An experimental narrative which departs from realist conventions by suggesting connections and differences in the relationship between Aboriginal women and European men in the early years of settlement and in contemporary Sydney, Nice Coloured Girls is also 'a ground-breaking film stylistically and thematically. The audience is left to question history, in particular the reliability of primary sources. The absence of the Aboriginal point of view in Australia's "history" becomes glaringly obvious as we are left to question the nature of traditional representations of Aborigines. As Australians, Aboriginal people have been marginalized and stereotyped but Moffatt who is a young, contemporary Aboriginal Australian offers an Aboriginal perspective through her work and questions dominant representations which have excluded Aborigines (or offered unrealistic images of them)' (French, 'An Analysis of Nice Coloured Girls', q.v.).

In this important and beautifully written book, Aileen Moreton-Robinson gives us a compelling analysis of white Australian feminism seen through Indigenous Australian women's eyes. She unpacks the unspoken normative subject of feminism as white middle-class woman, where whitemess marks their position of power and privilege vis-a-vis Indigenous women, and where silence about whitemess sustains the exercise of that power. And she examines the consequences of practices for Indigenous women and White women.' (Source: Preface, Talkin' Up to the White Women, 2000)

The story of Bran Nue Dae concerns Willie, who having been expelled from the missionary school in Perth returns to Broome on the far north coast of Western Australia. Before leaving Perth, however, he finds his Uncle Tadpole and together they make the journey home with a hippie and a German tourist. Willy discovers sex and true love and their adventures end in the revelation that all the principle characters are related to each other. The whole is a celebration of the multi-cultural life of Broome and of the failures by government and church to make the black population assimilate and conform.

'In 1982, Sally Morgan travelled back to her grandmother's birthplace. What started as a tentative search for information about her family, turned into an overwhelming emotional and spiritual pilgrimage. My Place is a moving account of a search for truth into which a whole family is gradually drawn, finally freeing the tongues of the author's mother and grandmother, allowing them to tell their own stories.' Source: Publisher's blurb.

'The spirited story of the Millimurra family’s stand against government ‘protection’ policies in 1930s Australia.' (From the publisher's website.)

'In this brilliant debut novel, Alexis Wright evokes city and outback, deepening our understanding of human ambition and failure, and making the timeless heart and soul of this country pulsate on the page. Black and white cultures collide in a thousand ways as Aboriginal spirituality clashes with the complex brutality of colonisation at St Dominic's mission. With her political awareness raised by work with the city-based Aboriginal Coalition, Mary visits the old mission in the northern Gulf country, place of her mother's and grandmother's suffering. Mary's return reignites community anxieties, and the Council of Elders again turn to their spirit world.' (From the publisher's website.)

'I haven't got a 'boyfriend', Mum." "Fine way to be carrying on then, out all Sat'dy night with a strange fella..." "Muuum. " "Don't you marm me, my girl. When I was your age I wasn't out running around with any stray bloke with a flash car and the gift of the gab. "And when I'm your age, thought Sue maliciously, I won't be ringing up my kids to scab money and make their lives a misery into the bargain. Sue Wilson, young and Aboriginal, escapes her "too-large, too-poor family in a too-small" north Queensland town for Logan City's frontier sprawl. Entering "the mythic world of Work" she discovers that the view from behind the bar is less than glamorous, but pays the rent. When she meets Roger the good times begin to roll until she finds herself starring in a feature with medium level violence. Melissa Lucashenko's first novel makes no apologies. With direct and gutsy language, her characters live their lives in the shadows cast by indifferent affluence.' (Source: UQP website: www.uqp.uq.edu.au)

Swallow the Air follows the life of 15-year-old May Gibson, an Aboriginal girl from New South Wales whose mother commits suicide. May and her brother go to live with their aunt, but eventually May travels further afield, first to Redfern's Block in Sydney, then to the Northern Territory, and finally into central New South Wales. She travels to escape, but also in pursuit of a sense of her own history, family, and identity.

'In 1948, Angela left Malta. Having gathered up five children, she sailed out on the Strathnavar, leaving poverty and the war behind. Her destination: Australia. In Surry Hills, she could build a bright new life. If only she could first learn the language, finish shoring up their dilapidated house, find new friends, get the racist neighbour off her back and keep her son away from sly grog queen Kate Leigh's kids.

'Back in Malta, someone else has made a journey. Making his way along Kalkara's glistening harbourside, a young man with flowing black hair has returned to claim his past. Paul Capsis is walking home.

'A journey that begins at a kitchen table becomes a sprawling family history and a fitting tribute to a much-loved matriarch. Told simply and truthfully, Angela's Kitchen is an astonishingly evocative piece of autobiographical theatre from one of Australia's most versatile performers.'

Source: Griffin Theatre Company website, http://www.griffintheatre.com.au/
Sighted: 15/11/2010

'This collection, introduced by John McCallum, includes three previously unpublished works: Jonah, a Brechtian musical reinvention of Louis Stone's novel of the same name; Top End, a political drama set in Darwin during the Indonesian invasion of East Timor, and Lost Weekend which takes a class-based look at 'Australianess'. They are published together with Romeril's best-known play, The Floating World, the story of a returned serviceman's descent into madness on a cruise ship bound for Japan.

'Romeril's writing conveys the immediacy of the times that stems from his beginnings as an agitprop writer, but he focuses on everyday lives. The plays in Damage explore the twentieth century stresses and strains, the damage we do and the damage done to us.' (From the publisher's website.)

'An unsettling play about infidelity seen from the perspective of the three women involved: the wife, the lover and the daughter.

'George and Honor have been happily married for thirty-two years. She is a successful writer, he is a revered columnist. They have a perfect understanding of each other. Until a pushy young female journalist - on an assignment to 'profile' George - quite deliberately seeks to undermine that understanding. The fallout is dreadful - but beautifully and convincingly portrayed in all its painful consequences.' (Publication summary)

Collection of two plays.

