individual fulfillment. His character offers an exploration of the challenges in understanding and acceptance that often accompany family dynamics and generational divides.

Gilbert "Gil" Reilly

Gilbert "Gil" Reilly in Amanda Lohrey's "Vertigo" is portrayed as an integral part of the local fabric of the coastal hamlet of Garra Nalla, embodying the spirit of communal wisdom and folklore. An elderly widower, he quickly acquaints himself with his new neighbours, Luke and Anna, after their move. As their nearest neighbor, he becomes a frequent presence in their lives, dropping by for coffee and conversation, or what he colloquially terms a 'natter’.

A "mine of local folklore," Gil offers Luke and Anna more than just idle chat. His knowledge of the town's history and tales lends depth to the setting of the narrative, rooting it within a larger context of community and place. His practical advice, particularly about managing the wood stove—which wood to use, how to prevent creosote buildup, and proper fire maintenance—indicates a willingness not only to share expertise but to help the newcomers adapt to their new environment.

Gil's tall stature, a "long beaky nose," and ginger-grey hair provide a vivid physical portrait that resonates with his role as a figure both of nature and of lore. His appearance suggests someone well-acquainted with life's trials, embodying a sort of rustic wisdom that comes with age and experience.

Yet, there's a sense of withheld personal history and quiet stoicism about Gil. Lohrey subtly alludes to Gil's reticence to disclose personal matters when Luke is surprised to learn of Gil's grandson serving in Afghanistan, a fact Gil hasn't mentioned despite their apparent close relationship. This reveals a private dimension to Gil's character—an inclination to keep certain troubles close to his chest, perhaps out of a desire to maintain a stoic front or to shield others from his concerns.

Gil's reserved nature causes tension with Ken, as observed by Anna and Luke, who notice the forced interactions and the palpable dislike between the two men. While Luke resents his father's patronising attitude towards Gil, Gil responds with "stiff politeness," a display of his dignified character, yet highlighting an underlying discomfort with Ken’s condescension.

Overall, Gil stands as a symbol of traditional masculinity tempered with the gentleness of lived experience and the solitude of widowhood. His character is a tribute to the richness of local knowledge and the virtues of quiet endurance. He is a guardian of the town's stories and a guardian of his own, providing a backdrop of stability and continuity against which the lives of other characters, particularly the sea changers like Luke and Anna, unfold.

Alan

Alan is a character who brings a blend of intellect and passion to the coastal town featured in Amanda Lohrey's "Vertigo." He is a high school mathematics teacher, a profession that suggests a methodical mind predisposed to logic and structure. However, it's his hobby that brings a certain depth to his persona; Alan collects "rustic hardware" that he crams into a "barn-sized workshop". This juxtaposition of academic discipline and a penchant for antiquities crafts an image of an individual who is as much at home with the intellectual as with the practical and historical.

Both Alan and his wife Bette are described as "energetic and practical," a power couple capable of almost anything they set their minds to. This resourcefulness is evident in the ambitious project they undertook a decade earlier, building an energy-efficient house complete with "sun walls and solar panels," a pioneering endeavor at a time when such eco-friendly initiatives were less common. Their commitment to this cause, even while living out of a caravan, speaks to their determination and adaptability.

The restoration of an abandoned tennis court further illustrates Alan's proactive nature. After finding that Luke and Anna can play tennis, Alan invites them for doubles, fostering community "through sport and leisure time. The matches themselves, played with an underlying ferocity," reflect not just the social but competitive spirit that imbues Alan's character.

Alan's interactions in the narrative extend beyond his personal endeavors to include the town's larger communal life. His engagement with others is marked by a "friendly and direct" manner".

In sum, Alan is portrayed as dynamic, engaging, and multifaceted. He exhibits practicality and a hands-on approach to life, balanced with intellectual rigor and a deep respect for tradition and history. His character is a blend of action and reflection, sociability and self-reliance, and he represents an ideal of modern, rural masculinity mentioned to be leaving for Afghanistan, it becomes a topic of conversation. In this exchange, Alan's openness and conversational ease encapsulate his role as an anchor in the community, someone who connects with different strata of local life, grounded yet progressive, communal yet independent. Alan is both a participant in and a creator of his environment, reflecting the intricate weaves of individual and community in the tapestry of "Vertigo."

