“The book was reading me, as I was reading it,” writes Rebecca Mead of her experience of Middlemarch by George Eliot, a book that was published almost 100 years before Mead was born, yet one that for her couldn’t have felt more relevant and urgent. The Road to Middlemarch, which grew out of an essay Mead wrote for The New Yorker, where she is a staff writer, is part biography and part love letter to the novel and to the act of reading itself. Anita Sethi, reviews The Road to Middlemarch by Rebecca Mead in The Weekend Australian.
Fiona Gruber looks at Margaret Drabble’s world and says that with its clever women and family feuds it could be straight out of one of her novels. Margaret Drabble will be guest at the Perth Writers Festival (February 20-23) and Adelaide Writers’ Week (March 1-6), Australia.
Hear the term “grammar book” and, if you’re like me, your mind conjures up a vision of some dry and dusty thin-spined volume guaranteed a permanent place in your all-time list of “the 10 books I most dread before I die.” To the extent that this offering from The Guardian’s production editor and style guru David Marsh is a grammar book – and among other things it is that – For Who the Bell Tolls mocks the genre mercilessly, as its title tells you from the get-go. Ken Haley’ takes a light-hearted look at language reviewing For Who the Bell Tolls: One Man’s Quest for Grammatical Perfection (Guardian Books).
Introversion, injury and healing are some of Janet Frame’s most powerful themes, Felicity Plunkett, poetry editor of UQP writes as she explores The Mijo Tree (Penguin) and Between My Father and the King (Wilkins Farago).