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Don't Call Me Ishmael
Michael Gerard Bauer
MG/YA

If the cold, dreary, dark days of January have blanketed you, this is just the right read. Don't Call Me Ishmael is Bud, not Buddy hilarious and set in Australia, where, currently, it is summer! So pull up a chair and toast your toes on the warmth and humor of this story.

Basic plot: Ishmael Leseur, a Year Nine student (that's down under for ninth grader), suffers from ILS, Ishmael Leseur Syndrome, which is Ishmael's name for his particular brand of adolescent/early teeanage agony. It's made up of a "crawl in a hole" embarrassing story why he parents named him after one of literature's most renowned protagonists, a bully who teases him about said name, a girl whom he is crazy for but who doesn't know he exists, and a group of misfit friends who are constantly getting themselves into embarrassment squared messes.

I discovered this book in, of all things, German (although the author is from and story set in Australia, so no worries, you can easily get it in English). My husband comes from ye olde country and we've raised our daughters bi-lingually, which has meant a lot of audiobooks "auf Deutsch". I chose this title for its length. Shameful, I know, but it was six hours long instead of the meager two so many middle grade German audible books come in at. So there you have it, random parameters (barrage young ears with as much second language as possible) unearthed a humor goldmine.

I wish I could say I know how Bauer does it, but I don't, which is why I've gotten the other two books in this series to get behind his humor trick. He is spot on with adolescent funny. My daughters and I laugh out loud in the car on the way to school every morning. Me, maybe more. The agony of teenagerdom maybe hits a little too close to home for barrel laughs for them. Theirs is more the "somebody else is going through this?!?" ha-ha-whew.

So there you have it. Pick up a copy of Don't Call Me Ishmael and start 2015 off with a good laugh and an uproarious story. For more cheer in these bleak months, check out the reviews on Barrie Summy's website (and pray that groundhog doesn't see his shadow!)

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Kylie Westaway is the author of her popular debut picture book, Whale in the Bath. She has literally travelled far and wide, worked in foreign schools, events and in theatre. But there’s one thing that has remained constant in her life; her love of writing. Here, I’ll give you the brief run-down of her captivating […]

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I love the way award-winning author Debra Tidball describes her view on valuing connectedness across the generations. I also love the sentiment in celebrating people’s personal histories and appreciating who they are now, and then. Having had a grandmother with whom I had a strong bond, ‘When I see Grandma’ really resonated in my heart. […]

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What a wondrous time for the kidlets; so much sparkle, magic, excitement and curiosity in the air. Christmas time is about bringing families together, and what better way to get close to your ‘little’ loved ones than to snuggle up with some adorable books. Here we count through three delightful books that foster a love […]

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I recently stumbled across the works of Australian poet C. J. Dennis (1876 – 1938) and have been enjoying his poetry and writing from The C.J. Dennis Collection – from his forgotten writings edited by Garrie Hutchinson. You may have come across his most well known work, a humorous verse novel called The Songs of […]

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My Dad is a FIFO Dad, an uplifting story that has already touched the hearts of many families, has beautifully encapsulated the highs and lows of the life of a child with a father who ‘flies in and flies out’ for work. (See Review here). But let’s not forget the strength, courage, commitment and perseverance […]

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My Dad is a FIFO Dad Written by Jo Emery Illustrated by Ann-Marie Finn Published by Dragon Tales Publishing Brand new and hot off the press, and already sold out on the first print-run is the popular, My Dad is a FIFO Dad! My Dad is a FIFO Dad was written by Queenslander, Jo Emery, […]

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Australian cartoonist/journalist Eleri Mai Harris isn’t just an editor at The Nib, Medium’s marvelous comics section, run by Matt Bors. She’s a trained journalist who turned to comics to tell stories and in today’s Nib she has a good one: the story of the abortive designs for Canberra, the capital of Australia. Like a few other planned capital cities—Celebration and Brasilia comes to mind—the structural, utopian approach to city design rarely works out. The story also includes a dandy forgotten woman—Frank Lloyd Wright’s associate Marion Mahony Griffin. So sit back and learn some Australian and architectural history.

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Wildlife by Fiona Wood. Poppy, an imprint of Little, Brown. 2014. Reviewed from ARC.

The Plot: It's time for the "dreaded term" that is an "outdoor education camp." Nine weeks away from home, in the middle of nowhere, just you and some classmates and teachers.

