In this book, she shares her life experiences with humour and wisdom. From manners to men via fashion and family, to ageing and marriage, she takes on subjects close to every woman's heart.

    Inside you will find:× The smell of honeysuckle× Heartbreak× A French-kissing rabbit× A haunted house× Death× A vagina singing sad old songs× Young geraniums in an ancient castle× Birth× A dog who appears in dreams as a spiritual guide× Divorce× Electromagnetic energy fields× Emotional horniness× The ghost of a sea captain× And moreI hope you enjoy these little weirds.Love,Jenny Slate

    Though officially unsolved, Jane’s murder was apparently the third in a series of seven brutal rape-murders in the area. Nelson was born a few years after Jane’s death, and the narrative is suffused with the long shadow her murder cast over both the family and her psyche.Jane explores the nature of this haunting incident via a collage of poetry, prose, and documentary sources, including newspapers, related "true crime" books, and fragments from Jane’s own diaries written. Each piece in Jane has its own form that serves as an important fissure, disrupting the tabloid, "page-turner" quality of the story, and eventually returning the reader to deeper questions about girlhood, empathy, identification, and the essentially unknowable aspects of another’s life and death. Part elegy, part memoir, detective story, part meditation on violence, and part conversation between the living and the dead, Jane’s powerful and disturbing subject matter, combined with its innovations in genre, expands the notion of what poetry can do—what kind of stories it can tell, and how it can tell them.

    A funny and frank look at the way Australia used to be - and just how far we have come. "It was simpler time". We had more fun back then". "Everyone could afford a house". There's plenty of nostalgia right now for the Australia of the past, but what was it really like? In The Land Before Avocado, Richard Glover takes a journey to an almost unrecognisable Australia. It's a vivid portrait of a quite peculiar land: a place that is scary and weird, dangerous and incomprehensible, and, now and then, surprisingly appealing. It's the Australia of his childhood. The Australia of the late '60s and early '70s. Let's break the news now: they didn't have avocado. It's a place of funny clothing and food that was appalling, but amusingly so. It also the land of staggeringly awful attitudes - often enshrined in law - towards anybody who didn't fit in. The Land Before Avocado will make you laugh and cry, be angry and inspired. And leave you wondering how bizarre things were, not so long ago. Most of all it will make you realise how far we've come - and how much further we can go.

    Y’know, it's not within the spirit of the game.’ Steve Smith was not to know it at Cape Town on 24 March 2018, but he was addressing his last press conference as captain of the Australian cricket team. By the next day morning he would be swept from office by a tsunami of public indignation involving even the prime minister. In a unique admission, Smith confessed to condoning a policy of sandpapering the cricket ball in a Test against South Africa. He, the instigator David Warner and their agent Cameron Bancroft returned home to disgrace and to lengthy bans. The crisis plunged Australian cricket into a bout of unprecedented soul searching, with Cricket Australia yielding to demands for reviews of the cricket team and of itself to restore confidence in their ‘culture’. In Crossing the Line, Gideon Haigh conducts his own cultural review – ‘less official and far cheaper but genuinely independent’. Studying the cricket team across a decade of radical change, he finds an accident waiting to happen, and a system struggling to cope with self-created challenges, on the field and in the boardroom. And he wonders: is there even any longer a spirit of the game to be within? Crossing the Line is the first instalment in Slattery Media Group’s Sports Shorts collection, a new series of sports essays published as small-format books. Sports Shorts has been created as a home for ambitious, lively and engaging writing and journalism on sport—work of a scale and scope not suited to the confines of day-to-day journalism. Every instalment will illuminate or entertain, all the while fitting into your back pocket on the way to the game.

    Sarah Krasnostein's The Trauma Cleaner is a love letter to an extraordinary ordinary life. In Sandra Pankhurst she discovered a woman capable of taking a lifetime of hostility and transphobic abuse and using it to care for some of society's most in-need people.Sandra Pankhurst founded her trauma cleaning business to help people whose emotional scars are written on their houses. From the forgotten flat of a drug addict to the infested home of a hoarder, Sandra enters properties and lives at the same time. But few of the people she looks after know anything of the complexity of Sandra's own life. Raised in an uncaring home, Sandra's miraculous gift for warmth and humour in the face of unspeakable personal tragedy mark her out as a one-off.

    One fateful day they take the winding coastal route home, and visit the Ocean View Gallery, perched on the cliff edge. It's not listed in any tourist pamphlet. The artist runs the gallery alone. There are no other visitors. Within the maze of rooms the lone couple begin to feel uneasy – and with good reason. Trudy and Bruce will be ripped from the safe, secure fabric of their life and will have their world turned upside down and shaken. Attacked, trapped and brutalised, they barely escape the gallery with their lives – only to find there's no real getting away.

    Since the death of his father, Moniek Prochownik, four years earlier, Toni has been at a creative standstill - until Marina Golding, the wife of his former teacher and mentor, Robert Schwartz, contacts him, and everything changes. Toni finds in Marina the perfect companion of his life in art and his creative energies are re-awakened.But Toni's newfound inspiration and artistic energy come at the direct expense of his relationship with his wife and daughter. The more dependent for his art he becomes on Marina, the more potentially destructive become the tensions between himself and his wife, Teresa. Toni's dilemma is how to reconcile the transgressive nature of his imaginative life with the daily life of his family, who he loves. Robert Schwartz's dying father, Theo, warns him not to confuse art with life. But by what means is he to achieve such clear-sightedness?Immensely satisfying, Prochownik's Dream is a work of great subtlety, strength and intellect. Its examination of the artist at work is complex and completely absorbing. But at its heart, very simply, it is a book about love.

