By Kristina OlssonNon-fictionUniversity of Queensland Press

Boy, Lost: A Family Memoir

Kristina Olsson’s mother married aged 16, madly in love with a too-charming older man. After they moved far from her Brisbane family, he turned abusive, starving and badly beating her. As she sat on a train bound from Cairns to Brisbane, poised for escape – her baby boy in her arms – her husband boarded, snatched the boy, and threatened to kill them both if she followed him.

The boy, Peter, grew up longing for his absent mother and abused by his father, compulsively running away to find her – spending time in children’s homes and on the streets as a result. Meanwhile, Yvonne was told by authorities that her child would be better off growing up with his father, so she built a new family and tried to bury the grief that always threatened to break the surface.

Despite her inside status, Olsson tells this family tragedy from the perspective of an intimate insider: watching, questioning, digging for the truth, by way of interviews, artefacts (especially photographs) and, to a lesser account, the perspective of her own observations. She tries to enter the perspectives of her mother, her stepbrother, and even – from a wary distance – her mother’s first husband. The effect is one of deep empathy, an attempt to understand how and why this could be allowed to happen.

Olsson connects her family’s experience with Australia’s history of lost and stolen children, so this story resonates beyond the personal. The Australian called this an ‘engrossing, affecting family memoir’.

Portrait of Kristina Olsson

Kristina Olsson

Kristina Olsson is the author of the novel In One Skin (2001) and the biography Kilroy Was Here (2005). Her second novel, The China Garden (2009), received the 2010 Barbara Jefferis Award for its empowering depiction of women in society and was also shortlisted for the Kibble Literary Award. Kristina’s journalism and non-fiction have been published in the Australian, the Courier-Mail, the Sunday Telegraph and Griffith Review. She has worked extensively as a teacher of creative writing and journalism at tertiary level and in the community, and as an advisor to government. She lives in Brisbane.

Judges’ report

A compassionate and sensitive entwined narrative of a lost son and lost mother, this book – by virtue of Olsson’s writing – soars above the conventions of its genre. With wider implications for the many families touched by child removal or institutionalisation, this unflinching story is gripping, moving, and a testament to the tenacity of the human spirit.

The non-fiction judging panel also wished to commend Traditional Healers of Central Australia: Ngangkari, by Ngaanyatjarra Pitjantjatjara Yankunytjatjara Women’s Council Aboriginal Corporation.


All memoir is a form of repair, a way of reassembling the past, word by word. So it is with Kristina Olsson’s cathartic Boy, Lost.

Billed as a family memoir, it isn’t until the Afterword that the focus shifts to Olsson and we really hear her voice. There, she reflects on the cover image for her 2010 Barbara Jefferis award-winning novel, The China Garden, which shows the smashed pieces of a tea cup, linked by the imprint of a single flower. In the novel, the china is buried in the earth by a mother grieving for her lost child.

‘The story, the one you have in your hands,’ writes Olsson in the Afterward to Boy, Lost, ‘is my family’s broken cup.’ It’s fitting that Olsson frames her memoir in poetic terms as it is largely pieced together through metaphor. Her hope is noble and ambitious: Olsson wishes to gather together the scattered shards of her family’s past and ‘return the cup to [her] family, whole’.

In contrast, the cover for Boy, Lost – a young boy following train tracks into a murky distance – hints at the lasting damage. That boy represents Peter, her mother’s first-born and Olsson’s half-brother. The abduction of two-year-old Peter by his abusive father at a Queensland railway station in 1950 is the point of fracture, and where the story begins. Alternating chapters follow the lives of mother and son who wouldn’t be reunited for nearly 40 years.

For Peter, the intervening years are marked by pain: his battle with polio and father’s beatings, as well as the bullying and molestation inflicted on him during periodic stays in children’s wards. For her mother, the pain is internal: sadness silences her, guilt and an indifferent welfare system harden her, emotionally stunting her second marriage and relationships with her subsequent children.

While her mother spent most of her life trying to forget her tragic youth, it’s clear Olsson grew up thinking long and hard about it. ‘In our bodies,’ Olsson reflects ‘we’d all felt the shadow of her injury and were marked by it at birth.’

Olsson’s small family isn’t alone in their grief, of course. The ongoing commissions of inquiry into those ‘Forgotten Australians’ left traumatised by their mistreatment at the hands of state and religious institutions over the last century add a haunting backdrop to the memoir.

Boy, Lost is devastating in parts: the hurt felt by mother and son radiates through Olsson’s delicate turn of phrase. This is not to say Olsson’s book is unrelentingly bleak – Peter’s long journey from victim to survivor, and tentative reunion with his mother, are deeply touching. There are no easy solutions, however, and it’s sadly obvious that for Olsson’s family, and many other abuse survivors and their relatives, the cracks may always remain, however faint.

The heartache reaches a crescendo when Olsson, having read through Peter’s state records and spoken with other victims, telephones him and breaks down. ‘It’s not fair,’ she cries into the receiver. Turn on the news and hear any one of the many victim impact statements read aloud in Parliament – the shocking accounts of forced adoption and institutional neglect – and you too should be moved to tears. She’s right: It’s not fair, not fair at all.

Boy, Lost is an important account of a shameful time in Australia’s modern history, which is now finally receiving public awareness. It is a book that gives voice to the many who were silenced and simultaneously speaks to us all – our shared pain, our shared guilt.

The Victorian Premier’s Literary Awards shortlist