AustLit

“My writing allows me flight from society through solitude while permitting me to rejoin society on some of my own terms through the trading of the finished work with the society. My imaginative narrative gives me relief from prevaility and strident ideologies by allowing me the heresy of decadence (as in erotica). Namely, revenge against normality, reversal of normality and regression from normality. My imaginative narrative is relief from prevailing self by allowing the potential self, the discarded self, the rejected self and the non-self to have play. My imaginative narrative is relief from privacy by allowing exposure of self and the network of self.” ~ Frank Moorhouse, 1985, private telex

'Frank Moorhouse was legendary in Australian literary and cultural life, the author of a huge and diverse body of work – essays, short stories, journalism, scripts, the iconic Edith Trilogy – an unapologetic activist, intellectual, libertarian and champion of freedom of speech and sexual self determination. Though he lived his life publicly, his private stories have not been shared, the many paths he forged left unexamined, until now.

'Matthew Lamb shared many a luncheon table with Moorhouse and immersed himself in the archived life and cultural ephemera of Frank’s world. This landmark study, from Moorhouse’s own publisher, the first in a projected two volumes, is the fascinating and comprehensive story of how one of Australia’s most original writers and pioneer of the discontinuous narrative came to be.

'Fearless, sardonic and utterly dedicated to his creative life, his relationships with friends, other writers and lovers were complex and long-lasting. Lamb shares the strange paths that Frank traversed and gives us a cultural history of the times that shaped Moorhouse and which Moorhouse himself helped to shape.'(Publication summary)

'Beginning at a love hotel by Japan’s Inland Sea and ending by a river in Tasmania, Question 7 is about the choices we make about love and the chain reaction that follows.

'By way of H. G. Wells and Rebecca West’s affair through 1930s nuclear physics to Flanagan's father working as a slave labourer near Hiroshima when the atom bomb is dropped, this genre-defying daisy chain of events reaches fission when Flanagan as a young man finds himself trapped in a rapid on a wild river not knowing if he is to live or to die.

'At once a love song to his island home and to his parents, this hypnotic melding of dream, history, literature, place and memory is about how reality is never made by realists and how our lives so often arise out of the stories of others and the stories we invent about ourselves.' (Publication summary)

'Since Henry Lawson wrote his story The Drover’s Wife in 1892, Australian writers, painters, performers, and photographers have created a wonderful tradition of Drover’s Wife works, stories, and images.

'The Russell Drysdale painting from 1945 has become an Australian icon.

'Other versions of the Lawson story have been written by Murray Bail, Frank Moorhouse, Barbara Jefferis, Mandy Sayer, David Ireland and others, up to the present including Ryan O’Neill’s graphic novel.

'Moorhouse has examined our ongoing fascination with this story, collected some of the best pieces of writing on the subject, adding commentary on each piece, and created a remarkable, gorgeous book.' (Publication Summary)

'Crossing J.M. Coetzee's range of well-known writerly interests, including Beckett, with essays on Australian writers including Gerald Murnane, Patrick White and Les Murray.The subjects covered range from Daniel Defoe in the early eighteenth century to Coetzee's contemporary Philip Roth. Coetzee has had a long-standing interest in German literature and here he engages with the work of Goethe, Holderlin, Kleist and Walser. There are four fascinating essays on fellow Nobel laureate Samuel Beckett. There are essays too on Tolstoy's great novella The Death of Ivan Ilyich, on Flaubert's masterpiece Madame Bovary, and on the Argentine modernist Antonio Di Benedetto. J.M. Coetzee, a great novelist himself, is a wise and insightful guide to these works of international literature that span three centuries.' (Publication Summary)

'Two children are brought to a wild garden on the shores of Sydney Harbour to shelter from the Second World War. The boy's mother has died in the Blitz. The girl is the daughter of a Sydney woman and a Communist executed in a Greek prison. In wartime Australia, these two children form an extraordinary bond as they negotiate the dangers of life as strangers abandoned on the far side of the world. With the tenderness and rigour of an old, wise novelist, Patrick White explores the world of these children, the city of his childhood and the experience of war. The Hanging Garden ends as the news reaches Sydney of victory in Europe, and the children face their inevitable separation.

