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The first booklet published following the death of Phar Lap, the greatest of all Race Horses, is once again in print; this time augmented by a great selection of 'Big Red' Memorabilia, compiled by Tom Thompson from the auctions of jockeys Jim Pike, Billy Elliott and strapper Tommy Woodcock. With race day programs and souvenirs from his Melbourne Cup and Agua Calient triumphs, here is a fine reminder of the Wonder-Horse!

Never shy of voicing an opinion, artist Margaret Preston launched into print on a variety of subjects from flower arranging and furnishing a bedroom, to Aboriginal art and design, pokerwork, pottery and Wood-blocking. Selected from the pages of Australia's newspapers and art journals by Elizabeth Butel, this collection addresses Preston's recurring preoccupations - Modern art, an Australian national art and the craft of art-making. "The natural enemy of the dull," Preston's style is infused with paradox, retaining its freshness, through her very direct, uncompromising attack and accompanied by examples of her woodcuts.

Les meurtres du Murchison furent une série de trois meurtres, commis par un éleveur itinérant connu sous le nom de Snowy Rowles (né John Thomas Smith), près de la clôture anti-lapins de l'État d'Australie Occidentale au début des années 1930. Rowles utilisa la méthode de meurtre suggérée par l'auteur Arthur Upfield dans son roman policier, alors inédit, Les Sables de Windee, dans lequel est décrite une manière infaillible de se débarrasser d'un corps et ainsi de commettre le meurtre parfait. Ce récit de l'enquête et du procès est publié pour la première fois en français, dans une traduction de Marie-Laure Vuaille-Barcan.

Christopher Columbus discovered Papaya, extraordinary 'fruit of the angels', in the 15th century when he first set foot in the Caribbean. Now Hilary Roots takes you along her discovery of the same amazing Papaya, or Pawpaw, as it's known in some countries. Her fortuitous encounter with French-influenced 'Sam' set her on a culinary quest lasting more than twenty years.Discover for yourself some 70 recipes using papaya, ripe or green, raw or cooked. Try it as a fruit or a health-giving vegetable. Find it in most markets and gardens throughout the Pacific, and elsewhere in tropical or sub-tropical regions.New Zealand-born journalist and traveller, Hilary Roots, has lived on Isle of Pines in New Caledonia (www.isle-ofpines.com) since 1975. Sometime English teacher, she writes and is involved in tourism, and in 2022 she wrote a memoir, ONE ROSE IN BALI.Illustrations are by Caledonian-Tahitian artist Pascale Taurua, and the late Margaret Preston.

George was born in Scotland in 1942. His father was away at the war and his mother was staying with her mother at 'Angraflat' near Kelso. It was an old hospital, unused since the infroduction of penicillin and the family lived in the lodge near the gate. The old buildings and grounds were a paradise for the young George, and it never bothered him being left on his own. Schooling was at Kelso High School, and he was moderately successful gaining the Higher leaving Certificate in the 6th year. After school he went to the Ferranti company in Edinburgh as a student apprentice but soon discovered that large factories cut off from the outside world were not for him and he started looking for a way out. One of his friends (Archie Howie) started talking about immigrating to Australia and before long they were both applying for assisted passages to Sydney. On an early trip on Sydney harbour George was amazed at the number of yachts enjoying their Sunday sail. A seed was sown that day that matured in a few years' time. 'Dorado', a 35' steel sloop was Georges first yacht, and the next few years were spent learning how to sail and navigate. Short trips became longer voyages, and finally a circumnavigation via the trade wind route. George loved all of that and wanted to keep going, not the same thing again, but a new challenge, the Southern Ocean and Cape Horn. George spent 3 years preparing before setting off on what should have been the achievement of his sailing career. Sadly, bad weather and exhaustion intervened, and 'Dorado' was shipwrecked on Cape Horn Island. Somehow, with a bit of luck and some help from the Chilean Navy George survived this disaster, and now tells the story.

Philippa Bridges crossed Australia one hundred years ago, supported by an Aboriginal Tracker, Macumba Jack and a Lubra named Topsy. Over 600 of those miles, from Macumba Station in South Australia, to Darwin, she travelled by camel.Her most ambitious undertaking was to cross Australia from south to north, approximately along the route of the transcontinental telegraph line. Her companions were an aboriginal boy and lubra. She was profoundly impressed by the loneliness of the great empty spaces, but even more so by the courage and kindliness of those who dwell in these solitudes. Darwin has a somewhat invidious reputation, of which Miss Bridges was not unaware, but she has a good word for the town. "Certain it is," she writes, "that one hears the worst of it, but none of the best of it, long before may arrives there." But she can only speak of it as she found it like other parts of Australia. a place of real hospitality and pleasant friendships."Sydney Morning Herald, 1926

"Ellen Anderson's Aboriginal Dreaming stories, as recorded by C.W. Peck in the 1920s and 1930s, evidence the rich oral tradition of the Indigenous people of eastern Australia. Dealing with plants and animals, the physical environment, cultural practices and historic events, they open a window into a civilisation distinguished by its close association with Country."Michael Organ introduces us to an original storyteller from the NSW Illawarra district.

