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1<link rel="preload" href="https://www.googletagmanager.com/gtag/js?id=G-WXJB03JJ20" as="script"/><title>Sydney Review of Books: Essays, Reviews, Interviews | Sydney Review of Books</title><meta name="description" content="Publishing longform criticism and essays by Australia&#x27;s best writers since 2013. Online and in Parramatta."/><link rel="canonical" href="https://sydneyreviewofbooks.com"/><meta property="og:title" content="Sydney Review of Books: Essays, Reviews, Interviews | Sydney Review of Books"/><meta property="og:description" content="Publishing longform criticism and essays by Australia&#x27;s best writers since 2013. Online and in Parramatta."/><meta property="og:image" content="https://res.cloudinary.com/dbgkqg6nu/image/upload/v1717587535/SEO/srb-og_mtrt0d.png"/><meta property="og:type" content="website"/><meta name="twitter:card" content="summary_large_image"/><meta name="twitter:title" content="Sydney Review of Books: Essays, Reviews, Interviews | Sydney Review of Books"/><meta name="twitter:description" content="Publishing longform criticism and essays by Australia&#x27;s best writers since 2013. Online and in Parramatta."/><meta name="twitter:image" content="https://res.cloudinary.com/dbgkqg6nu/image/upload/v1717587535/SEO/srb-og_mtrt0d.png"/><link rel="icon" href="/favicon.ico" type="image/x-icon" sizes="300x300"/><link rel="icon" href="/icon.ico?ece80e2a52116007" type="image/x-icon" sizes="300x300"/><meta name="next-size-adjust"/>
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1<li><article class="relative w-full h-full overflow-hidden"><a aria-label="A Theatre of Ordinary Pleasure" href="/essays/a-theatre-of-ordinary-pleasure"><div class="styles_ImageWrapper__YhTAu" data-is-cover="true" style="background-color:#515700"><div class="styles_Image__ktopH"><img alt="Top-down view of Sydney Fish Markets, including the pier." loading="lazy" width="800" height="342.5" decoding="async" data-nimg="1" class="drop-shadow-lg" style="color:transparent" srcSet="https://images.prismic.io/sydneyreviewofbooks/yK7tDC_ZSEL710T-_Chapman_web_Bannr.png?auto=format%2Ccompress&amp;fit=max&amp;w=828 1x, https://images.prismic.io/sydneyreviewofbooks/yK7tDC_ZSEL710T-_Chapman_web_Bannr.png?auto=format%2Ccompress&amp;fit=max&amp;w=1920 2x" src="https://images.prismic.io/sydneyreviewofbooks/yK7tDC_ZSEL710T-_Chapman_web_Bannr.png?auto=format%2Ccompress&amp;fit=max&amp;w=1920"/></div></div></a><div class="flex flex-col px-6 pt-6 pb-3 space-y-4 md:px-4"><header class="flex justify-between w-full space-x-6"><a class="no-underline" aria-label="A Theatre of Ordinary Pleasure" href="/essays/a-theatre-of-ordinary-pleasure"><div class="w-full space-y-4"><div class="w-full space-y-2"><h3 class="text-project-card">A Theatre of Ordinary Pleasure</h3><p class="!font-normal text-caption-md">What does it look like to write architectural criticism &#x27;from below&#x27;? 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Hope: A Life&#x27; by Susan Lever" loading="lazy" width="903" height="1382" decoding="async" data-nimg="1" style="color:transparent" srcSet="https://images.prismic.io/sydneyreviewofbooks/ojhUYIQcl9Igwd19_cover.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=1080 1x, https://images.prismic.io/sydneyreviewofbooks/ojhUYIQcl9Igwd19_cover.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=1920 2x" src="https://images.prismic.io/sydneyreviewofbooks/ojhUYIQcl9Igwd19_cover.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=1920"/></div></div></div></a><div class="flex flex-col px-6 pt-6 pb-3 space-y-4 md:px-4"><header class="flex justify-between w-full space-x-6"><a class="no-underline" aria-label="Hope Against Hope" href="/reviews/hope-against-hope"><div class="w-full space-y-4"><div class="w-full space-y-2"><h3 class="text-project-card">Hope Against Hope</h3><p class="!font-normal text-caption-md">Damian Maher reviews Susan Lever’s biography of A.D. Hope, which rounds out the picture of a poet known for his caustic satires and reviews. Reading Hope’s verse alongside Lever’s account, Maher examines Hope’s sexual and cultural politics.</p></div><div class="!font-normal text-card-caption justify-self-start"><p class="font-medium">Damian Maher</p><time class="block uppercase text-caption-sm shrink-0">27<!-- --> <!-- -->Aug<!-- -->. <!-- -->2026</time></div></div></a><button class="p-2 w-8 h-8 border rounded-full shrink-0" aria-label="Bookmark this article"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 17 16" class="w-full h-full" role="img" aria-label="Bookmark Icon"><path stroke="currentColor" fill="none" stroke-linecap="round" stroke-linejoin="round" stroke-width="1.28" d="m15.6134 15.1154-7.11529-4.6041-7.1153 4.6041V1.50349c0-.1641.09371-.32147.26051-.43751.16679-.116028.39302-.181214.6289-.181214H14.724c.2359 0 .4621.065186.6289.181214.1668.11604.2605.27341.2605.43751V15.1154Z"></path></svg></button></header></div></article></li></ol></section></section><!--/$--><!