Sib -- Sybilla Queen, 16 -- will be going. It's both dreaded and looked forward to, and she'll be going with friends and teens she's known her whole life. And all that time away from home! Things aren't quite what she expects, though, when she starts a romance with popular Ben Capaldi and her best friend Holly veers between jealous and supporting.

Lou, also 16, is new to the school and the group. She stands out, not just for being new, but for also not caring if she makes friends or enemies. Instead she sits back and observes. But if she's not willing to let people into her life, can she really tell others about how they're living theirs?

The Good: Wildlife - first, for the record, every year there is one book whose name I just repeatedly get wrong. This year, whenever I say Wildfire, know I mean Wildlife.

Wildlilfe alternates between two stories: Sib and Lou. Sib's story is about the girl who before school starts gets her braces off and has her acne clear up -- you get the idea. The cosmetic changes are even more amped up, because she posed for her aunt's advertising campaign. A glammed up version of Sib is what introduces her classmates to the "new" Sib -- except it's still the same old Sib, inside.

The New Sib now has a new boyfriend, Ben, and she is both flattered and scared by that. Yes, she likes him, but it's her first real boyfriend and she's just not sure what she wants or how she wants to be. Her best friend, Holly, is there, always being supportive and telling Sib the way she should be treating Ben.

Here is Sib describing Holly: "Maybe I need to explain that Holly's mean is not really meant to be mean -- it's just Holly! And you get used to it!." The reader doesn't need Lou seeing the Sib/Holly friendship to realize the relationship is toxic, and unhealthy, and Sib has no idea that Holly is that mean.

Lou's boyfriend died. It's probably best to get it out there, up front. She is still grieving and isolated, keeping the world at arm's length. Her moms think that the "outdoor education campus", nine weeks in the "wilderness," will somehow help. (While Lou hasn't attended the school before, one of her mothers went as a teen.) Lou's story is one of grief and loss and recovery, and putting together ones life. She's slowly drawn into the world she finds herself in, not through the other girls in her cabin -- Holly has marked her as an enemy, an outsider -- but through Michael, Sib's other best friend.

This is not a book where Lou and Michael fall in love, or where Lou finds new love. No, it respects Lou's loss and the time, the long amount of time, it takes when a loved one dies. What Michael and Lou offer each other is more important: friendship and acceptance. Lou needs that, even if she won't admit it, and Michael needs it, because he has to go through the pain of seeing the person he loves -- Sib -- happy with someone else.

This isn't a book about Sib and Ben falling in love. Sib and Ben's relationship is important, and I loved how Sib sorted out all her own complicated feelings about Ben. She's attracted to him, she wants a relationship, but she's also not quite sure about him or herself. Ben's a decent enough guy, but he's a teenaged boy. He doesn't pursue Sib until after she's glammed up. He and Sib are put together in a heightened time and place, the intensity and isolation of the wilderness experience. Out in the real world, would they have anything in common? And does that matter? One thing I love about Sib is that, when it comes to Ben, part of Sib realizes all this. But part of her is also young and new to relationships so she is unsure just what she wants from Ben and how to proceed, both emotionally and physically. So Wildlife is about their relationship, yes, but Wildlife is about a more important relationship.

Wildlife is a book about the friendship between Holly and Sib. Sib is in some ways a passive girl. It's not the type of passive of someone who doesn't know what they want; it's the passive of someone who is content with what they have. So content that it's not that she lacks strong feelings about things, but that she doesn't care so let Holly take the lead. It's like the old deciding where to go for dinner: it's not that the person who says "I don't care" doesn't care, it's that they have no real strong urge for Italian or pizza or hamburgers or Indian, they just want food, and if you care, find.

It's the type of passive that allows Holly to be the leader, and for Sib to go along with it. It's what some people call "too nice." But here's the thing about that type of "nice." It is genuine. Sib truly loves, and forgives, Holly.

Holly is a wounded girl: from the start, Sib explains that part of her tolerance for what Holly does is that she, Sib, knows the "real" Holly. What the reader (and Lou) sees is a girl who has gone from acting mean to being mean. A girl whose own insecurities and need for popularity and acceptance means that she's not afraid to push others around, and push other's buttons, to get what she wants. Holly is the type of girl you don't want your child to be friends with: not because she's dangerous, but because you know at some point, she's finally going to go too far and hurt your child emotionally. And much as I grew to hate Holly, I have to confess: given her own emotional wounds, I wonder if Holly at some point will "grow up" and stop hurting others to make herself feel better. I wonder if she will ever become self aware. Still, that is just wondering --in the meanwhile, I want those who Holly hurts to stay away from her because they can't fix Holly. Only Holly can.

