In Tasmania, strange lights appear in the skies every summer, signalling we're part of something bigger than the world of our worries. Bigger even than our hopes. When economic pressures force the Greys to live together for one season the first time in 12 years since Noah left home after college tensions are high.

Things get weird as locals become increasingly convinced the residents at this Hobart address have been targeted for alien abduction. As the summer unfolds Noah accepts things will never be normal again, even though his measure is the simplest of all. Family love.

Brendan Colley's The Season for Flying Saucers is strange, alluring and tender a love letter to hope.

Brothers Geo and Wes are testing their relationship now that their parents have passed away. Geo and Wes rarely agree on anything, especially not the sale of the Hobart family home. Geo needs the money to finance his musical career in Italy. For Wes the house represents the memory of their father, and what it means to live an honest, working life.

But then a ghost train appears in Hobart, often on the tram tracks that once existed, along with the Swedish man who has been pursuing it for 40 years.

Everyone it seems is chasing their dreams. Or are they running from the truth?

The Signal Line is a warm-hearted, unforgettable novel about what we are all searching for, even when our personal dreams and aspirations have collapsed: love and acceptance.

'My favourite kind of book one that lets you see the world differently. It relocates the line between reality and fantasy, letting through an exhilarating strangeness. I felt the unbelievable become entirely natural. I loved every minute of it.' - Rohan Wilson, author of To Name Those Lost and Daughter of Bad Times

Now, with a bottle of premixed margarita jiggling in the cupholder and the narrator's brand-new garbage goth bestie, Yivi, screaming through night terrors in the passenger seat, our hero hurtles toward a family reunion from hell. Along the way, they experiment with Yivi's mystery pills, elude a relentless stalker and outrun some cops who believe the narrator committed a tragic murder.

An unflinching interrogation of class rage, economic (im)mobility, gender expression, the rot at the heart of capitalism and the political bloodbath dividing so many American families, Make Sure You Die Screaming is the loud, funny, suspenseful road trip novel of our times.

'Make Sure You Die Screaming roars to life from page one and never lets up. It's a Fear and Loathing for the generation devastated by the generation that brought us Fear and Loathing.' Torrey Peters, author of Detransition, Baby

'Zee Carlstrom's chaotic joyride had me holding on for dear life. This iconic road-trip novel is a balm for a bleak, uncertain world.' Vanessa Walters, author of The Lagos Wife

'I loved every loud, messy page. Zee Carlstrom is the first writer to make me feel better about my own life choices.' Sam Irby, author of Wow, No Thank You

'Make Sure You Die Screaming is the debut novel our country needs (but doesn't deserve). It's a tight little banger about the shared delusion of family that left my heart, as Zee Carlstrom's head-wounded narrator would say, "as full as my bladder", because putting it down long enough to pee was out of the question.' Ruth Madievsky, bestselling author of All-Night Pharmacy

'Zee Carlstrom's debut blends asphalt-black comedy with the greasy darkness pervading the nuclear family, the workplace, and the US itself. They should hand this book to anyone who leaves a hair salon with a mullet on purpose.' Calvin Kalsulke, author of Several People Are Typing

'Whether you're grieving a person or a country, Make Sure You Die Screaming is the novel for you.' Holly Wilson, author of Kittentits

First published in 1961, The Way to Colonos recasts three seminal plays by Sophocles into tales of modern women and warfare, probing their characters with savage intimacy. Antigone a stylish woman in her thirties wheeling her father, Oedipus, onto the ferry to Colonos, is disgusted by his self-absorption, guilt, and evasions. A suburban Electra dreams of a bloody confrontation with her mother, Clytemnestra, that may never come to pass. Philoctetes, a castaway soldier, navigates shifting allegiances in a guerrilla war that divided Greece after World War II.

As Rachel Cusk writes in her foreword to this new edition, Cicellis was a woman before her time, whose work written in English, her second language offers particularly 'shocking insight into the secret lives of young women' and is only now 'free to reach readers with an appetite for female artistic authority, who wish to see the world through sharp fresh eyes.'

Rachel Cusk is the author of Second Place, the Outline trilogy, the memoirs A Life's Work and Aftermath, and several other works of fiction and nonfiction. She is a Guggenheim Fellow. She lives in Paris.

Zarah Butcher-McGunnigle's Leaves Fall Off to Create Drama is a collection of prose poems that invites the reader to consider the relationships between internalised beliefs and the development of illness, drawing on psychology texts and the language of self-help, and the exploration of character traits and dramatic tropes. Wheels fall off to create drama. Through shifting frames of reference, wordplay, aphorism, and inversions, the poems reform, unfold and rebound to create a collage of melancholy and comic transformations. One thing leads to a mother. Butcher-McGunnigle's poems explore the relationship between unexamined subconscious thinking and physical and mental health, resisting singular, fixed meanings and inviting the reader to reflect on their own experiences.

Praise for Nostalgia Has Ruined My Life:

'Full of moments that, to me, are perfect...consummately whole, exactly right, every element in glowering harmony, as densely fixed as a neutron star.' Ursula Robinson-Shaw, Sydney Review of Books

In Nostalgia Has Ruined My Life, an unnamed young woman in her late twenties navigates unemployment, boredom, chronic illness and online dating. Her activities are banal - applying for jobs, looking up horoscopes, managing depression, going on Tinder dates.

'I want to tell someone I love them but there is no one to tell,' she says. 'Except my sister maybe. I want to pick blackberries on a farm and then die.' She observes the ambiguities of social interactions, the absurd intimacies of sex and the indignity of everyday events, with a skepticism about the possibility of genuine emotion, or enlightenment. Like life, things are just unfolding, and sometimes, like life, they don't actually get better. Zarah Butcher-McGunnigle's novella-in-fragments blends artifice with sincerity, is darkly funny, and alive to the incongruous performance that constitutes getting by.

