Duncan Fardon Duncan Fardon i(10748414 works by)
Gender: Female
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1 'Scoundrel Days : A Memoir' by Brentley Frazer Duncan Fardon , 2017 single work criticism
— Appears in: Australian Book Review , March no. 389 2017; (p. 36)
‘rentley Frazer, one of many scoundrels in his memoir Scoundrel Days, documents coming of age on the boundary of civilisation. His father’s vocation as the only policeman in a small northern Queensland mining town subjects Frazer to a chaotic side of life: a lockup only a stone’s throw from his bedroom; housing criminals and murderous poachers; bloodied victims of domestic violence showing up in the early hours; and the aftermath of car crashes. His parents’ involvement with the new-age cult ‘The Family’ introduces perverts into the home. But Frazer embraces his circumstances with a kind of brash vigour, starting The Wreckers gang, drinking, smoking, taking drugs, and committing acts of vandalism.’ (Introduction)
1 [Review Essay] The Museum of Modern Love Duncan Fardon , 2017 single work review essay
— Appears in: Australian Book Review , January-February no. 388 2017; (p. 63)

'E.B. White once said there were three New Yorks, comprised of those who were born there (‘solidity and continuity’), the daily commuter (‘tidal restlessness’), and the searcher on a quest, the latter giving the city its passion and dedication to the arts. In The Museum of Modern Love, this third type is drawn to Marina Abramovíc’s The Artist is Present, a simple yet profound performance stretching over seventy-five unrelenting days, in which Marina unflinchingly meets the gaze of a series of individuals in a gallery.'

(Introduction)

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