These torchlight adventures have since inspired a generation of scientists, and his research is still considered useful today. In The Secret Life of Wombats, James Woodford pursues Nicholson's story and embarks on his own journey to uncover the true nature of our most intriguing marsupial."Woodford has done the research, he has read widely, spoken with the major wombat pundits and with the lay observers. He has travelled to gain direct experience of all species...I know more about wombats than I did, and retain some stark images which I hope never to lose." - Sunday Age.

    He embarked on a social media project to collect archival photos capturing the everyday life of people in First Nations, Métis and Inuit communities from the 1920s through the 1970s. As he scoured archives and libraries, Paul uncovered a trove of candid images and began to post these on Twitter, where they sparked an extraordinary reaction. Friends and relatives of the individuals in the photographs commented online, and through this dialogue, rich histories came to light.Blanket Toss Under Midnight Sun collects into one gorgeous, beautifully designed book some of the most arresting images and untold stories from Paul’s project. While many of the photographs are in public archives, most have never been shown to the people in the communities they represent. As such, Blanket Toss is not only an invaluable historical record; it is a meaningful act of reclamation, showing the ongoing resilience of Indigenous communities, past, present—and future.

    Swiss tells the heartbreaking, horrifying, and ultimately triumphant story of the women exiled from the British Isles and forced into slavery and savagery-who created the most liberated society of their time. Agnes McMillan and Janet Houston were convicted for shoplifting. Bridget Mulligan stole a bucket of milk; Widow Ludlow Tedder, eleven spoons. For their crimes, they would be sent not to jail, but to ships teeming with other female convicts. Tin tickets, stamped with numbers, were hung around the women's necks, and the ships set out to carry them to their new home: Van Diemen's Land, later known as Tasmania, part of the British Empire's crown jewel, Australia. Men outnumbered women nine to one there, and few "proper" citizens were interested in emigrating. The deportation of thousands of petty criminals-the vast majority nonviolent first offenders-provided a convenient solution for the government. Crossing Shark-infested waters, some died in shipwrecks during the four-month journey, or succumbed to infections and were sent to a watery grave. Others were impregnated against their will by their captors. They arrived as nothing more than property. But incredibly, as the years passed, they managed not only to endure their privation and pain but to thrive on their own terms, breaking the chains of bondage, and forging a society that treated women as equals and led the world in women's rights.The Tin Ticket takes us to the dawn of the nineteenth century and into the lives of Agnes McMillan, whose defiance and resilience carried her to a far more dramatic rebellion; Agnes's best friend Janet Houston, who rescued her from the Glasgow wynds and was also transported to Van Diemen's Land; Ludlow Tedder, forced to choose just one of her four children to accompany her to the other side of the world; Bridget Mulligan, who gave birth to a line of powerful women stretching to the present day. It also tells the tale of Elizabeth Gurney Fry, a Quaker reformer who touched all their lives. Ultimately, it is the story of women discarded by their homeland and forgotten by history-who, by sheer force of will, become the heart and soul of a new nation.

    Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality.Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

    Both the book and the film have achieved a cult status as the Australian answer to US and UK novels and films of 1960s youthful alienation. It is the gruelling story of a young Australian schoolteacher on his way back from the outback to Sydney and civilization when things start to go wrong. He finds himself stuck overnight in Bundanyabba, a rough outback mining town. An ill-advised and drink-fuelled visit to a gambling den leaves Grant broke and he realizes he has no way of escaping. He descends into a cycle of hangovers, fumbling sexual encounters, and increasing self-loathing as he becomes more and more immersed in the grotesque and surreal nightmare that his life has become.

    In As We Have Always Done, Leanne Betasamosake Simpson locates Indigenous political resurgence as a practice rooted in uniquely Indigenous theorizing, writing, organizing, and thinking.Indigenous resistance is a radical rejection of contemporary colonialism focused around the refusal of the dispossession of both Indigenous bodies and land. Simpson makes clear that its goal can no longer be cultural resurgence as a mechanism for inclusion in a multicultural mosaic. Instead, she calls for unapologetic, place-based Indigenous alternatives to the destructive logics of the settler colonial state, including heteropatriarchy, white supremacy, and capitalist exploitation.

