And so she begins to unravel all that has been tying her up, picking through that day, piece by piece, from beginning to end. Over and over again. But sometimes what you uncover is not what you were searching for, and Elise finds herself face to face with a truth she had not expected.

    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 of 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 aging 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. Brilliant, daring, and demonstrating a jaw-dropping versatility of voice and point of view, "The Boat" is an extraordinary work of fiction that takes us to the heart of what it means to be human, and announces a writer of astonishing gifts.

    Nic is a forty-five-year-old trivia buff, amateur nail artist and fairy godmother to the neighbourhood's stray cats. She's also the owner of a decade's worth of daily newspapers, enough clothes and shoes to fill Big W three times over and a pen collection which, if laid end-to-end, would probably circle her house twice. She'd put her theory to the test, if only the pen buckets weren't currently blocked in by the crates of Happy Meal toys and the towers of Vegemite jars, take-away containers and cat food tins.Nic's closest relationship is with her niece Lena. The two of them meet for lunch every Sunday to gossip about the rest of the family and bitch about work (they're both checkout chicks: Lena just for now, Nic until they prise her staff discount card from her cold, dead hands).One Sunday, Nic fails to turn up to lunch and when Lena calls she gets a disconnection message. Arriving at the house she hasn't visited in years ('Too far for you to come, hon. Let's meet in the middle.') she finds her aunt unconscious under an avalanche of stuff.Lena is devastated that her beloved aunt has been living in such squalor all this time. While Nic is in hospital, she gets to work cleaning things up for her. Her first impulse is to call in the bulldozers and start searching Gumtree for a roomy caravan. But with the help of her reluctantly recruited brother, Will, she gets the job done.This heroic effort is not appreciated by the plastered up, crutch-wielding Nic. She returns to an empty, alien place unrecognisable as her home and the unbearable pity of her family who have no idea what they've destroyed. How can she live in this place without safety and peace? And how can she ever forgive the niece who has betrayed her?

    Two years later, Rosie returns to the house and living there is Martha, whom Seb Gennaro married less than a year after the death of Rosie’s mother. Martha is struggling to fulfil Seb’s dream, while Rosie is coming to terms with new responsibilities. And so begins a stand-off between two women who refuse to move out of the home they both lay claim to.As the battle lines are drawn, Jimmy Hailler re-enters Rosie’s life. Having always watched other families from the perimeters, he’s now grappling, heartbreakingly, with forming one of his own . . .An unforgettable story about losing love and finding love; about the interconnectedness of lives and the true nature of belonging, from one of our most acclaimed writers.

    Where other people see junk he sees potential ... My dad collects broken people too ... Vincent is nearly forty years old, with little to show for his life except his precious sixteen-year-old daughter, Gemma: sensitive, insightful and wise beyond her years. When a stranger crashes her car outside Vincent and Gemma's bush home, their lives take a dramatic turn. In an effort to help the stranded woman, father and daughter are drawn into a world of unexpected and life-changing consequences. DARKNESS ON THE EDGE OF TOWN is a haunting tale that beguiles the reader with its deceptively simple prose, its gripping and unrelenting tensions, and its disturbing yet tender observations.

    Two photographers document a nation’s guilt in pictures of its people’s hands. An underground club in Western Australia plays jazz to nostalgic patrons dreaming of America’s Deep South. A young woman struggles to define herself among the litter of objects an ex-lover has left behind. In short vignettes and longer stories, Josephine Rowe explores the idea of things that are left behind: souvenirs, scars, and prejudice. Rowe captures everyday life in restrained poetic prose, merging themes of collective memory and guilt, permanence and impermanence, and inherited beliefs. These beautifully wrought, bittersweet stories announce the arrival of an exciting new talent in Australian fiction.

    The deserted car; the enigmatic final image on his phone.There is the strange circle of local women, widows of disappeared men, with their edgy fellowship and unhinged theories.And the forest itself: looming hugely over this tiny settlement on the remote tip of the island.But for Jessica there is also the tight community in which she is still a stranger and Matthew was not. What secrets do they know about her own life that she doesn't? And why do they believe things that should not—cannot—be true. For her own sanity, Jessica needs to know two things. Who was Matthew? And who—or what—has he become?

    Through her music and performing, this beloved Australian artist has touched hundreds of thousands of lives. But what of the stories she used to tell herself? That 'real life' only begins once you're thin or beautiful, that good things only happen to other people.YOUR OWN KIND OF GIRL reveals a childhood punctuated by grief, anxiety and compulsion, and tells how these forces shaped Clare's life for better and for worse. This is a heartbreaking, wise and at times playful memoir. Clare's own story told raw and as it happened. A reminder that even on the darkest of nights, victory is closer than it seems.With startling candour, Clare lays bare her truth in the hope that doing so will inspire anyone who's ever done battle with their inner critic. This is the work of a woman who has found her true power - and wants to pass it on. Happiness, we discover, is only possible when we take charge of the stories we tell ourselves.