'And God said: Thou shalt love thy neighbour. He obviously hadn't reckoned on Ana.

'Neighbourhood Watch is a glorious new comedy about hope, death and pets. It's a classic odd-couple story: opposites attract, and from each other they gain a new understanding. But as the domestic crises accumulate, Neighbourhood Watch takes on a sense of enormity in the midst of the ordinary that would make Patrick White proud.' (From the publisher's website.)

A young policeman’s first day on duty becomes a violent and highly charged initiation into law enforcement. Remarkable for its blend of boisterous humour and horrifying violence, the play has acquired a reputation as a classic statement on Australian authoritarianism and is a key work in the study of Australian drama.

(Publication Synopsis)

'This is a proud milestone in Australian theatre history; a contemporary Indigenous performance text from the highly acclaimed Kooemba Jdarra. Appropriating western forms whilst using traditional storytelling, it gives emotional insight into Murri life. This one-woman show follows the journey of an Aboriginal ‘Everywoman’ as she tells poignant and humorous stories of grief and reconciliation. A powerful, demanding and culturally profound text, The 7 Stages of Grieving is a celebration of Indigenous survival, an invitation to grieve publicly, a time to exorcize pain. It has a universal theme told through the personal experiences of one incredible character.'

Source: Publisher's blurb (Playlab).

Stolen is based upon the lives of five Indigenous people, who go by the names of Sandy, Ruby, Jimmy, Anne and Shirley, who dealt with the issues for forceful removal by the Australian government.

'It begins with a miracle. On a rainy day in Alice Springs in 2039 a fish falls like manna from heaven to bless the reunion of a father with his long lost son. Perhaps it's a sign that the pattern of betrayal and abandonment that began on another rainy day in London in 1959 will come to an end.

'Who'll stop the rain? Andrew Bovell's award-winning When the Rain Stops Falling is powerful storytelling in which the voices of our past echo into our future.' (Publisher's blurb)

'In 1806 William Thornhill, a man of quick temper and deep feelings, is transported from the slums of London to New South Wales for the term of his natural life. With his wife Sal and their children he arrives in a harsh land he cannot understand.

'But the colony can turn a convict into a free man. Eight years later Thornhill sails up the Hawkesbury to claim a hundred acres for himself.

'Aboriginal people already live on that river. And other recent arrivals - Thomas Blackwood, Smasher Sullivan and Mrs Herring - are finding their own ways to respond to them.

'Thornhill, a man neither better nor worse than most, soon has to make the most difficult choice of his life.

'Inspired by research into her own family history, Kate Grenville vividly creates the reality of settler life, its longings, dangers and dilemmas. The Secret River is a brilliantly written book, a groundbreaking story about identity, belonging and ownership.' (From the publisher's website.)

Big-hearted, moving and richly rewarding, That Deadman Dance is set in the first decades of the 19th century in the area around what is now Albany, Western Australia. In playful, musical prose, the book explores the early contact between the Aboriginal Noongar people and the first European settlers.

'The novel's hero is a young Noongar man named Bobby Wabalanginy. Clever, resourceful and eager to please, Bobby befriends the new arrivals, joining them hunting whales, tilling the land, exploring the hinterland and establishing the fledgling colony. He is even welcomed into a prosperous local white family where he falls for the daughter, Christine, a beautiful young woman who sees no harm in a liaison with a native.

'But slowly - by design and by accident - things begin to change. Not everyone is happy with how the colony is developing. Stock mysteriously start to disappear; crops are destroyed; there are "accidents" and injuries on both sides. As the Europeans impose ever stricter rules and regulations in order to keep the peace, Bobby's Elders decide they must respond in kind. A friend to everyone, Bobby is forced to take sides: he must choose between the old world and the new, his ancestors and his new friends. Inexorably, he is drawn into a series of events that will forever change not just the colony but the future of Australia...' (From the publisher's website.)

Based on Jeannie Gunn's fictionalised autobiography of the same name, the story begins in 1902 with the arrival of Mrs Gunn and her new husband Aeneas in the Northern Territory. They have come to take over management of Elsey Station, a huge cattle and horse property. She is subsequently forced to battle isolation, disease, and the white stockmen who believe the station is no place for a woman. She befriends the local Aboriginal women, but is mystified by their culture. Her affection for the place and the people is tested by frequent tragedy.

(Source: Australian Screen.)

'In this brilliant debut novel, Alexis Wright evokes city and outback, deepening our understanding of human ambition and failure, and making the timeless heart and soul of this country pulsate on the page. Black and white cultures collide in a thousand ways as Aboriginal spirituality clashes with the complex brutality of colonisation at St Dominic's mission. With her political awareness raised by work with the city-based Aboriginal Coalition, Mary visits the old mission in the northern Gulf country, place of her mother's and grandmother's suffering. Mary's return reignites community anxieties, and the Council of Elders again turn to their spirit world.' (From the publisher's website.)

Marcia Langton analyses the making and watching of films, videos and TV programs by Aboriginal people in remote and settled Australia. She introduces theoretical perspectives to investigate concepts of Aboriginality and presents case studies of films such as Jedda, Tracey Moffat's Night Cries, Brian Syron's Jindalee Lady and Ned Lander and Rachel Perkin's film of the Warlpiri Fire Ceremony Jardiwarnpa. The central requirement is to develop a body of knowledge on representation of Aboriginal people and their concerns in art, film, television or other media and a critical perspective to do with aesthetics and politics, drawing from Aboriginal world views, from western traditions and from history.

'In the mid-1840s, a thirteen-year-old boy, Gemmy Fairley, is cast ashore in the far north of Australia and taken in by Aborigines. Sixteen years later, when settlers reach the area, he moves back into the world of Europeans, men and women who are staking out their small patch of home in an alien place, hopeful and yet terrified of what it might do to them.