--$--><section 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1<li><article class="relative w-full h-full overflow-hidden"><a aria-label="A Woman’s Work?" href="/reviews/a-womans-work"><div class="styles_ImageWrapper__YhTAu" data-is-cover="false" style="background-color:#B6E1F8"><div class="styles_Image__ktopH"><div class="BooksImages_Holder__T5_fw"><img alt="" loading="lazy" width="1577" height="2400" decoding="async" data-nimg="1" style="color:transparent" srcSet="https://images.prismic.io/sydneyreviewofbooks/eYHBArf9WolVqP7R_9780872869165_LVsK9Wd.originalWEB.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=1920 1x, https://images.prismic.io/sydneyreviewofbooks/eYHBArf9WolVqP7R_9780872869165_LVsK9Wd.originalWEB.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=3840 2x" src="https://images.prismic.io/sydneyreviewofbooks/eYHBArf9WolVqP7R_9780872869165_LVsK9Wd.originalWEB.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=3840"/></div></div></div></a><div class="flex flex-col px-6 pt-6 pb-3 space-y-4 md:px-4"><header class="flex justify-between w-full space-x-6"><a class="no-underline" aria-label="A Woman’s Work?" href="/reviews/a-womans-work"><div class="w-full space-y-4"><div class="w-full space-y-2"><h3 class="text-project-card">A Woman’s Work?</h3><p class="!font-normal text-caption-md">Society requires caregiving in order to function. Overwhelmingly, it is 
1women who shoulder the load. Adding her own voice to Mexican journalist Daniela Rea’s polyphonic account of motherhood and care work, May Ngo asks, ‘Where are all the men?’</p></div><div class="!font-normal text-card-caption justify-self-start"><p class="font-medium">May Ngo</p><time class="block uppercase text-caption-sm shrink-0">28<!-- --> <!-- -->Sept<!-- -->. <!-- -->2026</time></div></div></a><button class="p-2 w-8 h-8 border rounded-full shrink-0" aria-label="Bookmark this article"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 17 16" class="w-full h-full" role="img" aria-label="Bookmark Icon"><path stroke="currentColor" fill="none" stroke-linecap="round" stroke-linejoin="round" stroke-width="1.28" d="m15.6134 15.1154-7.11529-4.6041-7.1153 4.6041V1.50349c0-.1641.09371-.32147.26051-.43751.16679-.116028.39302-.181214.6289-.181214H14.724c.2359 0 .4621.065186.6289.181214.1668.11604.2605.27341.2605.43751V15.1154Z"></path></svg></button></header></div></article></li><li><article class="relative w-full h-full overflow-hidden"><a aria-label="Communion of the Sublime Loogie" href="/reviews/communion-of-the-sublime-loogie"><div class="styles_ImageWrapper__YhTAu" data-is-cover="false" style="background-color:#FF792D"><div class="styles_Image__ktopH"><div class="BooksImages_Holder__T5_fw"><img alt="Book Cover for &#x27;Blue Lard&#x27; by Vladimir Sorokin" loading="lazy" width="1445" height="2312" decoding="async" data-nimg="1" style="color:transparent" srcSet="https://images.prismic.io/sydneyreviewofbooks/mmMGtDs5BMC-0pIg_BlueLard_WebV.jpeg?auto=format%2Ccompress&amp;fit=max&amp;w=1920 1x, https://images.prismic.io/sydneyreviewofbooks/mmMGtDs5BMC-0pIg_BlueLard_WebV.jpeg?auto=format%2Ccompress&amp;fit=max&amp;w=3840 2x" src="https://images.prismic.io/sydneyreviewofbooks/mmMGtDs5BMC-0pIg_BlueLard_WebV.jpeg?auto=format%2Ccompress&amp;fit=max&amp;w=3840"/><img alt="Book Cover for &#x27;Ice Trilogy&#x27; by Vladimir Sorokin" loading="lazy" width="650" height="1038" decoding="async" data-nimg="1" style="color:transparent" srcSet="https://images.prismic.io/sydneyreviewofbooks/HMS6-RNWsD--yCzB_ice-trilogy_WebV.jpeg?auto=format%2Ccompress&amp;fit=max&amp;w=750 1x, https://images.prismic.io/sydneyreviewofbooks/HMS6-RNWsD--yCzB_ice-trilogy_WebV.jpeg?auto=format%2Ccompress&amp;fit=max&amp;w=1920 2x" src="https://images.prismic.io/sydneyreviewofbooks/HMS6-RNWsD--yCzB_ice-trilogy_WebV.jpeg?auto=format%2Ccompress&amp;fit=max&amp;w=1920"/><img alt="Book Cover of &#x27;Red Pyramid: Selected Stories&#x27; by Vladimir Sorokin" loading="lazy" width="1445" height="2328" decoding="async" data-nimg="1" style="color:transparent" srcSet="https://images.prismic.io/sydneyreviewofbooks/0xSsEMw3Cx8AD0Qj_RedPyramind_webVer.jpeg?auto=format%2Ccompress&amp;fit=max&amp;w=1920 1x, https://images.prismic.io/sydneyreviewofbooks/0xSsEMw3Cx8AD0Qj_RedPyramind_webVer.jpeg?auto=format%2Ccompress&amp;fit=max&amp;w=3840 2x" src="https://images.prismic.io/sydneyreviewofbooks/0xSsEMw3Cx8AD0Qj_RedPyramind_webVer.jpeg?auto=format%2Ccompress&amp;fit=max&amp;w=3840"/></div></div></div></a><div class="flex flex-col px-6 pt-6 pb-3 space-y-4 md:px-4"><header class="flex justify-between w-full space-x-6"><a class="no-underline" aria-label="Communion of the Sublime Loogie" href="/reviews/communion-of-the-sublime-loogie"><div class="w-full space-y-4"><div class="w-full space-y-2"><h3 class="text-project-card">Communion of the Sublime Loogie</h3><p class="!font-normal text-caption-md">James Ley surveys the career and work of Russian avant-garde satirist, Vladimir Sorokin. With a Sadean virtuosity of violence and cruelty, Sorokin’s novels expose the complicity of Russian literature in upholding ideas of national exceptionalism.