Who would have thought that a single photograph would be so dangerous? Photofest. The ultimate photography convention. Not only is Seddy finally able to attend, but this year, it is being held in the city for which she was named. And she cannot wait. No sooner does she check into the conference when a murder interrupts her night on the town with a new friend. Shaken, Seddy just wants to put the incident behind her. But someone has other ideas. After attending her first day of workshops, Seddy discovers her hotel room has been ransacked. Her new love interest seems very eager to help her while the local detective keeps asking her questions about her camera. To make matters worse, the chief of police keeps giving her strange looks. And then someone tries to kill her. As she works out whom she can trust, Seddy realizes she may hold the one piece of evidence that could help solve the mystery.
A summer of kayaking sounds perfect. Until the lake monster appears. For Ellie, getting paid to spend her summer outside sounds like the ideal internship, even if it means paddling up and down a river twelve hours a day. Sure, she's never actually been in a kayak before, but how hard could it be? At least she knows how to set up camp at night. Unlike her co-worker. Though Clay may be captain of the crew team, she could teach him a thing or two about spending the night in a sleeping bag. And then there's the whole lake monster thing. Of course, Ellie knows water monsters aren't real but Clay doesn't seem convinced, especially after a boater goes missing. When mysterious accidents threaten her job security, Ellie starts to wonder why the "monster" wants her gone.
INDEPENDENT PUBLISHERS OF NEW ENGLAND 2021 BOOK AWARD FINALIST Ana has the perfect job. Unfortunately, it means working with TJ. We quickly huddled together, burying our heads under our bags. I lost track of time under the table with TJ's arm around me, shielding me from the storm. I was surprised that this annoying creature could make me feel so safe. I squeezed my eyes shut as a barrage of unfamiliar noises assaulted my ears and wondered whether I would ever open them again. Seventeen-year-old Ana cannot wait for summer, when she gets to co-lead the overnight hikes at her uncle's family camp. Sure, it means working with her brother-in-law, TJ, a boy her age whom she cannot stand. But, she is willing to put aside their differences in order to have a fantastic summer. When tragedy strikes, Ana and TJ must work together, with the help of the legendary piquaqua bird, to help restore the camp in time for summer.
He's the vile boy next door. Who also knows her biggest secret. Sixteen-year-old Izzy is excited about the all-school ski trip. She is looking forward to learning to ski, even if she will be the only one on the bunny hill. Of course, she has to first make it through a five-hour bus ride with the vilest--albeit cutest--boy in school. And survive the roommates who keep breaking her one rule: "No sleeping with your boyfriend in my bed!" When an unexpected power outage triggers a panic attack, Izzy is forced to tell Pug her biggest secret. She's even more surprised to learn his, spending the rest of the long weekend looking at her enemy in a new light. But their secrets are nothing compared to the one Izzy's mother has been keeping for sixteen years. When Izzy discovers the truth, she must learn to confront her panic disorder or else live with the elephant sitting on her chest. Warning: This book describes panic attacks. If this will trigger you, this book may not be for you.
Melinda knew adjusting to high school would be difficult. But will she flunk out before she even has a chance? Two hours away from home, Melinda quickly learns that her new boarding school is much more challenging than her public middle school. Her new friends and teacher must become her family. But Melinda never expected the assignments to be this difficult. How will she have time to make new friends if she's constantly studying? And then there's the boys. For the first time in her life, boys are interested in her as more than a friend. But, will she even have a chance to have a relationship? Or will the coursework become so overwhelming that she will fail out before she has the chance? When an old friend re-enters her life, Melinda must learn how to balance school with her social life if she wants to succeed at Hartfield. When you finish reading Melinda's story, flip the book over to read Pat's story. Patrick McGregor is one of the most recognized faces in Hollywood. But sometimes, he just wants to be a normal sixteen-year-old. Pat thought missing the beginning of the school year to film a new movie on location in Hawaii sounded ideal. But, for the first time in his life, his family isn't around to keep him company. A demanding film schedule and lackadaisical tutor don't help combat the homesickness. When a family member falls ill, Pat must examine the true meaning of family.