    But other ideas like that,kindness, for example, I think that is fundamental. Resurrection;I like that too. And love, of course, love, love, love. Alice Murray learns to play the piano aged three on an orange orchard in rural Australia. Recognising her daughter's gift, her mother sends Alice to boarding school in the bleak north of England, and there Alice stays for the rest of her childhood. Then she's offered a scholarship to the Royal College of Music in London, and on a summer school in Oxford she meets Edward, an economics professor who sweeps her off her feet.Alice soon finds that Edwards is damaged, and she's trapped. She clings to her playing and to her dream of becoming a concert pianist, until disaster strikes. Increasingly isolated as the years unravel, eventually Alice can't find it in herself to carry on. Then she hears the most beautiful music from the walls of her house … This novel's love story is that of a woman who must embrace life again if she is to survive. Inspiring and compelling, it explores the dark terrain of violence and the transformative powers of music and love.

     When Jo Breen uses her divorce settlement to buy a neglected property in the Byron Bay hinterland, she is hoping for a tree change, and a blossoming connection to the land of her Aboriginal ancestors. What she discovers instead is sharp dissent from her teenage daughter, trouble brewing from unimpressed white neighbours and a looming Native Title war between the local Bundjalung families. When Jo unexpectedly finds love on one side of the Native Title divide she quickly learns that living on country is only part of the recipe for the Good Life. Told with humour and a sharp satirical eye, Mullumbimby is a modern novel set against an ancient land.

    Told in an unfurling narrative of interlinking stories, in a style reminiscent of David Mitchell's Cloud Atlas, McKinnon weaves together the stories of Will Martin together with the stories of four others: a desperate ex-convict, Hawker, who commits an act of terrible brutality; Lola, who in 1900 runs a dairy farm on the Illawarra with her brother and sister, when they come under suspicion for a crime they did not commit; Bel, a young girl who goes on a rafting adventure with her friends in 1998 and is unexpectedly caught up in violent events; and in 2033, Nada, who sees her world start to crumble apart. Intriguingly, all these characters are all connected - not only through the same land and water they inhabit over the decades, but also by tendrils of blood, history, memory and property...Compelling, thrilling and ambitious, Storyland is our story, the story of Australia. 'The land is a book waiting to be read' as one of the characters says - and this novel tells us an unforgettable and unputdownable story of our history, our present and our future.

    That same year, she began receiving scattered chapters in the mail of a self-help manual, the Guidebook, whose anonymous author promised to make her life soar to heights beyond her wildest dreams.The Guidebook’s missives have remained a constant in Abi’s life—a befuddling yet oddly comforting voice through her family’s grief over her brother’s disappearance, a move across continents, the devastating dissolution of her marriage, and the new beginning as a single mother and café owner in Sydney.Now, two decades after receiving those first pages, Abi is invited to an all-expenses paid weekend retreat to learn “the truth” about the Guidebook. It’s an opportunity too intriguing to refuse. If Everything is Connected, then surely the twin mysteries of the Guidebook and a missing brother must be linked?What follows is completely the opposite of what Abi expected––but it will lead her on a journey of discovery that will change her life––and enchant readers. Gravity Is the Thing is a smart, unusual, wickedly funny novel about the search for happiness that will break your heart into a million pieces and put it back together, bigger and better than before.

    After a tough decade for retail, Book Fiend is the last bookshop in the CBD, and the last independent retailer on a street given over to high-end labels. Profits are small, but clients are loyal. When James breezes into Book Fiend, Cait realises life might hold more than her shop and her cat, but while the new romance distracts her, luxury chain stores are circling Book Fiend’s prime location, and a more personal tragedy is looming.

    Surrounded by family and calm waters, seventeen-year-old Zoe Kennett has inexplicably vanished.Four storytellers share their version of what has led to this moment, weaving tales which span centuries and continents. But Tony needs facts, not fiction: how will such fables lead him to Zoe and to the truth?As Tony's investigation deepens, he is drawn into a world where myth and history blur, and where women who risk all for love must pay the price through every generation.

    The stories explore the lives of Lebanese migrants who have settled in the area, circling around themes of isolation, family and community, and nostalgia for the home country. In particular, House of Youssef is about relationships, and the customs which complicate them: between parents and children, the dark secrets of marriage, the breakable bonds between friends. The stories are told with extreme minimalism — some are only two pages long — which heightens their emotional intensity.The collection is framed by two soliloquies. The first expresses the longing of an old man for the homeland he will never return to. The second is the monologue of a woman, who could be his wife, addressed to her daughter, about life and its disappointments. The two central sequences are composed of vignettes which focus on moments of domestic crisis, and which combine, in the title sequence, to chart the demise of a single family. Kassab portrays the lives of ordinary people — simple, unglamorous, down-to-earth. Her understated style isolates small details and the anxieties that lurk within them. The tiny shifts in a normal day are an entire world to the people at the centre of her stories.