</p></div><div class="!font-normal text-card-caption justify-self-start"><p class="font-medium">James Ley</p><time class="block uppercase text-caption-sm shrink-0">14<!-- --> <!-- -->Sept<!-- -->. <!-- -->2026</time></div></div></a><button class="p-2 w-8 h-8 border rounded-full shrink-0" aria-label="Bookmark this article"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 17 16" class="w-full h-full" role="img" aria-label="Bookmark Icon"><path stroke="currentColor" fill="none" stroke-linecap="round" stroke-linejoin="round" stroke-width="1.28" d="m15.6134 15.1154-7.11529-4.6041-7.1153 4.6041V1.50349c0-.1641.09371-.32147.26051-.43751.16679-.116028.39302-.181214.6289-.181214H14.724c.2359 0 .4621.065186.6289.181214.1668.11604.2605.27341.2605.43751V15.1154Z"></path></svg></button></header></div></article></li><li><article class="relative w-full h-full overflow-hidden"><a aria-label="A Sentimental Thingification" href="/reviews/a-sentimental-thingification"><div class="styles_ImageWrapper__YhTAu" data-is-cover="false" style="background-color:#FFFAD0"><div class="styles_Image__ktopH"><div class="BooksImages_Holder__T5_fw"><img alt="" loading="lazy" width="1807" height="2764" decoding="async" data-nimg="1" style="color:transparent" srcSet="https://images.prismic.io/sydneyreviewofbooks/CC_PXb_UlAE4F0HZ_9781922790897.jpeg?auto=format%2Ccompress&amp;fit=max&amp;w=1920 1x, https://images.prismic.io/sydneyreviewofbooks/CC_PXb_UlAE4F0HZ_9781922790897.jpeg?auto=format%2Ccompress&amp;fit=max&amp;w=3840 2x" src="https://images.prismic.io/sydneyreviewofbooks/CC_PXb_UlAE4F0HZ_9781922790897.jpeg?auto=format%2Ccompress&amp;fit=max&amp;w=3840"/></div></div></div></a><div class="flex flex-col px-6 pt-6 pb-3 space-y-4 md:px-4"><header class="flex justify-between w-full space-x-6"><a class="no-underline" aria-label="A Sentimental Thingification" href="/reviews/a-sentimental-thingification"><div class="w-full space-y-4"><div class="w-full space-y-2"><h3 class="text-project-card">A Sentimental Thingification</h3><p class="!font-normal text-caption-md">If literary merit is tied to originality, how do we judge a work that explicitly sets out to rewrite another? Reviewing Vincenzo Latronico’s novel ‘Perfection’, Jack Jeweller draws out its intertextual resonances with the work of Perec and Barthes<!-- -->...</p></div><div class="!font-normal text-card-caption justify-self-start"><p class="font-medium">Jack Jeweller</p><time class="block uppercase text-caption-sm shrink-0">4<!-- --> <!-- -->Sept<!-- -->. <!-- -->2026</time></div></div></a><button class="p-2 w-8 h-8 border rounded-full shrink-0" aria-label="Bookmark this article"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 17 16" class="w-full h-full" role="img" aria-label="Bookmark Icon"><path stroke="currentColor" fill="none" stroke-linecap="round" stroke-linejoin="round" stroke-width="1.28" d="m15.6134 15.1154-7.11529-4.6041-7.1153 4.6041V1.50349c0-.1641.09371-.32147.26051-.43751.16679-.116028.39302-.181214.6289-.181214H14.724c.2359 0 .4621.065186.6289.181214.1668.11604.2605.27341.2605.43751V15.1154Z"></path></svg></button></header></div></article></li><li><article class="relative w-full h-full overflow-hidden"><a aria-label="An Ocean of Her Own" href="/reviews/an-ocean-of-her-own"><div class="styles_ImageWrapper__YhTAu" data-is-cover="false" style="background-color:#54B9D1"><div class="styles_Image__ktopH"><div class="BooksImages_Holder__T5_fw"><img alt="" loading="lazy" width="589" height="900" decoding="async" data-nimg="1" style="color:transparent" srcSet="https://images.prismic.io/sydneyreviewofbooks/MfnOzmOWgo203JYo_9781761631801.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=640 1x, https://images.prismic.io/sydneyreviewofbooks/MfnOzmOWgo203JYo_9781761631801.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=1200 2x" src="https://images.prismic.io/sydneyreviewofbooks/MfnOzmOWgo203JYo_9781761631801.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=1200"/></div></div></div></a><div class="flex flex-col px-6 pt-6 pb-3 space-y-4 md:px-4"><header class="flex justify-between w-full space-x-6"><a class="no-underline" aria-label="An Ocean of Her Own" href="/reviews/an-ocean-of-her-own"><div class="w-full space-y-4"><div class="w-full space-y-2"><h3 class="text-project-card">An Ocean of Her Own</h3><p class="!font-normal text-caption-md">Surf culture, and surf writing, has always been something of a sausage-fest. Reading A Catalogue of Love as a fellow surfer and writer, Melissa Fagan finds much to appreciate about Erin Hortle’s literary effort to reclaim the waves.</p></div><div class="!font-normal text-card-caption justify-self-start"><p class="font-medium">Melissa Fagan</p><time class="block uppercase text-caption-sm shrink-0">1<!-- --> <!-- -->Sept<!-- -->. <!