AustLit

'This book is not The Book. The Book is in this book. And The Book in this book is both the goodie and the baddie.

'Bonnie is five. She wants to bury The Book because it is a demon that should go to hell. Penny, Bonnie’s mother, does bury The Book, but every day she digs it up and writes in it. John, Bonnie’s father, doesn’t live with them anymore. But he still likes to write in it from time to time. Ted, Bonnie’s stepfather, would like to write in The Book, but Penny won’t allow it.

'To Bonnie, The Book is sadness.

To Penny, The Book is liberation.

To John, The Book is forgiveness.

To Ted, The Book is envy.

But The Book in this book isn’t what it seems at all.

'If there was one thing in this world you wished you could hold in your hand, what would it be? The world bets it would be The Book.' (Publication summary)

'Twisted Velvet Chains is a collection of poems which follows the experiences of a young woman growing up with a bipolar, drug addicted, Gothic musician mother. Each poem represents specific moments of their life that embrace vivid rich imagery, and illustrate the turmoil of emotions both experience while together. The collection is divided into four parts that flow one into the other from childhood, adolescence, adulthood, and post-death.' (Publication summary)

'A rich collection of poems that take the reader on a deep tour of the psyche. Charting and moving across politics of language, Bell explores love, pain, failure and redemption from a variety of angles. Most of the poems sit at the fragile threshold of instinct and meaning, using symbol and sensation to get to the shock of denouement. From 'Spandex' to the Greek kafeneion, there are unexpected juxtapositions and discoveries to be found in Jessica Bell's 'Fabric'. This voice is equally inspired by the quotidian, Greek jargon words, and the mythic figures of Echo and Narcissus, Aphrodite, and, of course, Euterpe, the muse of music and the lyric. The interstices of the so-called ordinary with the always larger dramas of feeling and its consequences are among the subjects this young poet explores in her vivid weave of language.' (Publication summary)

'Sonia yearns for sharp objects and blood. But now that she's rehabilitating herself as a "normal" mother and mathematics teacher, it's time to stop dreaming about slicing people's throats. While being the wife of Melbourne's leading drug lord and simultaneously dating his best mate is not ideal, she's determined to make it work. It does work. Until Mia, her lover's daughter, starts exchanging saliva with her son, Mick. They plan to commit a crime behind Sonia's back. It isn't long before she finds out and gets involved to protect them. But is protecting the kids really Sonia's motive?' (Publication summary)

'Kit is a twenty-five-year-old archaeology undergrad, who doesn’t like to get her hands dirty. Life seems purposeless. But if she could track down her father, Roger, maybe her perspective would change.

'The only problem—Roger is as rotten as the decomposing oranges in her back yard according to the women in her life: Ailish, her mother—an English literature professor who communicates in quotes and clichés, and who still hasn’t learned how to express emotion on her face; Ivy, her half-sister—a depressed archaeologist, with a slight case of nymphomania who fled to America after a divorce to become a waitress; and Eleanor, Ivy’s mother—a pediatric surgeon who embellishes her feelings with medical jargon, and named her daughter after "Intravenous."

Against all three women’s wishes, Kit decides to find Roger.

Enter a sister Kit never knew about.

But everyone else did.' (Publisher's blurb)

'In late 2011, Jessica Bell and Dawn Ius founded Vine Leaves Literary Journal to offer the vignette, a forgotten literary form, the exposure and credit it deserves. The vignette is a snapshot in words, and differs from flash fiction or a short story in that its aim doesn't lie within the traditional realms of structure or plot, instead it focuses on one element, mood, character, setting or object. The journal, published quarterly online, is a lush synergy of atmospheric prose, poetry, photography and illustrations, put together with an eye for aesthetics as well as literary merit. The annual print anthology showcases the very best pieces from across the year. From the haunting prose of Theresa Milstein and Carrie Mumford, to the controversial and quirky work of H. Edgar Hix and Greg Belliveau, the pathological effects of cigarettes and apple seeds, ice sculptures and mental illness are explored. We meet a lovable old man named Joseph and find out out how the good old washing machine can change one's life. Oh, and how could we forget a mention of the mother with the scissors? Each vignette merges to create a vivid snapshot in time and place. Prepare for big stories in small spaces, between and beyond the words. Read one at a time. Taste them. Savour them. Live them.'  (Publication summary)