Wildlife is about Sib and Holly's friendship slowly, messily ending. Just as the boarding situation helps Sib and Ben's relationship progress, it also helps Sib and Holly's friendship implode.

Oh, the reason I put "wilderness" in quotes earlier is that this isn't tents and camping. There are cabins, and meals, and toilets, and showers, and classrooms. It is in the middle of a wilderness area, with opportunities for tents and camping and no toilets or showers. Like many experiences, it's a very controlled "wilderness." It's also a great time for all the teens to practice being grown up and older with a safety net. They are away from home, yes; but there are still rules and teachers and chaperones around.

This is one of my Favorite Reads of 2014, because of the character growth and the dynamics between people.




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© Elizabeth Burns of A Chair, A Fireplace & A Tea Cozy

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The Lucky Country. That’s Australia. We embrace difference. Celebrate diversity. Stand up for what we believe in. Be ourselves. Show compassion for those in need.   The following picture books, as chosen for the 2014 Speech Pathology Australia Books of the Year shortlist, all share common themes; diversity, friendship and uniqueness.   The Short Giraffe […]

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Australian artist Andy Thomas specializes in creating ‘audio life forms’: beautiful abstract shapes that react to sounds.

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Australian animation studio Rubber House has completed a series of bumpers and idents Adult Swim.

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I love this campaign Volume2a developed for Kubik -  a pop up music venue / art installation held in Melbourne. Working with a modular system they created a layered design that captures the fun and excitement of the event.

 

 

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Where have I been?

Around the world, in ninety days.

A research trip for a screenplay that was supposed to be five weeks long where I traveled to Australia and Indonesia turned into so much more. Thanks for your patience while I was away. I’m in the process of understanding all the changes that I’ve been going through and putting words to the experience. Surprisingly I’ve had no jet lag when I returned nearly three weeks ago and am instead working very hard on the screenplay and some film documentaries too. There’s so much to process. The trip was life affirming as well as life changing. You’ve been great supporters of my work and I’m thrilled to have you on this journey with me. One of the places I least expected to go was Mt. Everest, and as fate would have it, while I was there the worst disaster in the history of the storied mountain unfolded. An avalanche took the lives of 16 sherpas. They were family members and friends of the sherpas who trekked with me on the Everest trail. Sometimes stories come to you. This was perhaps the biggest story I’d ever been caught up in and it influenced my entire experience in Nepal, which started off as a humanitarian trip to provide dental care to “yakland” kids (children who live above 10,000 feet) some who are orphaned (due to the ten year civil war there) and some victims of human trafficking. This is but a small a window into one of the unexpected, but wonderful stops on my journey.

I haven’t updated my about page, because I really like the fact that I had written there that one of my dreams was to travel to Indonesia. And it’s so nice when dreams come true. I don’t think I’ll update it with my new dreams yet. It’s nice to savor and celebrate moments like this. *pops the cork off the champagne bottle* *pours you a glass* Now about that stand up comedy routine…

 

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 Okay, I confess I do seem to have an Australia bias at the moment with these interviews! Maybe the universe is telling me I need to visit my final continent! Jennifer Reid is a 12×12 buddy and has her first … Continue reading →

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By Warren Burt

We invite you to explore the biography of Australian composer Ros Bandt, as it is presented in Grove Music Online.

(b Geelong, Victoria, 18 Aug 1951). Australian composer, performer, installation and sound artist, instrument inventor, writer, educator, and researcher. Her early education consisted of high school in both Australia and Canada, followed by a BA (1971, Monash University), Dip Ed (1973, Monash), MA (1974, Monash), and PhD (1983, Monash). An interest in experimental music is apparent from her earliest compositions, many of which involve performance in specific places, improvisation, electronics, graphic notation, and the use of self-built and specially built instruments. These include Improvisations in Acoustic Chambers, 1981, and Soft and Fragile: Music in Glass and Clay, 1982. By 1977 an interest in sound installation and sound sculpture had become well established in her work (Winds and Circuits, Surfaces and Cavities), and is an area in which she has continued to the present day, having presented nearly 50 sound installations worldwide.