    Fiona Wright is a highly regarded poet and critic, and her account of her illness is informed by a keen sense of its contradictions and deceptions, and by an awareness of the empowering effects of hunger, which is unsparing in its consideration of the author’s own actions and motivations. The essays offer perspectives on the eating disorder at different stages in Wright’s life, at university, where she finds herself in a radically different social world to the one she grew up in, in Sri Lanka as a fledgling journalist, in Germany as a young writer, in her hospital treatments back in Sydney. They combine research, travel writing, memoir, and literary discussions of how writers like Christina Stead, Carmel Bird, Tim Winton, John Berryman and Louise Glück deal with anorexia and addiction; together with accounts of family life, and detailed and humorous views of hunger-induced situations of the kind that are so compelling in Wright’s poetry.

    Brock Turner had been sentenced to just six months in county jail after he was found sexually assaulting her on Stanford’s campus. Her victim impact statement was posted on BuzzFeed, where it instantly went viral–viewed by eleven million people within four days, it was translated globally and read on the floor of Congress; it inspired changes in California law and the recall of the judge in the case. Thousands wrote to say that she had given them the courage to share their own experiences of assault for the first time.Now she reclaims her identity to tell her story of trauma, transcendence, and the power of words. It was the perfect case, in many ways–there were eyewitnesses, Turner ran away, physical evidence was immediately secured. But her struggles with isolation and shame during the aftermath and the trial reveal the oppression victims face in even the best-case scenarios. Her story illuminates a culture biased to protect perpetrators, indicts a criminal justice system designed to fail the most vulnerable, and, ultimately, shines with the courage required to move through suffering and live a full and beautiful life.Know My Name will forever transform the way we think about sexual assault, challenging our beliefs about what is acceptable and speaking truth to the tumultuous reality of healing. It also introduces readers to an extraordinary writer, one whose words have already changed our world. Entwining pain, resilience, and humor, this memoir will stand as a modern classic.

    It felt like it did not count. Like we were unfinished. Incomplete. There was always a gap at the table, room to set places for others. Visitors were few and far between. Mostly, there was only me.Only is a memoir of an unconventional childhood that explores what it means to be an Only Child -- as both child and adult. Also what it means to be the daughter of two people damaged by trauma and tragedy, particularly a domineering and explosive father. Secrets are revealed and differences settled.Caroline Baum's moving and gripping memoir is for everyone who has felt they are the fulcrum of a seesaw, the focus of all eyes and expectations, torn between love and fear, obedience and rebellion, duty and the longing to escape. It is also for anyone who has felt the burden of trying to be a Good Daughter -- what that means and why it is so hard. Revelatory, lyrical and unflinching.‘With a glamorous mother and a successful father, Caroline Baum’s prosperous childhood seems like the epitome of privilege. Yet below the shimmering surface, rolling currents from scarred pasts buffet her girlhood, creating dislocations that resonate into adulthood. This beautifully rendered, searingly honest account becomes, in the end, a testimony to the enduring power of love, no matter how imperfectly enacted or expressed.’ GERALDINE BROOKS, author of The Secret Chord

    “Dhaqan” means culture and “Celis” means return.’Learning to kick a football in a suburban schoolyard. Finding your feet as a young black dancer. Discovering your grandfather’s poetry. Meeting Nelson Mandela at your local church. Facing racism from those who should protect you. Dreading a visit to the hairdresser. House- hopping across the suburbs. Being too black. Not being black enough. Singing to find your soul, and then losing yourself again.Welcome to African Australia.Compiled by award-winning author Maxine Beneba Clarke, with curatorial assistance from writers Ahmed Yussuf and Magan Magan, this anthology brings together voices from the regions of Africa and the African diaspora, including the Caribbean and the Americas. Told with passion, power and poise, these are the stories of African-diaspora Australians.Contributors include Faustina Agolley, Santilla Chingaipe, Carly Findlay, Khalid Warsame, Nyadol Nyuon, Tariro Mavondo and many, many more.

    She tackles a wide range of topics, such as giving feminism a tough-love talk in hopes it can become more intersectional; telling society's beauty standards to kick rocks; and demanding that toxic masculinity close its mouth and legs (enough with the manspreading already!), and get out of the way so true progress can happen.

    Portraits, family photographs, and candid images grace the pages, augmenting the emotional and physical journey each youth has taken. Each honest discussion and disclosure, whether joyful or heartbreaking, is completely different from the other because of family dynamics, living situations, gender, and the transition these teens make in recognition of their true selves.

    It was a shock to Williams to discover that her mother had kept journals. But not as much of a shock as what she found when the time came to read them.  “They were exactly where she said they would be: three shelves of beautiful cloth-bound books . . . I opened the first journal. It was empty. I opened the second journal. It was empty. I opened the third. It too was empty . . . Shelf after shelf after shelf, all of my mother’s journals were blank.” What did Williams’s mother mean by that? In fifty-four chapters that unfold like a series of yoga poses, each with its own logic and beauty, Williams creates a lyrical and caring meditation of the mystery of her mother's journals. When Women Were Birds is a kaleidoscope that keeps turning around the question “What does it mean to have a voice?”