One event in 1934 - the shooting at Uluru of Aboriginal man Yokunnuna by white policeman Bill McKinnon, and subsequent Commonwealth inquiry - stood out as a mirror of racial politics in the Northern Territory at the time.But then, through speaking with the families of both killer and victim, McKenna unearthed new evidence that transformed the historical record and the meaning of the event for today. As he explains, 'Every thread of the story connected to the present in surprising ways.' In a sequence of powerful revelations, McKenna explores what truth-telling and reconciliation look like in practice.Return to Uluru brings a cold case to life. It speaks directly to the Black Lives Matter movement, but is completely Australian. Recalling Chloe Hooper's The Tall Man, it is superbly written, moving, and full of astonishing, unexpected twists. Ultimately it is a story of recognition and return, which goes to the very heart of the country. At the centre of it all is Uluru, the sacred site where paths fatefully converged.

    In 'Don't Take Your Love To Town' Langford writes: 'we saw a big sign saying BUNDJALUNG NATIONAL PARK and I told him he was now in my territory'.This is Ruby Langford's (Ginibi) first book and autobiography.First published in 1988, Ruby worked for over 2 years with her editor Susan Hampton to write her story to share with the world.'Don't Take Your Love To Town' paints a picture of what it was like growing up in Australia from the 1930s onwards, in a society divided between black and white, in both rural and urban areas.Beginning life on a mission in NSW, Ruby grew up surrounded by the love of her father, sisters and extended family which helped her develop her deadly sense of humour in the face of the many hardships and heartbreaks she experienced in her life.She has observed and lived the changes wrought on Aboriginal communities, the poverty and tragedies that found their way to her doorstep and yet she managed to find a way to keep smiling while bringing up her 9 children mostly on her own.Ruby Langford has lived a life rich in both sadness and joy; she has a very easy style of writing for the reader to find themselves drawn into the pages within minutes and, peppered with her wit, her story captures and holds the reader within its grasp until the end.

      The Master of Ormond College at the University of Melbourne had been acquitted of indecent assault after complaints by two female students. Helen Garner’s bestselling book about the case, The First Stone, polarised readers over whether the students had been right to take their allegations to the law. Was the feminist movement poisoning gender relations?   In Generation F, the young award-winning journalist Virginia Trioli offered a vigorous, incisive and compelling argument for the ongoing need for feminism, while exploring her own bewilderment and anger. She described the real state of sexual harassment, violence, the workplace and the law in Australia: how most women just copped it, but those who felt able to confront it needed all the support they could get.   Now – as women around the world speak up about how sexual harassment has destroyed their work, families and lives – Trioli revisits that cultural moment in a new foreword, and in a new afterword considers the situation women face today.   Dismayingly, her original text is just as relevant, and her call to action just as powerful.

    Julia Gillard had plenty of warnings, but even she lasted longer than Abbott. Abbott ignored all the warnings, from beginning to end — the public ones, the private ones, from his friends, his colleagues, the media. His colleagues were not being disloyal. They did not feel they had betrayed him; they believed he had betrayed them. Their motives were honourable. They didn’t want him to fail; they wanted the government to succeed, and they wanted the Coalition re-elected. Abbott and Credlin had played it harder and rougher than anybody else to get where they wanted to be. But they proved incapable of managing their own office, much less the government. Then, when it was over, when it was crystal-clear to everyone that they had failed, when everyone else could see why they had failed, she played the gender card while he played the victim. In The Road to Ruin, prominent political commentator, author, and columnist for The Australian Niki Savva reveals the ruinous behaviour of former prime minister Tony Abbott and his chief of staff, Peta Credlin. Based on her unrivalled access to their colleagues, and devastating first-person accounts of what went on behind the scenes, Savva paints an unforgettable picture of a unique duo who wielded power ruthlessly but not well.

    Coleman, Omar Sakr, Future D. Fidel, Karen Wyld, Khalid Warsame, Kaya Ortiz, Roanna Gonsalves, Sarah Ross, Zoya Patel, Michelle Law and Hannah Donnelly. Edited by Michael Mohammed Ahmad. Original concept by Lena Nahlous.Published by Affirm Press in partnership with Diversity Arts Australia and Sweatshop Literacy Movement.

    “Nothing,” he says. I look him in the eye. Nothing? He nods. I ask him about his chronic skin infections, his diabetes. He tears up: “I eat hot chips and fried dim sims and drink three bottles of Coke every afternoon. The truth is I’m addicted to eating. I’m addicted.” He punches his thigh.In Fat City, Karen Hitchcock unpicks the idea of obesity as a disease. In a riveting blend of story and analysis, she explores chemistry, psychology and the impulse to excess to explain the West’s growing obesity epidemic.

    From the sci-fi literature of Samuel Delany, Octavia Butler, and N. K. Jemisin to the musical cosmos of Sun Ra, George Clinton, and the Black Eyed Peas’ will.i.am, to the visual and multimedia artists inspired by African Dogon myths and Egyptian deities, the book’s topics range from the “alien” experience of blacks in America to the “wake up” cry that peppers sci-fi literature, sermons, and activism. With a twofold aim to entertain and enlighten, Afrofuturists strive to break down racial, ethnic, and social limitations to empower and free individuals to be themselves.

