Bøker utgitt av UWA Publishing

Old magic and strange memories swirl through The Art of Navigation, as Elizabethan alchemy and the technologies of the future ingeniously intersect. --Brenda Walker ***1987. Silently the forest closed around them. One, two, three girls left the dark garden and disappeared from sight under the green canopy that reached towards the house on the hill. 1587. Sometimes the visions Mr Kelley sees in the glass clarify as he gazes upon them: as though this precious stone is the lens of Dr Dee's spyglass projecting a scene from far away and Ed, homing in, is polishing the surface with his spying, lying mind. 2087. A skrying app-an icon containing infinite space, maintaining ultimate time-will be tapped. Directing the dark obsidian discs of a nova millennium's hundred-eyed crystalline ball. What refined magic science has become... [Subject: Fiction, Slipstream Fiction, Literary Fiction]

The archive is a source of power. It takes control of the past, deciding which voices will be heard and which won't, how they will be heard and for what purposes. Indigenous archivists were at work well before the European Enlightenment arrived and began its own archiving. Sometimes at odds, other times not, these two ways of ordering the world have each learned from, and engaged with, the other. Colonialism has been a struggle over archives and its processes as much as anything else.The eighteen essays by twenty authors investigate different aspects of this struggle in Australia, from traditional Indigenous archives and their developments in recent times to the deconstruction of European archives by contemporary artists as acts of cultural empowerment. It also examines the use of archives developed for other reasons, such as the use of rainfall records to interpret early Papunya paintings. Indigenous Archives is the first overview of archival research in the production and understanding of Indigenous culture. Wide-ranging in its scope, it reveals the lively state of research into Indigenous histories and culture in Australia.

It is a little known fact that eleven African American convicts arrived in Australia on the First Fleet in 1788. Two of these ex-slaves were the author's ancestors. In extensively researched poems, award-winning writer Judy Johnson vividly portrays scenes from her black forebearers' lives, both before transportation and afterwards, in the fledgling colony of New South Wales. Dark Convicts uncovers a little known aspect of Australian colonial history, told from the unique vantage point of a descendant. (Series: UWAP Poetry) [Subject: Poetry]

Forty-eight years ago, a young and apprehensive Tony Kevin set off with his family on his first diplomatic posting, to Moscow at the height of the Cold War. In the Russian winter of 2016 he returns alone, a private citizen, aged 73. What will he find? How has Russia changed since those grim Soviet days? Tony Kevin had a successful and challenging diplomatic career, ending with ambassadorships to Poland (1991-94) and Cambodia (1994-97). He now applies his attention to Vladimir Putin's Russia, a government and nation routinely demonized and disdained in Western capitals. Why does President Putin arouse such a high level of Western antagonism? Is the West throwing away the lessons of recent history in recklessly drifting into a perilous and unnecessary new Cold War confrontation against Russia? The author invites readers to see this great nation anew: to explore with him the complex roots of Russian national identity and values, drawing on its traumatic recent seventy-year Soviet Communist past and its momentous thousand-year history as a great Orthodox Christian nation that has both loved and feared 'the West, ' and which the West has loved and feared back in equal measure. Tony Kevin's previous books include A Certain Maritime Incident: the sinking of SIEV X (2004) and Reluctant Rescuers (2012) on Australia's well-resourced maritime border protection system. He published a travel memoir Walking the Camino (2007) about his long pilgrimage walk through Spain in 2006. In 2009, Crunch Time tackled issues, still unresolved, of framing an effective Australian policy against global warming. [Subject: Non-Fiction, Travel Memoir, Russian Studies

During the twentieth century, the southwestern corner of Australia was cleared for intensive agriculture. In the space of several decades, an arc from Esperance to Geraldton, an area of land larger than England, was cleared of native flora for the farming of grain and livestock. Today, satellite maps show a sharp line ringing Perth. Inside that line, tan-coloured land is the most visible sign from space of human impact on the planet. Where once there was a vast mosaic of scrub and forest, there is now the Western Australian wheatbelt. Tony Hughes-d'Aeth examines the creation of the wheatbelt through its creative writing. Some of Australia's most well-known and significant writers - Albert Facey, Peter Cowan, Dorothy Hewett, Jack Davis, Elizabeth Jolley, and John Kinsella - wrote about their experience of the wheatbelt. Each gives insight into the human and environmental effects of this massive-scale agriculture. Albert Facey records the hardship and poverty of small-time selection in Australia. Dorothy Hewett makes the wheatbelt visible as an ecological tragedy. Jack Davis shows us an Aboriginal experience of the wheatbelt. Through examining this writing, Tony Hughes-d'Aeth demonstrates the deep value of literature in understanding the human experience of geographical change.

