![]() ![]() It’s so good that Homesickness (1980) – which is, in turn, among Bail’s best novels – resembles a lengthy third-person restaging of ‘Portrait’ in museums and exhibitions across the globe, with the shifts in subject and national context producing kaleidoscopic reworkings of the same essential comedic ingredients. It is among Bail’s best early short stories, all the way up to its sublime closing line. These are early lines from Murray Bail’s ‘Portrait of Electricity’, whose narrator is on a guided group tour of a ‘great man’s’ artifacts in a museum dedicated to the preservation of the material scraps and half-impressions he left behind. ![]() The rooms strangely impersonal, exhibits arranged in cabinets against the wall, special objects located towards the centre. ![]()
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