Cirrus@Austlit

'This novel is about a woman called Martha. She knows there is something wrong with her but she doesn't know what it is. Her husband Patrick thinks she is fine. He says everyone has something, the thing is just to keep going.

'Martha told Patrick before they got married that she didn't want to have children. He said he didn't mind either way because he has loved her since he was fourteen and making her happy is all that matters, although he does not seem able to do it.

'By the time Martha finds out what is wrong, it doesn't really matter anymore. It is too late to get the only thing she has ever wanted. Or maybe it will turn out that you can stop loving someone and start again from nothing - if you can find something else to want.' (Publication summary)

'Scott Stuart encourages boys to embrace who they truly are in this empowering and funny story, smashing age-old assumption about what it means to be a man.

'Encompassing boys and men from different backgrounds, and told in irresistible rhyme, How to be a Real Man is a must-have picture book for all young readers. ' (Publication summary)

'My Shadow is Pink is a beautifully written rhyming story that touches on the subjects of gender identity, self acceptance, equality and diversity.

'Inspired by the author’s own little boy, ‘Shadow’s’ main character likes princesses, fairies and things ‘not for boys’...he soon learns (through the support of his dad) that everyone has a shadow that they sometimes feel they need to hide. This is an important book for a new generation of children (and adults alike) which exemplifies the concepts of unconditional love, respect and positive parenting.'

(Source: publisher's blurb)

'Ellen O'Farrell is an expert when it comes to human frailties. She's a hypnotherapist who helps her clients deal with everything from addictions to life-long phobias. So when she falls in love with a man who is being stalked by his ex-girlfriend she's more intrigued than frightened.

'What makes a supposedly smart, professional woman behave this way? She'd love to meet her! What she doesn't know is that she already has. Saskia has been masquerading as a client, and their lives are set to collide in ways Ellen could never have predicted.

'This wonderfully perceptive new novel from Liane Moriarty is about the lines we'll cross for love. It's about the murky areas between right and wrong, and the complexities of modern relationships.

'As Ellen is about to discover, we're all a little crazy - even her.' (From the publisher's website.)

'AFTER The Childhood of Jesus and The Schooldays of Jesus, J. M. Coetzee completes his trilogy with a new masterwork, The Death of Jesus.

'David loves to kick a soccer ball with his friends in Estrella. His father, Simón, and Bolívar the dog usually watch. His mother, Inés, works in a fashion boutique.

'David still asks lots of questions. In dancing class, he dances as he chooses. He refuses to do sums and the only book he will read is Don Quixote.

'One day, Julio Fabricante, the director of a nearby orphanage, invites David and his friends to form a proper soccer team. David decides to leave Simón and Inés and live with Julio. Before long he succumbs to a mysterious illness. Will he have time to deliver his ‘message’?

'In The Death of Jesus, J. M. Coetzee continues to explore the meaning of a world brimming with questions.'

Source: Publisher's blurb.

"The retreat at health and wellness resort Tranquillum House promises total transformation. Nine stressed city dwellers are keen to drop their literal and mental baggage, and absorb the meditative ambience while enjoying their hot stone massages. 

"Watching over them is the resort's director, a woman on a mission to reinvigorate their tired minds and bodies. 

"These nine perfect strangers have no idea what is about to hit them.

"With her wit, compassion and uncanny understanding of human behaviour, Liane Moriarty explores the depth of connection that can be formed when people are thrown together in... unconventional circumstances." (Publisher's website)

In this collection of 21 essays introduced by Derek Attridge, most of which have been published in the New York Review of Books, Coetzee reveals his skill as a literary critic in his own right.

'Hell is still the safest place on earth.

'When you've run out of choices, you've only got yourself.

'As war rages, as the enemy closes in, as Ellie and her friends fight for their lives, they are left with nothing. Nothing but courage, spirit and pride' (Source: bookseller's website).

In Giving Offense, South African writer J. M. Coetzee presents a coherent, unorthodox analysis of censorship from the perspective of a writer who has lived and worked under its shadow. Widely acclaimed for his many novels, Coetzee is also a brilliant literary critic and essayist. The essays collected here attempt to understand the passion that plays itself out in acts of silencing and censoring. Subscribing neither to the myth of the writer as a moral giant nor to that of the writer as persecuted innocent, Coetzee argues that a destructive dynamic of belligerence and escalation tends to overtake the rivals in any field ruled by censorship.