Bandt has also been involved in creating electro-acoustic works, often in collaboration with broadcasting organizations; work for or with radio forms a significant portion of her output. Many of these works, while using real-world elements, take a more narrative or illustrative approach to their material compared to the abstractionism of much electro-acoustic work. An electro-acoustic work such as Mungo (1992), made of sounds collected in the Lake Mungo region of New South Wales, presents soundscape as illustration; that is, the sounds are presented as important in themselves, rather than as material for formalistic musical development. In other electro-acoustic works, such as Thrausmata: Ancient Greek Fragments, 1997, the concern for narrative, and presenting endangered elements of the soundscape (in this case, disappearing languages) emerge as paramount. Other electro-acoustic works present sounds from specific environmental sites, such as Genesis (1983), for microtonally-tuned zither and pre-recorded speed-changed zither, both recorded in the same large resonant environment, and Stack (2000), made entirely from sounds collected from a large cylindrical tunnel exhaust stack in Melbourne. Of her compositions for instruments, Ocean Bells (1982) uses the Flagong, a glass instrument made by Bandt modelled on Harry Partch’s Cloud Chamber Bowls. The sculpture Aeolian Harps (1987) was a large wind powered string instrument, which was also recorded and those sounds used in a number of other works. Her recent Tragoudia II uses the tarhu, a 12-string spike fiddle (4 strings played, 8 sympathetic) invented by Australian luthier Peter Biffin, as well as pre-recorded sounds recorded in Crete. Tin Rabbit (2009–10) for wind-up rabbits, pre-recorded soundscape, music boxes, and tin suitcase shows a more whimsical side of her installation work. Free Diving (2008) for recorder orchestra and pre-recorded soundscape shows an integration of her interests in environmental sound with that of composing for traditional instruments.

Bandt has been equally active in collaborative work with musicians, dancers, and artists. She has been part of the groups La Romanesca (early music performance), LIME (improvisation), Back to Back Zithers (cross-cultural improvisation and composition), and Carte Blanche (a digital media duo with Brigid Burke), among others. She has also worked on many collaborative projects, such as Hear the Dance, See the Music (1989), a collaborative music-dance-technology performance; The White Room (1992), an installation for Warsaw Autumn, produced with Vineta Lagzdina, Warren Burt, Ernie Althoff, and Alan Lamb; and an ongoing series of collaborations with the German sound artist Johannes S. Sistermanns.

Bandt has written several books, including Sound Sculpture: Intersections in Sound and Sculpture in Australian Artworks (Sydney, 2001), the first comprehensive treatment of this kind of work in Australia. With Michelle Duffy and Dolly MacKinnon, she edited the anthology Hearing Places: Interdisciplinary Writings on Sound, Place, Time and Culture (Cambridge, 2007). She is also the director of the Australian Sound Design Project, the first comprehensive website and on-line resource, documenting over 130 Australian sound designers, composers, and sound sculptors. She has received grants from the Australian Research Council, The Australia Council, the Victorian Ministry for the Arts, the Australian Network for Art and Technology, and a number of other organizations. Her work has been broadcast on, and commissioned by ORF Austria, WDR Germany, ABC Australia, and Japanese Radio and TV, among others. Recordings of her work are available on the Move, New Albion, Ars Acustica, Sonic Art Gallery, and Au Courant labels, among others.

Writings

• Sounds In Space: Windchimes and Sound Sculptures (Melbourne, 1985)
• Creative Approaches to Interactive Technology in Sound Art (Geelong, 1990)
• Sound Sculpture, Intersections in Sound and Sculpture in Australian Artworks (Sydney, 2001)
• Edited with M. Duffy and D. MacKinnon: Hearing Places: Interdisciplinary Writings on Sound, Place, Time and Culture (Cambridge, 2007) [incl. CD]
• The Australian Sound Design Project

Bibliography

• M. Atherton: ‘Ros Bandt’, Australian Made Australian Played (Sydney, 1990), 90–92
• B. Broadstock: ‘Ros Bandt’, Sound Ideas – Australian Composers born since 1950 (Sydney, 1995), 42–7
• J. Jenkins: ‘Ros Bandt’, 22 Australian Composers (Melbourne, 1988), 9–21
• A. McLennan: ‘A brief topography of Australian Sound Art and experimental broadcasting’, Continuum, viii (1994), 302–18 (electronic arts in Australia issue, ed. N. Zurbrugg)
• R. Coyle: Sound In space (Sydney, 1995), 8–16
• P. Read: ‘Silo Stories’, Haunted Earth (Sydney, 2003), 93–110
• Ros Bandt website

Oxford Music Online is the gateway offering users the ability to access and cross-search multiple music reference resources in one location. With Grove Music Online as its cornerstone, Oxford Music Online also contains The Oxford Companion to Music, The Oxford Dictionary of Music, and The Encyclopedia of Popular Music.