Jean-Paul Delamotte A.M. (1931-2019) was a French writer and film producer who visited Australia in 1974, and promptly engaged with translating and promoting Australian culture through its films and books. This book celebrating his life, is a mosaic of memories that cover his zeal for a reciprocity between France and Australia, the creation of the Association Culturelle Franco-Australienne with his wife Monique in Paris, and their total immersion and engagement in aiding visiting Australian writers, filmmakers, artists, musicians, academics and students.He claimed: 'Love of one's country coupled with love of one's chosen and adopted culture is a seductive and rewarding course to follow' (Reciprocity, 20).From his early days as a lecturer in the French Department the University of Newcastle he tapped into the strength of Australia's new film-makers, translating Peter Weir's Picnic at Hanging Rock and utilising his links in France to get the film to French audiences. An early friendship with Frank Moorhouse enabled Frank to live and work in France to complete his Grand Days trilogy and find French publishers through Jean-Paul's translation. When Gough Whitlam was appointed Ambassador to UNESCO in Paris, the Whitlams found a firm friendship with the Delamottes, and backed the evolution of A.C.F.A. As Gough exclaimed:"Comrade, let us ... create a "little window" in Paris for Australia ... as you both have..'

In these pages Ion Idriess has brought together stories gathered and lived in his happy battling years in the wild lands of Australia's Far North and the islands beyond. Stories of gold and pearls, of land and cattle, of the search for wealth in dangerous and lonely places. Stories of unnamed men and women, white and brown and black, of primitive passions unleashed far beyond the curb of law and order, of bravery and hope and grim determination, of the strange powers of the mind, of human comedy and tragedy. Together they picture a life of colour and adventure that with the development of the continent is rapidly passing away.

Jack Davis: The Maker of History contains essays by several prominent Australians that offer new readings and different perspectives on the work of this poet, storyteller, playwright, politician and humanitarian. Various aspects of Davis's work are discussed: his blending of Aboriginal oral culture and Western dramatic forms, his politicising of the dramatic space as a statement about place, history and Aboriginality, his use of storytelling on both a personal and political level to celebrate the voices of Aboriginal Australia and to encourage them to speak. Attention is also given to Davis's poetry, which, it is argued, has been unfairly neglected or dismissed. With an introduction by Gerry Turcotte, and a tribute to Davis by the late Oodgeroo Noonuccol, Jack Davis: The Maker of History is an important study of this inspirational writer.

More Australian Legendary Tales was first published in 1898. The 23 tales are supplemented by a glossary, collected by Ms Langloh Parker from the original Aboriginal language and are set in a 'no-time' where animal spirits, supernatural beings and humans interact, often alluding to ideas of creation. Once again it was illustrated by Tommy McRae, the first published Aboriginal artist.I myself have had opportunities of knowing well members, of nine tribes, though that which I know best is the Euahlayi-speaking one, of which the Noongahburrahs are a branch... Some of the Blacks who have helped to build up this series belong to the Murrumbidgee, Darling, Barwon, Paroo, Warrego, Narran, Culgoa and Castlereagh rivers; the Braidwood, Yass, Narrabri, and other districts of New South Wales; to the Balonne, Maranoa, Condamine, Barcoo, Mulligan rivers, and the Gulf country in Queensland. But I have confined myself as far as possible to the Noongahburrah names, thinking it would create confusion if I used those of each dialect - several different names, for example, for one bird or beast. To such as were told in song I have tried to retain something of the rhythmical rendering. I have no doubt a skilled writer could have mosaicked these legendary scraps with flowery language into a beautiful work of art, but I have preferred to let the Blacks as far as possible tell their legends in their own way, only adding such explanations as seemed necessary to make them clear to the English reader.From the author's preface