    Inspired by the example of her grandmother, who persevered throughout her life to keep alive the governing traditions of her people, and raised as the daughter of a hereditary chief and Indigenous leader, Wilson-Raybould always knew she would take on leadership roles and responsibilities. She never anticipated, however, that those roles would lead to a journey from her home community of We Wai Kai in British Columbia to Ottawa as Canada's first Indigenous Minister of Justice and Attorney General in the Cabinet of then newly elected prime minister, Justin Trudeau.Wilson-Raybould's experience in Trudeau's Cabinet reveals important lessons about how we must continue to strengthen our political institutions and culture, and the changes we must make to meet challenges such as racial justice and climate change. As her initial optimism about the possibilities of enacting change while in Cabinet shifted to struggles over inclusivity, deficiencies of political will, and concerns about adherence to core principles of our democracy, Wilson-Raybould stood on principle and, ultimately, resigned. In standing her personal and professional ground and telling the truth in front of the nation, Wilson-Raybould demonstrated the need for greater independence and less partisanship in how we govern."Indian" in the Cabinet: Speaking Truth to Power is the story of why Wilson-Raybould got into federal politics, her experience as an Indigenous leader sitting around the Cabinet table, her proudest achievements, the very public SNC-Lavalin affair, and how she got out and moved forward. Now sitting as an Independent Member in Parliament, Wilson-Raybould believes there is a better way to govern and a better way for politics--one that will make a better country for all.

    Some of the dinner guests – most of them university students – had heard rumours of the plan. Nobody warned Joe Cinque. He died one Sunday, in his own bed, of a massive dose of Rohypnol and heroin. His girlfriend and her best friend were charged with murder.Helen Garner followed the trials in the ACT Supreme Court. Compassionate but unflinching, this is a book about how and why Joe Cinque died. It probes the gap between ethics and the law; examines the helplessness of the courts in the face of what we think of as "evil"; and explores conscience, culpability, and the battered ideal of duty of care.It is a masterwork from one of Australia's greatest writers.

    His entire family came close to losing their lives on the sea as they escaped from war-torn Vietnam in an overcrowded boat. But nothing - not murderous pirates, nor the imminent threat of death by hunger, disease or dehydration as they drifted for days - could quench their desire to make a better life in the country they had dreamed about. Life in Australia was hard, an endless succession of back-breaking work, crowded rooms, ruthless landlords and make-do everything. But there was a loving extended family, and always friends and play and something to laugh about for Anh, his brother Khoa and their sister Tram. Things got harder when their father left home when Anh was only nine - they felt his loss very deeply and their mother struggled to support the family on her own. His mother's sacrifice was an inspiration to Anh and he worked hard during his teenage years to help her make ends meet, also managing to graduate high school and then university. Another inspiration was the comedian Anh met when he was about to sign on for a 60-hour a week corporate job. Anh asked how many hours he worked. 'Four,' the answer came back, and that was it. He was going to be a comedian! The Happiest Refugee tells the incredible, uplifting and inspiring life story of one of our favourite personalities. Tragedy, humour, heartache and unswerving determination - a big life with big dreams. Anh's story will move and amuse all who read it. - Happiest Refugee: My Journey From Tragedy To Comedy By Anh Do (Paperback)

    But no book until this one has managed to penetrate its wall of silence or go beyond the usual polemics to analyze its actual effects on its customers, workers, and suppliers. Drawing on unprecedented interviews with former Wal-Mart executives and a wealth of staggering data (e.g., Americans spend $36 million an hour at Wal-Mart stores, and in 2004 its growth alone was bigger than the total revenue of 469 of the Fortune 500), The Wal-Mart Effect is an intimate look at a business that is dramatically reshaping our lives.

    race relations, federal bureaucracies, Christian churches, and social scientists. This book continues to be required reading for all Americans, whatever their special interest.

