Cirrus@Austlit

'Lally has invested everything into her gallery in Manhattan and the sacrifices are finally paying off. Pat is a scholarship boy desperate to establish himself in Sydney's antiquities scene. When they meet at New York's Armory Show their chemistry is instant - fighting about art and politics is just foreplay.

'With an ocean between them they try to get back to work, but they're each struggling to balance money and ambition with the love of art that first drew them to their strange industry. Lally is a kingmaker, bringing exciting new talent to the world, so what's the problem if it's also making her rich? Pat can barely pay his rent and he isn't sure if he's taking advantage of his clients or if they are taking advantage of him, and which would be worse? Their international affair ebbs and flows like the market, while their aspirations and insecurities are driving them both towards career-ending mistakes.

'If love costs and art takes, what price do we pay for wanting it all? The Work is about the biggest intersections of life: of art and commerce, of intimacy and distance, of talent and entitlement, and of labour and privilege. Dazzling, funny and unforgettable, it is an epic and forensic exploration of modern love and passion, politics and power. The Work announces a brilliant new voice in Australian fiction.' (Publication summary)

Foreign correspondent Sally Sara’s semi-autobiographical play at Belvoir, Stop Girl, captures the quotidian anguish of suffering a breakdown. By Bri Lee.

'I travel around this beautiful country speaking about issues of law and sexual violence, and I cannot do so without acknowledging that Aboriginal and Torres Strait Islander women are three times as likely as non-Indigenous women to have experienced violence; that despite Aboriginal and Torres Strait Islanders over the age of 18 making up around 2 per cent of our population, they represent 28 per cent of total prisoner population; that we are seeing absolutely no improvements in the rates of Aboriginal deaths in custody and that half of those deaths are of prisoners not even found guilty.'(Introduction)

'EGGSHELL SKULL: A well-established legal doctrine that a defendant must 'take their victim as they find them'. If a single punch kills someone because of their thin skull, that victim's weakness cannot mitigate the seriousness of the crime.

'But what if it also works the other way? What if a defendant on trial for sexual crimes has to accept his 'victim' as she comes: a strong, determined accuser who knows the legal system, who will not back down until justice is done?

'Bri Lee began her first day of work at the Queensland District Court as a bright-eyed judge's associate. Two years later she was back as the complainant in her own case.

'This is the story of Bri's journey through the Australian legal system; first as the daughter of a policeman, then as a law student, and finally as a judge's associate in both metropolitan and regional Queensland -- where justice can look very different, especially for women. The injustice Bri witnessed, mourned and raged over every day finally forced her to confront her own personal history, one she'd vowed never to tell. And this is how, after years of struggle, she found herself on the other side of the courtroom, telling her story.

'Bri Lee has written a fierce and eloquent memoir that addresses both her own reckoning with the past as well as with the stories around her, to speak the truth with wit, empathy and unflinching courage. Eggshell Skull is a haunting appraisal of modern Australia from a new and essential voice.' (Source: Publisher's blurb)