-- -->2026</time></div></div></a><button class="p-2 w-8 h-8 border rounded-full shrink-0" aria-label="Bookmark this article"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 17 16" class="w-full h-full" role="img" aria-label="Bookmark Icon"><path stroke="currentColor" fill="none" stroke-linecap="round" stroke-linejoin="round" stroke-width="1.28" d="m15.6134 15.1154-7.11529-4.6041-7.1153 4.6041V1.50349c0-.1641.09371-.32147.26051-.43751.16679-.116028.39302-.181214.6289-.181214H14.724c.2359 0 .4621.065186.6289.181214.1668.11604.2605.27341.2605.43751V15.1154Z"></path></svg></button></header></div></article></li></ol><a class="button text-neutral-100 bg-neutral-300 mx-auto" aria-label="More ,Reviews" href="/reviews">More <!-- -->Reviews</a></section></section><!--/$--><!--$--><section data-slice-type="essays_list" data-slice-variation="default" aria-label="Featured Essays"><section class="relative w-full space-y-10 md:space-y-8 my-10"><h2 class="ml-6 md:ml-8 text-heading-lg">Essays</h2><ol class="grid w-full grid-cols-1 gap-y-12 sm:grid-cols-2 lg:grid-cols-4 md:gap-0">
1<li><article class="relative w-full h-full overflow-hidden"><a aria-label="These Nights Belong to Us" href="/essays/these-nights-belong-to-us"><div class="styles_ImageWrapper__YhTAu" data-is-cover="false" style="background-color:#034160"><div class="styles_Image__ktopH"><div class="relative w-full h-full"><div class="styles_GeneratedImageWrapper__XLitX styles_bg-primary__cAwwx" style="--primary-color:#034160;--secondary-color:#54B9D1;--tertiary-color:#B6E1F8"><div class="styles_Inner__wgFNM"><div class="styles_Holder__uqFdM"><div class="styles_Inner__lJfzB"><div class="styles_ShapeClassesHolder__33lj4 styles_outline-filled__Fd3gd styles_bg-primary__QQ_8h" data-shape-holder="true"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 233 233"><path fill="#fff" fill-rule="evenodd" d="m116.5 0 25.984 90.516L233 116.5l-90.516 25.984L116.5 233l-25.984-90.516L0 116.5l90.516-25.984z" clip-rule="evenodd"></path></svg></div><div class="styles_ShapeClassesHolder__33lj4 styles_outline-filled__Fd3gd styles_bg-primary__QQ_8h" data-shape-holder="true"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 233 233"><path fill="#fff" fill-rule="evenodd" d="m116.5 0 25.984 90.516L233 116.5l-90.516 25.984L116.5 233l-25.984-90.516L0 116.5l90.516-25.984z" clip-rule="evenodd"></path></svg></div><div class="styles_ShapeClassesHolder__33lj4 styles_outline-filled__Fd3gd styles_bg-primary__QQ_8h" data-shape-holder="true"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 233 233"><path fill="#fff" fill-rule="evenodd" d="m116.5 0 25.984 90.516L233 116.5l-90.516 25.984L116.5 233l-25.984-90.516L0 116.5l90.516-25.984z" clip-rule="evenodd"></path></svg></div></div></div></div></div></div></div></div></a><div class="flex flex-col px-6 pt-6 pb-3 space-y-4 md:px-4"><header class="flex justify-between w-full space-x-6"><a class="no-underline" aria-label="These Nights Belong to Us" href="/essays/these-nights-belong-to-us"><div class="w-full space-y-4"><div class="w-full space-y-2"><h3 class="text-project-card">These Nights Belong to Us</h3><p class="!font-normal text-caption-md">Elizabeth Jolley wrote after the children were in bed. Toni Morrison and Sylvia Plath did their writing before dawn. Women’s night writing is a practice born of necessity, but Samantha Roberts uncovers the freedoms of composing in the dark.</p></div><div class="!font-normal text-card-caption justify-self-start"><p class="font-medium">Samantha Roberts</p><time class="block uppercase text-caption-sm shrink-0">2<!-- --> <!-- -->Oct<!-- -->. <!-- -->2026</time></div></div></a><button class="p-2 w-8 h-8 border rounded-full shrink-0" aria-label="Bookmark this article"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 17 16" class="w-full h-full" role="img" aria-label="Bookmark Icon"><path stroke="currentColor" fill="none" stroke-linecap="round" stroke-linejoin="round" stroke-width="1.28" d="m15.6134 15.1154-7.11529-4.6041-7.1153 4.6041V1.50349c0-.1641.09371-.32147.26051-.43751.16679-.116028.39302-.181214.6289-.181214H14.724c.2359 0 .4621.065186.6289.181214.1668.11604.2605.27341.2605.43751V15.1154Z"></path></svg></button></header></div></article></li><li><article class="relative w-full h-full overflow-hidden"><a aria-label="Shadow Devices" href="/essays/shadow-devices"><div class="styles_ImageWrapper__YhTAu" data-is-cover="true" style="background-color:#FDEAFD"><div class="styles_Image__ktopH"><img alt="" loading="lazy" width="800" height="342.5" decoding="async" data-nimg="1" class="drop-shadow-lg" style="color:transparent" srcSet="https://images.prismic.io/sydneyreviewofbooks/t_InrSAqLtTFJjos_Gorton_MonnaLisaWeb_banner-3-.png?auto=format%2Ccompress&amp;fit=max&amp;w=828 1x, https://images.prismic.io/sydneyreviewofbooks/t_InrSAqLtTFJjos_Gorton_MonnaLisaWeb_banner-3-.png?auto=format%2Ccompress&amp;fit=max&amp;w=1920 2x" src="https://images.prismic.io/sydneyreviewofbooks/t_InrSAqLtTFJjos_Gorton_MonnaLisaWeb_banner-3-.png?auto=format%2Ccompress&amp;fit=max&amp;w=1920"/></div></div></a><div class="flex flex-col px-6 pt-6 pb-3 space-y-4 md:px-4"><header class="flex justify-between w-full space-x-6"><a class="no-underline" aria-label="Shadow Devices" href="/essays/shadow-devices"><div class="w-full space-y-4"><div class="w-full space-y-2"><h3 class="text-project-card">
