One hundred and fifty years after the establishment of land-based whaling in Australia, its last outpost is Angelus, a small town already struggling for survival. Long-dormant passions are awakened by the arrival of the conservationists, who threaten the town's livelihood and disturb the fragile peace under which its inhabitants live.
`Full of strikingly described action . . . an imaginative reconstruction of primitive whaling and the personal suffering involved . . . Tim Winton, in this admirable novel, deals with pride, loneliness, longing for love and the struggle between nostalgic heroes and the heroism of compassion' The Times
`All this is dazzling, dazzling. It makes the heart pound' Los Angeles Times
`A moving and powerful elegy . . . Winton writes vividly, and with courage, about serious matters in a cynical world' Observer
`A major work by anyone's standards . . . mysterious, painful and beautiful' Washington Post
It wasn't just one person who went missing, it was two people. Two very different people. They were there, and then they were gone, as if through a crack in the sky. After that, in a small town like Goodwood, where we had what Nan called 'a high density of acquaintanceship', everything stopped. Or at least it felt that way. The normal feeling of things stopped.Goodwood is a small town where everyone knows everything about everyone. It's a place where it's impossible to keep a secret.In 1992, when Jean Brown is seventeen, a terrible thing happens. Two terrible things. Rosie White, the coolest girl in town, vanishes overnight. One week later, Goodwood's most popular resident, Bart McDonald, sets off on a fishing trip and never comes home.People die in Goodwood, of course, but never like this. They don't just disappear.As the intensity of speculation about the fates of Rosie and Bart heightens, Jean, who is keeping secrets of her own, and the rest of Goodwood are left reeling.Rich in character and complexity, its humour both droll and tender, Goodwood is a compelling ride into a small community, torn apart by dark rumours and mystery.
Much Ado about Nothing
The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of Much Ado About Nothing retains the text and introduction prepared by F. H. Mares and features a new section by Angela Stock on recent film, stage and critical interpretations of the play. Mares pays special attention in the Introduction to the range of theatrical interpretations that have flourished since the first documented production of the play in the early seventeenth century. In particular, he explores notable performances of the roles of Benedick and Beatrice, from David Garrick to John Gielgud, and Peggy Ashcroft to Judi Dench. The commentary explicates the many sexual jokes in the text that are obscured by the complexity of Elizabethan English.