Gotham

Wisdom Tree

Book 1
Inkerman & Blunt Publishers
Free sample

 Inkerman & Blunt will release one novella at a time, on the first of every month from May to September 2016. The novella is back disturbing the literary waters and Australia is leading the surge and Inkerman & Blunt is stirring the waves with these five pocket-sized finely crafted, richly intelligent novellas. Wisdom Tree is the accessible book for twenty-first century time poor, screen devoted readers.

Published as Cargoes in Griffith Review 50 Tall Tales Short—The Novella Project III,Gotham tells of the encounter between music journalist, Jeff Foster and ‘boy pharaoh’, Na$ti Boi. It reveals how hollow celebrities cast their spell. Think, Bonfire of the Vanities, Tom Wolfe.

Nick Earls is the award winning author of twelve novels and numerous shorter works. With the publication of the Word Hunters trilogy (Penguin 2012­‐2013), he is now officially also a children’s writer. Find out more about him at: nickearls.wordpress.com

"This floored me. The format is a game changer and the linked novellas combine to create the best book I’ve read in 12 years, since David Mitchell’s Cloud Atlas. Five complex and distinct stories set in New York, Brisbane, Vancouver, Alaska and L.A. that somehow magically meet—I can’t quite believe it. Earls has never had his due but if this doesn’t get incredible press from here to Timbuktu, then publishing truly is broken. Or maybe he just fixed it, because Wisdom Tree is a transcendent wonder."—Chris Flynn, author of Tiger in Edenand The Glass Kingdom

'Gotham is the deceptively unobtrusive short book that marks the beginning of one of the most ambitious fiction projects being undertaken in Australian publishing.' Read the full review as published in The Australian

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Additional Information

Publisher
Inkerman & Blunt Publishers
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Published on
May 1, 2016
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Pages
136
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ISBN
9780994480866
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Language
English
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Genres
Fiction / General
Fiction / Literary
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Content Protection
This content is DRM protected.
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Available on Android devices
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A captivating and deeply personal novel from one of Australia's most respected authors.

Athena and Dexter live a happy but insular life, bound by routine and the care of their young sons. When Elizabeth, an old friend from Dexter’s university days, turns up with her much younger sister, Vicki, and her lover, Philip, she brings an enticing world to their doorstep. And Athena finds herself straining at the confines of her life.

Helen Garner portrays her characters with a clear eye for their dreams, their insecurities and their deep humanity in this intimate and engaging short novel, which was first published in 1984. The Children’s Bach is ‘a jewel’, in Ben Lerner’s description, ‘beautiful, lapidary, rare’.

Helen Garner is one of Australia’s finest authors. In 2006 she received the inaugural Melbourne Prize for Literature, and in 2016 she won the prestigious Windham–Campbell Prize for non-fiction. Her novels include Monkey Grip, The Children’s Bach, Cosmo Cosmolino and The Spare Room.

There was a piano in the kitchen and during the day Athena would shut herself in there under the portrait of Dexter’s father and pick away at Bartok’s Mikrokosmos or the easiest of Bach’s Small Preludes. Preludes to what? Even under her ignorant fingers those simple chords rang out like a shout of triumph, and she would run to stick her hot face out of the window.

‘Garner is a natural storyteller.’ James Wood, New Yorker

‘Her use of language is sublime.’ Scotsman

‘This is the power of Garner’s writing. She drills into experience and comes up with such clean, precise distillations of life, once you read them they enter into you. Successive generations of writers have felt the keen influence of her work and for this reason Garner has become part of us all.’ Australian

‘Garner wears her mastery lightly—the novel never draws undue attention to its own modernist tricks. Unfolding, as the title suggests, like a halting piece of music, its effects are subtle and unexpected.’ Harper’s

'What Garner offers in these novels is an alternative to the cloying metafiction of the late 20th century and the washed-out realism of the 21st. They are undeniably of their time – the 1970s commitment to the liberating possibilities of sex, drugs and communal living in Monkey Grip, the hangover nursed in the 1980s in The Children’s Bach – but they also belong to a literary epoch we think of as long gone, as they earnestly strive to resurrect a modernist art of estrangement.' London Review of Books

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