“For
the sake... of art itself, and for a country where we seldom understand
that we must be prepared to fight for issues bigger than an umpire's
decision at the Melbourne Cricket Ground.”
― Peter Carey, My Life as a Fake
Fiendishly devious and addictively readable, Peter Carey’s My Life as a
Fake is a moral labyrinth constructed around the uneasy relationship
between literature and lying. In steamy, fetid Kuala Lumpur in 1972,
Sarah Wode-Douglass, the editor of a London poetry journal, meets a
mysterious Australian named Christopher Chubb. Chubb is a despised
literary hoaxer, carting around a manuscript likely filled with deceit.
But in this dubious manuscript Sarah recognizes a work of real genius.
But whose genius? As Sarah tries to secure the manuscript, Chubb draws
her into a fantastic story of imposture, murder, kidnapping, and exile–a
story that couldn’t be true unless its teller were mad.
― Peter Carey, My Life as a Fake
Fiendishly devious and addictively readable, Peter Carey’s My Life as a Fake is a moral labyrinth constructed around the uneasy relationship between literature and lying. In steamy, fetid Kuala Lumpur in 1972, Sarah Wode-Douglass, the editor of a London poetry journal, meets a mysterious Australian named Christopher Chubb. Chubb is a despised literary hoaxer, carting around a manuscript likely filled with deceit. But in this dubious manuscript Sarah recognizes a work of real genius. But whose genius? As Sarah tries to secure the manuscript, Chubb draws her into a fantastic story of imposture, murder, kidnapping, and exile–a story that couldn’t be true unless its teller were mad.
![“For the sake... of art itself, and for a country where we seldom understand that we must be prepared to fight for issues bigger than an umpire's decision at the Melbourne Cricket Ground.”
― @[35500175893:274:Peter Carey], My Life as a Fake
Fiendishly devious and addictively readable, Peter Carey’s My Life as a Fake is a moral labyrinth constructed around the uneasy relationship between literature and lying. In steamy, fetid Kuala Lumpur in 1972, Sarah Wode-Douglass, the editor of a London poetry journal, meets a mysterious Australian named Christopher Chubb. Chubb is a despised literary hoaxer, carting around a manuscript likely filled with deceit. But in this dubious manuscript Sarah recognizes a work of real genius. But whose genius? As Sarah tries to secure the manuscript, Chubb draws her into a fantastic story of imposture, murder, kidnapping, and exile–a story that couldn’t be true unless its teller were mad.](https://scontent-a-mia.xx.fbcdn.net/hphotos-prn2/s403x403/1382883_10153318976565296_109257365_n.jpg)
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