An addict pleads to rid himself of the mystical force ruling his life. A girl takes drastic action to ensure her grandmother lives forever. A man untangles his memories and succeeds only in unravelling himself.
Glutt examines the cost of our desires, traversing the boundary of literary horror and speculative fiction to produce a gut-churning appraisal of wanton desperation.
Darkly humorous and at times eerily grotesque, this debut anthology toys with fantasy and comedy to explore hunger in its most physical and discarnate forms.
Through long winter mornings, a man sits by the bedside of his elderly father.
His father, one of a generation of tragic smokers born at the end of the Second World War in Bulgaria, who clung to the snorkels of their cigarettes.
His father, who created and le behind a garden, blooming from a barren village yard: peonies and potatoes, roses and cherry trees – and endless stories.
His father, without whom the man’s past begins to quietly crack, leaving him buried in all the a fternoons of childhood. Because the end of our fathers is the end of a world.
From the winner of the International Booker Prize comes a novel about a father, a son and an orphaned garden. Set in a fading world, it spans from ancient Ithaca to present-day Sofia, interweaving the botany of sorrow, the consolations of storytelling and the arrival of the first tulips of spring.
They are the unhappy husbands, the disengaged grandfathers and the angry ‘letters to the editor’ writers. They sneer at generational change, know exactly where that bloody apostrophe should go and gather in sad groups bemoaning the modern world. They are Grumpy Old Buggers.
Geoff Hutchison became determined not to turn into one himself upon retirement from a career in journalism. So he wondered: what is it about ageing that tends to have this effect on Australian men, and what can be done to arrest that development?
Consulting a wide range of experts and mining his own experience and that of the other men in his life, Geoff has discovered how we can all live a happier, healthier and less grumpy life.
Comedian and self-described design nerd Tim Ross takes a nostalgic look at classic objects from the Stackhat to the Speedo.
There are certain memories that will be familiar to anyone who grew up in Australia between the 1960s and the 1990s. Things like traipsing to the caravan-park toilet with a Dolphin torch at night, indulging in crème de menthe from a Regis glass, lobbing a banana peel at a Nylex flip-top bin and sporting a new Stackhat while riding your BMX bike.
Celebrating 60 objects that were designed and made in Australia, Tim Ross of @modernister transports us back in time and pays tribute to objects that you might be lucky enough to still find in your home or backyard shed. There are colourful photos, previously untold stories and fascinating narratives, making this book equal parts retro-design celebration, pop-culture treasure trove and nostalgic adventure.
What a Ripper! also reveals the high standard of design in this country, which is often overlooked. Now our unique design ingenuity is getting the attention it deserves, helping us to rediscover just how important and meaningful these iconic everyday objects really are.
Presenting 415 album covers – beautifully reproduced, expertly laid out and accompanied by deeply researched text – Maps on Vinyl will especially appeal to map enthusiasts, vinyl junkies, music fans, graphic designers and artists.
The book is the brainchild of renowned Australian cartographer Damien Saunder, whose expertise has been utilised by Apple, National Geographic, Earth (the world’s largest atlas) and even Roger Federer. A keen crate-digger, he has amassed possibly the world’s most extensive private collection of records featuring maps on their covers, resulting in this one-of-a-kind book.
The records headlined span music from 1939 to today, and the book is divided into eight chapters highlighting different aspects of the collection – ‘C(art)ography’, ‘We Built This City’, ‘On the Road’, ‘African Beats’, ‘Astroworlds’, ‘Ocean Whispers’, ‘Maps with Attitude’ and ‘Music from Here’.
Maps on Vinyl is a beautiful artefact, but it’s also an important historical and cultural document, revealing how maps have been used in album cover design to reinforce a lyrical story, share a political view, express concern for the state of the world or creatively identify the origins of the music and the people who make it.