This book is a classic narrative of modern exploration; a story of adventure, enterprise and patient scientific exploration, illustrated by photographs taken on the expedition.The Simpson is a sand-ridge desert extending 200 miles (322 km) west to east, the ridges running parallel from north to south at roughly quarter-mile (0.4 km) intervals, some reaching as high as 100 feet (30 m). Madigan planned a ground crossing in the winter of 1939. A party of nine, including a biologist, a botanist, a photographer and a radio operator, with nineteen camels, made the exhausting crossing from Andado station in the Northern Territory to Birdsville in twenty-five days. It verified Madigan's previous conclusions that the area was a wasteland. This last classic Australian exploration adventure pioneered the use of mobile radio communication; national broadcasts were made through the Australian Broadcasting Commission from desert camps. The scientific results were published and also a popular accound, Crossing the Dead Heart (Melbourne, 1946). He saw the 'Dead Heart' as a land of everlasting sand-ridges and salt-encrusted clay-pans; while his conclusions seemed correct then, within twenty years the area was criss-crossed by petroleum explorers.- Australian Dictionary of Biography

The first book written on the natural history of life on the Nullabor Plain, was written by station-master A.G. Bolam and first published in 1923. The author recollects his times with Aboriginal trackers and workers in and around Ooldeah, as the great railway progressed from South Australia across to Western Australia, and in doing so looks at animal and bird life and the unique geographical feature of the Plain. Bolam studied the Ooldeah tribe and records their nomadic social life, their attitude to clothes and footwear, smoking, bartering, marriage, weapons, tools, whip making and water carrying. He records their approach to fire-making and smoke signals, medicine and surgery, amusements, decorations, corroborees and ceremonies, as well as deaths and burials. Of especial interest are his notes on message sticks, writing, tracking and procuring water in desert conditions.

The most formative book for me was H.H. Finlayson's 1935 classic The Red Centre... Finlayson was the last to collect and record many of these mammal species: he witnessed this loss. But in his many scientific papers, and in The Red Centre, he also foretold it, explained it and mourned it.Species that are now extinct, such as the Desert rat-kangaroo and Toolache wallaby, come alive in Finlayson's words. For several species, his notes are all that has been - will ever be - reported of their ecology. He was a brilliant and perceptive observer, and could portray the form, the behaviour, the fit of an animal to its environment. I can see them still from his words. And he wrote beautifully. Musing in The Red Centre on the losses:...The old Australia is passing... The environment which moulded the most remarkable fauna in the world is beset on all sides by influences which are reducing it to a medley of semi-artificial environments, in which the original plan is lost and the final outcome of which no man may predict.From more than 80 years ago, these words still haunt; and they still describe the ongoing loss of Australian nature - due to what we have done to this country.Finlayson's ecological understanding was profound. He could read the landscape. He gifts this understanding to the reader of The Red Centre. Of course, the ecological perceptiveness displayed in The Red Centre and Finlayson's scientific papers owes much to his long association with and respect for the Indigenous people. Finlayson understood the connections of Indigenous people with country, and in The Red Centre often reveres and celebrates that knowledge and culture.It is a classic of Australian writing on the environment, an exquisite and poignant account of a now-lost nature, an enduring blueprint for understanding our country. I owe a lot to it. - John Woinarski, Charles Darwin University

Joan Lindsays klassischer Roman ¿Picknick am Valentinstag¿ (Originaltitel ¿Picnic At Hanging Rock¿) ist eine subtile Mischung mysteriöser und unheimlicher Ereignisse, die in einer Zeit des australischen Gesellschaftslebens spielt, die von liebevoller Nostalgie geprägt ist. Das letzte Kapitel des Romans wurde auf Wunsch des Verlegers entfernt, was zu einem Rätsel führte, dessen Lösung Tausende von Lesern faszinierten und herbeisehnten. Das fehlende Kapitel achtzehn enthüllt, was mit den Schulmädchen und der Lehrerin geschah, die am Valentinstag im Jahr 1900 nach dem Picknick auf dem Hanging Rock spurlos verschwanden.MIT KOMMENTAREN VON JOHN TAYLOR UND YVONNE ROUSSEAUHier finden wir mögliche Antworten auf das Geheimnis, das dem Picknick am Hanging Rock zugrunde liegt. Wir erfahren, warum Irma Leopold, die Erbin mit den wallenden schwarzen Locken, eine Woche nach ihrem Verschwinden mit blutigen Fingern, aber ¿völlig sauberen¿ nackten Füßen aufgefunden wird, die ¿in keiner Weise zerkratzt oder gar verletzt¿ sind. Wir betrachten die Manifestation von Lindsays Besessenheit der Zeit - angeblich konnte sie keine Uhr tragen, weil diese immer wieder stehenblieb, genau wie auch im Buch beschrieben. Wir erfahren, wie Miranda und Marion verschwinden. Wir sehen Korsetts, die in der Luft hängen. Wir beleuchten ein Ende, das bewußt vage gehalten wurde und so mysteriös ist, wie Lindsay es beim Picknick am hängenden Felsen andeutet. - Rony Ash, Literary Hub

