An extraordinary story about a couple’s experience of moving into the remote Australian wilderness. Stan Parker, with only a horse and a dog for company, journeys to a remote patch of land he has inherited in the Australian hills. Once the land is cleared and a rudimentary house built, he brings his wife, Amy, to the wilderness. Together they face lives of joy and sorrow as they struggle against the environment. 

Through the crumbling ruins of the once splendid Xanadu, Miss Hare wanders, half mad. In the wilderness she stumbles upon an Aboriginal artist and a Jewish refugee. They place themselves in the care of a local washerwoman. In a world of pervasive evil, all four have been independently damaged and discarded. Now in one shared vision they find themselves bound together, understanding the possibility of redemption.

To hesitate on the edge of life or to plunge in and risk change - this is the dilemma explored in The Living and the Dead. Patrick White's second novel is set in '30s London and portrays the complex ebb and flow of relationships within the Standish family. Mrs Standish, ageing but still beautiful, is drawn into secret liaisons, while her daughter Eden experiments openly and impulsively with left-wing politics and love affairs. Only the son, Elyot, remains an aloof and scholarly observer - until dramatic events shock him into sudden self-knowledge.  

Tells the story of Alex Gray, a woman possessed by several varied personalities, and who sees life through a shifting kaleidoscope of reality. The last Patrick White novel published in his lifetime, Memoirs of Many in One presents the eccentric, often fantastical recollections of the ageing actor, Alex Xenophon Demirjian Gray. These are ‘edited’ by the writer Patrick White, her friend and executor, who is often the target of her scorn. Witty and affecting, Memoirs reveals another side of White’s fiction even as it echoes many of the themes running through his work.

With the death of her mother, middle-aged Theodora Goodman contemplates the desert of her life. Freed from the trammels of convention, she leaves Australia for a European tour and becomes involved with the residents of a small French hotel. But creating other people's lives, even in love and pity, can lead to madness. Her ability to reconcile joy and sorrow is an unbearable torture to her. On the journey home, Theodora finds there is little to choose between the reality of illusion and the illusion of reality. She looks for peace, even if it is beyond the borders of insanity.

Hurtle Duffield, a painter, is incapable of loving anything except what he paints. The men and women who court him during his long life are, above all, the victims of his art. He is the vivisector, dissecting their weaknesses with cruel precision: his sister's deformity, a grocer's moonlight indiscretion and the passionate illusions of his mistress, Hero Pavloussi.

For decades the Magistrate has been a loyal servant of the Empire, running the affairs of a tiny frontier settlement and ignoring the impending war with the barbarians. When interrogation experts arrive, however, he witnesses the Empire's cruel and unjust treatment of prisoners of war. Jolted into sympathy for their victims, he commits a quixotic act of rebellion that brands him an enemy of the state.

To the Lighthouse is Virginia Woolf’s arresting analysis of domestic family life, centering on the Ramseys and their visits to the Isle of Skye in Scotland in the early 1900s. Nicole Kidman ( Moulin Rouge, Eyes Wide Shut), who won an Oscar for her portrayal of Woolf in the film adaptation of Michael Cunningham’s Pulitzer Prize-winning novel The Hours, brings the impressionistic prose of this classic to vibrant life.

In a world of perennial fire and growing extinctions, Anna’s aged mother is dying - if her three children would just allow it. Condemned by their pity to living she increasingly escapes through her hospital window into visions of horror and delight. When Anna’s finger vanishes and a few months later her knee disappears, Anna too feels the pull of the window.  

On a country property a man named Holland lives with his daughter Ellen. Over the years, as she grows into a beautiful young woman, he plants hundreds of different gum trees on his land. When Ellen is nineteen her father announces his decision: she will marry the man who can name all the species of eucalypt, down to the last tree. Suitors emerge from all corners, including the formidable, straight-backed Mr Cave, world expert on the varieties of eucalypt.

What if Elizabeth Macarthur – wife of the notorious John Macarthur, wool baron in early Sydney – had written a shockingly frank secret memoir? In her introduction Kate Grenville tells, tongue firmly in cheek, of discovering a long-hidden box containing that memoir. What follows is a playful dance of possibilities between the real and the invented. Grenville's Elizabeth Macarthur is a passionate woman managing her complicated life-marriage to a ruthless bully, the impulses of her own heart and the search for power in a society that gave her none - with spirit, cunning and sly wit.

Taboo takes place in the present day, in the rural southwest of Western Australia, and tells the story of a group of Noongar people who revisit, for the first time in many decades, a taboo place: the site of a massacre that followed the assassination, by these Noongar's descendants, of a white man who had stolen a black woman. They come at the invitation of Dan Horton, the elderly owner of the farm on which the massacres unfolded.

Jacob’s Room is Virginia Woolf’s own modernist manifesto. Jacob Flanders is a mere point of contact between a crowd of people, appearing and disappearing in a tableau in which all is flux, without certainty and without a controlling viewpoint. But it seems that the author could not maintain this rigorous impersonality, and the radical technique breaks down, so that we finally see Jacob as a person, just as his world is blown apart.

In a South Africa torn by civil war, Michael K sets out to take his mother back to her rural home. On the way there she dies, leaving him alone in an anarchic world of brutal roving armies. Imprisoned, Michael is unable to bear confinement and escapes, determined to live with dignity. Life and Times of Michael K goes to the centre of human experience - the need for an interior, spiritual life, for some connections to the world in which we live, and for purity of vision.

Bobby Wabalanginy never learned fear, not until he was pretty well a grown man. Sure, he grew up doing the Dead Man Dance - those stiff movements, those jerking limbs – as if he’d learned it from their very own selves; but with him it was a dance of life, a lively dance for people to do together…