Cirrus@Austlit

'Hannah Gadsby always dreamt of being a cool kid, but she had to accept that, just like her childhood dream of being a dog, 'normal' isn't always possible. In the vein of David Sedaris, Hannah's memoir is a series of interlinked stories that draw together the varied funny and sometimes dark events of her life. The result is a deeply personal, astutely observed, sometimes devastating but frequently hysterically funny book.'

Source: Publisher's blurb.

'VICTIM. KIDNAPPER. CRIMINAL. You will become each one. You are now part of the chain. Don't break the chain.

'THE ONLY WAY TO GET YOUR CHILD BACK IS TO KIDNAP ANOTHER.

'Listen carefully ...
Your child has been kidnapped.
You must abduct someone else's child to save your own.
Disobey. Break the rules. Go to the cops. Your child will die.
Your victim's parents must kidnap another child before yours is released.
You are now part of the chain.

'#DONTBREAKTHECHAIN'

Source: Publisher's blurb.

To write this non-fiction work about life in the former East Germany, Anna Funder interviewed former Stasi officers and the people they surveilled. Described in the National Library of Australia record as 'A book of travel, history and biography that reads like a documentary novel,' Stasiland takes 'a deliberately subjective and "literary" approach' to its material with an 'emphasis on a sympathetic authorial persona as the source of the reader's perspective' (Susan Lever 'The Crimes of the Past: Anna Funder's Stasiland and Helen Garner's Joe Cinque's Consolation'. Paper delivered at the Association for the Study of Australian Literature (ASAL) conference 2006).

'In this collection of poems, farmers, fathers, poverty-stricken pioneers, and people blackened by the grist of the sugar mills are exposed to the blazing midday sun of Murray's linguistic powers. Richly inventive, tenderly perceptive, and fiercely honest, these poems surprise and bare the human in all of us.'  (Publication summary)

After years teaching Romantic poetry at the Technical University of Cape Town, David Lurie, middle-aged and twice divorced, has an impulsive affair with a student. The affair sours; he is denounced and summoned before a committee of inquiry. Willing to admit his guilt, but refusing to yield to pressure to repent publicly, he resigns and retreats to his daughter Lucy's isolated smallholding. For a time, his daughter's influence and the natural rhythms of the farm promise to harmonise his discordant life. But the balance of power in the country is shifting. He and Lucy become victims of a savage and disturbing attack which brings into relief all the faultlines in their relationship.' (Publisher's blurb)