Der australische Autor Arthur Upfield hatte bereits drei Romane geschrieben, arbeitete aber zusätzlich als Grenzreiter am kaninchensicheren Zaun im Outback Westaustraliens. Bei den Recherchen zu einem neuen Kriminalroman mit seinem Aborigine Kommissar Napoleon Bonaparte, genannt Bony entwickelte er mit seinen Mitstreitern eine vermeintlich sichere Methode, die Leiche gänzlich verschwinden zu lassen.Als im australischen Outback drei Männer spurlos verschwinden, wird ihm zur Last gelegt, dass seine Idee zum Zerstören von Beweisen vom Mörder, der bei den Besprechungen über die Romanidee anwesend war, aufgegriffen wurde.Hier ist der Bericht von Arthur Upfield über seine Verwicklung in die Murchison-Morde.Die Murchison-Morde waren eine Serie von drei Morden in den frühen 1930ern, begangen von einem Farmarbeiter, bekannt als Snowy Rowles (geboren als John Thomas Smith) in der Nähe des Kaninchen-Zauns in Westaustralien. Um unentdeckt zu bleiben und der Strafverfolgung zu entgehen wandte Rowles wandte dabei die Methode zum Entsorgen von Leichen an, die Upfield in seinem in der Planung befindlichen Buch The Sands of Windee Erscheinungsjahr 1931 (deutscher Titel Ein glücklicher Zufall) beschrieben hatte.

Joan Lindsay's classic novel Picnic At Hanging Rock is a subtle blend of mysterious and sinister events set in a period of Australian social life drawn with loving nostalgia. The final chapter of the novel was removed at the request of her publishers, creating a mystery to which thousands have begged to know the solution. The missing chapter reveals what did happen to the schoolgirls who vanished from Hanging Rock after a St Valentines Day picnic in 1900.WITH COMMENTARIES BY JOHN TAYLOR, YVONNE ROUSSEAUHere we find answers of a sort to the mystery at the heart of Picnic at Hanging Rock. We discover why, a week after she went missing, Irma Leopold, the heiress with bouncing black curls, is found with bloodied fingers but "perfectly clean" bare feet that are "in no way scratched or bruised." We see the manifestation of Lindsay's obsession with time - it is said that she couldn't wear a watch because they always stopped, as they do in the book. We see Miranda and Marion disappear. We see corsets hanging in midair. We see an ending as uncanny as Lindsay implies throughout Picnic at Hanging Rock. - Rony Ash, Literary Hub

From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world.With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage.A fully updated 3rd edition in colour.

Australian Legendary Tales: Folk-lore of the Noongahburrahs as Told to the Piccaninnies was first published in 1896. The 30 tales are supplemented by a glossary and the first tale transliterated from the original language and are set in a 'no-time' where animal spirits, supernatural beings and humans interact, often alluding to ideas of creation.Langloh Parker is probably right in her surmise that this is the first attempt to collect the tribal tales of any particular native tribe, or to exploit this special field of distinctively Australian literature in this particular form. Australian children may read here for the first time about Yki the sun, and Baloo the moon, how the gay Galah came to be a bald headed bird, and why Oolab the lizard is coloured a reddish brown and is covered with pikes like bindeah prickles, why Dinewan the emu cannot fly, and how it was that Goomblegubbon the bustard came to lay only two eggs in a season... The legend of Wirreenun, the rain-making magician, is one that can hardly fail to appeal to all who know what an Australian drought is; and those who would like to know what the blacks thought of Cookoo-burrah the laughing-jackass, or Gooloo the magpie, or Moodai the possum, or any of the other familiar denizens of the bush, may be confidently recommended to these delightful pages. Mrs Langloh Parker has told all these stories with a full appreciation of their value as folk-lore as well as of their interest as legendary tales. She has striven, and not unsuccessfully, to do in this way for Australian folk-lore what Longfellow did in "Hiawatha" for the North American tribes, and Mr. Andrew Lang's introduction has some warm words of commendation for the interest of the volume from his special point of view. The book has a further claim to attention in that it is the first ever illustrated by an aboriginal artist (Tommy McCrae)... - Sydney Morning Herald, 1896

