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The first new novel in almost ten years from award-winning, bestselling author Kate Grenville.

About the Author

Kate Grenville is one of Australia's most celebrated writers. Her international bestseller The Secret River was awarded local and overseas prizes, has been adapted for the stage and as an acclaimed television miniseries, and is now a much-loved classic. Grenville's other novels include Sarah Thornhill, The Lieutenant, Dark Places and the Orange Prize winner The Idea of Perfection. Her most recent books are two works of non-fiction, One Life- My Mother's Story and The Case Against Fragrance. She has also written three books about the writing process. In 2017 Grenville was awarded the Australia Council Award for Lifetime Achievement in Literature.

Reviews

‘There is no doubt Grenville is one of our greatest writers‘
*Sunday Mail*

‘One of the most entertaining, accomplished, engaging novels written in this country…We always knew Kate Grenville was good but this one is brilliant.’
*Courier Mail on The Secret River*

‘Grenville’s extraordinary trilogy is a major achievement in Australian literature.’
*Australian Book Review*

‘Kate Grenville is a literary alchemist, turning the leaden shadow of the historical Elizabeth Macarthur into a luminescent, golden woman for our times. Intelligent, compassionate, strategic and dead sexy, Grenville’s Macarthur is an unforgettable character who makes us question everything we thought we knew about our colonial past. A polished gem of a novel by a writer who is as brave as she is insightful. I simply loved it.’
*Clare Wright*

'This story, told through Grenville’s sharp lens, is one that will stay with the reader for a long time.’
*Readings*

'An ingenious tapestry of history and invention, A Room Made of Leaves is a novel of womanhood, motherhood, secrets, lies, obsession, transformation and the loss of innocence. It’s a true pleasure to read Grenville’s writing, and this one’s been well worth the wait!’
*Booktopia*

‘Giving voice to the countless generations of women who were prevented from telling their true stories…Compelling.’
*Herald Sun*

‘A little bit of Austen, a little bit of the Brontes, a little bit of Thomas Hardy.’
*RN Bookshelf*

‘Vividly rendered, warmly sympathetic, daring in speculative breadth: a full-length portrait in oils of a woman known to most of us only in profile miniature…If Grenville’s novel is inspired by provocation, it unfolds as a feeling, organic story.’
*Australian*

'Grenville so convincingly creates Elizabeth’s voice it is easy to forget her opening warning: “Do not believe too quickly!”...Grenville’s Elizabeth stays with you.'
*Conversation*

‘Her fiction is always a challenge, a goad to our complacencies, social decorums and repressions…Richly imagined…[Provides] the shock we perhaps need to remind us of what might still be possible.’
*Age/SMH*

‘Grenville’s prose is elegant and meticulously crafted…Despite the trappings of history in A Room Made of Leaves and Grenville’s impressive use of the archive to conjure the novel, her achievement here is not a historical one. A Room Made of Leaves questions, rhetorically, how to live ethically with a history that is unfair.’
*Saturday Paper*

‘Another book in her fantastic collection of work about early Australian colonial times and it’s at least as good, if not even better, than all the others… Absolutely brilliant.’
*Radio NZ Nine to Noon*

‘Stunning…a clever mix of fact and fiction.’
*Weekly Times*

‘Grenville invites the reader to reflect on the complex relationship between truth and falsehood, history and fiction…[A] stunning literary achievement.’
*Kirsten Tranter, Guardian*

‘Grenville is as canny as she is imaginative…[She] colours your imagination, designs a setting and gives you a push. Australian history is relentlessly inglorious but Grenville allows you to rearrange it through individuals who were not…An interesting prism of a book…Grenville knows exactly what she can do and does it.’
*Monthly*

‘Fabulous…It will delight you and it will keep you company during lockdown. But it will also make you think deeply about home and belonging and our hidden and brutal colonial past. And although Kate implores us to not believe too quickly, I would like you to please believe me when I declare that you will adore this book.’
*Melanie Cheng*

‘[A] shimmering new novel…Grenville gives us throughout a gorgeous tactile sense of the Australian bush in all its idiosyncratic light, colour and movement.’
*SA Weekend*

‘Skilful…An engaging book.’
*Guardian*

‘Memorable…Macarthur comes to vivid life…A gorgeously tactile sense of the Australian bush.’
*Mercury*

‘The captivating story of a woman navigating a difficult marriage and an affair of the heart.’
*Sunday Life*

‘Kate Grenville’s ‘A Room Made of Leaves’ - an almost flawless novel about our early colonial history told through the fictional eyes of Elizabeth MacArthur - it’s deep in research and beautifully realised.’
*Heather Rose, author of The Museum of Modern Love*

'Kate Grenville’s A Room Made of Leaves (Text) gives us an unforgettable flesh-and-blood re-imagining of 18th-century mother of the Australian wool industry, Elizabeth Macarthur.’
*Clare Wright, Age*

'Grenville is challenging the reader, through the eyes of Elizabeth, to face the harsh reality that success and flourishing can so often be at the expense of others.’
*Catholic Outlook*

‘Excellent…So beautifully observed and written…An accomplished novel with all the experience that a writer like Kate Grenville brings to her work...Really a superb piece of work.’
*Leigh Sales*

‘Vividly, even wickedly, re-imagines the life of Elizabeth Macarthur.’
*Australian*

'In her rich vision of an alternate life for Elizabeth… Grenville offers a potentially myth-busting version of a turbulent time.’
*Booklist*

‘Historical comeuppance is on order in Kate Grenville’s A Room Made of Leaves…White-hot…[An] impressively angry book.’
*Wall Street Journal*

'At first I was intrigued, then I was enthralled, and by the end I felt as though Elizabeth had been a flesh-and-blood friend. Her story makes for a powerful interrogation of femininity, patriarchy, and colliding cultures. Grenville dedicates the book “to all those whose stories have been silenced”, and it speaks to those gaps in the archive–a stunning work of historical fiction for the #MeToo era.’
*Primer*