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.

big beautiful female theory is an anarchic and vital memoir unlike anything you've read before. Part feminist manifesto, part comic book, it is a carnivalesque exploration of the ways identity is formed through culture, relationships and the weight of society's expectations. With breathtaking honesty and fierce wit, Eloise Grills turns her life, her body and her mind into art, confronting what it means to grow up in an increasingly unfathomable world.

A stunning new collection from one of Australia's finest poets - her most impressive work yet. Winner of the 2023 Stella Prize With electrifying boldness and fearlessness of vision, Sarah Holland-Batt confronts what it means to be mortal in an astonishing and deeply humane portrait of a father's Parkinson's Disease, and a daughter forged by grief. Opening and closing with startling elegies set in the charged moments before and after a death, and compulsively probing the body's animal endurance and appetites, along with the metamorphoses of long illness, The Jaguar is marked by Holland-Batt's distinctive lyric intensity and linguistic mastery, along with a stark new clarity of voice. In this collection Holland-Batt is at her most exacting and uncompromising- these ferociously intelligent, insistent poems refuse to look away, and challenge us to view ruthless witness as a form of love. The Jaguar is a devastating and mesmerising collection by a poet at the height of her powers.

Anja is a young, ambitious antiquarian, passionate for the clean and balanced lines of mid-century furniture. She is intent on classifying objects based on emotional response and when her career goes awry, Anja finds herself adrift. Like a close friend, she confesses her intimacies and rage to us with candour, tenderness, and humour.Cast out from the world of antiques, she stumbles upon a beachside cottage that the neighbouring naval base is offering for a 100-year lease. The property is derelict, isolated, and surrounded by scrub. Despite of, or because of, its wildness and solitude, Anja uses the last of the inheritance from her mother to lease the property. Yet a presence – human, ghost, other – seemingly inhabits the grounds. Hydra is a novel of dark suspense and mental disquiet, struck through with black humour., Adriane Howell beguilingly explores notions of moral culpability, revenge, memory, and narrative – all through the female lens of freedom and constraint. She holds us captive to the last page. ‘From the treacherous auction houses of Melbourne to the sun-struck islands of Greece, Hydra took me places I never expected to go. Adriane Howell writes with the dreamy precision of Marguerite Duras, the humour-laced disquiet of Patricia Highsmith. A fever dream of a debut – elegant, savage, and delightfully unhinged.’ – Laura Elizabeth Woollett, author of Beautiful Revolutionary and The Newcomer ‘A puzzle box of creeping dread, Hydra had me questioning my own grasp on reality. This is sophisticated, genre-defying literary fiction of the first order.’ – Bram Presser, author of The Book of Dirt ‘Hydra crosses planes; it is superb, distinct, and breathtaking. It surprises, disturbs and enthrals at every turn.’ – Angela Meyer, author of A Superior Spectre and Moon Sugar

An award-winning journalist takes to the protest-riven streets of Hong Kong to write this startling landmark account of the island city's complex past and precarious future. The story of Hong Kong has long been obscured by competing myths- to Britain, a 'barren rock' with no appreciable history; to China, a part of Chinese soil from time immemorial that had at last returned to the ancestral fold. To its inhabitants, the city was a place of refuge and rebellion, whose own history was so little taught that they began mythmaking their own past. When protests erupted in 2019 and were met with escalating suppression from Beijing, Louisa Lim-raised in Hong Kong as a half-Chinese, half-English child, and now a reporter who had covered the region for a decade-realised that she was uniquely positioned to unearth Hong Kong's untold stories. Lim's deeply researched and personal account is startling, casting new light on key moments- the British takeover in 1842, the negotiations over the 1997 return to China, and the future Beijing seeks to impose. Indelible City features guerrilla calligraphers, amateur historians and archaeologists who, like Lim, aim to put Hong Kongers at the centre of their own story. Wending through it all is the King of Kowloon, whose iconic street art both embodied and inspired the identity of Hong Kong-a site of disappearance and reappearance, power and powerlessness, loss and reclamation.