But I have been doing other things, if not blogging, and two of them can be read by you, if you so choose. I interviewed Sydney fashion label Song for the Mute for new fashion magazine Collection. Song for the Mute have just won the 2011 L’Oreal Melbourne Fashion Festival Designer Award, against some stiff competition. Collection is pretty gorgeous – it’s a hardcover magazine printed on lovely stock, and every page is perforated at the spine, so you can tear out any page with impunity.

The other thing keeping me busy of late has, of course, been Kill Your Darlings. For the new issue, available for pre-order this week, I interviewed Geoff Dyer, famed writer of many stripes. Dyer is a wonderfully interesting writer and also a charming raconteur. If you’ve read any of his twelve books (the subjects range from photography to jazz to military history, and he’s also an acclaimed essayist and fiction writer), you’ll know what I mean.

Philip Pullman’s His Dark Materials trilogy are three of my favourite books in the world. The books, if you haven’t read them, follow the adventures of a young girl called Lyra, who lives in a parallel world to ours, where humans’ souls exist outside their bodies and take animal forms. The sheer imagination that suffuses the novels is wondrous, and is underpinned by Pullman’s powers of characterisation; Lyra and her companion, Will, who’s from our world, are no mere products of ink on paper, but are as present as living, breathing flesh; as are their animal souls.

One of the most striking preoccupations of the books, and a common target for commentary since their publication, is the strength and corruption of its fictional church, called the Magisterium. In Northern Lights, the first of the books, the Magisterium has built a laboratory to perform dreadful experiments on children in the name of trying to eradicate Dust, which they believe is a physical manifestation of sin. The books are peppered with zealots of all kinds, from the lethal Mrs Coulter, a power-hungry associate of the Magisterium, to fanatics willing to flagellate themselves in advance punishment for crimes. Pullman’s fictional assailment upon wealthy, corporate churches was echoed in his personal statements, with his famous quote ‘My books are about killing God’ earning him plenty of ire from Christians all around the world.

His new book, The Good Man Jesus and the Scoundrel Christ, which I reviewed recently for The Big Issue, tackles similar ground in a more radical fashion. In fact, it might be seen as the thematic prequel to the His Dark Materials books: it sets up the structures and mythology that Pullman had Lyra tear down. Pullman reimagines the original Christian birth as a double: Mary is the mother of twins, Jesus and Christ. Christ is the early forerunner in the story, a child who performs miracles and often assists his more compulsive brother, Jesus, out of trouble. As the brothers age, the differences intensify – Jesus becomes a charismatic religious teacher devoted to God, who repels with disgust Christ’s attempts to persuade him to capitalise on his influence and assemble a structured church, ‘all answering to the authority of one supreme director’.

Christ is asked by a mysterious stranger to make a record of Jesus’ doings, and he does so – at first as accurately as he can, but then with some revisions and editing. So we learn that the stories we now know from the Bible were entirely different in the doing; we see the tension of myth and history. For instance, the paralysed man whom Jesus exhorts to take up his mat and walk was not cured, but ’so strengthened and inspired by the atmosphere Jesus had created that he found himself able to move’. And, at a wedding in Cana where the wine has run out, Jesus has a few words with a steward and more wine appears, but it’s not certain exactly how; it’s possible that Jesus has simply asked for more to be brought out.

There is a lot to admire in the book, but there are also disappointments. I have not read anything so beautiful this year as The Good Man Jesus’s version of the Lord’s Prayer, which is served well by Pullman’s easy yet arresting prose. His way with characterisation and dialogue (assisted, of course, by the source material) provides us with a Jesus who is resolute and lion-like in ferocity. But there’s close to no subtlety in Jesus’s diatribe in Gethsemane. In Mark’s gospel, this is a moment of enduring and bottomless faith. But in The Good Man Jesus, Jesus has lost his faith completely, and is using his last moments not for reconciliation but catharsis: ‘Lord, if I thought you were listening, I’d pray for this above all: that any church set up in our name should remain poor, and powerless, and modest. That it should wield no authority except that of love.’ It’s rather too ‘The Church’s Worst Crimes throughout the Ages’, and not strongly foreshadowed in the book; as Rowan Williams said in his Guardian review, ‘nothing in the narrative has prepared us for this; the Jesus of earlier chapters has a robust conviction of the unconditional love of God’.

