Final work by internationally acclaimed Australian author Gerald Murnane, reflecting on his career as a writer, and the fifteen books which have led critics to praise him as ‘a genius on the level of Beckett’. A book which will appeal equally to Murnane’s legion of fans, and to those new to his work, attracted by his reputation as a truly original Australian writer. In the first days of spring in his eighty-second year, Gerald Murnane began a project which would round off his career as a writer – he would read all of his books in turn and prepare a report on each. His original intention was to lodge the reports in two of his legendary archives, the Chronological Archive, which documents his life as a whole, and the Literary Archive, which is devoted to everything he has written. But as the reports grew, they themselves took on the form of a book, Last Letter to a Reader. The essays on each of his works travel through the capacious territory Murnane refers to as his mind: they dwell on the circumstances which gave rise to the writing, images, associations, reflections on the theory of fiction, and memories of a deeply personal kind. The final essay is on Last Letter to a Reader itself: it considers the elation and exhilaration which accompany the act of writing, and offers a moving ending to what must surely be his last work as death approaches. ‘Help me, dear one, to endure patiently my going back to my own sort of heaven.’ ‘No living Australian writer, not even Les Murray, has higher claims to permanence or a richer sense of distinction’ — Sydney Morning Herald ‘The emotional conviction...is so intense, the somber lyricism so moving, the intelligence behind the chiseled sentences so undeniable, that we suspend all disbelief.’ — J.M. Coetzee
Definitive collection of the short fiction of an Australian master-storyteller who is in a league of his own. Released simultaneously with Farrar Straus Giroux's editions of Border Districts and Collected Short Fiction in New York, an event which is likely to get international media attention. This volume brings together Gerald Murnane's shorter works of fiction, most of which have been out of print for the past twenty five years. They include such masterpieces as 'When the Mice Failed to Arrive', 'Stream System', 'First Love', 'Emerald Blue', and 'The Interior of Gaaldine', a story which holds the key to the long break in Murnane's career, and points the way towards his later works, from Barley Patch to Border Districts. Much is made of Murnane's distinctive and elaborate style as a writer, but there is no one to match him in his sensitive portraits of family members - parents, uncles and aunts, and particularly children - and in his probing of situations which contain anxiety and embarrassment, shame or delight.
Stories from a mind-bending Australian master, “a genius on the level of Beckett” (Teju Cole) Never before available to readers in this hemisphere, these stories—originally published from 1985 to 2012—offer an irresistible compendium of the work of one of contemporary fiction’s greatest magicians. While the Australian master Gerald Murnane’s reputation rests largely on his longer works of fiction, his short stories stand among the most brilliant and idiosyncratic uses of the form since Borges, Beckett, and Nabokov. Brutal, comic, obscene, and crystalline, Stream System runs from the haunting “Land Deal,” which imagines the colonization of Australia and the ultimate vengeance of its indigenous people as a series of nested dreams; to “Finger Web,” which tells a quietly terrifying, fractal tale of the scars of war and the roots of misogyny; to “The Interior of Gaaldine,” which finds its anxious protagonist stranded beyond the limits of fiction itself. No one else writes like Murnane, and there are few other authors alive still capable of changing how—and why—we read.
Landscape with Landscape is Gerald Murnane’s fourth book, after The Plains, and his first collection of short fiction. When it was first published, thirty years ago, it was cruelly reviewed. ‘I feel sorry for my fourth-eldest, which of all my book-children was the most brutally treated in its early years,’ Murnane writes in his foreword to this new edition. In hindsight it can be seen to contain some of his best writing, and to offer a wide-ranging exploration of the different landscapes which make up the imagination of this extraordinary Australian writer. Five of the six loosely connected stories also trace a journey through the suburbs of Melbourne in the 1960s, as the writer negotiates the conflicting demands of Catholicism and sex, self-consciousness and intimacy, alcohol and literature. The sixth story, ‘The Battle of Acosta Nu’, is remarkable for its depth of emotion, as it imagines a Paraguayan man imagining a country called Australia, while his son sickens and dies before his eyes.
