Böcker utgivna av Ginninderra Press

I read once that on its way to the moon Apollo 11 was only on course for about 3% of its journey. But land on the moon it did, as we all know. Live is not linear. It requires constant adjusting. Each one of us experiences hills and valleys, straights and narrows, corners and roundabouts. We all take chances and miss opportunities. What counts at the end of the day is our willingness to reassess our coordinates and make a choice to stay our course. I hope that my poetry empowers you and, in a small way, contributes to navigating the roadmap of your own life.

It's a fact not yet universally acknowledged, that everybody should at some point in their lives attempt to follow in the footsteps of the explorers Hume and Hovell down the Hume Highway, preferably in the company of Captain Cook, Henry Lawson, Caroline Chisholm and Ned Kelly. Backseat Drivers is a hilarious and biting satire on the intersection and byways of the past, the present and the future.';A most wonderful endeavour' Captain James Cook';Such is strife!' Edward Kelly';I wish I'd written it' Henry Lawson

';Word Fall demonstrates Betty McKenzie-Tubb's love and mastery of language in very accessible poems written in various styles. The book also reveals the poet's wisdom, compassion and her wry, often self-deprecating sense of humour. The collection is arranged in three sections: Loss and Love, With Serious Intent and Froth and Bubble. I was moved to tears, deep contemplation or laughter as I read these poems that have arisen from a rich and well-lived life.' Robyn Mathison';The poems in Word Fall capture Betty McKenzie-Tubb's refreshing and warm hearted style. In a voice both unafraid and elegant, she offers her wit and wisdom with open hands. Curiosity, understanding and insight are crafted into disciplined lines provoking laugher or deep reflections. We travel with the writer as she gleans and gathers stories from each facet of her round and ready life. This precious collection is both moving and uplifting.' Elizabeth Goodsir

';With Orpheus in the Undershirt, Kevin Densley has produced his best book yet: sharp but not cutting, tart but not cynical, the collection weaves lyric, barb and lament into a marvellous, prickly garment that soothes as it stimulates. Don't like small, evocative poems as clear and complex as rockpools? Dive into an eight-page outlaw fistfight roaring with dust and despair. Not interested in ';When Johnstone's Circus Came to Town'? (Though why wouldn't you be, with its ';toupeed ringmaster/in a red lame suit' and aromatic ';strong whiff of manure'?) Explore instead the death of a bantam ';inside the chookhouse/among the warm chooky smells'. Unlike most collections which attempt to blend ';high' and ';low' culture, to find the charge of destiny in the nuts and bolts of the everyday, Orpheus does it effortlessly, without need of gimmicks or creaky, overbearing conceits. Here Kevin Densley fuses the marvels and mundanities of life into a witty, searching collection that sings the subtleties of both.' James Roderick Burns, Other Poetry

';This a stunning late debut, a memorable cache of poems of mature, quiet and numinous power that has waited a lifetime to be written. They draw their inspiration and insights from the deep earth, from the artesian well of time and memory, and map ways of connection with the land, and with the forgotten places within the soul. Poems like ';Driving Inland' and ';Touch and Flow' simply took my breath away, their journeys through brilliantly observed landscapes answering the question that the poems pose so beautifully and heartbreakingly: ';The tiny dash between birth and death / is all we have on this earth. / Where do I go from here?'' Kim Cheng Boey

A Sparrow Splashing is a journey into the heart of the Buddha's teachings. This book of stories and poetry looks at the life of the author through the eyes of three characters: a child named Little Pebble, a young man called the Seeker, and the Teacher, a Buddhist Monk. The reader is invited to reflect and meditate upon the universal search for happiness and the nature of suffering. Along the way, desire, anger, ignorance, jealousy and pride are encountered in various forms. This book explores Buddhism, and spirituality in general, beyond sectarian dogma, pointing the way to perfect wisdom and compassion, the essential nature of all beings.

