Wendy Davis was attacked by the Claremont Serial Killer and survived. This is her story.

In 2020, after the longest and most expensive trial in Western Australian history, Bradley Robert Edwards was convicted of two of the Claremont Serial Killings, a series of unsolved murders that had haunted the state since the mid-1990s. But before he went to trial, before he started killing, Edwards violently assaulted a social worker while he was working on the telephone system at Hollywood Hospital. Not only did Edwards keep his job at Telstra, but he was convicted only of common assault for the attack, a minor charge that left him off the police radar during their desperate hunt for the sexual predator responsible for the Claremont murders.

Begun as way to deal with the resurgence of trauma after Edwards’ arrest, this memoir looks at the pressure on women to minimise and excuse certain behaviours in others, and demonstrates the devastating consequences of ‘not making a fuss’.

‘This fact-deep memoir is a personal account of the battle between the psychological urge to be heard and a deeply conditioned reluctance to make waves. With pragmatic hindsight and attention to context, Davis’s tale cautions society against the dismissive treatment of women and the silencing of their voices.’ –Writing WA

The acclaimed and bestselling author of Breasts and Eggs and Heaven returns with a blistering, shocking and poetic story set in contemporary Tokyo.

Fuyuko Irie is a freelance proofreader in her thirties. Living alone, and unable to form meaningful relationships, she has little contact with anyone other than Hijiri, someone she works with. When she sees her reflection, she’s confronted with a tired and spiritless woman who has failed to take control of her own life. Her one source of solace: light. Every Christmas Eve, Fuyuko heads out to catch a glimpse of the lights that fill the Tokyo night. But it is a chance encounter with a man named Mitsutsuka that awakens something new in her. And so her life begins to change.

As Fuyuko starts to see the world in a different light, painful memories from her past begin to resurface. Fuyuko needs to be loved, to be heard, and to be seen. But living in a small world of her own making, will she find the strength to bring down the walls that surround her? ALL THE LOVERS IN THE NIGHT is acute and insightful, entertaining and captivating, pulsing and poetic, modern and shocking. It’s another unforgettable novel from Japan’s most exciting writer.

Translated from the Japanese by Sam Bett and David Boyd.

Mieko Kawakami is the author of the internationally bestselling novel Breasts and Eggs, a New York Times Notable Book of the Year and one of TIME’s Best 10 Books of 2020. Born in Osaka, Kawakami made her literary debut as a poet in 2006, and published her first novella, My Ego, My Teeth, and the World, in 2007. Her writing is known for its poetic qualities and its insights into the female body, ethical questions, and the dilemmas of modern society. Her works have been translated into many languages and are available all over the world. She has received numerous prestigious literary awards in Japan for her work, including the Akutagawa Prize, the Tanizaki Prize, and the Murasaki Shikibu Prize. She lives in Tokyo, Japan.

An effervescent and excitingly revisionist history of bibliophilia, from a globally respected Shakespeare scholar

Most of what we say about books is really about their contents – the rosy nostalgic glow for childhood reading, the lifetime companionship of a much-loved novel. But books are things as well as words, objects in our lives as well as worlds in our heads. And just as we crack their spines, loosen their leaves and write in their margins, so they disrupt and disorder us in turn. All books are, as Stephen King put it, ‘a uniquely portable magic‘.

In this thrilling new history, Emma Smith shows us why. Portable Magic unfurls an exciting, iconoclastic and ambitious new story of the book in human hands, exploring when, why and how it acquired its particular hold over humankind. Gathering together a millennium’s worth of pivotal encounters with volumes big and small, Smith compellingly argues that, as much as their contents, it is books’ physical form – their ‘bookhood’ – that lends them their distinctive and sometimes dangerous magic. From the Diamond Sutra to Jilly Cooper’s Riders, to a book made of wrapped slices of cheese, Smith uncovers how this composite artisanal object has, for centuries, embodied and extended relationships between readers, nations, ideologies and cultures, in significant and unpredictable ways. She celebrates the rise of the mass-market paperback, and dismantles the myth that print began with Gutenberg; she reveals how our reading habits have been shaped by American soldiers, and proposes a new definition of a ‘classic’.

