Cirrus@Austlit

'Families can detonate. Some families are torn apart forever by one small act, one solitary mistake. In my family it was a series of small explosions; consistent, passionate, pathetic. Cruel words, crude threats... We spurred each other on till we reached a crescendo of pain and we retired exhausted to our rooms, in tears or in fury.

'Ari is nineteen, unemployed and a poofter who doesn't want to be gay. He is looking for something - anything - to take him away from his aimless existence in suburban Melbourne. He doesn't believe in anyone or anything, except the power of music. All he wants to do is dance, take drugs, have sex and change the world.

'For Ari, all the orthodoxies of family, sex, politics and work have collapsed. Caught between the traditional Greek world of his parents and friends and the alluring, destructive world of clubs, chemicals and anonymous sex, all Ari can do is ease his pain in the only ways he knows how.

'Written in stark, uncompromising prose, Loaded is a first novel of great passion and power.' (From the publisher's website.)

'A story of homecoming, this absorbing novel opens with a young, city-based lawyer setting out on her first visit to ancestral country. Candice arrives at "the place where the rivers meet", the camp of the Eualeyai where in 1918 her grandmother Garibooli was abducted. As Garibooli takes up the story of Candice's Aboriginal family, the twentieth century falls away.

Garibooli, renamed Elizabeth, is sent to work as a housemaid, but marriage soon offers escape from the terror of the master's night-time visits. Her displacement carries into the lives of her seven children - their stories witness to the impact of orphanage life and the consequences of having a dark skin in post-war Australia. Vividly rekindled, the lives of her family point the direction home for Candice.

Home is a ... novel from an author who understands both the capacity of language to suppress and the restorative potency of stories that bridge past and present.' (Source: Publisher's blurb)

'The most famous Australian play and one of the best loved, Summer of the Seventeenth Doll is a tragicomic story of Roo and Barney, two Queensland sugar-cane cutters who go to Melbourne every year during the 'layoff' to live it up with their barmaid girl friends. The title refers to kewpie dolls, tawdry fairground souvenirs, that they brings as gifts and come, in some readings of the play, to represent adolescent dreams in which the characters seem to be permanently trapped. The play tells the story in traditional well-made, realistic form, with effective curtains and an obligatory scene. Its principal appeal – and that of two later plays with which it forms The Doll Trilogy – is the freshness and emotional warmth, even sentimentality, with which it deals with simple virtues of innocence and youthful energy that lie at the heart of the Australian bush legend.

'Ray Lawler’s play confronts that legend with the harsh new reality of modern urban Australia. The 17th year of the canecutters’ arrangement is different. There has been a fight on the canefields and Roo, the tough, heroic, bushman, has arrived with his ego battered and without money. Barney’s girl friend Nancy has left to get married and is replaced by Pearl, who is suspicious of the whole set-up and hopes to trap Barney into marriage. The play charts the inevitable failure of the dream of the layoff, the end of the men’s supremacy as bush heroes and, most poignantly, the betrayal of the idealistic self-sacrifice made by Roo’s girl friend Olive – the most interesting character – to keep the whole thing going. The city emerges victorious, but the emotional tone of the play vindicates the fallen bushman.'

Source: McCallum, John. 'Summer of the Seventeenth Doll.' Companion to Theatre in Australia. Ed. Philip Parson and Victoria Chance. Sydney: Currency Press , 1997: 564-656.