Delia Falconer
Författare till The Service of Clouds
Om författaren
Verk av Delia Falconer
Associerade verk
Taggad
Allmänna fakta
- Födelsedag
- 1966
- Kön
- female
- Nationalitet
- Australia
- Födelseort
- Sydney, New South Wales, Australia
- Bostadsorter
- Sydney, New South Wales, Australia
Melbourne, Victoria, Australia - Utbildning
- University of Sydney
University of Melbourne - Yrken
- novelist
Medlemmar
Recensioner
The Service of Clouds av Delia Falconer
Trying too hard to have flowery language, instead becomes difficult to follow. Read half way and still didn’t have a story line.
½
Readers may remember that I featured the author Delia Falconer and her new book of essays Signs and Wonders after the Melbourne Writers Festival was cancelled, alerting you to the book's forthcoming release. What I didn't know then was that Signs and Wonders is a stunning book, and it is is going to walk off the shelves when it's released in October so if you don't want to miss out, best to pre-order a copy now. I don't like to promote FOMO but booksellers are already warning us about both shortages of Christmas stock and expected delivery delays due to pressure on Australia Post because of the explosion in online sales. Signs and Wonders is exactly the kind of book that's a perfect Christmas present for the hard-to-please, so don't be disappointed...
There are thirteen essays but it will come as no surprise that I opted to read 'The Disappearing Paragraph' first. This fascinating essay explores the impact on thinking of the way print has been altered in the age of screens. It begins like this:
Falconer learned to type as I did, on a typewriter, (though hers was electric, and the one at the State Film Centre where I worked, was not. ) But before that, as I did, she had absorbed the small visual rhythms of paragraphing by reading everything that came my way as a child. (For me, my grade 6 teacher Mrs Sheedy who was a stickler for writing conventions, reinforced the message with a red pen.) But now paragraphs are often not separated by the conventional indent, but by a double-line space. You see it here in this and all my reviews but it's also emerging in books. When I inspect my current TBR of books for review, three of the seven use double-line spaces. The publishers aren't consistent: Emily Bitto's Wild Abandon (A&U) has double-line spaces but also from A&U, Nellie, the life and loves of Dame Nellie Melba by Robert Wainwright, doesn't. Upswell publications The Dogs by John Hughes and Belinda Probert's Imaginative Possession have double-line spaces, but Monique Truong's The Sweetest Fruits has conventional indents. So does Transit Lounge's The One that Got Away, Travelling in the Time of Covid by Ken Haley, as does The Dancer by Evelyn Juers from Giramondo. And even Delia's own book isn't consistent with itself: 'Terror from the Air: Fire Diary 2019-20' has double-line spaces, but 'The Opposite of Glamour' has conventional indents. What's going on?
Does it matter?
To read the rest of my review please visit https://anzlitlovers.com/2021/09/21/signs-and-wonders-by-delia-falconer/… (mer)
There are thirteen essays but it will come as no surprise that I opted to read 'The Disappearing Paragraph' first. This fascinating essay explores the impact on thinking of the way print has been altered in the age of screens. It begins like this:
A new breath. A macro-punctuation mark. A flash of lightning showing the landscape from a different aspect. A collection of sentences with a unity of purpose. A new neighbourhood made up of 'streets' of sentences. These are some of the ways writers have described the work of the paragraph. And yet, among the many unsettling phenomena of our age, I have noticed that paragraphs have been disappearing — at least paragraphs as I once knew them. This may not amount to much amid the greater unravelling of our world but it is a significant disturbance within my own small literary ecotone. (p.155)
Falconer learned to type as I did, on a typewriter, (though hers was electric, and the one at the State Film Centre where I worked, was not. ) But before that, as I did, she had absorbed the small visual rhythms of paragraphing by reading everything that came my way as a child. (For me, my grade 6 teacher Mrs Sheedy who was a stickler for writing conventions, reinforced the message with a red pen.) But now paragraphs are often not separated by the conventional indent, but by a double-line space. You see it here in this and all my reviews but it's also emerging in books. When I inspect my current TBR of books for review, three of the seven use double-line spaces. The publishers aren't consistent: Emily Bitto's Wild Abandon (A&U) has double-line spaces but also from A&U, Nellie, the life and loves of Dame Nellie Melba by Robert Wainwright, doesn't. Upswell publications The Dogs by John Hughes and Belinda Probert's Imaginative Possession have double-line spaces, but Monique Truong's The Sweetest Fruits has conventional indents. So does Transit Lounge's The One that Got Away, Travelling in the Time of Covid by Ken Haley, as does The Dancer by Evelyn Juers from Giramondo. And even Delia's own book isn't consistent with itself: 'Terror from the Air: Fire Diary 2019-20' has double-line spaces, but 'The Opposite of Glamour' has conventional indents. What's going on?
