In 1961, Gwen Harwood submitted a sonnet to the Bulletin under the name of Walter Lehmann. Her poem, ‘Abelard to Eloisa’, held a shocking acrostic secret that many people considered very bad art. Nobody discovered the secret until after it was published. But despite her transgression, as Wikipedia puts it, ‘she found much greater acceptance’ – to the point that she is today considered one of Australia’s greatest poets.
The Inheritance of Ivorie Hammer is a novel that manages to be absolutely itself, with a wholly idiosyncratic voice, while at the same time acting as a veritable echo chamber of earlier writers. The first page, with its lofty insistence about what ‘should not surprise the world’ in the behaviour of a young woman with the surname Ward, immediately calls to mind Mansfield Park, and the Austen echo is redoubled by the fact that her first name is Marianne. However, Preston’s narrator proceeds to address her readers with a confidence she might have learned from Anthony Trollope, while elsewhere providing information in bulleted lists, a trick Laurence Sterne would probably have found useful had he been writing a couple of centuries later.