Believe and trust in your children. But most of all, be kind. Parents ask, 'Why are children so anxious?', 'Has my child got autism?' 'How do I calm a screaming baby, yelling child or angry teenager?' and 'What can I do when my child wants to die?' Anxiety, autism, ADHD, and learning problems make school hard. Depression, self-harm, cyberbullying and eating disorders are part of our complex lives. Stress, busyness, and a digital world have changed parenting. Parenting is Forever reflects the ongoing conversations of paediatrician, Dr. Elizabeth Green, with those who care for children. It is influenced by her experience as a parent and from helping more than 30,000 families over twenty-five years. Dr. Green shares her practical tips for navigating the developmental stages of childhood. From before birth, through early childhood and adolescence to adulthood. Parenting is not a competition. It's okay to fail and try again. That's what makes us better parents. [Subject: Parenting Guide, Childhood Care]

Dominique Hecq writes through dulled topographies of mourning, avowing death is a "singular fear of finitude against a background of black light." Autobiographical, and sharply particular, Hush takes readers into an abyss where "grief is a caesura" and loss means "being hostage to a ghost." But this book is not only a poignant elegy to "losing your mother tongue and cracking your own voice"; Hush is also an incandescent lament from an "un / harmed" speaker locating the possibilities and lexicons of denouement. Silencing the undertones of a surpassing grief, Hecq's quest is finally epic and heroic. - Dan Disney "Life goes on, they say," says Dominique Hecq in her startling and moving new book of lined and prose poetry, Hush. Then, "Life goes on leaving." A response to the death of a child, charting the near death and revival of a marriage and family, Hush is the lyric meditation of a true scholar, deeply inflected by theory but driven by the urgencies of the body. Early and late, it poses unanswerable questions - "Why is white white?" - and answers them by returning to the world of "Chalk, rice, zinc / / Crystal falls / / " and, devastatingly, "Limestone graves," before the language of the world disintegrates. Seeming at first to span a year of seasons, then suddenly encompassing fifteen years, the poem charts a remarkable inner journey, which begins in starvation, a refusal of the sensuous, but finally recollects not joy so much as presence. The world reemerges in water, birds, flowers, and most of all food, prepared at first as sacrifice, for others, until it makes itself present - first through color but also through smell, through sound, and literally through ink - and becomes the poet's communion. - Katharine Coles, University of Utah

Noongar Bush Medicine provides for the first time a comprehensive information on the the medicinal plants that were used by Aboriginal people of the south-west of Western Australia before European settlement

Flute of Milk is Susan Fealy's first full-length collection of poems after years of publication in Australian and US journals and anthologies, including Poetry (Chicago), Island, Cordite, Rabbit, and the Anthology of Australian Contemporary Feminist Poetry (Hunter, 2016). This collection is in two parts, with each one interrogating love, loss, gender and aesthetics. The poems refract these themes through personal experience, as well as through a broader cultural lens. Some of these works are direct responses to the act of reading literature. The hallmark of this collection is precision with language: these works are always present and vivid. Susan Fealy is a Melbourne-based poet, writer, and clinical psychologist. (Series: UWAP Poetry) [Subject: Poetry]

A Personal History of Vision expands on the concerns of Fischer's acclaimed first collection Paths of Flight and embodies what Judith Beveridge has described as his 'seemingly effortless ability to blend visual detail and imaginative vision.' Intertwining the personal and the historical, the modern and the primeval, and culture and nature, these poems explore vision in its many senses, often with reference to the visual arts. At their heart is a search for an enlarged awareness of ourselves and the world, in which the visible and the invisible, nature and spirit find one another. At the same time, these poems are awake to inadequacies and the trials of death and suffering-personal, political, and ecological. Yet, even in the darkness, they detect possibilities of transformation. ***His second book of poetry shows Luke Fischer is outstanding among a new generation of Australian poets-there is everywhere throughout it intimations of the sublime.--Robert Gray (Series: UWAP Poetry) [Subject: Poetry]

