Susan Sheridan

Niall Lucy reviews 'Christina Stead' by Susan Sheridan

Niall Lucy
Tuesday, 11 February 2020

In male (I do not, just yet, say ‘patriarchal’) discourse, woman is man’s supplement. The feminist’s perennial dilemma, then, is how to intervene in that discourse which is forever reproducing the very hierarchy that suppresses and excludes her, when – by the power of its appropriation of common sense – that discourse operates not as though it were given her by men, but as though it were simply ‘given’.

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The Innocent Reader, Debra Adelaide’s collection of essays reflecting on the value of reading and the writing life, also works as a memoir. Part I, ‘Reading’, moves from childhood memories of her parents’ Reader’s Digest Condensed Books to discovering J.R.R. Tolkien and other books in the local library, and to the variable guidance of teachers at school and university. Its centrepiece is the powerful essay ‘No Endings No Endings No’, which juxtaposes the shock of discovering that her youngest child has cancer with her grief at the death of Thea Astley in 2004. The last words of Astley’s final novel, Drylands (1999) give this essay its title. Adelaide draws out the hope that they suggest as she tells how reading – aloud to her son in hospital, and to herself when he was too ill to listen – enabled her to survive this terrible time.

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Kenneth Cook (1929-87) was a prolific author best known for his first novel, Wake in Fright (1961), which was based on his experience as a young journalist in Broken Hill in the 1950s. In January 1972, as I sat in a London cinema watching the film made from this novel by director Ted Kotcheff, its nightmare vision of outback life seared itself into my brain ...

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In 2016 A.S. Patrić’s first novel, Black Rock, White City won the Miles Franklin Literary Award. Two years earlier (he told an interviewer) he couldn’t even get a rejection slip for it: not one of the big Australian publishers responded when he sent the manuscript. The independent company Transit Lounge took it on ...

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Books of the Year 2018

Michelle de Kretser, et al.
Monday, 26 November 2018

To celebrate the best books of 2018, Australian Book Review invited nearly forty contributors to nominate their favourite titles. Contributors include Michelle de Kretser

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At the centre of this book is Oscar, the son of Rozanna Lilley and her husband, Neil Maclean, and Oscar’s particular way of encountering the world. Unpredictably (by most people’s standards), he is indifferent to some things, sharply affected by others. His fears – of the outdoors, of night and the watching moon, of dogs ...

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The appearance in 2014 of In Certain Circles, a new novel from Elizabeth Harrower, was an important literary event. The author, who still lives in Sydney, had published nothing since 1966 and had repeatedly maintained that she had nothing more to say. In Certain Circles had been ready for publication in 1971 ...

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2017 Books of the Year

Australian Book Review
Sunday, 26 November 2017

To celebrate the best books of 2017 Australian Book Review invited nearly forty contributors to nominate their favourite titles. Contributors include Michelle de Kretser, Susan Wyndham, James Ley, Geordie Williamson, Jane Sullivan, Tom Griffiths, Mark Edele, and Brenda Niall.

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Thea Astley had a way with words. Her novels are studded with arresting metaphors, atrocious puns, hilarious one-liners, arcane words, technical terms from music, geometry and logic, religious and literary allusions. Her verbal pyrotechnics can be dazzling and infuriating, in equal measure: as Helen Garner once wrote, it is ...

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This manifesto for free verse comes from a poet whose associates at the time included Harold Monro, Richard Aldington, and D.H. Lawrence in London, Harriet Monroe and Louis Untermeyer in New York, Natalie Clifford Barney in Paris. Anna Wickham (1883–1947) mixed with the modernist writers and artists of her time on both sides of the Atlantic and was widely admired for her early books, The Contemplative Quarry (1915), The Man with a Hammer (1916), and The Little Old House (1921).

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