'Written in a fragmentary form reminiscent of Renata Adler, Nostalgia Has Ruined My Life, Zarah Butcher-McCunningle's deadpan fiction debut, documents an unnamed young protagonist's listless existence in an unnamed city. The book's droll dispatches from daily life under late capitalism recall the writing of the author's New Zealand contemporaries Hera Lindsay Bird and Eamonn Marra, but Butcher-McCunnigle's distinctive voice is her own... Nostalgia Has Ruined My Life is a grimly funny rendering of the absurdity of life in the 2020s-an era in which, with nowhere to turn, the hopeless millennial turns in on herself.' - Kelsey Oldham, Books+Publishing

Praise for Autobiography of a Marguerite:

'Workbook for surviving illness, guide to familial dysfunction and an intersection between fact and fiction...one of the most innovative New Zealand books published in recent years.' - Booknotes 'Books of the Year'

'The writing goes to the aching heart of disconnection and of longing for repair...Butcher-McGunnigle has created a crooked beauty out of shards.' - takah magazine

'One of the most innovative New Zealand books published in recent years.' Siobhan Harvey, Booknotes 'Books of the Year 2014'

'Astonishing...This poetry is unlike anything I have seen.' Paula Green

'A grand achievement. The writing goes to the aching heart of disconnection and of longing for repair...Butcher-McGunnigle has created a crooked beauty out of shards.' Sue Wootton, Takahe

This rich, elegiac compilation of work from the late Palestinian poet and professor, Refaat Alareer, brings together his marvellous poetry and deeply human writing about literature, teaching, politics, and family.

The renowned poet and literature professor Refaat Alareer was killed by an Israeli airstrike in Gaza City alongside his brother, sister, and nephews in December 2023. He was just forty-four years old, but had already established a worldwide reputation that was further enhanced when, in the wake of his death, the poem that gives this book its title became a global sensation. 'If I Must Die' is included here, alongside Refaat's other poetry.

Refaat wrote extensively about a range of topics: teaching Shakespeare and the way Shylock could be appreciated by young Palestinian students; the horrors of living under repeated brutal assaults in Gaza, one of which, in 2014, killed another of his brothers; and the generosity of Palestinians to each other, fighting, in the face of it all, to be the one paying at the supermarket checkout.

Such pieces, some never before published, have been curated here by one of Refaat's closest friends and collaborators. This collection forms a fitting testament to a remarkable writer, educator, and activist, one whose voice will not be silenced by death but will continue to assert the power of learning and humanism in the face of barbarity.

Through the dialogue of two consciousnesses intimate, questioning, and profoundly attuned Jaireth explores the porous boundaries between the human and the elemental. Rivers become voices, rocks become listeners, and words themselves turn liquid, carrying echoes of the world's oldest stories.

A work of rare beauty and wisdom, Lamentations is both a hymn to water and a quiet reckoning with what it means to belong to a place, to another, and to the earth itself.

His published works include three books of poems: Golee Lagne se Pahle (Before the Bullet Hit Me) (Vani Prakashan, 1994); Unfinished Poems for Your Violin (Penguin Australia, 1996); Yashodhara: Six Seasons Without You (Wild Peony, 2003); and five books of prose fiction and non-fiction: To Silence: Three Autobiographies (Puncher & Wattmann, 2011); After Love (Transit Lounge, 2012); Moments (Puncher & Wattmann, 2014); Incantations (Recent Work Press, 2016).

His most recent books include a collection of essays titled Spinoza's Overcoat: Travels with Writers and Poets (Transit Lounge, 2020), which won the 2021 ACT Book of the Year, a book of translation from Hindi, Rain Clouds: Love Songs of Meerabai (Recent Work Press, 2020), Aflame (Gazebo Books/Life Before Man, 2021), and George Orwell's Elephant and Other Essays (Gazebo Books, 2024).

A Little Better Elsewhere is a poignant anthology that grapples with the complexities of nostalgia. From intimate reflections on childhood innocence to powerful depictions of grief, love and change, this collection of short stories, essays and poetry celebrates the diverse insights of Australia's emerging writers.

With a foreword written by Sarah Ayoub, A Little Better Elsewhere weaves together experiences of joy, longing, sadness and comfort, challenging us to consider whether nostalgia helps us make peace with the past or keeps us trapped in its shadow.

Sarah Ayoub is a freelance journalist and best-selling author based in Sydney. Sarah attained her PhD with a thesis examining migrant narratives in Australian teen lit and currently lectures in journalism and writing at the University of Sydney and the University of Notre Dame. She has been a Stella Prize Schools Ambassador, hosted writing workshops with the Australian High Commission in Brunei, and most recently been a judge for the NSW Premiers Literary Awards. She is a former writer-in-residence of Sweatshop Literacy Movement and currently sits on the board of the Australian Society of Authors. Her work has appeared in various print and online publications. Her books include Hate is Such a Strong Word, and The Yearbook Committee and The Cult of Romance.

First published in 1927, this novel by husband-and-wife writing duo Rosalie and Edward Synton (real surname Corse-Scott) has been lost for nearly a century and returns now from the Library collections to deliver its occult thrills anew.

'Very little human company,' she replied.