This new work by Gerald Murnane is a fictionalised autobiography told in thirty sections, each of which begins with the memory of a book that has left an image on the writer?s mind. The titles aren?t given but the reader follows the clues, recalling in the process a parade of authors, the great, the popular, and the now-forgotten. The images themselves, with their scenes of marital discord, violence and madness, or their illuminated landscapes that point to the consolations of a world beyond fiction, give new intensity to Murnane?s habitual concern with the anxieties and aspirations of the wri.
This collection of essays leads into the eccentric imagination of Gerald Murnane, one of the masters of contemporary Australian writing, and winner of the Patrick White Literary Award.
“The house of fiction,” wrote Henry James, “has . . . not one window, but a million.” In this, his latest work, Gerald Murnane, one of Australia’s most acclaimed contemporary authors, takes these words as his starting point, and asks: Who, exactly, are that house’s residents, and what do they see from their respective rooms? His answer, A Million Windows, is a gorgeous (if unsettling) investigation into the glories and pitfalls of storytelling. Focusing on the importance of trust and the inevitability of betrayal in writing as in life, its nested stories explore the fraught relationships between author and reader, child and parent, boyfriend and girlfriend, husband and wife. Murnane’s fiction is woven from images-the reflections of the setting sun on distant windowpanes, seemingly limitless grasslands, a procession of dark-haired women, a clearing in a forest, the colors indigo and silver-grey, and the mysterious death of a young woman-which build to an emotional crescendo that is all the more powerful for the intricacy of its patterning.
Winner of the Patrick White Literary Award, 1999. Introduction by Wayne Macauley. There is no book in Australian literature like The Plains. In the two decades since its first publication, this haunting novel has earned its status as a classic. A nameless young man arrives on the plains and begins to document the strange and rich culture of the plains families. As his story unfolds, the novel becomes, in the words of Murray Bail, ‘a mirage of landscape, memory, love and literature itself’. Gerald Murnane was born in Melbourne in 1939. He has been a primary teacher, an editor and a university lecturer. His debut novel, Tamarisk Row (1974), was followed by ten other works of fiction, including The Plains and most recently Border Districts. In 1999 Murnane won the Patrick White Award and in 2009 he won the Melbourne Prize for Literature. He lives in western Victoria. Wayne Macauley is the author of three novels, Blueprints for a Barbed-Wire Canoe (2004), Caravan Story (2007) and The Cook (2011), and the short fiction collection Other Stories (2010). He lives in Melbourne. ‘Murnane is quite simply one of the finest writers we have produced.’ Peter Craven ‘A distinguished, distinctive, unforgettable novel.’ Shirley Hazzard ‘Gerald Murnane is unquestionably one of the most original writers working in Australia today and The Plains is a fascinating and rewarding book...The writing is extraordinarily good, spare, austere, strong, often oddly moving.’ Australian ‘A piece of imaginative writing so remarkably sustained that it is a subject for meditation rather than a mere reading...In the depths and surfaces of this extraordinary fable you will see your inner self eerily reflected again and again.’ Sydney Morning Herald ‘The Plains has that peculiar singularity that can make literature great.’ Ed Wright, Australian, Best Books of 2015 ‘Murnane touches on foibles and philosophy, plays with the makings of a fable or allegory, and all the while toys with tone, moving easily from earnest to deadpan to lightly ironic, a meld of Buster Keaton, the Kafka of the short stories, and Swift in A Modest Proposal...A provocative, delightful, diverting must-reread.’ STARRED Review, Kirkus Reviews ‘Known for its sharp yet defamiliarizing take on the landscape and an aesthetic of purity historically associated with it, The Plains is uniformly described as a masterpiece of Australian literature. Look closer, though, and it's a haunting nineteenth-century novel of colonial violence captured inside the machine's test-pattern image—a distant, unassuming house on the plains.’ BOMB
A bittersweet farewell to the world and the word by the Australian master “The mind is a place best viewed from borderlands . . .” Border Districts, purportedly the Australian master Gerald Murnane’s final work of fiction, is a hypnotic, precise, and self-lacerating “report” on a life led as an avid reader, fumbling lover, “student of mental imagery,” and devout believer—but a believer not in the commonplaces of religion, but rather in the luminescence of memory and its handmaiden, literature. In Border Districts, a man moves from a capital city to a remote town in the border country, where he intends to spend the last years of his life. It is time, he thinks, to review the spoils of a lifetime of seeing, a lifetime of reading. Which sights, which people, which books, fictional characters, turns of phrase, and lines of verse will survive into the twilight? A dark-haired woman with a wistful expression? An ancestral house in the grasslands? The colors in translucent panes of glass, in marbles and goldfish and racing silks? Feeling an increasing urgency to put his mental landscape in order, the man sets to work cataloging this treasure, little knowing where his “report” will lead and what secrets will be brought to light. Border Districts is a jewel of a farewell from one of the greatest living writers of English prose.
