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AbstractHistoryArchive Description
'Since the mid-1980s there has been a sharp rise in the number of literary publications by Indigenous Australians and in the readership and impact of those works. One contemporary Aboriginal Australian author who continues to make a contribution to both the Australian and the global canon is Kim Scott (1957-). Scott has won many awards, including Australia's highest, the prestigious Miles Franklin Award, for his novels Benang (2000) and That Deadman Dance(2011). Scott has also published in other literary genres, including poetry, the short story, children's literature, and he has written and worked professionally on Indigenous health issues. Despite Scott's national and international acclaim, there is currently no comprehensive critical companion that contextualizes his work for scholars, students, and general readers. A Companion to the Works of Kim Scott fills this void by providing a collection of twelve original essays focusing on Scott's novels, short stories, poetry, and his work with the Wirlomin Noongar language project and Indigenous health. The companion also includes an original interview with the author.' (Publication summary)
Notes
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Also includes:
Note on Orthography (pp.xi-xii).
Chronology of Key Writings (xiii-xvii).
Contents
- Introduction, single work criticism (p. 1-8)
- Kim Scott's Publishing History in Three Contexts : Australian Aboriginal, National, and International, single work criticism (p. 9-24)
- Kim Scott's True Country as Aboriginal Bildungsroman, single work criticism (p. 25-36)
- The Land Holds All Things : Kim Scott's Benang–A Guide to Postcolonial Spatiality, single work criticism (p. 37-48)
- Kim Scott's Kayang and Me : Noongar Identity and Evidence of Connection to Country, single work criticism (p. 49-60)
- 'Wreck / Con / Silly / Nation' : Mimicry, Strategic Essentialism, and the 'Friendly Frontier; in Kim Scott's That Deadman Dance, single work criticism (p. 61-73)
- The International Reception of Kim Scott's Works : A Case Study Featuring Benang, single work criticism (p. 74-87)
- Traumatic Landscapes : Inscribing Spectrality and Identity in Kim Scott's 'A Refreshing Sleep', 'Capture' and 'An Intimate Act', single work criticism (p. 88-100)
- Spatial Poetics and the Uses of Ekphrasis in Kim Scott's 'Into the Light' and Other Stories, single work criticism (p. 101-113)
- The Poetry of Kim Scott, single work criticism (p. 114-129)
- The Wirlomin Project and Kim Scott : Empowering Regional Narratives in a Globalized World of Literature, single work criticism (p. 130-145)
- Kim Scott as Boundary Rider : Exploring Possibilities and New Frontiers in Aboriginal Health, single work criticism (p. 146-157)
- An Interview with Kim Scott, single work interview (p. 158-170)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Through Country
2016
single work
review
— Appears in: Australian Book Review , September no. 384 2016; (p. 19)
— Review of A Companion to the Works of Kim Scott 2016 anthology criticism 'In 2004 Kim Scott delivered the prestigious Herbert Blaiklock Memorial Lecture to a predominantly academic audience at the University of Sydney. Provocatively, he began by saying that he did not know much about Australian literature; the literature of this country did not reflect his experiences or his sense of identity. It certainly was not the literature of his country. Scott wanted to question and complicate the categories of Australian and indigenous literature. His concern that indigenous literature was considered to be a lesser version, or subset, of our national literature had seemed to be confirmed when he located his novel Benang: From the heart (1999) in a bookshop under 'Australiana'.' (Introduction)
-
Through Country
2016
single work
review
— Appears in: Australian Book Review , September no. 384 2016; (p. 19)
— Review of A Companion to the Works of Kim Scott 2016 anthology criticism 'In 2004 Kim Scott delivered the prestigious Herbert Blaiklock Memorial Lecture to a predominantly academic audience at the University of Sydney. Provocatively, he began by saying that he did not know much about Australian literature; the literature of this country did not reflect his experiences or his sense of identity. It certainly was not the literature of his country. Scott wanted to question and complicate the categories of Australian and indigenous literature. His concern that indigenous literature was considered to be a lesser version, or subset, of our national literature had seemed to be confirmed when he located his novel Benang: From the heart (1999) in a bookshop under 'Australiana'.' (Introduction)
