What I Will

There is a reason the word 'belonging' has a synonym for 'want' at its centre: it is the human condition.

'Vanishing Acts' by Jodi Picoult

This is the story of what happened after we all came home, sort of like Dorothy & Co. after Oz. I'm betting you thought everything was peachy for Dorothy once she got home. We forget that Kansas is no safer than Oz. After all, that's where the tornado hit.

'Blood Lines' by Eileen Wilks

How do you ruin someone's childhood?

Ellie Marsden was born into the legendary Lovinger acting dynasty. Granddaughter of the infamous Lottie Lovinger, as a child Ellie shared the silver screen with Lottie in her one-and-only role playing the child monster in a cult horror movie. The experience left Ellie deeply traumatised and estranged from people she loved.

Now seventeen, Ellie has returned home to Hobart for the first time in years. Lottie is dying and Ellie wants to make peace with her before it's too late.

When a chance encounter with a young film buff leads her to a feminist horror film collective, Ellie meets Riya, a girl who she might be able to show her real self to, and at last comes to understand her family's legacy.

I am a collection of oddities, a circus of neurons and electrons: my heart is the ringmaster, my soul is the trapeze artist, and the world is my audience. It sounds strange because it is, and it is, because I am strange.

Mosquitoland by David Arnold 

Am I sounding creepy? Love is sort of creepy. When you fall in love, you presuppose all sorts of things about the person. You superimpose all kinds of ideals and fantasies on them. You create all manner of unrealistic, untenable, unsatisfiable criteria for that person, automatically guaranteeing their failure and your heartbreak. And what do we call it? Romance. Now, that’s creepy.

'Creepy and Maud' by Dianne Touchell