Given shelter by the McIvors, the family of the children who originally made contact with him, Gemmy seems at first to be guaranteed a secure role in the settlement, but there are currents of fear and mistrust in the air. To everyone he meets - from George Abbot, the romantically aspiring young teacher, to Mr Frazer, the minister, whose days are spent with Gemmy recording the local flora; from Janet McIvor, just coming to adulthood and discovering new versions of the world, to the eccentric Governor of Queensland himself - Gemmy stands as a different kind of challenge, as a force which both fascinates and repels. And Gemmy himself finds his own whiteness as unsettling in this new world as the knowledge he brings with him of the savage, the Aboriginal.' - Publisher's blurb (Chatto & Windus, 1993).

'Arriving in Capricornia (a fictional name for the Northern Territory) in 1904 with his brother Oscar, Mark Shillingworth soon becomes part of the flotsam and jetsam of Port Zodiac (Darwin) society. Dismissed from the public service for drunkenness, Mark forms a brief relationship with an Aboriginal woman and fathers a son, whom he deserts and who acquires the name of Naw-Nim (no-name). After killing a Chinese shopkeeper, Norman disappears from view until the second half of the novel.

'Oscar, the respectable contrast to Mark, marries and tries to establish himself on a Capricornian cattle station, Red Ochre, but is deserted by his wife and eventually returns for a time to Batman (Melbourne), accompanied by his daughter Marigold and foster son Norman, who has been sent to him after Mark's desertion.

'Oscar rejects the plea of a former employee, Peter Differ, to see to the welfare of his daughter Constance; Constance Differ is placed under the 'protection' of Humboldt Lace, a Protector of Aborigines, who seduces her and then marries her off to another man of Aboriginal descent. Forced into prostitution, Constance is dying of consumption when discovered by a railway fitter, Tim O'Cannon, who will take care of Constance's daughter, Tocky, until his own death in a train accident.
Hearing news in 1928 of an economic boom in Capricornia, Oscar returns to his station, where he is joined by Marigold and Norman, who has grown to manhood believing himself to be the son of a Javanese princess and a solider killed in the First World War. Soon after, he discovers his mother was an Aboriginal woman, and meets his father, with whom he will not reconcile until later in the novel. Norman then goes on a series of journeys to discover his true, Aboriginal self. On the second of these journeys, he meets and wanders in the wilderness with Tocky, who has escaped from the mission station to which she was sent after the death of O'Cannon. During this passage, she kills a man in self-defense, which leads to Norman's being accused of murder, at the same time his father is prosecuted for the death of the Chinese shopkeeper. At the end of the novel they are both acquitted, Heather and Mark are married, and Norman returns to Red Ochre, where he finds the body of Tocky and their child in a water tank in which she had taken refuge from the authorities.' (Source: Oxford Companion to Australian Literature)

'In this brilliant debut novel, Alexis Wright evokes city and outback, deepening our understanding of human ambition and failure, and making the timeless heart and soul of this country pulsate on the page. Black and white cultures collide in a thousand ways as Aboriginal spirituality clashes with the complex brutality of colonisation at St Dominic's mission. With her political awareness raised by work with the city-based Aboriginal Coalition, Mary visits the old mission in the northern Gulf country, place of her mother's and grandmother's suffering. Mary's return reignites community anxieties, and the Council of Elders again turn to their spirit world.' (From the publisher's website.)

Raki (which means rope) is set in Australia and Bosnia and deals with issues of black and white relations, ethnic conflict and multi-culturalism. Gara is an Aboriginal youth who is adopted by a Yugoslav family and taken bak to Bosnia. Caught up in the conflict there, he returns to Australia, only to end up in jail, where he hangs himself. (Source: Koori Mail Ed. 85 21 Sept. 1994)

'This anthology collects the best examples of Australian gothic short stories from colonial times. Demonic bird cries, grisly corpses, ghostly women and psychotic station-owners populate a colonial landscape which is the stuff of nightmares.

'In stories by Marcus Clarke, Mary Fortune and Henry Lawson, the colonial homestead is wracked by haunted images of murder and revenge. Settlers are disoriented and traumatised as they stumble into forbidden places and explorers disappear, only to return as ghostly figures with terrible tales to tell. These compelling stories are the dark underside to the usual story of colonial progress, promise and nation-building, and reveal just how vivid the gothic imagination is at the heart of Australian fiction.' (Publication summary)

'The Anthology of Colonial Australian Romance Fiction collects captivating stories of love and passion, longing and regret. In these tales women arriving in the New World make decisions about relationships and marriage, social conventions, finances and career-and even the future of the nation itself. The "slim and graceful" Australian girl becomes a new character type: independent, self-possessed and full of promise. These stories also show women gaining experience about the world, and the men, around them. They are put to the test by a new life and a new place. And not every relationship works out well.

The best of colonial Australian romance fiction is collected in this anthology, from writers such as Ada Cambridge, Rosa Praed, Francis Adams, Henry Lawson, Mura Leigh and many others.' (From the publisher's website.)

'An unnamed man, M, arrives at a remote house on the fringe of a vast wilderness and soon disappears into a world of silence and stillness. His one mission: to find the last thylacine, the fabled Tasmanian tiger. She is said to have passed into myth but a sighting has been reported... Uncompromising and compelling, Julia Leigh's stunning first novel does not give up any of its secrets easily. The Hunter is a haunting tale of obsession that builds to an unforgettable conclusion.'

Source: Libraries Australia (Sighted 18/03/2011).

'While on his mission, the hunter lodges with a grief-ridden family of outcasts whose father has mysteriously vanished after sighting the Thylacine. The hunter succumbs more than he'd like to the family's scant charms and when tragedy strikes has to further purge his psyche to focus upon his elusive quarry. There is something tantalizing at large here as well as the mythical beast in this soul-stalking story about a group of doomed creatures whose unfortunate extinction is never really in doubt.' - Reviewed by Chris Packham, naturalist and broadcaster

Source: British Union Catalogue http://copac.ac.uk/search?rn=3&au=leigh&ti=hunter (Sighted 14/10/2011)

'Seven Poor Men of Sydney is a brilliant portrayal of a group of men and women living in Sydney in the 1920s amid conditions of poverty and social turmoil.

Set against the vividly drawn backgrounds of Fisherman's (Watson's) Bay and the innercity slums, the various characters seek to resolve their individual spiritual dilemmas; through politics, religion and philosophy.

Their struggles, their pain and their frustrations are portrayed with consummate skill in this memorable evocation of a city and an era.' (Publication summary)

'At a suburban barbecue, a man slaps a child who is not his own.

'This event has a shocking ricochet effect on a group of people, mostly friends, who are directly or indirectly influenced by the event.

'In this remarkable novel, Christos Tsiolkas turns his unflinching and all-seeing eye onto that which connects us all: the modern family and domestic life in the twenty-first century. The Slap is told from the points of view of eight people who were present at the barbecue. The slap and its consequences force them all to question their own families and the way they live, their expectations, beliefs and desires.

'What unfolds is a powerful, haunting novel about love, sex and marriage, parenting and children, and the fury and intensity - all the passions and conflicting beliefs - that family can arouse. In its clear-eyed and forensic dissection of the ever-growing middle class and its aspirations and fears, The Slap is also a poignant, provocative novel about the nature of loyalty and happiness, compromise and truth.' (Publisher's blurb)

'Set in nineteenth-century Australia, Voss is the story of the secret passion between an explorer and a naïve young woman. Although they have met only a few times, Voss and Laura are joined by overwhelming, obsessive feelings for each other. Voss sets out to cross the continent. As hardships, mutiny and betrayal whittle away his power to endure and to lead, his attachment to Laura gradually increases. Laura, waiting in Sydney, moves through the months of separation as if they were a dream and Voss the only reality.

'From the careful delineation of Victorian society to the sensitive rendering of hidden love to the stark narrative of adventure in the Australian desert, Patrick White's novel is a work of extraordinary power and virtuosity.'

Source: Random House Books (Sighted 21/09/2012)

'Pi O grew up in ‘the Narrows’ of Fitzroy and, in-and-on that ‘tainted corner’ along that ‘terrible mile’ known thru-out Australia as Gertrude St. and Brunswick St. opposite the Champion and Rob Roy Hotels.

'This is a poetry of place (and of, a place), from the perspective of one who grew up there - not by a tour guide, a oncer, do-gooder, academic, apologist, blow-hard, or for that matter a blow in, but by one whose co-ordinates have always been (0, 0). There are over 400 portraits of some of the most important people in Australia - from prime ministers, saints, poets, priests, gangsters, adventurers, sculptors, murderers, and industrialists, as well as of those who may not otherwise have ever, seen the light of day again. A poetry of people, not property prices!

'With all the biographies merging with that of the poet’s own autobiography or biography and visa versa. This is a new kind of history, in a new & old kind of poetry, in a new era. A mammoth achievement in the annuals of Australian literature.' (Publication summary)

'On the outskirts of an Australian country town in the 1950s, a lonely farmer trains his binoculars on a family of kookaburras that roost in a tree near his house. Harry observes the kookaburras through a year of feast, famine, birth, death, war, romance and song. As Harry watches the birds, his next door neighbour has her own set of binoculars trained on him.

'Ardent, hard-working Betty has escaped to the country with her two fatherless children. Betty is pleased that her son, Michael, wants to spend time with the gentle farmer next door. But when Harry decides to teach Michael about the opposite sex, perilous boundaries are crossed.

'Mateship with Birds is a novel about young lust and mature love. It is a hymn to the rhythm of country life - to vicious birds, virginal cows, adored dogs and ill-used sheep. On one small farm in a vast, ancient landscape, a collection of misfits question the nature of what a family can be.' (From the publisher's website.)

An experimental narrative which departs from realist conventions by suggesting connections and differences in the relationship between Aboriginal women and European men in the early years of settlement and in contemporary Sydney, Nice Coloured Girls is also 'a ground-breaking film stylistically and thematically. The audience is left to question history, in particular the reliability of primary sources. The absence of the Aboriginal point of view in Australia's "history" becomes glaringly obvious as we are left to question the nature of traditional representations of Aborigines. As Australians, Aboriginal people have been marginalized and stereotyped but Moffatt who is a young, contemporary Aboriginal Australian offers an Aboriginal perspective through her work and questions dominant representations which have excluded Aborigines (or offered unrealistic images of them)' (French, 'An Analysis of Nice Coloured Girls', q.v.).

In this important and beautifully written book, Aileen Moreton-Robinson gives us a compelling analysis of white Australian feminism seen through Indigenous Australian women's eyes. She unpacks the unspoken normative subject of feminism as white middle-class woman, where whitemess marks their position of power and privilege vis-a-vis Indigenous women, and where silence about whitemess sustains the exercise of that power. And she examines the consequences of practices for Indigenous women and White women.' (Source: Preface, Talkin' Up to the White Women, 2000)

Les Harding, onetime Japanese prisoner-of-war, takes a package cruise to Japan with his wife. As he draws near, long-repressed memories of suffering well up. A rich, ironic study of Australian xenophobia..

Source: Currency Press

(http://www.currency.com.au/product_detail.aspx?productid=210)

'An unsettling play about infidelity seen from the perspective of the three women involved: the wife, the lover and the daughter.

'George and Honor have been happily married for thirty-two years. She is a successful writer, he is a revered columnist. They have a perfect understanding of each other. Until a pushy young female journalist - on an assignment to 'profile' George - quite deliberately seeks to undermine that understanding. The fallout is dreadful - but beautifully and convincingly portrayed in all its painful consequences.' (Publication summary)

'And God said: Thou shalt love thy neighbour. He obviously hadn't reckoned on Ana.

