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In Stone Sky Gold Mountain, Mirandi Riwoe has subverted the historical Gold Rush-era novel and provided us with a lyrical, character-driven piece of historical fiction that explores identity, friendship, belonging, and what it means to exist on a land that is not your own.
In an ingenious meeting of form and function, The Wandering uses the classic structure of a ‘Choose Your Own Adventure’ story to interrogate notions of travel, social inequality, free will, and how we build our lives.
Told in the captivating voice of fourteen-year-old Dylan, Metal Fish, Falling Snow is an outstanding young adult novel about family, grief and identity. This is a novel for both young and old; a brilliant and heartfelt work of Australian fiction.
Laura Jean McKay’s prescient The Animals in That Country begins as a flu-like pandemic spreads its way across the countryside, rendering those afflicted with the ability to understand what animals, both wild and domestic, have to say.
S.L. Lim’s novel is a psychological portrayal of what happens when an unhinged, manipulative, violent man controls a domestic space – and the ruinous impacts it has on the lives of women and girls in his orbit.
Wakefield’s young adult (YA) novel is genuine and full of heart. This is How We Change the Ending tackles the urgent issues for kids today in a way that is relatable. It is an unflinching book that brims with anxieties and attitude, raw angst and gentle refuge.
There Was Still Love is a confident, sparkling novel that brings to life the story of a family regrouping after the impacts of the German occupation of Czechoslovakia with warmth and resonance.
Winch teaches us about Language with a capital ‘L’ weaving the present urgency of belonging, land rights, mining and climate change, with the stark reminder of the invasion history of pain and loss. The reader experiences an intricate layering of time through narrative explored in Language. This is Language that drives culture, and energy, and brings people back from the brink. It is Language that heals.
The Weekend is domestic realism at its very best. Four women in the third act of their lives—post-kids or what-have-you, post-marriage, post-menopause and all its trimmings—and they aren’t going to change now.
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