Böcker utgivna av Upswell

This compelling memoir of Susan Varga's life spans seven decades and circles between Australia and Europe, activism and seclusion, everyday life and the writing life.She was born into war-torn Budapest but her family escaped loss and trauma to make a new life in Sydney. Susan makes another escape, from the narrow confines of suburbia into the arms of the exciting and contradictory world of the Sydney Push. As a young woman she lives in London, Paris, Bendigo and Holland, before returning to Sydney, keen to take part of Gough Whitlam's reformist agenda, in a powerful time of change.Yet Susan also spends a long time lost in the wilderness, wrestling with the raft of dilemmas of the life of a woman. When she finally commits to the demands and joys of writing, and to a surprising love, her life assumes a new harmony. Fate then intervenes to throw up major challenges, testing her will to re-find the hard joys of life.In this memoir, Susan Varga moves through the intersections between her own life and the wider world, with an incisive portrait of our times.

A darkly funny memoir and investigation into the charms and crimes of the untrustworthyRomance scams, pyramid schemes, bogus debts and fake news, the world is awash with confidence tricksters and swindlers. But what happens if the fraudster is your lover?It has been said that trust is a risk masquerading as a promise and, as Hemingway suggested, 'The way to make people trust-worthy is to trust them'. Once we have fallen under the spell of malevolent hucksters, their power is real, as is the loss of self and hope when the spell breaks.A hybrid memoir and a personal detective story, Trust is an exploration of what it means to trust, why we trust, and what happens when trust is betrayed. With a particular view to fraud and corruption within the hallowed walls of sandstone universities, Ryckmans brings to light the oft subtle, brutal nature of control that fraudsters have over their victims, and shows the deep impacts their actions have on others personally and professionally. The cover up - sometimes said to be worse than the crime - has insidious effects.Trust is a fractured fable. It is darkly funny, wistful, and spare in tone and approach.

Abandon Every Hope mournfully investigates the literatures of the slaughterhouse and a world motivated by profitable death, to ultimately ask: where does this horror begin and how can it end?Can anyone smell the suffering of souls? Of sadness, of hell on earth? Hell, I imagine, has a smell that bloats into infinity. Has a nasty sting of corpses. What was it Dante wrote?Abandon Every Hope is a lament, an elegy, a deranged encyclopedia, and a diary of anxiety. How can anyone document the vastness of violence against animals in a bloated industrial age?Across a series of essays, Hayley Singer investigates the literatures of the slaughterhouse to map the contours of a world cut to pieces by organised and profitable death. A compelling debut in poetic prose, Singer asks how we may write the life of the dead; the smell of an egg factory; of multispecies PTSD; of planetary harm and self-harm: of the horror we make on earth. Where does the slaughterhouse begin and how can it end?

A beautiful work of the imagination, straddling history, memory, trauma and testimonyIn 1917, a young composer writes a suite of twenty pieces for piano. Each pass by like a gust of wind. They are short, violent and strange - the music of another world. In 1938, a young Jewish family flees Italy for Sydney, Australia. In 1942, another family, this time Polish, is nearly destroyed. Half a century later, a young man begins to understand the role the young composer's strange visions have played in everything that came before him and all that has come to be.In his first book, Simon Tedeschi applies elements - from history, memory and the body of the musician - to make a remarkable work of imagination and fractal beauty. He straddles the borders of poetry and prose, fiction and fact, trauma and testimony. Fugitive is filled with what Russian poet Konstantin Balmont called 'the fickle play of rainbows'.