"Most people call me Auntie Rita, whites as well as Aboriginal people. Auntie is a term of respect of our older women folk. You don't have to be blood-related or anything. Everyone is kin. That's a beautiful thing because in this way no one is ever truly alone, they always have someone they can turn to."
Rita Huggins told her memories to her daughter Jackie, and some of their conversation is in this book. We witness their intimacy, their similarities and their differences, the '"fighting with their tongues". Two voices, two views on a shared life.' (Source: Publisher's blurb)
In this essay Heiss demonstrates that stories, poetry, songs, plays and memoirs are 'living' evidence of truths otherwise untold or appropriated (Source: Introduction)
'In this article I consider approaches taken to questions of intimacy and estrangement in feminist history in Australia since 1975. Pioneering works, namely Damned whores and God’s Police (Summers 1975); The Real Matilda (Dixson 1976); and My wife, my daughter and poor Mary Ann (Kingston 1975) demonstrated that in order to understand the nature of women’s subordination, feminism needed histories that would describe the changing contexts in which oppressive forces had shaped women’s relationships, as well as the variety of their oppressive effects. The trajectories of feminist engagements with theory in the 1970s generated particular historical questions that enabled accounts of intimacy and estrangement to feature in these early works. This ambitious body of scholarship laid a solid foundation on which Australian feminist historians have since built, offering vivid depictions of women and the contexts and dynamics of their relationships, but the story of the emergence of this rich body of work is complex and at times contested.' (Source: Author's introduction)
'In 1994, Jackie Huggins and her mother Rita published a ground-breaking collaborative memoir, Auntie Rita . Through Jackie’s positioning in the text as commentator, interlocutor, and daughter, Auntie Rita becomes a complex inter-generational narrative that charts not only the individual life stories of Rita and Jackie but also a larger story of Aboriginal history in twentieth-century Australia. ' (Author's abstract)
'Indigenous Australian cultures were long known to the world mainly from the writing of anthropologists, ethnographers, historians, missionaries, and others. Indigenous Australians themselves have worked across a range of genres to challenge and reconfigure this textual legacy, so that they are now strongly represented through their own life-narratives of identity, history, politics, and culture. Even as Indigenous-authored texts have opened up new horizons of engagement with Aboriginal knowledge and representation, however, the textual politics of some of these narratives - particularly when cross-culturally produced or edited - can remain haunted by colonially grounded assumptions about orality and literacy.
Through an examination of key moments in the theorizing of orality and literacy and key texts in cross-culturally produced Indigenous life-writing, Entangled Subjects explores how some of these works can sustain, rather than trouble, the frontier zone established by modernity in relation to 'talk' and 'text'. Yet contemporary Indigenous vernaculars offer radical new approaches to how we might move beyond the orality-literacy 'frontier', and how modernity and the a-modern are productively entangled in the process. ' (Source: Angus & Robertson website www.angusrobertson.com.au)
The author examines an narratological approach used in double-voiced narratives in which present two equally authoritative narrative voices. To exemplify aspects of the structure of 'double-voice', and its narrative complexity the author examines the life writing of Rita and Jackie Huggins biographical account Auntie Rita.