{"product_id":"louis-armand-abacus","title":"Louis Armand, Abacus","description":"\u003cp\u003eLong-listed for the Guardian's Not The Booker Award 2015.\u003c\/p\u003e\n\u003cp\u003eA decade-by-decade portrait of 20th-century Australia through the prism of one family. \u003cem\u003eAbacus\u003c\/em\u003e is a novel about the end times, of generational violence and the instinct for survival by one of Australia’s leading contemporary poets.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"The cumulative effect of 'Abacus' is intriguing. While none of the characters really stands out individually, it’s fascinating to see the shifting patterns of opportunity and obligation and the interaction of individual constitutions with this across a century of Australian history. As a historical fiction, it’s certainly a welcome corrective to worn-out narrative tropes such as the discovery of lost diaries \u003cspan class=\"text_exposed_show\"\u003eand the recrudescence of family secrets.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"text_exposed_show\"\u003e\n\u003cp\u003eArmand writes with an admirable laconic economy. For example: “Afterwards, when Clarice Foley told him she was marrying a foreigner, George Luscombe was beside himself, as was Mrs Casey and the other girls in the choir, and all the rest of the congregation. They wanted to know who this foreigner was, what he was, how they’d met, did he speak English? When she told them he was a German, they just looked at each other not knowing what to say. But George Luscombe knew what to say, he’d served at El Alamein. ‘Ought to be ashamed of herself,’ his wife decided. He’d shrugged. He’d grown fond of the girl.”\u003c\/p\u003e\n\u003cp\u003eWhat follows shows that George doesn’t reflect his fellow parishioners’ xenophobia. One of the real strengths of Abacus is the way Armand captures these tense and defining moments in Australian history, while the narrative sweep also shows their dissolution in time.\" Ed Wright, \u003ca href=\"http:\/\/www.theaustralian.com.au\/arts\/review\/australian-fiction-reviews-ward-mchugh-young-armand\/news-story\/7bd9d6d24e5db9eecbf403f1f5e2c1c7?nk=35afb42eaa29ab3b5c2de3b1f9621022-1455420032\"\u003eThe Australian\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLouis Armand\u003c\/strong\u003e is a Sydney-bornwriter who has lived in Prague since1994. He is the author of six novels, including \u003cem\u003eBreakfast at Midnight\u003c\/em\u003e (2012),described by 3AM magazine’s Richard Marshall as “a perfectmodern noir,” and \u003cem\u003eCairo\u003c\/em\u003e, shortlistedfor the Guardian newspaper’s 2014 Not-the-Booker Prize (both from Equus, London). His most recentcollections of poetry are \u003cem\u003eIndirect Objects\u003c\/em\u003e (Vagabond, 2014) and \u003cem\u003eSynopticon\u003c\/em\u003e (with John Kinsella; LPB,2012). His work has been included in the \u003cem\u003ePenguin Anthology of Australian Poetry\u003c\/em\u003e and \u003cem\u003eBest Australian Poems\u003c\/em\u003e. His screenplay,\u003cem\u003e Clair Obscur\u003c\/em\u003e, received honourable mention at the 2009 Alpe Adria TriesteInternational Film Festival. He directs the Centre for Critical and Cultural Theory in the Philosophy Faculty of Charles University where he also edits the international arts magazine VLAK. \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e220pp. 2015. ISBN 978-1-922181-49-7. \u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eAustralian release: July 2015.\u003c\/div\u003e\n\u003cdiv\u003eUK \u0026amp; USA release: May 2016.\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eCritics on \u003cem\u003eBreakfast at Midnight\u003c\/em\u003e:\u003c\/div\u003e\n\u003cdiv\u003e“A twisted, brilliantly savage acid noir.” – Benjamin Woodard, Numéro Cinq \u003c\/div\u003e\n\u003cdiv\u003e“Armand has done for Prague what Genet achieves in Our Lady of the Flowers .” – Jim Ruland, San Diego City Beat \u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eCritics on \u003cem\u003eCanicule\u003c\/em\u003e:\u003c\/div\u003e\n\u003cdiv\u003e“Baudelaire’s mellow ‘living proof of our immortality’ done in the high pulpstyle.” – Richard Marshall, 3:AM Magazine \u003c\/div\u003e\n\u003cdiv\u003e“Armand uses language to paint a picture just as vividly as if we werewatching it unfold on screen.” – Kristen Valentine, Black Heart Review \u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eCritics on \u003cem\u003eCairo\u003c\/em\u003e :“A genre defying anti-novel… Like communism it is the movement ofvast majorities unfettered by a state!” – Stewart Home, author of BloodRites of the Bourgeoisie \u003c\/div\u003e\n\u003cdiv\u003e“Unflinching in its portrayal of human greed.” – Sam Jordison, The Guardian\u003c\/div\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":1934163588,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Armand_Abacus_front_cover.jpg?v=1432004786","url":"https:\/\/vagabondpress.net\/fr\/products\/louis-armand-abacus","provider":"Vagabond Press","version":"1.0","type":"link"}