Does it matter?
To read the rest of my review please visit https://anzlitlovers.com/2021/09/21/signs-and-wonders-by-delia-falconer/… (mer)
Strangely The Service of Clouds is one of few books on my shelves for which I have no record of purchase, no time or space by which to identify my interest in it. Somewhere, sometime, it drifted into my life, sat on my shelves, and even gained a massive coffee stain, yet remained disconnected from any narrative but its own. And that ethereality is appropriate, really. Falconer - I've read nothing else, though I've listened to her being interviewed (or was it that I read a transcript?) - writes beautifully, creating atmosphere, whimsicality, a disconnected slice of a life, evoking a world long gone. Like a previous reviewer I'm not quite sure about her creation of character. Like a previous reviewer I wonder if that's the point. Eureka is the narrator, Kitchings and Curtain and a pair of aunts are there, but ... but the mists, the clouds in whose service someone is, the ash, and, oh, the camera and the negatives and tuberculosis, these are the characters.
I think.
Or are the words that Eureka forms the central character? For though the mountains and the photographic equipment star and the clouds and the ash, I am left as I walk away with a deep sense primarily of words. Falconer loves words. Or maybe Eureka does. The words flow and flow like the waterfalls of the valley beneath the Blue Mountains. And that word "like": if I had the book in digital form I would like to know the numerics. Does "like" make its appearance as many times as there are pages, if not actually on every page? By page 54-57 I was distracted (I was surprised on that page by the use of "periods" for a "full stop,' but Falconer would know better than I do which was the more typical usage in the Blue Mountains early last century) by similes: "as if she had vomited a cloud", "as if they had been scrawled, "as if each crack in their surface...", "stares out across the void as if ...", "at the cliff's edge like a beautiful accident ...", "like a jellyfish."
An adjective count would be more revealing. There were times I felt I was swimming in an adjectival thesaurus, gasping for air no less than the victims of tuberculosis whose fate Falconer traces so dexterously: "relentless shutter," "railed edge," "filling skirt," "lazy tentacles,"(55), "dull shells," "little hills,", "shimmering drifts," "viny curls" ("like moths' feet"), "like a purple mist" (249-250, though 249 is worth its weight in gold dust for the acerbic observation that pie slits are "as thin as men's promises").
Yet I sound too negative. Falconer teaches creative writing, and has a fine reputation for it. Perhaps in this novel she was too determined to demonstrate the craft? Her skills are considerable. But, cruelly perhaps, I felt they were being showcased. On the other hand the 1900s-1920s were an era of expansive and sometimes florid prose. Perhaps Eureka, rather than her creator, was the guilty party, and I am responding only to Falconer's skilled creation of an ambivalent character.
So what of the characterizations? As in much of the 1920s (when, ostensibly, Eureka is reminiscing about the 19-noughties) there is a sense of spiritualist whimsy throughout the novel and its characters. Gold dust as a cure for TB, for example, was as much a whimsy as a science, and much that Falconer depicts falls into that category. The Blue Mountains were a place for whimsy (though, presciently, Eureka detects that the whimsy is giving way to voyeuristic tourism towards the end of the novel).
An eccentric mother, two eccentric sisters: there's a hint that these echo the famous Three Sisters of Katoomba, but the human ones are flightier, and (it may be me) only late in the novel do I sense differentiation of character between old aunt and younger aunt (mother long gone, almost parenthetically). Les Curtain, with his bulbs and a pipe and his feel for the earth: I'm not sure I really get to know him. Harry Kitchings, careless of Eureka and her pining heart, Eureka who learned to climb mountains for him (250), something of a narcissist ultimately, rather dis-likeable, who pointedly marries a weaker woman. And Eureka? A solipsist more than a narcissist, but she is the novel's narrator, the seer, so perhaps her domination is inevitable. So naive, so self-absorbed, so vulnerable.
Yet The Service of Clouds is beautiful. Falconer has produced a novel that will stay in my mind far longer than many less substantial works. Perhaps she, as it were, over-writes, but she writes beautifully. In the interview that I encountered observation is made of Falconer's uncanny ability, almost the hypersthaesia she mentions late in the novel, to capture scent and sight in prose. For that alone she deserves accolades (and a teaching position!).
