When "Don't Dream It's Over" and "Something So Strong" exploded in the US charts, worldwide success looked inevitable. Critics compared them musically to the Beatles and fans adored them for their warmth and humour on stage. Four brilliant albums later, their roller-coaster ride of achievements and disappointments came to an end on the steps of the Sydney Opera House, in front of one of the largest audiences in Australian history. The dream was over, the band broken up, their enormous promise only partly fulfilled. In this definitive account, New Zealand journalist Chris Bourke has written the true story of Crowded House. With unparalleled access to all band members, their families, friends, musical collaborators, managers, and record company personanel, he has captured their essence. It is a unique tale of musical chemistry, family bonds and the personal costs of pursuing an artistic vision. From the manic energy of the recording studio to the machinations of the record industry, this riveting account is a book for every Crowded House fan.

    Except for this month's Patti Smith: Dream of Life, which isn't so much a glossy centerpiece as it is an addictive pictorial of the godmother of punk's life as a poet, activist, mother, style icon, and all-around kick-ass front woman." ~Elle "With the Rizzoli imprint, we have come to expect certain things: perfect printing, the highest quality papers, flawless binding, superior layouts and type. This historic book is no different." ~SoHo Journal

    Look where we are. What else do we have to hide?'When nineteen-year-old Mia is fired from her job at an insurance company, she answers an ad in the newspaper. The ad says: 'Erotic Massage. Good Money. No Sex.'Mia takes to her new job with recklessness, aplomb and good humour. Over the next few years, as she works her way through Sydney's many parlours, she meets exquisite and complex women from every walk of life who choose sex work for myriad reasons. While juggling the demands of her new job, she battles her problematic drug use, and the mental illness that has shaped her life.But rather than needing saving from sex work, it is the work that sometimes helps to save Mia from herself.A raw and honest memoir about surviving, sex work, friendships, drugs and mental illness.

    

    the definitive guide" (Independent on Sunday ) out in paperback just in time for the major motion picture When Richard Neville arrived in London in 1966 after a six-month overland trek from Australia, the first thing he did was visit Bibi: "The famous boutique throbbed with The Animals, cash registers and scantily clad women...the air was tinged with the perfume of Arabia, and someof its hash...I nearly fainted." Five years later he was jailed for 15 months for publishing an obscene article, "Schoolkids Oz." In the intervening years, as editor of Oz, the hippies handbook and monument to psychedelia, Neville was the darling of the in-crowd: the liberal intellectuals, writers, fashion designers, rock musicians, artists and business people. Through it all he remained amused and objective, frequently startling even his closest admirers with his unexpected views on everything from free love to the Vietnam War. This classic of 60s-themed literature is currently being made into a major motion picture starring Sienna Miller and Cillian Murphy.

    When overnight success came to the Pointer Sisters in 1973, they all thought it was the answer to their long-held prayers. While it may have served as an introduction to the good life, it also was an introduction to the high life of limos, champagne, white glove treatment, and mountains of cocaine that were the norm in the high-flying '70s and '80s. Ruth Pointer’s devastating addictions took her to the brink of death in 1984. Ruth Pointer has bounced back to live a drug- and alcohol-free life for the past 30 years and she shares how in her first biography. Readers will learn about the Pointer Sisters’ humble beginnings, musical apprenticeship, stratospheric success, miraculous comeback, and the melodic sound that captured the hearts of millions of music fans. They will also come to understand the five most important elements in Ruth’s story: faith, family, fortitude, fame, and forgiveness.

    Its startling popularity marked the emergence of a new type of theatre whose proponents—Beckett, Ionesco, Genet, Pinter, and others—shattered dramatic conventions and paid scant attention to psychological realism, while highlighting their characters’ inability to understand one another. In 1961, Martin Esslin gave a name to the phenomenon in his groundbreaking study of these playwrights who dramatized the absurdity at the core of the human condition.Over four decades after its initial publication, Esslin’s landmark book has lost none of its freshness. The questions these dramatists raise about the struggle for meaning in a purposeless world are still as incisive and necessary today as they were when Beckett’s tramps first waited beneath a dying tree on a lonely country road for a mysterious benefactor who would never show. Authoritative, engaging, and eminently readable, The Theatre of the Absurd is nothing short of a classic: vital reading for anyone with an interest in the theatre.

    Working a rural beat in God's Own Country he finds that life and crime in the countryside continue to throw up fresh challenges.

