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'Tim Winton’s Island Home (2015) carries the sub-title ‘A landscape memoir’, and it will not surprise readers of Winton’s fiction that he handles the elastic form of the memoir with novelistic flair. He eschews conventional chronology, arranging a looser narrative mosaic befitting the mode of peripheral perception he celebrates: the power of 'vision beyond mere glimpsing', as he puts it in his earlier essay bearing the same sub-title, ‘Strange passion: a landscape memoir’ (1999). (Introduction)
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