Day
Michael Cunningham

‘Unsparing and tender.’ Colm Tóibín, author of Brooklyn

‘A brilliant novel from our most brilliant of writers.’ Colum McCann, author of Apeirogon

‘A quietly stunning achievement.’ Ocean Vuong, author of On Earth We’re Briefly Gorgeous


From the brilliant mind of Pulitzer Prize winner Michael Cunningham, Day is a searing, exquisitely crafted meditation on love and loss, and the struggles and limitations of family life – how to live together and apart, and maybe even escape the marriage plot entirely.

April 5th, 2019: In a cozy brownstone in Brooklyn, the veneer of domestic bliss is beginning to crack. Dan and Isabel, troubled husband and wife, are both a little bit in love with Isabel’s younger brother, Robbie. Robbie, wayward soul of the family, who still lives in the attic loft; Robbie, who, trying to get over his most recent boyfriend, has created a glamorous avatar online; Robbie, who now has to move out of the house – and whose departure threatens to break the family apart. And then there is Nathan, age ten, taking his first uncertain steps toward independence, while Violet, five, does her best not to notice the growing rift between her parents.

April 5th, 2020: As the world goes into lockdown the brownstone is feeling more like a prison. Violet is terrified of leaving the windows open, obsessed with keeping her family safe. Isabel and Dan circle each other warily, communicating mostly in veiled jabs and frustrated sighs. And beloved Robbie is stranded in Iceland, alone in a mountain cabin with nothing but his thoughts – and his secret Instagram life – for company.

April 5th, 2021: Emerging from the worst of the crisis, the family comes together to reckon with a new, very different reality – with what they’ve learned, what they’ve lost, and how they might go on.

Waiting to Be Arrested at Night: A Uyghur Poet's Memoir of China's Genocide
Tahir Hamut Izgil

‘Essential reading’
AI WEIWEI, author of 1000 Years of Joys and Sorrows

‘Deserves to be read widely’
FINANCIAL TIMES


A Uyghur poet’s piercing memoir of life under the most coercive surveillance regime in history.

If you took an Uber in Washington DC a few years ago, there’s a chance your driver was one of the greatest living Uyghur poets, and one of only a handful from his minority Muslim community to escape the genocide being visited upon his homeland in western China.

A successful filmmaker, innovative poet and prominent intellectual, Tahir Hamut Izgil had long been acquainted with state surveillance and violence, having spent three years in a labour camp on fabricated charges.

But in 2017, the Chinese government’s repression of its Uyghur citizens assumed a terrifying new intensity- critics were silenced; conversations became hushed; passports were confiscated; and Uyghurs were forced to provide DNA samples and biometric data.

As Izgil’s friends disappeared one by one, it became clear that fleeing the country was his family’s only hope.

Escape to America spared Izgil’s family the internment camps that have swallowed over a million Uyghurs. It also allowed this rare personal testimony of the Xinjiang genocide to reach the wider world.

Waiting to Be Arrested at Night charts the ongoing destruction of a community and a way of life. It is a call for the world to awaken to a humanitarian catastrophe, an unforgettable story of courage, escape and survival, and a moving tribute to Izgil’s friends and fellow Uyghurs whose voices have been silenced.

David Lynch: A Retrospective
Ian Nathan
Killing for Country: A Family Story
David Marr

A gripping reckoning with the bloody history of Australia’s frontier wars

David Marr was shocked to discover forebears who served with the brutal Native Police in the bloodiest years on the frontier. Killing for Country is the result – a soul-searching Australian history.

This is a richly detailed saga of politics and power in the colonial world – of land seized, fortunes made and lost, and the violence let loose as squatters and their allies fought for possession of the country – a war still unresolved in today’s Australia.

