A Lifetime on Clouds (Text Classics) by Gerald Murnane

By Gerald Murnane

Adrian Sherd is a teenage boy in Melbourne of the Nineteen Fifties, the final years sooner than tv and the kinfolk motor vehicle replaced suburbia forever.

Earnest and remoted, affected by his hormones and his non secular devotion, Adrian desires of difficult orgies with American movie stars, and of marrying his sweetheart and fathering 11 young children by way of her. He even desires a heritage of the area as a chronicle of sexual frustration.

A Lifetime on Clouds is humorous, sincere and sweetly instructed: a much less ribald, Catholic Australian Portnoy's Complaint.

Gerald Murnane used to be born in Melbourne in 1939. His first novel, Tamarisk Row, used to be released in 1974. It used to be via A Lifetime on Clouds, The Plains and 5 different works of fiction, the latest of that is A heritage of Books. In 1999 he received the Patrick White Award. Ten years later he received the Melbourne Prize for Literature.

'Unquestionably probably the most unique writers operating in Australia today.' Australian

'A Lifetime on Clouds thrilled me: i used to be really admiring of the author's unfailing skill to assert simply enough and no more.' Les Murray, Sydney Morning Herald

'Murnane attracts out loads of comedy from the space among what his hero does and what he dreams.' Guardian
'If you simply ever learn one Gerald Murnane novel on your existence, i encourage you to make it this one.' Andy Griffiths, in his advent.

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Extra resources for A Lifetime on Clouds (Text Classics)

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Stories are as important now as they ever were. Religion is story before it is anything else and after it is everything else. It is not necessary that all the story forms be maintained. It is possible that we can tell stories now more skillfully, more reverently, 36 / Sacred Place, Sacred Time more effectively than we did in the past, though I wouldn’t bet on it. But when a church ceases to be the center of events which bind together sacred time and sacred space through sacred narrative, it may be a very beautiful, dignified, reverent place, but it isn’t Catholic anymore.

Everyone, it seems, has at least three names, and a compadre and a commadre for each name. You need the calendar at hand to remind yourself of the parties for your spiritual children. ” Once a student said, “If we really want to be good Catholics, we’re going to have to learn the rules like you Irish do. ” Whoever wrote the poem about the great pool of ale back in the tenth century would not, I think, be amused. Robert Orsi, in his classic book about Italian street festivals, argues that they are not mere exercises of superstition but rather celebrations of Italian community and family culture during the difficult process of becoming American and continuing to be Italian.

When a church stops being a treasure house of stories, it stops being Catholic. Likewise, when even a simple church, like the wooden huts about which Gregory wrote to Augustine of Canterbury, is dense with stories, then it is surely Catholic. The more artistically skillful the church and professional the works of art which accompany the central narrative of the Eucharist, the better the storytelling and the more Catholic the church. The honoring of God and the passing on of the stories are tasks far too important to be done poorly.

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