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Fiction

‘The personal is political’ is an axiom that has become ubiquitous. Normally used within the context of feminist activism, in Yumna Kassab’s latest novel – for which it serves as the epigraph – it is a reminder of the human sacrifice of war and how every part of a civilian’s life reflects its surroundings.

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Ida, a secondary school teacher in Melbourne with a four-year-old daughter, Aster, in childcare, lives in a post-Covid world of masks, mindfulness apps, remote learning, and video calls. Recently relocated from New Zealand when her partner, a lecturer in Cultural Studies, is offered a more prestigious job at an Australian university, she has relinquished the possibility of continuing her own academic career. He seems unwilling to share household tasks or help to tend to their child, despite the fact that they are both working, and distances himself by immersing himself in his study and going on long runs. In the opening passage, we are presented with Ida’s childhood memory of being on a beach, where she pretends that she knows how to swim – or rather, that she has learned ‘how not to drown’ – which now seems an apt metaphor for her marriage.

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Over the past two decades, novelists such as Alexis Wright, Kim Scott, and Ellen van Neerven have produced a body of work that not only unflinchingly explores the reality of Indigenous experience, but in many cases revisions the boundaries of the novel altogether, dissolving the strictures of conventional realism to give shape to Indigenous notions of temporality and relationship with Country.

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It is 1992, the year of the Mabo judgment, and Helen, a scholarship student from Tasmania, is undertaking a PhD at Cambridge, writing a thesis titled ‘Cryptomodernism and Empire’. It is on Joseph Conrad, a writer about whom her peers are contemptuous. Helen is dealing with a forlorn and dismissive supervisor, and the disappointment that her experience abroad was not what she had expected. Her ‘fantasy of vigorous literary talk, multisyllabic and theoretical, was soon defeated’.

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Disquiet by Julia Leigh

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May 2008, no. 301

Julia Leigh rose to prominence at the end of the 1990s, when Australian literature was experiencing the best and worst of times. Though the 1990s were not the ‘low dishonest decade’ that the post-9/11 allegorical reading of W.H. Auden’s poem ‘September 1, 1939’ implied, this characterisation was apt where Australian literature, or at least its worldwide reception, was concerned. Relentless hype tended to drive out literary factors altogether, even as Australian novels reached audiences they had never before attained. As a young, gifted writer with a sharp, fresh style, Leigh could have easily followed up the success of the The Hunter (1999) by writing a middlebrow-pleasing mega-blockbuster. Instead, she has produced a very short but demanding work that is both compelling and highbrow. Disquiet is an even better book than The Hunter – less formulaic, operating on the level of touch as well as trope, and furiously part of the twenty-first century.

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Dennis Altman’s new novel, Death in the Sauna, begins with, yes, a death in a sauna. The respected virologist Pomfrey Lister is found lifeless in a London gay venue, days before a major AIDS conference that he is chairing. His naked corpse is transported home and a death certificatepronouncing natural causes is produced. This hasty denouement is ostensibly aimed at concealing the salacious nature of Lister’s demise, which might overshadow both the conference and his legacy.

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The potential for Australian literature to address the history of colonised people in this country and elsewhere is of great consequence. New perspectives not only rewrite history to include ‘herstory’, but also reconsider what we believe and broaden our view of ourselves as active contributors to our collective and individual past. A spate of recent books has attempted to do this: Anita Heiss’s Bila Yarrudhanggalangdhuray: River of Dreams (2021) and Geraldine Brooks’s Horse (2022) are two that come to mind.

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Burn by Melanie Saward & We Didn’t Think It Through by Gary Lonesborough

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January-February 2024, no. 461

Melanie Saward, a Bigambul and Wakka Wakka writer living in Tulmur (Ipswich), is a fresh and insightful storyteller. Her first Young Adult novel, Burn (Affirm Press, $34.99 pb, 296 pp), is a tumultuous narrative about an Aboriginal youth, Andrew, and his obsession with lighting fires. It has a touch of Trent Dalton’s Brisbane struggle street, but the story draws us into psychological observation in Goori Andy’s cries for help and his longing for his parent’s attention. The novel begins with a bushfire lit by an unknown arsonist, in which a boy dies. This tragedy frames the narrative as we go on the journey with Andy and his mates Trent and Doug, wild teenagers who like to smoke dope and eat at McDonald’s. They are innocents in a world that ignores them as the author interrogates relationships between the lads and several irresistible young females.

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Lies and Sorcery by Elsa Morante, translated by Jenny McPhee

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January-February 2024, no. 461

Elena Ferrante declared Elsa Morante’s début novel Menzogna e sortilegio (1948) ‘fundamental’ to her literary formation. The novel is now available unabridged in English for the first time as Lies and Sorcery, in a brilliant translation by Jenny McPhee.

Like Ferrante’s Neapolitan quartet, Morante’s novel begins with the loss of the woman closest to the narrator, propelling a first-person epic to recover a shared past. However, this novel has little of the visceral realism that Ferrante has become famous for in the Anglophone world. It is instead a delirious mix of ghost story, romantic epic, and Künstlerroman that remains almost as difficult to categorise today as when it was published at the height of Italian neorealism.

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Through the gates of a kindergarten in Melbourne’s inner-north, a man strikes up a conversation with two little girls, which violently alters the course of their lives. The bolder of the pair, a child who ‘runs at life’, goes with him. The meeker stays behind, becoming the serial predator’s only known survivor.

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