“This book is more than a personal reckoning with Marr’s forebears and their crimes. It is an account of an Australian war fought here in our own country, with names, dates, crimes, body counts and the ghastly, remorseless views of the ‘settlers’. Thank you, David.”-Marcia Langton


“Marr is one of the country’s most accomplished non-fiction writers. I was sometimes reminded of Robert Hughes’ study of convict transportation, The Fatal Shore (1987), in the epic quality of this book … Killing For Country is a timely exercise in truth-telling amid a disturbing resurgence of denialism.” -Frank Bongiorno, The Age

Killing for Country … stands out for its unflinching eye, its dogged research, and the quality and power of its writing.” -Mark McKenna, Australian Book Review

“It’s a timely, vital story.” -Jason Steger, The Age

“The timing of this book is painfully exquisite and it demonstrates perfectly how little race politics have changed in Australia.” -Lucy Clark, The Guardian

Borderland
Graham Akhurst

Jono, a city-born Indigenous teenager is trying to figure out who he really is. Life in Brisbane hasn’t exactly made him feel connected to his Country or community. Luckily, he’s got his best friend, Jenny, who has been by his side through their hectic days at St Lucia Private.

After graduating, Jono and Jenny score gigs at the Aboriginal Performing Arts Centre and an incredible opportunity comes knocking — interning with a documentary crew. Their mission? To promote a big government mining project in the wild western Queensland desert. The catch? The details are sketchy, and the land is rumoured to be sacred. But who cares? Jono is stoked just to be part of something meaningful. Plus, he gets to be the lead presenter!

Life takes a turn when they land in Gambari, a tiny rural town far from the hustle and bustle of the city. Suddenly, Jono’s intuition becomes his best guide. He’s haunted by an eerie omen of death, battling suffocating panic attacks, and even experiencing visions of Wudun — a malevolent spirit from the Dreaming. What’s the real story behind the gas mining venture? Are the documentary crew hiding something from Jono? And could Wudun be a messenger from the land, fighting back against the invasion?

Borderland is a heart-pounding horror gothic that follows Jono on an epic quest to find himself in the face of unbelievable challenges. Graham Akhurst, the brilliant mind behind this coming-of-age gem, is a Fulbright scholar from the Kokomini of Northern Queensland. Brace yourself for a fresh, mind-bending tale exploring Indigenous identity, the impact of colonization, and what happens when you take a stand.

Age range 13+

Wonder Confronts Certainty: Russian Writers on the Timeless Questions and Why Their Answers Matter
Gary Saul Morson

A noted literary scholar traverses the Russian canon, exploring how realists, idealists, and revolutionaries debated good and evil, moral responsibility, and freedom.

Since the age of Tolstoy, Dostoevsky, and Chekhov, Russian literature has posed questions about good and evil, moral responsibility, and human freedom with a clarity and intensity found nowhere else. In this wide-ranging meditation, Gary Saul Morson delineates intellectual debates that have coursed through two centuries of Russian writing, as the greatest thinkers of the empire and then the Soviet Union enchanted readers with their idealism, philosophical insight, and revolutionary fervor.

Morson describes the Russian literary tradition as an argument between a radical intelligentsia that uncompromisingly followed ideology down the paths of revolution and violence, and writers who probed ever more deeply into the human condition. The debate concerned what Russians called “the accursed questions”: If there is no God, are good and evil merely human constructs? Should we look for life’s essence in ordinary or extreme conditions? Are individual minds best understood in terms of an overarching theory or, as Tolstoy thought, by tracing the “tiny alternations of consciousness”?

Exploring apologia for bloodshed, Morson adapts Mikhail Bakhtin’s concept of the non-alibi-the idea that one cannot escape or displace responsibility for one’s actions. And, throughout, Morson isolates a characteristic theme of Russian culture: how the aspiration to relieve profound suffering can lead to either heartfelt empathy or bloodthirsty tyranny. What emerges is a contest between unyielding dogmatism and open-minded dialogue, between heady certainty and a humble sense of wonder at the world’s elusive complexity-a thought-provoking journey into inescapable questions.

I always imagined that Paradise would be a kind of library.
Jorge Luis Borges
Crow Books
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