    She discovers often at night, often in nature the pleasures of rescuing a fleeting thought. Deeply moving, Woolgathering calls up our own memories, as the child glimpses and gleans, piecing together a crazy quilt of truths. Smith introduces us to her tribe, a race of cloud dwellers, and to the fierce, vital pleasures of cloud watching and stargazing and wandering.A radiant new autobiographical piece, Two Worlds (which was not in the original 1992 Hanuman edition of Woolgathering), and the author's photographs and illustrations are also included. Woolgathering celebrates the sacred nature of creation with Smith's beautiful style, acclaimed as glorious (NPR), spellbinding (Booklist), rare and ferocious (Salon), and shockingly beautiful (New York Magazine).

    This monograph follows Van Gogh between 1886 and 1890, from Holland to Paris, where his palette was brightened with impressionistic colour, to Arles and his still-mysterious friendship with Gauguin.

    Clark's clear-eyed sympathy for Hughes, his lover Assia Wevill, and other demonized players in the arena of Plath's suicide promotes a deeper understanding of her final days, with their outpouring of first-rate poems. Along with illuminating readings of the poems themselves, Clark's meticulous, compassionate research brings us closer than ever to the spirited woman and visionary artist who blazed a trail that still lights the way for women poets the world over.

    There’s still something disturbing, I grant you, about the word “actress”. If an MP or some other outstanding person plays fast and loose with an actress the world is unsurprised. She is certainly no better than she should be, and probably French…’ As well as being a mother (to the actresses Sophie and Emma Thompson) and a devoted carer to her own mother and mother-in-law, Phyllida Law is also a distinguished actress, and Dead Now Of Course is the tale of her early acting career.As a young member of a travelling company, Phyllida learned to cope with whatever was thrown at her, from making her own false eyelashes to battling flammable costumes and rogue cockroaches. We find her in Mrs Miller’s digs, which were shared with a boozy monkey bought from Harrods, an Afghan hound known as the ‘the flying duster’, several hens and various children.Filled with funny, charming anecdotes, Dead Now Of Course paints a fascinating picture of life in the theatre – and at the heart of the story is an enchanting account of Phyllida’s courtship with her future husband, the actor and writer Eric Thompson.

    

    You have to keep things close to your chest and be aware of what’s really important: the work, not everything around it. If you have faith in the work, then the people will come … it’s an artistic imperative, it has nothing to do with public perception or career or any of that crap. "The name, Swans, it’s synonymous with who I am, but it’s how it’s achieved and it’s achieved by people—those people need to have total commitment to making this sound and to making it utterly incisive and uncompromising. The work is everything and it has to—at least at the time—appear, to me, to be stellar. That’s the prerequisite. It’s an intangible thing where it really speaks and has some truth within it."—Michael Gira Over a span of some three and a half decades, Michael Gira’s Swans have risen from chaotic origins in the aftermath of New York’s No Wave scene to become one of the most acclaimed rock-orientated acts of recent years. The 1980s’ infamous ‘loudest band on the planet’ morphed repeatedly until collapsing exhausted, broken, and dispirited in the late 1990s. Swans returned triumphantly in 2010 to top end-of-year polls and achieve feted status among fans and critics alike as the great survivors and latter-day statesmen of the underground scene. Throughout, Gira’s desire has remained to create music of such intensity that the listener might forget flesh, get rid of the body, exist as pure energy—transcendent—inside of the sound. Through these pages, the musicians responsible tell the tale of one of the most significant bands of the US post-punk era. Drawing on more than 125 original interviews, Swans: Sacrifice And Transcendence is the ultimate companion to Swans and their work from the 1980s to the present day.

    Federman gives each of these pages a shape or structure, most often a diagram or picture. The words move, cluster, jostle, and collide in a tour de force full of puns, parodies, and imitations. Within these startling and playful structures Federman develops two characters and two narratives. These stories are simultaneous and not chronological. The first deals with the narrator and his effort to make the book itself; the second, the story the narrator intends to tell, presents a young man's arrival in America. The narrator obsesses over making his narrative to the point of not making it. All of his choices for the story are made and remade. He tallies his accounts and checks his provisions. His questioning and indecision force the reader into another radical sense of the novel. The young man, whose story is to be told, also emerges from his obsessions.Madly transfixing details—noodles, toilet paper, toothpaste, a first subway ride, a sock full of dollars—become milestones in a discovery of America. These details, combined with Federman's feel for the desperation of his characters, create a book that is simultaneously hilarious and frightening. The concrete play of its language, its use of found materials, give the viewer/reader a sense of constant and strange discovery. To turn these pages is to turn the corners of a world of words as full as any novel of literary discourse ever presented. Double or Nothing challenges the way we read fiction and the way we see words, and in the process, gives us back more of our own world and our real dilemmas than we are used to getting.Picked for American Book Review's 100 Best First Lines from Novels