Fiction

Marilyn’s Almost Terminal New York Adventure offers all the ingredients that have made Justine Ettler’s name to date: sex, drugs, tough women, bad men, and rough prose. Thankfully it does leave behind some, though not all, of the relentless violence of The River Ophelia. Marilyn is not as hell-bent on the same masochistic path as Ettler’s earlier heroine, Justine, and the novel admits a light­ness of tone which is initially refreshing.

It is always a pleasure to read Glenda Adams, a most accomplished and stylish writer. At its best her work displays a natural and unassuming flow, masking artistry of a high order. Admirers of her earlier books will find many familiar concerns in The Tempest of Clemenza; they will also discover her striking out in new directions in a bold and adventurous undertaking.

This amazing novel comes in two parts, a 431-page prose Saga, and a 123 page verse Ballad. The whole is held together by a Narrator, who tells the Saga as a gloss on the Ballad, which he found in an old bike shed in an abandoned mailbag. The ballad was written by Orion the Poet, a young man called Timothy Papadirnitriou ...

How do you give a plot description of this book without entering into the very language that it problematises? Ari is young, unemployed, Greek and gay ... Or Ari is a poofter wog, a slut, a conscientious objector from the workforce ...

Vietnam, of all the foreign conflicts in which Australians have been involved, most outgrew and out lived its military dimension. The ghosts of what Christopher J. Koch in this new novel calls ‘that long and bitter saga’ continue to haunt the lives (and the politics) of the generations of men and women who lived through it ...

More than ever books on today’s market have strong competition – particularly so if the title is intended for the 10+ reading audience. Publishers of children’s literature are responding to the need to entice a reading audience from the many technological forms of vivid and spectacular entertainment. Jigsaw Bay deserves a mention in this capacity.

The puzzle of Jigsaw Bay begins on an autumn morning as Danny McCall sets off, not to school, but to a secret place on the bay where he is playing truant with Yoko and Sam who will soon be part of the mystery. The plot is a good action one, strongly based in environmental ecology, corruption, and power. Danny, Yoko, and Sam with the help of greenie school teacher Bob and some slick court room tactics eventually win out and the murky details of corruption in Billington are revealed. The ideas in the plot kept me reading to the end of the book which is intended to attract readers by its directness and lack of complexity. I question, however, whether in an effort to succeed, the author has underestimated his audience and with the very best of intentions has ended up short changing readers.

Intimacy, someone has said, is ultimately unintelligible. Yet this novel suggests that intimacy, to the self and to others, may well be all we have. Miller’s three previous novels move in a similar direction. But in them there was a good deal still of the world of the likeness, of the external world as it seems to be. The Sitters, however, is about drawing a portrait of an ‘art of misrepresentation’, which interrupts our historical consciousness and unmasks the pretentions of rationality, taking us out into the dark beyond common sense, touching something else beyond words.

Beverley Farmer is one of a group of women writers celebrated in Gillian Whitlock’s collection of excerpts from their work, Eight Voices of the Eighties. Its introduction begins with a remark attributed to Elizabeth Jolley where she calls the 1980s in Australia ‘a moment of glory for the woman writer’. Beverley Farmer’s first novel, Alone, was published in 1980, at the beginning of this period of renaissance and recognition of women’s writing as central to a national literary culture.

Lilith Norman’s exquisite novella was first published in 1978 and was an IBBY Honour Book in 1980. Set in a lovingly realised Bondi, the archetypal seaside suburb, the book packs a huge amount into its seventy-eight pages: life, death, love, grief; a question of focus; and, drawn in spare and beautifully controlled strokes, the disparate two worlds that touch at the shoreline.

In her previous Phryne Fisher instalment, Blood and Circuses, Kerry Greenwood took advantage of her knowledge of circus and carnival life to weave an intriguing tale spotlighting a whole host of oddball types. Now in Ruddy Gore she uses her insider’s familiarity with the precious world of the theatre to similar effect. Greenwood always handles her material with a deft, almost disdainful assurance, and this book is no exception. The year is 1928, and a special performance of the Gilbert and Sullivan comic opera Ruddigore is being staged at Her Majesty’s to honour the famous aviator, Bert Hinkler. On her way to the theatre Phryne intervenes in a fight involving a Chinese man, then during the show two of the actors are poisoned, one fatally, and Phryne’s services are engaged by Management to solve the mystery.