AustLit

'Wilf Healy lives in the wheatbelt town of Selwyn, works in Monk's Irish pub, delivers letters, drives the school bus, holds the place together. But he's had enough, wants to retire - to forget his nephew Connor, at war with the world, his brother Brian, visiting from America, his niece Orla, sick with blood cancer. Although he plans, and tries, he can't leave. Something is holding him back.

'As the young people flee, the old people die, the drugs arrive in Selwyn, Wilf has to decide what's important. Shining Like the Sun is about the value of promises, of words and actions that might save a failing community. In the process, Wilf learns there's no such thing as retirement.' (Publication summary)

'A plane in the distance, artillery, his father waiting, and the boy wonders what to do. As with every story in this collection, the child born into a world he can't comprehend, but stands waiting for answers, overcome with possibilities. The Boy in Time charts this child's progress from the Outer Hebrides to a Mongolian desert, from war to kidnapping, a Midwestern American nightmare, falling from the wheel-well of a Dreamliner. Stephen Orr's impressionistic take on the short story captures a child's bewilderment of what it's like to be alive.'

Source: Publisher's blurb.

'1901. The slide clunks into the lantern, and Phantoms come alive on the wall. The father-and-son Magic Lantern team of Bert and Tom Eliot are masters of The Art of the Story. The only problem is that they are missing a wife and mother. Then one morning eleven-year-old Tom wakes to find his father missing, too.

'The Lanternist’s apprentice is thrown out of home, forced to work for the arch-criminal Jimmy Sacks, arrested and imprisoned. Will he ever be able to escape with his new friend Max and make the long, flea-bitten, rat-infested journey to Sydney in search of his parents?

'The Lanternist is a story about stories, and how they show us a way through life, despite callous landladies, corrupt officials, criminal companions and the problems with living in incinerators. But mostly, it is about searching, and making your own endings.'

Source: Publisher's blurb.

'In the darkest days of World War II, Ethel Malley lives a quiet life on Dalmar Street, Croydon. One day she finds a collection of poems written by her late (and secretive) brother, Ern. She sends them to Max Harris, co-editor of modernist magazine Angry Penguins. He reads them and declares Ern an undiscovered genius. Determined to help publish the poems, Ethel moves in with Max and soon becomes a presence he can't understand, or control. He gets the feeling something's not quite right. About Ethel. About Ern. Then two poets come forward claiming they wrote Ern's poems.

'What follows is part-truth, part-hoax, a dark mystery as surreal as any of Ern's poems. Max wants to believe in Ern, but to do this he has to believe in Ethel, and attempt to understand her increasingly unpredictable behaviour. Then he's charged with publishing Ern's 'pornographic' poems. The questions of truth and lies, freedom of speech, and tradition versus modernism play out in a stifling Adelaide courtroom, around the nation's wirelesses, and in Max's head.

'Based on Australia's greatest literary hoax, Sincerely, Ethel Malley explores the nature of creativity, and human frailty. It drips with the anaemic blood of Australian literature, the gristle of a culture we've never really trusted.'

Source : publisher's blurb

'Clem Whelan's got a problem: trapped in the suburbs in the Sunnyboy summer of 1984 he has to decide what to do with his life. Matriculation? He's more than able, but not remotely interested. Become a writer? His failed lawyer neighbour Peter encourages him, but maybe it's just another dead end? To make sense of the world, Clem uses his telescope to spy on his neighbours. From his wall, John Lennon gives him advice; his sister (busy with her Feres Trabilsie hairdressing apprenticeship) tells him he's a pervert; his best friend, Curtis, gets hooked on sex and Dante and, as the year progresses and the essays go unwritten, he starts to understand the excellence of it all.

'His Pop, facing the first dawn of dementia, determined to follow an old map into the desert in search of Lasseter's Reef. His old neighbour, Vicky, returning to Lanark Avenue - and a smile is all it takes. Followed by a series of failed driving tests; and the man at his door, claiming to be his father.

'It's going to be a long year, but in the end Clem emerges from the machine a different person, ready to face what he now understands about life, love, and the importance of family and neighbours.'   (Publication summary)

'Fire, flood and drought are reminders that our relationship with the land is never comfortable, writes Stephen Orr in an extract from his book The Fierce Country.' (Publication abstract)

The Fierce Country holds no malice, but neither pity. It just sits, and bakes, and waits. We do the rest. We provoke it when we mine above its aquifers. Weaken it, and ourselves, when we leave mountains of asbestos to blow away in the wind. Misunderstand it when we see it as nothing more than a resource. Resent it when it takes our children.

'The Fierce Country, perhaps, is in our minds as much as anything. The open spaces and isolated places outside Australia's cities have unsettled us from first European settlement to today - often with very good reason. In this nail-biting book combining the notorious and little-known, acclaimed author Stephen Orr has collected true stories that have shaped and continue to haunt the Australian psyche: mysteries, disappearances, mistreatment and murder. Fatal conflicts between an Aboriginal tracker and the police employers hunting his community. An itinerant conman picking up tips for the perfect murder from a famous novelist around a campfire on the Rabbit-Proof Fence. A schoolteacher and her students kidnapped en masse in 1970s rural Victoria. And that fateful day when Peter Falconio pulled over beside a desert highway. Together these tales chart an undercurrent of shifting cultural tensions as Australians find, lose and question who we are.' (Publication summary)

'As Hitler's war looms, famous Australian artist Roland Griffin returns home from London with his family to live a simple life of shared plums and low-cut lawns in the suburbs.

'In the yard: a daughter, and a son, Hal, growing up with a preoccupied father who is always out in his shed stretching canvases and painting outback pubs. An isolated man obsessed with other people and places. Everything is a picture, a symbol. Even Hal, the boy in the boat, drifting through a strange world of Incredible Floridas.

'As the years pass, Roland learns that Hal is unable to control his own thoughts, impulses, behaviour. The boy becomes the destroyer of family. The neighbourhood is enlisted to help Hal find a way forward. Child actor, a clocker at Cheltenham Racecourse, an apprentice race caller. Incredible Floridas describes Hal's attempts at adulthood, love, religion, and the hardest thing of all: gaining his father's approval.' (Publication summary)

'First, I need to visit Dean Nicolle’s eucalypt arboretum. Four hundred rows of trees, four specimens of each species of Eucalyptus, Corymbia, and Angophora (the eucalypts) nestled together, sharing pollen and landscape, dropping limbs in the grass. Each group of trees is a result of the previous year’s fieldwork. The year 2000 was big: Nicolle this keeper of the keys to the eucalypts spent six months in Western Australia collecting seed.' (Introduction)