    There weren’t many. And too often there was a negative narrative around Indigenous lives, and Aboriginal women especially. Now an award-winning actor, she decided to change things herself. Combining her love of romantic comedies with her love of Darwin, the Tiwi Islands and the Top End, Miranda wrote, produced and starred in the box office hit Top End Wedding.In this engaging and thought-provoking memoir, Miranda shares the path she took to create a moving film about reconnection to family and culture. And, like all good storytellers, she holds a mirror up to the society we live in to show the prejudice that too often surfaces.MIRANDA TAPSELL was born in Darwin and her people are the Larrakia. She grew up in Kakadu National Park and began performing at the age of seven. At 16, she won the Bell Shakespeare Company regional performance scholarship. She has her own podcast on BuzzFeed, Pretty for an Aboriginal, with Nakkiah Lui, which rocks the traditional perceptions of Indigenous Australia and challenges rigid mindsets of what women of colour can and cannot do. Top End Girl is her literary debut.

    The focus of the anthology is on Australian life as seen through each author’s unique, and seldom heard, perspective.With works by Ellen van Neerven, Graham Akhurst, Kyle Lynch, Ezekiel Kwaymullina, Olivia Muscat, Mimi Lee, Jessica Walton, Kelly Gardiner, Rafeif Ismail, Yvette Walker, Amra Pajalic, Melanie Rodriga, Omar Sakr, Wendy Chen, Jordi Kerr, Rebecca Lim, Michelle Aung Thin and Alice Pung, this anthology is designed to challenge the dominant, homogenous story of privilege and power that rarely admits ‘outsider’ voices.

    In it Boyd rallied against Australia's promotion of ornament, decorative approach to design and slavish imitation of all things American.'The basis of the Australian ugliness,' he wrote, 'is an unwillingness to be committed on the level of ideas. In all the arts of living, in the shaping of all her artefacts, as in politics, Australia shuffles about vigorously in the middle - as she estimates the middle - of the road, picking up disconnected ideas wherever she finds them.'Boyd was a fierce critic, and an advocate of good design. He understood the significance of the connection between people and their dwellings, and argued passionately for a national architecture forged from a genuine Australian identity. His concerns are as important now, in an era of suburban sprawl and inner-city redevelopment, as they were half a century ago.Caustic and brilliant, The Australian Ugliness is a masterpiece that enables us to see our surroundings with fresh eyes. This handsome anniversary edition is complemented by Robin Boyd's original sketches for the book and a new afterword by major contemporary architects.

    What are your fictions?Tara Moss has worn many labels in her time, including 'author', 'model', 'gold-digger', 'commentator', 'inspiration', 'dumb blonde', 'feminist' and 'mother', among many others. Now, in her first work of non-fiction, she blends memoir and social analysis to examine the common fictions about women. She traces key moments in her life - from small-town tomboy in Canada, to international fashion model in the 90s, to bestselling author taking a polygraph test in 2002 to prove she writes her own work - and weaves her own experiences into a broader look at everyday sexism and issues surrounding the underrepresentation of women, modern motherhood, body image and the portrayal of women in politics, entertainment, advertising and the media. Deeply personal and revealing, this is more than just Tara Moss's own story. At once insightful, challenging and entertaining, she asks how we can change the old fictions, one woman at a time.'This book, part memoir, part manifesto, catapults [Tara] into the frontline as a public commentator who demands serious attention. She is a welcome addition to any conversation about social justice, public ethics and the objectification of women, about which she knows a great deal.' Caroline Baum'a nimbly argued, statistic-laden exploration of the various labels we give women and the impact this has on their lives' Catherine Keenan, ABC The Drum'This is a book which needs to be read by men and women. Well written, clearly argued, informative, powerful and thought provoking. Forget everything you thought you knew about Tara Moss, with The Fictional Woman, Tara sets the record straight and takes her place as one of our generations great commentators.' John Purcell, Booktopia