Carmel Bird
Sally Muirden’s second novel sits well with her first, Revelations of a Spanish Infanta. In each case, the author works through an elaborate historical lens to construct a multi-layered narrative in which the focus is the intimate life of a woman.
... (read more)One of the principal characters in much of Thea Astley’s writing is Queensland. ‘An intransigent fecundity dominated two shacks which were cringing beneath banana clumps, passion-vines, granadillas.’ There’s a lot of sad poetry about the place; and the distances that separate us, I mean the physical distances, are like verse-breaks in a ballad; and once, once we believed the ballad might never end but go on accumulating its chapters of epic while the refrain, the almost unwordable quality that mortises us together, retained its singular soul. How express the tears of search?
... (read more)Dear Editor,
Caroline Lurie (ABR No. 131) cited four common criticisms of deconstruction. I think a more important reason is the danger deconstruction poses to the privileged position of the author as the source of one or multiple meanings for a text. It is significant to note that it is mostly the authors (both of narrative and critical discourses) who are so upset about deconstruction.
... (read more)The Woodpecker Toy Fact and Other Stories by Carmel Bird
When I read fiction I want the words to take my spirit into the places beneath the surface of the everyday world. I want the freshness of dreams to be again revealed to me. I want to know the loveliness and terror of what lies beyond the last star, of what lies sweetly cradled in the blood and juices of the human heart. I long to feel the shock when the tulip spikes the damp soil, feel the blissful impact of the truth, see the glint, the glimmer, the shimmer of another reality. When I read I wish to enjoy the company of the writer and the company of the people and the things in the story, to participate with all of them in the seductive mystery. I desire to be enchanted.
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