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]

From the New York Times bestselling author of Whiter Than Snow and Prayers for Sale comes a novel about the secrets and passions of three generations of women who have all lived in the same Victorian home called the Bride's House. It's 1880, and for unassuming seventeen-year-old Nealie Bent, the Bride's House is a fairy tale come to life. It seems as if it is being built precisely for her and Will Spaulding, the man she is convinced she will marry. But life doesn't go according to plan, and Nealie finds herself in the Bride's House pregnant---and married to another. For Pearl, growing up in the Bride's House is akin to being raised in a mausoleum. Her father has fashioned the house into a shrine to the woman he loved, resisting all forms of change. When the enterprising young Frank Curry comes along and asks for Pearl's hand in marriage, her father sabotages the union. But he underestimates the lengths to which the women in the Bride's House will go for love. Susan is the latest in the line of strong and willful women in the Bride's House. She's proud of the women who came before her, but the Bride's House hides secrets that will force her to question what she wants and who she loves. Sandra Dallas has once again written a novel rich in storytelling and history, peopled by living, breathing characters that will grab hold of you and not let you go.

'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]

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.

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]