Fiona McFarlane’s ‘masterful, complicated’ novel explores the exploitative nature of storytelling. She asks us to consider the truth of the tales we tell about ourselves and our identities.
Written in a breezy and accessible style, How to Stage a Coup is a dazzling compendium of underhanded tactics.
In her new memoir, Stella Prize winner Heather Rose reflects on overcoming childhood trauma and adult pain with spiritual work. But our reviewer wishes it allowed moments of ‘pause or ambiguity’.
The new book is structured around apartheid profiteers, war profiteers, state capture profiteers, welfare profiteers, failing auditors, conspiring consultants and bad lawyers.
The question behind Tom Keneally’s latest novel is how a political idealist striving for his country’s freedom could end up supporting slavery.
Ayanna Lloyd Banwo’s debut novel, When We Were Birds, is a lyrical love story with its roots firmly in the narrative tradition of anglophone Caribbean writing.
Mala, a Polish Orthodox Jewish woman, escaped the Warsaw ghetto early in the second world war and survived by passing as a Catholic. A new book tells her story.
Chokepoint Capitalism is a dark portrait of a cultural system where monopolies and monopsonies predominate to the detriment of artists.
In Dreamers and Schemers, the activities of male political elites take precedence over other social movements.
George Saunders has described short stories as ‘thrill-producing machines’, but his latest collection is hit and miss.
With its lovingly rendered characters and sharp aphoristic prose, Sweeney and the Bicycles is a study in radical self-absorption.
The latest novel by twice Miles Franklin winner Alex Miller traces one woman’s journey from self-absorption and isolation, to generosity and friendship.
Robbie Arnott’s third novel, Limberlost, is an exquisitely written tale of human and ecological destruction, with a thread of hope.
Tracey Lien’s debut novel investigates a murder of a model student in a Cabramatta restaurant. Anh Nguyen Austen says it brilliantly conveys the complexities of the Vietnamese refugee experience.
Jessie Cole’s memoir traces a love affair: a long-distance relationship with an unnamed, older lover. It’s set against layers of thinking about love, desire, bodies and ecological disaster.
He is the heir-apparent of a global media empire, but how much to we really know about Lachlan Murdoch?
In Emperors in Lilliput, Jim Davidson examines legacy of Clem Christesen and Stephen Murray-Smith.
The Unfolding is fiction: a made-up story of American politics. But just like in the real United States, the lines between truth and fantasy in this novel are perilously thin.
Ian McEwan has forged his own genre – crisply realist surfaces mixed with sudden excursions into the darkest corridors of the mind. In Lessons, the central character reveals a writerly consciousness.
Major plot points explode like hand grenades in Adrianne Howell’s Hydra, which is ‘never dull’, but implausible. And Alice Nelson’s Faithless, about love and literature, operates in a rarefied world.