–a split-second pink flash…Moira Burke on detail

Losing It, Moira Burke. Text, 1998.

Losing it is written in the rare, second-person style. This, and the sparse punctuation and stream-of-consciousness manner force you to read quickly, forcing you to tumble over your words. It’s engaging, and addictive, and Moira Burke’s beautiful way of getting inside the detail has the words exploding on the page

“…you’re going to training on a blue train. You’re standing in the open doorway letting the wind come in bringing with it the soft drizzle in bursts. The train’s going over the bridge between Macaulay and Flemington and you look down, down to the wet black street the wet red houses and suddenly there’s a black wet tree. Blossoms all over it shining pink and wet swooping out of nowhere down below, the trains going fast its only a flash a wet flash from nowhere, the trains riding fast, bumpy, you’re in the open doors looking down going over the bridge a split-second pink flash and you go oh! And lean out to keep seeing it, it’s made a print in you like a photo all bright and black outlies in rainshine but it’s gone, gone.” (121)

Particularly engaging for me are the references to 80s Melbourne. Josie’s family holidays in Queenscliff, she hangs out in Melbourne train stations, and she frequents bars with names I remember seeing, or going to—I feel like I’ve even bumped into Josie–that’s how good she is at drawing you in. For me it sits up there with other coming of age stories written in teenage-speak style that we all know, Puberty blues, Catcher in the rye, The Incredible Here and Now.

Losing It was published in 1998, and re-released in 2017 as a part of Text’s campaign to support Australian authors.

For a comprehensive review see my page Agnes Water-books reviewed

Passages of Writing: Point Counter Point by Aldous Huxley

Book:  Point Counter Point, Aldous Huxley. First pub: Penguin 1928. This edition: Penguin 1974.

Why: I love the juxtaposition and banter of the two conversations at once, both ignoring the other. It’s how I plan to get my teenage children to their next immunizations. And, I hope to manage a similar interaction in my own book.

His terror, his anxious impatience became almost hysterical.

‘No. I can’t, I really can’t,’ he protested when Spandrell had told him that he must spend the evening at Tantamount House.

‘All the same,’ said the other, ‘you’re damned well going to,’ and he headed the car into the mall. ‘I’ll drop you at the door.’

‘No, really!’

‘And if necessary kick you in.’

‘But I couldn’t stand being there, I couldn’t stand it.’

‘This is an extremely nice car,’ said Spandrell pointedly changing the subject. ‘Delightful to drive.’

‘I couldn’t stand it,’ Illidge whimperingly repeated.

‘I believe the makers guarantee a hundred miles an hour on the track.’

They turned up past St James’s Palace into Pall Mall.

‘Here you are,’ said Spandrell, drawing up at the Kerb. Obediently, Illidge got out…

P397

Passages of Writing: Money by Martin Amis.

 

 

Book: Money, Martin Amis. First pub 1984 Vintage. This Ed. Vintage 2005 pbk.

Why: Martin Amis has a way of putting things and I can’t help but be envious. This is really one of my favourite books.

 

 

We banked, and hit a deep welt or grapple-ridge in the road: to the sound of a riffle-shot the cab roof ducked down and smacked me on the core of my head. I really didn’t need that, I tell you…

pg1.

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