Böcker utgivna av Ginninderra Press

Jane Williams's Parts of the Main is her chemistry, abuzz in a murmuration of organic electrons that at once forms memory, then problems of translation not solely of words, but in comprehending our modernity. These shape-shifting poems are an assignation of author to grace with it, with her, we travel to Europe, her youth, to longings of elsewhere and an ever developing raison d'tre. - Kent MacCarterJane Williams is a poet who leans out of the frame, who turns your ear if not your head. In Parts of the Main we are caught - sometimes caught out -by her ';days of blue and banter', ';eyeball spoils of war', trees ';falling like the bones of oracles'. She writes the tender, the vulnerable, the unshowable. Sometimes there is a touch of the brogue. Jane Williams answers the question ';Will poetry be enough?' Convincingly. - Lizz Murphy

This collection evokes situations confronting ordinary people in their ordinary lives. The author creates images of loss, love, hatred and warmth of particular characters in particular places as far apart as Scotland and Australia. Against a background haunted by Destiny, people are led or pushed by emotions into a stream of experiences. In ';Whispering Shadows' we learn about the significance of an invitation to a dinner dance during World War II and how it shaped the life of the unnamed narrator. In ';Legacy' we read about the influence of alcohol on the lives of four young brothers. ';Inheritance' and ';Foxy Ladies' bring a lighter tone to the collection to balance other weightier issues. Based on her close observation of the human condition, Rose Helen Mitchell's stories reveal uncanny insights into the emotional state of characters who could be someone the reader knows.

A gallimaufry is a medley of things, originally a culinary term for a stew. One could equally call it a hash, a potpourri or even a hotchpotch. Whichever term you choose, I hope you enjoy this particular recipe, finding it to your taste and easily digestible. It is spiced with ingredients drawn from several countries, moods and styles. The cover picture, which is a composite portrait of the author and his wife, by his daughter, Anna, is from a photographic exhibition called Mixed Emotions, described in The Sydney Daily Telegraph as ';an act of metaphorical self-creation'. That could be said of some of these poems, too.

';Greg Tome's poetry is always immediate and felt. His responses to the immediacy and intimacy of daily living are counterpoints to those poems in which he explores the pain of the human condition and, ultimately, indicate how the personal and the communal are inextricably entwined.' - Trish Topp';Greg Tome was a secondary school teacher, and a close observer of history and the foibles of mankind. His poetry covers many aspects of the human condition, from the whimsical to the tragic. In his writings he makes use of an extensive range of styles and approaches. All his work is characterised by a keen eye for the unusual, by an unexpected turn of phrase and always by a sensitivity to the nuances of carving out an existence on this planet.' - John Dixon';In his poetry, Greg Tome retrieves and cleverly explores universal subjects the contemporary reader contemplates. Economical with words, his writing is accessible and pleasurable to read.' - Dr Geoff Cains

';In Mark Mahemoff's Urban Gleanings the routine of the urban commute, punctured by fragile incidents and ruminations, is interspersed with poems drumming against mortality, such as the refugees whose ';corpses washed to shore / all in the same boat'. Many poems are shaded by nostalgia and a tinkering unease: an old garage where ';dreams often end up in mothballs', parents and children cagily circling each other, or watching balloons ';disappear into their past'. As well as these segmented descriptions of daily life demarcated by a crowded metropolis, two long centos chronicle some recent Australian injustices.' Gig RyanUrban Gleanings is an urbane collection that manages to be both sophisticated as verse and open-hearted as poetry. To ';glean' is to seek what is left behind, overlooked, deemed superfluous but which yet sustains the gleaner, who patiently works the fields others have forsaken. In this manner, Mark Mahemoff scrutinises the ground of our living and uncovers what is valuable in it. What we, in our turn, discover is that these poems these gleanings are in fact the true harvest itself, its rich abundance laid out before us as his gift.' Paul Kane This book is remarkable for the humanity of its content and austerity of its language. It is a constant going out of itself into the experience of others. Family, friends and strangers are seen for themselves in an effort of sympathy. The style is entirely appropriate to what is said, opening out possibilities from one line to the next. There is a drive to make sense of experience and then offer that as a new experience in the form of poetry. The impulse to remember is richly present. To memorialise the overlooked or unseen is the constant intention. Words pick up words through subtle rhyming and alliteration demonstrating interconnection, the abiding theme.' Robert Gray

Where to Go For a Seven-year Cycle is a philosophical, often off the main tourist beat travel book based on the author Lyn Drummond's seven years' travel experiences working mainly in central and eastern Europe. The book's title is based on a Jung philosophy that seven years of our lives represent a particular cycle and she has just completed such a cycle. The seven years began when she left Sydney in 2002 to work in Chuuk in the Federated States of Micronesia as a volunteer for an aid agency. The journey continues in 2003 to Hungary and a three year contract at the Australian embassy in Budapest, and later as a teacher and journalist in other parts of the region, such as Montenegro, Croatia, Slovenia and Albania. It is not a travel book in the sense that it lists places and contact details, but an exploration of a region she previously had no particular interest in, a renewed discovery of her European heritage, a strong relationship with a city (Budapest) she has no traditional or family connection to and a contemplation of the strong feelings she once had for Australia. The book also examines elements of exile, and anonymity in foreign countries which can create a rather contented bubble of living, sometimes immune from more deeper emotions including in the context of her long friendship with the late Australian writer Randolph Stow, who settled in her home town in England and whose books dwelt on these themes. For further information about this book's topics and her travel business, please contact Lyn on ldrummond75@gmail.com

