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'While reading fiction as little more than smuggled autobiography is an inherently crass and undergraduate approach to literary criticism, I’d nonetheless like to start that way. I have, after all, something close to the author’s permission. Pondering the lacerations of Karl Ove Knausgaard’s My Struggle in these pages only a few years ago, Ceridwen Dovey, in an essay titled “The Pencil and the Damage Done”, wrote:
'I kept being distracted by my own horror at what Knausgaard was doing, slashing away at his world, and by the overwhelming feeling that it would cost him too much as a human being. I googled his wife, his uncle, his mother, even his children, fixating on the walking wounded surrounding the living author.
'Upon reading Dovey’s new novel, In the Garden of the Fugitives (Hamish Hamilton; $32.99), I, too, googled, and under the “Early Years and Education” subheading of her Wikipedia page found a life story remarkably similar to that of the novel’s central character, Vita. The childhood in South Africa and Australia, the schooling at Harvard, the early career in filmmaking. All there, all echoing unignorably. The living author was insisting upon conflation with a fictional creation.' (Introduction)
