He has been shortlisted for the Prime Minister's Literary Awards,[1] the Age Book of the Year,[2] and been named a Sydney Morning Herald Best Young Australian Novelist.
The main concerns of the Capital novels are "the increasing penetration of market forces into everyday life" (Sydney Review of Books), and the effect of "the last several decades of capitalist ‘progress’ ... [on] ‘the life-worlds of ordinary people" (The Conversation).
In Capital, Volume One, Macris employs techniques from the French Nouveau Roman to produce a vital yet impersonal tracking of the movement of dead commodities in a London Underground train station.
In this track of the novel, Macris presents a dystopia of the marketisation of quotidian, globalised life, alluding to Marx's study of the commodity form and to the journey of Leopold Bloom in Joyce's Ulysses.
These impersonal chapters focused on the London Underground are contrasted with memoir-like fragments from a failed bildungsroman, in which assemblages of neoliberal capitalism—combining with pop musical and film culture, with the petroleum industry, with the higher education and restaurant sectors—are presented as both subject-forming and subject-de-forming.