Anna Haebich investigates how the West Australian Department of Indigenous Affairs archives (1898-1972) have been utilised by Indigenous writers/researchers.
Kim discusses some of the processes that he used to research, draft and edit Benang.
'Through a close reading of Kim Scott's Benang: from the heart, this thesis interrogates what whiteness in an Australian colonial context looks like from an Aboriginal perspective. Its central proposition is that Scott's narrator, Harley, discovers whiteness as a consequence of discovering his Aboriginality...' (Source: Abstract)
'Although Australian indigenous poetry is often overtly polemical and politically committed, any reading which analyzes it as mere propaganda is too narrow to do it justice. By presenting the verse of Alf Taylor collected in Singer Songwriter (1992) and Winds (1994) and discussing it in the context of the wider social and cultural milieu of the author, my essay aims to show the thematic richness of indigenous poetic expression. Indigenous poets have, on the one hand, undertaken the responsibility to strive for social and political equality and foster within their communities the very important concept that indigenous peoples can survive only as a community and a nation (McGuiness). On the other hand, they have produced powerful self-revelatory accounts of their own mental and emotional interior, which urges us to see their careers in a perspective much wider than that of social chroniclers and rebels.' (Publication abstract)
'In True Country, the narrator draws the reader close and says, “You listen to me. We’re gunna make a story, true story. You might find it’s here you belong. A place like this.” (15) Although the narrator speaks of ‘(a) place like this’ as “a beautiful place (…). Call it our country, our country all ‘round here” (15), belonging, for the reader, for the characters in each of Scott’s novels, and for Scott himself, is more than settling into a physical environment, belonging is finding a place in the story.
'Mamang, Noongar Mambara Bakitj, Dwoort Baal Kaat, and Yira Boornak Nyininy are major achievements in Scott and The Wirlomin Noongar Language and Stories Project’s process of returning, restoring and rejuvenating language and story within the Noongar community and for an ever-widening public. In their form, content and intent, the stories renegotiate ideas of place and placement, confronting personal, cultural and linguistic dislocations in Noongar lives as well as an ambivalent narrative landscape in which language and story are central to both a lingering colonialism and the process of decolonisation.' (Publication abstract)