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What if one half of a pair of twins no longer wants to live? What if the other can't live without them? These questions lie at the heart of Jente Posthuma's deceptively simple What I'd Rather Not Think About. The narrator is a twin whose brother has recently taken his own life. She looks back on their childhood, and tells of their adult lives, and of how her brother tried to find happiness, but lost himself in various men and the Bhagwan movement, though never completely. In brief, precise vignettes, full of surprising humour and gentle melancholy, Posthuma tells the story of a depressive brother, viewed from the perspective of the sister who both loves and resents her twin, struggles to understand him, and misses him terribly.

"You're a politician, a public figure. What on earth were you thinking?" Up-and-coming junior minister Gregory Buchanan has had a portrait painted of himself by the acclaimed artist Sophie White--a painting she intends to enter in this year's Archibald Prize. Until then, Gregory has hung it in pride of place on his dining-room wall. It's a life-sized standing portrait, practically photographic in nature. And it's a nude. His wife will be home soon and he thinks the painting will be a pleasant surprise. Even more surprising will be an unexpected accumulation of guests: his sardonic mother, his fundamentalist mother-in-law, his lesbian sister, and the state governor, Louisa Wetherly--a senior government member has just resigned in scandalous circumstances, and she needs Gregory to step into the spotlight ahead of the coming election. It's going to be a wild afternoon, and an even wilder campaign--to do something about Gregory's naked ambition.

The deeply moving memoir of an award-winning war correspondent turned activist--and her rousing defense of human rights in times of resurgent authoritarianism. As a broadcast journalist for Sky News and Al Jazeera, Sherine Tadros was trained to tell only the facts, as dispassionately as possible. But how can you remain neutral when reporting from war zones, or witnessing brutal state repression? For twenty-six years, Tadros grew up in the quiet surroundings of her family's London home, and yet injustice was something her Egyptian immigrant parents could never shelter her from. From her first journalistic assignment trapped inside a war zone in the Gaza Strip, to covering the Arab uprisings that changed the course of history, Tadros searched for ways to make a difference in people's lives. But it wasn't until her fiancé left her on their wedding day, and her life fell apart, that she found the courage to find her true purpose. It was the beginning of a journey leading to her current work for Amnesty International at the United Nations, where she lobbies governments to ensure that human rights are protected around the world. With the compassion and verve of a clear-sighted campaigner and a natural storyteller, Tadros shares her remarkable journey from witnessing injustice to fighting it head-on in the corridors of power.

Sometimes I think that carrying--other people, the continuity of history, generational identity, the emotional load of the everyday--is the main thing that women do. In Marina Benjamin's new set of interlinked essays, she turns her astute eye to the tasks once termed "women's work". From cooking and cleaning to caring for an aging relative, A Little Give depicts domestic life anew: as a site of paradox and conflict, but also of solace and profound meaning. Here, productivity sits alongside self-erasure, resentment with tenderness, and the animal self is never far away, perpetually threatening to break through. Drawing on the work of figures such as Natalia Ginzburg, Paula Rego, and Virginia Woolf, Benjamin writes with fierce candor of the struggle to overwrite the gender conditioning that pulls her back into "the mud-world of pre-feminism" even as she attempts to haul herself out. From her upbringing as the child of immigrants with fixed traditional values, to looking after her mother and seeing her teenager move out of home, she examines her relationships with with family, community, her body, even language itself. Ultimately, she shows that a woman's true work may lie at the heart of her humanity, in the pursuit both of transformation and of deep acceptance.

"As one of the original pioneers in the 'quit lit' space, Jill started a national conversation about the role of alcohol in our lives, turning the lens on her own rocky relationship with booze and forensically dissecting the culture that gave rise to it. Now, ten years after the book's first release, she fills in the gaps on where life took her after she unwittingly became the poster girl for sobriety. In this updated edition, Jill charts her struggle to become a moderate drinker, the crippling 'hangxiety' that led to her quitting alcohol for good, and the ever-evolving journey of self-discovery sobriety has taken her on. Surviving six long lockdowns alcohol-free, Jill also looks at how a global pandemic tested her sobriety and shone a spotlight on the way alcohol has been sold as the panacea for all our troubles. At the same time, it helped accelerate a seismic change in the nation's drinking habits, with the rise of the sober-curious movement and a booming non-alcoholic drinks industry proving there is a growing appetite for abstinence. After so long feeling like a social pariah, Jill embraces the joy of living life on the outer, and meets a new generation of sober rebels who are radically redefining what it means to be alcohol-free. Now she feels prompted to ask the question, has sobriety become cool?"--Publisher's description.

