Ficton

The greatest play by the greatest playwright, Hamlet has over the centuries daunted readers far older than Holden Caulfield. Today, however, he would have another choice: he could read the novel of the play, and one written especially for his age group. John Marsden, the Pied Piper of Australian YA literature, has decided to lead his vast army of devotees into Shakespeare country – to be specific, Elsinore. And why not? The progress from adolescence to maturity is the very stuff of YA fiction, and Hamlet is a story about growing up. Most stage Hamlets are too old. Holden describes the Danish prince as a ‘sad, screwed-up type guy’, and one of the defining features of Marsden’s often dark fiction is exactly this kind of young protagonist.

Early in Carolyn Leach-Paholski’s The Grasshopper Shoe, a maverick artisan named Wei argues that ‘all form strives to the enclosed and therefore piques our curiosity. What lies open or does not have a hidden side could be counted as formless. All that remains unjoined, the line which does not seek the satisfaction of unity in the circle, all this to aesthetics is dead.’ These words could be interpreted as the novel’s declaration of formal intent. Indeed, both of these début novels are concerned with beauty and perfection, in the sense that they seek to convey emotional and philosophical intensity through rich poetic language. The use of ornate metaphors and imagery in prose has its risks. It requires skill and a good deal of restraint to allow the narrative enough air to breathe so that the novel’s momentum is not stifled.

Do families aid creativity or do they stifle it? Does art require freedom and solitude, the luxuries of long, introspective walks on beaches and bottles of red for one, or can art arise from the chaos and banality of domestic life with a spouse and children?