The Christian story is one that clearly has a powerful hold on Pullman. In fact, such is its power over him that my thoughts upon reading The Good Man Jesus were of a similar tenor to James Bradley’s conclusion in May 5th’s Australian Literary Review (though nowhere near as finely worded) that The Good Man Jesus ‘is a book so bound up in its argument with religion that it is … essentially a religious text, unable to transcend the terms of its creation’. The dilemma faced by Christ – how to represent Jesus’s story and ensure its longevity – is one that accepts the power and grace of that originary story. But while Pullman may have an argument with religion, he certainly doesn’t have anything against the power of story, the sole element of religion that emerges from the book unscathed.

Read the transcript of a conversation between Philip Pullman and Rowan Williams, Archbishop of Canterbury (whose intelligence and engagement with non-Christian viewpoints make me furious about being in the poisonous vicinity of George Pell), here.

We hear a lot about the death of language. Whether it’s the death of the author, the novel, the letter – every literary item imaginable has, it seems, been eulogised. Michael Quinion’s Gallimaufry is a delightful book that trawls through the obituaries of the many such fallen soldiers: words that have sailed off into the ether.

A word-nut will have lots of fun with this book. Quinion is an engaged guide, and uses a light writing style, which is a blessing when he navigates the linguistic and historical origins of the words he studies. The title word, gallimaufry, which now means a ‘hodgepodge’, comes from old French. It originally meant a stew or sauce, and it’s still used today, though perhaps only in very enlightened (or pretentious) corners of the English-speaking world. Quinion has divided his enquiry into five thematic parts. The first deals with food and drink, and is of course my favourite; the second with health and medicine; the third, entertainment and leisure; the fourth, transport and fashion; and the fifth, names, employment and communications. Those of you with refined palates will relish the knowledge that the word bottarga (or cured fish roe) – as we know it in Australia – came from the Arabic butarkha originally. There are lots of wonderful little slices through history like this that make you feel like you’re lifting up a magic curtain into the past.

Wonderfully, the thematic division of the book allows you to discover English-speaking habits and cultures that are long fallen by the wayside. Quinion fossicks around in the verbal dirt for things I now kind of regret finding out. Harry Potter fans will know that a bezoar is a ‘concretion of hair or vegetable fibre that forms naturally in the stomachs of ruminant animals’, used once upon a time as an antidote to poison. Men awaiting the barber’s attention used to enjoy the music of a cittern. Also, find out what Benjamin Franklin’s thoughts were about wearing a wig! However, I just couldn’t be enthralled by discovering that the zingerilla and the bransle were fancy lady-and-gentleman dances. Perhaps my fellow Jane Austen readers would beg to disagree.

Despite the subject matter of Gallimaufry being predominantly old and now obscure words, Quinion is certainly no obscurant. There are lots of treasures to be had here for readers of British historical fiction, and even those who once pondered why the Australian Women’s Weekly ‘Dolly Varden’ cake was termed as such. (The Dolly Varden was a rakishly side-slung hat. Though what connection a hat has to a cake with a doll stuck in it, I’ll never have the capacity to fathom.) If you like odd language trivia and showing off your vocabularistic prowess, you will like this book, as it will enable you to say things like: ‘Did you know that “fig” used to mean “banana” in the West Indies at one stage?’ NO, I DIDN’T. And now I do.

NB. I work at Oxford University Press.

‘I was wondering,’ said Lady Tamplin, again drawing her artistically pencilled brows together, ‘whether–oh, good morning, Chubby darling: are you going to play tennis? How nice!’

Chubby, thus addressed, smiled kindly at her, remarked perfunctorily, ‘How topping you look in that peach-coloured thing,’ and drifted past them and down the steps.

The Shadow in the North is the second of Pullman’s ‘Sally Lockhart’ books. Plucky, ahead-of-her-time Sally is a financial consultant in 1800s London. One of her clients, Miss Walsh, has lost a lot of money in a shipping company called Anglo-Baltic, and Sally vows to get Miss Walsh’s money back. But it’s all a bit mysterious, because Anglo-Baltic’s ship, the Ingrid Linde, has just sunk without a trace in the middle of the sea. Meanwhile, Sally’s friend Jim has come across two standover men threatening MacKinnon, a skittish magician who can see into the future.

