{"title":"Otherswell","description":"","products":[{"product_id":"finding-theodore-and-brina","title":"Finding Theodore and Brina","description":"\u003cp\u003e\u003cstrong\u003eAbout the Book:\u003c\/strong\u003e\u003cbr\u003eA novel of family and place. An Australian family, five generations old. Transgressions, taboos, secrets, shames. Progressing through the generations. Hidden within the family. Unspoken. Unacknowledged. Madness, illegitimacy, miscegenation, murder. But also, love.\" Finding the stories within the gaps, the spaces in the remembering and forgetting, Finding Theodore and Brina is a testament to the delicacy and complexity of family and relationships. Intimate, intricate and deeply absorbing it illuminates lost lives and rescues individuals from the margins of history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Author:\u003c\/strong\u003e\u003cbr\u003eTerri-ann White is Publisher at Upswell. 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Prior to this, she founded and directed a cross-disciplinary research centre at UWA, taught literature and writing in universities, was a bookseller for 16 years, and organised festivals. Terri-ann is a writer of fiction and non-fiction and a serious enthusiast of dance and music and visual arts, as well as literature that extends boundaries of how stories are told and language is worked.\u003c\/p\u003e","brand":"Upswell Publishing","offers":[{"title":"Default Title","offer_id":42238582554679,"sku":null,"price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0626\/7771\/2951\/files\/Upswell_book_Night-and-Day.jpg?v=1779074704"},{"product_id":"desert-writing","title":"Desert Writing","description":"\u003cp\u003eEdited by \u003cstrong\u003eTerri-ann White\u003c\/strong\u003e In September 2013, just before the weather turned even more intense, a group of intrepid writers made their way to three Australian desert settings to work with groups and individuals wishing to write. 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You'll read new voices and hear perspectives on living in extreme geographical and climactic regions in today's Australia.\u003c\/p\u003e\n\u003cp\u003eIn the variety presented here we welcome you into the vitality of remote communities, often isolated but full of commitment and hope for the future.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarie Munkara\u003c\/strong\u003e and \u003cstrong\u003eKtima Heathcote\u003c\/strong\u003e at Tennant Creek in the Northern Territory.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAli Cobby Eckermann\u003c\/strong\u003e and \u003cstrong\u003eLionel Fogarty\u003c\/strong\u003e in Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in South Australia.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKim Mahood\u003c\/strong\u003e and \u003cstrong\u003eTerri-ann White\u003c\/strong\u003e in Mulan in Western Australia.\u003c\/p\u003e","brand":"Upswell Publishing","offers":[{"title":"Default Title","offer_id":42238583734327,"sku":null,"price":27.99,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0626\/7771\/2951\/files\/UWA_Desert_Writing_Front_Cover_740x_e8a03d1d-645f-43ce-9572-ff8499affc06.webp?v=1779074742"},{"product_id":"marrugeku","title":"Marrugeku: Telling That Story","description":"\u003cp\u003eEdited by Helen Gilbert, Dalisa Pigram and Rachael Swain and published by Performance Research Books, January 2021. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTelling That Story\u003c\/em\u003e details twenty-five years of intercultural performance-making by renowned Australian dance company Marrugeku. Restlessly inventive in both subject and style, the company’s unforgettable work reaches from remote Indigenous communities in northern Australia to international audiences around the world. This book brings the different strands of the Marrugeku’s practice into dialogue for the first time, exploring productions that range from large-scale outdoor explorations of Kunwinjku spirit worlds to trans-disciplinary expressions of global ecological collapse and to intimate dance solos on the theme of decolonization.\u003c\/p\u003e\n\u003cp\u003eMarrugeku was born in the small Kunwinjku community of Kunbarlanja in Arnhem Land and is now based in both Yawuru Country in Broome, Western Australia, and on Gadigal lands in Sydney. The company’s unique artistic and cultural journey is traced here through a words-and-pictures story co-curated by leading postcolonial settler scholar Helen Gilbert and Marrugeku’s co-artistic directors: Yawuru\/Bardi choreographer and dancer Dalisa Pigram and settler director Rachael Swain. With its rich array of content, Telling That Story offers a compelling multivocal assessment of the power and appeal of political dance theatre in our times.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHighlights:\u003c\/strong\u003e \u003cbr\u003eEssays: Djon Mundine on art as a social act; Vicki van Hout on strategic obfuscation in Burning Daylight; Jacqueline Lo on the haunted histories of Asian-Indigenous relations in Broome; Alison Croggon on colonialism and stasis in Le Dernier Appel; Jonathan W. Marshall on critical mimicry in Burrbgaja Yalirra; Omid Tofighan on horrific surrealism in Jurrungu Ngan-ga, and more.\u003c\/p\u003e\n\u003cp\u003eInterviews with Marrugeku members and collaborators, including Indigenous leaders June Oscar and Patrick Dodson, musicians Lorrae Coffin and Matthew Fargher and dramaturgs Peter Eckersall and Hildegard de Vuyst.