You're Not Rob Snarski is the first book by eminent musician Rob Snarski. From Perth to Europe and all points in between, he shares his observations and insights from the music world he has performed in, the people he has worked with, the domesticated animals he has loved, and the things he's had to do to pay the rent. Snarski has played in legendary Australian bands since the 1970s: Chad's Tree, The Blackeyed Susans, and, replacing his friend David McComb, The Triffids. This collection of fragments and photographs uncover a delicate humour in the man who remains a dedicated follower of music and the musicians he's been influenced by. Rob Snarski is best known as the front man for The Blackeyed Susans. Since 1989 he has been a distinctive vocalist on a string of albums of finely crafted songs with the band. The Blackeyed Susans has included players from The Triffids, Dirty Three, and Nick Cave & The Bad Seeds. In recent years Rob recorded solo albums, including Wounded Bird. [Subject: Non-Fiction, Music Memoir, Autobiography]

Rallying was written alongside Quinn Eades's first book, all the beginnings: a queer autobiography of the body, and before he began transitioning from female to male. A collection very much concerned with the body, and the ways in which we create and write under, around, without, and with children, this collection will resonate deeply with anyone who has tried to make creative work from underneath the weight of love. This is a collection of poems that are more than poems. They were written with children, under babies, around grief, amongst crumbs, on trains, with hope: with love. This is a book made of steel and honey, muscle and sun, with tongues. Open its pages and you will find more than poetry. You will find moments in time strung across by text, a poetics of the space between bodies, the way that language makes us separate and simultaneously whole. 'Quinn Eades's poetry is an important part of the continuum of the development of language in relation to gender, the body, language and the expression of the self. In Rallying, his use of direct language is refreshing. Nothing is too tricky or try-hard-clever so that reading these poems is an amazingly clear experience. Even when he is writing exacting descriptive details there's a clarity and a space for feeling to complement the imagery or the thinking. These poems go against cool, conceptual fashionability. Not many contemporary poets are currently writing embodied poetry and no one is writing quite like Quinn Eades. Rallying's close concern with the female body - especially maternal bodies and relational feeling and thought - is a welcome and distinctive addition to the field of Australian poetry.'--Pam Brown

Amanda Joy's first book Snake Like Charms was five years in the making. It's grounded deep in reality as are the snake cultures and legends it draws from. Amanda Joy is a poet from the Pilbara and Kimberley regions of Western Australia, origin of the Rainbow Serpent, the Great Spirit that represents the world's oldest religious tradition. According to Indigenous song-cycles, a snake literally created this country. These lines from the poem 'Your Ground' carry their wisdom lightly "snake says / be still / stand your ground / it the only protection we have." This book quivers with snakes, consorting with birds and animals, in company with humans: "There's no animal alive / won't meet your eye." Also, like the Aztec serpent Quetzalcoatl, this poetry is all intelligence and sharp wind chained to the 'braille-like ridges' of the country by reality, where 'My friend's story is everywhere.' It contains wonders, 'Carnaby cockatoos feeding on wild radish in low grass', the erotic nature of a Blue Butcher Orchid 'made flesh', a poet gardener who is aware of 'the unseen deadline of morning like a tongue into a mouth/ stroking language'. There is rich onomatopoeia in many lines: 'Lumped gullet/ of migratory birds/ all algae and insects', and there's this lovely image of a 'Whelked helical of coral pink'. One feels the pain as you read this phase: 'an oracular migraine'. Anyone who has lived in Australia will recognize Joy's 'artillery of cockatoo cries'. There is danger everywhere, along with comedy on days when Cane toads storm the Kimberley. There is great empathy for the people who are doing it hard, 'The Long Dry.' This book is teaming with life, it's a celebration of families surrounded by animals, a book where ideas snake through the lines like arteries. Amanda Joy's variegated language explores rebellious ideas, delves into the underground but remains compassionate. This poet takes a hard look at the world now and yet comes up with a hugely optimistic book. ROBERT ADAMSON