1Shadow Devices</h3><p class="!font-normal text-caption-md">The Monna Lisa is often described as enigmatic, but what if the enigma has as much to do with its landscape as its subject’s smile? Lisa Gorton makes the case for a hidden emblem that places the painting at a decisive moment in Florentine history.<!-- -->...</p></div><div class="!font-normal text-card-caption justify-self-start"><p class="font-medium">Lisa Gorton</p><time class="block uppercase text-caption-sm shrink-0">23<!-- --> <!-- -->Sept<!-- -->. <!-- -->2026</time></div></div></a><button class="p-2 w-8 h-8 border rounded-full shrink-0" aria-label="Bookmark this article"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 17 16" class="w-full h-full" role="img" aria-label="Bookmark Icon"><path stroke="currentColor" fill="none" stroke-linecap="round" stroke-linejoin="round" stroke-width="1.28" d="m15.6134 15.1154-7.11529-4.6041-7.1153 4.6041V1.50349c0-.1641.09371-.32147.26051-.43751.16679-.116028.39302-.181214.6289-.181214H14.724c.2359 0 .4621.065186.6289.181214.1668.11604.2605.27341.2605.43751V15.1154Z"></path></svg></button></header></div></article></li><li><article class="relative w-full h-full overflow-hidden"><a aria-label="A Theatre of Ordinary Pleasure" href="/essays/a-theatre-of-ordinary-pleasure"><div class="styles_ImageWrapper__YhTAu" data-is-cover="true" style="background-color:#515700"><div class="styles_Image__ktopH"><img alt="Top-down view of Sydney Fish Markets, including the pier." loading="lazy" width="800" height="342.5" decoding="async" data-nimg="1" class="drop-shadow-lg" style="color:transparent" srcSet="https://images.prismic.io/sydneyreviewofbooks/yK7tDC_ZSEL710T-_Chapman_web_Bannr.png?auto=format%2Ccompress&amp;fit=max&amp;w=828 1x, https://images.prismic.io/sydneyreviewofbooks/yK7tDC_ZSEL710T-_Chapman_web_Bannr.png?auto=format%2Ccompress&amp;fit=max&amp;w=1920 2x" src="https://images.prismic.io/sydneyreviewofbooks/yK7tDC_ZSEL710T-_Chapman_web_Bannr.png?auto=format%2Ccompress&amp;fit=max&amp;w=1920"/></div></div></a><div class="flex flex-col px-6 pt-6 pb-3 space-y-4 md:px-4"><header class="flex justify-between w-full space-x-6"><a class="no-underline" aria-label="A Theatre of Ordinary Pleasure" href="/essays/a-theatre-of-ordinary-pleasure"><div class="w-full space-y-4"><div class="w-full space-y-2"><h3 class="text-project-card">A Theatre of Ordinary Pleasure</h3><p class="!font-normal text-caption-md">What does it look like to write architectural criticism &#x27;from below&#x27;? Tailing the Sydney Fish Market&#x27;s everyday users as well as its designers, Lara Chapman weighs up the importance of industrial spectacle to fish architecture past and present.</p></div><div class="!font-normal text-card-caption justify-self-start"><p class="font-medium">Lara Chapman</p><time class="block uppercase text-caption-sm shrink-0">4<!-- --> <!-- -->Sept<!-- -->. <!-- -->2026</time></div></div></a><button class="p-2 w-8 h-8 border rounded-full shrink-0" aria-label="Bookmark this article"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 17 16" class="w-full h-full" role="img" aria-label="Bookmark Icon"><path stroke="currentColor" fill="none" stroke-linecap="round" stroke-linejoin="round" stroke-width="1.28" d="m15.6134 15.1154-7.11529-4.6041-7.1153 4.6041V1.50349c0-.1641.09371-.32147.26051-.43751.16679-.116028.39302-.181214.6289-.181214H14.724c.2359 0 .4621.065186.6289.181214.1668.11604.2605.27341.2605.43751V15.1154Z"></path></svg></button></header></div></article></li><li><article class="relative w-full h-full overflow-hidden"><a aria-label="The Moral Dilemmas of Dementia" href="/essays/the-moral-dilemmas-of-dementia"><div class="styles_ImageWrapper__YhTAu" data-is-cover="false" style="background-color:#FFFAD0"><div class="styles_Image__ktopH"><div class="relative w-full h-full"><div class="styles_GeneratedImageWrapper__XLitX styles_bg-tertiary__nEq_U" style="--primary-color:#FFC700;--secondary-color:#FF792D;--tertiary-color:#FFFAD0"><div class="styles_Inner__wgFNM"><div class="styles_LayoutDouble__7zfj7"><div class="styles_Inner__pdxfd"><div class="styles_ShapeClassesHolder__33lj4 styles_outline-filled__Fd3gd styles_bg-tertiary__ZtSU_" data-shape-holder="true"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 105 105"><ellipse cx="52.5" cy="52.5" fill="#fff" rx="52" ry="52.5" transform="rotate(90 52.5 52.5)"></ellipse></svg></div><div class="styles_ShapeClassesHolder__33lj4 styles_outline-filled__Fd3gd styles_bg-tertiary__ZtSU_" data-shape-holder="true"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 105 105"><ellipse cx="52.5" cy="52.5" fill="#fff" rx="52" ry="52.5" transform="rotate(90 52.5 52.5)"></ellipse></svg></div></div></div></div></div></div></div></div></a><div class="flex flex-col px-6 pt-6 pb-3 space-y-4 md:px-4"><header class="flex justify-between w-full space-x-6"><a class="no-underline" aria-label="The Moral Dilemmas of Dementia" href="/essays/the-moral-dilemmas-of-dementia"><div class="w-full space-y-4"><div class="w-full space-y-2"><h3 class="text-project-card">The Moral Dilemmas of Dementia</h3><p class="!font-normal text-caption-md">People are living longer. But as life expectancy rises, so do dementia rates. What guidance might Art offer on how best to care for the afflicted? Duncan Stuart ponders the matter via the work of Annie Ernaux and J.M. Coetzee.