One dedicated doctor. One playboy pilot. Is the moon still romantic when you're stuck orbiting it with your estranged best friend? In the year 2093, Captain Jason Tyler, one of the best pilots in the fleet, has been selected to run the daily transport shuttles to the surface of the moon. His charismatic personality and mesmerizing smile charms everyone around him. Except for the one person who matters the most. Doctor Anika Verde has managed to earn dual medical degrees and be the chief medical technician by the age of thirty. Excited about her new position as the only medic on the new space station orbiting the moon, she loves the idea that being six hours away from the nearest hospital gives frontier medicine a new meaning. Once upon a time, Anika and Tyler were inseparable. Now, she can't stand to be in the same room as him and he has no idea why. When missing medical supplies, construction accidents, and deadly viruses force these former friends to work together, will they be able to put aside their differences, or are they destined to be mooncrossed?
INDEPENDENT PUBLISHERS OF NEW ENGLAND 2021 BOOK AWARD FINALIST Ana has the perfect job. Unfortunately, it means working with TJ. We quickly huddled together, burying our heads under our bags. I lost track of time under the table with TJ's arm around me, shielding me from the storm. I was surprised that this annoying creature could make me feel so safe. I squeezed my eyes shut as a barrage of unfamiliar noises assaulted my ears and wondered whether I would ever open them again. Seventeen-year-old Ana cannot wait for summer, when she gets to co-lead the overnight hikes at her uncle's family camp. Sure, it means working with her brother-in-law, TJ, a boy her age whom she cannot stand. But, she is willing to put aside their differences in order to have a fantastic summer. When tragedy strikes, Ana and TJ must work together, with the help of the legendary piquaqua bird, to help restore the camp in time for summer.
A summer of kayaking sounds perfect. Until the lake monster appears. For Ellie, getting paid to spend her summer outside sounds like the ideal internship, even if it means paddling up and down a river twelve hours a day. Sure, she's never actually been in a kayak before, but how hard could it be? At least she knows how to set up camp at night. Unlike her co-worker. Though Clay may be captain of the crew team, she could teach him a thing or two about spending the night in a sleeping bag. And then there's the whole lake monster thing. Of course, Ellie knows water monsters aren't real but Clay doesn't seem convinced, especially after a boater goes missing. When mysterious accidents threaten her job security, Ellie starts to wonder why the "monster" wants her gone.
Who would have thought that a single photograph would be so dangerous? Photofest. The ultimate photography convention. Not only is Seddy finally able to attend, but this year, it is being held in the city for which she was named. And she cannot wait. No sooner does she check into the conference when a murder interrupts her night on the town with a new friend. Shaken, Seddy just wants to put the incident behind her. But someone has other ideas. After attending her first day of workshops, Seddy discovers her hotel room has been ransacked. Her new love interest seems very eager to help her while the local detective keeps asking her questions about her camera. To make matters worse, the chief of police keeps giving her strange looks. And then someone tries to kill her. As she works out whom she can trust, Seddy realizes she may hold the one piece of evidence that could help solve the mystery.
This book sheds light on how the public engage with, make sense of, and discursively evaluate news media constructions of people from asylum seeking backgrounds. As a case study, the author discusses her recent research combining Critical Discourse Analysis with a cultural studies Audience Reception framework to examine the perspectives of 24 Western Australians who took part in semi-structured interviews. During their interviews, participants were asked open-ended questions about: their general views on people seeking asylum, including Australia’s policy responses, their media engagement habits and preferences, and their views concerning how the Australian media represents people seeking asylum. The author compares and contrasts this research with broader interdisciplinary discussion, and the book will therefore appeal to students and scholars of migration, political communication, sociology, audience reception, critical media studies and sociolinguistics.
The definition of darkness is a total absence of light, cold places where the sun has wrenched back its touch. Darkness holds the wickedness we fear, the boogeyman in our closet, the ghouls under our bed. Children are reassured over and over again that those kinds of monsters aren’t real, can’t be real, only learning to turn off their night-light because they are never told of the ones that are. The only monster eighteen-year-old Liam Stevens believes in is the one he feels he became when his boyfriend, Elliott, died in a car accident. It was Liam’s text he was reading after all. A year later, he still bears tremendous guilt. The tormenting high school bullies only seem more driven now that Elliott is gone. Liam assumes he deserves the abuse, thinking he doesn’t deserve light after snuffing it out. That is, until he meets Charlie. Charlie is caring, genuine, and happy—all things Liam needs. But he also carries scars and a secret that makes him less of a stranger after all. While Liam is beginning to fall in love again, Charlie is trying not to, hiding the fact that the bullies have only been hurting Liam to get closer to Charlie. Because the truth is that darkness is hungry. A demon will do anything in its power to rid the world of the light it craves, the warmth it cannot have. They had already stolen that light from Elliott and don’t plan on stopping until every last drop of Liam’s is gone too. Once Liam uncovers the truth, he has to decide if he trusts Charlie, even if doing so leaves him with more blood on his hands.