On a moonlit night, a wearied traveller dressed as the Devil calls at the mossy gates of Holcot Grange. Fleeing some bloody misadventure in London, the stranger claims to be heir to the manor which for generations has remained lordless. But among its benighted tenants the enthralling beauty Julia Roseingrave has been waiting and now her means of escape has arrived. As whispers of witchcraft echo through the grounds and the boundaries between lord and servant fray, a cursed romance begins to smoulder and the spectre of death draws near.

First published in 1933, this historical novella of Gothic love returns to print alongside six deliciously dark short tales from the British Library vaults, bubbling with wickedness and the occult.

What are they going to do with that boy? A large farm family has been cursed: they have a son with artistic talent! Yet it's a very specific calling: he's obsessed with drawing cats. When they pack him off to the temple for some serious monk training, his doodling only increases.

But talent and fortitude save the day. Threatened by a ferocious rat goblin, his fantastic felines come to life in the night and defend their creator. These artsy kittens have real claws!

A powerful testament to being yourself and finding your true calling, The Boy Who Drew Cats will delight readers of all ages. Lafcadio Hearn's classic retelling finds the perfect pairing in Kreituse's fabulous and whimsical artwork.

Anita Kreituse is a Latvian artist, painter and illustrator. She worked as a magazine art director, book illustrator, illustrator for package design, stage and costume designer and is a member of Aritsts' Union of Latvia since 1992 and has participated in numerous important art exhibitions. Her illustrations of Puika, kas zimeja kakus (The Boy Who Drew Cats) were nominated for Janis Baltvilks Prize in 2017.

This definitive bilingual edition of Chuya Nakahara (1907-1937) brings the most dynamic voice in Japanese early Modernist poetry to English-language readers. Goat Songs and Songs of Bygone Days the two volumes that Chuya prepared for publication during his brief lifetime are presented in luminous translations by poet Christian Nagle that capture the music, formal integrity and soul of the original poems.

With an extensive biographical and critical introduction, foreword by leading Chuya scholar Mikiro Sasaki, rare archival photographs and informative notes, this volume offers an indispensable gateway to one of Japan's most brilliant writers.

With free online audio recordings of the poems in Japanese and English.

Christian Nagle, PhD, is a poet, musician and filmmaker. His award-winning work has appeared in Esquire, The Paris Review, The Kenyon Review, Raritan, Subtropics, AGNI, and other leading publications. For more than two decades he has divided his time between Tokyo and Alexandria, Virginia, translating the poetry of Chuya Nakahara and co-directing The Brothers Murasaki film group, whose documentaries about Japanese culture include Carriers and Six Beats to Heaven.

Mikiro Sasaki is a poet and leading authority on Chuya Nakahara. He is the editor of Chuya's collected works and the author of Chuya Nakahara: The Music of Silence, as well as over ten volumes of poetry, essays and criticism.

Whether you're a die-hard gearhead or a lover of cinematic spectacle, this collector's edition is a must-have tribute to the artistry of F1 The Movie and the adrenaline-fuelled world of FORMULA 1 itself. Through in-depth interviews with director Joseph Kosinski and producer Jerry Bruckheimer (Top Gun: Maverick), star and producer Brad Pitt, and cast members Damson Idris, Javier Bardem and Kerry Condon, readers will discover how Hollywood's biggest filmmakers and stars brought the world of FORMULA 1 to the big screen. From casting and training, to innovative filming techniquest, to filming at actual Grand Prix events around the world, the book reveals how precision, preparation, and passion collided in this groundbreaking production.

Packed with stunning and exclusive photos of the film and its production, storyboards, concept drawings, and behind-the-scenes imagery of the cars and the featured racing tracks, props, costumes, set designs and much more, F1 The Movie is both a celebration of an epic film and an homage to FORMULA 1.

F1 The Movie also includes special 'under the hood' access that will appeal to FORMULA 1 fans, delving into the cutting-edge engineering and innovation that define the sport of racing. Racing enthusiasts and cinephiles will revel in explorations of the cars' design and capabilities, from detailed sketches, to interviews with the design team, to exclusive documentation of the film's scenes at Grand Prix weekends, and beyond.

Considered to be one of America's first ghost stories, the 1820 short story follows a schoolteacher who is competing against a farmer for a woman's hand. One night, he is haunted by the ghost of a headless horseman.

Inspired by folk stories he'd heard when travelling abroad, Washington Irving incorporated themes of superstition and greed into the short story. The legend has been celebrated for 200 years, and every Halloween, the headless horseman can be seen in the village of Sleepy Hollow.

These portraits and self portraits offer glimpses into the poet's own everyday life from nit-combing and laundry to pollen counts and cocktails, watching school plays to shopping on Rye Lane all whilst in conversation with female poets through the ages.Playing with forms from the version to the glosa, these are poems that remix, adapt and channel figures from Enheduanna, the first recorded poet, through to Wanda Coleman. Probing the idea of the 'Poetess' over time, there are also poems about writers' lives sonnets for Anne Locke, who wrote the first English sonnet sequence; a sestina for Elizabeth Bishop; a series of prose poems about Emily Bronte; and a look at the tragic life of L.E.L.

Whether imagining a 'three-martini afternoon' at the Ritz with Sylvia Plath and Anne Sexton, or exploring the ways women writers have been erased from the canon in the book's long, closing poem, Clare Pollard's playful sixth collection celebrates and commemorates all those female poets who have come before.

What does love look like when you are not interested in sex?

Growing up, Caitlin Cook knew the recipe for social success from watching television and reading books: two best friends, two enemies, and a boyfriend. So she arranged her life accordingly: making friends and dreaming of the boys she met in school.

But she felt that inside, something was wrong with her. Because though she wanted to get close to people, every time she experimented with sex, she just felt bored.