The Service of Clouds is not a can't put down novel, but a "never regret reading through" novel. For that I'm thankful.… (mer)
I think.
Or are the words that Eureka forms the central character? For though the mountains and the photographic equipment star and the clouds and the ash, I am left as I walk away with a deep sense primarily of words. Falconer loves words. Or maybe Eureka does. The words flow and flow like the waterfalls of the valley beneath the Blue Mountains. And that word "like": if I had the book in digital form I would like to know the numerics. Does "like" make its appearance as many times as there are pages, if not actually on every page? By page 54-57 I was distracted (I was surprised on that page by the use of "periods" for a "full stop,' but Falconer would know better than I do which was the more typical usage in the Blue Mountains early last century) by similes: "as if she had vomited a cloud", "as if they had been scrawled, "as if each crack in their surface...", "stares out across the void as if ...", "at the cliff's edge like a beautiful accident ...", "like a jellyfish."
An adjective count would be more revealing. There were times I felt I was swimming in an adjectival thesaurus, gasping for air no less than the victims of tuberculosis whose fate Falconer traces so dexterously: "relentless shutter," "railed edge," "filling skirt," "lazy tentacles,"(55), "dull shells," "little hills,", "shimmering drifts," "viny curls" ("like moths' feet"), "like a purple mist" (249-250, though 249 is worth its weight in gold dust for the acerbic observation that pie slits are "as thin as men's promises").
Yet I sound too negative. Falconer teaches creative writing, and has a fine reputation for it. Perhaps in this novel she was too determined to demonstrate the craft? Her skills are considerable. But, cruelly perhaps, I felt they were being showcased. On the other hand the 1900s-1920s were an era of expansive and sometimes florid prose. Perhaps Eureka, rather than her creator, was the guilty party, and I am responding only to Falconer's skilled creation of an ambivalent character.
So what of the characterizations? As in much of the 1920s (when, ostensibly, Eureka is reminiscing about the 19-noughties) there is a sense of spiritualist whimsy throughout the novel and its characters. Gold dust as a cure for TB, for example, was as much a whimsy as a science, and much that Falconer depicts falls into that category. The Blue Mountains were a place for whimsy (though, presciently, Eureka detects that the whimsy is giving way to voyeuristic tourism towards the end of the novel).
An eccentric mother, two eccentric sisters: there's a hint that these echo the famous Three Sisters of Katoomba, but the human ones are flightier, and (it may be me) only late in the novel do I sense differentiation of character between old aunt and younger aunt (mother long gone, almost parenthetically). Les Curtain, with his bulbs and a pipe and his feel for the earth: I'm not sure I really get to know him. Harry Kitchings, careless of Eureka and her pining heart, Eureka who learned to climb mountains for him (250), something of a narcissist ultimately, rather dis-likeable, who pointedly marries a weaker woman. And Eureka? A solipsist more than a narcissist, but she is the novel's narrator, the seer, so perhaps her domination is inevitable. So naive, so self-absorbed, so vulnerable.
Yet The Service of Clouds is beautiful. Falconer has produced a novel that will stay in my mind far longer than many less substantial works. Perhaps she, as it were, over-writes, but she writes beautifully. In the interview that I encountered observation is made of Falconer's uncanny ability, almost the hypersthaesia she mentions late in the novel, to capture scent and sight in prose. For that alone she deserves accolades (and a teaching position!).
The Service of Clouds is not a can't put down novel, but a "never regret reading through" novel. For that I'm thankful.… (mer)
I love the Blue Mountains just west of Sydney, and in many ways this is a book in which those mountains are the main character. It is a love letter to those mountains, or at least to how they were before they were tamed/altered by their popularity as a tourist attraction. The smell of them, the sounds of the bush, the landscapes, the crisp, cool, beauty of their valleys are things that I've carried with me from childhood visits, and whenever I revisit I'm filled with a sense of peace and joy. As a result, I really expected, and wanted, to love this book. It's not that this is poorly-written, indeed the actual words and phrasing are beautiful, hence the four stars. But. It's too... nebulous, insubstantial. Maybe that's part of the thing, maybe it's on purpose, this cloudiness, but I found it impossible as a result to connect with the narrative and the characters. Even the "main" character, Eureka, (technically--although as I have said I believe the landscape of the mountains is the star of the story) is patchy in depiction to my mind. A pity.… (mer)
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Statistik
- Verk
- 10
- Även av
- 6
- Medlemmar
- 369
- Popularitet
- #65,264
- Betyg
- 3.3
- Recensioner
- 7
- ISBN
- 26
- Språk
- 1