Australian Non-Fiction

Axiomatic by Maria Tumarkin

The Drowned and the Saved: Axiomatic by Maria Tumarkin

The work of ‘proving a hypothesis’ could hardly be more alien to Tumarkin. Instead, she is concerned with examining difficult events and experiences: paying attention, being emotionally and intellectually active, while refusing to let the consequences of tragedy, bravery, cruelty, care, or indifference go unnoticed, unexamined or unfelt.

Keep up with the SRB

Subscribe to our free weekly newsletter

The SRB is an initiative of The Writing and Society Research Centre at Western Sydney University

Mirror Sydney by Vanessa Berry book cover

Eccentric Guides:
Vanessa Berry’s Mirror Sydney

Mirror Sydney appeals to the notion that people live inside worlds of their own making. This suggests both a certain comprehensiveness or completeness and a limitation: the globe is known in form but so are its borders. However, this is also a world post-globalisation: the great exhibitions of the colonial project have become abandoned variety stores and theme parks, the pathos of which comes from quaintness or the strange, instead of authority or splendour.

They Cannot Take The Sky cover

The Greatest Crime: They Cannot Take The Sky

They Cannot Take the Sky gathers thirty-five stories of men and women who have experienced Australia’s detention regime. Some are now living in Australia and others remain locked up. Each oral history, told to one of the book’s editors, transcribed and translated, bears witness to the resilience of the human spirit and to its fragility. Together these stories are a condemnation of the border policies that have permitted the long-term incarceration and criminalisation of refugees and asylum seekers.

Burning as Land Management
Desert Writing Stories from country Edited by Terri-ann White book cover

Centre of the Story: Desert Writing: Stories from Country

'Desert Writing brings to readers stories of desert communities and the individuals who form part of them that are not often featured in literature or media. Train lines have been built, and airports made but the places aren’t any closer; these are remote places – far away from Australia’s heavily populated coastal cities, far from major centres; and far from the imagination of the mainstream population. This distance is what makes these places so interesting, their pasts and futures significant.'

Fight Like a Girl by Clementine Ford Cover

First Person Feminism: Fight Like A Girl by Clementine Ford

Feminist books pitched to a broad audience, whatever their contents, inevitably face the same criticism: okay, what are the solutions then? This charge could be levelled at Ford’s book, in which apart from the injunction to ‘fight like a girl’, hearty encouragement to masturbate as often as you desire and to find a good girl gang, does not offer much in way of a roadmap forward. Certainly, it would have been illuminating to read about feminist campaigns that need more attention and support and to introduce readers to some impressive feminist thinkers who deserve a wider audience. Yet this criticism also strikes me as a little beside the point. The authors of feminist blockbusters have always been better at diagnosis than they have at cure and such books are still necessary, including to help prompt the ‘light-bulb’ of recognition that moves feminist identification along.