From the intrigue of his earlier poetry in fatalism and the mysteries of character, Alan Gould's interest has moved to music. In many of the poems in this book, the folk songs or the homages to Vaughan Williams, his enquiry is one of synaesthesia: What is it we see when we hear? In meditating on this, the poet prefers the crisp, accessible, narrative voice to the philosophical. Here are ballads and celebrations, homages to past authors who have been his spiritual companions-Graves, Yeats, Shakespeare, and tributes to the Finnish resistance to Soviet aggression in 1939. The volume's title poem is a commemoration of the extraordinary and unknown Australian street dancer of VJ Day 1945. (Series: UWAP Poetry) [Subject: Poetry]

"In the dying days of the Russian Empire, a Scottish sound recordist disappears into the Caucasus mountains; a former hero of the Algerian resistance experiments with traditional Chinese medicine; a French anatomical artist models disfigured soldiers returned from the Crimea. In 1960s Poland, a grandmother hatches a plan when a Hollywood star comes to town; while during the war in Vietnam, fate and superstition guide a Filipino cook toward a new vocation; and in Weimar Berlin, a young man's efforts to rehabilitate himself are derailed by a charismatic artist."--

Anna Wickham (1883-1947) was one of the most important female poets writing in English during the first half of the twentieth century. A pioneer of Modernist poetry, she was also a fierce feminist, social activist, and friend of many significant writers, including D.H. Lawrence, George Bernard Shaw, Dylan Thomas, Katherine Mansfield, Natalie Clifford Barney, Kate O'Brien, and Lawrence Durrell. She produced a unique, daring and influential body of work while living a dramatic, often tragic life, which ended with her suicide. During her lifetime, Wickham published two plays in Australia, five collections of poetry in England, and one book of poetry in the United States. She lived in Australia, England and France. Wickham's work has frequently been anthologised in Australia, the United Kingdom and the United States. Wickham's transnational, unconventional life provided her with a unique worldview; she drew heavily on her own experiences in her poetry while interrogating conceptions of gender roles, marriage, motherhood, sexuality and class. While Wickham's poetry earned her a major reputation during her lifetime, and her most famous poems continue to be anthologised, most of her published work is out of print and the majority of her poems have never been published. New and Selected Poems of Anna Wickham is the first collection of Wickham's poetry to be published in over three decades. This collection republishes one hundred of Wickham's poems selected from the collections published during her lifetime, as well as poems from Selected Poems (1971) and The Writings of Anna Wickham (1984). In addition to bringing many of Wickham's greatest poems back into print, this collection publishes one hundred and fifty of Wickham's remarkable poems for the first time, significantly expanding her body of published work and demonstrating her significant poetic achievement.

Unstable Relations addresses the past and emerging political tensions that mark 'green-black' encounters; provides fine-grained ethnographic case studies of 'green-black' relations; and, analyses the economic futures of 'green-black' collaborations.

Air hostesses took to the skies in the 1930s, proud and excited to have the most glamorous job in the world. This was a job like no other-filled with adventure, shiny new technology, and work that was thrilling, demanding and exhausting. Young women flocked in droves to be measured, weighed, and squeezed into snappy uniforms. Smile, Particularly in Bad Weather tells the story of the development of this pioneering profession. It describes the shift from the 1930s, when the girl-next-door took to the air with a great degree of bravado, through to the 1960s and the 'coffee, tea or me?' stereotype, where airlines sexualised the air hostess as a point of marketing difference. The book then covers the crucial period where air hostesses fought back, no longer wanting to be stereotyped nor discriminated against in terms of fair working conditions. The job of air stewardess shaped working women to become something more, it tested their independence, it encouraged self-enhancement and sophistication, and it took them to places they hadn't dreamt about.--back cover.

