James Ley
James Ley is an essayist and literary critic who lives in Melbourne. A former Editor of Sydney Review of Books, he has been a regular contributor to ABR since 2003.
Few, if any, contemporary authors have attracted the level of critical attention that is lavished upon J.M. Coetzee. No doubt there are many reasons for this, but a good part of the fascination with his fiction is a result of the evident rigour with which it is conceived. To read a Coetzee novel is to encounter a work that seems to have been thought through on every possible level. His writing not ... (read more)
Well, it’s Moby-Dick, obviously. Except when it’s Huckleberry Finn or Absalom, Absalom! or Invisible Man or Gravity’s Rainbow. The Great Gatsby will often do, if one is pressed for time.
... (read more)
The past two decades have seen Richard Flanagan stride confidently into the first rank of Australian writers. His novels are notable for their historical reach, the boldness of their conception, and their willingness to tackle big subjects. They have won him many admirers. But they have also tended to divide opinion, often quite sharply, and this would seem to be a consequence of the fact that the ... (read more)
In the opening pages of The Casual Vacancy, a man named Barry Fairbrother collapses and dies in the car park of the Pagford Golf Club. For the next seven chapters, news of his premature demise spreads through the small English town. Reactions vary.
‘Fairbrother’s dead? … Good God … He wasn’t much past forty was he?’ ‘Gavin was only playing squash with him on Thursday.’ ‘Good God ... (read more)
Murray Bail’s fiction has often been interpreted in light of its explicit rejection of a prevailing tradition of Australian realism that someone once described as ‘dun-coloured’. This rejection has manifested itself in his willingness to appropriate some of Australian literature’s hoariest tropes – the harsh beauty of the landscape, the issue of national identity, the inherited cultural ... (read more)
Richard Ford has earned a place among the most venerable practitioners of a durable brand of American realism. His fiction draws strength from its stolid traditionalism: its faith in the idea that formal conservatism, respectful attention to the lives of ordinary people, and a line-by-line dedication to the craft of writing are the surest paths to literary significance. His aesthetic, broadly spea ... (read more)
Here are some of the interesting things you may learn if you read John Sutherland’s Lives of the Novelists:
↓ that James Fenimore Cooper was expelled from Yale for training a donkey to sit in the professor’s chair
↓ that Evelyn Waugh once attempted suicide but was prevented from drowning by a passing shoal of jellyfish
↓ that Fanny Burney underwent a double mastectomy without anaesthe ... (read more)
Isaiah Berlin famously divided people into two categories: hedgehogs and foxes. The former know one big thing with absolute certainty; the latter know many small things. When it comes to writers of fiction, a parallel distinction might be made on stylistic grounds. There are some writers who cultivate a finely attuned personal style – a style that becomes unmistakably their own. Others prove to ... (read more)
Literary biography is an often derided genre. Writers, in particular, tend to be suspicious, if not openly hostile, toward what they are apt to regard as a secondary or parasitic form. And there are valid reasons for this wariness. The assumption behind a biography is, reasonably enough, that the writer’s life informs the work, but establishing the precise relevance of the life to the work is a ... (read more)