I want my poetry to say something about the state of our world, this catastrophic social and environmental situation we are bringing on ourselves. So my work is social critique and revolves around dissent, contradiction, dissonance; and I write about gender, violence, war, refugees and asylum, environment and climate change. I am fascinated by the fluidity of gender, of femininities and masculinities. One of my favourite texts is Orlando by Virginia Woolf and it is full of the poetry of gender.

'Jane Williams's first collection of haiku delights with all the insight and generosity that her readers admire in her longer works of poetry. In distillations that are alive to the small and fleeting moments of life and the echoes they ring in the heart, Echoes of Flight is joyous and life-affirming and a welcome addition to Australian haiku literature.' - Lyn Reeves, Vice President, Australian Haiku Society'Echoes of Flight is a wonderful treasure box of haiku moments experienced through finely tuned poetic senses. These moments are captured in crisp detail, displaying a profound reverence for the world in which the poet so keenly observes. We are richer for seeing things as Jane Williams does.' - Ron C. Moss, author of the award-winning haiku collection The Bone Carver

In the 1990s, Julia Honeychurch moves to Canberra with her new husband Brian to take up a position at a school for troubled children. When the marriage sours, Julia learns that, in Canberra, it's difficult to keep secrets. She's fallen in love with Kate Selby, a university lecturer and consultant at Julia's school. Kate and Julia's clandestine meetings take her away from the family and arouse Brian's suspicions. When twelve-year-old Rose Cavanaugh joins her special unit, Julia clashes with Rose's abusive stepfather Lee over his treatment of Rose and Rose's mother. Animosity spirals into dangerous territory, imperils Kate and Julia's secret life, and brings a night of murder to the city.

Poems collected from All the Time Left, Laughing in the Street and The Question, the Answer a smorgasbord of thoughts and ideas ranging from sardines, crayfish in pots, the Blarney stone, a Degas painting, blowflies and wild things to Cicero and the dustman, reflecting Nance Cookson's wry take on life.

';Gabe Journey Jones's poetry uniquely combines words and rhythm into recipes for healing, conversing and connecting with ourselves and one another. Her libretti are astute, set to bars, accents, BPM (beats per minute) and broken-up beats; they pulsate like the sanctuary of a mother's heartbeat and become Spoken Medicine.' Friederike Krishnabhakdi-Vasilakis, Director, South Coast Writers Centre, writer and facilitatorPassionate, percussive poetry written for performance that slams complacency and oppression with urgency and compassion. She's a priestess, exhilarating incantations heard accompanied by her drumming, divines the hidden and can heal a sick society. This is a magical potion.' Jenni Nixon, poet, writer and mentorGabrielle's collection of poetry is dazzling in its scope and intensity. The medicine gets to all the neglected parts of ourselves. Readers are in for a thought-provoking treat. It is wonderful that the world of spoken word is graced by a poet of such fierce integrity and poetic vitality.' Wilfred C. Roach, poet, writer and performerI love nothing more than a fierce woman unafraid to speak loud truths, a counter voice to the dominant narratives which are not necessarily the real narratives. Gabe is all of that and more. This collection will certainly light a fire in your belly and spark something in your heart.' Candy Royalle, artivist, writer, poet, storyteller and performance artist

Ladies, a plate please charts the life of Elizabeth Macguire, from childhood to middle age, in her quest for identity and selfhood. Activist, lover, sister, friend, Elizabeth follows her own rebellious star, beginning in rural sixties Australia in a family fractured by a child's death and the damaging silence of unexpressed grief. Her journey takes her through youthful romances to a complex and volatile relationship with Sarah, who seeks to reconcile her own family history of loss in a way which inevitably conflicts with Elizabeth's desire for autonomy. Wry, evocative and humorous, Ladies, a plate please is about struggle, change and the secrets people keep, from themselves and each other.

A former lecturer in Greek, Roman and Ancient Near Eastern history and literature at the University of Tasmania, Graeme Hetherington has spent much of his adult life living at large in Europe and Turkey to be closer to the source of his subject matter. More often than not, his response to his culturally charged surroundings has taken the form of poems rather than scholarly books and articles, as this collection, his sixth, bears out.