This graphic novel follows Caitlin Cook, who is asexual but does not yet fully realise it. From evangelical purity politics to the footloose college campus, Caitlin navigates different worlds each with their own sexual orthodoxies, and clumsily attempts to fit into each of them. A thoughtful and immersive coming-of-age memoir about one girl's struggle to figure out and then claim her asexual identity.

MONKEY New Writing from Japan is an annual anthology that showcases the best of contemporary Japanese literature. Vol. 6 celebrates HORROR, from demons and ghosts to the myriad existential and environmental fears that come with living in our troubled times. MONKEY offers short fiction and poetry by writers such as Haruki Murakami, Yoko Ogawa, and Hiromi Kawakami; graphic stories by Satoshi Kitamura; new translations of modern classics; and contributions from authors outside Japan.

Motoyuki Shibata translates American literature and runs the Japanese literary journal MONKEY. He has translated Paul Auster, Rebecca Brown, Stuart Dybek, Steve Erickson, Brian Evenson, Laird Hunt, Kelly Link, Steven Millhauser, and Richard Powers, among others. His translation of Mark Twain's Adventures of Huckleberry Finn was a bestseller in Japan in 2018. His recent translations include Eric McCormack's Cloud and Jonathan Swift's Gulliver's Travels. He is professor emeritus at the University of Tokyo.

Set against a backdrop of Australia's central deserts, The Dingo's Noctuary explores themes of identity, belonging, and the fragile threads that connect all living beings. At the heart of the tale is a soul's dark night, the flight of a lady motorcyclist, in the prime of her invisibility, and her mongrel dingo Moon, into the Tanami desert. She's searching for a caravan of miraculous dog-headed beings, glimpsed in dreams and the dementia tales of an old desert lady.

The Dingo's Noctuary is an illustrated verse novel, complete at 70,500 words. It includes accurate hand drawn maps of the Australian central deserts, pressings of rare plants, and forty-seven lumachrome glass prints, afterlife portraits of animals and birds. The story unfolds through combinations of poetry and prose, alongside visual images- maps of land and stars, plant pressings, and forty-seven afterlife portraits of animals and birds. It is a single-authored book in which the images and texts are equally weighted. The book was written over thirty-seven desert crossings, sometimes on the motorcycle with the dog on the back. The entire second half of the book was written on a typewriter after a motorcycle crash (the unsuccessful 37th crossing) left me unable to use a computer. I made a motorcycle blog about one of the journeys in this book here https://judithnangalacrispin.medium.com.

Work from The Dingo's Noctuary has received a number of awards and prizes including the 2023 Sunshine Coast Art Prize and the 2020 Blake Prize for Poetry. It was highly commended in the 2023 Mullins Conceptual Photography Prize and shortlisted for the 2023 Milburn Art Prize, the 2023 and 2025 Ravenswood Prizes for Australian Women's Art, and the 2019 Olive Cotton Prize. Images and texts from this book were included in the Lunar Codex time-capsule which was deposited on the moon as part of the Blue Ghost mission in 2024. A mock-up of the complete book was shortlisted for the 2023 Arles Luma Recontres Dummy Book Prize.

Ender Bakan's debut poetry collection depicts the intensity of life as a parent of young children. It maps the shifting trains of thought which go with the experience of being a new parent, when one's attention is drawn in many different directions between child-rearing and house-keeping, domestic crises, the need to earn a living, and the responsibilities you have to the past as well as to the future, to your own parents and grandparents, as well as to your children. Work, friendships, social life and creative practice are all altered. The poet reflects on his own childhood, and his grandparents' exile from their homeland in Turkey, to which he returns several times in the course of the book, with his own young family. But there is also an increased awareness of the future, not only to the world his children will grow up in, but to the kind of world that is being built right now, in homes, workplaces, and in social and political allegiances.

Perhaps most tellingly, since Ender Bakan is a poet, he is subsumed in the flood of language, as it emerges from the mouths of his youngsters, indeed from his own mouth, as he talks to them. Words and sounds and the effects of language come to the fore. The imagination of children lends its own wonder and surrealism to that of the poet. His writing is direct, playful, absurd, staunch and political. In these respects, Bakan follows in the footsteps of the previous generation of Australia's poets of migrant background, all of them masters of language Pi.O., Chris Mann, Antigone Kefala and above all the late Ania Walwicz, his close friend and mentor.

'Two Hundred Million Musketeers is a compelling debut which weaves the idiosyncrasies of the world into its pages. Bakan's poetics are lively and utterly ungovernable, in his refusal to bend to the idea of what a poetry collection should be. Bakan's spirited stream-of-consciousness invites the reader into the family of this collection, by drawing from the imaginative language of children, the peculiarities of waged labour and the return to his ancestral home of Turkey. The lived world, with its clamour and complexity, spills out of the book in unexpected ways.' VPLA judges' report

KONTRA enacts a poetics of clashing decadences, testing the tightrope between 'feminine' goodness and deviance, desire and refusal, reverence and repulsion. It casts a female gaze on the kontrabida a Filipina soap opera villain stuck in a rise-and-fall cycle. The poet reimagines the kontrabida as a figure driven not by revenge, but by wild desire. Oscillating in and out of character, Andrada navigates the tension between poet and persona. Alongside the shapeshifting, spectral force of the kontrabida, the poet invokes a chorus of voices to trace a lineage of opposition and the alternate futures it holds.

The collection is in the form of a narrative triptych. The opening section 'KONTRA' explores the power and fate of the oppositional figure. In 'OPER', two characters speak alongside each other to excise painful histories of domination and sexual assault; which moves us forward to the final section 'BIDA', to a more genuine, queer persona that is free from domination.