</p></div><div class="!font-normal text-card-caption justify-self-start"><p class="font-medium">Duncan Stuart</p><time class="block uppercase text-caption-sm shrink-0">22<!-- --> <!-- -->July<!-- -->. <!-- -->2026</time></div></div></a><button class="p-2 w-8 h-8 border rounded-full shrink-0" aria-label="Bookmark this article"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 17 16" class="w-full h-full" role="img" aria-label="Bookmark Icon"><path stroke="currentColor" fill="none" stroke-linecap="round" stroke-linejoin="round" stroke-width="1.28" d="m15.6134 15.1154-7.11529-4.6041-7.1153 4.6041V1.50349c0-.1641.09371-.32147.26051-.43751.16679-.116028.39302-.181214.6289-.181214H14.724c.2359 0 .4621.065186.6289.181214.1668.11604.2605.27341.2605.43751V15.1154Z"></path></svg></button></header></div></article></li></ol><a class="button text-neutral-100 bg-neutral-300 mx-auto" aria-label="More ,Essays" href="/essays">More <!-- -->Essays</a></section></section><!--/$--><!--$--><section data-slice-type="feature" data-slice-variation="default" aria-label="Featured Content"><div class="Feature_Holder__qE0dx"><div class="Feature_Inner__ctoKo Feature_Single__r88Zn"><div class="FeatureCard_Holder__Fsmz_ FeatureCard_Large__O61nG" style="background-color:#D8E259;
1color:#000"><div class="FeatureCard_Inner__4okwT"><div class="FeatureCard_ImageHolder__yTN_M"><img alt="" loading="lazy" width="1640" height="924" decoding="async" data-nimg="1" class="FeatureCard_Image__LKKhi" style="color:transparent" srcSet="https://images.prismic.io/sydneyreviewofbooks/aZe12sFoBIGEglP6_FullyLit_SEO.png?auto=format%2Ccompress&amp;fit=max&amp;w=1920 1x, https://images.prismic.io/sydneyreviewofbooks/aZe12sFoBIGEglP6_FullyLit_SEO.png?auto=format%2Ccompress&amp;fit=max&amp;w=3840 2x" src="https://images.prismic.io/sydneyreviewofbooks/aZe12sFoBIGEglP6_FullyLit_SEO.png?auto=format%2Ccompress&amp;fit=max&amp;w=3840"/></div><div class="FeatureCard_Content__BCsX8"><h3 class="text-heading-lg">FULLY LIT: A podcast about Australian writing</h3><div class="text-body"><p>A must-listen for anyone interested in the past, present, and future of Australian writing. Through longform discussions, richly sound designed readings, and a wealth of archival material, appreciate Australian literature as you&#x27;ve never done before: with a deeper sense of its history, cultural and political contexts, and place in the global publishing landscape. </p></div><div class="FeatureCard_Button__eCTHs"><a class="button tag" href="/podcast">Listen now</a></div></div></div></div></div></div></section><!--/$--><!--$--><section data-slice-type="interviews_list" data-slice-variation="default" aria-label="Featured Interviews"><section class="relative w-full space-y-10 md:space-y-8 my-10"><h2 class="ml-6 md:ml-8 text-heading-lg">Interviews</h2><ol class="grid w-full grid-cols-1 gap-y-12 sm:grid-cols-2 lg:grid-cols-4 md:gap-0"><li><article class="relative w-full h-full overflow-hidden"><a aria-label="The Past in All of Our Nows" href="/interviews/the-past-in-all-of-our-nows"><div class="styles_ImageWrapper__YhTAu" data-is-cover="false" style="background-color:#034160"><div class="styles_Image__ktopH"><div class="BooksImages_Holder__T5_fw"><img alt="Book Cover of &#x27;Joss: A History&#x27; by Grace Yee" loading="lazy" width="1763" height="2478" decoding="async" data-nimg="1" style="color:transparent" srcSet="https://images.prismic.io/sydneyreviewofbooks/agvPgqYofJOwHWUe_cover_joss-a-history_grace-yee_june-2025_hr.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=1920 1x, https://images.prismic.io/sydneyreviewofbooks/agvPgqYofJOwHWUe_cover_joss-a-history_grace-yee_june-2025_hr.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=3840 2x" src="https://images.prismic.io/sydneyreviewofbooks/agvPgqYofJOwHWUe_cover_joss-a-history_grace-yee_june-2025_hr.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=3840"/></div></div></div></a><div class="flex flex-col px-6 pt-6 pb-3 space-y-4 md:px-4"><header class="flex justify-between w-full space-x-6"><a class="no-underline" aria-label="The Past in All of Our Nows" href="/interviews/the-past-in-all-of-our-nows"><div class="w-full space-y-4"><div class="w-full space-y-2"><h3 class="text-project-card">The Past in All of Our Nows</h3><p class="!font-normal text-caption-md">Heather Taylor-Johnson talks to Grace Yee about her second book, Joss: A History – its weaving together of colonialist and Chinese settler voices, the archives we carry in our bodies, and the deep, deliberate processing involved in creating poems.<!-- -->...