An astonishing and monumental masterpiece from the towering Australian writer Alexis Wright whose “words explode from the page” (The Monthly) WINNER OF THE 2024 STELLA PRIZE WINNER OF THE 2024 JAMES TAIT BLACK PRIZE WINNER OF THE 2023 QUEENSLAND AWARD FOR LITERARY FICTION SHORTLISTED FOR THE 2024 DUBLIN LITERARY AWARD In a small town in the north of Australia, a mysterious haze cloud heralds both an ecological catastrophe and a gathering of the ancestors. A visionary on his own holy quest, Cause Man Steel seeks the perfect platinum donkey to launch an Aboriginal-owned donkey transport industry, saving Country and the world from fossil fuels. His wife, Dance, seeking solace from his madness, studies butterflies and moths and dreams of repatriating her family to China. One of their sons, named Aboriginal Sovereignty, is determined to end it all by walking into the sea. Their other child, Tommyhawk, wants nothing more than to be adopted by Australia’s most powerful white woman. Praiseworthy is an epic masterpiece that bends time and reality—a cry of outrage against oppression, greed, and assimilation.

A woman returns to Australia to clear out her father’s house, with an eye to transforming the contents into an art installation in the tradition of the revered Chinese artist Song Dong. What she hasn’t reckoned with is the tangle of jealousies, resentments, and familial complications that she had thought, in leaving the country, she had put behind her — a tangle that ensnares her before she arrives.

In Melbourne a one-time research student with interests in philosophy and psychology is diagnosed with her third episode of psychosis. As she is moved from her family home to a community house and then to hospital, she questions the diagnosis of her sanity or insanity, as determined and defined by a medical model which seems less than convincing to her. Indeed questioning seems to be at the heart of her psychosis, in her over-active interpretations of signs and gestures, thoughts and emotions – and one understands these to be an expression of her intelligence, even if they seem illusory. She tells her story in a calm, rational voice, with an acute sense of detail and an objective air, as she wonders when the next psychotic episode will materialise, or if it hasn’t arrived already.Based on real-life events, translated from Bengali by the award-winning Indian translator Arunava Sinha, Hospital is an extraordinary novel that portrays the experience of psychosis and its treatments in an unflinching and understated way, while struggling more broadly with the definition of sanity in our society.

Saeed has not returned to Iran after publishing his novel The Imaginary Narrative of a Real Murder for fear of political persecution. He is surprised when Ismael, his father who has never left Iran, announces that he is travelling to Adelaide to visit him. During his short stay, Ismael tells Saeed the story of his unrequited love for Forugh Farrokhzad--the most controversial poet of modern Iran. The story makes Saeed see his father in a new light, and leaves him with the haunting question: had his father, unwittingly, played a role in Forugh's death? 'A significant contribution to Australian literature and to literature as a whole ... A novel which matters--deeply.' - Arnold Zable

A grandson tries to learn the family story. But what kind of story is it? Is it a prison memoir, about the grandfather imprisoned without charge or trial by a revolutionary government? Is it an oral history of the grandmother left behind to look after the children? Or is it a love story? A detective tale? Moving from 1930s Hanoi through a series of never-ending wars and displacements to Saigon, Paris, Melbourne and Cambridge, Anam is a novel about memory and inheritance, colonialism and belonging, home and exile. Anam blends fiction and essay, theory and everyday life to imagine that which has been repressed, left out, and forgotten. The grandson mines his family and personal stories to turn over ideas that resonate with all of us around place and home, legacy and expectation, ambition and sacrifice. As he sifts through letters, photographs, government documents and memories, he has his own family to think about- a partner and an infant daughter. Is there a way to remember the past that creates a future for them? Or does coming home always involve a certain amount of forgetting?

When a troubled Sarah Hutchinson returns to Australia from boarding school in England and time spent in Europe, she is sent to live with her eccentric Uncle Ferny on the family property, Ngangahook. With the sound of the ocean surrounding everything they do on the farm, Sarah and her uncle form an inspired bond hosting visiting field naturalists and holding soirees in which Sarah performs on a piano whose sound she has altered with items and objects from the bush and shore.

As Sarah’s world is nourished by music and poetry, Ferny’s life is marked by Such is Life, a book he has read and reread, so much so that the volume is falling apart. Its saviour is Jones the Bookbinder of Moolap, who performs a miraculous act. To shock and surprise, Jones interleaves Ferny’s volume with a book he bought from an American sailor, a once obscure tale of whales and the sea. In art as in life nature seems supreme. Ngangahook and its environs are threatened, however, when members of the community ask the Hutchinsons to help ‘make a savage landscape sacred’ by financing the installation of a town bell. The fearless musician and her idealistic uncle refuse to buckle to local pressures, mounting their own defence of ‘the bell of the world’.

Gregory Day’s new novel embodies a cultural reckoning in a breathtakingly beautiful and lyrical way. The Bell of the World is both a song to the natural wonders that are not yet gone and a luminous prehistory of contemporary climate change and its connection to colonialism. It is a book immersed in the early to mid-twentieth century but written very much for the hearts of the future.