    From a powerful new voice in international fiction, this prize-winning collection of stories crosses the world—from Africa, London, the West Indies, and Australia—and expresses the global experience.Maxine Beneba Clarke gives voice to the disenfranchised, the lost, and the mistreated in this stunning collection of provocative and gorgeously wrought stories that will challenge you, move you, and change the way you view this complex world we inhabit.Within these pages, a desperate asylum seeker is pacing the hallways of Sydney’s notorious Villawood detention centre; a seven-year-old Sudanese boy has found solace in a patchwork bike; an enraged black militant is on the war-path through the rebel squats of 1960s Brixton; a Mississippi housewife decides to make the ultimate sacrifice to save her son from small-town ignorance; a young woman leaves rural Jamaica in search of her destiny; and an Australian schoolgirl loses her way.In the bestselling tradition of novelists such as Chimamanda Ngozi Adichie and Marlon James, this urgent, poetic, and essential work is the perfect introduction to a fresh and talented voice in international fiction.

    The result is an extraordinary, complex portrait of "white girls," as Als dubs them—an expansive but precise category that encompasses figures as diverse as Truman Capote and Louise Brooks, Malcolm X and Flannery O’Connor. In pieces that hairpin between critique and meditation, fiction and nonfiction, high culture and low, the theoretical and the deeply personal, Als presents a stunning portrait of a writer by way of his subjects, and an invaluable guide to the culture of our time.

    Both of Louisa's husbands died suddenly. The Crown was convinced that Louisa poisoned them with arsenic and, to the horror of many in the legal community, put her on trial an extraordinary four times in order to get a conviction. Louisa protested her innocence until the end. Now, in Last Woman Hanged, writer and journalist Caroline Overington delves into the archives to re-examine the original, forensic reports, court documents, judges notebooks, witness statements and police and gaol (jail) records, in an effort to discover the truth.

    A remarkable book of the history of women convicts transported to Australia to keep company with the many more males convicts.

    His life has been spent on the banks of the Murrumby River at Prosperous House, on Massacre Plains. Albert is determined to pass on the language of his people and everything that was ever remembered. He finds the words on the wind.August Gondiwindi has been living on the other side of the world for ten years when she learns of her grandfather’s death. She returns home for his burial, wracked with grief and burdened with all she tried to leave behind. Her homecoming is bittersweet as she confronts the love of her kin and news that Prosperous is to be repossessed by a mining company. Determined to make amends she endeavours to save their land – a quest that leads her to the voice of her grandfather and into the past, the stories of her people, the secrets of the river.Profoundly moving and exquisitely written, Tara June Winch’s The Yield is the story of a people and a culture dispossessed. But it is as much a celebration of what was and what endures, and a powerful reclaiming of Indigenous language, storytelling and identity.

    Her illness is no longer treatable. As she tells us in her remarkable last book, Dying: A Memoir, she now weighs less than her neighbour’s retriever.Written in the space of a few weeks, in a tremendous creative surge, this powerful and beautifully written book is a clear-eyed account of what dying has taught Cory: she describes the tangle of her feelings, she reflects on her life, and she remembers the lives and deaths of her parents. She tells us why she would like to be able to choose the circumstances of her own death.Dying: A Memoir is a breathtaking book about vulnerability and strength, courage and humility, anger and acceptance. It is a deeply affecting meditation on dying, but it is also a funny and wise tribute to life.

    I pulled over and got out. Stared at it, this gleaming snake - where I'd been, where it was going. The route that Jed had once taken.After years of travelling, Saul is trying to settle down. But one night he receives the devastating news of the death of his oldest friend, Jed, recently returned from working in a remote Aboriginal community. Saul's discovery in Jed's belongings of a photo of a woman convinces him that she may hold the answers to Jed's fate. So he heads out on a journey into the heart of the Australian desert to find the truth, setting in motion a powerful story about the landscapes that shape us and the ghosts that lay their claim.The Crying Place is a haunting, luminous novel about love, country, and the varied ways in which we grieve. In its unflinching portrayal of the borderlands where worlds come together, and the past and present overlap, it speaks of the places and moments that bind us. The myths that draw us in. And, ultimately, the ways in which we find our way home.

    Love, politics and other things you shouldn't talk about at dinnerCharlotte Gibson is a lawyer with a brilliant career ahead of her. As her father Ray says, she could be the next female Indigenous Waleed Aly. But she has other ideas. First of all, it's Christmas. Second of all, she's in love.The thing is, her fiance, Francis Smith, is not what her family expected - he's unemployed, he's an experimental composer ... and he's white! Bringing him and his conservative parents to meet her family on their ancestral land is a bold move. Will he stand up to the scrutiny? Or will this romance descend into farce?Love is never just black and white. It's complicated by class, politics, ambition, and too much wine over dinner. But for Charlotte and Francis, it's mostly complicated by family. Secrets are revealed, prejudices outed and old rivalries get sorted through. What can't be solved through diplomacy can surely be solved by a good old-fashioned dance-off. They're just that kind of family.