Adele Dumont’s affecting memoir, The Pulling, draws the reader into the secrecy, shame and impulses behind trichotilllomania, or compulsive hair-pulling.
Bigambul and Wakka Wakka author Melanie Saward’s Burn is structured around three fires. It bears witness to the role institutions play in exacerbating trauma associated with colonialism.
Mykaela Saunders’ Indigenous speculative fiction collection Always Will Be, published in the year following the failed referendum, is a very timely endeavour.
A new biography tells the story of Hillsong and its leader Brian Houston. How did Hillsong come to dominate Australian Pentecostalism – and Australian Christianity? What can we learn from its decline?
Conservative critics argue the ‘social responsibility’ of business lies in increasing profits. But values have always been tied up with money-making, from the welfare state to colonialism.
At 27, Robyn Davidson trekked through the Australian outback with four camels and a dog. In her long-awaited memoir we come closer to knowing why she made this journey.
Georgia Blain’s final, posthumous collection offers clear-eyed, calm compassion – and a capacity to live with, and alongside, damage, trauma and unspeakable loss, and a way of staying human.
Kiley Reid’s follow-up to her Booker longlisted debut is a novel about money. But it’s most interesting when it explores the gap between our imagined selves and what our actions reveal.
Stephanie Land’s sequel to her mega-successful debut memoir Maid works as hard as she does – but while its details of low-income single-parent life as a student are valuable, it suffers by comparison.
Since 2020 there has been exponential rise in ‘virus fiction’ by a new COVID generation of authors who came out of isolation having experienced a pandemic in real time.
Honorary (Senior Fellow) School of Culture and Communication University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne