Cirrus@Austlit

'Alvie Skerritt - irrepressible, down-to-earth, sometimes fierce - is the centre of this boldly original collection of linked narratives. These stories present a modern family portrait full of compassion and humour.' (Publication summary)

'A cunning web of truth, lies, self-delusion and depravity, set against the backgrounds of Manila and Melbourne. Jean, an award-winning journalist, travels to the Philippines to write an exposé of Australian sex tours. Blackmail and revolution were not in the original brief, but as the lives of the six infidels mesh together, there are no rules and many surprises.'

Source: Publisher's blurb.

' Iqbal Chaudhary is fortyish, but the mid-life crisis he faces is more complex than many. His Australian marriage has collapsed, his past surfaces to bother his conscience and he feels a compulsive need to go back to the country he left immediately after the war with Pakistan, eighteen years earlier. But his reception from family and friends is deeply mixed. Iqbal is forced to confront why he left Bangladesh and how he feels about his family as well as his native country whose poverty, squalor and overcrowding make him react involuntarily with the squeamishness of a Westerner.'

Source: Publisher's blurb.

' Iqbal Chaudhary is fortyish, but the mid-life crisis he faces is more complex than many. His Australian marriage has collapsed, his past surfaces to bother his conscience and he feels a compulsive need to go back to the country he left immediately after the war with Pakistan, eighteen years earlier. But his reception from family and friends is deeply mixed. Iqbal is forced to confront why he left Bangladesh and how he feels about his family as well as his native country whose poverty, squalor and overcrowding make him react involuntarily with the squeamishness of a Westerner.'

Source: Publisher's blurb.

'In the mid-1840s, a thirteen-year-old boy, Gemmy Fairley, is cast ashore in the far north of Australia and taken in by Aborigines. Sixteen years later, when settlers reach the area, he moves back into the world of Europeans, men and women who are staking out their small patch of home in an alien place, hopeful and yet terrified of what it might do to them.

Given shelter by the McIvors, the family of the children who originally made contact with him, Gemmy seems at first to be guaranteed a secure role in the settlement, but there are currents of fear and mistrust in the air. To everyone he meets - from George Abbot, the romantically aspiring young teacher, to Mr Frazer, the minister, whose days are spent with Gemmy recording the local flora; from Janet McIvor, just coming to adulthood and discovering new versions of the world, to the eccentric Governor of Queensland himself - Gemmy stands as a different kind of challenge, as a force which both fascinates and repels. And Gemmy himself finds his own whiteness as unsettling in this new world as the knowledge he brings with him of the savage, the Aboriginal.' - Publisher's blurb (Chatto & Windus, 1993).

Source: Publisher's blurb.

'Tjarany Roughtail contains eight dreamtime stories from the Kukatja people of Western Australia’s remote Kimberley Region. Each story is complemented by beautiful artworks painted by Aboriginal artist Lucille Gill that visually explain each story using traditional dot paintings. Told in English and Kukatja, the book includes magnificent paintings, maps, kinship diagrams, exercises and language notes. Winner of Children's Book Council of Australia Award.'

'Tjarany Roughtail contains eight dreamtime stories from the Kukatja people of Western Australia’s remote Kimberley Region. Each story is complemented by beautiful artworks painted by Aboriginal artist Lucille Gill that visually explain each story using traditional dot paintings. Told in English and Kukatja, the book includes magnificent paintings, maps, kinship diagrams, exercises and language notes. Winner of Children's Book Council of Australia Award.'

'A hypothetical account of what could have happened if Napolean had not died depicts the Emperor traveling incognito through Europe experiencing a series of bizarre adventures that bring him face to face with reality.' (Publication summary)

Play with music.

Loosely based on Nowra's own experience at producing a play (Trial by Jury) at Melbourne's Plenty Mental Home, Cosi has become a favourite with theatre companies and audiences alike since it premiered in 1992. Full of theatrical jokes and roles rich with Jonsonian humour, the play's use of a play rehearsal device also provokes images of the not-too dissimilar 'families' that come together in the professional theatre. Indeed, Nowra notes in the premiere season's programme notes that 'like the actual events of those days [the play] is, I hope, full of comedy and affection. Real madness and angst only occurred when I worked with professional actors'.

Set in 1971, Cosi takes an affectionate look at madness and mayhem in a world where institutions can be less limiting than ideology. The narrative is played out two locations, a mental institution and a suburban backyard. , Fresh from university, Lewis (a play on Louis) arrives to direct a play with the inmates, but is persuaded by Roy to stage his favourite opera, Cosi Fan Tutte. Lewis' problems don't end, however, with the fact that the other inmates are neither opera singers nor Italian-speakers. There is Ruth, troubled by the concept of a real illusion ; Zac, who insists on playing Wagner ; Doug, who is committed to the closed ward ; not to mention the sexual advances by Cherry and Julie. Lewis's world is no less complicated at home, where he has to contend with escaping pigs, exploding beer bottles and the pretensions of his politically correct friends.

The music incorporated into the narrative includes: 'Wild Thing' (by The Troggs), various songs from Cosi Fan Tutte, 'Purple Haze' (Jimmy Hendrix) 'Candy Says' (a Velvet Underground song, pre-recorded), and Wagner's 'The Ride Of The Valkyries'.

'Autobiographical account of the changes observed in Australian society in the years following World War II as experienced by the author and his family after leaving Hungary. The author's return to Budapest in 1990 prompts comparisons to the situation in Australia.' (Publication summary)

Hotel Sorrento is a vivid, moving and funny play which explores the concept of loyalty both to family and to country. Three sisters come together after ten years: Hilary who lives in Sorrento with her father and her sixteen-year-old son; Pippa visiting from New York where she works in advertising; and Meg, who returns home from England with her English husband after her new novel Melancholy is shortlisted for the Booker prize. Unspoken aspects of their shared past, jolted by the autobiographical flavour of Meg's book, haunt their reunion.

Coincidentally, Marge, a teacher, with a holiday house in Sorrento, reads the novel and finds it captures an Australia she knows. Her friend, Dick, however, is worried by Meg's expatriate status. This interest draws them into the family where the issues of culture, patriotism, and using the past are battled out.

Source: Publisher's blurb (back cover).

A sixteen-year-old Western Australian boy mysteriously disappears after he discovers valuable relics in the remains of a seventeen-century shipwreck.

The book's sections, with their subtly seasonal patterning, are designed to complement each other and to enrich the reader's imagination through the exacting precision of a style distinguished by its dextrous control. (Source: back cover)

At the centre of this story of family life is the contrast between the deadpan, phobic Kay and the manic, excessive Dawn (Sweetie). The film explores aspects of Australian life and the Australian psyche, and probes into the viewer's consciousness by showing the narrow boundary between eccentricity, madness, and normality.

"Story of famine in the deep Sahara, the ozone hole over Antarctica, the dangerous legacy of a dead biologist - and Beui Ish-Mahel, the survivor of an ancient desert clan. The B̀lue chameleon' is currently being adapted as a screenplay." (Source: Trove)

'Belle's mother was a drummer in an all-women's group before she turned vegetarian and went to live in a shack in the hills. Her father was a trumpeter Belle met for the first time in a Manhattan jazz bar. She had a husband, too, briefly - an upwardly mobile deputy librarian searching for the perfect sauce. Belle even had a best friend once, whose ebullience was finally subdued in vermouth and leather sofas. Their selves were their centres, and Belle realized she'd have to research much further to find her own ...' (Publication summary)