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Fiction

The remarkable Peter Corris has done it again, producing his third book this year, with probably a couple still to come. I say remarkable because, with the occasional lapse, he manages to maintain a high standard of entertainment despite being prolific. No real writer, of course, would countenance publishing one book a year, let alone four or five, but fortunately for crime buffs this is not a problem for Mr Carris, who, one suspects, would happily produce a book every month if the publishers let him.

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Marigold by Nancy Cato & Rachel Weeping by

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September 1992, no. 144

These two books could stand as period pieces for their times, reflecting rigid moral codes and the limited expectations of women. If we wonder how far we have come towards changing the narrowness of female existence, we have only to compare everything implicit in the expression of the societal mores as depicted here.

Nancy Cato’s Marigold is a swashbuckling heroine’s tale; Winsome Smith’s Rachel Weeping is a flatly stated realistic account of a heroine’s woe, with emphasis on realism. Cato’s book is written with an underlying sense of humour, while Smith’s is restrainedly serious.

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Alex Miller’s third novel treads some complex and difficult territory, staking out the past, memory, and the creation of self. It is also an incursion into the shadowy borderlands that lie between history and fiction, and the way in which, for every individual, the past has a different face ...

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The inner-suburban dinginess of Cosmo Cosmolino could place Helen Gamer within an honourable tradition stretching at least from Dickens (Charles) to Dickins (Barry). It is a tradition that, observing the mundane and the domestic (not to be confused with each other), has produced works of pathos and wit, of great emotional intensity and sparkling humour. It is a tradition within which great writers have managed to invest dull lives, mean-spirited characters, and tawdry events with charm and universal significance, with an appeal reaching beyond the local and the specific. It is also a tradition within which great novelists ensure that their readers’ sympathy and curiosity are aroused to the extent that they will keep turning the pages well beyond bedtime and care about what comes next.

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Usher by Matthew Condon

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September 1991, no. 134

The usher of the book’s title is T. Nelson Downs, long-time resident of Burleigh Heads. (The T. Doesn’t stand for anything; it was a parental whim.) He’s one of those wonderful, original, exasperating people full of impossible ideas (such as marketing gigantic ice sculptures for public occasions using skilled tradesmen brought out especially from Florence).

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Come on in. Do you like mango chutney? I myself have never had mango chutney, not liking mangos, but Phil’s an expert on making the stuff. It never lasts, but make sure you use green mangos because the old ones are too stringy.

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Tandia by Bryce Courtenay

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August 1991, no. 133

After all the acrimony and gossip generated by the success of Bryce Courtenay, it is surprising to discover that the advertising director and newspaper columnist is a talented writer.

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Madness by Morris Lurie

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July 1991, no. 132

We meet Tannenbaum in his ‘cosy Anne Frankish semi-hidden nook’. These writerly Jewish recluses have very little else in common; Tannenbaum is separated from his wife and two children. His friend/lover Anise is trying to drink her way out of a nervous breakdown. For further solace he resorts to ‘horizontal unravelling’ or ‘psychiatric horizontality’.

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Wolves and goats. The goats represent the ego. They control time, represent culture, continuity, the status quo. They live in the grandfather clock that is at once history and the records of the psychoanalyst. The wolves are the id, the unconscious, desire. They are also reason, and they triumph over time. The Wolf-Man led Freud to his understanding of the war of the id on the ego. Freud identified as neurotics those who, unable to live with the war, regress to the instinctive, the primitive, the animal.

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Critically reviewing a populist genre novel requires a particular cribbing, a playing off against deep-seated transcendental notions of literature that tend to motivate pronouncements upon the relatively good and bad points.

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