AustLit

'This part of the Parramatta River where I walk is the western end, the part where it turns shallow and serpentine. This is not the river of historical islands and weekend sailing and houses with water views; that exists where the river breaks into the harbour further east. This is the river of narrow channels and mudflats and mangroves; of sex clubs and factories and unmarked burial grounds; of lunatics and God and disappearing buildings.' (Introduction)

'Rosa was never really trying to kill anyone, no matter what they said in court.

'But she's ended up in juvenile jail anyway, living her life through books and wondering why her best mate Asheeka disappeared.

'A page-turning novel about a complicated friendship; a road trip through NSW in a stolen car; the stories that define us; and two funny, sharp, adventurous young women who refuse to be held back any longer. (Publication summary)

'Some people say ‘West’ like it is something wrong, like ice-cream that fell in a gutter. I think West is like my brother’s music, too much bass so you end up dancing like your body parts don’t fit together and laughing all at the same time. That’s what West is: shiny cars and loud things, people coming, people going – movement. Those who don’t know any better, they come into the neighbourhood and lock their windows and drive on through, never stopping before they get somewhere else.

'These are the first few lines of my second book The Incredible Here and Now. I can’t say that I like them very much. I don’t think they work. The rhythm is great, some of the images too, but really what blows the whole thing is that it’s too restrictive, too reductive an image of what western Sydney is to be that useful.' (Introduction)

'That’s what West is: shiny cars and loud things, people coming, people going-movement. Those who don’t know any better, they come in to the neighbourhood and lock their windows and drive on through, never stopping before they get somewhere else.”

'Charcoal chicken, a white Pontiac Trans Am, the Council pool. Michael is living in the shadow of his older brother Dom. The biggest guy in the school. Best car in the West.

'The guy who just can’t help but grab everyone’s attention. The guy with the girlfriend with the huge-arse hair. When he is gone Michael roams the streets, navigating life, friendship, love and family.' (Production summary)

'The subject is very topical. No More Boats tackles the fear of refugees head on, portraying the anxieties of a man who was once a migrant himself, brought to breaking point by the Tampa crisis, when the nation itself is thrown into a xenophobic frame of mind.

'It is 2001. 438 refugees sit in a boat called Tampa off the shoreline of Australia while the TV and radio scream out that the country is being flooded, inundated, overrun by migrants. Antonio Martone, once a migrant himself, has been forced to retire, his wife has moved in with the woman next door, his daughter runs off with strange men, his deadbeat son is hiding in the garden smoking marijuana. Amidst his growing paranoia, the ghost of his dead friend shows up and commands him to paint ‘No More Boats’ in giant letters across his front yard. The Prime Minister of Australia keeps telling Antonio that we will decide who comes to this country and the circumstance in which they come, but Antonio’s not sure he wants to think about all those things that led him to get on a boat and come to Australia in the first place. A man and a nation unravel together.' (Publication summary)

'Michael’s older brother dies at the beginning of the summer he turns 15, but as its title suggests The Incredible Here and Now is a tale of wonder, not of tragedy. Presented as a series of vignettes, in the tradition of Sandra Cisneros’ Young Adult classic The House on Mango Street, it tells of Michael’s coming of age in a year which brings him grief and romance; and of the place he lives in Western Sydney where ‘those who don’t know any better drive through the neighbourhood and lock their car doors’, and those who do, flourish in its mix of cultures. Through his perceptions, the reader becomes familiar with Michael’s community and its surroundings, the unsettled life of his family, the girl he meets at the local pool, the friends that gather in the McDonalds parking lot at night, the white Pontiac Trans Am that lights up his life like a magical talisman. Suitable for young readers from 14 years of age.' (Publisher's blurb)

'The underlying theme in Marcus Zusak’s novels is ordinariness. Whether he is writing from the perspective of two working-class brothers struggling to get noticed for their boxing abilities in Fighting Ruben Wolfe (2000), or from that of Ed in The Messenger (2002) – ‘the epitome of ordinariness’ – the theme looms in complex ways over his writings. Even a character such as Death in his best-known work, The Book Thief (2005), is depicted as facing the same mundane issues as most human beings: he is easily distracted, he can’t make up his mind, he feels overwhelmed by his demanding work.' (Introduction)