Böcker utgivna av Ginninderra Press

I am enthusiastic about telling my story all about my illness bipolar mood swing disorder. I write with restlessness and with recklessness, sometimes with energy so strong, along with energy incredibly low. With the effect of this illness comes the need to rebuild myself and my self-esteem, and finally to come to terms with the illness itself. I get angry and so frustrated at times. I want people with mental illness to be acknowledged and treated with respect, understanding and compassion. We are strong people who deserve to be trusted. And I want for those who are not coping and who need constant reassurance throughout their illnesses to be able to feel worthy. I write this book for all bipolar sufferers and for all those who suffer anxiety and for those who are pessimistic towards every issue surrounding mental health. I now reach out as a writer, an author, a poet and as a mother and a proud grandmother of eighteen, and great-grandmother of one. This is my story, my personal experience of coping with isolation, in my state of mind; no one could or would bother to ask me how I felt.

Dear Jenny is a moving story of love between two women friends, expressed in an exchange of phone text messages which became less self-conscious as Jenny's death approached.

Pilgrim Souls is a novel which explores how the unknown past can throw its shadows onto the present and onto the personal life of someone who has had no previous known connection to events in the past. Anna, a student in Adelaide, is coping with the recent death of her mother, Eleanor. Eleanor had always kept her past life, growing up in Scotland, a close secret. After her death, Anna begins to explore her mother's relics and discovers, through the Internet, that she has relatives still living back there. She is offered the chance of a scholarship to London University and uses this as an opportunity to meet these unknown relatives, chief of whom are her grandparents.

';With their seeking out of common ground between strangers, mothers and daughters, friends and lovers, Jane Williams's poems are full of warmth and delight in being alive. Bullies, funerals and ';business as usual' exist here, but so too does the possibility of being ';surprised by joy'. The language is beautifully sparse and understated, hitting home with sudden images which are startling and powerful. Begging the Question is a book to keep by the bed and read again and again. Its grace and clarity make the world feel a better place.' Jean Kent

I have been writing poetry on and off for over forty years and this collection includes only a small portion of the poems I have written. Influences over the years have come from different sources, such as people, including my lovely, loyal and very patient wife, Zelma. Animals have also contributed in one way or another to what I write, as have music, nature and death, morbid as it sounds. Poetry allows me to bare a portion of my heart and soul to you, the reader, and my only hope is that you enjoy what you read and are touched by it in some way.

Murunna Point Revisited is a revised and expanded version of Evening at Murunna Point, first published in 2001, and seeks to take its essays, stories and poems into the digital age with renewed concerns for issues of social justice, literature and love, seen from a critical perspective honed over many years by a largely invisible handicap. Clinical depression and anxiety disorder can shackle the sufferer into virtual paralysis, as if being sent into exile without leaving home. However, such a uniquely immobilising experience can also allow a sense of accelerated awareness a key aspect of any creative endeavour and these essays, stories and poems attempt to validate this ironic truth.

In ';Mount Cargill', a poem in Maurice Whelan's book Excalibur's Return, he described running up Mount Cargill in New Zealand with Richard O'Neill-Dean, to whom that volume was dedicated. Richard responded to Maurice's latest collection, Spirit Eyes, with a poem of his own, after discussing how Maurice sets about crafting a poem and the importance he attaches to a central thought or idea upon which the poem is constructed.Shipwrightfor Maurice Whelan, poetHe might look out the odd plank,let it season slowly,covered from the rain,so that frames, ribs, stringers,in the imagination, slowly form,the particular twist or warp or grainof a thoughtfavouring the idea of a hull,sensitive to wind and wave,to keep out storms,to manage strains.But, beyond all, the keelson,massive, strong,it must permit of no bend,take long keel-bolts,going down through heartwood,to fasten the lead weightof a real thought,many tons,to keep a good poem upright,and carrying on,tied in tight, to bindall between the sweet linesof its stem and stern,to make a fine entry,to set its wakeupon the oceansof the mind

Desire in its multifariously limpid and obscure manifestations is one of the salient themes that informs many of the poems in this collection, from the way it is experienced in its recognisably subjective forms as longing, love or intention, to the more challenging notion of its expression as artefact the objective creations of daily use such as cups, tables, books and money. Consonant with this notion is the way language allies itself with it to make it actual this book you are holding and its contents being an instance of that for if our daily artefacts are the echoes of its subterranean making, then surely language as the maker's first and foremost tool of creative ingenuity, and not just human ingenuity, must be its very flesh.