';These days many individual collections of poetry (and some anthologies as well) are presented in language which all too often, offers the particular experiences of the poets as if they were clues in a cryptic crossword. If we could only put those poetic hints together (we tell ourselves) we'd be in a position to know what they were pointing towards all along. Antonia Hildebrand's collection is a far cry from these puzzle works. Her poems are invariably so skilfully handled that they may seem to the reader to be easily achieved. They are not, of course, although the illusion that such things are easily accomplished is surely one of the reasons so many try their hand at poetry.' Bruce Dawe';In these poems the violence of war is not confined to battle fields. There are cities where dead children lie in residential streets covered in the dust of bombed buildings, and, closer to our home, conflict that is fostered by hateful words spoken at suburban barbecues. In War Stories, Antonia Hildebrand will not let us ignore the burning cities on another continent, or accept the hateful words that would justify conflict. In these poems she sees our world as one community, a community that is being destroyed by the violence that affects us all. She writes about the historical brutality of South African apartheid and our own colonial past, the present day atrocities in Syria, and the terror of abuse in a suburban home. These are the real war stories and Hildebrand will not accept monuments that glorify conflict without showing the ugly reality of humans caught in the violence. By forcing us to accept the reality of war, these poems make a powerful plea for peace.' Robin Hillard

The poems in Signs of a Poetic Life have been randomly selected from those written between 2014 and 2016. Most of the poems have arisen from associations between memories and emotions. But a few poems have arisen spontaneously and feel inspirational because, like some abstract paintings, they seem to come from an original place in my mind. I have discovered that when I paint with an open mind, images arise that feel similar to poetry in that they both originate in the unconscious mind. But it can be difficult to make sense of abstract paintings that are formed in this way because, while they express many unconscious sensations and feelings, they are non-verbal communications and usually remain in a primitive form. Of course, for art lovers like myself, this is completely fine. Whereas an abstraction can leap directly out of the unconscious mind onto the canvas and become a painting, the embryonic poem pauses briefly on its journey at a preconscious place. It is here that the poem is assembled into a language of many wild thoughts and associations. This imaginative process feels like daydreaming, fantasy or play. Only when the poem is born into consciousness does it become clothed in words, while still retaining its primitive origins. I have learnt so much from exploring this unique process and hope that I have conveyed this experience in some of my poems

I have been writing poetry since I was a child, one who loved reading, including the poetry available for children at that time. As I grew older, my poetry writing became an outlet for a whole range of emotions and experiences, both good and bad. I try to use language for which no one would need a dictionary to understand. I hope that my readers will find a resonance of their own lives in some of the poems and discover for themselves that writing poems can be therapeutic as well as pleasurable and very satisfying.

It is South Africa in the early years of the scourge of the apartheid system, its prejudices and injustices affecting the fabric of the society. Against this background is the thwarted love affair of Daniel and Maryssa, two young people from traumatic backgrounds. Daniel is a brilliant young doctor who is unable to admit to himself the love he has for Maryssa, and to take responsibility for their relationship. His actions are profoundly influenced by the negative impact from his childhood of his parents' unhealthy marriage. Maryssa's father is an abusive alcoholic. Her way of coping is to withdraw into herself. She is reticent and uncomplaining, accepting and forgiving until pushed to the brink. Their ensuing relationship is one of frustration and insecurity, of passion and pain. But underlying this is a deep and unquestionable love for each other, a love that is unable to be resolved.

The essays in this volume originally appeared over a period of some years in Voice magazine. All were published well before the global financial turmoil of October 2008, to which all are linked. Other essays in Voice covered a variety of topics, but those appearing here developed a common theme, a belief that representative democracy has not just outlived its usefulness, but has become a danger to the survival of humanity itself

These short poems celebrate the enigmatic, sometimes comical, often disappointing and always exquisite movement between dark and light in every human encounter.Maggie Slattery received awards from the Fellowship of Australian Writers and the Rhonda Jancovich Society for poems in this collection. She grew up in the suburban fringe of 1950s Adelaide, migrated to the west coast of America in the 1970s, and returned in 1990 to live close to the city's heart and its inspiring parklands.

This moving memoir details the first twelve months after a mastectomy and how one woman has dealt with it. Facing cancer focuses the mind sharply on both the past and the future: the present has simply to be got through. The authors hope is that her struggle to make sense of her situation may help others and their intimates.

Michele Fermanis-Winward lives on the edge of bushland in the upper Blue Mountains of New South Wales, part of the World Heritage National Park. The trees and wildlife surrounding her home are a constant inspiration