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By Rex Butler

We invite you to explore the biography of Australian artist Ricky Swallow, as it is presented in Grove Art Online.

(b San Remo, Victoria, 1974). Australian conceptual artist, active also in the USA. Swallow came to prominence only a few years after completing his Bachelor of Fine Arts at the Victorian College of the Arts, Melbourne, by winning the prestigious Contempora 5 art prize in 1999. Swallow could be said to have ushered in a wholly new style in Australian art after the appropriation art of the 1980s and 1990s. His first mature work was a hammerhead shark made out of plaid, later followed by such objects as bicycles and telescopes made out of plastic. These were not hyperreal simulacra in the manner of Pop artist George Segal or sculptor Ron Mueck. Rather, in remaking these objects in altered materials, Swallow wanted to open up a whole series of associations around memory and obsolescence. In one of the works for Contempora 5, Model for a Sunken Monument (1999), Swallow made a vastly scaled-up version of the mask Darth Vader wore in the Star Wars movies, fabricated out of sectioned pieces of fibreboard, which produced the effect of a melting or compression or indeed a diffraction, as though the piece were being looked at under water. Swallow also made a series of works that featured death as a subject, including iMan Prototypes (2001), which involved a number of skulls made of coloured plastic that looked like computer casings, and Everything is Nothing (2003), in which a carved wooden skull lies on its side inside an Adidas hood. In 2005, he was selected as Australia’s representative at the Venice Biennale, for which he produced Killing Time (2005). In this piece Swallow carved an extraordinary still-life of a table covered with a series of objects (fish, lobster, lemon), seemingly out of a single piece of Jelutong maple, in the manner of the Dutch vanitas painters of the 17th century. Swallow’s artistic lineage would undoubtedly include Jasper Johns, in particular his 1960 casting of two beer cans in bronze. His work could also be compared to contemporary Australian artist Patricia Piccinini and international artist Tom Friedman. Without a doubt, Swallow belongs to a generation of Australian artists who make work outside of any national tradition and without reference to the by-now exhausted critical questions associated with Post-modernism.

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Here’s a bonza (first-rate) addition to award-winning author Carole P. Roman's fun and informative series, If You Were Me and Lived in …. This time readers are introduced to the sunburned country found down under in the southern hemisphere, Australia.

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While animation is most often used as an entertainment form, it can also used to educate, and increasingly, to advocate for social causes. We saw animation yesterday for a gun safety PSA in the United States, and now we turn to Australia where Universities Australia is promoting its Keep It Clever Australia campaign to stress the value of public funding for university education and research.

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The myth that publishers have stacks of manuscripts  and that writers have to line up in a long queue was deflated by Jennifer Bacia during her talk at the Gold Coast Writers Association meeting . ‘Actually, that is not the case’ she stated. According to Jennifer, publishers are always looking for something that will make […]

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Illustrator, Ioana Zdralea, did an awesome job of interrupting this wild and mysterious Dreamtime land.  I am thrilled!!  This is the illo she sent me  for the first two verses. The verses describe the harshness of where the Australian aboriginals had to scratch out a living, 

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Books for Kids - Manuscript Critiques
http://www.margotfinke.com

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By Annabel Coles

After months of planning, preparation and final presentation run-throughs, I stood at the front of Seminar Room 3 within the State Library of Victoria, looking across the tables carefully decorated with our OUP goody bags and name placards. It was 8:30 in the morning and I was ready to meet my first librarians from “Down Under”. Back in the office in the United Kingdom, a colleague and I had planned the two meetings (one in the morning for academic librarians, one in the afternoon with state, public, and school librarians) with military precision. The refreshments, the sessions, the materials, the presentations, the timings, even our entertainment at lunch (a local author was coming in to give a lively talk on his book) was planned to a tee. But what you can never plan when dealing with people, and perhaps especially passionate librarians, is how they will respond to those plans…

I was nervous. My colleagues were more relaxed, being based in Australia, they were more familiar with the subtle culture differences; they knew the drill. I, on the other hand, needed to fit in, be approachable, and most importantly I needed to ensure I listened and absorbed everything they had to say so I could fully represent them and their needs back in Oxford, on the other side of the world.

