A Million Windows
(Adobe EPUB eBook, OverDrive Read)
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Gerald Murnane. (2016). A Million Windows. David R. Godine, Publisher.
Chicago / Turabian - Author Date Citation (style guide)Gerald Murnane. 2016. A Million Windows. David R. Godine, Publisher.
Chicago / Turabian - Humanities Citation (style guide)Gerald Murnane, A Million Windows. David R. Godine, Publisher, 2016.
MLA Citation (style guide)Gerald Murnane. A Million Windows. David R. Godine, Publisher, 2016.
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|---|---|---|
| Shared Digital Collection | 1 | 1 |
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- bioText: Gerald Murnane, one of Australia's most highly-regarded authors, has published ten volumes of fiction, including Tamarisk Row, Inland, Barley Patch, and A History of Books, and a collection of essays, Invisible Yet Enduring Lilacs. He is a recipient of the Patrick White Literary Award, the Melbourne Prize for Literature, the Adelaide Festival Literature Award for Innovation, and an Emeritus Fellowship from the Literature Board of the Australia Council. He lives in Victoria, Australia.
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- "The house of fiction," wrote Henry James, "has . . . not one window, but a million." In this, his latest work, Gerald Murnane, one of Australia's most acclaimed contemporary authors, takes these words as his starting point, and asks: Who, exactly, are that house's residents, and what do they see from their respective rooms? His answer, A Million Windows, is a gorgeous (if unsettling) investigation into the glories and pitfalls of storytelling. Focusing on the importance of trust and the inevitability of betrayal in writing as in life, its nested stories explore the fraught relationships between author and reader, child and parent, boyfriend and girlfriend, husband and wife. Murnane's fiction is woven from images-the reflections of the setting sun on distant windowpanes, seemingly limitless grasslands, a procession of dark-haired women, a clearing in a forest, the colors indigo and silver-grey, and the mysterious death of a young woman-which build to an emotional crescendo that is...
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- "The house of fiction," wrote Henry James, "has . . . not one window, but a million." In this, his latest work, Gerald Murnane, one of Australia's most acclaimed contemporary authors, takes these words as his starting point, and asks: Who, exactly, are that house's residents, and what do they see from their respective rooms? His answer, A Million Windows, is a gorgeous (if unsettling) investigation into the glories and pitfalls of storytelling. Focusing on the importance of trust and the inevitability of betrayal in writing as in life, its nested stories explore the fraught relationships between author and reader, child and parent, boyfriend and girlfriend, husband and wife. Murnane's fiction is woven from images-the reflections of the setting sun on distant windowpanes, seemingly limitless grasslands, a procession of dark-haired women, a clearing in a forest, the colors indigo and silver-grey, and the mysterious death of a young woman-which build to an emotional crescendo that is all the more powerful for the intricacy of its patterning.
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July 11, 2016
Part memoir and part manifesto, Australian writer Murnane's series of fictional and essayistic experiments requires careful consideration and study. The premise of the book extends from the Henry James epigraph that opens it: "The house of fiction has in short not one window, but a million." Murnane walks readers through several of his distinctive touchstones of writing, and he illustrates his arguments with multiple vignettes and fictional scenarios. Murnane is brooding and deeply serious about his subject matter. He ruminates on the effects of memory by writing variations of a story in which a man sees a young girl on a train. The encounter opens a door of possibility, and Murnane wants the reader to realize that this story could ultimately be written "in any of a million ways." He often writes in lengthy, spiraling sentences and is prone to making broad pronouncements such as "One of the many devices employed by writers of fiction is the use of the present tense." Murnane frequently contrasts the abilities of fiction with those of filmâto the detriment of film. Murnane is a master of breathing life into fiction, and his compilation of ideas on the subject holds immense value because those ideas are often so idiosyncratic and contrarian.
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May 1, 2016
Acclaimed in Australia, Murnane is too little known in the States. His eleventh novel has postmodern trappings: unnamed characters and nearly no story, while the structure is intricate and the prose is precise, self-referential, allusive, essayistic, and abstract. Difficult to say what the subject of this beautiful and strange tale might be, but here's a clue: to understand how the so-called actual and the so-called possiblewhat he did and what he only dreamed of doingcome finally to be indistinguishable in the sort of text we call true fiction. He opposes Coleridge's platitude that fiction demands the willing suspension of disbelief, and draws his title from a remark by Henry James. Murnane argues that true fiction is more worthy of trust than what he calls the visible world, and that the discerning reader can and should accept as truth what takes place in the narrative dimension more than what she observes in life. This may sound preposterous, but the proof is in the reading of this astonishing feat by a writer of profound conviction.(Reprinted with permission of Booklist, copyright 2016, American Library Association.)
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