Cirrus@Austlit

'Seven will come. Two will die. Two will sleep. Two will serve. One will rule.

'I didn’t want to rule the Risen. Wreak a little havoc upon them, though? That was something else entirely.

'Bell Silverleaf is a liar.

'It’s how she’s survived. It’s how all Treesingers have survived since they were invaded by the Risen and their fickle gods. But now Bell is in the Queen’s Test—she’s one of seven girls competing in deadly challenges to determine who will rule for the next twenty-five years. If Bell wins, she’ll have the power to help her people and take revenge on the Risen. But first she has to make it through the challenges alive.

'She doesn’t know how much she’s been lied to, or where she fits in a bigger story, a mystery stretching back generations. And she’s facing much bigger dangers than the Queen’s Test. She’s up against the gods themselves.

'Liar’s Test is a fast-paced, intricately woven fantasy novel with an unforgettable heroine inspired by the strength and power of Aboriginal women.' (Publication summary)

 (Publication summary)

'Billie wants the blue bike and she asks her Mum to buy it for her - but her Mum has no money to spend on a bike. She asks Uncle Jack and he won't give her the money either, but he will help her save up to buy the bike herself. She can work for him for $10 per week for 10 weeks to save the $100 for the bike. But Billie is impatient, and she tries washing cars and even enters her dog Spike in a dog contest - neither of which works out. She eventually she goes back to Uncle Jack and saves the money in 10 weeks - and she is able to purchase the bike!

'Billie and the Blue Bike is a fun and engaging way to introduce young children to financial literacy knowledge, and is written for Indigenous children in particular. This brightly illustrated and instructive picture book, written and illustrated by the award-winning Ambelin Kwaymullina, has been designed to include financial literacy learning relevant to students at a Year 2 level. 

'Billie and the Blue Bike references the National Consumer Financial Literacy Framework, which sets out three dimensions of learning that underpin consumer and financial education: knowledge and understanding; competence; and responsibility and enterprise. Teachers and parents can use the book as a resource to help children understand core financial literacy matters through storytelling.'

Source : publication summary

'Beautifully told and illustrated story of Breanna, who wants to be a superhero. She asks family and friends if she can become a superhero by wishing upon a shooting star. She tries but it doesn't work. Breanna is finally happy with the idea of working hard and becoming a superhero doctor, lawyer, engineer or vet. But she still wants to fly!' (Publication summary)

'Living on Stolen Land is a prose-styled look at our colonial-settler 'present'. This book is the first of its kind to address and educate a broad audience about the colonial contextual history of Australia, in a highly original way. It pulls apart the myths at the heart of our nationhood, and challenges Australia to come to terms with its own past and its place within and on 'Indigenous Countries'. 

'This title speaks to many First Nations' truths - stolen lands, sovereignties, time, decolonisation, First Nations perspectives, systemic bias and other constructs that inform our present discussions and ever-expanding understanding. This title is a timely, thought-provoking and accessible read.' (Publication summary)

'Girls can do anything
Who says girls can't fly?
Stretch out your arms
Aim for your dreams 
Believe in your wings 
Breathe in the sky
Fly high

'Who says girls can't fly? 

'Girls Can Fly is an inspirational, young teen book from award-winning Aboriginal writer and artist Sally Morgan and her equally talented daughter Ambelin. Together they have written short, poignant sayings full of advice that comes from their life experiences. Mother and daughter have written a beautiful, thoughtful and inspiring book. An early draft of the manuscript was given to the participants of the Kimberley and Pilbara Girls program and their feedback and suggestions were taken in. An acknowledgement, information about and photographs of the girls are featured at the back of the book.'  (Publication summary)

'Narrative has long played a significant role in the rich First Nations
cultures of the earth, including the culture of my people, the Palyku. But in
the wake of colonialism, storytelling from an Indigenous standpoint can
be a complex task. This paper explores Indigenous standpoint theory and
examines the considerations and contexts that affect my work as a First
Nations storyteller who writes speculative fiction stories for young adults.'

Source: Abstract.

'This is a book of `Own Voices'* stories — stories about marginalised peoples told by people from those marginalised groups. The genesis of this collection was conversations across 2015 and 2016 where the two of us shared our frustration at the massive under-representation of diverse Australian voices in children's and young adult (YA) literature and the lack of a formal movement in Australia to focus attention on, and tackle, systemic bias — or what we like to call problems with the filter. '  (Introduction)

'Nothing's been the same for Beth Teller since she died. Her dad, a detective, is the only one who can see and hear her—and he's drowning in grief. But now they have a mystery to solve together. As it unravels, Beth finds a shocking story lurking beneath the surface of a small town, and a friendship that lasts beyond one life and into another. Told in two unforgettable voices, this gripping novel weaves together themes of grief, colonial history, violence, love and family.'

Source: Publisher's blurb.

'Meet Me at the Intersection is an anthology of short fiction, memoir and poetry by authors who are First Nations, People of Colour, LGBTIQA+ or living with disability. The focus of the anthology is on Australian life as seen through each author’s unique, and seldom heard, perspective.

'With works by Ellen van Neerven, Graham Akhurst, Kyle Lynch, Ezekiel Kwaymullina, Olivia Muscat, Mimi Lee, Jessica Walton, Kelly Gardiner, Rafeif Ismail, Yvette Walker, Amra Pajalic, Melanie Rodriga, Omar Sakr, Wendy Chen, Jordi Kerr, Rebecca Lim, Michelle Aung Thin and Alice Pung, this anthology is designed to challenge the dominant, homogenous story of privilege and power that rarely admits ‘outsider’ voices.'  (Publication summary)

'My people are the Palyku and we are born of the red dirt, purple hills and blue skies of the Pilbara. But I grew up amongst the tuart trees and winding rivers of Whadjuk Noongar country in the south-west of Western Australia. The arrival of my branch of the family in Perth was the result of a journey undertaken by my great-grandmother that was not her choice. Like so many others, she was a member of the Stolen Generations, as was my grandmother after her.' (Introduction)

'An environmental tale for Early Childhood and Lower Primary readers that shows how animals are affected by rubbish left in their habitat by humans. Ambelin Kwaymullina’s illustrations are an explosion of colour and cleverly show the perils faced by our native animals.

'When the animals work as a team to come up with ways to look after the bush, they decide to ask the humans to REDUCE, RECYCLE and use RUBBISH BINS. But it is Benny Bungarra who has the bright idea of a BIG BUSH CLEAN-UP so the animals can also help look after the bush.' (Publication summary)

'I am a Palyku author of Indigenous Futurisms, a term coined by Anishinaabe academic Grace Dillon to describe a form of storytelling whereby Indigenous peoples use the speculative fiction genre to challenge colonialism and imagine Indigenous futures. Indigenous Futurist writers draw from worldviews shaped by our ancient cultures, from our inheritance of the multigenerational trauma of colonialism, and from the sophisticated understandings of systems of oppression that are part of the knowledge base of all oppressed peoples. Because of this, we share similarities that shape our works and provide a fruitful base for cross-textual analysis. But because we are many individuals from many Indigenous nations, each with our own homelands, cultures, and identities, there is also great diversity between us all. As such, my viewpoint is one among many Indigenous viewpoints.' (Introduction)