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Alcohol and other drug information, support and treatment is available through publicly funded and private services across New South Wales. These services are not emergency services. If you require urgent medical attention, contact or attend your local hospital or general practitioner, or call for ambulance. ADIS provides 24 hour 7 day a week telephone counselling, support, referrals and information for those affected by alcohol or other drugs. ADIS counsellors are trained to work with people who are concerned about their own alcohol and drug use, as well as callers who are concerned about their family or friends. Each NSW Health local health district has a local central intake telephone line to connect people with alcohol and other drug services in that region. Note that some local intake lines operate during business hours only. ADIS can be contacted 24 hours 7 days a week. To access a local public drug and alcohol service, please contact your local health district:. Family Drug Support FDS provides 24 hours a day, 7 days a week telephone support to families and carers in crisis due to alcohol and other drug use issues. FDS is staffed by volunteers who have experience of family members with alcohol and other drug use. FDS also provide face-to-face support meetings and resources for family members. The Stimulant Treatment Line STL provides information, referral, crisis counselling and support specifically for people who use stimulants, such as methamphetamine, cocaine and ecstasy. The STL is a free service with counsellors available 24 hours a day, 7 days a week to speak with callers about their own or someone else's stimulant use. The NSW Quitline is a confidential telephone information and advice service to help smokers quit and stay quit. Quitline Advisors including Aboriginal and multilingual advisors are available:. The DASAS Helpline assists health professionals seeking advice about the diagnosis and treatment of patients with alcohol or drug issues. NUAA provides advice, information and referral on matters relating to injecting drug use, blood borne viruses and services and programs available for people using drugs. NUAA also runs a needle and syringe exchange program. You may be trying to access this site from a secured browser on the server. Please enable scripts and reload this page. Skip to content Contact us Emergency information. Home Alcohol and other drugs Contact information, support and treatment services Alcohol and other drugs Centre for Alcohol and Other Drugs Support and treatment services Currently selected Partnerships Music festival harm reduction Useful links. Local intake lines Each NSW Health local health district has a local central intake telephone line to connect people with alcohol and other drug services in that region. Regional and rural NSW: Read about AOD treatment. Contact withdrawal management and residential rehabilitation services. Visit Your Room for information on alcohol and other drugs. Current as at: Wednesday 19 June Contact page owner: Centre for Alcohol and Other Drugs.

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The collection opens with Joseph, protagonist of A Beckoning Candle, fleeing a deluge of effluent to wander local streets, talk to his neighbours, reflect on life. The title, with its Shakespearian echo of mortality, signals we are beginning this book from the perspective of a life that is nearing its end. Other stories feature characters grappling with midlife, careers, the sorrows and joys of art, with almost every story continuing the theme of reflection. The stories move through often literal journeys of reckoning, until the wrenching aftermath of an attempt at new life in the final story. The writing is often beautiful, but An Ordinary Ecstasy is not about pretty sentences, though many are and use technical devices with great skill. The writing fits. The main work of these sentences is less to call attention to themselves and more to function as a carrier medium. They weave themselves into long scenes, so the reader enters the world Carman creates. The functional unit here is more paragraph than sentence. An Elegant Young Man speaks with a propulsive, immediate voice; the book is virtually performance art on the page and anyone who has heard Carman read will hear the words in his voice. It feels like an intense conversation late at night. Carman varies his approach here, focalising the stories through a range of characters. The stories unspool; the prose floats the reader along, as if on long tracking shots through the suburbs, up the coast, through the cold Katoomba twilight, from a hospital to the beach. Like the other characters whose eyes we see through and whose thoughts we hear, he is more Nick Carraway than Jay Gatsby; he is reflecting and observing, often reporting on the actions of others. As someone who edits and publishes a lot of short fiction, I found myself puzzled and a bit frustrated by Joseph at first. I am not