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Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Laurie Clancy as Novelist of the Secular City
2014
single work
criticism
— Appears in: JASAL , vol. 14 no. 4 2014;'Laurie Clancy is very much a writer of the modern secular city. Although he was brought up in a Catholic household, he had left the Church well before he left school. The world he describes in his fiction is a post-modern world, where there is no God to offer comfort or authority to offer meaning. Clancy approaches this world from a realist perspective, but his realism breaks down as his characters find their efforts to make sense or to find fulfilment break down into fragmentary episodes of frustration or futility. Indeed he published many of these individual scenes as separate short stories. Even in the novels the narratives tend to collapse into series of fragments, rather than follow any kind of progression towards unity. These fragments record the frustrated attempts of his characters to create a unity in their experience, or to bend the outer world to their desires. Their constant failures produce an absurdity that ranges from the farcical to the tragic. ' (Author's introduction)
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What's New in Books
1995
single work
review
— Appears in: Australian Jewish News , 3 March vol. 61 no. 25 1995; (p. 36)
— Review of The Wildlife Reserve 1994 single work novel ; The Childstone Cycle 1994 single work novel -
Truth, Lies and Fiction
1995
single work
review
— Appears in: Overland , Spring no. 140 1995; (p. 79-80)
— Review of The Wildlife Reserve 1994 single work novel ; Ceremony at Lang Nho 1994 single work novel ; The Prisoner Gains a Blurred Skin 1994 selected work short story ; The Powerful Owl 1994 selected work short story -
Campus Novel Offers Amusement and Knowledge
1995
single work
review
— Appears in: Antipodes , June vol. 9 no. 1 1995; (p. 45-46)
— Review of The Wildlife Reserve 1994 single work novel -
Weary Venture in Outdated Genre
1994
single work
review
— Appears in: The Sydney Morning Herald , 23 November 1994; (p. 22)
— Review of The Wildlife Reserve 1994 single work novel
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An Entertaining Read with Lost Opportunities
1994
single work
review
— Appears in: The Canberra Times , 6 November 1994; (p. 24)
— Review of The Wildlife Reserve 1994 single work novel ; The Weekly Card Game 1994 single work novel ; Romeo of the Underworld 1994 single work novel ; The Borrowed Girl 1994 single work novel -
Campus Antics
1994
single work
review
— Appears in: Australian Book Review , November no. 166 1994; (p. 19-20)
— Review of The Wildlife Reserve 1994 single work novel -
Clancy's `Wit' an Overflow of Cliche
1994
single work
review
— Appears in: The Australian , 26 October 1994; (p. 18)
— Review of The Wildlife Reserve 1994 single work novel -
Oryctolagus Cuniculus Anglo-Celtica Strikes Back
1994
single work
review
— Appears in: Tirra Lirra , Summer vol. 5 no. 2 1994-1995; (p. 25)
— Review of The Wildlife Reserve 1994 single work novel -
Satire
1994
single work
review
— Appears in: The Sunday Age , 18 December 1994; (p. 8)
— Review of The Wildlife Reserve 1994 single work novel -
Laurie Clancy as Novelist of the Secular City
2014
single work
criticism
— Appears in: JASAL , vol. 14 no. 4 2014;'Laurie Clancy is very much a writer of the modern secular city. Although he was brought up in a Catholic household, he had left the Church well before he left school. The world he describes in his fiction is a post-modern world, where there is no God to offer comfort or authority to offer meaning. Clancy approaches this world from a realist perspective, but his realism breaks down as his characters find their efforts to make sense or to find fulfilment break down into fragmentary episodes of frustration or futility. Indeed he published many of these individual scenes as separate short stories. Even in the novels the narratives tend to collapse into series of fragments, rather than follow any kind of progression towards unity. These fragments record the frustrated attempts of his characters to create a unity in their experience, or to bend the outer world to their desires. Their constant failures produce an absurdity that ranges from the farcical to the tragic. ' (Author's introduction)
- Melbourne, Victoria,
- 1980s