Shortly after 8:30 a.m. the librarians started arriving, one by one, picking up their coffees and muffins, huddling in small groups, and started chatting. I needn’t have worried.

The important thing about these events (which we are labelling our “Library Advisory Councils”) is giving the librarians an opportunity to talk with their peers on issues that matter to most to them, and we, as publishers, have the privileged to be part of those conversations. I learnt early in the sessions that they rarely get the chance to discuss issues that they want to discuss. In their usual meetings they are presented with a specific theme and asked to represent only on that area.

Ahead of the meetings it was really important that we asked what they wanted to discuss, and then we would make that a big part of the day. Of course we also have things we want to update them on — as our “Advisors” it’s important that we are able to give them information on our strategies and plans for the future — but this was never intended to be a sales pitch. We want to give them the stage and sit alongside them in the discussions, rather than it being an “us and them” debate.

For me, this was my first time on antipodean soil, surrounded by librarians who were having good and bad experiences with publishers, and this is my opportunity to do something about it. I felt lucky to sit amongst them and openly eavesdrop (whilst furiously taking notes).

It would be naïve to think that a meeting like this could solve all the problems discussed. Some of the topics discussed were huge hitters that have been discussed and debated in various forms at library conferences around the world over the last few years. It was acknowledged that these issues are larger and more complex than we could possibly hope to remedy within a day. But, as the group were together, the very act of them venting and sharing their experiences enabled them to strengthen their own network and not feel so isolated. It also gave me first-hand experience of their thoughts and feelings on the topic, so that I can now better represent their views when I’m back in Oxford.

Once we got past those larger issues, it was now time to buckle down to get some actionable takeaways: what could we actually impact on a short term basis?

The majority of the actions that I brought away from the sessions were based around workflows: how can publishers work with librarians to make their jobs easier; cut out complexities within processes; and just generally make things simpler. The renewals process is complex and long-winded: what can we do to streamline and simplify the process? We supply our meta-data to discovery service tools but it’s getting stuck with that intermediary for months before finally getting added to their system: so how can we influence our partnerships to move things through more quickly?

Much discussion was had around business models (and we have a Future Business Models group at OUP), including Patron Driven Acquisition and Evidence Based Acquisition. Librarians had both positive and negative experiences and expectations around the impact of those on budgeting and workflows. Again, this was all gold dust to take back to Head Office and sprinkle liberally into the agenda!

So, after brainstorms, lively debate and summarising in groups, I came away with an armful of flipchart paper, covered in ideas, straight from the people who really matter. As the librarians left at the end of the sessions, they were exchanging contact details, thanking us for the day and the opportunity to be involved, and promising to pop by to say hello to us the following week at VALA (a library conference being held in the city).

In addition to the fantastic feedback, I have also made some real connections with those librarians on the other side of the world to me — librarians with diverse workflows, audiences, and requirements of publishers. But now, with their voices and opinions still ringing in my ears, my intention is to carry their specific ideas and challenges, the 17000 kilometres across ocean and continents back to the working groups and strategy-makers in Oxford. There, librarian voices from all around the world, whose ideas are communicated through other Library Advisory Councils, will be heard.

Annabel Coles is the Senior Marketing Manager in the Institutional Marketing team at Oxford University Press, promoting our online products and journals to institutions across Europe and Australia and New Zealand. She has held various sales and marketing roles within OUP for nine years.

Regional “Library Advisory Councils” are held within various territories across the world to facilitate conversations with our customers (librarians) on issues that are of mutual interest to ensure that we are feeding back appropriate information and intelligence directly from our markets to our product and platform development, business model and publishing strategies across the business. This provides an opportunity to listen to our customers on their turf, alongside their peers and in their local language and specifically to speak on issues relevant to them in their part of the world. We hope that this will ensure we are bringing the customer voice back into the heart of the products and services we develop within the Global Academic Business. For more, see the OUP Librarian Resource Center.

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Image credits: (1) Photograph of Steacie Science and Engineering Library at York University by Raysonho@Open Grid Scheduler. Public domain via Wikimedia Commons. (2-4) ANZ LAC images courtesy of Annabel Coles. Do not reproduce without permission.

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IT Forum Gold Coast (ITFGC) is the best place to network with industry peers, potential clients and employers.  The Federal, State and local Governments give well-deserved recognition to ITFGC for being an active voice of the IT industry on the Gold Coast and Brisbane. Being a member gives you an unprecedented opportunity to stay informed […]

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