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]

Four hilarious stories, two inventive brothers, one irresistible story! Join Charlie and Mouse as they talk to lumps, take the neighborhood to a party, sell some rocks, and invent the bedtime banana. With imagination and humor, Laurel Snyder and Emily Hughes paint a lively picture of brotherhood that children will relish in a format perfect for children not quite ready for chapter books.

"Munden's vivid, well realised poems range across hemispheres and centuries, embracing music, art, film, historical events, and the potent catalysts of love, illness and death. In these pages our human frailties are apprehended with both a clear eye and a tender attentiveness."--Judy Johnson ***"In Chromatic, Munden's superb use of contrapuntal texture and accumulating melodies announce a fractured and injured reality, set against the visceral burn of passion. The rich musicality of these poems speaks eloquently of beauty and love, both physical and divine. The darker harmonies are often brilliantly jittery in their interwoven and compulsive juxtapositions, accentuating the poems' silences and apertures. In Chromatic, Munden unlocks the musical performance inside his poems, and the result is transportive and rapturous."--Cassandra Atherton ***"In this complex and intricately constructed volume, lyric poems address sometimes difficult, sometimes bewildering aspects of human existence head on, and in surprising and scintillating ways. Paul Munden tantalises and beguiles us with rich evocations of the mysterious and the opaque, reminding us of the strangeness of life and the mystery at the core of what we know."--Paul Hetherington (Series: UWAP Poetry) [Subject: Poetry]

Here are scrummed gangs of criminals and police, with all their lurks, quirks and argots ... Ross Gibson's poignant rewriting of a found dossier of police records has some Dickens, some Dostoevsky, and some DeLillo threaded through it. The sharp local language of Christina Stead, Kenneth Slessor, Arthur Stace and Ruth Park resounds in here too.--page 4 of cover.

'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 d�nouement. 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 (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]

"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 (Series: UWAP Poetry) [Subject: Poetry]