The Pilbara, a large, thinly populated region in the north of Western Australia, has become central to the Australian economy and imagination. With millions of tons of iron ore shipped to China, the Pilbara is a media staple, through stories of mining companies' profits, the earnings of fly-in-fly-out workers, and the wealth of new entrepreneurs. For all this, what we know about a vital region such as the Pilbara remains incomplete. The boomtime stories do not reveal much about the Pilbara itself, a place completely transformed across fifty years of mining. No one has acknowledged the Pilbara's ancient history, or the men and women who worked there from the 1960s, building unions and making communities as they worked the mines. In those days, the Pilbara excited both hope and dread about its workers and their power. "From the deserts prophets come," AD Hope wrote years before in his poem, Australia. And it appeared that the Pilbara might be the site of a novel kind of unionism, with workers winning not only high wages but control of the places where they worked and the towns where they lived. But it was not to be. Starting in the 1980s, the companies fought back, defeating the unions and remaking the Pilbara. The managers were now the prophets, with new ways of organising work and managing workers. The companies reinvented the Pilbara through workplace control, fly-in-fly-out labor, and twelve-hour shifts. Their vision reshaped not just the desert but the cities, not just the work in mines and ports but in offices and shops. When the biggest boom in mining history came along, it unfolded across a Pilbara landscape very different from a generation earlier. The union prophets were gone; the companies' profits grew. This book reveals the story of fifty years of conflict over work and life in the Pilbara, and how this conflict has affected the rest of Australia. [Subject: Australian Studies, Labor History]

A groundbreaking presentation, in a revised edition, of Indigenous Australian storytelling as it actually sounds; these stories provide a fascinating picture of the life of the people of the west Kimberley after colonisation.

Help me, words - you always have. The directness and simplicity of these poems, beautifully arranged as stages in a recovery, carry the urgency, honesty and celebration of a life reclaimed. Joan London The poems that comprise Rupture are lucid, deft, unapologetic, forthright. There are images and lines that are literally breathtaking, stanzas that punch with wisdom, and whole poems that linger long after the book is finished. Andrea Goldsmith

This deeply personal book is also an important historical record. Written from the heart and covering a period of time working on Christmas Island with asylum seekers until her return to Australia with an urgency to bear witness, Pettitt-Schipp's steady eye is levelled at a facade of Australian inclusivity and openness "this land's edge /has always been an invitation/a white-toothed smile/ to walk on." To those denied entry, those white teeth become menace, exclusion, shark, crocodile. In a book filled with heart-breakingly tender portraits, borders and bodies, sanctions and sanctuary are held close to each other in ways which articulate the space but also, the common ground between "us." - Amanda Joy These beautiful Christmas Island poems capture both the despair of asylum seekers imprisoned by rock and sea and their ancient will to continue. - Gillian Triggs

How do we describe a place? In this book, author and poet Annamaria Weldon offers an intimate portrait of the chain of lakes on Australia's southwest coast that includes Lake Yalgorup, between Mandurah and Bunbury. The Lake's Apprentice contains a suite of poems, celebrated essays, photographs, and nature notes cognizant of current environmental research. This elegant testimony collapses time, evoking the long past of Bindjareb Noongar land use and thinking through to a resilient future. [Annamaria Weldon is a widely published poet and essayist. She has won the Tom Collins Poetry Prize in 2010, as well as the inaugural Nature Conservancy Australia's Prize for Nature Writing in 2011, and she was shortlisted for the Peter Porter Poetry Prize in 2012.] *** "This kind of writing - the fruit of real contemplation, informed by a wide range of ideas, respectful of the reader's intellect and imagination, driven by an empirical sensibility - is, for me, where the best 'nature writing' is to be found." -- Barry Lopez, winner of the US National Book Award for Nonfiction for Arctic Dreams, and National Book Award finalist for Of Wolves and Men. *** "This is an act of pilgrimage in writing: Annamaria Weldon seeks, and finds; she advances with tact and attention, she gives her readers the gift of seeing landscape with new eyes." -- Nicolas Rothwell

Colonial Australia produced a vast number of journals and magazines that helped to create an exuberant literary landscape. They were filled with lively contributions by many of the key writers and provocateurs of the day (and of the future). Writers such as Marcus Clarke, Rolf Boldrewood, Ethel Turner, and Katharine Susannah Prichard published for the first time in these journals. This book offers a fascinating selection of material; a miscellany of content that enabled the 'free play of intellect' to thrive and, matched with wry visual design, made attractive artifacts that demonstrate the role this period played in the growth of an Australian literary culture. *** "Gelder and Weaver arrange this anthology of excerpts from the journals of Australia in the later 19th century to show off the rich contents of these journals. The excerpts refute the stereotype that Australia in this era was rousingly nationalist. The book features color illustrations of magazine covers, which show how accomplished the pre-1900 publishing industry in Australia was. Recommended." - Choice, Vol 52, No. 4, December 2014Ã?Â?Ã?Â?Ã?Â?Ã?Â?

