In his latest novel, Everything I Knew, Peter Goldsworthy uses this famous quotation. Indeed, it is so apposite that it might well have provided the epigraph. Everything I Knew is, in part, a self-conscious reworking of Hartley’s The Go-Between (1953). The first-person narrator, Robert Burns, is a naïve fourteen-year-old boy in desperate thrall to a young woman. But where the emotional life of Hartley’s boy protagonist is destroyed by the precipitate arrival of sexual knowledge, Everything I Knew subverts this notion.
The year is 1964 and the setting is Penola, a country town in South Australia. Robbie is a Year Seven schoolboy, precociously intelligent, restlessly pubescent. His father is the town policeman and his mother a well-meaning but stolid housewife. The community is narrow; everyone knows everyone else. At the beginning of the novel, Robbie is beginning to outgrow Billy, his best friend from primary school, an Indigenous boy with a reputation for getting into trouble that Robbie, to a lesser extent (being white), shares.... (read more)
Unlike an autobiography, which tends to be time-bound and inclusive, the memoir can wander at will in the writer’s past, searching out and shaping an idea of self. Although Geoffrey Blainey’s memoir, Before I Forget, is restricted to the first forty years of his life, its skilfully chosen episodes suggest much more ...... (read more)
Wiradjuri writer Tara June Winch is not afraid to play with the form and shape of fiction. Her dazzling début, Swallow the Air (2006), is a short novel in vignettes that moves quickly through striking images and poetic prose ...... (read more)
One of the intriguing things about Breath, Tim Winton’s first novel in seven years, is that it has a number of affinities with his very first book, An Open Swimmer (1982). Both are coming-of-age novels that attempt to capture some of the confusion and melancholy of youth ...... (read more)
At a time when some fiction writers are busy defending their right to incorporate autobiographical elements, and some non-fiction writers are being charged with fabrication, it seems timely of Nam Le to begin his collection of stories with one that plays with notions of authenticity in literature ...... (read more)
Memoirs of illness are tricky. The raw material is often compelling: dramatic symptoms, embarrassing public moments, and unavoidable relationship pressures. The challenge is to share that raw material in a new way. Not every memoir needs to turn on the conceit that illness is an obstacle that must be overcome ...... (read more)
Fusion is the fiction début from the author of the acclaimed Madness: A memoir (2013). It draws on Australian gothic and older gothic traditions. With the meditative possibilities of walking alpine ranges, it also portrays claustrophobia and compulsion. Its drama centres on a small and wounded cast ...... (read more)