'Neighbourhood Watch is a glorious new comedy about hope, death and pets. It's a classic odd-couple story: opposites attract, and from each other they gain a new understanding. But as the domestic crises accumulate, Neighbourhood Watch takes on a sense of enormity in the midst of the ordinary that would make Patrick White proud.' (From the publisher's website.)

A young policeman’s first day on duty becomes a violent and highly charged initiation into law enforcement. Remarkable for its blend of boisterous humour and horrifying violence, the play has acquired a reputation as a classic statement on Australian authoritarianism and is a key work in the study of Australian drama.

(Publication Synopsis)

'It begins with a miracle. On a rainy day in Alice Springs in 2039 a fish falls like manna from heaven to bless the reunion of a father with his long lost son. Perhaps it's a sign that the pattern of betrayal and abandonment that began on another rainy day in London in 1959 will come to an end.

'Who'll stop the rain? Andrew Bovell's award-winning When the Rain Stops Falling is powerful storytelling in which the voices of our past echo into our future.' (Publisher's blurb)

'In this brilliant debut novel, Alexis Wright evokes city and outback, deepening our understanding of human ambition and failure, and making the timeless heart and soul of this country pulsate on the page. Black and white cultures collide in a thousand ways as Aboriginal spirituality clashes with the complex brutality of colonisation at St Dominic's mission. With her political awareness raised by work with the city-based Aboriginal Coalition, Mary visits the old mission in the northern Gulf country, place of her mother's and grandmother's suffering. Mary's return reignites community anxieties, and the Council of Elders again turn to their spirit world.' (From the publisher's website.)

'This anthology collects the best examples of Australian gothic short stories from colonial times. Demonic bird cries, grisly corpses, ghostly women and psychotic station-owners populate a colonial landscape which is the stuff of nightmares.

'In stories by Marcus Clarke, Mary Fortune and Henry Lawson, the colonial homestead is wracked by haunted images of murder and revenge. Settlers are disoriented and traumatised as they stumble into forbidden places and explorers disappear, only to return as ghostly figures with terrible tales to tell. These compelling stories are the dark underside to the usual story of colonial progress, promise and nation-building, and reveal just how vivid the gothic imagination is at the heart of Australian fiction.' (Publication summary)

'The Anthology of Colonial Australian Romance Fiction collects captivating stories of love and passion, longing and regret. In these tales women arriving in the New World make decisions about relationships and marriage, social conventions, finances and career-and even the future of the nation itself. The "slim and graceful" Australian girl becomes a new character type: independent, self-possessed and full of promise. These stories also show women gaining experience about the world, and the men, around them. They are put to the test by a new life and a new place. And not every relationship works out well.

The best of colonial Australian romance fiction is collected in this anthology, from writers such as Ada Cambridge, Rosa Praed, Francis Adams, Henry Lawson, Mura Leigh and many others.' (From the publisher's website.)

'An unnamed man, M, arrives at a remote house on the fringe of a vast wilderness and soon disappears into a world of silence and stillness. His one mission: to find the last thylacine, the fabled Tasmanian tiger. She is said to have passed into myth but a sighting has been reported... Uncompromising and compelling, Julia Leigh's stunning first novel does not give up any of its secrets easily. The Hunter is a haunting tale of obsession that builds to an unforgettable conclusion.'

Source: Libraries Australia (Sighted 18/03/2011).

'While on his mission, the hunter lodges with a grief-ridden family of outcasts whose father has mysteriously vanished after sighting the Thylacine. The hunter succumbs more than he'd like to the family's scant charms and when tragedy strikes has to further purge his psyche to focus upon his elusive quarry. There is something tantalizing at large here as well as the mythical beast in this soul-stalking story about a group of doomed creatures whose unfortunate extinction is never really in doubt.' - Reviewed by Chris Packham, naturalist and broadcaster

Source: British Union Catalogue http://copac.ac.uk/search?rn=3&au=leigh&ti=hunter (Sighted 14/10/2011)

'Seven Poor Men of Sydney is a brilliant portrayal of a group of men and women living in Sydney in the 1920s amid conditions of poverty and social turmoil.

Set against the vividly drawn backgrounds of Fisherman's (Watson's) Bay and the innercity slums, the various characters seek to resolve their individual spiritual dilemmas; through politics, religion and philosophy.

Their struggles, their pain and their frustrations are portrayed with consummate skill in this memorable evocation of a city and an era.' (Publication summary)

'At a suburban barbecue, a man slaps a child who is not his own.

'This event has a shocking ricochet effect on a group of people, mostly friends, who are directly or indirectly influenced by the event.

'In this remarkable novel, Christos Tsiolkas turns his unflinching and all-seeing eye onto that which connects us all: the modern family and domestic life in the twenty-first century. The Slap is told from the points of view of eight people who were present at the barbecue. The slap and its consequences force them all to question their own families and the way they live, their expectations, beliefs and desires.

'What unfolds is a powerful, haunting novel about love, sex and marriage, parenting and children, and the fury and intensity - all the passions and conflicting beliefs - that family can arouse. In its clear-eyed and forensic dissection of the ever-growing middle class and its aspirations and fears, The Slap is also a poignant, provocative novel about the nature of loyalty and happiness, compromise and truth.' (Publisher's blurb)

'Set in nineteenth-century Australia, Voss is the story of the secret passion between an explorer and a naïve young woman. Although they have met only a few times, Voss and Laura are joined by overwhelming, obsessive feelings for each other. Voss sets out to cross the continent. As hardships, mutiny and betrayal whittle away his power to endure and to lead, his attachment to Laura gradually increases. Laura, waiting in Sydney, moves through the months of separation as if they were a dream and Voss the only reality.

'From the careful delineation of Victorian society to the sensitive rendering of hidden love to the stark narrative of adventure in the Australian desert, Patrick White's novel is a work of extraordinary power and virtuosity.'