David Ades' luminous and honest collection, Afloat in Light, is chiefly a celebration of fatherhood and of paying attention, utilising Simone Weil's notion that 'attention is the rarest and purest form of generosity'. The collection extends to existence and loss, and a discourse on motive and meaning. Maps and moral compass are never far away in such explorations and like all good navigators Ades consults the moon and the stars to guide him through emotional terrain that crosses the globe via Australia, India and the United States. Poems about connection and love - familial, intimate, parental and friendship - hold their weight of history via scar tissue and heritage to allow 'a vast and full space to fill the maps of our lives'. Afloat in Light delicately balances that most crucial aspect of life - of how the ordinary is anything but. Ades is a poet that fully harnesses the verve of small miracles. - Libby Hart

Joseph Brodsky, the Russian Nobel laureate, once remarked that memory and art have in common the 'ability to select, a taste for detail.' In the work of Nathanael O'Reilly, memory and art come together to bring us poems that remember what cannot-what must not-be forgotten, in rich and telling detail and with a taste for quiet but incisive irony.--Paul Kane ***Nathanael O'Reilly's poems sound the major themes of Australian poetry: landscape, displacement, yearning, and above all a critique of cultural narrowness. O'Reilly's plain-spoken diction is often laced with understated wit, but is given ballast by its principled grounding in lived experience.--Nicholas Birns ***The poems in this transnational, cosmopolitan collection traverse fourteen countries, from Australia, the poet's homeland, to the United States, his place of residence, making stops in ancestral homelands Ireland and England, and passing through continental Europe and the Middle East. O'Reilly's poetry continually crosses both visible and invisible borders, excavating landscapes and the local, belonging and unbelonging, cross-cultural exchanges, expatriation, globalisation, exile, identity, youth, loss, relationships, aging, and death. The speakers in the poems are often in motion or making preparations for departure, unwilling and unable to remain static, always eager to explore. (Series: UWAP Poetry) [Subject: Poetry]

Of course not all great art has its genesis in pain, and not all pain - not even a fraction - leads to the partial consolations of art. But if lancing an abscess is the surest way to healing, can poetry offer that same cleansing of emotional wounds? Shaping the Fractured Self showcases twenty-eight of Australia's finest poets who happen to live with chronic illness and pain. The autobiographical short essays, in conjunction with the three poems from each of the poets, capture the body in trauma in its many and varied moods. Because those who live with chronic illness and pain experience shifts in their relationship to it on a yearly, monthly or daily basis, so do the words they use to describe it. Shaping the Fractured Self gives voice to sufferers, carers, medical practitioners and researchers, building understanding in a community of caring.

Communists like us is simple love story, a little fiction told in a hundred poems, a hundred little places to live large, fragments of a story of love in a time of struggle. But then, when isn't it a time of struggle? And when is a story not about love? And when isn't love a fragmented but tender dialectic of the personal as political? This volume celebrates and explores the possibilities of political engagement in the midst of the very simple, the very human; an attempt at a confluence of dust and desire.

It is one thing to know what the law says: it is another to try to understand what it means and how it is applied. When Indigenous relationships with a country are viewed through the lens of a Western property rights regime, this complexity is seriously magnified. Crosscurrents traces the path of a native title claim in the Kimberley region of Western Australia (Sampi v. State of Western Australia) from its inception to resolution, contextualizing the claim in the web of historical events that shaped the claim's beginnings, its intersection with evolving case law, and the labyrinth of legal process, evidence and argument that ultimately shaped its end. Katie Glaskin examines native title law by tracing the development of a single claim, and, in doing so, makes this complex area of law more accessible to non-specialist readers. Also discussed is the interaction of Indigenous and Western systems of knowledge and governance. Policy-makers, native title lawyers, land councils, environmental groups, native title advocacy groups, anthropologists, historians, and scholars in the field will find this book of great interest. The author has worked as an anthropologist on native title claims since 1994, and has published widely in the area of native title. In 2015, she won the Royal Anthropological Institute of Great Britain and Ireland's prestigious Curl essay prize. [Subject: Australian Studies, Indigenous Studies, Anthropology, Social Science, History, Legal History, Law]