AustLit

(Publication summary)

'First Nations Australian literature has often been the object of incomprehension and derogation by settler critics – something a deeper perspective of “presencing” can overcome. This chapter takes a decolonial perspective and highlights the self-assertion of First Nations writers against invidious characterization, such as that received by the poetic work of Oodgeroo Noonuccal in the 1960s. It demonstrates how nonIndigenous readers can approach texts by First Nations authors not as “tourists” but as “invited guests.”' (Publication abstract)

'Edenglassie is the seventh novel by acclaimed Bunjalung novelist Melissa Lucashenko. Set in a brief historical window – a little-known interim of time and place after transportation of convicts had ended but before Queensland became an independent colony in 1859 – this narrative moves seamlessly between what whitefellas might call past, present, and near future. In this interface, Lucashenko creates characters that cause the reader to not only ask – what if? but also where to now?' (Introduction)

'ART is the second collaborative poetry yarn from Yamatji poet, scholar, artist and activist Charmaine Papertalk Green and settler poet John Kinsella. This yarn is distinct from but builds on the rigorous and timely dialogue the two authors began in False Claims of Colonial Thieves (2018). Like False Claims, ART is a collaborative work, where each poet works in tandem in a seamless discussion that is simultaneously a sovereign conversation and a critique of nation. Papertalk Green and Kinsella showcase their poetic talents in a dynamic exchange that responds to the artistic offerings of the late Nyoongar painter Shane Pickett (1957-2010).' (Introduction)

'Jeanine Leane and I met in the Spring of 2022 to plot this interview over coffee. Jeanine has a quick, ferocious intelligence that moves associatively, while her fingers make languid circles in her hair. She is fine-boned and extremely upright. The day we met, she wore a fitted, double-breasted greatcoat with military detailing that flared at the waist. She told me she picked it up in Cambridge, England, on a day she was there as an invited speaker. After the talk, she said, while walking along the rigidly manicured paths of the Cambridge campus, she stopped to gesture at a flowering bush and was instantly policed by a porter, one of those grounds-guards in bowler hats who keep non-fellows from walking on the grass. ‘Do you know what day it is?’ Jeanine said to the porter. ‘It’s invasion day today, in so-called Australia. I’ll point at any flower I please.’' (Introduction)

'In 1995 – just post Mabo, Noongar writer and scholar Aunty Rosemary Vandenberg delivered an excoriating address to the annual Association for the Studied of Australian Literature gathering (ASAL) gathering in Tandanya, Adelaide. The conference theme was ‘Rewriting the Mainstream’. Aunty Rosemary argued in an eloquent and passionate address that the mainstream/whitestream was in dire need of re-writing. Not before noting though, that there were no First Nations people of Tandanya invited to speak at the conference.' (Introduction) 

'Best of Australian Poetry is an annual anthology collecting previously published and unpublished poems to create a poetic snapshot of the year that was. Capturing the richness and diversity of Australian poetry, across a timeframe of 1 July 2021 - 7 August 2022, the series, now in its second year, will explore how poetic responses to the contemporary moment develop with each passing year.

'The book opens with an introduction by its 2022 editors, award-winning and highly respected poets and editors, Jeanine Leanne and Judith Beveridge. Both Jeanine, a Wiradjuri poet, and Judith have extensive experience as poetry teachers, academics and poetry anthologists previously.

'The Best of Australian Poetry (BoAP) series is published by Australia's national poetry organisation, Australian Poetry, and will feature two different guest editors each year, to amplify the range of voices selected. It is funded by the Australia Council for the Arts and individual patrons.' (Publication summary)

'The Mabo decision in 1992 was a turning point for Australia. It finally overturned the dishonest doctrine of terra nullius and recognised Indigenous land rights. It was a moment of hope, accompanied by a productive tension.' (Introduction)

'Noongar and Yawuru poet and academic Elfie Shiosaki writes in the introduction to her new poetry collection, Homecoming, that it is the story of four generations of Noongar women of which she is the sixth. The poems are ‘fragments of many stars’ in her ‘grandmothers’ constellations’. Shiosaki ‘tracks her grandmothers’ stars’ to find her ‘bidi home’. The introduction reads as a beautifully crafted prose poem that contextualises the works that follow.'  (Introduction)

'Since the invasion of Australia in 1788, First Nations Peoples have been forced into the literary images of the colonisers. We have been described as noble savages, vermin, half-castes, temptresses, and problems, just to name a few. Our entrapment in the literary canon of the invading settlers is what constructed and maintained the colonial mythscape of the modern nation of Australia.' (Introduction)

'A callout for a poetry of consciousness ‘that enacts and is responsible for what it considers’, that has been written with an awareness of ‘crises, brinks and redress’, was always going to bring some powerful and confronting work. We also hoped for poetry with contiguous capacity for social justice, community awareness and social and emotional wellbeing, and we feel that we have been able to select and collate such poems here. There are many different causes, convictions and concerns addressed in these poems, but the act of showing concern and suggesting a wish for positive change – for asserting a sense of justice and seeking that justice – is inherent in different ways in most if not all of the poems in this issue.' (John Kinsella and Jeanine Leane, Editorial introduction)

'Within the white imagination there is an invisible charter of rights that I hear frequently quoted, touted, lauded: It is my right to imagine whatever I want! My imagination is free! So encoded is this invisible charter of rights that insists that the white imagination has no limits that all peoples and places deemed as 'other' become carte blanche - a blank white page for their imaginations to write.' (Introduction)