Longlisted for the 2020 Miles Franklin Literary Award. From the winner of the 2018 Victorian Premier’s Literary Award for Fiction, this tender, moving portrait of an improbable friendship and multicultural Australia more broadly, is now available in a new compact paperback edition.
Most people wouldn’t buy an infamous murder house to renovate for fun . . . but Sarah Slade is not most people. “This debut novel deftly explores our shadows—the dark parts of ourselves we don’t want others to see. I couldn’t stop reading.”—Julia Bartz, New York Times bestselling author of The Writing Retreat A POPSUGAR BEST BOOK OF THE YEAR A therapist and self-help writer with all the answers, Sarah has just bought a gorgeous Victorian in the community of her dreams. Turns out you can get a killer deal on a house where someone was murdered. Plus, renovating Black Wood House makes for great blog content and a potent distraction from her failing marriage. Good thing nobody knows that her past is as tainted as the bloodstain on her bedroom floor. But the renovations are fast becoming a nightmare. Sarah imagined custom avocado wallpaper, massive profits, and an appreciative husband who would want to share her bed again. Instead, the neighbors hate her guts and her husband still sleeps on the couch. And though the builders attempt to cover up Black Wood’s horrifying past, a series of bizarre accidents, threatening notes, and unexplained footsteps in the attic only confirm for Sarah what the rest of the town already knows: Something is very wrong in that house. With every passing moment, Sarah’s life spirals further out of control—and with it her sense of reality. But as she peels back the curling wallpaper and discovers the house’s secrets, she realizes that the deadly legacy of Black Wood House has only just begun.
Fosco speaks as a member of Post-Christian Society that has emerged from the Great Walk-Out from established religion but as one who cannot subscribe to the Economic Myth of Rational Humanism. Fosco's text, which he dubs My Reality, is republished in this volume, accompanied by six exploratory essays, ranging from the supportive to the dismissive, which seek to open up debate on the issues which he poses. Can we work towards a society in which humane values prevail, or must we accept that ours is, for lack of a better, the best of possible worlds?
There can be little doubt that opera and emotion are inextricably linked. From dramatic plots driven by energetic producers and directors to the conflicts and triumphs experienced by all associated with opera’s staging to the reactions and critiques of audience members, emotion is omnipresent in opera. Yet few contemplate the impact that the customary cultural practices of specific times and places have upon opera’s ability to move emotions. Taking Australia as a case study, this two-volume collection of extended essays demonstrates that emotional experiences, discourses, displays and expressions do not share universal significance but are at least partly produced, defined, and regulated by culture. Spanning approximately 170 years of opera production in Australia, the authors show how the emotions associated with the specific cultural context of a nation steeped in egalitarian aspirations and marked by increasing levels of multiculturalism have adjusted to changing cultural and social contexts across time. Volume I adopts an historical, predominantly nineteenth-century perspective, while Volume II applies historical, musicological, and ethnological approaches to discuss subsequent Australian operas and opera productions through to the twenty-first century. With final chapters pulling threads from the two volumes together, Opera, Emotion, and the Antipodes establishes a model for constructing emotion history from multiple disciplinary perspectives.
This collection represents a serious re-examination of existing work on the Aboriginal history of nineteenth-century Victoria, deploying the insights of postcolonial thought to wrench open the inner workings of territorial expropriation and its historically tenacious variability. Colonial historians have frequently asserted that the management and control of Aboriginal people in colonial Victoria was historically exceptional; by the end of the century, colonies across mainland Australia looked to Victoria as a ‘model’ for how to manage the problem of Aboriginal survival. This collection carefully traces the emergence and enactment of this ‘model’ in the years after colonial separation, the idiosyncrasies of its application and the impact it had on Aboriginal lives. It is no exaggeration to say that the work on colonial Victoria represented here is in the vanguard of what we might see as a ‘new Australian colonial history’. This is a quite distinctive development shaped by the aftermath of the history wars within Australia and through engagement with the ‘new imperial history’ of Britain and its empire. It is characterised by an awareness of colonial Australia’s positioning within broader imperial circuits through which key personnel, ideas and practices flowed, and also by ‘local’ settler society’s impact upon, and entanglements with, Aboriginal Australia. The volume heralds a new, spatially aware, movement within Australian history writing. – Alan Lester This is a timely, astutely assembled and well nuanced collection that combines theoretical sophistication with empirical solidity. Theoretically, it engages knowledgeably but not uncritically with a broad range of influences, including postcolonialism, the new imperial history, settler colonial studies and critical Indigenous studies. Empirically, contributors have trawled an impressive array of archival sources, both standard and relatively unknown, bringing a fresh eye to bear on what we thought we knew but would now benefit from reconsidering. Though the collection wears its politics openly, it does so lightly and without jeopardising fidelity to its sources. – Patrick Wolfe