AustLit

'Gerald Murnane’s meticulously self-curated ‘Chronological Archive’ – as distinct from his ‘Literary Archive’ and ‘Antipodean Archive’, both of which he likewise compiled – fills no fewer than ‘twenty-one of the twenty-four drawers in six steel filing cabinets’. ‘In each drawer’, his catalogue stipulates, ‘at least twenty coloured signposts draw attention to items of more than usual interest’. A list of more than a hundred of these signposts follows. None of the items identified will be available for consultation until after the death of the author and his siblings. Murnane’s decision to announce his archive’s contents seems therefore premature, at least until one notices that this choice is clearly of a piece with the grand legacy-securing undertaking that is his curation of the archive itself: the catalogue’s promise that it contains much ‘humour and literary gossip’ is tacitly underwritten by its pre-emptive publication, which for all its idiosyncrasy functions primarily as an invitation to further discussion of its author.' (Introduction)   

'To read a novel by Helen Garner is to intrude on characters living their lives with no regard for your presence. You wander into their stories with the same sense of abandon with which they wander into Melbourne flophouses, drug dens, the homes of old and new lovers. ‘In the old brown house on the corner, a mile from the middle of the city, we ate bacon for breakfast every morning of our lives,’ begins Garner’s first novel, Monkey Grip (1977), whose narrator, Nora, ushers you to the kitchen table then leaves you to pick your way through the raucous crowd gathered there in the summer of 1975. Here is Martin, her faithful lover, ‘teetering as many were that summer on the dizzy edge of smack’. Here is Javo, ‘just back from getting off dope in Hobart’, Lou, Selena, Georgie, Clive, Eve, Gracie – and a little boy called ‘the Roaster’ who seems to belong to no one and everyone. There are no introductions, just intimacies that rise sharply above the clatter only to sink back into it.'  (Introduction)