Böcker av Gerald Murnane

Border Districts, purportedly the Australian master Gerald Murnane's final work of fiction, is a hypnotic, precise, self-lacerating `report' on a life led as an avid reader, fumbling lover, `student of mental imagery', and devout believer in the luminescence of memory and of literature.

Published in Australia in 2009, Barley Patch was Murnane's first book in fourteen years, written after a period in which he had thought he would never write fiction again. The book begins with the question, "Must I write?" What follows is both a chronicle of the images that have endured in the author's mind and an exploration of their nature. The clarity of the images is extraordinary, as is their range, from Mandrake the Magician to the bachelor uncle kicked in the "stones" as a child, from a cousin's doll's house to the mysterious woman who lets her hair down, from the soldier beetle who winks messages from God to the racehorses that run forever in the author's mind.The narrator lays bare the acts of writing and imagining, finally giving us a glimpse of the mythical place where the characters of fiction dwell before they come into existence in books. With something of the spirit of Italo Calvino and Georges Perec, this is a cornerstone of Murnane's unclassifiable project, for which he is a deserving Nobel Prize candidate.

"Inland is a work which gathers in emotional power as it moves across the grasslands of its narrator's imagination--from Szolnok County on the great plains of Hungary where a man writes in the library of his manor house, to the Institute of Prairie Studies in Tripp County, South Dakota, where the editor of the journal Hinterland receives his writing, to the narrator's own native district in Melbourne County, between Moonee Ponds and the Merri, where he recalls the constant displacements of his childhood. "No thing in the world is one thing," he declares; "some places are many more than one place." These overlapping worlds are bound by recurring motifs--fish pond, fig-tree, child-woman, the colours white, red and green--and by deep feelings of intimacy and betrayal, which are brought to full expression as the book moves to its close"--Provided by publisher.

In the first days of spring in his eighty-second year, Gerald Murnane ‿ perhaps the greatest living writer of English prose ‿ began a project that would round off his strange career as a novelist. He would read all of his books in turn and prepare a report on each. His original intention was to lodge the reports in two of his legendary filing cabinets: in the Chronological Archive, which documents his life as a whole, and the Literary Archive, which is devoted to everything he has written. As the reports grew, however, they themselves took on the form of a book, a book as beguiling and hallucinatory, in its way, as the works on which they were meant to report. These miniature memoirs or stories lead the reader through the capacious territory Murnane refers to as his mind: they dwell on the circumstances that gave rise to his writing, on images and associations, on Murnane‿s own theories of fiction, and then memories of a deeply personal kind. The final essay is, of course, on Last Letter to a Reader itself: it considers the elation and exhilaration that accompany the act of writing, and offers a moving finale to what must surely be Murnane‿s last work, as death approaches.

A masterful collection of essays from one of Australia's most searching and expert writers.

Never before available to readers in the UK, these brilliant and idiosyncratic short stories stand alongside the fictions of Borges, Beckett and Nabokov.

A lonely child of unusual sensibility inherits his father's love of horse-racing and his mother's Catholicism in this evocative, semi-autobiographical novel.