As wild and genre-bending and hellacious as her prose is, though, Emanuel’s novel can be placed alongside things we have read: James Joyce’s Ulysses, Samuel Beckett’s body of work, and, more locally, Jack Cox’s Dodge Rose. But while Cox’s debut was lauded in the Guardian and the Saturday Paper, described variously as exciting, original, and brilliant, critical responses to Emanuel seem strangely subdued.
Announcing the recipients of the 2019 Overland writing residencies, which are supported by the Malcolm Robertson Foundation.
Racism in Australia has long rested on not only vicious establishment slander, but on silence, or attempts to obfuscate, the agency, humanity and courage of the oppressed.
A discourse that divorces suicide from society is the only one that can imagine a nation without suicide with one breath, then assess the threat of loneliness primarily in terms of economic productivity with the next.
I’m a huge fan of Rooney’s work. But the things I love about her books are not the universal, the relate-able, the newsworthy. It is the way she brings her unique voice, worldview, political ideology and lived experience to the page.