The Journal is thus principally concerned with western individuals churning up other people’s cultural and physical environments with their motorbikes and all-night beach parties, blithely unaware of their largely egocentric and instrumental approach to the world they despoil. What one might accept initially as gently accurate satire of youthful pretensions becomes the unsettling suspicion that we are meant to take much of this seriously – that the novel is as blind as many of its characters.
Prior to becoming an Executive Producer on the second series of Twin Peaks, Sabrina S. Sutherland had already collaborated with auteur filmmaker David Lynch on an array of projects, including commercials, shorts, features and numerous other works ultimately left unrealised. Having worked closely with Lynch over a period now spanning some thirty years, she has acted as a main driving force across his oeuvre, often as the pragmatist essential in ensuring the visionary’s vision completed the transition to screen. Catching up with Samuel Elliott in the lead-up to touring Australia and New Zealand as part of the Twin Peaks: Conversations With The Stars event, Sutherland discussed both working on such an inimitable show and with such staggeringly prolific filmmaker as David Lynch.
The Well Deceived is a magnificently realized novel full of wonderful invention and wicked characterizations. From its steam-powered motor vehicles to its urban squalor, it seldom ceases to enthrall and amuse and bewilder. It is angry and sad, refusing to accept defeat although defeat is assured.
Civil War is not for those who want a detailed account of the Civil war period specifically; it is particularly void of military detail, but offers an insightful and vivid narrative of the whole of 17th century England that retains the period’s intricacy and complexity. While Ackroyd’s style is to make the civil war period seem rather like a series of accidents, common themes emerge that still influence our culture today.
Sofija Stefanovic is a Serbian-Australian author now based in New York. Among her other writing endeavours, Stefanovic regularly hosts the prestigious literary salon Women Of Letters New York and This Alien Nation, the latter being founded on the ideal of offering those of immigrant backgrounds a platform through which to tell their unique stories. In addition to these hosting duties, she also constantly appears as a storyteller for The Moth and her writing has featured in the likes of The Guardian, Elle and The New York Times. Miss Ex-Yugoslavia is Stefanovic’s memoirs, detailing her childhood as an immigrant in Australia.
Smallwood’s collection of finely honed, detail filled verses spring from the page as though borne on wings to fill the air, the room, the location with perfume for the eyes. I enjoyed reading these verses, some more than once, others a quick passage with scant time to savor the message before rushing on to the next just to see what was there.
Naturally Lorena is subjective, althought historians have written that Franklin’s affability and charm hid a selfish, determined core. One must remember that he was coping with a disability and deteriorating health while pulling his country out of a depression, then leading it through a world war. As Doris Kearns Goodwin shows in her non-fiction work, No Ordinary Time, Eleanor played a vital role during these national crises.
Richard Godwin is the critically acclaimed author of Apostle Rising, Mr. Glamour, One Lost Summer, Noir City, Meaningful Conversations, Confessions Of A Hit Man, Paranoia And The Destiny Programme, Wrong Crowd, Savage Highway, Ersatz World, The Pure And The Hated, Disembodied, Buffalo And Sour Mash, and Locked In Cages. He joins us to talk about his later book Insincerity, as well as many other things like social conspiracies, where the book came from, his writing space, and lots more.
In clear, often compelling prose, Stephanie Laterza’s debut novel, The Boulevard Trial, offers us a contemporary story of moral dilemmas, confused intentions and missed connections that frequently result in disappointing resolutions and, at times, even tragic consequences. The traumas of the novel’s characters bleed into their ongoing personal experiences like an unchecked, gaping wound.
If anything is consistent throughout Jampole’s work, it is its semiotic density. Cubist States of Mind/Not the Cruelest Month can feel like a lightning-quick read from cover-to-cover-to-cover, but begs to be re-read. The moment one closes the book, one has the peculiar sensation of having read it years ago, its contents so intricately layered that memory alone can only render the broad strokes.