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A review of Salman Rushdie’s Fury

 At 55, the Indian born, NY dwelling protagonist of Rushdie’s latest novel Fury, has the kind of rage which causes him to stand with a knife over the sleeping bodies of his wife and son, scream in public, and slip between…

A Review of Robert Dessaix’s Corfu

 Corfu: A Novel is an ambitious work, which uses a range of literary techniques such as complex time sequencing, incorporation of other texts, and mise-en-abyme, or a series of stories within a story, to convey its meaning. The narrative moves forward…

Interview with Robert Dessaix

The author of Corfu talks in depth about his latest novel, the theatre, his literary references, on the “redemption of the ordinary”, the possibility of a national literature, roots, the purpose of literature, the value of classic texts, and more.…

A review of Kate Grenville’s The Idea of Perfection

In the tentative groping of the characters for meaning, the articulation of silence, Grenville creates a story which is a pleasure to read. Reviewed by Magdalena Ball Kate Grenville is one of Australia’s most accessible writers. She has her own…

An Interview with Kate Grenville

The author of The Idea of Perfection, talks about the genesis of her new novel, about e-books, teaching, being an Australian writer, her latest project and more.

A review of Margaret Atwood’s The Blind Assassin

Margaret Atwood’s The Blind Assassin  “Two and two doesn’t necessarily get you the truth. Two and two equals a voice outside the window. Two and two equals the wind. The living bird is not its labelled bones.” (484) Mathematical reality…

Stendahl’s Charterhouse of Parma: A Review

Charterhouse of Parma (published 1839) is set in Italy, but this is in the early 19th century, before Italy became “Italy”. While a country such as France, with its late-18th-century Revolution, had of course much nationalistic feeling and was a political entity, Italy still retained the medieval character of a host of tiny “principalities” (an area ruled by a Prince) and such. Parma, in northern “Italy”, was one of these mini-countries. When we first meet the Prince of Parma, Stendhal draws a portrait of … well, not what you would expect of royalty.