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Lunacy is a crime when Lizzie sets foot in the new colony of Victoria, Australia, in 1855. Based on extensive research, this is the story of her struggle with mental illness - at a time when limited medical knowledge about her condition existed, stigma was omnipresent, and treatment was archaic and inhumane. Shrouded in secrecy for more than a century, her story, as told through her own voice and that of her daughter and estranged husband, begins with her journey from her home in England with three young children in tow, to her eventual incarceration in gaol and Victoria's first mental institution - Yarra Bend Lunatic Asylum - where she spent the last four decades of her life.
Lucy has a special gift. Everything she touches turns to magical, sparkling loveliness.' Donna Hay Some days you want to cook; other days the goal is simply 'food in mouths'. Welcome to Every Night of the Week, a cookbook for people who don't like hard-and-fast recipes, by food and recipe writer, stylist and Instagram genie Lucy Tweed. MONDAY has potential. There are lists and ideas. The herbs are fresh and the fridge is full. TUESDAY the week has begun. Can we have efficient and beautifully delicious please? WEDNESDAY we wonder what day it is. Cook with a dash of laziness; it tastes great. THURS ... we're not even typing the full day anymore. What's in the freezer? What can we pimp? FRIDAY is family fun. 'Decorate' your own pizza, kids, or DIY san choy bau. Time to exhale. SATURDAY is the flex day, time to stretch the repertoire. Hmm, who's around for lunch? SUNDAY is for brunch and linner; two leisurely meals, eaten in absolute comfort. THAT EXTRA DAY YOU WISHED FOR is the secret day that will save your bacon Tues-Thurs. 'My signature dish is Lucy's recipe that she taught me in less than an hour. But don't tell anyone; I get a lot of compliments.' Wil Anderson
A woman artist struggles to successfully raise her children during desperate times. A recreation of the stories Sheila Buchanan Buell told to her daughter the author, Patsy Buell Stierna.
SOUNDING 3 begins with Echo 34: DERRIMUTT THE GO-BETWEEN. This clan head of the Bunurong people was the traditional ‘owner’ of the town site that became Melbourne’s CBD on the western side of the river. Bible-bashing Protector Thomas’s journals of camping with the natives at what is now the Botanic Gardens is eye-opening and reveals mind-bending mysteries and misery with grog and gun-control issues that resonate on up to today. This Sounding personalises many local Kulin identities such as Polierong aka Billy Lonsdale and Yabbee aka Billy Hamilton who name-swapped with the early leading townsmen and squatters on their ‘country’. Next follow snippets from Mick Woiwod’s fictional but faithful novel The Last Cry, along with his Yarra Valley anthropology and reconciliatory vision. Surveying and selling off the Yarra and Diamond Valley ‘badlands’ stringybark forest leads into discussions on sorcery, smallpox and culture-collapse into fringe-dwelling. The frontier moves on north, west and east and the tone changes to academic, political and biographic studies of Aboriginal workers and surviving kooris including the life and times of Wurundjeri clan heads Billibellary, Simon Wonga and William Barak. In the decades after World War 2, academic historical analysis led to the politicized ‘history wars’ as reaction to the racist colonial ‘white Australia policy’ lies, fears and distortions cloaked by denial and patriotism. Echo 49: THE NATIVE POLICE – Turncoats or adaptation [?] is the largest echo in this Sounding and the question is posed in five parts, the last being Irish observer Claire Dunne on applying the bloody colonial lessons of Port Phillip to frontier Queensland and beyond to Central Australia’s mass-murderer Constable Willshire and the cultural logic of settler nationalism. Echoes follow on re-visioning Aboriginal / white history and historical geography research of ‘high country’ clans and language groups in my unsatisfied search of a supposed ‘superior tribe’ in the Alps who reportedly ‘dwelt in stone houses all year round’. Sounding 3 ends with echoes titled COLONIAL OBSERVATIONS OF HIGH SOCIETY EMIGRANTS containing Georgina and her son George McCrae’s journals of Yarra-side and pioneering the Mornington peninsula in the 1840s along with early 1860s photographs of native people collected by gentleman squatter John Hunter Kerr.
