David Malouf

A Grace Note

David Malouf
Friday, 24 July 2020

Four in the morning. Stumbling back
to bed, the softness
of my pillow in the spread
of my fingers assumes
again, after so long, the still longed for
round of your head.

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Writing to Geoffrey Dutton in 1969, Patrick White confesses: ‘All my life I have been rather bored, and I suppose in desperation I have been inclined to weave these fantasies in which I become more “involved”. Ignoble, au fond, but there have been a few results.’

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Laurie Clancy reviews 'Harland’s Half Acre' by David Malouf

Laurie Clancy
Friday, 20 December 2019

Apart from the theme of growth and adolescence (with which it often merges), perhaps the most common preoccupation of Australian novelists is the progress of a young man (usually) or woman towards artistic achievement and fulfilment. Frequently the field of art is pictorial. Patrick White’s The Vivisector, Thea Astley’s The Acolyte, Tony Morphett’s Thorskeld, and Barbara Hanrahan’s The Scent of Eucalyptus and Kewpie Doll, to name only those, all deal in some form or other with a painter of either actual or potential genius. It is, of course, one of the classic themes of twentieth-century fiction everywhere, but its pervasiveness among our writers suggests a self­conscious need to articulate the Australian experience and identity. Who better than the great artist to do it?

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Peter Rose reviews 'Ransom' by David Malouf

Peter Rose
Wednesday, 25 September 2019

In David Malouf’s second and perhaps most celebrated novel, An Imaginary Life (1978), of which this new novella is so reminiscent, the Roman poet Ovid is exiled to a primitive village named Tomis. Ovid, ‘called Naso because of the nose’, has been banished due to his unspoken affronts. In Tomis, Ovid, doomed and apart, senses that he must acquire in simplicity a new kind of wisdom:

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Peter Porter reviews 'Typewriter Music' by David Malouf

Peter Porter
Thursday, 22 August 2019
A review is more like a conversation than an overview from an Academy, and conversations often start with a salient point leading on to judgement. I suggest readers of David Malouf’s new collection should turn straight to page twenty-five and encounter a spray of short poems, titled ‘Seven Last Words of the Emperor Hadrian’ ... ... (read more)

Gerard Windsor reviews 'The Great World' by David Malouf

Gerard Windsor
Tuesday, 06 August 2019

Initial appearances notwithstanding, The Great World is not a grand, epic title. It is a phrase of the wide-eyed naäf, gaping at the wondrous, which is anything beyond his experience, especially any tawdry, flashy concoction. In fact, David Malouf’s primary ‘great world’ is an entertainment park of that name in Singapore where ...

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Peter Rose reviews 'On David Malouf' by Nam Le

Peter Rose
Tuesday, 30 April 2019

For more than a decade the world has waited, patiently or disbelievingly, for a second book from Nam Le, author of The Boat (2008), a collection of seven tales that won the young Australian author acclaim throughout the world. Finally, it has arrived. A book-length essay running to about 15,000 words ...

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Judith Bishop reviews 'An Open Book' by David Malouf

Judith Bishop
Friday, 23 November 2018

It is a curious thing, and not a little moving, to see writers celebrated for their work in other genres turn in later life with renewed vigour to poetry. David Malouf, like Clive James, has avowed a desire for poetry now, as the main form of writing his expression wants to take. Certainly, its brevity has a part in this ...

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Letters to the Editor - June–July 2019

Arnold Zable et al., Roger Levi
Friday, 24 August 2018

Letters to the Editor: Reflections on Nam Le, David Malouf, J.M. Coetzee, and the true origin of the curate's egg ...

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Plenty of novelists begin life as poets. Few, though, have managed to maintain their status as poet–novelists quite so impressively as David Malouf. But even Malouf, in his ‘middle period’, more or less dropped poetry for his ‘big’ novels ...

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