The Whistler
2013 abe. · Penguin Random House New Zealand Limited
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235
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A brilliant novel about history, the forgetting and rewriting of it, and a satire on a society that has lost compassion in the process. Smooch is a 'Whistler', a genetically altered lapdog with special talents, including the ability to remember his previous incarnations and to communicate directly from his brain by electronically downloading his thoughts onto disc. Smooch has been reincarnated many times, and has lived on many of the great laps of history, past and future. He can recall many of history's key moments, such as the birth of Jesus and the imprisonment of Mary Queen of Scots. The Whistler is a virtuosic feat: wise, funny and intelligent. Smooch's current reincarnation is in Sydney in the year 2318. The world has gone to hell: democratic government worldwide has given way to a society run by corporations, pollution is everywhere, and society is heavily stratified between the haves and have nots.
Egileari buruz
Stephanie Johnson is the author of several collections of poetry and of short stories, some plays and adaptations, and many fine novels. The New Zealand Listener commented that ‘Stephanie Johnson is a writer of talent and distinction. Over the course of an award-winning career — during which she has written plays, poetry, short stories and novels — she has become a significant presence in the New Zealand literary landscape, a presence cemented and enhanced by her roles as critic and creative writing teacher.’ The Shag Incident won the Montana Deutz Medal for Fiction in 2003, and Belief was shortlisted for the same award. Stephanie has also won the Bruce Mason Playwrights Award and Katherine Mansfield Fellowship, and was the 2001 Literary Fellow at the University of Auckland. Many of her novels have been published in Australia, America and the United Kingdom. She co-founded the Auckland Writers and Readers Festival with Peter Wells in 1999. She is the 2023 recipient of the Prime Minister's Award for Literature. The Oxford Companion to New Zealand Literature describes Johnson’s writing as ‘marked by a dry irony, a sharp-edged humour that focuses unerringly on the frailties and foolishness of her characters . . . There is compassion, though, and sensitivity in the development of complex situations’, and goes on to note that ‘a purposeful sense of . . . larger concerns balances Johnson’s precision with the small details of situation, character and voice that give veracity and colour’.
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