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The Plains

ebook
1 of 1 copy available
1 of 1 copy available

This is the story of the families of the plains—obsessed with their land and history, their culture and mythology—and of the man who ventured into their world.
First published in 1982, The Plains is a mesmerising work of startling originality.

This handsome new hardback edition is introduced by Ben Lerner, author of the internationally acclaimed novels Leaving the Atocha Station and 10:04, and a work of criticism, The Hatred of Poetry.

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.

'A distinguished, distinctive, unforgettable novel.' Shirley Hazzard

'... 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

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    • Publisher's Weekly

      December 20, 2004
      It's not just a dog's life—it's a pig-cow-rat's life. In this deftly executed allegorical novel, Beig (Lost Weddings
      ) gives an episodic, animal-centered account of the life of a young woman in rural Germany between the two world wars. Brief chapters—"Horse," "Cat," "Pig," etc.—recount the protagonist's less-than-idyllic encounters with the natural world. At birth, Hermine resembles a mutant horse; at school, she finds herself unable to write the assigned essay "Hurray, We're Slaughtering!" As a young teacher, she inadvertently causes the injury of a pupil during a spirited game based on a bear hunt, and she maims a badger with her motorbike. Disowned by her family for killing their pet goose, she is even scolded by her husband: "No one can have an animal with you around." Granted, "some days Hermine liked well enough," but most days she loses her battle with the bestiary. Beig, who began writing in her late 50s, gives shape to her story by charting Hermine's growing awareness of an inner life that distinguishes her from the inhabitants of the animal kingdom and makes subtle reference to the tumult of 20th-century German history. Surrounded by slaughter, Beig suggests, we find comfort in our ability to reflect. This earthy, unsentimental novel is the perfect holiday gift for nihilists with a sense of humor.

    • Kirkus

      Starred review from March 1, 2017
      A man travels to Australia's interior plains planning to make a film about the region's people and culture, but mostly he ruminates in this wry, evocative novel.This reissue of a work first published in 1982 comes with an introduction by Ben Lerner that includes a nice analysis of Australian writer Murnane's (Something for the Pain: A Memoir of the Turf, 2016, etc.) often exquisite sentences. There is little in the way of character, action, or plot in this thinking man's fable. The unnamed narrator comes to an unnamed town on the plains, where he explains himself to plainsmen by telling "a story almost devoid of events or achievements." He feels the plains are "a place that only I could interpret." He hangs around in his hotel, where, one day, seven landowners arrive and hold audiences for various petitioners seeking their patronage. When the narrator sees them, the landowners converse in non sequiturs and then one of them offers the narrator a position in his mansion as "Director of Film Projects." He spends 20 years studying in the library, making notes, mooning over the man's wife and a daughter, and giving occasional progress reports on his film, The Interior. He is praised for his "apparent reluctance to work with camera or projector." Along the way, he examines such plains phenomena as a decadeslong dispute over whether the true view of the plains is that of the hazy, distant horizon or the rich detail in a patch of ground. 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." Lerner calls Murnane's sentences "little dialectics of boredom and beauty, flatness and depth." The narrator calls the plains "a convenient source of metaphors for those who know that men invent their own meanings." A provocative, delightful, diverting must-reread.

      COPYRIGHT(2017) Kirkus Reviews, ALL RIGHTS RESERVED.

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