White put the novel aside at this point and how he planned to finish the work remains a mystery. But at his death in 1990 he left behind a masterpiece in the making, which is published here for the first time.'

Source: Publisher's blurb

'A young English biographer is working on a book about the late writer, John Coetzee. He plans to focus on the years from 1972 - 1977 when Coetzee, in his thirties, is sharing a run-down cottage in the suburbs of Cape Town with his widowed father. This, the biographer senses, is the period when he was finding his feet as a writer. Never having met Coetzee, he embarks on a series of interviews with people who were important to him: a married woman with whom he had an affair, his favourite cousin Margot, a Brazilian dancer whose daughter had English lessons with him, former friends and colleagues. From their testimony emerges a portrait of the young Coetzee as an awkward, bookish individual with little talent for opening himself to others. Within the family he is regarded as an outsider, someone who tried to flee the tribe and has now returned, chastened. His insistence on doing manual work, his long hair and beard, rumours that he writes poetry evoke nothing but suspicion in the South Africa of the time.

Sometimes heartbreaking, often very funny, Summertime shows us a great writer as he limbers up for his task. It completes the majestic trilogy of fictionalised memoir begun with Boyhood and Youth.' (Provided by the publisher.)

'Artem Samsurov, a charismatic protege of Lenin and an ardent socialist, reaches sanctuary in Australia after escaping his Siberian labour camp and making a long, perilous journey via Japan. But Brisbane in 1911 turns out not to be quite the workers' paradise he was expecting, or the bickering local Russian emigres a model of brotherhood.

'As Artem helps organise a strike and gets dangerously entangled in the death of another exile, he discovers that corruption, repression and injustice are almost as prevalent in Brisbane as at home. Yet he finds fellow spirits in a fiery old suffragette and a distractingly attractive married lawyer, who undermines his belief that a revolutionary cannot spare the time for relationships. When the revolution dawns and he returns to Russia, will his ideals hold true?

'Based on a true story, The People's Train brings the past alive and makes it resonate in the present. With all the empathy and storytelling skills that he brought to bear in Schindler's Ark, Tom Keneally takes us to the heart of the Russian Revolution through the dramatic life of an unknown, inspiring figure. Like Schindler, Samsurov was no saint, but he was an individual who played a vital role in world-changing events.' (From the publisher's website.)

'It is 1839. A young Aboriginal girl, Mathinna, is running through the long wet grass of an island at the end of the world to get help for her dying father, an Aboriginal chieftain. Twenty years later, on an island at the centre of the world, the most famous novelist of the day, Charles Dickens, realises he is about to abandon his wife, risk his name, and forever after be altered because of his inability any longer to control his intense passion.

'Connecting the two events are the most celebrated explorer of the age, Sir John Franklin - then governor of Van Diemen's Land - and his wife, Lady Jane, who adopt Mathinna, seen as one of the last of a dying race, as an experiment. Lady Jane believes the distance between savagery and civilisation is the learned capacity to control wanting. The experiment fails, the Franklins throw the child onto the streets and into a life of prostitution and alcoholism. A few years later Mathinna is found dead in a puddle. She is nineteen years old. By then Sir John too is dead, lost in the blue ice of the Arctic seeking the North West Passage. A decade later evidence emerges that in its final agony, Franklin's expedition resorted to the level and practice of savages: cannibalism. Lady Jane enlists Dickens's aid to put an end to such scandalous suggestions.

'Dickens becomes ever more entranced in the story of men entombed in ice, recognising in its terrible image his own frozen inner life. He produces and stars in a play inspired by Franklin's fate to give story to his central belief: that discipline and will can conquer desire. And yet the play will bring him to the point where he is finally no longer able to control his own wanting and the consequences it brings.

'Based on historic events, Wanting is a novel about art, love, and the way in which life is finally determined never by reason, but only ever by wanting.' (Provided by publisher.)