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y separately published work icon Blood and Bone single work   novel  
Issue Details: First known date: 2014... 2014 Blood and Bone
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AbstractHistoryArchive Description

'With the death of her mother, eleven-year-old Abigail must learn to fend for herself against the cruel stewardship of her father. At war with the local

Aboriginals and intent on staking his claim on the land at any cost, what occurs between the two is a stunning powerplay that exposes the limits of the human imagination.

'Inhabiting the speculative peripheries of the historical record, Blood and Bone is an uncompromising exploration of Australia’s dark history and its legacy.' (Publication summary)

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • c
      Australia,
      c
      :
      Xoum ,
      2014 .
      image of person or book cover 9097275569094378922.jpg
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      Extent: 201p.
      Note/s:
      • Published 1 June 2014
      ISBN: 9781922057952

Works about this Work

Losing the Power to Say “I” : Problems of Perspective in the Fiction of Daniel Davis Wood Peter D. Mathews , 2024 single work criticism
— Appears in: Journal of Australian Studies , vol. 48 no. 1 2024; (p. 106-120)

'Across the four novels Daniel Davis Wood has published to date, it is possible to delineate an evolving ethics of literary voice. His initial step in Blood and Bone is to subvert the third-person omniscient voice by drastically expanding the imaginative abilities of the first-person narrator, thus showing how the narrator must always speak through a subjective position. The second step involves examining the extent to which the narrator’s desire is not their own: the narrator of Unspeakable is portrayed as the victim of toxic narcissism and media manipulation, for instance, while the protagonist of At the Edge of the Solid World is so alienated from his own emotions that he relives the calamities of others to process his own tragedy. Despite possessing the quasi-omniscient powers of Blood and Bone, these two narrators, far from being godlike, are shown to be puppets of desires that are not their own. The outcome is the dissolution of the subjective “I” in In Ruins, in which the narrator comes to understand the Otherness that permeates human subjectivity. Moral failures are dissolved by the inability to say “I”, making the new ethical task bearing witness to the desire of the Other.' (Publication abstract)

Losing the Power to Say “I” : Problems of Perspective in the Fiction of Daniel Davis Wood Peter D. Mathews , 2024 single work criticism
— Appears in: Journal of Australian Studies , vol. 48 no. 1 2024; (p. 106-120)

'Across the four novels Daniel Davis Wood has published to date, it is possible to delineate an evolving ethics of literary voice. His initial step in Blood and Bone is to subvert the third-person omniscient voice by drastically expanding the imaginative abilities of the first-person narrator, thus showing how the narrator must always speak through a subjective position. The second step involves examining the extent to which the narrator’s desire is not their own: the narrator of Unspeakable is portrayed as the victim of toxic narcissism and media manipulation, for instance, while the protagonist of At the Edge of the Solid World is so alienated from his own emotions that he relives the calamities of others to process his own tragedy. Despite possessing the quasi-omniscient powers of Blood and Bone, these two narrators, far from being godlike, are shown to be puppets of desires that are not their own. The outcome is the dissolution of the subjective “I” in In Ruins, in which the narrator comes to understand the Otherness that permeates human subjectivity. Moral failures are dissolved by the inability to say “I”, making the new ethical task bearing witness to the desire of the Other.' (Publication abstract)

Last amended 24 Sep 2014 10:43:03
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