From Here On, Monsters, Sydney: Picador, August 2019

Elizabeth Bryer: From Here On, Monsters

  • From Here On, Monsters is a genuinely exciting debut from an Australian writer. This novel is playful, allegorical and formally ambitious, qualities that lend it a distinctly international flavour, in the way of Peter Carey’s early work […] And, like Carey’s work, it has something urgent to say about contemporary Australia.” — Maria Takolander, The Saturday Paper
  • “Throughout From Here On, Monsters Bryer maintains a curious dialectic between the real and the fantastic, one that grants the novel the oddly dreamlike air of Paul Auster or Joanna Kavenna. […] Like her prose, which is elegantly understated and pleasingly direct, Bryer’s poise in keeping the novel’s multiple elements aloft would be the envy of far more experienced novelists. Yet her metafictional playfulness cannot distract from the seriousness of her intent. For as its various strands converge, the novel distorts and unhinges reality in powerful and unsettling ways, asking us to see how people such as Jhon are rendered invisible, and the human cost of that process.” — James Bradley, The Weekend Australian Review 
  • “Every word is carefully chosen, leaving the sentences short and sharp. This attention to detail is not only a joy for the reader, but also serves as a clever literary device given that the premise of the novel is focused on words and the power they yield. […] This is a beautiful, thought-provoking novel and one I will be reflecting on for a long time.” — Kaylia Payne, Lip Mag
  • “It’s easy to be frustrated with the structure and content of Bryer’s book; those after straightforward storytelling with character histories and clean-edged explanations will be discouraged. But this is not realist fiction; it’s an experimental and high-end literary game. It’s not a page turner, but a page teaser that demands careful reading” — Thuy On, The Age & Sydney Morning Herald
  • “like a detailed picture slowly coming into focus […] Bryer’s novel doubles in on itself […] It is a gathering and spinning of stories, ideas and words that have the reader thinking and interpreting again and again, like any good piece of art.” — Jemimah Brewster, Arts Hub


María José Ferrada, How to Order the Universe [Kramp], Portland: Tin House, 2021

José Luis de Juan, Napoleon’s Beekeeper [El apicultor de Bonaparte], Sydney: Giramondo, 2020

Aleksandra Lun, The Palimpsests [Los palimpsestos], Boston: Godine, 2019

Karina Sainz Borgo, It Would Be Night in Caracas [La hija de la española], New York: HarperVia, 2019

Melba Escobar, House of Beauty [La casa de la belleza], London: 4th Estate, 2018

Claudia Salazar Jiménez, Blood of the Dawn [La sangre de la aurora], Dallas: Deep Vellum Publishing, 2016

  • Winner of Premio Las Américas de Novela 2014
  • “A bold, breviloquent debut novel whose polyhedral story line plunges sans parachute into the bloody chamber of political violence unleashed during the massacre-ridden years in Peru…The narrative hits the ground running in pithy, breathless paragraphs. They hover, incorporeal words and phrases, poised and charged like roiling storm clouds that counterpoint the grounding metaphor of how women’s bodies inevitably become the battle grounds of patriarchal violence.” —Valerie Miles, New York Times Book Review