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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
Approximate Life: The Prince and Other Stories brings together three acclaimed collections for the first time. Letters to Francesca (1996), The Prince (1997) and Duckness (1998) range across forms, from short story to novella and screenplay, and from surrealism to hyperreality-connected by common characters as well as themes of identity, authenticity and artifice. They are playful and poignant, satirical and serious, with echoes of Borges and Calvino grounded in a distinctly Australian perspective.
‘Witty, playful, cheeky, dazzled by the possibilities of allusion and illusion…’
-Giles Gordon, The Times
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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
Approximate Life: The Prince and Other Stories brings together three acclaimed collections for the first time. Letters to Francesca (1996), The Prince (1997) and Duckness (1998) range across forms, from short story to novella and screenplay, and from surrealism to hyperreality-connected by common characters as well as themes of identity, authenticity and artifice. They are playful and poignant, satirical and serious, with echoes of Borges and Calvino grounded in a distinctly Australian perspective.
‘Witty, playful, cheeky, dazzled by the possibilities of allusion and illusion…’
-Giles Gordon, The Times