Source: Random House Books (Sighted 21/09/2012)

'The book is specifically designed for tertiary level students studying creative writing, though it can be used by the more general reader. It takes an experimental approach, stresses incremental strategies and uses literary and cultural theory to illuminate the process of writing. It includes many different types of writing, including fiction, poetry, mixed genre writing, writing for performance and writing for new media. Each chapter is illustrated with extensive student and published examples.'

(Source: information provided by Hazel Smith.)

'1829, Tasmania.

'John Batman, ruthless, singleminded; four convicts, the youngest still only a stripling; Gould, a downtrodden farmhand; two free black trackers; and powerful, educated Black Bill, brought up from childhood as a white man. This is the roving party and their purpose is massacre. With promises of freedom, land grants and money, each is willing to risk his life for the prize.

'Passing over many miles of tortured country, the roving party searches for Aborigines, taking few prisoners and killing freely, Batman never abandoning the visceral intensity of his hunt. And all the while, Black Bill pursues his personal quarry, the much-feared warrior, Manalargena.

'A surprisingly beautiful evocation of horror and brutality, The Roving Party is a meditation on the intricacies of human nature at its most raw.' (From the publisher's website.)

'In 1806 William Thornhill, a man of quick temper and deep feelings, is transported from the slums of London to New South Wales for the term of his natural life. With his wife Sal and their children he arrives in a harsh land he cannot understand.

'But the colony can turn a convict into a free man. Eight years later Thornhill sails up the Hawkesbury to claim a hundred acres for himself.

'Aboriginal people already live on that river. And other recent arrivals - Thomas Blackwood, Smasher Sullivan and Mrs Herring - are finding their own ways to respond to them.

'Thornhill, a man neither better nor worse than most, soon has to make the most difficult choice of his life.

'Inspired by research into her own family history, Kate Grenville vividly creates the reality of settler life, its longings, dangers and dilemmas. The Secret River is a brilliantly written book, a groundbreaking story about identity, belonging and ownership.' (From the publisher's website.)

'Convict William Thornhill, exiled from the stinking slums of early 19th century London, discovers that the penal colony offers something that he never dared to hope for before: a place of his own. A stretch of land on the Hawkesbury River is Thornhill’s for the taking.

'As he and his family seek to establish themselves in this unfamiliar territory, they find that they are not the only ones to lay a claim to the land. The Hawkesbury is already home to a family of Dharug people, who are reluctant to leave on account of these intruders.

'As Thornhill’s attachment to the place and the dream deepens, he is driven to make a terrible decision that will haunt him for the rest of his life.' (Source: Currency Press website)

Big-hearted, moving and richly rewarding, That Deadman Dance is set in the first decades of the 19th century in the area around what is now Albany, Western Australia. In playful, musical prose, the book explores the early contact between the Aboriginal Noongar people and the first European settlers.

'The novel's hero is a young Noongar man named Bobby Wabalanginy. Clever, resourceful and eager to please, Bobby befriends the new arrivals, joining them hunting whales, tilling the land, exploring the hinterland and establishing the fledgling colony. He is even welcomed into a prosperous local white family where he falls for the daughter, Christine, a beautiful young woman who sees no harm in a liaison with a native.

'But slowly - by design and by accident - things begin to change. Not everyone is happy with how the colony is developing. Stock mysteriously start to disappear; crops are destroyed; there are "accidents" and injuries on both sides. As the Europeans impose ever stricter rules and regulations in order to keep the peace, Bobby's Elders decide they must respond in kind. A friend to everyone, Bobby is forced to take sides: he must choose between the old world and the new, his ancestors and his new friends. Inexorably, he is drawn into a series of events that will forever change not just the colony but the future of Australia...' (From the publisher's website.)

An experimental narrative which departs from realist conventions by suggesting connections and differences in the relationship between Aboriginal women and European men in the early years of settlement and in contemporary Sydney, Nice Coloured Girls is also 'a ground-breaking film stylistically and thematically. The audience is left to question history, in particular the reliability of primary sources. The absence of the Aboriginal point of view in Australia's "history" becomes glaringly obvious as we are left to question the nature of traditional representations of Aborigines. As Australians, Aboriginal people have been marginalized and stereotyped but Moffatt who is a young, contemporary Aboriginal Australian offers an Aboriginal perspective through her work and questions dominant representations which have excluded Aborigines (or offered unrealistic images of them)' (French, 'An Analysis of Nice Coloured Girls', q.v.).

In this important and beautifully written book, Aileen Moreton-Robinson gives us a compelling analysis of white Australian feminism seen through Indigenous Australian women's eyes. She unpacks the unspoken normative subject of feminism as white middle-class woman, where whitemess marks their position of power and privilege vis-a-vis Indigenous women, and where silence about whitemess sustains the exercise of that power. And she examines the consequences of practices for Indigenous women and White women.' (Source: Preface, Talkin' Up to the White Women, 2000)

The story of Bran Nue Dae concerns Willie, who having been expelled from the missionary school in Perth returns to Broome on the far north coast of Western Australia. Before leaving Perth, however, he finds his Uncle Tadpole and together they make the journey home with a hippie and a German tourist. Willy discovers sex and true love and their adventures end in the revelation that all the principle characters are related to each other. The whole is a celebration of the multi-cultural life of Broome and of the failures by government and church to make the black population assimilate and conform.

'In 1982, Sally Morgan travelled back to her grandmother's birthplace. What started as a tentative search for information about her family, turned into an overwhelming emotional and spiritual pilgrimage. My Place is a moving account of a search for truth into which a whole family is gradually drawn, finally freeing the tongues of the author's mother and grandmother, allowing them to tell their own stories.' Source: Publisher's blurb.

'The spirited story of the Millimurra family’s stand against government ‘protection’ policies in 1930s Australia.' (From the publisher's website.)

