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Vintage

In the New Country by David Foster & Studs and Nogs by David Foster

by
May 1999, no. 210

At the end of The Glade Within the Grove, D’Arcy D’Oliveres coughs his way towards death from lung cancer. With him dies David Foster’s benign alter ego, the narrator of his comic Dog Rock novels. Of course, the ‘Arcy who narrated The Glade had become less sociable and considerably more learned than the postman of Dog Rock, but it seemed reasonable to assume that his demise marked the end of Foster’s fictions in the comic mode. Not so. In his latest novel he mixes a good-humoured third person narration with the kind of colloquial dialogues which dominated the MacAnaspie sections of The Glade. In the New Country gives us a funny, more accessible, and more conventional Foster.

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Vanity Fierce by Graeme Aitken & Gay Resort Murder Shock by Phillip Scott

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June 1998, no. 201

Popular fiction is often character-driven. An immediate distinction between these heavily-populated novels would be that if I met the main protagonist of Scott’s book I’d want to have coffee with him whereas if I met Aitken’s I’d want to slap him.

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This book, a tale of Stephen Scheding’s search for the artist of ‘a small unsigned painting’ he was unable to resist buying at an art auction, has already been warmly reviewed by others as an excellent read, a sleuth story that captures the frustrations and joys of research while holding its reader in a state of suspense worthy of the best whodunnit. I heartily agree and warmly recommend the book to anyone, amateur or art professional, looking to while away a pleasurable and interesting few hours.

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Loaded by Christos Tsiolkas

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October 1995, no. 175

How do you give a plot description of this book without entering into the very language that it problematises? Ari is young, unemployed, Greek and gay ... Or Ari is a poofter wog, a slut, a conscientious objector from the workforce ...

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It used to be the case that readers interested in the visual arts in Australia had to put up with long dry spells between the publication of art books. But, over the last three decades in particular, writing about the visual arts in Australia, in terms of its scholarly and especially in terms of its numerical strength, has undertaken a quiet revolution.

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Brett D’Arcy’s novel, arrestingly titled The Mindless Ferocity of Sharks, is one of the most unusual and accomplished to be published in Australia for years. The setting is a decaying town called the Bay on the coast of Western Australia, south of Perth. Its abattoir and tanneries have long since closed. The locals are sufficiently hostile to have fended off development – so far. They endure the summer invasion of the ‘townies’ who come for the great surfing. During the rest of the year, they enjoy it without interruption.

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