From Osip Mandelstam commanded to compose an ode in praise of Stalin, to Breyten Breytenbach writing poems under and for the eyes of his prison guards, to Aleksandr Solzhenitsyn engaging in a trial of wits with the organs of the Soviet state, Giving Offense focuses on the ways authors have historically responded to censorship. It also analyzes the arguments of Catharine MacKinnon for the suppression of pornography and traces the operations of the old South African censorship system. Finally, Coetzee delves into the early history of apartheid and critizes the blankness of contemporary political science in its efforts to address the deeper motives behind apartheid. (Source: Libraries Australia).

Nadine Gordimer has written of J.M. Coetzee that his “vision goes to the nerve center of being. What he finds there is more than most people will ever know about themselves, and he conveys it with a brilliant writer’s mastery of tension and elegance.” Doubling the Point takes us to the center of that vision. These essays and interviews, documenting Coetzee’s longtime engagement with his own culture, and with modern culture in general, constitute a literary autobiography of striking intellectual, moral, and political force.

Centrally concerned with the form and content of fiction, Doubling the Point provides rigorous insight into the significance of certain writers (particularly modernists such as Kafka, Musil, and Beckett), the value of intellectual movements (from structuralism and structural linguistics on through deconstruction), and the issues of political involvement and responsibility—not only for Coetzee’s own work, but for fiction writing in general. In interviews prefacing each section of the book, Coetzee reflects on the essays to follow and relates them to his life and work. In these interviews editor David Attwell, remarkably well attuned to his subject, prompts from Coetzee answers of extraordinary depth and interest (Harvard University Press).

'A young English biographer is working on a book about the late writer, John Coetzee. He plans to focus on the years from 1972 - 1977 when Coetzee, in his thirties, is sharing a run-down cottage in the suburbs of Cape Town with his widowed father. This, the biographer senses, is the period when he was finding his feet as a writer. Never having met Coetzee, he embarks on a series of interviews with people who were important to him: a married woman with whom he had an affair, his favourite cousin Margot, a Brazilian dancer whose daughter had English lessons with him, former friends and colleagues. From their testimony emerges a portrait of the young Coetzee as an awkward, bookish individual with little talent for opening himself to others. Within the family he is regarded as an outsider, someone who tried to flee the tribe and has now returned, chastened. His insistence on doing manual work, his long hair and beard, rumours that he writes poetry evoke nothing but suspicion in the South Africa of the time.

Sometimes heartbreaking, often very funny, Summertime shows us a great writer as he limbers up for his task. It completes the majestic trilogy of fictionalised memoir begun with Boyhood and Youth.' (Provided by the publisher.)

"From the author of Waiting for the Barbarians, another startling and disturbing portrait of today's South Africa, a land and a people beset by violence and siege. Coetzee here tells the story of a handicapped young man who has worked as a municipal gardener in Cape Town. His mother is dying, and she wishes to return to her birthplace out in the veldt. Without the required transit passes, mother and son set out on a journey that will end in death for her and in a new but temporary life on an abandoned farm for him. His respite in isolation and peace does not last long, however; grotesque reality soon returns to trouble this quiet new world. Against the solitude of this private drama, Coetzee paints an eloquent and pained picture of his homeland and of the bureaucrats, doctors, army deserters, and camp guards who reveal the stress and qualms of their existence and who uneasily sense that there is no conclusion to their troubles and no future for their lives." (Source: Libraries Australia)

J.M. Coetzee's first body of criticism is a collection of seven essays focussed around the place of the white writer in South Africa. Surveying a broad swathe of authors including William Burchell, Thomas Pringle, WEG Louw, WC Scully, Roy Campbell, Pauline Smith, Mikro, Alan Paton, and Gertrude Millin, Coetzee examines how European travellers have thought about, and represented, the South African landscape. In this collection, Coetzee incisively articulates the racial concerns of a problematic (post)colonial literature.

"This work contains two novellas. In the first [The Vietnam Project], a specialist in psychological warfare is driven to murderous action by the stresses of a macabre project to win the Vietnam War, and in the second [The Narrative of Jacobus Coetzee], a megalomaniac Boer frontiersman wreaks hideous vengeance on a Hottentot tribe". (Source: Libraries Australia)