'In this brilliant debut novel, Alexis Wright evokes city and outback, deepening our understanding of human ambition and failure, and making the timeless heart and soul of this country pulsate on the page. Black and white cultures collide in a thousand ways as Aboriginal spirituality clashes with the complex brutality of colonisation at St Dominic's mission. With her political awareness raised by work with the city-based Aboriginal Coalition, Mary visits the old mission in the northern Gulf country, place of her mother's and grandmother's suffering. Mary's return reignites community anxieties, and the Council of Elders again turn to their spirit world.' (From the publisher's website.)

'I haven't got a 'boyfriend', Mum." "Fine way to be carrying on then, out all Sat'dy night with a strange fella..." "Muuum. " "Don't you marm me, my girl. When I was your age I wasn't out running around with any stray bloke with a flash car and the gift of the gab. "And when I'm your age, thought Sue maliciously, I won't be ringing up my kids to scab money and make their lives a misery into the bargain. Sue Wilson, young and Aboriginal, escapes her "too-large, too-poor family in a too-small" north Queensland town for Logan City's frontier sprawl. Entering "the mythic world of Work" she discovers that the view from behind the bar is less than glamorous, but pays the rent. When she meets Roger the good times begin to roll until she finds herself starring in a feature with medium level violence. Melissa Lucashenko's first novel makes no apologies. With direct and gutsy language, her characters live their lives in the shadows cast by indifferent affluence.' (Source: UQP website: www.uqp.uq.edu.au)

Swallow the Air follows the life of 15-year-old May Gibson, an Aboriginal girl from New South Wales whose mother commits suicide. May and her brother go to live with their aunt, but eventually May travels further afield, first to Redfern's Block in Sydney, then to the Northern Territory, and finally into central New South Wales. She travels to escape, but also in pursuit of a sense of her own history, family, and identity.

'This collection, introduced by John McCallum, includes three previously unpublished works: Jonah, a Brechtian musical reinvention of Louis Stone's novel of the same name; Top End, a political drama set in Darwin during the Indonesian invasion of East Timor, and Lost Weekend which takes a class-based look at 'Australianess'. They are published together with Romeril's best-known play, The Floating World, the story of a returned serviceman's descent into madness on a cruise ship bound for Japan.

'Romeril's writing conveys the immediacy of the times that stems from his beginnings as an agitprop writer, but he focuses on everyday lives. The plays in Damage explore the twentieth century stresses and strains, the damage we do and the damage done to us.' (From the publisher's website.)

Les Harding, onetime Japanese prisoner-of-war, takes a package cruise to Japan with his wife. As he draws near, long-repressed memories of suffering well up. A rich, ironic study of Australian xenophobia..

Source: Currency Press

(http://www.currency.com.au/product_detail.aspx?productid=210)

'An unsettling play about infidelity seen from the perspective of the three women involved: the wife, the lover and the daughter.

'George and Honor have been happily married for thirty-two years. She is a successful writer, he is a revered columnist. They have a perfect understanding of each other. Until a pushy young female journalist - on an assignment to 'profile' George - quite deliberately seeks to undermine that understanding. The fallout is dreadful - but beautifully and convincingly portrayed in all its painful consequences.' (Publication summary)

'And God said: Thou shalt love thy neighbour. He obviously hadn't reckoned on Ana.

'Neighbourhood Watch is a glorious new comedy about hope, death and pets. It's a classic odd-couple story: opposites attract, and from each other they gain a new understanding. But as the domestic crises accumulate, Neighbourhood Watch takes on a sense of enormity in the midst of the ordinary that would make Patrick White proud.' (From the publisher's website.)

A young policeman’s first day on duty becomes a violent and highly charged initiation into law enforcement. Remarkable for its blend of boisterous humour and horrifying violence, the play has acquired a reputation as a classic statement on Australian authoritarianism and is a key work in the study of Australian drama.

(Publication Synopsis)

'This is a proud milestone in Australian theatre history; a contemporary Indigenous performance text from the highly acclaimed Kooemba Jdarra. Appropriating western forms whilst using traditional storytelling, it gives emotional insight into Murri life. This one-woman show follows the journey of an Aboriginal ‘Everywoman’ as she tells poignant and humorous stories of grief and reconciliation. A powerful, demanding and culturally profound text, The 7 Stages of Grieving is a celebration of Indigenous survival, an invitation to grieve publicly, a time to exorcize pain. It has a universal theme told through the personal experiences of one incredible character.'

Source: Publisher's blurb (Playlab).

'It begins with a miracle. On a rainy day in Alice Springs in 2039 a fish falls like manna from heaven to bless the reunion of a father with his long lost son. Perhaps it's a sign that the pattern of betrayal and abandonment that began on another rainy day in London in 1959 will come to an end.

'Who'll stop the rain? Andrew Bovell's award-winning When the Rain Stops Falling is powerful storytelling in which the voices of our past echo into our future.' (Publisher's blurb)

Big-hearted, moving and richly rewarding, That Deadman Dance is set in the first decades of the 19th century in the area around what is now Albany, Western Australia. In playful, musical prose, the book explores the early contact between the Aboriginal Noongar people and the first European settlers.

'The novel's hero is a young Noongar man named Bobby Wabalanginy. Clever, resourceful and eager to please, Bobby befriends the new arrivals, joining them hunting whales, tilling the land, exploring the hinterland and establishing the fledgling colony. He is even welcomed into a prosperous local white family where he falls for the daughter, Christine, a beautiful young woman who sees no harm in a liaison with a native.

'But slowly - by design and by accident - things begin to change. Not everyone is happy with how the colony is developing. Stock mysteriously start to disappear; crops are destroyed; there are "accidents" and injuries on both sides. As the Europeans impose ever stricter rules and regulations in order to keep the peace, Bobby's Elders decide they must respond in kind. A friend to everyone, Bobby is forced to take sides: he must choose between the old world and the new, his ancestors and his new friends. Inexorably, he is drawn into a series of events that will forever change not just the colony but the future of Australia...' (From the publisher's website.)

