What We’ve Been Reading: May 0 Comments

What We’ve Been Reading: May

This month at Voiceworkswe’ve been getting into some stellar Australian fiction. What have you been reading?


This month has seen my fragile heart broken by mere paper cuts: Hannah Kent’s stunningly-stark-Stella-prize-winning novel Burial Rites was first. Prompted by my perhaps morbid fascination with death, I picked it up at the cluttered heaven that is The Paperback Bookshop, and had it finished by 3 am two days later. Believe the praise: Kent captures the starkness of Iceland, and the bitterness of Agnes’ life will have the last few pages of your copy stained with tears.

My second love this month was written by fellow Voiceworks EdCommer, Laura Elizabeth Woollett. The Wood of Suicides is delicately erotic, will make you deliciously uncomfortable, and will repaint your world with the mysticism of mythology and the romanticism of poetry.


This month, I’ve been reading Candy by Luke Davies. It’s an old Australian favourite that I like to revisit from time to time—it’s simply unparalleled in how it immerses you into an unfamiliar world of addiction, love and desperation. Raw emotion and an almost clinical approach to very real problems make this an unforgettable read. Some of you may also be familiar with the movie adaptation that featured the late Heath Ledger. In either form, this work is highly recommended.

I just recently finished reading Melbourne writer Holly Childs’ debut novella No Limit and it was one of the weirdest and most enjoyable things that’s happened to me in a long time. No Limit was one of the first novellas from Hologram Books, a new Express Media project publishing 2 novellas by Australian writers under 30 (yes, I did just go and download Elisabeth Murray’s The Loud Earth to read next) so I was already brimming with excitement when I downloaded the ebook onto my laptop and phone, if only to see what the latest offerings from Australia’s emerging or up-and-comers would be like. It exceeded all my expectations.Lush, plush and lengthy descriptions of cyber-punk, casually queer, hipster rave-going youth in the middle of a potential apocalypse carries you into a hyper-real version of our world. This world is meticulously constructed, but it feels constructed in the same way that our interactions on social media are – there is still truth and honesty underneath the facade and it’s brilliant.
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