Cirrus@Austlit

'In Abbas El-Zein’s new memoir, conflicts abound – either tragic or amusing, sometimes both – between teachers and students, left- and right-wing factions, civilians and militiamen and, not least, French and Arabic, two languages vying for primacy in the post-colonial worlds of Beirut and the Levant, with English coming fast from behind. By the time he graduated from high school, El-Zein had nearly drowned in the Mediterranean, survived the breakout of civil war and lived through the violent death of two close family members. He witnessed Syrian and Israeli soldiers invade his country and, from his bedroom balcony, saw the mushroom cloud of the explosion that killed hundreds of American and French marines. But while war and tragedy struck every now and then, everyday life continued unabated, rich with humour, serendipity and love of many kinds. Bullet, Paper, Rock is a story of survival, and a meditation on desire and loss, language and violence. It is at once a requiem for a Levantine past gone sour – from the innocent 1970s, through September 11 and its aftermath, to the cataclysms of the Arab Spring and the Israel-Palestine conflict – and a tribute to women of his family – “weavers whose fabric of choice is hope, they were hard at work, at night as in daytime, carving out viable lives, ones in which they loved and were loved aplenty”.'

Source: Publisher's blurb.

'A deeply personal, profound tribute to family and the Gudanji Country to which Debra Dank belongs.

'We Come with This Place is a remarkable book, as rich, varied and surprising as the vast landscape in which it is set. Debra Dank has created an extraordinary mosaic of vivid episodes that move about in time and place to tell an unforgettable story of country and people.

'There is great pain in these pages, and anger at injustice, but also great love, in marriage and in family, and for the land. Dank faces head on the ingrained racism, born of brutal practice and harsh legislation, that lies always under the skin of Australia, the racism that calls a little Aboriginal girl names and beats and rapes and disenfranchises the generations before hers. She describes sudden terrible violence, between races and sometimes at home. But overwhelmingly this is a book about strong, beloved parents and grandparents, guiding and teaching their children and grandchildren what country means, about joyful gatherings and the pleasures of eating food provided by the place that nourishes them, both spiritually and physically.

'Dank calibrates human emotions with honesty and insight, and there is plenty of dry, down-to-earth humour. You can feel and smell and see the puffs of dust under moving feet, the ever-present burning heat, the bright exuberance of a night-time campfire, the emerald flash of a flock of budgerigars, the journeying wind, the harshness of a station shanty, the welcome scent of fresh water.

'We Come with This Place is deeply personal, a profound tribute to family and the Gudanji Country to which Debra Dank belongs, but it is much more than that. Here is Australia as it has been for countless generations, land and people in effortless balance, and Australia as it became, but also Australia as it could and should be.'  (Publication summary)

'A landmark biography of a singular and important Australian photographer, Olive Cotton, by an award-winning writer - beautifully written and deeply moving.

'Olive Cotton was one of Australia's pioneering modernist photographers, a woman whose talent was recognised as equal to her first husband's, Max Dupain, and a significant artist in her own right. Together, Olive and Max could have been Australia's answer to Frida Kahlo and Diego Rivera, or Ray and Charles Eames. The photographic work they produced during the 1930s and '40s was extraordinary and distinctively their own.

'But in the early 1940s Cotton quit their marriage and Sydney studio to live with second husband Ross McInerney and raise their two children in a tent on a farm near Cowra - later moving to a hut that had no running water, electricity or telephone. Despite these barriers, and not having access to a darkroom, Olive continued her photography but away from the public eye. Then a landmark exhibition in Sydney in 1985 shot her back to fame, followed by a major retrospective at the AGNSW in 2000. Australian photography would never be same.

'This is a moving and powerful story about talent, creativity and women, and about what it means for an artist to manage the competing demands of art, work, marriage, children and family.'

Source: Publisher's blurb.