Gold-fuelled Melbourne was booming, but dwelling in the fault lines of the proud young colony was an alarming fact – Victoria had the highest rate of insanity in the world. Was it the antipodean sun, gold mania, excessive masturbation, the heady pace of modern life? The true story of colonial Victoria’s quest to cure insanity unfolds through the lives of three English newcomers – a gifted artist, exiled from his homeland for his madness; an ambitious doctor, bringing enlightened treatment ideals to his post in charge of the overflowing asylum; and a mysterious undercover journalist, who sensationally exposed the lunatics’ plight in Melbourne’s press. Amid the clamour of fraught endeavours and maddened minds, the story reveals unexpected hope, creativity and ennobling humanity – and surprising contemporary relevance as we continue to grapple with this ancient human malady. Jill Giese is a clinical psychologist and writer, whose extensive career in mental health encompasses many years of clinical practice and executive roles in policy and advocacy.
Murder, manslaughter, suicide, mishap - the very public business of determining death in colonial Sydney. Murder in colonial Sydney was a surprisingly rare occurrence, so when it did happen it caused a great sensation. People flocked to the scene of the crime, to the coroner's court and to the criminal courts to catch a glimpse of the accused. Most of us today rarely see a dead body. In nineteenth century Sydney, when health was precarious and workplaces and the busy city streets were often dangerous, witnessing a death was rather common. And any death that was sudden or suspicious would be investigated by the coroner. Henry Shiell was the Sydney City Coroner from 1866 to 1889. In the course of his unusually long career he delved into the lives, loves, crimes, homes and workplaces of colonial Sydneysiders. He learnt of envies, infidelities, passions, and loyalties, and just how short, sad and violent some lives were. But his court was also, at times, instrumental in calling for new laws and regulations to make life safer. Catie Gilchrist explores the nineteenth century city as a precarious place of bustling streets and rowdy hotels, harbourside wharves and dangerous industries. With few safety regulations, the colourful city was also a place of frequent inquests, silent morgues and solemn graveyards. This is the story of life and death in colonial Sydney. PRAISE 'Catie Gilchrist draws back the veil on death in nineteenth-century Sydney to reveal life - ordinary, tragic and hopeful' David Hunt, author of Girt and True Girt
The Alchemy of Poetry promises access to some of the greatest poems ever written. It demonstrates the various ways a close reading or analytical interpretation can be conducted and in so doing provides tools for a life time of poetry reading. This text is personal. It establishes a relationship between the reader and the poem and myself. Why? It is in relationships that we are able to most effectively learn and teach and grow. I think great Art belongs to everyone; thus, it is crucial that we continue the dialogue between ourselves and the poem. It is in this dialogue that we witness the alchemy of poetry; the way it transmutes from language form and feature to a universal elixir, an undiscovered gold and most significantly, "A thing of beauty". Poetry makes sense of life, it offers us truths, it brings us unimagined worlds and it liberates our pain. I have selected 160 poems that you cannot live your life without!Poetry offers ritual and cadence; sacrifice and secrets. Poetry offers a nation state, a place within a place when it no longer confers sovereignty upon you. Poetry is sacred and profane and thus it is at once sublime and mighty. It is audacious and disturbing but always - and this applies to all great poetry - yours. Mine. Ours. Indeed, what is the point of living if there is no Art? And poetry is the most concentrated of all Art. It is the oldest of all literary forms. Without poetry we are an idiotic uncivilized people telling tales "full of sound and fury, signifying nothing". Poetry is, in one crowded hour, the only one in the room. So, we read poetry to face the truth. To stand there and dig in, to stumble over words we don't get, to find a phrase that flicks a light on in our memory, to cat-paw over and over an image that was laid down long ago. Most of all, we read poetry to remind ourselves of what really matters. To witness the soaring light that tears up our small lives.
Take Ink & Weep is the story of Russia's poets, Akhmatova, Pasternak, Mandelstam and Tsvetaeva, during World War 1, the rise of Bolshevism and the fall of the Romanovs.