This novel comes to us some forty years after it was written. Janet Frame (1924–2004) did not allow it to be published during her lifetime. Very probably she was anxious not to be seen as savaging the hands that had fed her: and it is indeed a gleeful, glorious savaging.
My mother-in-law often spoke fondly of the Blitz. I had visions of her as a plucky young woman cycling down the bombed streets of London, going to work as a secretary to the stars of show business, enjoying ridiculously cheap hotel meals, and in the evenings going out on the town with an exciting boyfriend – perhaps a Turkish admiral, perhaps the man she later mar ...
In his Introduction to The Seaglass Spiral, Finlay Lloyd reveals that an earlier version of this novel won an award for ‘best rejected manuscript’. It is a curiously back-handed compliment for a publisher to pay his author, and it is typical of an Introduction that seems cautious, even diffident, about its product.
How can Australians write fiction about Indigenous Australia? It is one of the most contentious literary questions today. There aren’t any rules, but writers – particularly white writers – are driven by a strange mix of passion and caution.