Rodney

Rodney is a peripheral yet pointedly intriguing character in "Vertigo," whose actions and lifestyle choices significantly color the backdrop of the narrative. He is presented as a somewhat elusive character, someone not always present and whose actions are on the fringes of legality and social norms.

Rodney's relationship situation is immediately revealed to be troubled and clandestine — he waits for his girlfriend's husband to leave for a mining shift before occupying his place with the miner's wife. This arrangement is clearly described as "not a happy situation," and it brings with it an ominous "smell of trouble." Those nights during which Rodney is exiled back to his "base camp see him relegated to brooding and smoking on his deck, suggesting a restlessness and perhaps a sense of entrapment in his illicit entanglements.

His living quarters are as unorthodox as his private life — he keeps a shed at the bottom of his block that often remains lit overnight. The main character, Luke, suspects an "indoor dope garden" within, indicating Rodney's engagement in illicit activities. This small-scale operation seems inconsequential when juxtaposed with rumours of a larger "plantation" that Rodney is believed to be growing in the hills, hinting at a more extensive, riskier venture that Rodney is involved in.

Rodney’s character is steeped in the fringes of Garra Nalla's society. His story is cloaked in the night, positioned literally and metaphorically at the edge of acceptable society—on his deck, in his shed, and with a rumored plantation hidden away in the hills. Rodney reflects a darker thread within the narrative, the lurking underbelly of a community that, despite its serene coastal setting, is not immune to the vices and complexities of human nature.

Through Rodney, Lohrey explores themes of risk, secrecy, and the pursuit of desires that clash with societal expectations. His character serves as a foil to the sea changers who arrive seeking solace and a simpler life, offering a contrasting image of entanglement and the potentially corrosive nature of harboring secrets. Rodney embodies the quiet tensions that can simmer beneath the surface of a close-knit community, adding layers to the patchwork of personalities that make up the town of Garra Nalla.

Zack and Briony

Zack and Briony are minor yet vivid characters who exemplify youthful exuberance and sibling dynamics in Amanda Lohrey's "Vertigo."

Zack is introduced in a singular moment, skulking after a spat with his sister and searching for lost tennis balls. This small detail paints a picture of a typical sibling relationship marked by occasional squabbles. Zack's actions suggest a boy who is resourceful, perhaps a little sullen after a quarrel, but determined enough to seek something of value—lost tennis balls in this instance—backing the notion of a child's innate ability to rebound and redirect their focus following conflict.

Briony, while associated with her brother in their lively play, is not defined solely by this relationship. Together, Zack and Briony are depicted in full play around an old soccer table, "shrieking and whooping and spinning the long metal rods with such manic intensity that the fixed plastic dolls go rattling into a blur”. This vivid imagery conjures up the carefree, absorptive nature of childhood play, wherein siblings engage fully in the moment, their energy and focus pouring into the game at hand.

The tumultuous atmosphere described as the "fixed plastic dolls go rattling into a blur" due to their frenzied manipulation of the soccer table serves as a microcosm of the chaos and intensity of play between siblings. Zack and Briony's fervent engagement with the game not only injects a sense of movement and cacophony into the scene but also underscores the convivial spirit that can exist between brother and sister.

Through these characters, Lohrey introduces a lively, unstructured counterpoint to the more serious concerns and complex relationships of the adult characters in the book. Zack and Briony's depiction—though brief—enriches the narrative texture of "Vertigo," adding layers that resonate with themes of family, adolescence, and the everyday dramas that punctuate domestic life. The siblings, with their playful exuberance, remind the reader of the simple joys and small-scale theatrics inherent in childhood and the way these moments can provide both levity and depth to the human experience.

Themes

The Search for Identity and Belonging

The search for identity and belonging in "Vertigo" is a central theme that captures the characters' quest to understand themselves and their place in the world. This theme is underscored by the protagonists' transition from an oppressive urban landscape to the open, natural setting of the coast, driven by a desire for a deeper connection to self and a need for a sense of belonging.

Anna's identity crisis, amplified by her sudden asthma diagnosis, is a pivotal event that forces her to reevaluate who she is. Lohrey portrays Anna's internal struggle vividly: "It was Anna who prided herself on her fitness; it was she who went jogging every morning... and now she was being told that for a long time perhaps even decades she would have to inhale steroids". This abrupt change to her health and lifestyle leads her to feel "weepy and vulnerable as if she were no longer the person she thought she was". The sickness intrudes on her self-concept, initiating a journey towards redefining her identity.

