Neale McShane The Birdsville police posting is one of the most remote in Australia. It can be extremely lonely and incredibly busy at the same time. Nothing might happen for weeks or months, then problems come crawling out of the woodwork.There aren't many who can handle the job for long - unless you're Senior Constable Neale McShane, who has single-handedly taken care of this beat the size of the UK for the past ten years. Recently retired from this 'hardship posting', Neale now has a stock of stories and adventures from his life and colourful times living with his family in Birdsville.In recounting these tales to his good friend and bestselling author Evan McHugh, Neale delights us with yarns that could only come from the furthest corner of our country. Here are stories of desert dangers, dead bodies, droughts and floods, drinkers and dreamers - and, of course the infamous Birdsville Races, when the town's population swells from 50 to 500.So if Birdsville has remained just a little too far off the beaten track for you, sit back and let Birdsville come to you.

    His experiences, as he has collected them together in Hell West and Crooked, will surely become an Australian classic.

    The creation of white Australia depended upon the legal fiction of “terra nullius”—no man’s land—the claim that Aboriginal lands were inhabited by people who would soon die out and who could be helped on the way to extinction if they lingered.Sven Lindqvist, the widely acclaimed and internationally renowned author of “Exterminate All the Brutes” and A History of Bombing, brings his original sensibility to bear as he travels 7,000 miles through Australia in search of places where belief in the rights of the white man and the annihilation of the “lower races” were put into practice. While Australia continues to reckon with its violent past—echoed in the United States’ treatment of Native Americans and Europe’s colonization of other continents—Lindqvist evokes a shocking history in which young boys were kidnapped to dive for pearls, then whipped and abandoned when the bends ruined them for work; “half-caste” children were taken from their mothers; and natives were misdiagnosed with STDs, put in neck irons, and sent to internment camps on remote islands. Lindqvist also recalls the work of ethnologists who brought their own prejudices to bear in studying Aborigines as primitives close to the origins of civilization, later inspiring Freud and Durkheim. At the same time he describes a beautiful and strange land, sacred to the native people who had inhabited it for centuries and celebrated in a long tradition of richly symbolic art.A movingly idiosyncratic travelogue and a powerful act of historical excavation, Terra Nullius is the illuminating and disturbing story of how “no man’s land” became the province of the white man.

    For more than a millennium, Polynesians have occupied the remotest islands in the Pacific Ocean, a vast triangle stretching from Hawaii to New Zealand to Easter Island. Until the arrival of European explorers they were the only people to have ever lived there. Both the most closely related and the most widely dispersed people in the world before the era of mass migration, Polynesians can trace their roots to a group of epic voyagers who ventured out into the unknown in one of the greatest adventures in human history.How did the earliest Polynesians find and colonize these far-flung islands? How did a people without writing or metal tools conquer the largest ocean in the world? This conundrum, which came to be known as the Problem of Polynesian Origins, emerged in the eighteenth century as one of the great geographical mysteries of mankind.For Christina Thompson, this mystery is personal: her Maori husband and their sons descend directly from these ancient navigators. In Sea People, Thompson explores the fascinating story of these ancestors, as well as those of the many sailors, linguists, archaeologists, folklorists, biologists, and geographers who have puzzled over this history for three hundred years. A masterful mix of history, geography, anthropology, and the science of navigation, Sea People combines the thrill of exploration with the drama of discovery in a vivid tour of one of the most captivating regions in the world.Sea People includes an 8-page photo insert, illustrations throughout, and 2 endpaper maps.

    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.

    Born in England and emigrating to Queensland in 1883 in his early twenties, Morant was a charming but reckless man who established a reputation as a rider, polo player and writer. He submitted ballads to The Bulletin that were published under the name 'The Breaker' and counted Banjo Paterson as a friend. When appeals were made for horsemen to serve in the war in South Africa, Morant joined up, first with the South Australian Mounted Rifles and then with a South African irregular unit, the Bushveldt Carbineers.In October 1901 Morant and two other Australians, Lieutenants Peter Handcock and George Witton, were arrested for the murder of Boer prisoners. Morant and Handcock were court-martialled and executed in February 1902 as the Boer War was in its closing stages, but the debate over their convictions continues to this day.Does Breaker Morant deserve his iconic status? Who was Harry Morant? What events and passions led him to a conflict that was essentially an Imperial war, played out on a distant continent under a foreign flag? Was he a scapegoat for British war crimes or a criminal himself?With his trademark brilliant command of story, Peter FitzSimons unravels the many myths and fictions that surround the life of Harry Morant. The truths FitzSimons uncovers about 'The Breaker' and the part he played in the Boer War are astonishing - and, in the hands of this master storyteller, make compelling reading.

