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image of person or book cover 5014880318927657055.jpg
Cover image courtesy the publisher.
y separately published work icon Finding Ullagundahi Island single work   novel  
Alternative title: Looking for Ulagundahi Island
Issue Details: First known date: 2001... 2001 Finding Ullagundahi Island
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AbstractHistoryArchive Description

An autobiographical novel. Through the memories of her much-loved grandmother, Mabel Freeman, Fabienne is looking for her family's untold history and Aboriginality. As a young woman, Mabel Freeman made the journey from the lush green coast to the dry red landscape of Coober Pedy where she lived in a dug-out with her opal-hunting lover, Bruno. The juxtaposition of desert and river highlights the incredible distance, both literally and metaphorically, that Mabel, and in turn Fabienne, travelled from their land and culture. Source: http://www.leadingedgebooks.com.au (Sighted: 30/06/2009)

Exhibitions

6939401

Notes

  • The pre-publication title for this work was Looking for Ulagundahi Island. The pre-publication title was in use when the 2000 David Unaipon Award was announced.

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Crows Nest, North Sydney - Lane Cove area, Sydney Northern Suburbs, Sydney, New South Wales,: Allen and Unwin , 2001 .
      image of person or book cover 5014880318927657055.jpg
      Cover image courtesy the publisher.
      Extent: 246p.
      Note/s:
      • Includes bibliography: p.245-246.
      ISBN: 1865085863

Works about this Work

The Poetics of (Re)Mapping Archives : Memory in the Blood Natalie Harkin , 2014 single work criticism
— Appears in: JASAL , vol. 14 no. 3 2014;

'This paper explores stories of re-mapping the archives through art and poetic-prose, using ideas of haunting through ‘memory in the blood.’ Our family archives are like maps that haunt and guide us toward paths past-travelled and directions unknown. We travel through these archives that offer up new stories and collections of data, and a brutal surveillance is exposed at the hands of the State. We gain insight into intimate conversations, letters, behaviours and movements, juxtaposed with categorisations of people, places, landscapes and objects. These records are our memories and lives; material, visceral, flesh and blood. The State wounds and our records bleed. I travel through my own Nanna’s records and recognise that we have never lived outside the State, and this very act of recognition continues the wounding. State acts of surveillance, recording and archiving had the power to place our

family stories in the public domain, or obliterate stories within a broader history of erasure; filed away, silent and hidden until bidden. But our bodies too are archives where memories, stories, and lived experiences are stored, etched and anchored in our bloodlines deep. They ground our creativity in what become personal and political acts of remembering, identity making and speaking back to the State. Detective-like methods allow us to creatively re-map events and landscapes, piece together lives fragmented and heal our wounds.' ((Re) Mapping the Archive, 4)

One Man's History Is Another Woman's Lie Michèle Grossman , 2003 single work review
— Appears in: Australian Humanities Review , October no. 30 2003;

— Review of Finding Ullagundahi Island Fabienne Bayet , 2001 single work novel ; A Little Bird Told Me : Family Secrets, Necessary Lies Lynette Russell , 2002 single work biography
Heady Memoir Christina Brown , 2003 single work review
— Appears in: Dotlit : The Online Journal of Creative Writing , August vol. 4 no. 1 2003;

— Review of Finding Ullagundahi Island Fabienne Bayet , 2001 single work novel
Untitled Amy Mallett , 2002 single work review
— Appears in: Muse , September no. 221 2002; (p. 13-14)

— Review of Finding Ullagundahi Island Fabienne Bayet , 2001 single work novel
Untitled Ray Sherriff , 2002 single work review
— Appears in: Viewpoint : On Books for Young Adults , Winter vol. 10 no. 2 2002; (p. 42)

— Review of Finding Ullagundahi Island Fabienne Bayet , 2001 single work novel
Heady Memoir Christina Brown , 2003 single work review
— Appears in: Dotlit : The Online Journal of Creative Writing , August vol. 4 no. 1 2003;

— Review of Finding Ullagundahi Island Fabienne Bayet , 2001 single work novel
One Man's History Is Another Woman's Lie Michèle Grossman , 2003 single work review
— Appears in: Australian Humanities Review , October no. 30 2003;

— Review of Finding Ullagundahi Island Fabienne Bayet , 2001 single work novel ; A Little Bird Told Me : Family Secrets, Necessary Lies Lynette Russell , 2002 single work biography
Paperbacks Ian McFarlane , 2002 single work review
— Appears in: Canberra Sunday Times , 17 February 2002; (p. 51)

— Review of Machines for Feeling Mireille Juchau , 2001 single work novel ; Regret Ian Kennedy Williams , 2002 single work novel ; Follow the Rabbit-Proof Fence Doris Pilkington Garimara , 1996 single work biography ; Finding Ullagundahi Island Fabienne Bayet , 2001 single work novel
Traversing the Personal Bruce Sims , 2002 single work review
— Appears in: Australian Book Review , March no. 239 2002; (p. 33-34)

— Review of Finding Ullagundahi Island Fabienne Bayet , 2001 single work novel ; Follow the Rabbit-Proof Fence Doris Pilkington Garimara , 1996 single work biography ; Full Circle : From Mission to Community : A Family Story Edie Wright , 2001 single work autobiography
In Short Debra Adelaide , 2002 single work review
— Appears in: The Sydney Morning Herald , 16-17 March 2002; (p. 15)

— Review of Finding Ullagundahi Island Fabienne Bayet , 2001 single work novel
An Island in the Stream Steve Dow , 2002 single work biography
— Appears in: The Sunday Age , 17 February 2002; (p. 10)
The Poetics of (Re)Mapping Archives : Memory in the Blood Natalie Harkin , 2014 single work criticism
— Appears in: JASAL , vol. 14 no. 3 2014;

'This paper explores stories of re-mapping the archives through art and poetic-prose, using ideas of haunting through ‘memory in the blood.’ Our family archives are like maps that haunt and guide us toward paths past-travelled and directions unknown. We travel through these archives that offer up new stories and collections of data, and a brutal surveillance is exposed at the hands of the State. We gain insight into intimate conversations, letters, behaviours and movements, juxtaposed with categorisations of people, places, landscapes and objects. These records are our memories and lives; material, visceral, flesh and blood. The State wounds and our records bleed. I travel through my own Nanna’s records and recognise that we have never lived outside the State, and this very act of recognition continues the wounding. State acts of surveillance, recording and archiving had the power to place our

family stories in the public domain, or obliterate stories within a broader history of erasure; filed away, silent and hidden until bidden. But our bodies too are archives where memories, stories, and lived experiences are stored, etched and anchored in our bloodlines deep. They ground our creativity in what become personal and political acts of remembering, identity making and speaking back to the State. Detective-like methods allow us to creatively re-map events and landscapes, piece together lives fragmented and heal our wounds.' ((Re) Mapping the Archive, 4)

Last amended 10 Apr 2017 12:11:34
Settings:
  • Coober Pedy, Far North South Australia, South Australia,
  • Grafton - Maclean area, Mid North Coast, New South Wales,
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