Luke's sense of self is also unraveled by their city life, particularly as their goal of homeownership becomes unattainable: "In the past he had felt free of encumbrance... Now absurdly he began to feel burdened by his inability to shoulder the very debt that he had once scorned". Their subsequent move to the country arises from an urge to escape these existential burdens, seeking a place where identity isn't hinged on material success but is rather built on simpler, more organic experiences.

The couple's relocation to Garra Nalla is described as a deliberate choice for transformation: "They felt that in some essential way it was uncultivated, a landscape out of time and, as such, it could not define them. Here they could live and simply be". The serene coastal environment, free from the constraints and definitions imposed by their urban lives, presents an opportunity for Luke and Anna to forge a new identity rooted in authentic living.

Ken's presence in the story highlights the generational struggle with identity and belonging. Luke feels judged by his father's more traditional values, particularly in relation to his career choice: "Ken managing to insinuate that from what he's seen so far the rest of life in Garra Nalla is pretty much nothing". Ken is a figure of the old guard, casting a critical eye on Luke and Anna's decisions, prompting a contrast between the identities assigned by societal expectations and those organically developed within individual narratives.

In "Vertigo", Lohrey illustrates that the search for identity and belonging is not merely an internal contemplation but a dynamic process influenced by the interplay of health, societal pressures, and the physical environment. It is through their journey, and how they choose to engage with their new surroundings, that Luke and Anna navigate the complexities of who they are and where they truly belong.

The Relationship Between Place and Wellbeing

In "Vertigo," Amanda Lohrey tackles the theme of the impact of environment on well-being, using the contrasting backdrops of the city and the coastal hamlet of Garra Nalla to explore how physical space reflects and shapes the characters' health and contentment.

Anna's well-being in the urban environment is marred by her struggle with asthma, which is exacerbated by the city air: "In the first weeks of winter Anna developed a chest infection she couldn’t shake...she was being told that for a long time perhaps even decades she would have to inhale steroids". The city, with its "hot monsoonal wash" and "manic whine of sirens," is depicted as a place convoluted with distress and illness, emphasising how urban living can have deleterious effects on physical health.

The environment's role in influencing well-being extends beyond physical health to mental and emotional states. Discontent with their city life and its pressures, Luke and Anna long for an escape to a place where they can redefine themselves: "That burnish of rough glamour that had once overlaid his city seemed suddenly shabby... He could feel the future coming towards him... and it was not what he had hoped for". The city becomes a symbol of disappointment, with the noise and pace contributing to a sense of confinement and urgency that stifles their well-being.

Upon their move, the contrast in environment becomes starkly evident: "The paint on the ceilings was cracked and peeling and the rooms were dark with a sombre brown varnish on the woodwork" compared to Garra Nalla's description as "a settlement of eighty or so houses each one nestled in among a grey-green cluster of casuarinas and shaggy old banksias laden with masses of black seed cobs". The open, natural setting of Garra Nalla symbolises a new beginning, offering Luke and Anna a tranquil haven to build a healthier and more authentic life.

Yet the idyllic coastal environment also presents its own challenges, symbolising the unpredictable nature of well-being: "Sometimes on the coast it can bluster for weeks at a time but

this year is worse than any Gil can remember. The surrounding grass faded to a mustard colour turns orange at the tips from “wind-burn". The relentless wind that disturbs Anna's peace serves as a reminder that no environment is entirely benign, and such challenges must be navigated as part of the broader journey towards well-being.

Rodney's presence underscores another aspect of this theme, as his living situation and rumored illicit activities in the night suggest a disconnectedness from the town's community, reflecting a more tacit and unsettling impact of environment on well-being: "The smell of trouble drifts in the air on those nights when Rodney is banished back to base camp to sit out on his boxy deck to brood and smoke". His solitary and possibly illicit nocturnal escapades imbue the environment with a sense of unease, complicating the narrative of Garra Nalla as a pure and restorative setting.

In "Vertigo," Lohrey navigates the complexities of how place can nurture or negate well-being, emphasising that the impact of environment is multifaceted and deeply ingrained in the fabric of personal identity and health. The narrative reveals that the pursuit of well-being is not merely about changing one's scenery but also about reconciling with the unpredictable.

