“Natives” and “exotics,” terms often used to describe the relationship of plants to their environments, also refers, in this novel, to the characters who populate it, since all of the main characters live in foreign environments which have their own native populations. The Forder family, in the first of three major story lines, is on assignment in Ecuador in 1970, where the father works for the US State Department. In the second section, which takes place in 1929, Violet Clarence (Rosalind Forder’s mother) is living in the bush in Australia, helping clear the land to build a home in the bush. Part III follows a distant relative, a Mr. Clarence, who in 1822 lives in Scotland, though he is not Scottish. He and his foster son George emigrate to St. Michael in the Portuguese Azores. In each of these three story lines, the “exotic,” foreign residents permanently affect the environments in which they live. Alison clearly believes that despoiling a natural environment by removing or adding new plants and/or animals is both dangerous and foolish, no matter how honorable the motives might be.
Read Full Post »
Retracing the journeys of Captain James Cook, author Tony Horwitz writes a fast-paced, fascinating, and often very humorous account of his “walk” in the footsteps of Captain Cook, an explorer he obviously admires and whom he attempts to understand and make understandable to his readers. Fascinating as a biography of the complex Captain Cook, as a lively record of the age of exploration, as a modern adventure to “romantic” south Pacific islands, and as research on cultural anthropology, this is an exhilarating and fast-paced narrative, one which will reward careful reading and cause the reader to examine the dubious results of “civilization.” Horwitz obviously enjoyed his research, and the reader will, too, however vicariously.
Read Full Post »
Two-time Booker Prize winner Peter Carey, one of Australia’s most honored contemporary writers, creates his most dazzling novel yet with this send-up of the art world, filled with satire about dealers, auction houses, compulsive collectors, forgers, conservators and technicians, art researchers, catalogue writers, those who crate and ship paintings, and even the artists themselves. At the same time, he creates two splendid characters through whose limited vision this world is viewed—Michael “Butcher” Boone, a successful avant-garde artist from Australia, now experiencing hard times, and his “slow” brother Hugh, a 220-pound giant with little control over his emotions and a penchant for breaking the little fingers of people who get in his way. The story of how Butcher is drawn into a complex scheme to defraud is told in alternating chapters by Butcher himself and by Hugh, who sees himself as his brother’s “helper.” The action ratchets up as the financial stakes in the art market increase, and a murder, filled with shocking details, draws the complexity of the art fraud into the open for the reader—and for Butcher. The final chapter, almost an Afterword, gives new meaning to the word “irony.” (On my Favorites List for 2006)
Read Full Post »
In this novel within a novel, Australian author Thomas Keneally returns to the political themes which won him prizes for The Chant of Jimmie Blacksmith, Voices from the Forest, and Schindler’s Ark. Keneally has always been at his best depicting ordinary people facing extraordinary pressures, especially from governments bent on totalitarian rule, and this contemporary allegory is no exception. Taking place in an unnamed oil-rich country in the Middle East ruled by a tyrant who calls himself Great Uncle, the novel centers on a man calling himself “Alan Sheriff,” a short story writer given one month to write an “autobiographical novel” for which Great Uncle will take full credit. Sheriff, we learn in the opening chapter, is telling his story to a western journalist from a detention camp in an unnamed desert country, where he has languished for three years.
Read Full Post »
In his longest novel, written in 1970, Nobel Prize-winning Australian author Patrick White examines the question of an artist’s creativity, where it comes from, whether it can be controlled, and what obligations, if any, accompany it. As he traces the life of Hurtle Duffield from the age of four until his death as an elderly (and successful) avant-garde artist, we see Duffield always as somehow different from his peers. The son of a laundress and a bottle collector, Hurtle is from birth inspired, painting large images on walls as a toddler, but he recognizes at an early age that “people look down at their plates if you said something was ‘beautiful.'” To provide him with opportunities which will allow his genius to flourish, his parents sell him, when he is four years old, to the wealthy family for which his mother works. (Just click on the title to see full review.)
Read Full Post »