When he died in 1992 Brett Whiteley left behind decades of ceaseless activity—some works bound to a particular place or time, others that are masterpieces of light and line. Whiteley had arrived in Europe in 1960 determined to make an impression. Before long he was the youngest artist to have work acquired by the Tate. With his wife, Wendy, and daughter, Arkie, Whiteley then immersed himself in bohemian New York. But within two years he fled, having failed to break through. Back in Sydney, he soon became Australia’s most celebrated artist. He won the Archibald, Wynne and Sulman prizes in the same year—his prices soared, as did his fame. Among his friends were Francis Bacon and Patrick White, Billy Connolly and Dire Straits. Yet addiction was taking its toll: Whiteley struggled in vain to separate his talent from his disease, and an inglorious end approached. Written with unprecedented behind-the-scenes access, and handsomely illustrated with classic Whiteley artworks, rare notebook sketches and candid family photos, this dazzling biography reveals for the first time the full portrait of a mercurial artist. Ashleigh Wilson has been a journalist for almost two decades. He began his career at the Australian in Sydney before spending several years in Brisbane, covering everything from state politics to the Hollingworth crisis to indigenous affairs. He then moved north to become the paper's Darwin correspondent, a posting bookended by the Falconio murder trial and the Howard government’s intervention in remote Aboriginal communities. During that time he won a Walkley Award for reports on unethical behaviour in the Aboriginal art industry, a series that led to a Senate inquiry. He returned to Sydney in 2008 and has been the paper’s Arts Editor since 2011. He lives in Sydney. ‘Ashleigh Wilson has produced an intriguing, absorbing and assured account of Brett Whiteley’s life and work’. Mark Knopfler ‘With relentless precision, Ashleigh Wilson has provided a peerless grasp of the life and genius of Brett Whiteley. This storied journey of one of Australia’s most mercurial twentieth-century artists will be impossible for the reader to put aside until it is finished. It is the dispassionate biography Whiteley has long needed: a career clarified from the brilliant clouds of myth.’ Barry Pearce, Emeritus Curator of Australian Art at the Art Gallery of NSW ‘A full-dress life of Whiteley that speeds and soars and never ceases to do homage to the colossal confrontation and contradiction the artist represents...Wilson has written that rarest of things, a 400-page biography that is hard to put down...[It] will make you weep for this exasperation of a man and hunger for his art.’ Australian ‘An essential and invaluable resource for any Whiteley scholar...Wilson’s achievement is considerable...Ashleigh Wilson’s Brett Whiteley: Art, Life and the Other Thing is a benchmark publication in Whiteley studies.’ Sydney Review of Books ‘The best biography I read [this year] was Ashleigh Wilson’s Brett Whiteley: Art, Life and the Other Thing...Combines journalistic rigour and personal compassion his landmark account of one of our greatest artists.’ Australian ‘Ashleigh Wilson’s biography of Brett Whiteley is hard to put down. The narrative hums along beautifully, allowing readers a rare insight into Whiteley’s complex genius. A colossal undertaking, helped by extraordinary access. Wilson has delivered readers—and history—an absorbing, detailed and fascinating read.’ Walkley Magazine ‘Ashleigh Wilson methodically tracks this mercurial artist from early family days to his final years—a motley of sex, drugs and rock’n’roll, and importantly, art.’ Art Almanac
A singer overwhelmed by his crowd. A dancer on ice above sea. A teenage girl, later to become a virtuoso conductor, jolted by the sound of a symphony. Two filmmakers exchange vows on their opera set. A photographer hears a Cistercian echo in the sails. And one night, after a Verdi curtain call, an audience member who looks a lot like Bob Dylan receives a private singing lesson in a theatre named after Australia's greatest opera star. For fifty years, the Sydney Opera House has elevated the spirits of all who enter its orbit. Here, fifty artists - from Simone Young to Nick Cave, Sylvie Guillem to Briggs, Baz Luhrmann to Carlotta - share their most indelible memories from a building that embodies the Australian contemporary experience.
Fake News in Digital Cultures presents a new approach to understanding disinformation and misinformation in contemporary digital communication, arguing that fake news is not an alien phenomenon undertaken by bad actors, but a logical outcome of contemporary digital and popular culture.
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