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Not that he’s one to balk at a good confrontation: “I’m always having fights in Australia, arguing and saying things people tell me I should not have said, which make me feel happy at the time, but then I live with the consequences.” And like many of his protagonists - including outlaw Ned Kelly from Kelley Gang, Dickensian prison escapee Magwitch from Jack Maggs (1997) and Amnesia ’s Felix Moore, the self-described “sole remaining left-wing journalist” in Australia - he feels like a permanent outsider. One character in Amnesia gripes that after Whitlam, “the Labor Party were trying to out-capitalist the capitalists.” Does Carey believe it’s inevitable that politicians in power will abandon their principles? “Hell, I live in the United States” - he moved to Manhattan 25 years ago with his now-ex-wife Alison Summers - “I’m too tired to even think about the question.”
Article contentĬarey is bemused by this turn of events, which might be ascribed to a creeping cynicism about anyone in power - Whitlam, at least, had practiced what he preached. This advertisement has not loaded yet, but your article continues below. “ROM hackers, homebrewers, RPG heretics,” he writes of the virtual denizens of a program called DeepArcher, “continually unwriting and overwriting, disallowing, deprecating, newly defining an ever-growing inventory of contributions to graphics, instructions, encryption, escape….” That the words sound ridiculous is, in this case, precisely the point. In Bleeding Edge, for instance, Thomas Pynchon plunged into a musty dot-com vernacular - and found in its antiquated rhythms something almost musical. But in the resonant halls of literature, such jargon clangs. Many of us, of course, are acquainted with podcasts and blogs, with subtweets and torrents we know what the words mean and are happy to use them. For all its ubiquity in our speech and on our screens, the language of the internet can’t help but look faintly ridiculous on the page. This last event, Carey says, occurred in real life. The narrative reaches back to 1975, the year of Gabrielle’s birth, when the CIA infiltrated Australian politics and engineered the fall of the Labour government.
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His novel, Amnesia, published this month by Random House, is about a journalist enlisted to tell the tale of an Aussie hacker, Gabrielle Bailleux, whose code worms its way into computers worldwide and opens the doors of American prisons.