This year, Angela surprises herself—she tells the truth....The Gillespies are far from the perfect family that Angela has made them out to be. Her husband is coping badly with retirement. Her thirty-two-year-old twins are having career meltdowns. Her third daughter, badly in debt, can’t stop crying. And her ten-year-old son spends more time talking to his imaginary friend than to real ones.Without Angela, the family would fall apart. But when a bump on the head leaves Angela with temporary amnesia, the Gillespies pull together—and pull themselves together—in wonderfully surprising ways....

    And across the centuries the fates of three women are linked: to this place, to each other.In the early 1700s, Sarah, accused of being a witch, flees for her life.In the aftermath of the Second World War, Ruth navigates a new house, a new husband and the strange waters of the local community.Six decades later, the house stands empty. Viv, mourning the death of her father, catalogues Ruth’s belongings and discovers her place in the past – and perhaps a way forward.Each woman’s choices are circumscribed, in ways big and small, by the men in their lives. But in sisterhood there is the hope of survival and new life. Intricately crafted and compulsively readable, The Bass Rock burns bright with anger and love.

    In his earlier, award-winning novels, Dominic Smith demonstrated a gift for coaxing the past to life. Now, in The Last Painting of Sara de Vos, he deftly bridges the historical and the contemporary, tracking a collision course between a rare landscape by a female Dutch painter of the golden age, an inheritor of the work in 1950s Manhattan, and a celebrated art historian who painted a forgery of it in her youth.In 1631, Sara de Vos is admitted as a master painter to the Guild of St. Luke's in Holland, the first woman to be so recognized. Three hundred years later, only one work attributed to de Vos is known to remain--a haunting winter scene, At the Edge of a Wood, which hangs over the bed of a wealthy descendant of the original owner. An Australian grad student, Ellie Shipley, struggling to stay afloat in New York, agrees to paint a forgery of the landscape, a decision that will haunt her. Because now, half a century later, she's curating an exhibit of female Dutch painters, and both versions threaten to arrive. As the three threads intersect, The Last Painting of Sara de Vos mesmerizes while it grapples with the demands of the artistic life, showing how the deceits of the past can forge the present.

    To which I say something like: ‘People are infinitely complex.’ But I say it in such a way—so pregnant with misanthropy—that it’s obvious I hate her.​Michaela and Eve are two bright, bold women who befriend each other their first year at a residential college at university, where they live in adjacent rooms. They could not be more different; one assured and popular – the other uncertain and eager-to-please. But something happens one night in O-week – a drunken encounter, a foggy memory that will force them to confront the realities of consent and wrestle with the dynamics of power.Initially bonded by their wit and sharp eye for the colleges’ mix of material wealth and moral poverty, Michaela and Eve soon discover how fragile friendship is, and how capable of betrayal they both are.​Written with a strikingly contemporary voice that is both wickedly clever and incisive, issues of consent, class and institutional privilege, and feminism become provocations for enduring philosophical questions we face today.

    There is only grey ash and melted metal, the blackened husks of cars.And the lost people: in temporary accommodation on the outskirts of the city, on the TV news in borrowed clothes, or remembered in flyers on a cafe wall.A Constant Hum grapples with the aftermath of disaster with an eye for telling detail. Some of these stories cut to the bone; others are empathetic stories of survival, even hope.All are gripping and beautifully written, heralding the arrival of an important new voice in literary fiction.

    She knows there is something wrong with her but she doesn't know what it is. Her husband Patrick thinks she is fine. He says everyone has something, the thing is just to keep going.Martha told Patrick before they got married that she didn't want to have children. He said he didn't mind either way because he has loved her since he was fourteen and making her happy is all that matters, although he does not seem able to do it.By the time Martha finds out what is wrong, it doesn't really matter anymore. It is too late to get the only thing she has ever wanted. Or maybe it will turn out that you can stop loving someone and start again from nothing - if you can find something else to want.

    'I have several young busty blondes, Derek,' Ruth sang like the weathergirl. 'One is a very sexy Danish girl, just back from a skiing trip, five-foot-five, long wavy blonde hair, blue eyes, twenty-five years old. A fantastic figure: thirty-six, twenty-five, thirty-five. Or I have a more demure, very pretty, young strawberry blonde Australian, Derek. She's nineteen ...' When her acting career stalls, Merridy Eastman lands a challenging role: night receptionist at a Sydney brothel. A long way from the bright lights of a TV studio, she is swept into the high drama of the sex industry. This former Play School presenter learns words for items and acts she never imagined, she opens the door to first-timers, old hands, couples and the occasional celebrity. But the place she spends every moment she can is the kitchen table, having a cup of tea and discussing investment portfolios, and life's many great mysteries, with Sapphire, Shelby, Antoinette and Bree - the women who make a living from having sex with strangers. And then, in this most unlikely of places, she finds herself falling in love ... There's a Bear in There (and he wants Swedish) is a funny, fascinating and true account of a forbidden world.

