AustLit

'Late in the summer five years ago, when I was recovering from a surgical procedure, I met two women within a few weeks of each other and I saw both of them regularly, always separately, for some months afterwards. Summer did not give way easily that year, and even so we must force our bodies down to sleep in the heat, and even if experience does not give itself up easily to representation, I will lay it down anyway; frame the raw and exigent weeks, the untrustworthy months after the hospital, render it and them, Frida and Sylvia, as closely as possible to reality—or whatever is the feeling of a life and mind lived inside a body.

'A woman leaves the hospital after an operation and starts swimming in a pool in Melbourne’s inner suburbs. There she meets Frida, who is uncannily like her in her experience of illness. Soon after, she meets another woman in a local park, Sylvia, who sees her pain and encourages her to rest.

'The two new friends seem to be polar opposites: Frida adores the pool and the natural world, Sylvia clings to the protection of interior worlds. What begins as two seemingly simple friendships is challenged by what each woman asks of her, of themselves, and their bodies.' (Publication summary) 

'Salt and Skin is the fifth novel by Victorian-based writer Eliza Henry-Jones. Following the death of her husband, Luda moves with her two teenage children, Darcy and Min, from Australia to the remote Scottish islands. Luda, a photographer, is employed by the local council to document the effects of climate change on the islands and to raise funds for related activism. They will live on Seannay, a small tidal island off the main Big Island, in the isolated and ramshackle ‘ghost house’ that bears centuries-old markings on the ceilings, ‘witch marks’ thought to ward off evil.' (Introduction) 

'Mai and Hikaru went to school together in the city of Nagoya, until Hikaru disappeared when they were eighteen. It is not until ten years later, when Mai runs into Hikaru's mother, Hiromi Sato, that Mai learns he became a hikikomori, a recluse unable to leave his bedroom for years. In secret, Hiromi Sato hires Mai as a 'rental sister', to write letters to Hikaru and encourage him to leave his room.

'Mai has recently married J, a devoted salaryman with conservative ideas about the kind of wife Mai will be. The renewed contact with her old school friend, Hikaru, stirs Mai's feelings of invisibility within her marriage. She is frustrated with her life and knows she will never fulfill J's obsession with the perfect wife and mother. What else is there for Mai to do but to disappear herself?' (Publication summary)

'How can hope exist when the past is so easily forgotten?

'Pasha Ivanov is a child of the Freeze, born in Moscow during Brezhnev's repressive rule over the Soviet Union. As a small child, Pasha sat at the kitchen table night after night as his parents and their friends gathered to preserve the memory of terrifying Stalinist violence, and to expose the continued harassment of dissidents.

'When Gorbachev promises glasnost, openness, Pasha, an eager twenty-four year old, longs to create art and to carry on the work of those who came before him. He writes; falls in love. Yet that hope, too, fragments and by 1999 Pasha lives a solitary life in St Petersburg. Until a phone call in the middle of the night acts as a summons both to Moscow and to memory.

'Through recollections and observation, Pasha walks through the landscapes of history, from concrete tower suburbs, to a summerhouse during Russia's white night summers, to haunting former prison camps in the Arctic north. Pasha's search to find meaning leads him to assemble a fractured story of Russia's traumatic past.' (Publication summary)