AustLit logo

AustLit

Duncan Fardon Duncan Fardon i(10748414 works by)
Gender: Female
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

Works By

Preview all
1 'Scoundrel Days : A Memoir' by Brentley Frazer Duncan Fardon , 2017 single work criticism
— Appears in: Australian Book Review , March no. 389 2017; (p. 36) ‘rentley Frazer, one of many scoundrels in his memoir Scoundrel Days, documents coming of age on the boundary of civilisation. His father’s vocation as the only policeman in a small northern Queensland mining town subjects Frazer to a chaotic side of life: a lockup only a stone’s throw from his bedroom; housing criminals and murderous poachers; bloodied victims of domestic violence showing up in the early hours; and the aftermath of car crashes. His parents’ involvement with the new-age cult ‘The Family’ introduces perverts into the home. But Frazer embraces his circumstances with a kind of brash vigour, starting The Wreckers gang, drinking, smoking, taking drugs, and committing acts of vandalism.’ (Introduction)
1 [Review Essay] The Museum of Modern Love Duncan Fardon , 2017 single work review essay
— Appears in: Australian Book Review , January-February no. 388 2017; (p. 63)

'E.B. White once said there were three New Yorks, comprised of those who were born there (‘solidity and continuity’), the daily commuter (‘tidal restlessness’), and the searcher on a quest, the latter giving the city its passion and dedication to the arts. In The Museum of Modern Love, this third type is drawn to Marina Abramovíc’s The Artist is Present, a simple yet profound performance stretching over seventy-five unrelenting days, in which Marina unflinchingly meets the gaze of a series of individuals in a gallery.'

(Introduction)
X