(Edited by Rosie Scott and Anita Heiss) 2015

In this historic anthology, Rosie Scott and Anita Heiss gathered together the work of twenty of Australian’s finest writers both Indigenous and non-Indigenous together with powerful statements from Northern Territory Elders to bring a new dimension and urgency to an issue that has remained largely outside the public radar. In compelling fiction, memoir, essays, poetry and communiques, the dramatic story of the Intervention and the despair, anguish and anger of the First Nations people of the Territory comes alive. The Intervention: an Anthology is an extraordinary document – deeply moving, impassioned, spiritual, angry and authoritative –it’s essential reading for anyone who wants to understand this passionate opposition. The Intervention has been described by Anna Funder as ‘an indispensable contribution to the debate.’

(Edited by Rosie Scott and Tom Keneally) 2013

‘..a stunning anthology and searing moral work that beautifully gives voice to the voiceless without preaching at any point…. In a political era where there appears to be no bottom to the barrel of immigration policy, A Country Too Far is timely, important and wise.’ Andrew Carter Readings Melbourne

(Edited by Rosie Scott and Tom Keneally) 2004

‘..a collection of refugees’ writing giving voices to people not usually heard… Books like ‘Another Country’ provide an alternative view -that asylum seekers are people rather than numbers, that Australia provides punishment rather than refuge and that children detained suffer enormously.’ EDITORIAL, SYDNEY MORNING HERALD
‘..deeply disturbing. This collection encapsulates our collective shame.’ ARNOLD ZABLE, The Age Review of Books


‘Faith Singer is a radiant and unsparing portrayal of the underbelly of Sydney life by one of Australia’s finest novelists. Addiction, obsession, betrayal and redemption coalesce in story telling so vivid and prose so elegant it will leave you breathless.’ MANDY SAYER ‘Sydney’s Kings Cross – sleazy cruel and compassionate – and in the midst of it all the wise and warm-hearted Faith Singer. With all her great gift for narrative and characterisation, this is Rosie Scott’s best novel to date.’ DOROTHY HEWETT


‘Uncommon sense and a rare sensibility delineate Rosie Scott’s collections of essays. Her calm compassion often obscures the dues-paid reflection and scholarship but never its clarity or perceptiveness.’ MURRAY WALDON, THE WEEKEND AUSTRALIAN

‘Its tone is gutsy yet genial, streetwise yet sophisticated, tough-minded yet affectionate, ethically and intellectually nuanced yet prepared to affirm a cogent and coherent world view. It is steeped in a moral philosophy that unflinchingly confronts the existence of cruelty, squalor and suffering but insists on the possibility of their redemption through acceptance, generosity and empathy.’ PETER BEATSON, LANDFALL LITERARY MAGAZINE


‘I love Scott’s books and “Movie Dreams” was all I hoped for. “Movie Dreams” is Scott’s fifth novel and with each of her books she just seems to keep getting better – her voice is stronger and more confident, and her characters and story lines are richer and more complex.’ ANNIE GRAY THE DOMINION

‘Magnificent.. among the finest Australian road novels.’ STUART COUPE, JUICE


‘Lives on Fire is wonderfully compelling reading, for Scott’s crystalline prose never falters. It will go straight to the heart of any woman who has ever suffered sexual betrayal.’ JANET WILSON, EVENING POST

‘..a moving intimate story so effortlessly and vividly told it seems to be projected in living colour on a screen in front of the readers’ is moving, truthful, witty, atmospheric, vibrant and easy- well, so good it seems easy.’ KATE FITZPATRICK, SYDNEY MORNING HERALD


‘Feral City is Rosie Scott’s brilliant parable of the Australasian future… Not the least reward of Feral City is to read an author whose style is forceful and elegant, whose cadences linger, one for whom literary craftsmanship is right work and not something bothersome or affected… Scott’s concerns for issues of moral and social responsibility, and her perception of the pain and inconveniences that these cause in the lives of those who recognise them, give the novel a gravity that sets it apart from most recent fiction of Australasia.’ PETER PIERCE, THE BULLETIN

‘Rosie Scott succeeds in both capturing Faith’s dreaminess and Violet’s pragmatism in poetic language and in describing the horror scenario of a basically unjust and exploitative reality. And she manages to make it sound like a horrific beautiful poem.’ RAUBSTADT, GERMANY


‘Rosie Scott has written one of the finest antipodean novels of recent times. Nights with Grace doesn’t link the personal and political, it brings off the rare feat of demonstrating that they are ultimately, one and the same.’ JOHN MACGREGOR THE AUSTRALIAN

‘Nights with Grace is one of the most passion-filled Australian novels for some years… The way Rosie Scott fuses all the strands is quite masterful.’ THE INDEPENDENT (Best Fiction of 1990)


‘Queen of Love shows the zest for life, the honesty, the unsentimental tenderness and vivid-picture-making power of her work. Here is life in all its bewildering complexity, its labyrinthine twists and dark places, but here is blinding sunlight and mad joy and smells! Rosie Scott is above all a sensual writer and to me this is the greatest thing a writer could be.’ SOPHIE MASSON, NEW ENGLANDER

‘Queen of Love demonstrates… flair, gutsy energy, vision, maturity, concern. a grip on words and the ability to suggest what lies beyond them – the world of illusion, discovery, despair, spirit and romance.’ KEVIN IRELAND, NEW ZEALAND SUNDAY TIMES


‘A woman of substance as well as girth, this big-hearted earth mother knocks us off our pins in Rosie Scott’s Glory Days-all this in an introspective voice that’s rich in poetry and raw with anguish.’ Marilyn Stasio NEW YORK TIMES REVIEW OF BOOKS ‘Dazzling sordid first novel..whose poetic grittiness makes these tales of Auckland’s fringe people a stand-out. This unconventional heroine is unforgettable. The characterisations, the sheer energy and driving imagination make this a potent read.’ KIRKUS REVIEWS, NEW YORK

(Stage play), 1985

‘Playwright Scott using enormous doses of wit, humour and love, not to mention skill maintains your engagement and respect… you realise you are in the presence of a major new talent.’ THE DOMINION WELLINGTON
‘Mercury Two had the House Full sign out last night for the first production by the Working Title Theatre co-operative. And as word speeds around about the quality of this production , that sign is likely to be a permanent fixture on the pavement. ‘Say thank you to the Lady’ fulfills the first requirement of good theatre- it tells a story.’ THE AUCKLAND STAR

(Poetry), 1984

Hard Echo Press, Auckland, New Zealand