Yay — a mystery, and a mystery with a principled, brave, intelligent heroine. Sally is very quickly a character to get behind:

“You had three thousand pounds — isn’t that right? And I advised you to go for shipping.”
“I wish you had not,” said Miss Walsh. “I bought shares in a company called Anglo-Baltic, on your recommendation. Perhaps you remember.”
Sally’s eyes widened. Miss Walsh, who’d taught geography to hundreds of girls before she retired, and who was a shrewd judge, knew that look well; it was the expression of someone who’s made a bad mistake, and has just realised it, and is going to face the consequences without ducking.

But it’s not all goody two-shoes. Sally and her friends traipse through dance halls, lie their way into soirées, expose fake mediums, fall in love, learn card tricks and escape attempted hits. Well, Sally does go to the library at some stage to check out the patent registration lists. But Pullman can really write plot-driven stories, even with scenes set in libraries; he fills the pages with character and twist after character and twist.

One thing I love about young adult books is their capacity to unambiguously highlight the morality of actions, decisions and lives. It isn’t all angst and burgeoning hormones and unicorns, you know. Before long, Sally discovers that the disappearance of the Ingrid Linde isn’t her only problem: Axel Bellman, the owner of Anglo-Baltic and an extremely wealthy industrial entrepreneur, is involved in the manufacture of the Hopkinson Self-Regulator, which may be a weapon the likes of whcih the world has never yet seen. The book culminates in an exploration of violence, utilitarianism, love and power. Just as good books should, hey. Why are your friends reading Twilight? They should be reading this instead.

Reading The End of Mr. Y is like hanging out inside the head of that girl at university who gave you the shits because she seemed so self-possessed, clever and well-read. She always knew what Derrida was on about, was never intimidated by Heidegger, and had read all of Ecrits on her own in a cafe over tea, because despite her wealth of intelligence, tea was all she could afford. (I actually went to university with about eleven versions of this exact person.) All these traits describe the novel’s main character Ariel, a PhD student who is feeling a little bit bewildered as her supervisor, Saul Burlem, has just mysteriously gone missing. Adding to that, her university has closed down because one of the buildings has collapsed. She is on her way home when she finds a copy of ‘The End of Mr. Y’ by Thomas E. Lumas in a secondhand bookshop. This is exciting news for our girl because the subject of Ariel’s PhD is thought experiments, that is, breakthroughs in conceptualising complex ideas based on metaphor or hypothesis (see Schrödinger’s cat), and Lumas is one of her passions. So the idea of finally acquiring the novel, which is extremely rare and, according to legend, cursed, is a bright light in her gelid, lentil-eating life.

Ariel fits the mould of my favourite heroines, who are characterised by a unique effectiveness which in their circumstances seems to be flailing about in the wind. Because or as a result of this, they exist at odds with common social agendas such as wealth and sociability, and of course the acceptability which flows from these agendas evades them as well. Though she’s socially adequate, and intellectually more than adequate, Ariel’s liminality is clearly writ: she has no parents, no money, and few personal attachments other than the occasional kinky sex partner. She loves knowledge and books and ideas more than anything. I guess the reason why I like this kind of heroine so much is that successful resolution for their stories always needs a lot of authorly thought, and Ariel’s story is resolved for me in a very satisfactory and poignant way.

Sorry to be so non-specific, but the book has a slow reveal and I don’t want to ruin anything for you. (Don’t, for example, read this review/essay before you read the book.) It’s safe to say, though, that Thomas has created a thought experiment of her own.

The End of Mr. Y elicited lots of ‘wows’ from me. I loved this novel’s thick ambition and proprietary confidence: there are so many ideas packed into The End of Mr. Y that occasionally I had to shake my head to clear it. Though it approaches unwieldiness (and even silliness) at times, the narrative is always engrossing. Kudos, too, to Thomas for creating a great (the first?) philosophy adventure novel. (Sophie’s World doesn’t count.) I mentioned Derrida and Heidegger earlier, and their work is mentioned so often in the novel that they are basically secondary characters. It’s clear that Thomas is fascinated by their ideas about simulacra, meaning and language, because she puts these ideas to wild and astonishing work: Ariel discovers that ‘The End of Mr. Y’ certainly deserves its mysterious reputation, because it describes a parallel dimension where a person can read another’s thoughts. Many serious hijinks of all-encompassing importance ensue, and they are a credit to the scope of Thomas’ imagination.

In a word: yes.