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.
Any novelist prepared to name one of his characters ‘Fish Lamb’ and to have that character come back from the dead is obviously interested in Christianity on some level. It is also true that several of the big themes that run through Tim Winton ‘s fiction – guilt atonement, forgiveness – have a religious flavour. Nevertheless, Winton’s symbolism tends to have an open-ended quality. Whe ... (read more)
In the latter decades of the twentieth century, the idea of ‘culture’ was radically democratised. The meaning of the word shifted away from the old, exclusive definition – culture as ‘the best which has been thought and said in the world’, as Matthew Arnold put it in 1869 – and became a more inclusive concept that took in popular forms. We have become used to the idea that there is no ... (read more)
When Gabriel García Márquez’s One Hundred Years of Solitude was first published in English, there was an outbreak of what the late Angela Carter called ‘extravagant silliness’. Márquez’s novel was given a rapturous reception that focused on its wondrous exoticism, with scant regard for its grounding in the social and political reality of his native Colombia. Throughout the 1970s and 198 ... (read more)
The title of Rodney Hall’s thirteenth novel, Vortex, means to convey something of its considerable formal and thematic ambitions. The implicit promise is that its various elements, however fragmented or disparate they may seem, will converge with the swirling inexorability of a whirlpool or a black hole. As a dynamic metaphor for the novel’s wide-ranging vision of history, the title might be i ... (read more)
Carmel Bird stakes a great deal on her prose style. The delicate latticework of imagery, the fascination with detail and colour, the allusions, the linguistic gamesmanship, the florid descriptive passages (and Bird’s writing is literally florid: there are flowering plants everywhere) – these are at least as important to her fiction as narrative. Her writing does not just revel in the sensualit ... (read more)
‘Meanjin,’ writes Ian Britain, ‘always aims for a blend of the astringent and the convivial.’ A worthy aim, and one that is well realised in its ‘Psychology’ edition. It may simply be a consequence of the theme’s depth and complexity, but On Psychology also feels weightier than previous issues. Britain shares responsibility for this edition with guest co-editor Robert Reynolds, a Sen ... (read more)
In his Structure of Complex Words (1951), William Empson counted fifty-two uses of the words ‘honest’ and ‘honesty’ in Othello. Nikki Gemmell, the publicity-shy cover star of the latest edition of Meanjin, manages to cram ten references to honesty (her own) into five lachrymose pages of her essay ‘The Identity Trap’, in which she explains that she refused to publish The Bride Stripped ... (read more)
The opening pages of Knife give an account of the attempted murder of Salman Rushdie at a speaking engagement in upstate New York on 12 August 2022. His assailant charged out of the audience and onto the stage, where he attacked the author, using one of several knives he had brought along, for exactly twenty-seven seconds. Rushdie is precise about that detail, which one imagines is rather a long t ... (read more)
In TheGhost Writer (1979), the first of the nine Philip Roth novels in which Nathan Zuckerman plays a major role, the young Zuckerman uses a family squabble over an inheritance as the basis for a short story. His father is appalled. Why would Nathan depict his own family in such an unflattering light, perpetuate negative Jewish stereotypes, and give ammunition to anti-Semites? ‘You are not someb ... (read more)