Barley Patch takes as its subject the reasons an author might abandon fiction—or so he thinks—forever. Using the form of an oblique self-interrogation, it begins with the Beckettian question "Must I write?" and proceeds to expand from this small, personal query to fill in the details of a landscape entirely unique in world letters, a chronicle of the images from life and fiction that have endured and mingled in the author's mind, as well as the details (and details within details) that they contain. As interested, if not more so, in the characters from his books—finished or unfinished—as with the members of his family or his daily life, the narrator lays bare the act of writing and imagining, finally giving us a glimpse of the mythical place where the characters of fiction dwell before they come into existence in books. In the spirit of Italo Calvino and Georges Perec, Barley Patch is like no other fiction being written today.
First published in 1974, and out of print for almost twenty years, Tamarisk Row is Gerald Murnane's first novel, and in many respects his masterpiece, an unsparing evocation of a Catholic childhood in a Victorian country town in the late 1940s.
Winner, Victorian Premier’s Literary Award for Non-Fiction, 2016 As a boy, Gerald Murnane became obsessed with horse racing. He had never ridden a horse, nor seen a race. Yet he was fascinated by photos of horse races in the Sporting Globe, and by the incantation of horses' names in radio broadcasts of races. Murnane discovered in these races more than he could find in religion or philosophy: they were the gateway to a world of imagination. Gerald Murnane is like no other writer, and Something for the Pain is like no other Murnane book. In this unique and spellbinding memoir, he tells the story of his life through the lens of horse racing. It is candid, droll and moving—a treat for lovers of literature and of the turf. Gerald Murnane was born in Melbourne in 1939. He has been a primary teacher, an editor and a university lecturer. His debut novel, Tamarisk Row (1974), was followed by nine other works of fiction, including The Plains now available as a Text Classic, and most recently A Million Windows. In 1999 Murnane won the Patrick White Award and in 2009 he won the Melbourne Prize for Literature. He lives in western Victoria. ‘Murnane, a genius, is a worthy heir to Beckett.’ Teju Cole ‘Murnane is a careful stylist and a slyly comic writer with large ideas.’ Robyn Cresswell, Paris Review ‘Murnane is quite simply one of the finest writers we have produced.’ Peter Craven ‘Unquestionably one of the most original writers working in Australia today.’ Australian ‘Something for the Pain is Gerald Murnane at his best. His meticulous exploration of his lifelong obsession with horse racing is by turns hilarious, moving and profound. If Australian writing were a horse race, Murnane would be the winner by three and a half lengths.’ Andy Griffiths ‘A marvellous book about horse racing, one of the best this country has produced. It is full of fast and loose stories and colourful characters...and lots of laughs.’ Stephen Romei, Australian ‘Something for the Pain bears testament to a lifelong obsession and further illustrates the breadth and depth of meaningfulness that Murnane can draw from a seemingly straightforward spectacle.’ Australian Book Review ‘Murnane is a writer of the greatest skill and tonal control. Reading his description of the death of a racehorse in the arms of its owner-trainer at Flemington racecourse, tears rolled down my cheeks: “The man put his arms around the horse’s neck and pressed his face against the horse’s head. The man went on lying there. The light rain went on falling.”’ Financial Times ‘An absolute gem. It's literary, lucid, full of love for horses and racing and full of the strange highly-ordered madness of Murnane, full of a selfless disclosure. It’s marvellous. Funny, moving, beautiful. A brilliant book.’ Jonathan Green, Radio National Books and Arts ‘Murnane recounts his life through his abiding obsession with horse racing. But you don’t have to care about horse racing—it’s the quality of the obsessed mind that matters.’ Ben Lerner, New Yorker ‘Yes, this is about Murnane’s lifelong obsession with horseracing, but it’s so much more than that. It’s a memoir that illuminates his deliberately unusual life and his exquisite fiction.’ Australian ‘Murnane’s books are strange and wonderful and nearly impossible to describe in a sentence or two...His later works are essayistic meditations on his own past, a personal mythology as attuned to the epic ordinariness of lost time as Proust, except with Murnane it’s horse races, a boyhood marble collection, Catholic sexual hang-ups and life as a househusband in the suburban Melbourne of the 1970s.’ New York Times
Adrian Sherd is a teenage boy in Melbourne of the 1950s, the last years before television and the family car changed suburbia forever. Earnest and isolated, tormented by his hormones and his religious devotion, Adrian dreams of elaborate orgies with American film stars, and of marrying his sweetheart and fathering eleven children by her. He even dreams a history of the world as a chronicle of sexual frustration. A Lifetime on Clouds is funny, honest and sweetly told: a less ribald, Catholic Australian Portnoy's Complaint. Gerald Murnane was born in Melbourne in 1939. His first novel, Tamarisk Row, was published in 1974. It was followed by A Lifetime on Clouds, The Plains and five other works of fiction, the most recent of which is A History of Books. In 1999 he won the Patrick White Award. Ten years later he won the Melbourne Prize for Literature. 'Unquestionably one of the most original writers working in Australia today.' Australian 'A Lifetime on Clouds delighted me: I was particularly admiring of the author's unfailing ability to say just enough and no more.' Les Murray, Sydney Morning Herald 'Murnane draws out a great deal of comedy from the distance between what his hero does and what he dreams.' Guardian 'If you only ever read one Gerald Murnane novel in your life, I urge you to make it this one.' Andy Griffiths, in his introduction
Giramondo's publication of Gerald Murnane's new work of fiction comes at a time of heightened international interest in this highly regarded author. Border Districts and Murnane's Collected Short Fiction will be released in the United States by distinguished New York publisher Farrar, Straus and Giroux in early 2018. Gerald Murnane is renowned for his dedication to a singular vision which he has elaborated across a body of work remarkable for its continuity and focus. He is the author of eleven books of fiction, including Tamarisk Row, Inland, Barley Patch, A History of Books and A Million Windows, and a collection of essays, Invisible Yet Enduring Lilacs, which have been published by Giramondo. He is a recipient of the Patrick White Literary Award, the Melbourne Prize for Literature, the Adelaide Festival Literature Award for Innovation and the Victorian Premier's Literary Award.
Inland (1989) is a dispersed, sprawling narrative, a set of texts interlocked by a myriad of narratives, a work that could be described as postmodern for its intricate examination of meaning. It challenges our interpretations of space and time, as if we were looking in another way, not out to the glistening ocean surrounding our island, perhaps, but inland, where dreams are real. Gerald Murnane was born in Melbourne in 1939. From 1960 to 1973, he worked as a teacher and developed educational publications. He published his first novel in 1974. In 1980, he became a lecturer, whilst continuing to write. Gerald won the FAW Barbara Ramsden Award for Velvet Waters in 1991. He received the Patrick White Literary Award in 1999. He currently lives in Melbourne.
In this book, Ashley Crawford, conducted numerous interviews with Hunter's associates and travelled with him through the Wimmera and to his home town of Donald. His text provides a thorough and accessible survey of Hunter's life, his influences and work." --Cover.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.