Praise for Eunice Andrada:

'Brilliant and devastating, TAKE CARE is no doubt one of the most important poetry releases in years, weaving complex themes with intelligence and innovation of form...A poet whose courage is necessary and whose words we all need.' Ellen van Neerven

'TAKE CARE is the live wire of poetry that does not spare us...each poem both a surrender and a severing, each page an urgent demand we do not look away from violence, from its banal to its most grotesque, and each word filled with as much purpose and energy as it is with tenderness and care.' Sara Saleh

The much-anticipated follow-up to acclaimed graphic novelist Lee Lai's Stella-shortlisted Stone Fruit, a funny, dark, emotionally turbulent slice of friendship strife.

We arrive to wreckage a restaurant smashed to rubble, with tables and chairs upended riotously. Under the swampy nighttime cover of a Montreal heatwave, we meet our protagonist, Cannon, dripping in beads of regret sweat. She was supposed to be closing the restaurant for the night, but instead, she destroyed it. The horror-scape left in her wake is not unlike the films Cannon and her best friend, Trish, watch together. Cooking dinner and digging into deep cuts of Australian horror movies on their scheduled weekly hangs has become the glue in their relationship. In high school, they were each other's lifeline two queer second-generation Chinese nerds trapped in the suburbs. Now, on the uncool side of their twenties, the essentialness of one another feels harder to pin down. Yet when our stoic and unbendingly well-behaved Cannon finds herself very uncharacteristically surrounded by smashed plates, it is Trish who shows up to pull her out

In Cannon, Lee Lai's follow-up to the critically acclaimed and award-winning Stone Fruit, the full palette of a nervous breakdown is just a part of what is on offer. Lai's sharp sense of humour and sensitive eye produce a story that explores the intimacy of queer friendship and weight of family responsibility, and breaks open the question of what we owe both to each other and to ourselves.

'In Cannon, Lee Lai has performed a rare and powerful act of alchemy the images, narrative, and writing not only capture a life, but combine so that the book itself feels alive.' Torrey Peters

'Beguilingly drawn, Cannon depicts a wide spectrum of adulthood with nuance and complexity. From one story unravels many stories, about friendships, situationships, work, familial obligations. I was struck by its attention and care.' Ling Ma

'A beautifully drawn slice of life, filled with the kind of intimate, specific details that make the best fiction seem autobiographical.' Adrian Tomine

'It's rare, and precious, when a moment in a movie, in a poem, in a comic surges up at you as being True. And in Cannon, Lee Lai does it again and again.' Eleanor Davis

Spaceships aren't programmed to seek revenge but for Dracula, Demeter will make an exception. Demeter just wants to do her job: shuttling humans between Earth and Alpha Centauri.

Unfortunately, her passengers keep dying and not from equipment failures, as her AI medical system, Steward, would have her believe. These are paranormal murders, and they began when one nasty, ancient vampire decided to board Demeter and kill all her humans. To keep from getting decommissioned, Demeter must join forces with her own team of monsters: A werewolf. An engineer built from the dead. A pharaoh with otherworldly powers. A vampire with a grudge. A fleet of cheerful spider drones. Together, this motley crew will face down the ultimate evil Dracula.

The queer love child of pulp horror and classic sci-fi, Of Monsters and Mainframes is a dazzling, heartfelt odyssey that probes what it means to be one of society's monsters and explores the many types of friendship that make us human.

'A really charming and fun reworking of the Dracula story.' Sian Cain, The Guardian Australia

'This is absolutely one of my favourite reads ever it's adventurous, imaginative, emotional, humorous, palpably queer and full of characters that I would follow into the furthest reaches of space just for the banter. Anyone who loves imaginative fiction full of adventure and lovable characters will love this book.' Jemimah Brewster, ArtsHub

'I'm normally not too interested in reboots and remakes (God knows we are in a crisis of unoriginality right now) but this bonkers re-telling of Dracula has me intrigued.' Soaliha Iqbal, Missing Perspectives

He can, if he is accompanied by a black rooster, his protector and friend. And if he is Martin, orphaned after a massacre, full of wisdom, courage and a pure heart. Too good for the selfish and idiotic villagers around him, his integrity entrances an itinerant painter with whom he departs on a quest. His heroic adventures through a morally abhorrent landscape, physically ravaged by war and famine, keep the reader cheering for him and his companion as this fairy tale for adults unfolds.

Set against a pseudo-medieval post-apocalyptic backdrop reminiscent of Cormac McCarthy, Angela Carter and Missouri Williams, this bestselling novel shines with the inner radiance of good deed in a naughty world that will leave you haunted, horrified, and completely riveted.

'This novel is a danse macabre, a memento mori, a vision of good and evil pared down to the bones. Boy with a Black Rooster beckons the reader into a nightmare landscape of war, famine, plague and madness, and Stefanie vor Schulte's storytelling verve is such that we make the journey gladly.' Sam Thompson, author of Communion Town, Longlisted for the Man Booker Prize 2012

'Wow, what a book! Fabular but true, this meticulously crafted and deceptively simple tale stole my heart, broke it, and put it back together again. Vor Schulte is unflinching in her depiction of the worst of humankind, its cruelty and violence, but she also shows how love and kindness can flourish in even the darkest times. A beautiful, heart-rending book.' Victoria MacKenzie, author of For Thy Great Pain Have Mercy On My Little Pain

'This appears light as a feather, yet elaborately crafted all the same.' Rose-Maria Gropp

'It feels like an old story, one of those that stays with you forever, but every part of it is surprising and wonderful. I want to go straight back and read it all again.' Sin Hughes, author of Pearl

'A debut that is both admirable and truly unique.' Jean-Baptiste Hamelin, Page des Libraires

'Halfway between macabre tale and surrealist epic.' Camille Thomine, Lire magazine litteraire

Alexandra Roesch studied languages and business and worked in banking before becoming a literary translator. In 2018, she was long-listed for the Goethe Institute's Helen & Kurt Wolff Prize. Previously translated authors include Hans Fallada, Seraina Kobler and Merle Krger.

