AustLit

'Justin Cheong, Tien Ho and Nigel Gibbo' Gibson have been best friends since school in a world divided along ethnic lines into skips, wogs and slopes. Together they've survived a suburban tragedy, compulsory karaoke nights and Justin's mother's obsession with clean toilets. They thought they would always be there for each other but they hadn't counted on the effects of jealousy, betrayal, and their desire to escape themselves.

'Ho Ly-Linh, Tien's mother, wasn't around for much of Tien's childhood. Left behind in a rapidly changing Vietnam, she risked everything to follow her family to Australia. Having spent so much of this dangerous journey alone, she is ready now to find love. On Saturday, 6 September 1997 they all meet at the Cheongs' house for the first time in years because Princess Diana is dead and their mothers have decided to hold a Dead Diana Dinner to watch the funeral on television. Nobody realises just how explosive this dinner will be, or how complicated life is going to get.

'This is a story of three families' discovery of the meaning of love and friendship.' [Source: publisher's website]

Catriona Elder explores the origins, meanings and effects of the many stories we tell about ourselves, and how they have changed over time. She outlines some of the traditional stories and their role in Australian nationalism, and she shows how concepts of egalitarianism, peaceful settlement and sporting prowess have been used to create a national identity.
(Publisher's blurb)

''Thank Trevor, he didn't see me.'

'Meet Jesse James Jones. He's an eleven-year-old boy tackling big problems in life, especially being the new kid in school. Luckily, Jesse can confide in his friend Trevor. Problem is, Trevor is a poster of Jesus on his bedroom wall.

'Meet Hunter Riley. Hunter is the school bully and loves calling Jesse anything but his own name. With Hunter's catch phrase 'Ha!' and his mean words echoing through the grounds of their peaceful school, something or someone has to give.

'But will it be Jesse? Or is Hunter more than he seems?

'An inspiring and funny story about the little things that help to make everyone's world a better place.' (Publisher's blurb)

'A young wife and mother watches a clock that seems forever stuck at three-in-the-afternoon. Her neighbour obsesses over the front lawn, and the women at the local beach chatter about knitting patterns. Her husband didn't come home last night.

'She lives for Tuesdays and Thursdays, when the baby is with Mother-in-law and she can escape to a less humdrum life. Jonathan, man about town, is Tuesday. Ben, a freethinking artist, is Thursday.

'But Jonathan is in serious trouble, and Thursdays are turning sour. Very sour.

'A brilliant, acerbic tale of a crack-up in stultifying suburbia, Blue Skies marked the emergence of a unique voice in Australian fiction.' (Abstract for 2011 publication from Text Publishing website.)

'In the magnificent opening story, "Love and Honor and Pity and Pride and Compassion and Sacrifice," a young writer is urged by his friends to mine his father's experiences in Vietnam - and what seems at first a satire on turning one's life into literary commerce becomes a transcendent exploration of homeland, and the ties between father and son. "Cartagena" provides a visceral glimpse of life in Colombia as it enters the mind of a fourteen-year-old hit man facing the ultimate test. In "Meeting Elise" an ageing New York painter mourns his body's decline as he prepares to meet his daughter on the eve of her Carnegie Hall debut. And with graceful symmetry, the final, title story returns to Vietnam, to a fishing trawler crowded with refugees where a young woman's bond with a mother and her small son forces both women to a shattering decision.' (From the author's website.)

'Francis Cullen, growing up in the island of Tasmania, is outwardly a very ordinary boy. But his inner life is dominated by dreams of a place he calls the Otherland: a transfigured world beyond the real one. In childhood, he glimpses it in the landscapes of his native island; and when he falls in love with a country girl, the dream is central to his feelings for her. After Heather is lost to him, Francis comes more and more under the influence of Lewie Matthews - a youth whose ambition is to become a criminal. Now the Otherland's location is seen as the mainland of Australia, where a mythical life of wildness and crime beckons. Francis, Lewie and their friends pursue this life in Melbourne - until a climax of destruction shatters the dream.'