Ultimately, Smith illuminates the ways in which our relationship with the written word is more reciprocal – and more turbulent – than we tend to imagine- for better or worse, books do not simply reflect humankind, but have also defined who we are, turning us into the readers they would like to have.

Professor Emma Smith is a lecturer in English at the University of Oxford, Professor of Shakespeare Studies, and a Fellow of Hertford College.

Mona is a Peruvian writer based on a Californian campus, open-eyed and sardonic, a connoisseur of marijuana and prescription pills. In the humanities she has discovered she is something of an anthropological curiosity – a female writer of colour treasured for the flourish of rarefied diversity that reflects so well upon her department.

When she is nominated for ‘the most important literary award in Europe’, Mona sees a chance to escape her sunlit substance abuse and erotic distraction, and leaves for a small village in Sweden. Now she is stuck in the company of her competitors, who arrive from Japan, France, Armenia, Iran and Colombia. The writers do what writers do: exchange flattery, nurse envy and private resentments, stab rivals in the back and go to bed together.

But all the while, Mona keeps stumbling across traces of violence on her body, the origins of which she can’t – or won’t – remember.

‘Mona reads like Rachel Cusk’s Kudos on drugs’ – The Atlantic

‘Sly, bitter, and smart, Mona is at once a satirical comedy, a harrowing psychological portrait of a woman’s dissociation, and a philosophical indictment of the hubris of now. Read it and be surprised.’ – Siri Hustvedt, author of Memories of the Future

‘A wicked satire of the literary elite and an exploration of art and violence’ – New Yorker

Known primarily as a concert pianist, Simon Tedeschi has written for publications across Australia. You may also remember him from the 1996 movie Shine, where he played the hands of the pianist David Helfgott.

In 1917, a young composer writes a suite of twenty pieces for piano. Each pass by like a gust of wind. They are short, violent and strange – the music of another world. In 1938, a young Jewish family flees Italy for Sydney, Australia. In 1942, another family, this time Polish, is nearly destroyed. Half a century later, a young man begins to understand the role the young composer’s strange visions have played in everything that came before him and all that has come to be.

In his first book, Simon Tedeschi applies elements – from history, memory and the body of the musician – to make a remarkable work of imagination and fractal beauty. He straddles the borders of poetry and prose, fiction and fact, trauma and testimony. Fugitive is filled with what Russian poet Konstantin Balmont called ‘the fickle play of rainbows‘.

When he is not writing or practising, Tedeschi reads books and drinks coffee. He and his wife, the painter Loribelle Spirovski (of the striking cover art), live in Sydney, Australia with their cat.

The first-ever anthology of Aboriginal and Torres Strait Islander speculative fiction – written, curated, edited and designed by blackfellas, for blackfellas and about blackfellas. In these stories, ‘this all come back’: all those things that have been taken from us, that we collectively mourn the loss of, or attempt to recover and revive, as well as those that we thought we’d gotten rid of, that are always returning to haunt and hound us.

Some writers summon ancestral spirits from the past, while others look straight down the barrel of potential futures, which always end up curving back around to hold us from behind. Dazzling, imaginative and unsettling, This All Come Back Now centres and celebrates communities and culture. It’s a love letter to kin and country, to memory and future-thinking.

‘In This All Come Back Now, Saunders commits a radical act of subversion, and intellectual sovereignty by transforming a genre that has defined Western attitudes towards race, colonialism, and technology into a vehicle of First Nations continuance, resilience, and resistance.’ – Jeanine Leane

‘Blackfullas invented speculative fiction and this is the first time that the work of established and emerging Blak writers working in speculative fiction has been brought together in an anthology.’ – Jack Latimore, The Age

From the best-selling author of The Tall Man and The Arsonist, a personal tale about death, life and the enchantment of stories. With illustrations by Anna Walker.

Let me tell you a story…

When Chloe Hooper’s partner is diagnosed with a rare and aggressive illness, she has to find a way to tell their two young sons. By instinct, she turns to the bookshelf. Can the news be broken as a bedtime tale? Is there a perfect book to prepare children for loss?

