Johnno - Plot Summary and Major Themes

Plot Summary and Major Themes

Johnno is written in the first person past tense and the narrator is only ever known by the nickname "Dante". Johnno is heavily autobiographical. The novel is centred upon the friendship between Dante and a schoolmate known as "Johnno" in their adolescence and early adulthood in the 1940s and 1950s in Brisbane.

The subtropical Brisbane environment and various elements of upper-class Australian culture in the twentieth century recur throughout the book. There are many references to Brisbane's verdant gardens and parklands and other aspects of its urban geography such as its now-defunct tramways and the Brisbane River.

The novel takes the form of an extended reminiscence and begins with the narrator finding a photograph of Johnno among his recently deceased father's belongings. The story then begins in Dante's childhood and education at Brisbane Grammar School and then follows the development of the friendship between the staid, conventional Dante and the unruly, eccentric and frequently intoxicated Johnno through school, university and a period of Bohemian-style living in Europe. The novel ends with Johnno presumed to have committed suicide (though the reader does not know for sure) and his funeral in suburban Brisbane.

Though both major characters reference gay experiences Malouf explicitly denies that Johnno is a gay novel.

Readers of a later and more knowing time have taken this to be a gay novel in disguise. It is not. If I had meant to write a gay novel I would have done so. If there was more to tell about these characters I would have told it.

Johnno's occasional experience that way is frankly admitted, so is Dante's relationship with his "boy from Sarina", but they do not see themselves as being defined by these involvements and they are not.

Read more about this topic:  Johnno

Famous quotes containing the words plot, summary, major and/or themes:

    James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.”
    James Thurber (1894–1961)

    I have simplified my politics into an utter detestation of all existing governments; and, as it is the shortest and most agreeable and summary feeling imaginable, the first moment of an universal republic would convert me into an advocate for single and uncontradicted despotism. The fact is, riches are power, and poverty is slavery all over the earth, and one sort of establishment is no better, nor worse, for a people than another.
    George Gordon Noel Byron (1788–1824)

    Uncle Ben’s brass bullet-mould
    And powder horn, and Major Bogan’s face
    Above the fire, in the half-light, plainly said
    There’s naught to kill but the animated dead;
    Allen Tate (1899–1979)

    In economics, we borrowed from the Bourbons; in foreign policy, we drew on themes fashioned by the nomad warriors of the Eurasian steppes. In spiritual matters, we emulated the braying intolerance of our archenemies, the Shi’ite fundamentalists.
    Barbara Ehrenreich (b. 1941)