Based on Jeannie Gunn's fictionalised autobiography of the same name, the story begins in 1902 with the arrival of Mrs Gunn and her new husband Aeneas in the Northern Territory. They have come to take over management of Elsey Station, a huge cattle and horse property. She is subsequently forced to battle isolation, disease, and the white stockmen who believe the station is no place for a woman. She befriends the local Aboriginal women, but is mystified by their culture. Her affection for the place and the people is tested by frequent tragedy.

(Source: Australian Screen.)

'Don’t Take Your Love to Town is a story of courage in the face of poverty and tragedy. Ruby recounts losing her mother when she was six, growing up in a mission in northern New South Wales and leaving home when she was fifteen. She lived in tin huts and tents in the bush and picked up work on the land while raising nine children virtually single-handedly. Later she struggled to make ends meet in the Koori areas of Sydney. Ruby is an amazing woman whose sense of humour has endured through all the hardships she has experienced.' (Source UQP website: www.uqp.uq.edu.au)

'In this brilliant debut novel, Alexis Wright evokes city and outback, deepening our understanding of human ambition and failure, and making the timeless heart and soul of this country pulsate on the page. Black and white cultures collide in a thousand ways as Aboriginal spirituality clashes with the complex brutality of colonisation at St Dominic's mission. With her political awareness raised by work with the city-based Aboriginal Coalition, Mary visits the old mission in the northern Gulf country, place of her mother's and grandmother's suffering. Mary's return reignites community anxieties, and the Council of Elders again turn to their spirit world.' (From the publisher's website.)

Set in inner suburban 1970s Melbourne, Monkey Grip describes the fluid relationships of a community of friends who are living and loving in new ways. Single parent Nora falls in love with Javo, a heroin addict, and together they try to make sense of their lives and the choices they have made.

Marcia Langton analyses the making and watching of films, videos and TV programs by Aboriginal people in remote and settled Australia. She introduces theoretical perspectives to investigate concepts of Aboriginality and presents case studies of films such as Jedda, Tracey Moffat's Night Cries, Brian Syron's Jindalee Lady and Ned Lander and Rachel Perkin's film of the Warlpiri Fire Ceremony Jardiwarnpa. The central requirement is to develop a body of knowledge on representation of Aboriginal people and their concerns in art, film, television or other media and a critical perspective to do with aesthetics and politics, drawing from Aboriginal world views, from western traditions and from history.

'In the mid-1840s, a thirteen-year-old boy, Gemmy Fairley, is cast ashore in the far north of Australia and taken in by Aborigines. Sixteen years later, when settlers reach the area, he moves back into the world of Europeans, men and women who are staking out their small patch of home in an alien place, hopeful and yet terrified of what it might do to them.

Given shelter by the McIvors, the family of the children who originally made contact with him, Gemmy seems at first to be guaranteed a secure role in the settlement, but there are currents of fear and mistrust in the air. To everyone he meets - from George Abbot, the romantically aspiring young teacher, to Mr Frazer, the minister, whose days are spent with Gemmy recording the local flora; from Janet McIvor, just coming to adulthood and discovering new versions of the world, to the eccentric Governor of Queensland himself - Gemmy stands as a different kind of challenge, as a force which both fascinates and repels. And Gemmy himself finds his own whiteness as unsettling in this new world as the knowledge he brings with him of the savage, the Aboriginal.' - Publisher's blurb (Chatto & Windus, 1993).

'This anthology collects the best examples of Australian gothic short stories from colonial times. Demonic bird cries, grisly corpses, ghostly women and psychotic station-owners populate a colonial landscape which is the stuff of nightmares.

'In stories by Marcus Clarke, Mary Fortune and Henry Lawson, the colonial homestead is wracked by haunted images of murder and revenge. Settlers are disoriented and traumatised as they stumble into forbidden places and explorers disappear, only to return as ghostly figures with terrible tales to tell. These compelling stories are the dark underside to the usual story of colonial progress, promise and nation-building, and reveal just how vivid the gothic imagination is at the heart of Australian fiction.' (Publication summary)

'The Anthology of Colonial Australian Romance Fiction collects captivating stories of love and passion, longing and regret. In these tales women arriving in the New World make decisions about relationships and marriage, social conventions, finances and career-and even the future of the nation itself. The "slim and graceful" Australian girl becomes a new character type: independent, self-possessed and full of promise. These stories also show women gaining experience about the world, and the men, around them. They are put to the test by a new life and a new place. And not every relationship works out well.

The best of colonial Australian romance fiction is collected in this anthology, from writers such as Ada Cambridge, Rosa Praed, Francis Adams, Henry Lawson, Mura Leigh and many others.' (From the publisher's website.)

'An unnamed man, M, arrives at a remote house on the fringe of a vast wilderness and soon disappears into a world of silence and stillness. His one mission: to find the last thylacine, the fabled Tasmanian tiger. She is said to have passed into myth but a sighting has been reported... Uncompromising and compelling, Julia Leigh's stunning first novel does not give up any of its secrets easily. The Hunter is a haunting tale of obsession that builds to an unforgettable conclusion.'

Source: Libraries Australia (Sighted 18/03/2011).

'While on his mission, the hunter lodges with a grief-ridden family of outcasts whose father has mysteriously vanished after sighting the Thylacine. The hunter succumbs more than he'd like to the family's scant charms and when tragedy strikes has to further purge his psyche to focus upon his elusive quarry. There is something tantalizing at large here as well as the mythical beast in this soul-stalking story about a group of doomed creatures whose unfortunate extinction is never really in doubt.' - Reviewed by Chris Packham, naturalist and broadcaster

Source: British Union Catalogue http://copac.ac.uk/search?rn=3&au=leigh&ti=hunter (Sighted 14/10/2011)