July 8, 2013
Michelle de Kretser's novel Questions of Travel has picked up two of Australia's most prestigious literary prizes. It mines our political and personal dilemmas splendidly, writes James Waite Morgan.
May 13, 2013
After failing at Febfast, Stephanie Van Schilt decided -- after reading Jill Stark's High Society -- that she was all out of excuses. Van Schilt describes Stark's book and her relationship with "the demon drink."
May 6, 2013
Two new books explore the notion that the internet isn’t the commercial or democratic force it’s touted to be. Are they worth your time? James Rose gives his verdict.
April 8, 2013
Set exclusively in the Carolinas, Ron Rash's thrilling collection of short stories show us people for whom all hope has been vanquished, writes Paul Donoughe.
February 28, 2013
Courtney Collins' fictional tale about Australia’s last bushranger is told through the dead eyes of Jessie’s newborn child. It's a beautiful book but lacks depth and is tonally inconsistent, writes Erin Handley.
December 10, 2012
An Age op-ed slamming Gabrielle García Márquez’s classic novel Love in the Time of Cholera seemed like harmless clickbait, but the Victoria Curriculum Assessment Authority took it seriously. Bethanie Blanchard defends a beautiful and intricate novel.
November 9, 2012
Fragmented, dizzying, nerve-jangling and sometimes frustrating, there are nevertheless flashes of brilliance in Zadie Smith's NW, writes Bethanie Blanchard.
September 19, 2012
It is a talisman of luck, and love. Foal’s bread -- both the object and Gillian Mears' new novel -- is a strange, rare and mesmerising thing. Bethanie Blanchard says it shines through sadness.
July 25, 2012
Forget all those stories about how material possessions can't make you happy. Lionel Asbo is a novel about a vindictive anti-hero who is made immensely happy by money, writes Lucas Smith.
July 17, 2012
Post-apocalyptic fiction in many ways mirrors current pessimism. This is one of many paths explored in New Left, a collection of political essays related to a resurgent brand of leftish thinking, writes Adam Brereton.
June 21, 2012
Past The Shallows, a tragic reworking of Harper Lee's To Kill a Mockingbird, is a dark and moody novel set in remote southern coastal Tasmania, writes Bethanie Blanchard.
June 18, 2012
Tony Birch's Miles Franklin contender Blood is a dark, brutal and troubling story with the underlying quality of a classical children's fairytale. It's an Australian novel that isn't suffused with "Australian-ness," writes Bethanie Blanchard.
May 16, 2012
When books are adapted for the screen, how is the original work impacted? January Jones explains why Jane Eyre adaptations caused her to dislike Charlotte Brontë's classic source material.
April 23, 2012
Fantastical, absurd, surreal, playful, comic, bizarre, dark: Etgar Keret’s short stories have the quality of baffling dreams, writes Bethanie Blanchard.
April 11, 2012
At its heart, The Cove, a novel by Ron Rash, is a love story about two misfits who come together against the odds. In the world of the Southern Gothic though, such romances are never without tragedy, notes Rebecca Harkins Cross.
March 20, 2012
The plot of Martha Schabas' debut novel is fraught with clichés but it is nevertheless an ambitious homage to Nabokov's Lolita, writes Erin Handley.
March 15, 2012
As an unashamed lit nerd, Sian Campbell's approaching trip to Tokyo meant an excuse to read a bounty of Japanese literature, including Banana Yoshimoto's Asleep and Kazuo Ishiguro's A Pale View of Hills.
March 9, 2012 6
Bookseller+Publisher collects data on book mentions in Australia's print media around the country each week, so Matthia Dempsey decided to count all the book reviews done of female-authored books in the last years. The results may surprise you ...
March 8, 2012
Women’s Work is Overland’s new anthology of short stories by emerging female writers launched today as part of International Women’s Day and developed in conjunction with the Stella Prize. Bethanie Blanchard reviews the stories.
March 5, 2012
Chris Flynn's highly entertaining debut novel, written from the first person perspective of a loathsome Irish narrator, is dark, rollicking and very funny, writes Bethanie Blanchard.