Sometimes the anomalies in a text can provide a starting point to explore possibilities of meaning that aren’t immediately evident. The first such a one in this chapter is striking: Smith’s misquotation from Romeo and Juliet, which ought to read: These violent delights have violent ends, And in […]
Philosophical Victorian John Stuart Mill considered his era an “age of transition.” Certain critical transitions, such as those we touched upon in the previous instalment, were visited by the industrial revolution. British cultural anthropologist Victor Turner’s (1920-33) idea of liminality is worthy of a mention in the context. […]
In the previous chapter, Clara expresses her relief when William turns out to be a gentleman, as is borne out by the credentials printed on his card and his reputation as a scholar, which has become a matter of public knowledge. Lady Kate hadn’t doubted it, perhaps thanks […]
Old newspapers are not much cared about and are often applied to undignified functions, recalling Dryden: From dusty shops neglected authors come, Martyrs of pies, and relics of the bum. (‘Mac Flecknoe’) or tossed on the rubbish heap, as in Joyce: About that original hen. Midwinter (fruur or […]
Prior to the two Australian newspaper series we’re using to reconstruct The Mystery of the Marsh, the novel appeared serialized in the New York Ledger during the period December 1882 — March 1883. You may recall that Smith moved from Europe to the United States in 1870, residing […]
The scene shifts to Paris, where Smith can draw upon his youthful experience of bohemian life in the Latin Quarter. A character in our upper echelon has gone there to take care of some … unfinished business — of the serious kind. Here we meet a new brand […]
What a presumption of Burcham’s that Lady Kate’s cousin Clara Meredith will drop everything and marry him because an inheritance of five thousand a year hinges on it! He doesn’t need Mr. Brit to tell him there will be possibly much more for him when her father dies, […]
Almost a century and a half has passed since Smith launched his penny blood, so it is natural that a mere aside by the narrator can set off a question mark that repays investigation. In considering the theory of literature, the French philosopher Paul Ricoeur describes how a text […]
Margaret Oliphant’s essay ‘The Byways of Literature: Reading for the Million’ (1858) is something of a seminal study in literature and popular culture. Her elegant piece is by turns endearing — particularly in her approval of our man Smith — and a worry for its tone of condescension towards […]
This chapter presents insights into the motivations and machinations in play at the ‘higher end’ of society. A far cry from Mrs. Hurst’s scheme to have William and Goliah banged up for the ‘theft’ of the horse and wagon, motivated partially by her rivalry with Mrs. Gob over […]
“You see, Japan does not actually rest atop an infinite pile of turtles, but on the back of a giant carp . . .”
In his mid-thirties, Australian freelance writer and PhD graduate Michael Guest headed for Japan on a whim, worked as Professor in a national university, and stayed fifteen years. Memoir and cultural reflection, his captivating story is one of growth, adaptation and an ever-deepening appreciation of an enchanting, at times perplexing, society. The author is a specialist in modern literature and humanities, with many academic and media articles to his credit, alongside international academic conference lectures.
“Rarely is a reader granted such enlightened insights into the people and culture of Japan. Guest takes us into the Japanese psyche, exploring social mores, the underlying meanings of simple actions, and the historical and religious fabric that knits the people together. . . .”—Brian Armour, author of Future Crime
“He draws his tight literary portraits from his experiences living and tertiary teaching in Japan. I was enchanted to learn the micro-details of a culture of micro-details.”—Gloria Lee McMillan, editor of Orbiting Ray Bradbury’s Mars.
“The book permeates your psyche . . . . his calm, poetic, detailed writing style, always with a touch of light irony, full immersion. The book is, indeed, very Zen. It is an absolute must for anyone going to Japan. It will make for an excellent primer.”—Virginia Arthur, author of Treed and Phat(’s) Chance for Buddha in Houston