The Transition From Youth to Adulthood

The theme of transition from youth to adulthood is a poignant one in Amanda Lohrey's "Vertigo." The author delves into characters' experiences as they confront the vicissitudes of maturing into full-fledged adults, grappling with a loss of innocence and the onset of new responsibilities.

Anna Worley embodies this theme as she grapples with the harsh realities of adulthood, her once carefree bohemian spirit now curtailed by health issues and the demands of mundane life. Lohrey illustrates this dichotomy, "Anna had thought of herself as bohemian a free spirit who was serious about the right things and carefree about the rest but now she was turning into some other woman". This encapsulates her internal conflict, as youthful idealism clashes with a growing sense of dissatisfaction and envy towards her contemporaries who seemed to achieve greater material success.

Luke’s sense of self, painted with the optimistic hues of youth, darkens as he faces adult disillusionment. His perspective on city life sours when juxtaposed against the creeping dread of unmet expectations: "When interest rates rose for the third time in eighteen months he and Anna despaired of ever buying in the city". The inability to attain homeownership—a marker of adult stability—becomes for Luke a symbol of waning youthful optimism, replaced by economic reality and compromise.

Ken, Luke's father, serves as a foil to the younger couple's transitional struggles, embodying a generation that adheres to traditional markers of adulthood. His critique of Luke's lifestyle choices, "Ken managing to insinuate that... the rest of life in Garra Nalla is pretty much nothing", underscores the generational divide in expectations and experiences that define adulthood, one that Luke wrestles with as he tries to carve his own path outside the shadow of his father's values.

The theme further unfolds through the supporting characters, such as the younger generation represented by Zack and Briony. Their innocent play stands in stark contrast to the older characters’ contemplations: "Briony and Zack cavort around an old soccer table shrieking and whooping". Their pure, childlike merriment contrasts with the heavy-hearted awakenings experienced by Anna and Luke, reminding us of the inevitable transition into the complexity of adult life.

Through these nuanced narratives, Lohrey explores how the transition from youth into adulthood is marked not only by age but by pivotal moments and changing perspectives. As the characters navigate the landscapes of identity, belonging, and responsibility, "Vertigo" reveals the essence of maturity: an ongoing process that oscillates between preserving the spirit of youth and embracing the sobering realities of grown-up life.

Relationships and Family Dynamics

The theme of interpersonal relationships and family dynamics in "Vertigo" is a complex framework through which Amanda Lohrey explores the intricacies of human connection, the evolution of romantic partnerships, and the challenging ties of kinship.

Luke and Anna’s relationship illustrates how external pressures—such as health concerns and financial stress—can strain the bonds between partners. Anna's changing self-perception after her asthma diagnosis impacts the couple's dynamic, as the illness threatens the vitality that once attracted Luke to her: "It was as if her robust beauty... was being preyed upon by an invisible vampire". The metaphor expresses the danger that illness poses not just to Anna’s health but to their union, challenging the couple to adapt and support one another in new ways.

The strain between generations is vividly depicted in Luke’s interactions with his father, Ken. Traditional expectations clash with contemporary values as Luke feels misunderstood and judged by his father: "He does not want to submit to one of his father’s inquisitorial probings". The tension captures the push and pull between established familial roles and the individual’s quest for autonomy and validation within the family structure.

Gil, their neighbor, brings to light another dimension of family dynamics—his silent endurance of personal worries, like his grandson’s service in Afghanistan, that remain unspoken amongst neighbours: "Luke is miffed; he thought Gil told him everything. ‘Why wouldn’t Gil mention it?’ 'I don’t know but he doesn’t seem to want to talk about it'". Gil’s privacy suggests a disposition of an older generation to shield others from one's troubles, gently pointing to the varied ways different generations approach vulnerability within interpersonal relationships.

Rodney's situation serves as a counterpoint to these dynamics, portraying a darker side of relationships: "He waits for his girlfriend’s husband to fly inland to the mine for his two-week shift so that Rodney can moonlight in the miner’s bed with the miner’s wife". The atmosphere surrounding Rodney is tinged with secrecy and unease, illustrating how duplicity can corrode the trust and forthrightness foundational to healthy relationships.

Through "Vertigo," Lohrey contemplates the ebb and flow of human connections as characters navigate the demands of intimacy, dependence, and personal growth. The exploration of these relationships and dynamics provides a candid look at the struggles and reconciliation of desires within families and partnerships, affirming that these connections, while fraught and complex, are pivotally intertwined with self-discovery and the enduring search for belonging.

