This is a good piece of work, and at times is very good indeed. It has many strengths, and most particularly these include: the narrator’s voice (this is excellent, and the self-analysis is always perceptive and true); the main narrative (pacey, interesting, well-sustained); and the settings (I liked the contrasts between the constraints of Brisbane domesticity and the more laid-back atmosphere of Stradbroke Island). The writer is especially good at revealing the pressures of being a mother and in etching the strains within the distant, tense but all-too-familiar family life between Ven and Mark. She handles dialogue well. Her writing has a delicacy that is very pleasing, and she demonstrates some considerable talent in Dangerous Places. I have no doubt that this piece of writing is of the standard required for a Master’s Research degree in Creative Writing. As I have indicated in the first paragraph, I think that the central narrative works very well. The relationship between Ven and Mark is excellent, and so too the feelings that Ven has for her two children, so central to the idea of the competing claims of duty and love which weaves through the novel. The sex scenes are very good indeed, and Tracey shows considerable skill in exploring the notions of female desire. The endings related to Peri, Haden and Yanni seem a tad abrupt, yet on the other hand I liked the ending (which incidentally confounds the reader’s expectations). Tracey has remarked in her background material that she based this story upon the Greek myths surrounding Persephone/Adonis and other Greek gods and goddesses, and that successive drafts reduced the mythical overtone considerably. I think that this dilution has been a very desirable thing, and I rather question whether she needs the myths at all – the novel stands very well in its own right as an examination of contemporary male and female relationships without muddying the waters unnecessarily with this subtext. I do think though, that the reference (p. 191) to Ven’s habit of mythologising people to compensate for a disappointing life works quite nicely, and I liked her decision to go to the fancy dress party as an Achilles heel! In summary, I think that this is a very strong piece of work. Tracey has talent and writes beautifully – the character of Ven is very well handled, and rings true. I enjoyed reading this very much, and I sincerely hope that she is successful in her aim of placing this work with a publisher. - (Dr Sharyn Pearce, Lecturer, QUT)