Modernist architecture was at the heart of the physical, cultural and social transformation of postwar Adelaide. This architectural revolution was based on new construction technologies, a desire to break away from traditional styles and an unwavering belief in design's ability to shape a better society. Modernist Adelaide: 100 Buildings 1940s-1970s is the first book to provide a large-scale survey of Adelaide's mid-century architecture. By profiling the architects and clients, specific design features and historical points of interest of 100 existing modernist buildings, Modernist Adelaide: 100 Buildings 1940s-1970s reveals South Australia's lesser-known but substantial contribution to the aspirations of this architectural movement.

A place of astonishing contrasts, India is home to some of the world’s most ancient architectures as well as some of its most modern. It was the focus of some of the most important works created by Le Corbusier and Louis Kahn, among other lesser-known masters, and it is regarded by many as one of the key sites of mid-twentieth century architectural design. As Peter Scriver and Amit Srivastava show in this book, however, India’s history of modern architecture began long before the nation’s independence as a modern state in 1947. Going back to the nineteenth century, Scriver and Srivastava look at the beginnings of modernism in colonial India and the ways that public works and patronage fostered new design practices that directly challenged the social order and values invested in the building traditions of the past. They then trace how India’s architecture embodies the dramatic shifts in Indian society and culture during the last century. Making sense of a broad range of sources, from private papers and photographic collections to the extensive records of the Indian Public Works Department, they provide the most rounded account of modern architecture in India that has yet been available.

The Australian garden was born mid-century, a time of postwar confidence and growing national identity. Gardens became outdoor rooms for recreation and healthy living - removing the barriers between inside and out - and bold designs celebrated native Australian plants. The mid-century modern aesthetic has seen a revival in recent years, with contemporary garden designers reinterpreting the optimism, innovation and independence of that era. The gardens in Living Outside speak to an Australia that draws on the confidence of the last century while pushing the boundaries of experimentation, all to rise to the environmental and social challenges of today. The featured projects embrace their unique surrounding landscapes, from coastal cliffs and expansive grassland to tropical forest and even urban neighbourhoods. They also reflect a return to modernism - not just the look and feel, but also the functionality and values of invention, conservation, wellbeing.These gardens are more than just ornamental backdrops: they provide shade for neighbourhoods, food for pollinating insects, habitat for wildlife, hubs for both social interaction and moments of respite. They are platforms for research into resilient futures, experiments in sustainability and places for families to grow. They have been designed in response to their contexts and exemplify the singular and joyous spaces that can result from a deep appreciation of place.

Queering Modernist Translation explores translations by Ezra Pound, Langston Hughes, and H.D. through the concept of queering translation. As Bancroft argues, queering translation is an intersectional lens for gleaning identity and socio-cultural issues in translation, such as gender, sexuality, diaspora, and race. Using theories espoused by Jack Halberstam, José Esteban Muñoz, Elizabeth Grosz, Sara Ahmed, and Rinaldo Walcott as foundations for his arguments, Bancroft demonstrates that queering translation offers more expansive ways of imagining the relationship between translation and the identities, cultures, and societies that produce them. Intervening in new Modernist studies and translation studies, Queering Modernist Translation furthers contemporary conversations regarding Modernism and its lasting importance in the twenty-first century.

The soft crash of waves that blissfully block out all other noise, the smell of two-stroke and lawn clippings, the first sip of cold beer, the laboured whir of the ceiling fan, the sound of a bag of ice hitting the pavement, that feeling of salt on skin and even the smell of prawns on bin night. Comedian Tim Ross uses the Australian Summer as a back drop for a new collection of nostalgic short stories.

Changing how we look at and think about the color grey Why did many of the twentieth century’s best-known abstract painters often choose grey, frequently considered a noncolor and devoid of meaning? Frances Guerin argues that painters (including Jasper Johns, Cy Twombly, Agnes Martin, Brice Marden, Mark Rothko, and Gerhard Richter) select grey to respond to a key question of modernist art: What is painting? By analyzing an array of modernist paintings, Guerin demonstrates that grey has a unique history and a legitimate identity as a color. She traces its use by painters as far back as medieval and Renaissance art, through Romanticism, to nineteenth- and twentieth-century modernism to show how grey is the perfect color to address the questions asked by painting within art history and to articulate the relationship between painting and the historical world of industrial modernity. A work of exceptional erudition, breadth, and clarity, presenting an impressive range of canonical paintings across centuries as examples, The Truth Is Always Grey is a treatise on color that allows us to see something entirely new in familiar paintings and encourages our appreciation for the innovation and dynamism of the color grey.

NEW YORK TIMES BESTSELLER • A stunning “portrait of the enduring grace of friendship” (NPR) about the families we are born into, and those that we make for ourselves. A masterful depiction of love in the twenty-first century. NATIONAL BOOK AWARD FINALIST • MAN BOOKER PRIZE FINALIST • WINNER OF THE KIRKUS PRIZE A Little Life follows four college classmates—broke, adrift, and buoyed only by their friendship and ambition—as they move to New York in search of fame and fortune. While their relationships, which are tinged by addiction, success, and pride, deepen over the decades, the men are held together by their devotion to the brilliant, enigmatic Jude, a man scarred by an unspeakable childhood trauma. A hymn to brotherly bonds and a masterful depiction of love in the twenty-first century, Hanya Yanagihara’s stunning novel is about the families we are born into, and those that we make for ourselves. Look for Hanya Yanagihara’s latest bestselling novel, To Paradise.

In 1944 the Australian literary world was rocked by a hoax which was to become a worldwide scandal. Ern Malley, deceased motor mechanic and poet, was the invention of two Sydney poets, James McAuley and Harold Stewart, who were intent on proving that modern poetry was a sham. The work of Malley comprised lines and words selected randomly, everywhere from Shakespeare to an American report on the drainage of the breeding grounds of mosquitoes. Max Harris published the poetry in the literary magazine Angry Penguins but when the deception was revealed he was mercilessly lampooned, tried and convicted of publishing 'indecent advertisements'. This definitive edition contains all of the poems, a new introduction by artist Albert Tucker, and historical background by Max Harris, John Reed and Colin Wilson; augmented by the unique contribution of drawings and etchings by Garry Shead.