Edna Taylor has always enjoyed writing but it wasn't until much later in life she really became interested in the craft of penmanship, especially in the form of short story writing. Readers of her two previous collections of stories will recognise some of the characters who have seemingly taken on a life of their own and made their way into this third book. The stories in The Attic are works of fiction, apart from ';The Dust Storm', which is an account of one of the eventful happenings experienced by the author's family when living on an isolated outback farm in the wild South Australian bush.

The craft in this, Graeme Hetherington's third collection of poems, is like that of the tapestry maker. In short lyrics of sinewy tetrameter and assonantal music, the poet's dark and bright strands of narrative, of thematic concern, are interwoven in a technique that allows the shape of an individual life to disclose itself from the commingling and recurrence of vivid personal and historical recollections. In the individual lyrics there are scenes of chill home life and school barbarities. These are haunting and intimate in their disclosures. In the cumulative effect of the poems a pattern emerges, similar to those that the Icelandic tapestry makers abstracted from their own harsh saga and mythic sources. For Graeme Hetherington takes hinterland Tasmania, with its hellish past of floggings, cannibalism, killings, and weaves into this the pattern of his own experience, his exposure to cruelty, his friendship with James McAuley, his exile in foreign lands, his intimations into Christianity and Christian art. These are lyrics of remarkable self-scrutiny, an older poet's fierce struggle to find pattern in the life given.

Being denied access to a place by necessity you invent it. In these poems, the author explores cultural identity and loss as the daughter of an Estonian dislocated from his family and country by post-war turmoil. Based on fractured truths, fairy tales and longings, this collection is a personal mosaic of a land and her place in it.

On a lonely highway in the middle of the night, two teenage Aboriginal girls are killed in a crash. Like rag dolls, their bodies are thrown from the Toyota Hilux when it rolls at high speed. One suffers massive internal injuries. The other has her ear and scalp torn off. They bleed out in the dirt. A drunk middle-aged white man crawls out of the crashed ute. It's after midnight. He spreads a green plastic sheet on the stony ground. He drags the dead fifteen-year-old onto the tarp and pulls her pants down. He pushes her top up, exposing her breasts. He tries to have sex with her. He stretches out with his arm across her breasts and goes to sleep. The police charge him. He hires a criminal lawyer from the big end of town. An anonymous benefactor pays his expensive legal costs. The case drags on. Two years later, he fronts court. He walks. This story is about the justice system that saw Alexander Ian Grant acquitted of killing Mona Lisa Smith and Jacinta Rose Smith and of a charge of indecently interfering with fifteen-year-old Jacinta when she was dead. It describes the sad events which led to their violent deaths. It analyses the police case, which was so fragmented that it failed to gain a conviction. It seeks to understand what caused the deaths of the girls, why the police got it so wrong and how the accused walked away from the crash without a scratch and away from the court a free man.

Dick, a disillusioned husband and lawyer living in a middle-class 1997 London suburb, stands dressed in period costume on a railway platform. Dick is convinced he is in the middle of a dream but his adventures become ever more curious, tantalising and amazingly real!He shares a compartment with some country folk travelling to old London Town. On arrival and confused by his surroundings, Dick meets magistrate Henry Fielding, who kindly offers him lodgings in this year of 1779. As he looks for answers within the mystery of his unbelievable journey, he comes across a crude poster nailed to a tree, with the image of a girl wanted for witchcraft. The face is disturbingly familiar and when he meets by chance a dark Gypsy woman, the mystery deepens and he is taken into realms he could only have dreamed ofsurely.

Susan Fitzgerald has told stories to herself from childhood and has written since she was a teenager. She has had her work published in Under the Rainbow, a collection of work by U3A writers, and in Tamba. Now there's this book, which offers tales of the mischief of boys as they grow into men and of women who have moved on from the choices of girls.

Thomas Hardy once said, ';A tale must be exceptional enough to justify its telling.' I think my story is exceptional. Maybe you will think so too. Whatever one thinks, I have learnt through this story the value of persistence, patience, positive attitude and perseverance such precious qualities in life. There is light at the end of the tunnel, but one has to find the way there.