In 1966, the Gurindji people working on Wave Hill Station in the Northern Territory did something radical: they went on strike. They wanted equal wages--and land rights. Author Frank Hardy happened to be there. In The Unlucky Australians he tells the story of this walk-off, one that resulted in a successful land rights claim--a term Hardy has been credited for inventing in this important novel, first published in 1968.In an article in Overland in 2007 on Les Murray, Frank Hardy and Australian Nationalism, Nathan Hollier points out: 'Partly because of books like The Unlucky Australians, many Australians do not feel as comfortable or at ease with the land as they had been encouraged to feel by an eager generation of nationalist historians, social commentators, political and religious leaders, teachers and artists.'Frank Hardy (1917-1994) was a journalist, novelist and scriptwriter. His books include Power without Glory (1950), the satire Outcasts of Foolgarah (1971), also in the Untapped Collection, and The Dead Are Many (1975).

Fifty years ago, a group of striking Aboriginal stockmen in the remote Northern Territory of Australia heralded a revolution in the cattle industry and a massive shift in Aboriginal affairs. Now, after many years of research, A Handful of Sand tells the story behind the Gurindji people's famous Wave Hill Walk-off in 1966 and questions the meanings commonly attributed to the return of their land by Gough Whitlam in 1975. Written with a sensitive, candid and perceptive hand, A Handful of Sand reveals the path Vincent Lingiari and other Gurindji elders took to achieve their land rights victory, and how their struggles in fact began, rather than ended, with Whitlam's handback.

Story of Wave Hill strike 1966/67 for equal rights, conditions existing before strike; migration of Gurindji tribe to Wattie Creek, building their own village; information from Dexter Daniels, Aboriginal Union organiser, Vincent Lingiari, leader of Gurindji, Captain Major, Robert Tudawali.

"A powerfully doomy debut" (The Guardian), Shaun Prescott’s The Town is a novel of a rural Australian community besieged by modern day anxieties and threatened by a supernatural force seeking to consume the dying town. This is Australia, an unnamed, dead-end town in the heart of the outback—a desolate place of gas stations, fast-food franchises, and labyrinthine streets: flat and nearly abandoned. When a young writer arrives to research just such depressing middles-of-nowhere as they are choked into oblivion, he finds something more sinister than economic depression: the ghost towns of Australia appear to be literally disappearing. An epidemic of mysterious holes is threatening his new home’s very existence, and this discovery plunges the researcher into an abyss of weirdness from which he may never escape. Dark, slippery and unsettling, Shaun Prescott’s debut resurrects the existential novel for the age of sprawl and blight, excavates a nation’s buried history of colonial genocide, and tells a love story that asks if outsiders can ever truly belong anywhere. The result is a disquieting classic that vibrates with an occult power.

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This gripping debut horror novel about the death of a haunted Australian town creeps with “a similar energy and dread as that found in Josh Malerman’s Bird Box” (Kirkus Reviews). “Beautifully written.” —Paul Tremblay, author of A Head Full of Ghosts On winter solstice, the birds disappeared, and the mist arrived. The inhabitants of Nebulah quickly learn not to venture out after dark. But it is hard to stay indoors: cabin fever sets in, and the mist can be beguiling, too. Eventually only six remain. Like the rest of the townspeople, Pete has nowhere else to go. After he rescues a stranded psychic from a terrible fate, he’s given a warning: he will be dead by solstice unless he leaves town—soon.

Collection of short stories containing scattered references to Aborigines; titles Release from Sorrow and A terrible beauty is born annotated separately.

Vignettes of Australian bush life.