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.
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)
When Frank Moorhouse took over the editorship of The Best Australian Stories in 2004, he promptly announced that he would be accepting submissions from anyone, regardless of whether they had a publishing history or not. He received and read, by his own estimate, about 1000 stories and gave six unknown writers the chance to be published for the first time. To his credit, he also took it upon himsel ... (read more)
In 1993, when he was editor of Quadrant, Robert Manne published a short essay, which is collected in his recent book Left Right Left (2005), called ‘On Political Correctness’. The essay rehearsed some familiar right-wing arguments against this ‘highly intolerant’ doctrine and the threat it posed to academic freedom. Manne’s political opinions have, of course, undergone a considerable rea ... (read more)