Monkey Grip

Description

Helen Garner's gritty, lyrical first novel divided the critics on its publication in 1977. Today, Monkey Grip is regarded as a masterpiece-the novel that shines a light on a time and a place and a way of living never before presented in Australian literature: communal households, music, friendships, children, love, drugs, and sex. When Nora falls in love with Javo, she is caught in the web of his addiction; and as he moves between loving her and leaving, between his need for her and promises broken, Nora's life becomes an intense dance of loving and trying to let go.

Helen Garner writes novels, stories, screenplays and works of non-fiction. In 2006 she received the inaugural Melbourne Prize for Literature, and in 2016 she won the prestigious Windham-Campbell Prize for non-fiction and the Western Australian Premier's Book Award. In 2019 she was honoured with the Australia Council Award for Lifetime Achievement in Literature. Her books include Monkey Grip, The Spare Room, This House of Grief and Everywhere I Look.

'Garner is a natural storyteller.' * James Wood, New Yorker * 'Her use of language is sublime.' * Scotsman * 'This is the power of Garner's writing. She drills into experience and comes up with such clean, precise distillations of life, once you read them they enter into you. Successive generations of writers have felt the keen influence of her work and for this reason Garner has become part of us all.' * Australian * 'Its embattled characters are so real that by the last page you feel not just that you have read a magnificent novel but that you have experienced life itself.' * The Times on The Spare Room * 'What Garner offers in these novels is an alternative to the cloying metafiction of the late 20th century and the washed-out realism of the 21st. They are undeniably of their time - the 1970s commitment to the liberating possibilities of sex, drugs and communal living in Monkey Grip, the hangover nursed in the 1980s in The Children's Bach - but they also belong to a literary epoch we think of as long gone, as they earnestly strive to resurrect a modernist art of estrangement.' * London Review of Books *