\u003c\/p\u003e\n\u003cp\u003eScript excerpts from Buru, Gudirr Gudirr, Cut the Sky and Burrbgaja Yalirra. 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When we start seeing the pattern of the whole, they will come back.\u003cbr\u003eReturn of the Centaurs is a playful guide to doing this, a book of laughter and tears, compassion and satire.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Author:\u003c\/strong\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ePaul Carter is an internationally renowned writer, artist, and cultural heritage specialist. The author of many books, he has written extensively about white settler societies, their foundational myths and the ways these inform the places they create and the national narratives that hold them together.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePublished by Artem Publishing, Naples, 2024.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Upswell Publishing","offers":[{"title":"Default Title","offer_id":42285122191415,"sku":null,"price":49.99,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0626\/7771\/2951\/files\/paul-carter_copertina_23.11.23_Page_2.jpg?v=1782443424"},{"product_id":"signature","title":"Signature","description":"\u003cp\u003e\u003cstrong\u003eAbout the Book:\u003c\/strong\u003e\u003cbr\u003eSignature celebrates an aspect of Paul Carter’s distinguished public art practice, his unique typographical inscriptions installed in award-winning public space design projects, including Homebush Bay (Sydney 2000 Olympics), Federation Square, 180 Brisbane, State Square (Darwin), Scarborough Beach (WA), Harmony Square (Dandenong) and Yagan Square, Perth.\u003c\/p\u003e\n\u003cp\u003eThe inscriptions are poetic compositions arising from the creative through lines, or place-making impulses, embedded in the site’s cultural and environmental history. As a rule, these identifying creative or generative traces are missed or recessed.\u003c\/p\u003e\n\u003cp\u003eBy using a poetic logic able to expose convergences, coincidences and cross-overs of sense, Carter produces original place signatures. These differ from conventional dedicatory texts not only in their content but in their arrangement and distribution, which characteristically operate at a scale where reading and treading elide.\u003c\/p\u003e\n\u003cp\u003eSean Hogan, Signature’s designer and Paul Carter were drawn to this book project by the challenge of putting writing designed to be ‘outside the book’ into a physical format whose unit was the page and whose conventional organisation was linear.\u003c\/p\u003e\n\u003cp\u003eNeither condition applies to the public space inscriptions, whose composition, internal design and external relationships are dictated by the social life of the city, not the solitary introspection of the reader.\u003c\/p\u003e\n\u003cp\u003eIn this regard, each of the inscriptions offered a different challenge. While the nine ‘Contractions’ of ‘Golden Grove’ could be printed in regular lines, the ‘endless’ lines of ‘Relay’ resisted any kind of framing.\u003c\/p\u003e\n\u003cp\u003eThere were other considerations: the nine ‘Federal Visions’ of ‘Nearamnew’ gain much from Carter’s own performance of the inscriptions; in this case, a quasimusical system of markings was improvised that respected the unusual mingling of quantitative, or length-based, phrasing and stress-based rhythmic arrangement.\u003c\/p\u003e\n\u003cp\u003eThe goal of these typographic rearrangements and associated markings was the clarification of the poetic logic. A legibility was sought that preserved the original strangeness (or outsider status) of the compositions whilst making them legible within the book.\u003c\/p\u003e\n\u003cp\u003eThis did not mean resisting playfulness: while it was agreed that the original typefaces should not be used – Signature is a poem book, not a catalogue – texts that called out for a poème concrète interpretation were presented uninhibitedly.\u003c\/p\u003e\n\u003cp\u003eThe hinged English\/Noongar inscriptions, adapted from ‘Mystic Edge’, dramatize the cross-cultural encounter storied in that bilingual work with an immediacy that could not be matched in the original ground inscription.\u003c\/p\u003e\n\u003cp\u003eSimilarly, the single letter columns of ‘Rival Channels’ allude to the reed beds of the Brisbane River, a pictographic pun that had not been feasible in the original public artwork.\u003c\/p\u003e\n\u003cp\u003eSumming up in the Introduction, Carter writes:\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eAn arc of prayer describes Signature, the precarity of the stranger struggling to negotiate the protocols of entry, to annex his future to a foreign past, to name the gods whose will lies buried in the ground.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eComposed over twenty five years, the public inscriptions put into this book also stage a return: at the beginning is a mumbled, stumbling overhearing of the Kaurna account of colonisation, its prophecy and actualisation; at the conclusion is a child’s version of ‘Welcome to Country,’ faithfully discussed and realised in English and Nyungar.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eInside the outer arc of the rainbow, a shaman’s version of the creation comes back as the intimate staccato of a Lewin’s Rail on the Brisbane River, interpreted here as the watchful spirit of change. 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