'Stephen Matthews's initiative in establishing Ginninderra Press has made a significant contribution to contemporary Australian literature, providing welcome opportunities for both emerging and established writers. Matthews's dedication and passion are the lifeblood of this unique independent publishing house, which had its beginnings in a spare room of his Canberra home twenty years ago. Now firmly based in South Australia at Port Adelaide, Ginninderra Press has published hundreds of writers of both adult fiction and non-fiction. It has launched many poets in an innovative variety of formats, and its authors have garnered an impressive number of awards. In this celebratory volume, Rays of Light: Ginninderra Press - the first 20 years, nine essays by GP authors give an insight into its raison d'être, its achievements and its founder, and express their gratitude for the opportunities Ginninderra Press has given them to fulfil their writing aspirations.' - Christobel Mattingley AM

In the summer of 18S9,]ames leaves his sweetheart, Sally, to seek adventure as a stockman in the Snowy Mountains high country. Before the summer is over, the Kiandra gold rush has broken and his life has taken a direction he could never have foreseen. The Snowy River Diggings at Kiandra saw one of the shortest but most turbulent rushes in Australia's gold rush history. In April 1860, at the height of the rush, ten thousand men and women were scouring the district in search of gold. Within less than two years, the township that sprang up amongst the slush and snow had faded to a half-empty shanty town. For a brief period, Kiandra became the haunt of some of Australia's most notorious bushrangers, including Frankie Gardiner, and was so renowned for lawlessness and robberies that it was dubbed Mount Rascal. Disputes amongst the miners were rife. River men were pitched against ground sluicers and a mob of ruffians known as The Boys intimidated anyone who stood in their way. Complaints about Gold Commissioner Cooper's biased decisions and drunken antics eventually led to a Parliamentary Inquiry in 1862. James falls in with a young radical, Davy Hughes, who provokes the ire of The Boys and Commissioner Cooper by challenging their authority and championing against injustice. The arrival of Kitty McCrae changes Davy's and ]ames's lives forever. Sally joins the three of them briefly for summer, before the events of the following spring bring tragedy.';A very accurate and well researched history of Kiandra in the 1860/61 gold rush, interwoven with believable i ctional characters.' Paddy Kerrigan, Kiandra historian';Kiandra Gold is well named: it glitters like the mineral that lies at the heart of the story. And what a story: murder, love, mystery, the tough leathery life of the diggings in the high country, sublime scenery, and a gritty realisation of a world we have lost. Any historian would be proud to claim the research. I couldn't put it down.' Professor Iain McCalman, historian and author

Barcroft Boake's star blazed briefly and brightly as an Australian bush poet for little more than a year before he took his own life by hanging himself by his stockwhip in 1892 on the shore of Sydney Harbour. Barcroft's life was touched by romance, adventure and, finally, tragedy. In Where the Dead Men Lie, his story is told as an imaginative work of fiction, to bring the characters to life. Barcroft rode with Charlie McKeahnie, who is reputed to be one of the famed mountain horsemen Banjo Paterson had in mind when he wrote The Man From Snowy River. Barcroft also fell in love with Charlie's sisters. It has been suggested he killed himself for the love of a McKeahnie girl. After Barcroft left the McKeahnie homestead in 1888, he headed north, seeking excitement and adventure as a stockman and a drover, travelling as far as the Diamantina River in Queensland. Throughout his travels he wrote regularly to his father. Luckily, a number of his original and interesting letters have been preserved and they have been woven into the story. Was it May, or was it Jean McKeahnie that he truly loved? Why did he kill himself, just as he was gaining recognition as a poet? These are the questions this book tries to answer.

';I have known Carolyn Cordon for many years and I'm proud to call her my friend. I have read her stories and watched as her poetry developed. Her poetry journey began in pain and self-examination, yet has continued to grow into joyous maturity. Tense & Still is the culmination of that journey. In Tense & Still Carolyn turns her perceptive gaze outward. We not only get to see all sorts of animals in their everyday lives, but we have the rare opportunity of seeing through their eyes. She captures the cold-blooded instincts of the hunting dog, reluctantly tame, mercilessly stalking its hapless prey. We feel the careless sorrow as a passer-by as they observe the common remnants of roadkill and ruminate on the life that once was. In Tense & Still, you will find all sorts: dogs, cats, birds and bugs warm-blooded and the so very cold. All the Tense and Still creatures you could want and some you'll be glad to never meet. Tense and Still is Carolyn's best book yet.' Joanne Baker

The poems selected in this book taken from Therese Corfiatis's four published books, and a Pocket Poet convey striking images of landscape, childhood, travel and place. Some of the poems have a mystical element. Colour, light and sound weave together the threads of human experience. This book resonates with a multitude of richness gathered over the years, and offers the reader insights into fundamental values reflecting our world.

'The haiku in Alone at the Window resonate with warmth, wit and wisdom. The poet's tender observations and clear imagery create an unfolding of meaning as the reader reflects on each poem. These moments of celebration are imbued with a sense of wonder and appreciation for life, inviting us to share the richness to be found in daily living in our relationships with each other and the world around us.' - Lyn Reeves

An extraordinary love story unfolds in these pages, more than forty years of a wife and husband balancing the reality of being in relationship with the truth of each their ';own-being' through the exacting discipline of tanka poetry. Day by day, they observed and concentrated their ever-shifting emotions into five-line capsules. It is not a fairy tale; all sides of love find expression here, including its loneliness, uncertainty and ephemerality even after decades of marriage. This record proves there is no ';ordinary' in the everyday of human life, not when it is borne witness to by poets with wide-open, honest hearts. - Sonja Arntzen, Professor Emerita, University of Toronto, translator of the Kagero Diary and Sarashina Diary