I have often found myself feeling a little frustrated after reading a David Foster novel. While never doubting his ability as a writer, the convolutions of his narrative have, more than once, overshadowed his undeniably fine prose. His latest book, Hitting the Wall, a collection of two novellas, allows us the opportunity to examine how Foster handles the more urgent needs of this much shorter form.... (read more)
David Foster is obsessed with opposites. He likes to play polarities of place and value against each other: in The Pure Land he contrasted Katoomba and Philadelphia, the sentimental and the intellectual; in Plumbum he put Canberra against Calcutta, the rational against the spiritual. At a talk in Canberra several years ago, he commented that it was the symmetry of the words Canberra and Calcutta that attracted him to the idea of the cities as polarities. Words themselves invite Foster to play games with meaning and suggestion, and he finds an endless source of absurdity in the gap between actuality and the words chosen to label it.... (read more)
I’ve always had a terror of one day having to explain a joke. And now it’s happened. Moonlite is one of the jokiest books since Such Is Life which in its turn reminds us of the even jokier Tristram Shandy and behind that no less than Rabelais himself. The best way to talk about Moonlite, then, is perhaps to say that it is bouncing, bewildering, wilful and – very occasionally – boring, just as these books are.... (read more)
After the zany energy and comic extravagance of Moonlite, the first part of David Foster’s new novel, Plumbum, is curiously sober and the comic vision subdued. In Canberra, which his characters generally regard as preposterous, The Last Great Heavy Metal Rock Band of the Western World is born, but its birth is protracted and the narrative pace is leisurely, sometimes dangerously slow. The reader is lulled, apart from the faint, nervous suspicion that the narrative might suddenly accelerate and take off. And it does, at lunatic speed in the second half of the novel, where Foster is at his fabulous best, absurdist and zany comic.... (read more)
This amazing novel comes in two parts, a 431-page prose Saga, and a 123 page verse Ballad. The whole is held together by a Narrator, who tells the Saga as a gloss on the Ballad, which he found in an old bike shed in an abandoned mailbag. The ballad was written by Orion the Poet, a young man called Timothy Papadirnitriou ...... (read more)
David Foster’s earlier Dog Rock novels came out of his experience as a Bundanoon postman in the 1980s. A recent brief return to his old run has provided irresistible material for a further comic foray into rural life. Dog Rock: A Postal Pastoral (1985) and The Pale Blue Crochet Coathanger Cover (1988)observed the changes in a country village under th ...