The Cape York Peninsula, 1920... as the three ex-diggers talked across the bar at the West Coast, swapping stories of the War and goings-on in Cooktown and along the coast, the pioneer vision would have still been fresh and sustained by hope and dreams. All that was needed was a little luck - which might come from the Chinese gambling den across the way, or at the races, or a tip on a 'sure thing', be it trepang, trochus, timber or the treasures of the earth. So that day Idriess signed up for a sure thing with George Tritton - or perhaps not such a sure thing; Dick Welsh, Idriess's best mate, chose not to go. Even so, a few days later Jack (Idriess's frontier name) and George set sail for Howick Island. Before the end of the decade Idriess had renamed both the Island and his companion - he wrote that he had gone to Madman's Island with his mate, Charlie... Madman's Island; Idriess as character and author - fact or fiction. Fifty books later the seam he struck after returning from the War was mined out. There was nothing left that could be said about frontier life as Idriess saw and said it. It required and still needs to be understood from other perspectives. But Ion Idriess - as Jack Idriess along the Bloomfield, in the Tablelands back of Cairns, and along the coast of north Queensland - gives us a participant's view. It's a voice we should attend to - it's our voice from a fading past. Ernest Hunter, from his Introduction.

These stories re-create a strange and fascinating world, where a child may look through squares of lattice enclosing a garden of Indian jasmine and Kasmiri roses to the sheepyards and paddocks of the Australian countryside. They are unique in their depiction of life of an Indian family in rural Australia, but they would be distinguished in any case by their quality - their crystalline images and lyrical feeling, their sensitive perception of light and shade, of human suffering, exile and joy. Mena Abdullah and Ray Mathew have created a beautiful new world in Australia: the gay, touching and agonising life of an immigrant Indian family as seen by their younger daughter. - The Australian Never has the other fellow's point of view been put forward with more gentle suavity than in this tale of Indian children growing up in rural Australia ... The style throughout has a simplicity and purity of language that is a delight to read. - The West Australian ...a jewel of a book. - Nancy Keesing

Millions of years in the making, sustaining human voyagers and societies for millennia, a couple of centuries of that by Europeans - the Great Barrier Reef - in maybe five or six decades the largest living structure visible from space will have become the largest dead one. Vicarious Dreaming documents a series of personal voyages between Cooktown and the Torres Strait that are interwoven with accounts of exploration, exploitation and escape. The travels and tales coalesce around the works of Ion Idriess and the lives of solitary men at the edge of the world, drawn to the wild by folly and obsession, and to an island in the Howick Group that Idriess knew well and which was the site of his first book - Madman's Island. And as with the slow-motion ecological catastrophe that is the Reef's agonal decline there are players - and bystanders; stories of people and places, of life and death, of arrivals and departures, and of journeys that involve even the most remote, uninhabited spaces - the necklace of islands scattered along more than two thousand kilometres of Queensland's Coral Sea coast. At once a journey into the far north of Australia and into the furthest depths of the human mind. A tale of Cape York's past and a new chapter in the exploration of its present. A dream narrative - maybe; a case study - perhaps; literary art, yes, absolutely, in its purest and most ambitious form. - Nicholas Rothwell

James Moody of the 2/1st Machine Gun Battalion found an Egyptian dog in 1940, who became Horrie, the Battalion's mascot. He wrote it first as a simple tale, augmented by his own photographs of Horrie and his mates in action in Greece, Crete and Palestine. This was sent to Ion Idriess, who developed the book with a series of questions, to finally develop the classic tale of man's best friend: Horrie the Wog Dog (ETT Imprint 2017).Published here for the first time is Moody's original tale, and extended.response to Idriess' questions, which gives a much stronger picture of members of the Battalion itself, the Rebels, written and lived in than Australian larrikin manner. Introduced by Tom Thompson, it also includes many pictures of Horrie in action, never before published.

Ion Idriess was a spotter for the famous Australian sniper, Billy Sing, and this book draws on his own experiences in the Gallipoli trenches during World War One. Sing had a reputation as an excellent marksman, lurking in the dark and silently sneaking up on the enemy. One day he was shot by a Turkish soldier. The bullet travelled down the barrel of his telescope, wounding both hands then went through his mouth, out his cheek and into his shoulder. He recovered from the injury, but was never really the same... Idriess was a trooper with the Light Horse at Gallipoli, all the way to Beersheba, and his diary was published as The Desert Column. Drawing on his military experience, this is one of six manuals written for soldiers and civilians in 1942, when invasion by the Japanese seemed imminent.

'A uniquely companionable - and, yes, neglected - round-midnight voice, smoky but sharp-edged, knowing but knowledgeable, world-weary but worldly-wise as it muses on love, war, politics, music and ideas. Direct in its imagery, dryly aphoristic in its humour, and possessing a terrific gift for metaphor.' - Peter Goldsworthy