    However, a shift is occurring, giving Indigenous people a larger role in determining exhibition content. In Decolonizing Museums, Amy Lonetree examines the complexities of these new relationships with an eye toward exploring how museums can grapple with centuries of unresolved trauma as they tell the stories of Native peoples. She investigates how museums can honor an Indigenous worldview and way of knowing, challenge stereotypical representations, and speak the hard truths of colonization within exhibition spaces to address the persistent legacies of historical unresolved grief in Native communities.Lonetree focuses on the representation of Native Americans in exhibitions at the Smithsonian's National Museum of the American Indian, the Mille Lacs Indian Museum in Minnesota, and the Ziibiwing Center of Anishinabe Culture and Lifeways in Michigan. Drawing on her experiences as an Indigenous scholar and museum professional, Lonetree analyzes exhibition texts and images, records of exhibition development, and interviews with staff members. She addresses historical and contemporary museum practices and charts possible paths for the future curation and presentation of Native lifeways.

    He was the Treasurer who deregulated the economy; the weaver of Labor's modern story; its heavy weapon in the parliament. He was also the great enigma - a self-educated boy from Sydney's working class and a defining element of the head-kicking Labor right who loved Paris, Mahler and Second Empire clocks. Paul Keating did become Prime Minister. In December 1991 he wrested it from Bob Hawke and the bruises from that struggle were part of the baggage he brought to the job: the other parts included the worst recession in 60 years and an electorate determined to make him pay for it. Keating defied the odds and won the 1993 election, and in his four years as Prime Minister set Australia on a new course - towards engagement with Asia, a republic, reconciliation, a social democracy built on a modern export-based economy and sophisticated public systems of education and training, health and social security. Widely regarded as a quintessential economic rationalist, Keating's record clearly shows that his vision was infinitely broader and more complex. Don Watson was employed as Keating's speechwriter. Though a 'bleeding heart' liberal trained in history rather than economics, he became an advisor and friend to Keating. RECOLLECTIONS OF A BLEEDING HEART - based on notes Watson kept through the four turbulent and exhausting years of Keating's Prime Ministership - is a frank, sympathetic and engrossing portrait of this brilliant and perplexing man, and a unique reflection on modern politics.

    In Dancing on Our Turtle's Back: Stories of Nishnaabeg Re-Creation, Resurgence, and a New Emergence activist, editor, and educator Leanne Simpson asserts reconciliation must be grounded in political resurgence and must support the regeneration of Indigenous languages, oral cultures, and traditions of governance.Simpson explores philosophies and pathways of regeneration, resurgence, and a new emergence through the Nishnaabeg language, Creation Stories, walks with Elders and children, celebrations and protests, and meditations on these experiences. She stresses the importance of illuminating Indigenous intellectual traditions to transform their relationship to the Canadian state.Challenging and original, Dancing on Our Turtle's Back provides a valuable new perspective on the struggles of Indigenous Peoples.

    

    An Australian classic. Depicts the enduring hardships of life in the Australian outback and the battles against sexist and racial prejudices.

    More than a hundred years later the British convict settlements on the east coast were still marked by misery: the harshness of a prison society, where “excessive tyranny each day prevails”. Material growth was bought slowly and painfully by the forced labour of prisoners whose defiance might be punished by a thousand lashes. What lies between these beginnings and the wellfed Australian surfriders who gaze proudly into the 1970s? Manning Clark sees in the story of Australia not only the surface of progress, but also the debates and struggles which lie behind the smiling compromises of Australian society today. He discusses the decision to send Australian troops to Vietnam, and the British government’s intended withdrawal from SouthEast Asia. Andhe celebrates the recent achievement of Australian artists such as Sidney Nolan, Judith Wright and Patrick White.

    

    John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

    Since it had come from the sea, it was an evil omen.Soon after, many people died mysteriously, others disappeared without a trace, and once-friendly families became bitter enemies. The islanders muttered, 'It's the times', but Wooreddy alone knew more: the world was coming to an end.In Mudrooroo's unforgettable novel, considered by many to be his masterpiece, the author evokes with fullest irony the bewilderment and frailty of the last native Tasmanians, as they come face to face with the clumsy but inexorable power of their white destroyers.