</p></div><div class="!font-normal text-card-caption justify-self-start"><p class="font-medium">Heather Taylor-Johnson<!-- -->, </p><p class="font-medium">Grace Yee</p><time class="block uppercase text-caption-sm shrink-0">20<!-- --> <!-- -->May<!-- -->. <!-- -->2026</time></div></div></a><button class="p-2 w-8 h-8 border rounded-full shrink-0" aria-label="Bookmark this article"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 17 16" class="w-full h-full" role="img" aria-label="Bookmark Icon"><path stroke="currentColor" fill="none" stroke-linecap="round" stroke-linejoin="round" stroke-width="1.28" d="m15.6134 15.1154-7.11529-4.6041-7.1153 4.6041V1.50349c0-.1641.09371-.32147.26051-.43751.16679-.116028.39302-.181214.6289-.181214H14.724c.2359 0 .4621.065186.6289.181214.1668.11604.2605.27341.2605.43751V15.1154Z"></path></svg></button></header></div></article></li><li><article class="relative w-full h-full overflow-hidden"><a aria-label="Telling Truth Aslant" href="/interviews/telling-truth-aslant"><div class="styles_ImageWrapper__YhTAu" data-is-cover="true" style="background-color:#FDEAFD"><div class="styles_Image__ktopH"><img alt="Image of Selina Tusitala Marsh" loading="lazy" width="800" height="342.5" decoding="async" data-nimg="1" class="drop-shadow-lg" style="color:transparent" srcSet="https://images.prismic.io/sydneyreviewofbooks/aRFEwLpReVYa4Rhc_TellingTruthAslant_WebsiteBanner-2-.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=828 1x, https://images.prismic.io/sydneyreviewofbooks/aRFEwLpReVYa4Rhc_TellingTruthAslant_WebsiteBanner-2-.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=1920 2x" src="https://images.prismic.io/sydneyreviewofbooks/aRFEwLpReVYa4Rhc_TellingTruthAslant_WebsiteBanner-2-.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=1920"/></div></div></a><div class="flex flex-col px-6 pt-6 pb-3 space-y-4 md:px-4"><header class="flex justify-between w-full space-x-6"><a class="no-underline" aria-label="Telling Truth Aslant" href="/interviews/telling-truth-aslant"><div class="w-full space-y-4"><div class="w-full space-y-2"><h3 class="text-project-card">Telling Truth Aslant</h3><p class="!font-normal text-caption-md">In June 2025, Selina Tusitala Marsh was appointed the inaugural Commonwealth Poet Laureate. Alexandra Effe speaks to Marsh about the laureateship, championing Pacific writing, and the wide-ranging influences on Marsh’s own creative practice.</p></div><div class="!font-normal text-card-caption justify-self-start"><p class="font-medium">Alexandra Effe<!-- -->, </p><p class="font-medium">Selina Tusitala Marsh</p><time class="block uppercase text-caption-sm shrink-0">14<!-- --> <!-- -->Nov<!-- -->. <!-- -->2025</time></div></div></a><button class="p-2 w-8 h-8 border rounded-full shrink-0" aria-label="Bookmark this article"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 17 16" class="w-full h-full" role="img" aria-label="Bookmark Icon"><path stroke="currentColor" fill="none" stroke-linecap="round" stroke-linejoin="round" stroke-width="1.28" d="m15.6134 15.1154-7.11529-4.6041-7.1153 4.6041V1.50349c0-.1641.09371-.32147.26051-.43751.16679-.116028.39302-.181214.6289-.181214H14.724c.2359 0 .4621.065186.6289.181214.1668.11604.2605.27341.2605.43751V15.1154Z"></path></svg></button></header></div></article></li><li><article class="relative w-full h-full overflow-hidden"><a aria-label="This Changes Everything" href="/interviews/this-changes-everything"><div class="styles_ImageWrapper__YhTAu" data-is-cover="false" style="background-color:#CF1750"><div class="styles_Image__ktopH"><div class="BooksImages_Holder__T5_fw"><img alt="Book cover for &#x27;The Trial of Anna Thalberg&#x27; by Eduardo Sangarcía, translated from the Spanish by Elizabeth Bryer" loading="lazy" width="1052" height="1500" decoding="async" data-nimg="1" style="color:transparent" srcSet="https://images.prismic.io/sydneyreviewofbooks/aN8SIZ5xUNkB1bli_9781632063731.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=1080 1x, https://images.prismic.io/sydneyreviewofbooks/aN8SIZ5xUNkB1bli_9781632063731.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=3840 2x" src="https://images.prismic.io/sydneyreviewofbooks/aN8SIZ5xUNkB1bli_9781632063731.jpg?auto=format%2Ccompress&amp;fit=max&amp;w=3840"/></div></div></div></a><div class="flex flex-col px-6 pt-6 pb-3 space-y-4 md:px-4"><header class="flex justify-between w-full space-x-6"><a class="no-underline" aria-label="This Changes Everything" href="/interviews/this-changes-everything"><div class="w-full space-y-4"><div class="w-full space-y-2"><h3 class="text-project-card">This Changes Everything</h3><p class="!font-normal text-caption-md">In the wake of winning the 2025 NSW Translation Prize, Elizabeth Bryer converses with fellow translator Sarah Timmer Harvey on the impact of material conditions on one’s practice and on translation as a radical and radically personal act.  </p></div><div class="!font-normal text-card-caption justify-self-start"><p class="font-medium">Elizabeth Bryer<!