talking about plot, but tension. But while desire is necessary, it is not sufficient. The real driver of tension is not what a character wants or what happens neither is interesting , but what decision a character faces. Joseph cannot affect what is happening in his neighbourhood. Or can he? Maybe he does, simply by wandering the streets, talking to his old friends and bearing witness to his life and theirs? The second story, the title story, asks for a decision in its first line. This is enough tension to sustain pages of reflection, not least because there can be no answer. She decides, of course, on a stock response which is also true: the most beautiful thing she has seen is the birth of a baby. But this is no answer at all. Birth is momentous and wondrous but also horrifying — and all points on the journey towards birth especially facing what it means to be a parent and how that is shaped by your own childhood can also be wondrous and horrifying. A Beckoning Candle, at 53 pages, also nears novella length. Between them, the first three stories account for well over half the book. The narrator of Tears on Main Street tells us about a trip to Byron Bay with an old friend, the improbably named August Augustine, who is seeking revenge on someone from school. The reader may have encountered this character years ago, as he closely resembles Arnold Augustine, also Fijian, who turns up in An Elegant Young Man. At first, I resisted the story: another observing narrator with nothing at stake. I crowned my question with a quotation from Patrick White. But by the time we reached the Big Banana in Coffs Harbour I was entranced, feeling as if I had been drawn into my own past, both distant and recent: family holidays as a child in Northern NSW, a more recent holiday in Byron Bay. One reason the story works is the way Carman uses paragraphs. Paragraphing is an aspect of writing that is changing faster than most others — look at A. The technique works so well because the story is a journey, inner and outer, spatial and temporal up the coast and into the past , but also because sequences, such as the ingestion of hash cookies and the ensuing trip, mirrored in a subsequent journey through the rainforest, then a climactic night in the club and the scenes in a gym, all have a dreamlike, surreal quality. Short paragraphs can confer a propulsive simplicity, but with too many short paragraphs or line breaks, attention is wearied; not everything can be equally significant. Too many short lines and paragraphs are as exhausting as reading something in all caps or having someone shout at you. By using long paragraphs, the literary equivalent of art films made up of a few long takes, Carman makes the flow the point. The style embodies the project of the book, if we think that project is in its title: an ordinary ecstasy. It hardly needs to be said but it does that this feels like a strategy to counteract the increasing difficulty of concentrating, of reading deeply rather than skimming. Jack Kerouac c. Holly, who uses remembered lines of poetry like noise-cancelling headphones to block out what she wants to ignore, thinks of T. The Bible is woven throughout, the wrack of a religious education perhaps. Elvis stars in an epiphanous moment. Rowling, J. Tolkien and A. Housman loom in later stories. Australian writers are at a distinct disadvantage in this global conversation. Is there a better phrase summing up the kind of suburbia captured by mid-century Australian writers? It is balanced. We might say speech is a form of thought, but what comes out of the mouth is only the fluttering shade of the infinite internal thing that has its range and scope outside conscious introspection. I like that Carman is not afraid to tell as well as show. His characters reflect on big themes; they think, they speak, they declaim, melding poetic and colloquial diction freely. I wandered around Penrith Plaza eating kebabs and reading On the Road and calling the world an ecstatic masterpiece until I learned that the world moves from order to disorder just like black holes and middle-class families. This article is republished from The Conversation under a Creative Commons license. Read the original article. UTS acknowledges the Gadigal people of the Eora Nation, the Boorooberongal people of the Dharug Nation, the Bidiagal people and the Gamaygal people, upon whose ancestral lands our university stands. We would also like to pay respect to the Elders both past and present, acknowledging them as the traditional custodians of knowledge for these lands. Luke Carman and 'An Ordinary Ecstasy'. Lidcombe sunset. Review: An Ordinary Ecstasy — Luke Carman Giramondo The collection opens with Joseph, protagonist of A Beckoning Candle, fleeing a deluge of effluent to wander local streets, talk to his neighbours, reflect on life. Luke Carman. Patrick White c. Joseph continues in this vein for a page. Back to Culture and sport. Acknowledgement of Country.

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