Source: Publisher's blurb (HarperCollins 2013 ed.)

'Joe Cashin was different once. He moved easily then; was surer and less thoughtful. But there are consequences when you've come so close to dying. For Cashin, they included a posting away from the world of Homicide to the quiet place on the coast where he grew up. Now all he has to do is play the country cop and walk the dogs. And sometimes think about how he was before.

'Then prominent local Charles Bourgoyne is bashed and left for dead. Everything seems to point to three boys from the nearby Aboriginal community; everyone seems to want it to. But Cashin is unconvinced. And as tragedy unfolds relentlessly into tragedy, he finds himself holding onto something that might be better let go.'
Source: Publisher's website (Sighted 22/8/11)

'One clear evening in 1992 all the inhabitants enter the church hall, where they are locked in and burned alive. They have been persuaded to do this by a young man called Caleb Mean - also known as El Nino, the Christ Child. The only survivors of the fire are Caleb, his lover Virginia, and their baby daughter Golden. How could such a thing happen? And why? Do the answers lie in the tragedy of the Aborigines herded over the cliffs at Cape Grimm by white settlers? Are they in the history of Skye itself, founded by the unlikely survivors of a 19th-century shipwreck? Or do they lie within the mysteries of the human soul?' 

Source: ABE Books https://bit.ly/3gtVDeN

Play with music.

Loosely based on Nowra's own experience at producing a play (Trial by Jury) at Melbourne's Plenty Mental Home, Cosi has become a favourite with theatre companies and audiences alike since it premiered in 1992. Full of theatrical jokes and roles rich with Jonsonian humour, the play's use of a play rehearsal device also provokes images of the not-too dissimilar 'families' that come together in the professional theatre. Indeed, Nowra notes in the premiere season's programme notes that 'like the actual events of those days [the play] is, I hope, full of comedy and affection. Real madness and angst only occurred when I worked with professional actors'.

Set in 1971, Cosi takes an affectionate look at madness and mayhem in a world where institutions can be less limiting than ideology. The narrative is played out two locations, a mental institution and a suburban backyard. , Fresh from university, Lewis (a play on Louis) arrives to direct a play with the inmates, but is persuaded by Roy to stage his favourite opera, Cosi Fan Tutte. Lewis' problems don't end, however, with the fact that the other inmates are neither opera singers nor Italian-speakers. There is Ruth, troubled by the concept of a real illusion ; Zac, who insists on playing Wagner ; Doug, who is committed to the closed ward ; not to mention the sexual advances by Cherry and Julie. Lewis's world is no less complicated at home, where he has to contend with escaping pigs, exploding beer bottles and the pretensions of his politically correct friends.

The music incorporated into the narrative includes: 'Wild Thing' (by The Troggs), various songs from Cosi Fan Tutte, 'Purple Haze' (Jimmy Hendrix) 'Candy Says' (a Velvet Underground song, pre-recorded), and Wagner's 'The Ride Of The Valkyries'.

'This book about writing and the imagination is essential reading for any writer, emerging or experienced. Re-released with new material and updated advice for the 21st century writer. Contains advice for writers, inspirational quotes from numerous authors as well as writing exercises.' (Publication summary)

After years teaching Romantic poetry at the Technical University of Cape Town, David Lurie, middle-aged and twice divorced, has an impulsive affair with a student. The affair sours; he is denounced and summoned before a committee of inquiry. Willing to admit his guilt, but refusing to yield to pressure to repent publicly, he resigns and retreats to his daughter Lucy's isolated smallholding. For a time, his daughter's influence and the natural rhythms of the farm promise to harmonise his discordant life. But the balance of power in the country is shifting. He and Lucy become victims of a savage and disturbing attack which brings into relief all the faultlines in their relationship.' (Publisher's blurb)