Four young, Palestinian journalists at a Jordanian newspaper are tasked, on account of their heritage, with profiling one of the last living witnesses of the Nakba, the violent expulsion of native Palestinians by the nascent state of Israel in 1948. Confident that the old man will be all too happy to go on record, the reporters are nonplussed when they are repeatedly, and obscenely, rebuffed. This living witness to history, this secular saint, has no desire to be interviewed, no desire for his memories to be preserved, no desire to serve as an inspiration for the youth of tomorrow. What he wants is to be left alone.

As threats from the team's editor-in-chief put more and more pressure on the journalists, they must decide just how far they're willing to go to get the old man on the record. After all, what possible weight can one stubborn demand for privacy have when balanced against the imperative to bear witness?

Omar Khalifah's debut novel Sand-Catcher is at once a polyphonic satire and a tightly plotted tale of suspense. Walking the line between gallows humour, rage, and depthless heartbreak, it is a unique reflection of contemporary Palestinian identity in all its facets.

Barbara Romaine is an academic and literary translator. She has published translations of five novels, most recently Waiting for the Past (Syracuse University Press, 2022), by the Iraqi novelist Hadiya Hussein. She has held two NEA fellowships in translation, one of which was for her work on Radwa Ashour's Spectres (Interlink Books, 2011). Spectres went on to place second in the 2011 Saif Ghobash-Banipal international translation competition. Romaine's translations of essays, short stories, and classical poetry have appeared in a variety of literary periodicals.

More than a hundred years have passed since the Smi were forcibly displaced from their homes in northern Norway and Sweden, a hundred years since Elin Anna Labba's ancestors and relations drove their reindeer over the strait to the mainland for the last time. The place where they lived has remained empty ever since. We carry our homes in our hearts, Labba shares, citing the Smi poet illoha. How do you bear that weight if you were forced to leave? In a remarkable blend of historical reportage, memoir, and lyrical reimagining, Labba travels to the lost homeland of her ancestors to tell of the forced removal of the Smi in the early twentieth century and to reclaim a place in history, and in today's world, for these Indigenous people of northern Scandinavia.

When Norway became a country independent from Sweden in 1905, the two nations came to an agreement that called for the displacement of the Northern Smi, who spent summers on the Norwegian coast and winters in Sweden. This "dislocation," as the authorities called it, gave rise to a new word in Smi language, bggojohtin, forced displacement. The first of the sirdolaat, or "the displaced," left their homes fully believing they would soon return. Through stories, photographs, letters, and joik lyrics, Labba gathers a chorus of Smi expression that resonates across the years, evoking the nomadic life they were required to abandon and the immense hardship and challenges they endured: children left behind with relatives, reindeer lost when they returned to familiar territory, sorrow and estrangement that linger through generations.

Starkly poetic and emotionally heart-wrenching, this dark history is told through the voices of the sirdolaat, echoing the displacements of other Indigenous people around the world as it depicts the singular experience of the Northern Smi. For her extraordinary work, Labba was awarded Sweden's most important national book prize in 2020, the August Prize for Best Nonfiction.

Fiona Graham is a British translator living in Belgium. She translated Elisabeth sbrink's 1947: When Now Begins, which was an English PEN award winner and a National Public Radio Best Book of the Year.

The stories in Purity take the reader through cities and suburbs, apartments and streets, to find characters struggling to survive in modern society: a man has an outburst on a bus; a fugitive finds insight in a colour wheel; a social realist kills his friend with a hammer; a thief finds himself in books. And cleaners reluctantly go on cleaning.

With gravity and humor, against the backdrop of a violent civilisation, people are depicted as fallen, or waiting to fall, rendered by Tich with the fury, compassion and emotional complexity of Kendrick Lamar.

Nichola Smalley is a translator of Swedish and Norwegian literature. Her translation of Andrzej Tich's novel Wretchedness won the 2021 Oxford-Weidenfeld Prize, and was longlisted for the 2021 International Booker Prize and shortlisted for the 2021 Bernard Shaw Prize. She has a PhD in the use of slang in contemporary Swedish and English literature.

Set between the Blue Mountains and a Sydney hospital, Lisa Kenway's All You Took From Me is a thriller brimming with great characters and nail-biting tension.

Anaesthetist Clare Carpenter has just lost her husband and her memory in a single-vehicle accident. So why is a stranger following her? After questioning patients about their dreams, she becomes convinced that an anaesthetic drug might help her access missing memories. But there's no way to be certain without jeopardising her career or her life.

As unexplained threats escalate, Clare realises she must take matters into her own hands to learn the uncomfortable truth about her secretive husband, his connection to a mysterious club and what she did to trigger a stranger's crusade for vengeance. But how far will she go?

