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Comedian and writer Lily Bragge knows what it is to be a user and a taker, a liar, cheat and thief. It wasn't until she had lost everything - custody of her son, her friends, her career, her possessions and , almost, her sanity - that she was able to gain some kind of understanding of herself and rebuild her life from a blank, empty slate. In My Dirty Shiny Life, she traces with verve and humour her experience growing up with the chaos, fear and violence of a career-criminal father, and her survival of sexual abuse, heroin addiction, clinical depression and incarceration - and her ultimate redemption. Both harrowing and hilarious, My Dirty Shiny Life is a story of blood ties that bind and inordinate familial love.
A new edition of the classic work of nineteenth century mystery fiction, The Mystery of a Hansom Cab, by Fergus Hume (1859-1932). Originally published in 1886, and set in Victorian-era Melbourne, Australia, The Mystery of a Hansom Cab is the story of a mysterious body discovered in a hansom cab. The ensuing homicide investigation, led by our protagonist Detective Gorby, draws us into the long buried secrets of the rich and influential Frettlby family and the class struggles that divide the rich and poor in Victorian-era Melbourne, Australia. A lively and engaging novel, The Mystery of a Hansom Cab is still a sensational read for lovers of mysteries stories, and is also a must-read for fans of the genre as a pivotal example of the evolution of the genre from sensationalist crime literature to complex detective thrillers. The Mystery of a Hansom Cab was Australia's first international bestselling novel and remains one of the bestselling detective novels of the 19th century. Published one year prior to Arthur Conan Doyle's A Study In Scarlet, it was ground-breaking and genre-defining, and in fact old-sold this first of Doyle's Sherlock Holmes novels.
Where's the Red Button is the memoir of a former state ward in Victoria, Australia -- a true story of heartbreak and hope. When Lavinia Wilson is four years old, before going on a ride at the Melbourne Show, her big sister tells her, 'If you get scared, there's a red button you can press to get off.' It's a set-up by their dad -- there is no red button. Neither Lavinia nor her sister Mel can escape the ride. Or the father who threatens to kill them, in their home full of guns, junk and misery. Lavinia has no superpowers and no fairy godmother. But she is desperate and gutsy, so she runs away. However the government institutions that take her in don't give love and security either. By adulthood she is tired of fighting for survival?until she finds her red button.
REPORTER is an account of John McBeth's 40-year journey through Asia, more than half of that time as a correspondent for the Far Eastern Economic Review, the venerable magazine long regarded as the region's Englishlanguage Bible on political and economic affairs. While necessarily a memoir, the book is more a reflection of the lives of a small group of foreign journalists who came to Asia on a wing and a prayer -- and in McBeth's case by ship -- and stayed on as fascinated witnesses to a region going through turbulent times and historic change. Part-history, part-analysis, part story-telling and, in a smaller way, partcommentary on the salad days of print journalism and its steady decline under the onslaught of television and the Internet, Reporter introduces us to a diverse cast of journalists, diplomats, officials, politicians and generals McBeth meets and befriends along the way. The book deals with the five coups and attempted coups McBeth covered during his 16 years in Thailand; the Khmer Rouge reign of terror; the Indochinese refugee invasion; and the dramatic democratic transitions in South Korea and Indonesia, which helped change the face of onceauthoritarian Asia.
"Although I have been married three times, I have never been a bride. What - me, in a big white dress? In a veil? The closest I ever got to the fantasy was back in the eighties, when I used to admire the white gypsophila crowns that Susan Renouf wore to parties: I drew a curious satisfaction from their ethereal, circular, brow-pressing beauty. Twenty years later all that's left is the frisson I get from the coronet shape that salad leaves briefly take when I tip them out of the whizzer on to a tea towel."Cities, friends, lost loves, Antarctica, the joy of being a grandmother, weddings, fencing... Such is the array of subjects in Helen Garner's second non-fiction collection. Some pieces were published in The Age, some are previously unpublished, but woven together they present as an evocative memoir, and offer a wonderfully personal portrait of an always unconventional talent.In word-perfect and often hilarious prose, Helen Garner reminds us of the human condition, in all its various guises.
Helen Garner’s gritty, lyrical first novel divided the critics on its publication in 1977. Today, Monkey Grip is regarded as a masterpiece—the novel that shines a light on a time and a place and a way of living never before presented in Australian literature: communal households, music, friendships, children, love, drugs, and sex. When Nora falls in love with Javo, she is caught in the web of his addiction; and as he moves between loving her and leaving, between his need for her and promises broken, Nora’s life becomes an intense dance of loving and trying to let go. Helen Garner is one of Australia’s finest authors. In 2006 she received the inaugural Melbourne Prize for Literature, and in 2016 she won the prestigious Windham–Campbell Prize for non-fiction. Her novels include Monkey Grip, The Children’s Bach, Cosmo Cosmolino and The Spare Room. I rolled and rolled in the water, deafening my ears while I thought of, and discarded, all the reasons why I shouldn’t go. I popped up, hanging on to the rail, hair streaming on my neck. ‘OK. I’ll come.’ Javo was looking at me. So, afterwards, it is possible to see the beginning of things, the point at which you had already plunged in, while at the time you thought you were only testing the water with your toe. ‘Garner is a natural storyteller.’ James Wood, New Yorker ‘Her use of language is sublime.’ Scotsman ‘This is the power of Garner’s writing. She drills into experience and comes up with such clean, precise distillations of life, once you read them they enter into you. Successive generations of writers have felt the keen influence of her work and for this reason Garner has become part of us all.’ Australian ‘Its embattled characters are so real that by the last page you feel not just that you have read a magnificent novel but that you have experienced life itself.’ The Times on The Spare Room 'What Garner offers in these novels is an alternative to the cloying metafiction of the late 20th century and the washed-out realism of the 21st. They are undeniably of their time – the 1970s commitment to the liberating possibilities of sex, drugs and communal living in Monkey Grip, the hangover nursed in the 1980s in The Children’s Bach – but they also belong to a literary epoch we think of as long gone, as they earnestly strive to resurrect a modernist art of estrangement.' London Review of Books
Vashti believes that she cannot draw, but her art teacher's encouragement leads her to change her mind and she goes on to encourage another student who feels the same as she had.
Theatrical Events. Borders, Dynamics and Frames is written to develop the concept of ‘Eventness’ in Theatre Studies. The book as a whole stresses the importance of understanding theatre performances as aesthetic-communicative encounters of a wide range of agents and aspects. The Theatrical Event concept means not only that performers and spectators meet, but also that the specific mental sets, backgrounds and cultural contexts they bring in, strongly contribute to the character of a particular event. Moreover, this concept gives space to the study of the role societal developments – such as technological, political, economical or educational ones – play in theatrical events.