'False Claims of Colonial Thieves is a new poetry book that calls into question what we think we know about country, colonisation, land and identity.' 

'In her poem “Simply Yarning”, Charmaine Papertalk Green writes:

'Yarning is a beautiful conversation / From that moment / That space / That time / Yarning puts us on common ground.

'Her co-author John Kinsella responds warmly with his own hymn to the art of yarning:

'How can I but take up the call, / Charmaine, and yarn right back at you / – it’s what we do when we connect, / have a yarn about this and that.' (Introduction)

'Somewhere before White Fragility became the lingo du jour of anti-racism workshops, white people stopped telling me out loud that they were ‘one of the good ones’. They chuckled and said ‘Oh, I’m so white’. They offered me a conspiring wink. It’s not as suave when I reciprocate. I can only blink, or hold my hand over one eye like an optometrist, testing just what it is I’m meant to be seeing.' (Introduction)

'Collaboration between Indigenous and non-Indigenous practitioners in Australian writing has a long and fraught history, and appropriation remains a serious issue in the Australian publishing industry today. At the same time, however, positive instances of collaboration, particularly in contemporary writing, have shown its capacity to produce rich and nuanced cultural outcomes. This article is part of a developing project aiming to investigate collaborations like these and their related industry outcomes. It looks to feel out some of the complexities around Indigenous/non-Indigenous collaboration, considering as a starting point Randolph Stow’s work with Daniel Evans, which led to the publication of “The Umbali Massacre […] As told to him by Daniel Evans” in the Bulletin in 1961. As a case study, it has several interesting features: the context of Stow’s work with Indigenous peoples and his friendship with Evans; Evans’s direct contribution to Stow’s Miles Franklin Award–winning To the Islands (1958); Stow’s failure to properly acknowledge Evans in the novel’s frontmatter; and his subsequent appropriation of Evans’s voice in the Bulletin piece, even while advocating for Indigenous sovereignty. As such, it illustrates both the dangers and the potential of Indigenous/non-Indigenous collaboration as a dual inheritance in the industry today.' (Publication abstract)