'Truly exciting. It's a rare treat to read a book that I am still thinking about long after the last page - the surprising reveals are both earned and satisfying. Readers are destined to fall in love with the ways Kenway brings such expertise and a unique perspective to the psychological thriller genre.' - Shelley Burr, author of Wake and Ripper

'A taut psychological thriller with a driving plot, All You Took From Me interrogates the limits of memory, both lost and recovered. From its compelling opening mystery, every page bristles with threat and intrigue.' - Ashley Kalagian Blunt, bestselling author of Dark Mode

'Kenway brings an exciting level of insider authenticity to this simmering drama about an anaesthetist struggling to make sense of a life unspooling in the aftermath of a tragic accident. Tense, twisty and unique, this is an unforgettable debut.' - Anna Downes, author of The Safe Place and Red River Road

'I found myself first pulled in by the prose - Kenway writes like a dream - but soon I was consumed by the mystery at the heart of the story the question of where we go and what happens to us under the narcotic oblivion of anaesthesia. Charged with menace and paranoia, this is a masterfully plotted psychological thriller.' - J. P. Pomare, author of In The Clearing and 17 Years Later

When Bernie Rodgers and her husband move to the coastal town of Ballina, she finds that there is more than a physical distance separating her from her adult daughters. Bernie loves her daughters, but the problem she realises is with the way she loved them.

Bernie's daughter Susie is professionally successful, but her feelings remain distant, even to herself. When she takes on the responsibility for caring for her niece, the pieces of her life finally snap into place. The inexplicable disappearance of an aeroplane though, plunges her life into mystery once again.

Morally acute and dazzlingly accomplished, this is an affecting novel about loneliness, love, family and the need to feel.

'Deeply rewarding. Shirm dances with a light step across the delicate territory between laughing and weeping.' - Helen Garner

'Deft, original and clever; this novel unfolds a drama of family distance, kindness and the surprising endurance of love.' - Gail Jones

In a novel haunted by the strangeness and yearnings of a displaced community both beautiful and fractured Ch'anzu is forced to confront hir many demons. Back in the city, brother Tex has gone missing. In Serengotti violence and infidelity simmer.

This is a novel bathed in sensuous, original language, a love letter to the strong women who bind families together despite everything. It's also a tender remembrance of the many who haven't or couldn't survive the dislocations and tragedies of their turbulent pasts.

'Thrillingly alive, visceral, funny, and poetic, this is a story of what happens after your world falls apart, and you are forced to piece together a new one - a bittersweet tale of love, desire and kin, of what we carry and what holds us afloat. A novel that dances with a haunted grace, with characters who will sear themselves into your memory.' - David Carlin, award-winning author and editor of eight books, including The After-Normal, Our Father Who Wasn't There and AZ of Creative Writing Method

'An energetic, provocative exploration of racial identity, sexuality and the crucial need for community. The novel brilliantly combines crime and romance, gritty realist dialogue and sumptuous language, caustic humour and emotional gravity, to evoke different and unexpected ways of seeing and being in the world.' - Susan Midalia, award-winning author of A History of the Beanbag, An Unknown Sky and Feet to the Star

'Bacon's voice is unique. Her African Australian perspective resonates ... Characters living on the edge, love lost and found, here's a story of striking honesty.' - Anne Maria Nicholson, journalist and author of Poker Protocol, Pliny's Warning and Weeping Water

Eugen Bacon is an African Australian author of several novels and fiction collections. She's a finalist in the 2022 World Fantasy Award. Eugen was announced in the honour list of the 2022 Otherwise Fellowships for 'doing exciting work in gender and speculative fiction'. Her short story collection Danged Black Thing made the 2021 Otherwise Honor List. Eugen has won, been longlisted or commended in international awards, including the Aurealis Award, Foreword Indies, Bridport Prize, Copyright Agency Prize, Horror Writers Association Diversity Grant, Otherwise, Rhysling, Elgin, Australian Shadows, Ditmar Award and Nommo Awards for Speculative Fiction by Africans. Visit her website at eugenbacon.com and Twitter feed @EugenBacon

Overcome with guilt about a love affair she can't give up, Anna confesses to her husband, Brendan. He is shocked and devastated but makes the unusual decision to try to accept the lover, Jeremy, as part of their family.

Told from three perspectives, Double Happiness is a story about sex, honesty and jealousy and the challenges of forging a new kind of romance.

Set in Melbourne over seven years, this lyrical contemporary love story explores the complexities of non-monogamy with humour and heart, asking what it's like to love two, or more, people equally but differently. What is the effect of time on erotic love? And what happens when your new lover wants someone else too

'Fascinating, fearless and frank.' Paul Dalgarno, author of A Country of Eternal Light

'Rochelle Siemienowicz dissects with surgical precision the murky territory of the 'happily ever after', and does so with wisdom, humour and grace. Her lyrical and oh-so-sexy novel does what best novels do makes you think deeper about how to live your own life. Double Happiness is a sophisticated, mature debut and Siemienowicz is a dazzling writer.' Lee Kofman, author of The Writer Laid Bare, The Dangerous Bride

'Wise, affecting and damned sexy.' Dmetri Kakmi, author of The Door and Other Uncanny Tales

The book opens with her gently rolling up a swimsuit. A beginning swimmer, she loves going to the pool, eavesdropping on conversations in the changing room, shopping for swimsuits. As this routine pleasure is revoked, the small loss stands in for the greater one. But Xi Xi's mourning begins to take shape as a form of activism. In a conversational, even humorous, manner, she describes her previous blinkered life of the mind before she came into her body and learned its language.

Addressing her reader as frankly and unashamedly as an old friend, she coaxes and confesses, confronts society's failings, and advocates for a universal literacy of the body. Mourning a Breast was heralded as the first Chinese-language book to cast off the stigma of writing about illness and to expose the myths associated with breast cancer. A radical and generous book about creating in the midst of mourning.

