Don't Tell Sybil is a libidinous memoir by a master raconteur. George Melly (1926-2007) was impossible to ignore in London cultural circles between the 1950s and 90s. He first came to attention as a jazz singer, notable for risqué songs performed with verve rather than with great technical ability. An arresting personality, Melly dressed the part: his outrageous suits became a mark, and his talents as a raconteur soon brought him fame as a TV talkshow guest (usually late-night shows, for reasons of propriety). His cheerful bisexuality, recounted throughout his three volumes of autobiography, scandalized and then delighted a public whose own sexual attitudes changed over the decades they describe. Don't Tell Sybil is a supplementary volume of autobiography which treats in more detail Melly's youthful and long-lasting attraction to Surrealism, and his equally lengthy friendship with the contradictory character who headed up the English Surrealist group, E.L.T. Mesens. Their adventures form the core of this book--adventures of which Mesens did not want his wife, Sybil, to learn, hence the book's title. Mesens was a perfect subject, an artist and prankster who could be as punctilious and stingy as the most respectable bourgeois. Anecdotes of the artists who showed at Mesens' gallery, such as Schwitters and Magritte, pepper the narrative, a hugely affectionate memoir by a character who was truly larger than life. This new edition is augmented with previously unpublished photographs relating to Melly and English Surrealism.

Banat, a concert violinist and teacher, describes the life of this virtuoso violinist, who is thought to be the earliest black European composer, born on his father's plantation on Guadeloupe

159p hardback with yellow dustjacket, gift inscription signed by the artist, obituary of Brilliant's husband Professor Herbert Marshall taped lightly to front pastedown, very good copy of the first edition

Filmmaker Eva Orner takes us on a personal, gripping and compelling journey to show us how she came to make her documentary about Australia's asylum seeker policies. ' My work as a filmmaker has taken me to some wild, dangerous places ... It's been a crazy, nomadic kind of life, taking me to conflict zones and desperately poor, chaotic, unstable countries. I've been sick, injured, scared and had too many close calls to mention. I spend a lot of time alone, in airports, lugging camera gear, gazing up at flickering departure boards.' But I love it. I love the feeling I get when I am heading into the unknown.' Angry and frustrated with Australia's asylum seeker and refugee policies, Eva Orner, Academy Award®-winning filmmaker, returned home after a decade living in the States to make the documentary Chasing Asylum about the issue. Embarking on a tumultuous eighteen months, Eva travelled to Indonesia, Cambodia, Lebanon, Afghanistan and Iran, spending time with and filming asylum seekers, as well as interviewing politicians, activists and commentators including David Marr and Malcolm Fraser. She smuggled a pen camera into an Indonesian jail to interview a convicted people smuggler, she talked to whistle blowers in Australia, and in Iran she met with the family of the man killed in the Manus Island riot. Chasing Asylum is a compelling insight into a filmmaker's journey, and a very personal story of the cost, risks and rewards of putting yourself on the line for a film and for a cause. The Guardian writes of the film Chasing Asylum: 'The full, muscular weight of the feature documentary format has finally tackled the subject with Chasing Asylum, a viscerally intense expose given gravitas by Academy and Emmy award-winning film-maker Eva Orner ... not just successful, but awfully and unforgettably effective: vital, evocative and gut-wrenching.' 'Eva Orner is no stranger to bravery ... she manifests this steadfastness in relating story after story where pain, violence and horror frame her narrative, interspersed by accounts of the daily life of a filmmaker ... Orner is brave not just emotionally, but also physically, risking imprisonment, illness and violence to uncover the stories of those who have sought refuge ... It is a story that must be told.' Sydney Morning Herald

This memoir, a young poet's tragicomic account of crossed loves and rebellions as he grows from boy to man under the vigilant eyes of the state in the Soviet Union between the 1950s and 1970s, can be approached as a bildungsroman. It is set in Tallinn, Riga and Moscow (with episodes in Uzbekistan, Moldavia, and the Ukraine) and, apart from this author's own story, deals with the experiences of young people of that period, their friendships and attempts to form erotic/romantic attachments, as well as their search for national--Baltic, Jewish, Russian--identity while being watched and sometimes interrogated by the secret police. It also includes some reconstruction of the author's family history: expulsion from Spain, the Magician of Prague, the renowned historian Simon Dubnov. The volume progresses from the demonstration of two seven-year-old boys' against Stalin and Lenin, in Tallinn, in the mid-1950s to a dramatic and doomed love affair with a woman married to an army colonel who attempts to shoot the author as the latter is about to make his final exit from the country, with the KGB on his tail, in the early 1970s. While raising a number of important historical and contemporary issues, the memoir is also an involving narrative, a visually descriptive story, varied and engrossing, involving philosophical, theological, and detective elements; popular and literary culture; countries and languages; high seriousness and undercutting irony.

The autobiography of the former governor and senator from Alaska. 564 pages. Hardcover with dust jacket. Liveright Publishing Corporation (ISBN 0871405652).

" A no-holds-barred memoir that charts the rise and fall - and rise - of one of Australia's most iconic music performers. You think you know Deborah Conway? You think seeing her striding and scowling down Sydney's back streets in an oversize coat or galavanting around a golf course wearing a close approximation of plus fours means you know who Deborah Conway is? She figures you probably don't know the half of it. And there's a lot to know. If you have listened to any of Deborah Conway's songs and were half curious about the origins; if you have ever wondered whatever happened to that chick who covered herself in Nutella and was photographed shovelling cream cakes in to her mouth; if you gave a nanosecond of thought to whose bare arse adorned the giant Billboard ads for Bluegrass jeans in the 1980's and how much someone could get paid to do that; if you liked Tracey Mann's vocals in The Takeaways but asked yourself, ""did she really sing them?""; if you were a movie buff who thought Running On Empty was a classic BEFORE it became a cult phenomenon and need behind the scenes gossip, now's your chance to find out all this and so much more. Conway pulls back the curtain on the fevered world of a 1980's post punk band, the spectacular rise and fall and rise of one of the more obstreperous women working inside Australia's music industry, a woman who has straddled the high arts and the low without losing her footing or her mind and whose fierce independence has seen her produce her best work. Book Of Life : the good, the bad, and the ugly of being alive in the 20th and 21st centuries from the vantage point of a music insider (and outsider) with a deep need to tell the truth about it all. "