    When the daughters from each family meet and form a friendship, only one of them knows they are sisters. It is a relationship destined to explode when secrets are revealed and illusions shattered. As Jones explores the backstories of her rich and flawed characters, she also reveals the joy, and the destruction, they brought to each other’s lives.At the heart of it all are the two girls whose lives are at stake, and like the best writers, Jones portrays the fragility of her characers with raw authenticity as they seek love, demand attention, and try to imagine themselves as women.

    He doesn’t stop immediately. By the time he returns to the scene, the road is empty, but there is a dent in the car, high up on the passenger door, and what looks like blood. Only a man could have made such a dent, he thinks. For some reason he looks up, though he knows no one is there. Has he hit someone, and if so, where is the victim?So begins a story that takes us to the heart of contemporary Australia’s festering relationship to its indigenous past. A story about guilt for acts which precede us, crimes we are not sure we have committed, crimes gone on so long they now seem criminal- less.Part crime novel, part road movie, part love story, No One takes its protagonist to the very heart of a nation where non-existence is the true existence, where crimes cannot be resolved and guilt cannot be redeemed, and no one knows what to do with ghosts that are real.

    They make their living scavenging recyclables from the trash. Life would be hard enough without the worry for their chronically ill child, Nisay, and the added expense of medicines that are not working. Just when things seem worst, Sang Ly learns a secret about the bad-tempered rent collector who comes demanding money--a secret that sets in motion a tide that will change the life of everyone it sweeps past. The Rent Collector is a story of hope, of one woman's journey to save her son and another woman's chance at redemption.

    But by the time midnight strikes and fireworks light up the night skies, the Edevane family will have suffered a loss so great that they leave Loeanneth forever.A missing child...Seventy years later, after a particularly troubling case, Detective Sadie Sparrow retreats to her beloved grandfather's cottage in Cornwall. Once there, she stumbles upon an abandoned house, and learns the story of a baby boy who disappeared without a trace.An unsolved mystery...Meanwhile, in her elegant Hampstead home, the formidable Alice Edevane, now an old lady, leads a life as neatly plotted as the bestselling detective novels she writes. Until a young police detective starts asking questions about her family's past, seeking to resurrect the complex tangle of secrets Alice has spent her life trying to escape...

    And you can talk about a Mallee tree. And you can talk about the Mallee itself: a land and a place full of red sand and short stubby trees. Silent skies. The undulating scorch of summer plains. Quiet, on the surface of things. But Elise wasn't from the Mallee, and she knew nothing of its ways. Discover the world of a small homestead perched on the sunburnt farmland of northern Victoria. Meet Elise, whose urbane 1950s glamour is rudely transplanted to the pragmatic red soil of the Mallee when her husband returns to work the family farm. But you cannot uproot a plant and expect it to thrive. And so it is with Elise. Her meringues don't impress the shearers, the locals scoff at her Paris fashions, her husband works all day in the back paddock, and the drought kills everything but the geraniums she despises.As their mother withdraws more and more into herself, her spirited, tearaway daughters, Marjorie and Ruby, wild as weeds, are left to raise themselves as best they can. Until tragedy strikes, and Marjorie flees to the city determined to leave her family behind. And there she stays, leading a very different life, until the boy she loves draws her back to the land she can't forget...'In the same vein as Rosalie Ham, Brinsden weaves a compelling story of country Australia with all its stigma, controversy and beauty.' Fleur McDonald

    Until now...Determined to enjoy her imminent retirement, Adele invites her fellow bibliophiles to help her house-sit in the Blue Mountains. It's a tantalising opportunity to spend a month walking in the fresh air, napping by the fire and, of course, reading and talking about books.But these aren't just any books: each member has been asked to choose a book which will teach the others more about her. And with each woman facing a crossroads in her life, it turns out there's a lot for them to learn, not just about their fellow book-clubbers, but also about themselves.Liz Byrski has written a beautiful novel about the joy and comfort reading a good book can bring to us all.

    Though skilled at bookkeeping, she cannot find a job in the miserable Irish economy. When an Irish priest from Brooklyn offers to sponsor Eilis in America--to live and work in a Brooklyn neighborhood "just like Ireland"--she decides she must go, leaving her fragile mother and her charismatic sister behind.Eilis finds work in a department store on Fulton Street, and when she least expects it, finds love. Tony, a blond Italian from a big family, slowly wins her over with patient charm. He takes Eilis to Coney Island and Ebbets Field, and home to dinner in the two-room apartment he shares with his brothers and parents. He talks of having children who are Dodgers fans. But just as Eilis begins to fall in love with Tony, devastating news from Ireland threatens the promise of her future.

    The people she writes abut are young, old, rich, poor, married, widowed, Chinese, Lebanese, Christian, Muslim. What they have in common—no matter where they come from—is the desire we all share to feel that we belong. The stories explore universal themes of love, loss, family and identity, while at the same time asking crucial questions about the possibility of human connection in a globalised world.Melanie Cheng is an important new voice, offering a fresh perspective on contemporary Australia. Her effortless, unpretentious realism balances an insider’s sensitivity and understanding with an outsider’s clear-eyed objectivity, showing us a version of ourselves richer and more multifaceted than anything we’ve seen before.