Novel way to unravel a 迷宮／迷路 question
Five years ago, when Tasmanian author Amanda Lohrey began her seventh novel, The 迷宮／迷路, she 手配中の，お尋ね者 to understand the 推論する／理由s for a 最近の rise in 人気 of a form of landscape design with lineage to 古代の Egypt.
"I was 利益／興味d in the idea of the 迷宮／迷路 because there's been a 広大な／多数の／重要な resurgence of building them all around the world in the last 30 years," Lohrey says.
"I thought, 'why is this happening? What do people get out of it, how is this meaningful and why would someone build a personal one?'
"Maybe they'd build it for 治療力のある 推論する／理由s, because they're 取引，協定ing with a particular problem in their life, and so one thing led to another," she continues.
"When you 令状 a novel you try out さまざまな ideas and abandon a few before you get one you're comfortable with."
Lohrey on Thursday took out Australia's pre-著名な literary prize when The 迷宮／迷路 was 指名するd 勝利者 of the 2021 Miles Franklin Literary Award.
The $60,000 prize is awarded 毎年 to a novel of "the highest literary 長所" that 現在のs "Australian life in any of its 段階s".
The award was 設立するd in 1957 その上の to the will of writer Stella Miles Franklin, most famous for her 1901 debut novel My Brilliant Career, and its 1979 film adaptation directed by Gillian Armstrong and starring Judy Davis.
Lohrey, who lives in a small hamlet on the northeast coast of Tasmania, was working on her next novel when she received the news by phone.
"The Miles Franklin (Literary Award) is special because it's the oldest and it comes with a lot of tradition," she says.
"Miles Franklin herself was one of the 広大な／多数の／重要な Australian nonconformists and a bit of a larrikin, 現実に. It's good to have that 関係 to her."
The 迷宮／迷路 is narrated by its protagonist, Erica Marsden, whose artist son has been 刑務所，拘置所d for homicidal 怠慢，過失 after setting 解雇する／砲火／射撃 to his studio and 原因（となる）ing the death of five 隣人s in what was 述べるd as "a monstrous 行為／法令／行動する of egotism" by a 裁判官 統括するing over the その後の 裁判，公判.
Erica relocates from Sydney to a small 沿岸の community not far from the steel and 固める／コンクリート コンビナート／複合体 in which her violent, seemingly unfathomable son is 存在 held. There, she 解任するs the words of her late psychiatrist father, 引用するing Jung: "The cure for many ills is to build something."
"We've all had that experience when you're working with your 手渡すs and you forget about time," Lohrey says.
"You go into the zone where there are no 最終期限s, no schedules, and it's often when we are at our happiest."
捜し出すing to reckon with her own past while making timid inroads with her new 隣人s, Erica feels the 勧める to 建設する a 迷宮／迷路 - the idea of which has long bewitched her - next to the beach shack she has 購入（する）d.
The novel, which 取引，協定s with intergenerational 外傷／ショック, the 重荷（を負わせる） of grief, the corrosive nature of 犯罪 and the use and misuse of art, is a 事例／患者 of third-time-lucky for Lohrey. She was shortlisted for Camille's Bread in 1996 and longlisted for The Philosopher's Doll in 2005.
"Any prize that comes with a cheque is special," she says.
"It'll 財政／金融 the next 調書をとる／予約する, that's what prizes do, because your income as a writer is always uncertain and 予測できない."
For Lohrey, The 迷宮／迷路 is about "making and building and creating".
"There are the two artists - Erica's son in 刑務所，拘置所, and the (itinerant) young stonemason who 現実に builds the 迷宮／迷路 for Erica - and they're two 味方するs of the one coin, if you like, the bad son and the good son," she says.
"They both create, they both make beautiful things, and they're both a bit obsessive. The novel is partly about art itself."
In the 調書をとる／予約する, Erica comes to the realisation that the 迷宮／迷路 is "a model of reversible 運命".
"The maze is a challenge to the brain (how smart are you?), the 迷宮／迷路 to the heart (will you 降伏する?)," the character meditates.
The distinction is 重要な.
"People build 迷宮／迷路s as a walking meditation, 反して in a maze there are lots of dead-ends and you've got to concentrate all the time to find your way around. It's not relaxing in the same way," Lohrey says.
"When I was doing 研究, this （機の）カム up a lot.
"People 設立する that they would walk the 迷宮／迷路 and it would 静める them. They would often solve a problem that they had been unable to solve before, not even by thinking about it, just by walking the 迷宮／迷路 and the 解答 would come to them."
So did Lohrey build herself a 迷宮／迷路 while 令状ing the novel to を取り引きする any creative hiccups?
The author laughs. "Shamefully, no. First of all, I'm too busy 令状ing, and secondly, I'm hopelessly impractical. 令状ing is my 迷宮／迷路."
If the 過程 of 令状ing can be に例えるd to 交渉するing a 迷宮／迷路, then so can reading.
"Good reading experiences are slow," Lohrey says.
"As a reader, there's that sense of happy inevitability, of relaxed certainty, and the 迷宮／迷路 is a very good image of that because there's a コンビナート／複合体 path that 宙返り飛行s backwards and 今後s but you know you'll get to the centre and then find your way out."
As with reading, entering a 迷宮／迷路 is an 行為／法令／行動する of 降伏する, the author 明言する／公表するs.
"That's why people find them so 満足させるing and why they build them in parks and hospitals, for example. They are popping up everywhere."
In the same way, Lohrey 降伏するd to a lot of 令状ing and rewriting over three-and-a-half years in an 成果／努力 to produce a story that felt both authentic and incantatory.
"I 手配中の，お尋ね者 the novel to cast a （一定の）期間 so that reading it felt like walking a 迷宮／迷路," she says.
