'A verse novel that centres around the impact of colonisation in mid-north South Australia around 1880. Ruby, refugee of a massacre, shelters in the woods where she befriends an Irishman trapper. The poems convey how fear of discovery is overcome by the need for human contact, which, in a tense unravelling of events, is forcibly challenged by an Aboriginal lawman. The natural world is richly observed and Ruby’s courtship is measured by the turning of the seasons.'
Source: Magabala Books.
'Libby is on a man-fast: no more romance, no more cheating men, no more heartbreak. After all, she has her three best girlfriends and two cats to keep her company at night and her high-powered job at the National Aboriginal Gallery in Canberra to occupy her day - isn't that enough?
But when fate takes Libby to work in Paris at the Musée du Quai Branly, she's suddenly thrown out of her comfort zone and into a city full of culture, fashion and love. Surrounded by thousands of attentive men, nude poets, flirtatious baristas and smooth-tongued lotharios, romance has suddenly become a lot more tempting.
On top of it all, there's a chauvinist colleague at the Musée who challenges Libby's professional ability and diplomatic skills. Then there's Libby's new friend Sorina, a young Roma gypsy, desperate to escape deportation. Libby must protect her work record and her friend, but can she protect herself from a broken heart?' Source: www.randomhouse.com.au (Sighted 25/03/2011).
'Lauren is a curator at the National Aboriginal Gallery in Canberra. She's good at her job, passionate about the Arts, and takes work seriously. It's easy for Lauren to focus on work, that is, when she's not focussing on Adam.
Lauren is smitten with, or as her friends say, obsessed with Adam - the halfback for the Canberra Cockatoos. But Adam is a player, on and off the field. To everyone other than Lauren, it is clear that Adam doesn't want to be in a relationship at all, even though he likes being with Lauren. In a few short months Adam is involved in one too many scandals that make the press. She is shattered and breaks it off though she can't quite let go...
When she tries to convince her friends that she is waiting for Adam to have his epiphany and realise they are meant to be together, her friends decide to do an intervention on her. Under pressure from them, Lauren successfully applies for her dream job at the Smithsonian in New York. She leaves for the Big Apple, telling herself, that Adam will miss her so much he will see the light and eventually come begging.
Once landing in NYC, Lauren's life goes into overdrive with the preparation of the exhibition, finding her way around the city and marvelling at the city that never sleeps.
There are a lot of men in New York who flirt with Lauren, in fact, there are men everywhere. In the street, on the subway, in cafes and restaurants, in Central Park and even in her apartment building. They really like her, and they LOVE her accent. They fuss over her and just like being around her. Adam had never really been like that with her at all. She goes on dates trying to get Adam out of her system and eventually starts to think that she might never have another boyfriend again, because it is much more fun, and better for her self-esteem to be single in New York.
But when Adam appears on her doorstep six months later, having apparently had the epiphany she was waiting for, Lauren is confused. Adam says he wants her back. He catches Lauren at a weak moment - the exhibition she has been working on is complete and she has to make some big decisions: The Man or Manhattan?' (From the publisher's website.)
'An authoritative survey of Australian Aboriginal writing over two centuries, across a wide range of fiction and non-fiction genres. Including some of the most distinctive writing produced in Australia, it offers rich insights into Aboriginal culture and experience...
'The anthology includes journalism, petitions and political letters from both the nineteenth and twentieth centuries, as well as major works that reflect the blossoming of Aboriginal poetry, prose and drama from the mid-twentieth century onwards. Literature has been used as a powerful political tool by Aboriginal people in a political system which renders them largely voiceless. These works chronicle the ongoing suffering of dispossession, but also the resilience of Aboriginal people across the country, and the hope and joy in their lives.' (Publisher's blurb)A joint nomination for editors Anita Heiss and Peter Minter.