'Using language that was deceptively simple, almost childlike, Xi Xi infused her fiction and poetry with eclectic references to literature, cinema, art, architecture and fairy tales...Her work captured the unease of Hong Kong's transition to Chinese rule, gave voice to the city's children and working-class residents, and helped put it on the literary map.' - New York Times

**Winner, Victorian Prize for Literature 2024**

**Winner, Victorian Premier's Literary Awards 2024, Poetry**

When Ping leaves Hong Kong to live in the South Island of Aotearoa New Zealand, she discovers that life in the Land of the Long White Cloud is not the prosperous paradise she was led to believe it would be. Every day she works in a rat-infested shop frying fish, and every evening she waits for her wayward husband, armed with a vacuum cleaner to 'suck all the bad thing out'. Her four children are a brood of monolingual aliens. Eldest daughter Cherry struggles with her mother's unhappiness and the responsibility of caring for her younger siblings, especially the rage-prone, meat-cleaver-wielding Baby Joseph.

Chinese Fish is a family saga that spans the 1960s through to the 1980s. Narrated in multiple voices and laced with archival fragments and scholarly interjections, it offers an intimate glimpse into the lives of women and girls in a community that has historically been characterised as both a 'yellow peril' menace and an exotic 'model minority'.

'a major poetic work of feminist, so-called 'minority' writing, its originality and brilliance more than earning its space alongside such works as Kathleen Fallon's Working Hot, Gloria Anzalda's Borderlands, and Alison Whittakers's BlakWork.' - Marion May Campbell

'As visually provocative as it is poetic, Chinese Fish portrays the fractured, multilayered, imperiled body of the immigrant story in a stunning work of genre-bending prose poetry. Yee has given the Chin family a literary resting place as complex and as searing as the New Zealand in which they survived.' - Juli Min

'an unflinchingly honest look at life behind closed doors, where resentment simmers, generations clash, and individual dreams are set aside for the interests of family.' - Chris Tse, New Zealand Poet Laureate

'There's a wry humour to the book, sometimes shocking, but often subtle. The narrative is epic, fragmentary and suggestive.' - Andy Jackson, Meanjin

Grace Yee lives in Melbourne, on Wurundjeri land. Her poetry has been widely published and anthologised across Australia and internationally, and has been awarded the Patricia Hackett Prize, the Peter Steele Poetry Award, a Creative Fellowship at the State Library Victoria, and grants from Creative Victoria and the Australia Council for the Arts. Grace has taught in the Writing and Literature Program at Deakin University, and in the Creative Writing Program at The University of Melbourne, where she completed a PhD on settler Chinese women's storytelling in Aotearoa New Zealand. graceyeepoet.com

Twining the drama of the everyday school-age crushes, paying bills, the sickness of parents with the surreal rivers of thighs, men for sale, and fields of throats Cassie's realities alternate to create a blurred, fantastic world of haunting beauty.

'I loved every page of this gorgeous, grotesque, heartbreaking novel.' Carmen Maria Machado, author of Her Body and Other Parties

'The Book of X traverses the mundane and the surreal from grocery lists to blooming meat, menstrual blood to a jealousy removal shop laying bare the absurdities of womanhood. A truly original writer, Etter continues to push the boundaries of her imagination...and ours.' Melissa Broder, author of Death Valley

'Utterly unique and remarkable...Sarah Rose Etter takes the surreal and expertly shapes it into a portrait that is as beautiful and compelling as it is horrifying and unbearable...Etter brilliantly, viciously lays bare what it means to be a woman in the world, what it means to hurt, to need, to want, so much it consumes everything.' Roxane Gay, author of Bad Feminist

'Insightful and incisive, this book cuts deep into the failing heart of the feminine mystique.' Amelia Gray, author of Isadora

'Sarah Rose Etter is a visionary. Perfectly paced, structurally audacious, and endlessly inventive, The Book of X is our new Revelation.' Scott McCLanahan, author of The Sarah Book

Julia Walden a Synth was designed for one reason: to compete on The Proposal and claim the heart of bachelor Josh LaSala. Her casting is controversial, but Julia seems to get her fairy-tale ending when Josh gets down on one knee.

Fast-forward fifteen months, and Julia and Josh are married and raising their baby in small-town Indiana. But with haters around every corner, Julia's life is a far cry from the domestic bliss she imagined. Then her splintering world shatters: Josh goes missing, and she becomes the prime suspect in his murder.

With no one left she can trust, Julia takes the investigation into her own hands. But the explosive truths she uncovers will drive her to her breaking point and isn't that where a person's true nature is revealed? That is...if Julia truly is a person.

'The Bachelor meets Black Mirror (with a splash of Barbie gone dark) in this captivating, empowering, and wildly original thriller... A spectacular debut.' Megan Collins, author of Thicker Than Water

'A deftly crafted, stunningly original debut. I loved it from the clever first pages all the way to the jaw-dropping conclusion.' Andrea Bartz, author of The Spare Room

'Made for You is a thrill ride that never stops twisting and turning. With its smart fusion of reality TV, murder mystery, and social commentary, this story promises an addictive and thought-provoking reading experience, while feeling unlike any other book you've ever read.' Laurie Elizabeth Flynn, author of The Girls Are All So Nice Here

'It's Mary Shelley in the Bachelor era, as unpredictable as it is inevitable, and feminist as hell.' Katie Gutierrez, author of More Than You'll Ever Know

'A genre-blending romp that kept me riveted. Satterthwaite has established herself as a force in the mystery universe, and I can't wait to see what she does next.' Kristen Bird, author of Watch It Burn

'A Black Mirror-esque story combining AI, reality TV drama and a murder mystery...' Soaliha Iqbal, Missing Perspectives