"In Reclaim, expert forensic and clinical psychologist Dr Ahona Guha explores complex traumas, how survivors can recover and heal, and the nature of those who abuse. She shines a light on the 'difficult' trauma victims that society often ignores, and tackles vital questions that plague us: 'Why are psychological abuse and coercive control so difficult to spot?', 'What kinds of behaviours should we see as red flags?', and 'Why do some people harm others, and how do we protect ourselves from them?' By emphasising compassion above all else, Dr Guha gives a call to action: one that will help us reclaim a safer, healthier society for everyone."--Amazon.com.

First published as The penalty is death: capital punishment in the twentieth century, by Sun Books in association with the Anti-Hanging Council of Victoria, in 1968.

"If you feel like you've got the wrong tone of voice, don't understand the ins-and-outs of grammar, or just don't feel confident writing about yourself without sounding like an idiot, read this book. Copywriter Tait Ischia is brief and to the point in an interesting and engaging way. Which is exactly what you want the words on your website/ marketing stuff/professional bio to be too, right? Feel confident in what you say and how you say it when you put fingers to the keyboard. Waffling on should really be reserved for weekend breakfast"--Publisher's description.

WINNER OF THE 2023 AGE BOOK OF THE YEAR AWARD FOR NONFICTION To essay means to try, to endeavor, to attempt--and to risk failure. For Kim Mahood, it is both a form of writing and an approach to life. In these finely observed and probing essays, award-winning artist and writer Kim Mahood invites us to accompany her on the road and into the remote places of Australia where she is engaged in long-established collaborations of mapping, storytelling, and placemaking. Celebrated as one of the few Australian writers who both lives within and can articulate the complexities and tensions that arise in the spaces between Aboriginal and settler Australia, Mahood writes passionately and eloquently about the things that capture her senses and demand her attention--art, country, people, and writing. Her compelling evocation of desert landscapes and tender, wry observations of cross-cultural relationships describe people, places, and ways of living that are familiar to her but still strange to most non-Indigenous Australians. At once a testament to personal freedom and a powerful argument for Indigenous self-determination, Wandering with Intent demonstrates, with candor, humor, and hope, how necessary and precious it is for each of us to choose how to live.

"The first major anthology by parents with disabilities. How does a father who is blind take his child to the park? How is a mother with dwarfism treated when she walks her child down the street? How do Deaf parents know when their baby cries in the night? When writer and musician Eliza Hull was pregnant with her first child, like most parents-to-be she was a mix of excited and nervous. But as a person with a disability, there were added complexities. She wondered: Will the pregnancy be too hard? Will people judge me? Will I cope with the demands of parenting? More than 15 percent of people worldwide live with a disability, and many of them are also parents. And yet their stories are rarely shared, their experiences almost never reflected in parenting literature. In We've Got This, parents around the world who identify as Deaf, disabled, or chronically ill discuss the highs and lows of their parenting journeys and reveal that the greatest obstacles lie in other people's attitudes. The result is a moving, revelatory, and empowering anthology that tackles ableism head-on"--

Los Angeles, 1978. When Romy, a gifted young artist dies in mysterious circumstances, her art-star husband quickly replaces her with another young artist, Paz. Paz tries to make her own creative space in her new life, but she is haunted by Romy's presence. As disturbing things begin to take place and people question what really happened to Romy, Paz becomes obsessed with uncovering the truth.

"Eight years have passed since Stella last saw Ivo, but when he returns, the reunion of their unconventional family will change the course of her ordinary life. As children, Stella and Ivo grew close as their parents embarked on an affair that would shatter both families. Later, as teenagers, their own relationship would be the cause of further scandal. Now, as adults, they set out on an odyssey to uncover the truth about another family's past, and to understand their own."--Page 4 of cover.

"After a couple of weeks, I found myself standing outside the voids in the middle of the night listening for human activity, for any sign of life at all. Voids are flats that have been vacated, that will never be lived in again. But there never were any signs of life. Only the wind whistling through vacant interiors." In a condemned tower block in Glasgow, residents slowly trickle away until a young man is left alone with only the angels and devils in his mind for company. Stumbling from one surreal situation to the next, he encounters others on the margins of society, finding friendship and camaraderie wherever it is offered, grappling with who he is and what shape his future might take. The Voids is an unsparing story of modern-day Britain, told with brilliant flashes of humor and humanity. "Reading The Voids is a sensory experience. There is never a word too much, it never lingers. There is tragedy but no melodrama. O'Connor's lightness of touch, the pace, economy, characters... are all perfect, all harmonious, poetic, but unadorned, even in the blackest of moments. Part of me is still in that high rise or watching the sunlight through the fire exit door at The Satellite. It is beautiful and perfect. I want to say this is a book God would like." --Paul Buchanan, The Blue Nile