Hooper embarks on a quest to find what practical lessons children’s literature—with its innocent orphans and evil adults, magic, monsters and anthropomorphic animals—can teach about grief and resilience in real life. From the Brothers Grimm to Frances Hodgson Burnett and Tolkien and Dahl—all of whom suffered childhood bereavements—she follows the breadcrumbs of the world’s favourite authors, searching for the deep wisdom in their books and lives.

Both memoir and manual, Bedtime Story is stunningly illustrated by the New York Times award-winning Anna Walker. In an age of worldwide uncertainty, here is a profound and moving exploration of the dark and light of storytelling.

‘Everything you’d ever want in a bedtime story – heroes and heroines, puzzles and dangers, invisible forces, birds, trees, beasts, poetry, sadness and joy. Stories within stories. I was spellbound from the start. As for the ending… I can’t tell you that.’ Paul Kelly OA

‘Chloe Hooper has a formidable talent to take complex stories and ideas and truths, and to distil them into a language of direct and powerful beauty. This is a story of grief and of patience, of hope and acceptance. It is also a reminder of the solace that books give us, and of how the imaginary worlds we dive into as children remain with is for all our lives, of how they guide us into adulthood and maturity. There is a quiet courage and strength in this book. It is both gentle and uncompromising, a love letter to family and to literature that is bracingly unsentimental. I was profoundly moved, and profoundly grateful.’ Christos Tsiolkas, author of The Slap and Damascus

‘This book is a miracle of light and meaning-making from one of our finest writers. Venturing inward with extraordinary grace, Hooper explores – and extends – the long literary line surging with our deepest inherited wisdom about how to embrace our finite lives. The result is nothing less than the hero’s journey we have been collectively starving for. Telling you this is like trying to describe the sun; it is a book so powerful and beautiful – so utterly its own – that it can only be experienced directly.’ Sarah Krasnostein, author of The Trauma Cleaner and The Believer

No one is innocent in this story…

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The unmissable new standalone from the no.1 bestseller of The Good Turn

‘Diabolically clever, highly compelling and deeply moving. I loved The Murder Rule and did not want it to end.’  – Don Winslow, New York Times bestselling author of The Force and The Border

‘Extraordinary. Haunting. An incredible thriller. I could not put this book down. Dervla McTiernan is a gifted writer with a very special way of telling a story. This is a heart stopping rollercoaster of a tale.’ – Adrian McKinty, New York Times bestselling author of The Chain

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First Rule: Make them like you.

Second Rule: Make them need you.

Third Rule: Make them pay.

They think I’m a young, idealistic law student, that I’m passionate about reforming a corrupt and brutal system.

They think I’m working hard to impress them.

They think I’m here to save an innocent man on death row.

They’re wrong. I’m going to bury him.

 ‘These journals are a revelation, a road map and a gift to us all.’ – TAYARI JONES, author of An American Marriage

From the acclaimed author Alice Walker – winner of the National Book Award and the Pulitzer Prize – comes an unprecedented compilation of four decades’ worth of journals that draw an intimate portrait of her development as an artist, intellectual and human rights activist.

In Gathering Blossoms Under Fire, Walker offers a passionate, intimate record of her intellectual, artistic and political development. She also intimately explores – in real time – her thoughts and feelings as a woman, a writer, an African American, a wife, a daughter, a mother, a lover, a sister, a friend, a citizen of the world. In an unvarnished and singular voice, she writes about an astonishing array of events: marching in Mississippi with other foot soldiers of the civil rights movement, led by Martin Luther King, Jr., or ‘the King’ as she called him; her marriage to a Jewish lawyer, partly to defy laws that barred interracial marriage in the 1960s South; an early miscarriage; the birth of her daughter; writing her first novel; the trials and triumphs of the women’s movement; erotic encounters and enduring relationships; the ‘ancestral visits’ that led her to write The Color Purple; winning the Pulitzer Prize; being admired and maligned, in sometimes equal measure, for her work and her activism; burying her mother; and her estrangement from her own daughter. The personal and the political are layered and intertwined in the revealing narrative that emerges from Walker’s journals.