Social Norms

The interplay of social norms and individual desires is a recurring theme in "Vertigo" that sheds light on the characters' internal conflicts as they navigate the expectations of society against their own aspirations and secret longings.

Throughout the novel, Luke and Anna's decisions reflect a tension between the life they're supposed to want—an urban existence with the traditional markers of success—and their desire for an authentic existence aligned with their personal values. This discord is vividly illustrated when the couple must contend with the economic reality of city life: "They worked long hours but still they could not afford anything better than the rental on their cramped apartment". Luke's shift in perspective—from scorning material debt to a begrudging desire to take it on—further underscores the struggle to reconcile the societal pressures of financial success with the yearning for a simpler life: "Now absurdly he began to feel burdened by his inability to shoulder the very debt that he had once scorned".

Ken's character represents the voice of traditional norms, challenging Luke and Anna's lifestyle choices. His views on their new coastal life—"Ken managing to insinuate that from what he's seen so far the rest of life in Garra Nalla is pretty much nothing"—highlight the conflicts that arise when personal desires for tranquility and health diverge from socially endorsed ambitions of prosperity and status.

Conversely, the character of Rodney reveals a rawer facet of this interplay, as he indulges in desires that contravene societal norms. His illicit affairs and rumored involvement in illegal activities—"The smell of trouble drifts in the air on those nights when Rodney is banished back to base camp to sit out on his boxy deck to brood and smoke"—speak to a character whose individual yearnings push him to the outskirts of the community's moral landscape.

Through these and other characters' stories, "Vertigo" captures the intricate dance between social expectations and the quest for personal fulfillment. Lohrey poises her characters on the fulcrum of choice, measuring the pull of communal norms against the push of individual desires. The narrative serves as both a depiction and an examination of the nuanced ways in which people strive to shape lives that are earnest reflections of their true selves, often in the midst of an environment rich with contradiction and expectation.

Setting

The setting of Amanda Lohrey's "Vertigo" is richly depicted and interwoven with the narrative, playing a critical role in shaping both the story and the characters' experiences. The setting, stretching from the domestic space of the house to the broader environment of the coast and hills, serves as a backdrop for the characters' journey and reflects their inner transformations.

The house on the coast is described as a "kingdom," a place of freedom and homeliness contrasting with their previous life in the city, confined to an apartment and a balcony with views limited to smog and concrete. The description of the veranda as "a space between two worlds," where one can float in a "cradle of space," underscores the setting as a place of transition, where characters find themselves between the past and the future, between comfort and the unknown. This description vividly contrasts with the earlier confinement of city life, accentuating the relief and expansion the characters feel in their new environment.

Luke and Anna's interactions with the house's many rooms, nooks, alcoves, and most significantly, the wide veranda, lend a sense of intimacy and exploration to the setting. It offers a variety of spaces for different activities and states of mind, acting as an extension of the characters themselves – a means for them to express and discover new facets of their identities.

The setting extends to Luke's "sun-struck eyrie in the roof," a glassed-in attic transformed into an office, and Anna's "back sunroom," with its view to the smoky blue hills. These personal spaces within the home allow the characters to nurture their individual pursuits, affording them peace and perspective—the attic and sunroom act as havens for creativity and reflection within the sheltering confines of the house.

The landscape surrounding the house is equally impactful. The late afternoon labor in the garden over a "midden," with the soil flecked with shell fragments, hints at both a historical depth and the present moment's ecological fragility—indicative of a setting that is not static but dynamic and layered with meaning. They adapt to the challenges of a "drought country" with "dry sclerophyll forest" and "dun-coloured" grasslands, which have faced seven years of drought, evoking a sense of severity and endurance. The characters' approach to water conservation reflects the environmental challenges and realities of the setting.

The intimacy and contentment the family feels as they work together is contrasted with "the weighty joy of it," which suggests an underlying awareness of vulnerability—they understand that this is "not Eden," but rather a precarious environment where the threat of bushfires looms large.

The setting is not just a passive background but an active element within the story, shaping and reflecting the characters' emotions and actions. Through detailed descriptions of the coast, the house, and the surrounding environment, Lohrey presents a nuanced portrayal of a place that is at once idyllic and dangerous, a source of solace and a stage for struggle, infused with an aura of transformation and resilience.