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Strangers didn't, as a rule, find their way to Chez Dom - a little, rundown Tunisian cafe on Paris' distant fringes. Run by the widow Houria and her young niece, Sabiha, the cafe offers a home abroad for the North African immigrant employees working at the fantastic abattoirs of Vaugiraud, who, like them, possessed expanded used to the smell of bloodstream in the air. But when one day a lost Australian tourist, John Patterner, looks for shelter in the cafe from a sudden Parisian rainstorm, the tranquil simplicities of the lives are modified forever. John is similar to no-one Sabiha has fulfilled before - his relaxed grey eyes promise her another she was not yet even aware she required. Theirs becomes a contented but improbable marriage - a marriage of two civilizations lived in one third - yet because they are essentially foreigners to one another, their love story sets in teach an irrevocable span of tragic events. Years later, living a little, tranquil life in suburban Melbourne, what occurred at Vaugiraud seems such as a distant, troubling goal to Sabiha and John, who confides the storyplot behind their seemingly normal lives to Ken, an ageing, melancholy writer. It is a story about home and family, individuals frailties and passions, elevating questions of morals and purpose - questions haven't any simple answer. Lovesong is a straightforward enough story in many ways - the storyplot of a matrimony, of people coming undone by desire, of normal lives and fatality, love and struggle - but when informed with Miller's distinctive voice, which is all intellect, quality and compassion, it has a genuine gravitas, it resonates and is also deeply moving. Into the wonderfully evoked contemporary configurations of Paris and Melbourne, stories of Tunisian family life, culture and its own music are tenderly woven.
