Reviews

Speedboat and Pitch Dark were sometimes not recognised as novels, or were seen to be new kinds of novels. Muriel Spark, reviewing Pitch Dark for the New York Times, went so far as to claim that its ‘discontinuous first-person narrative’ inaugurated ‘a genre unto itself’.

Eisenlauer identifies a number of predefined paths into which Facebook channels its users’ activities – status updates, comments, ‘likes’, shares – and suggests that in doing so, Facebook moulds the interactions between people to such an extent that, in any conversation between two of its users, it can be said to comprise a ‘third author’.

The Forgotten Rebels of Eureka not only succeeds in bringing women’s presence on the Australian goldfields vividly into focus, but it also considers the instrumental role they played in transforming power relations within the fluid and often turbulent social and political formations of the goldfields community, which reached boiling point in the Eureka uprising.

Most of The Hamlet Doctrine is taken up with exegeses of key philosophical and psychoanalytic interpretations of Hamlet. For readers familiar with continental philosophy and critical theory, there is much to engage with here.

‘Our marriage wasn’t always unhappy’: so begins this ‘memoir of a marriage’ between Australian writer Mandy Sayer and her first husband, the Afro-American poet Yusef Komunyakaa. What follows is the chronicle of a deeply troubled relationship from the point of view of the poet’s wife.

Places are, of course, not exchangeable, but in Mateer’s roaming imaginary they become, at least to some extent, drawn into a kind of codification of broad historical tendencies and movements. This constitutes a way of rethinking traditional narrative historical accounts and their often doubtful ‘truths’. Unbelievers, or ‘The Moor’ is a book about imagined geographies as much as real ones.

There is subterfuge, smuggling, in the writing of The Night Guest. It imports ‘genre’ techniques into the genre ‘literary’.

The reviews of A Naked Singularity have compared it to a host of other long novels. Many agree that it is firmly in the tradition of those baggy works of late twentieth century postmodern masters, such as William Gaddis, David Foster Wallace, Thomas Pynchon and Don DeLillo.

There is a certain similarity of reaction, so the story goes, to a new Thomas Pynchon novel. Each generates a sense of anticipation; we ask ourselves whether the new Pynchon will approximate the mind-shattering impact that Gravity’s Rainbow had on readers and critics alike.

The decision to write in a semi-autobiographical style raises inevitable questions. Is this fiction or autobiography? To what degree can we speak of the narrator ‘Luke Carman’ as a ‘character’ in the author Luke Carman’s collection of vignettes?