Gregory Day

The concept of ‘trespass’ first entered English law records in the thirteenth century. That this appearance fell between the arrival of William the Conqueror in 1066 and the reformation of the English church by Henry VIII in 1534 is no accident. As Nick Hayes shows in The Book of Trespass, the process by which the English commons were enclosed by the statutes of the wealthy landowning class was slow but resolute; and it had everything to do with, on the one hand, the arrival of Norman delineations of property and, on the other, the disbanding of the monasteries that had worked in a bartering symbiosis with the people of the common landscapes of England.

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When Claude Monet lived in Argenteuil in the 1870s, he famously worked in a studio-boat on the Seine. He painted the river, he painted bridges over the river, he painted snow, the sky, his children and his wife, and, famously, a field of red poppies with a large country house in the background. Argenteuil is to Paris roughly what Heidelberg and Templestowe are to Melbourne. Once a riparian haven for plein air painters interested in capturing the transient optics of natural phenomena, it is now a suburban interface with a diminishing habitat for anything but humans.

Actually, Heidelberg and Templestowe are in good shape when compared to Monet’s old river haunt. When he was living in Argenteuil, the population was fewer than 10,000 people, most of whom were asparagus farmers, vintners, fishermen, and craftspeople. Now the suburb is home to more than 100,000, many of whom are commuters making the train trip into Paris every day to work. The only shimmering light of interest would probably come from their phones.

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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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‘And so I patch it together … I take the liberty of seeking not only an explanation but a connection between what at first might appear to be disparate ingredients.’ The narrator of Gregory Day’s new novel, A Sand Archive, takes many liberties. Enigmatic in various ways, apparently solitary, nameless, and ungendered, ...

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Despite the detailed excavatory art of the finest biographies, sometimes it takes the alchemical power of fiction to approximate the emotional geography of a single human and his or her milieu. Stephen Orr’s seventh novel, a compelling and at times distressing portrait of a twentieth-century Australian painter and his family ...

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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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When W.H. Auden took the cue for his poem ‘Musée des Beaux Arts’ from Brueghel’s Fall of Icarus, he did not presume the reader’s knowledge of the iconography of the painting but rather sprang open its central and universal theme, which touches all our lives: how ‘dreadful martyrdom must run its course’. It is easy to think our lurid times are perhaps ...

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Why do you write? Because I get enjoyment out of it, and so do other people.

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Early success is no guarantee of a book’s continued availability or circulation. Some major and/or once-fashionable authors recede from public consciousness, and in some cases go out of print. We invited some writers and critics to identity novelists who they feel should be better known.

An official account of a naval battle off the coast of Crete on 22 May 1941 includes reference to a ‘friendly fire’ incident when ‘HMS Orion was … repeatedly hit by 40mm shots from HMS Dido, which, in the maelstrom, ended up shooting at her comrade’. A few days later, during the evacuation from Heraklion, the crippled HMS Imperial had ...

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