In order to get more accurate results, our search has the following Google-Type search functionality:
If you use '+' in front of a word, then that word will be present in the search results.
ex: Harry +Potter will return results with the word 'Potter'.
If you use '-' in front of a word, then that word will be absent in the search results.
ex: Harry -Potter will return results without the word 'Potter'.
If you use 'AND' between two words, then both of those words will be present in the search results.
ex: Harry AND Potter will return results with both 'Harry' and 'Potter'.
If you use 'OR' between two words, then bth of those words may or may not be present in the search results.
ex: Harry OR Potter will return results with just 'Harry', results with just 'Potter' and results with both 'Harry' and 'Potter'.
If you use 'NOT' before a word, then that word will be absent in the search results.
ex: Harry NOT Potter will return results without the word 'Potter'.
Placing '""' around words will perform a phrase search. The search results will contain those words in that order.
ex: "Harry Potter" will return any results with 'Harry Potter' in them, but not 'Potter Harry'.
Using '*' in a word will perform a wildcard search. The '*' signifies any number of characters. Searches can not start with a wildcard.
ex: Pot*er will return results with words starting with 'Pot' and ending in 'er'. In this case, 'Potter' will be a match.
Charlotte Wood’s The Natural Way of Things (2016) is a dark, dystopian novel that takes aim at contemporary misogyny and gender-based societal double standards. Largely focused on the impressions of protagonists Verla and Yolanda, the story follows the imprisonment in an outback compound of a group of women who are revealed to all be tied to high-profile sex scandals. With a life consisting of forced labour and poor living conditions, the women are left to wonder as to what is in store for them and as to what authority has placed them in such a situation. With a sparse, nightmarish desert setting, reminiscent of the Australian outback of Kenneth Cook’s Wake in Fright (1961), the author creates a truly menacing atmosphere, augmented by the frightening ambiguity as to who holds overarching power over the compound. The novel’s treatment of its primary themes can be heavy-handed at times, and some readers may prefer a more nuanced approach; however, one suspects that this very obvious way of dealing with these themes is the author’s intention.