Stella
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Good mothers are expected to be selfless. Artists are seen as selfish. So what does this mean for a mother with artistic ambitions? In Bad Art Mother, novelist Edwina Preston explores the conflict between creativity and the conventional expectations of femininity.
By choosing to participate in – and not just stand witness to – events and then critiquing her reasons for doing so, Louisa Lim transgresses traditional expectations of journalism and forces the reader to consider the role journalism plays in shaping our understanding of the world. Indelible City is a vibrant international literary achievement.
This startlingly original novel, like its eponymous mythical creature, contains many faces, twists and turns, and yet works cohesively as a story of great intrigue and black humour.
With electrifying boldness, Sarah Holland-Batt confronts what it means to be mortal in an astonishing and deeply humane portrait of a father’s Parkinson’s Disease, and a daughter forged by grief.
Eloise Grills takes our gaze to task in this illustrated memoir-in-essays. Grills transforms writings (impressive in their own right) into visual essayistic feasts for the reader. At times theoretical, heavy but not dense, her work attends to an under-examined body in Australian literature.
In We Come With This Place, Debra Dank shares with us a life that is at once extraordinary and familiar. Dank’s words are lucid and beautiful. Her skill not only as a keen observer of her own life, but as a narrative builder and scholar of it, is obvious.
Homecoming is both a genre-defying book, and a deeply respectful ode to the persistence of Noongar people in the face of colonisation and its afterlives
Lee Lai’s Stone Fruit is a moving graphic novel in which queer couple, Bron and Ray, find themselves at a tense crossroads in their relationship.
Told with a kind of conversational intimacy – inviting the reader in, rationalising, second-guessing, accounting, defending, justifying – Jennifer Down inhabits the voice of a woman who has experienced a great deal of trauma, while evoking a history of south-east Melbourne from the 1970s into the present.
No Document is a longform poetic essay that considers the ways we might use an experience of grief to continue living, creating, and reimagining the world we live in with greater compassion and honour.
Dropbear is a breathtaking collection of poetry and short prose which arrests key icons of mainstream Australian culture and turns them inside out, with malice aforethought.
Eunice Andrada’s second poetry collection meditates on the ethics of care and the need to dismantle in order to recollect, to recover, and to create.
