It’s often said of Gerald Murnane that his mature period began with the publication of The Plains in 1982. What followed were four volumes filled with metafictional introspection and a sustained preoccupation with the act of writing that culminated in Emerald Blue in 1995. When Barley Patch appeared in 2009, ending a run of some fourteen years during which Murnane published no fiction at all, it swerved Murnane’s metafictional focus from the present tense to the present perfect: from the act of writing, here and now, to the fact of having written much over many years. In doing so, Barley Patch announced the arrival of Murnane’s late period, a period that continued through A History of Books in 2012 and continues now, this month, in A Million Windows. Of the three volumes that comprise this loose trilogy of self-reflective fictions, A Million Windows is the most lucidly written, the most conceptually successful, and the most emotionally invested. It is also what one reader described to me as “Murnane to the power of Murnane,” making it by far the least likely of all of Murnane’s books to appeal to readers not already familiar with him. Continue reading Murnane’s Manifesto
Dutch is an awkward language. It sounds humorous to me even now, except when someone uses it in anger. When my stepfather cursed, I imagined dirt in his lungs, old black farming earth from the north of Holland, clotted with blood and bone. God verdomme.
On the back cover of Michael Sala’s The Last Thread, the publisher’s blurb hails the book as “[r]eminiscent of the great autobiographical novels of J.M. Coetzee and Michael Ondaatje.” For a publisher to associate those names with a debut work is an audacious move, an attempt to make the book appealing to a very particular readership even at the risk of raising readers’ expectations to heights the book can’t reach. Thankfully, there’s more substance to this association than mere marketing gimmickry. Like Coetzee’s Scenes from Provincial Life and Ondaatje’s Running in the Family, Sala’s autobiographical novel depicts the tensions of a troubled youth in prose that oscillates between the lyrical and the stilted. Like those novels, too, The Last Thread strikes a balance between the personalisation and depersonalisation of a life story, concluding with an adult’s first-person reminiscence on his boyhood years after he has offered a third-person depiction of his younger self. But are those similarities enough to make The Last Thread worth reading? If troubled youths are a dime a dozen in the age of the misery memoir, and if Coetzee and Ondaatje have breathed new life into a tired genre with various artistic flourishes, is it enough for Sala to follow his masters’ footsteps through such well-trodden territory or does he break away from them to blaze a trail of his own? Continue reading Michael Sala’s The Last Thread
For a while after I moved to Melbourne, I would sometimes notice the wilderness intruding on the cityscape and immediately I’d feel an urge to preserve the sight in a photograph. A gargantuan gumtree might strangle a street corner, or a palm might spring up between two sets of train tracks, or a pine might peek over a fence at the dead end of a laneway, and in each instance I’d find myself impelled to take a picture. I didn’t set out with camera in hand to hunt down these sorts of sights. I went about my business as usual and looked up every so often to find them in my way, a dash of green against steel and glass, as if waiting there for someone to spy them through the ruckus of human activity that otherwise left them occluded. I’d pull out my cellphone and snap a photo and then I’d set off again. I didn’t know where it came from, this impulse to preserve what I saw; I only knew that on some level I felt an affection for the urban green.
When I saw the green sneaking back into spaces from which it had been expunged, a part of me wanted to cheer it on and even to see it triumph. I enjoyed the thought of watching it slowly reclaim a city whose urgent cosmopolitanism, undisturbed by the wilderness, struck me then and strikes me now as complacent and somehow presumptuous. More than any other city I’ve ever known, Melbourne is exceedingly pampered — the unruliness of the natural world has been arrested and landscaped into submission — and yet in my bones I feel a resistance to such a pampered aesthetic and a reflexive attraction to almost anything that disrupts it. Only recently, however, did I begin to see the source of what I feel towards the city when the Christmas and New Year period gave me some time to read two long meditations on life in Australia’s capital cities. Continue reading The Literature of Cities
In her historical novel Utopian Man… Australian author Lisa Lang… seems to propose a certain savage truth about the march of history: that, at bottom, it is the simple unfolding of entropy. With this in mind, she approaches historical fiction aware that narrative cohesion is destined, or doomed, to be upset by the sloppiness of the unvarnished historical record. Rather than attempting to overcome the entropy of history, Lang entertains it. She offers a novel whose acceptance of the chaotic events seems designed to frustrate readers who expect an orderly narrative in the vein of Byatt, Mantel, and their cohort. Ostensibly setting out to shape the life of a man into an entertaining and accessible story, Lang abandons that enterprise and begins to shine a light on its inevitable shortcomings. The result is a minor triumph: not without its share of failures, but a captivating, challenging, and rewarding work of fiction that succeeds despite the weaknesses of its final pages.
My review of Lisa Lang’s Utopian Man is online at The Critical Flame.