-- -->, </p><p class="font-medium">Sarah Timmer Harvey</p><time class="block uppercase text-caption-sm shrink-0">3<!-- --> <!-- -->Oct<!-- -->. <!-- -->2025</time></div></div></a><button class="p-2 w-8 h-8 border rounded-full shrink-0" aria-label="Bookmark this article"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 17 16" class="w-full h-full" role="img" aria-label="Bookmark Icon"><path stroke="currentColor" fill="none" stroke-linecap="round" stroke-linejoin="round" stroke-width="1.28" d="m15.6134 15.1154-7.11529-4.6041-7.1153 4.6041V1.50349c0-.1641.09371-.32147.26051-.43751.16679-.116028.39302-.181214.6289-.181214H14.724c.2359 0 .4621.065186.6289.181214.1668.11604.2605.27341.2605.43751V15.1154Z"></path></svg></button></header></div></article></li><li><article class="relative w-full h-full overflow-hidden"><a aria-label="Living it Line by Line" href="/interviews/living-it-line-by-line"><div class="styles_ImageWrapper__YhTAu" data-is-cover="false" style="background-color:#FFFAD0"><div class="styles_Image__ktopH"><div class="relative w-full h-full"><div class="styles_GeneratedImageWrapper__XLitX styles_bg-tertiary__nEq_U" style="--primary-color:#FFC700;--secondary-color:#FF792D;--tertiary-color:#FFFAD0"><div class="styles_Inner__wgFNM"><div class="styles_LayoutDouble__7zfj7"><div class="styles_Inner__pdxfd"><div class="styles_ShapeClassesHolder__33lj4 styles_outline-thin__iiBWo styles_bg-tertiary__ZtSU_" data-shape-holder="true"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 111 111"><path fill="#fff" d="M5.296 66.814c-6.249-6.249-6.249-16.38 0-22.628l38.89-38.89c6.249-6.249 16.38-6.249 22.628 0l38.891 38.89c6.248 6.249 6.248 16.38 0 22.628l-38.891 38.891c-6.248 6.248-16.38 6.248-22.627 0z"></path></svg></div><div class="styles_ShapeClassesHolder__33lj4 styles_outline-thin__iiBWo styles_bg-tertiary__ZtSU_" data-shape-holder="true"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 111 111"><path fill="#fff" d="M5.296 66.814c-6.249-6.249-6.249-16.38 0-22.628l38.89-38.89c6.249-6.249 16.38-6.249 22.628 0l38.891 38.89c6.248 6.249 6.248 16.38 0 22.628l-38.891 38.891c-6.248 6.248-16.38 6.248-22.627 0z"></path></svg></div></div></div></div></div></div></div></div></a><div class="flex flex-col px-6 pt-6 pb-3 space-y-4 md:px-4"><header class="flex justify-between w-full space-x-6"><a class="no-underline" aria-label="Living it Line by Line" href="/interviews/living-it-line-by-line"><div class="w-full space-y-4"><div class="w-full space-y-2"><h3 class="text-project-card">Living it Line by Line</h3><p class="!font-normal text-caption-md">Hossein Asgari and Kim Cheng Boey talk about the novels they have each written about a real-life poet: respectively, the mid-twentieth-century Iranian poet Forugh Farrokhzad and the Tang-dynasty Chinese poet Du Fu.</p></div><div class="!font-normal text-card-caption justify-self-start"><p class="font-medium">Hossein Asgari<!-- -->, </p><p class="font-medium">Kim Cheng Boey</p><time class="block uppercase text-caption-sm shrink-0">13<!-- --> <!-- -->June<!-- -->. <!-- -->2025</time></div></div></a><button class="p-2 w-8 h-8 border rounded-full shrink-0" aria-label="Bookmark this article"><svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 17 16" class="w-full h-full" role="img" aria-label="Bookmark Icon"><path stroke="currentColor" fill="none" stroke-linecap="round" stroke-linejoin="round" stroke-width="1.28" d="m15.6134 15.1154-7.11529-4.6041-7.1153 4.6041V1.50349c0-.1641.09371-.32147.26051-.43751.16679-.116028.39302-.181214.6289-.181214H14.724c.2359 0 .4621.065186.6289.181214.1668.11604.2605.27341.2605.43751V15.1154Z"></path></svg></button></header></div></article></li></ol><a class="button text-neutral-100 bg-neutral-300 mx-auto" aria-label="More ,Interviews" href="/interviews">More <!-- -->Interviews</a></section></section><!--/$--><!--$--><section data-slice-type="news_list" data-slice-variation="default" class="w-full" aria-label="Latest News"><div class="space-y-10 md:space-y-8 w-full"><h2 class="ml-6 md:ml-8 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First Nations Critique Residency Writers</h3><p class="text-project">In partnership with the Whitlam Institute, the Sydney Review of Books is pleased to announce the ina...</p><time class="block uppercase text-caption-sm shrink-0">7<!-- --> <!-- -->Sept<!-- -->. <!-- -->2026</time></div></div></div></a><a aria-label="Callout: 2026 SRB First Nations Critique Residency" href="/news-and-events/firstnationscritiqueresidency2026"><div class="EventCard_Holder__HX1Ez"><div class="EventCard_Inner__GG0Cp"><div><div class="EventCard_Image__7zomQ"><img alt="" loading="lazy" width="1920" height="822" decoding="async" data-nimg="1" style="color:transparent" srcSet="https://images.prismic.io/sydneyreviewofbooks/6iBLy0ZQxfcZ8tv-_FNCR_WebBanner_FINAL.png?auto=format%2Ccompress&amp;fit=max&amp;w=1920 1x, https://images.prismic.io/sydneyreviewofbooks/6iBLy0ZQxfcZ8tv-_FNCR_WebBanner_FINAL.png?auto=format%2Ccompress&amp;fit=max&amp;w=3840 2x" 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