Crudo

Shortlisted for the Goldsmith's Prize, the Gordon Burn Prize and the James Tait Black Award. Dive in to a tale of love and loathing with the beach read of the summer. Kathy is a writer. Kathy is getting married. It’s the summer of 2017 and the whole world is falling apart. From a Tuscan hotel for the super-rich to a Brexit-paralysed UK, Kathy spends the first summer of her forties trying to adjust to making a lifelong commitment just as Trump is tweeting the world into nuclear war. But it’s not only Kathy who’s changing. Political, social and natural landscapes are all in peril. Fascism is on the rise, truth is dead, the planet is hotting up. Is it really worth learning to love when the end of the world is nigh? And how do you make art, let alone a life, when one rogue tweet could end it all. Olivia Laing radically rewires the novel in a brilliant, funny and emphatically raw account of love in the apocalypse. A Goodbye to Berlin for the 21st century, Crudo charts in real time what it was like to live and love in the horrifying summer of 2017, from the perspective of a commitment-phobic artist who may or may not be Kathy Acker . . .

This collection of essays and reviews represents the most significant and comprehensive writing on Shakespeare's A Comedy of Errors. Miola's edited work also features a comprehensive critical history, coupled with a full bibliography and photographs of major productions of the play from around the world. In the collection, there are five previously unpublished essays. The topics covered in these new essays are women in the play, the play's debt to contemporary theater, its critical and performance histories in Germany and Japan, the metrical variety of the play, and the distinctly modern perspective on the play as containing dark and disturbing elements. To compliment these new essays, the collection features significant scholarship and commentary on The Comedy of Errors that is published in obscure and difficulty accessible journals, newspapers, and other sources. This collection brings together these essays for the first time.

Celebrating 20 years of Icebergs Dining Room and Bar: the food, cocktails, music, art, and personalities that have celebrated one of Sydney’s most iconic restaurants. Icebergs Dining Room and Bar is an icon, standing sentinel over Bondi Beach and the powerful Pacific Ocean. Despite the beauty, the path from concept to restaurant was not always straightforward. What Maurice Terzini was asking people to see wasn’t there – and he wanted to keep it that way. The ocean was to be the hero; the rest, in essence, was to remain invisible. A place where conversations dominate the food; where art, music and beauty all share a place at that table. Of course, the food and drink have to be world-class, as do the design and service. To be on par with that ocean, you need to be irreproachable. It’s been challenging, but it’s also been the greatest of honours. This book tells the story of the past 20 years of that custodianship. There are tales of people, personalities and the influences that shaped the idea, a collection of our best known recipes from two decades of head chefs, cocktails from our award-winning bar and playlists from summers gone by. See the restaurant through the eyes of acclaimed architect Carl Pickering; peer into the minds of six of Australia’s best chefs – from Karen Martini to Monty Koludrovic; read about why a great wine list is about so much more than the wine, and then take a little taste of the indefinable magic – Maurice’s treatise on his signature rules of hospitality. There is so much that goes into making a restaurant disappear; much of it enclosed within these pages.

"So wise were our elders!" Thus exclaims Mariano Chicunque, himself an elder, expressing in a single phrase the thrust of the mythic narrative tradition he simultaneously presents and represents in his storytelling. A remarkable body of mythology is documented for the first time in this volume. John Homes McDowell's study revolves around thirty-two mythic narratives of the Kamsá Indians who live in the Sibundoy Valley of the Colombian Andes, collected by the author from several renowned Kamsá storytellers. Each myth is given in the native language with parallel English translations that seek to capture the flavor of the original performances. Textual annotation and commentary assess the grounding of the myths in the language and culture of the Kamsá indigenous community. Introductory chapters describe the process of transcription and translation and highlight important characteristics of the collection. McDowell stresses the collaborative nature of the enterprise, which benefits from the shared vision of the ethnographer and of indigenous consultants who were involved in every step of the process. The narratives are portrayed as a residual mythology in transit toward folktale but still evocative of a traditional cosmos. The myths are much more than inert "literary" objects, and under McDowell's scrupulous analysis they emerge as a storehouse of narrative potential whose performances still have meaning in Kamsá society and culture today. "So Wise Were Our Elders" is a companion volume to McDowell's Sayings of the Ancestors: The Spiritual Life of the Subundoy Indians (1989).