'In The Visit—Amy Witting’s debut novel, first published when she was almost sixty—a group of Bangoree residents gather to read plays by Beckett and Brecht. But their literary pursuits, and their lives, take an unexpected turn after it is revealed that the late Roderick Fitzallan set some of his celebrated love poems in their small country town. Who is the local mystery woman who inspired Fitzallan’s verse all those years ago?' (Synopsis)
'There are many visits in Amy Witting’s first novel, published in 1977. At its centre is the mysterious visit to Bangoree of the celebrated Australian poet Roderick Fitzallan – but, this being a Witting novel set in a fictional town in small-minded rural Australia, a poet uncelebrated in Bangoree, where ‘a poet would be a vagrant, by definition’.'
'There are many visits in Amy Witting’s first novel, published in 1977. At its centre is the mysterious visit to Bangoree of the celebrated Australian poet Roderick Fitzallan – but, this being a Witting novel set in a fictional town in small-minded rural Australia, a poet uncelebrated in Bangoree, where ‘a poet would be a vagrant, by definition’.'
'This article examines ways in which the fiction of the acclaimed Australian writer Amy Witting, dubbed Australia’s Chekov and whom Helen Garner acknowledged as her ‘literary mother,’ interrogates the disempowerment of women in the domestic sphere, asserting that the home is a contested space and conflicted place for women. Witting subverts the notion that a ‘woman’s place is in the home’ by demonstrating that many
women are actually displaced and dispossessed in the inhibiting domestic spaces that are their ‘homes.’ In her fiction, women are isolated and excluded because of gender inequity
in regard to women’s rights and duties in the domestic sphere. Women are also marginalised in regard to inadequate financial rewards for domestic productivity and are affected by circumstances underpinned by discourses of poverty, class conflict and domestic violence. Witting asserts that the disempowerment of women in the home often leads to women appropriating masculinist attitudes and behaviours of oppression towards other women less powerful than themselves. In this article, these concepts are explored with close reference to five of Witting’s novels and interviews conducted with the author.' (Author's abstract)
'This article examines ways in which the fiction of the acclaimed Australian writer Amy Witting, dubbed Australia’s Chekov and whom Helen Garner acknowledged as her ‘literary mother,’ interrogates the disempowerment of women in the domestic sphere, asserting that the home is a contested space and conflicted place for women. Witting subverts the notion that a ‘woman’s place is in the home’ by demonstrating that many
women are actually displaced and dispossessed in the inhibiting domestic spaces that are their ‘homes.’ In her fiction, women are isolated and excluded because of gender inequity
in regard to women’s rights and duties in the domestic sphere. Women are also marginalised in regard to inadequate financial rewards for domestic productivity and are affected by circumstances underpinned by discourses of poverty, class conflict and domestic violence. Witting asserts that the disempowerment of women in the home often leads to women appropriating masculinist attitudes and behaviours of oppression towards other women less powerful than themselves. In this article, these concepts are explored with close reference to five of Witting’s novels and interviews conducted with the author.' (Author's abstract)
