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Issue Details: First known date: 2008... 2008 Different Ways of Knowing : Trees Are Our Families Too
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Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon Heartsick for Country : Stories of Love, Spirit and Creation Sally Morgan (editor), Tjalaminu Mia (editor), Blaze Kwaymullina (editor), Fremantle : Fremantle Press , 2008 Z1497076 2008 anthology life story 'The stories in this anthology speak of the love between Aboriginal peoples and their countries. They are personal accounts that share knowledge, insight and emotion, each speaking of a deep connection to country and of feeling heartsick because of the harm that is being inflicted on country even today, through the logging of old growth forests, converting millions of acres of land to salt fields, destruction of ancient rock art and significant Aboriginal sacred sites, and a record of species extinction that is the worst in the world.' (Source: Fremantle Press website) Fremantle : Fremantle Press , 2008 pg. 21-42

Works about this Work

Six Groundings for Aboriginal and Torres Strait Islander Story in the Australian Creative Writing Classroom : Part 1 Paul Collis , Jen Crawford , 2017 single work criticism
— Appears in: TEXT : Journal of Writing and Writing Courses , October vol. 21 no. 2 2017;

'‘All Australian children deserve to know the country that they share through the stories that Aboriginal people can tell them,’ write Gladys Idjirrimoonra Milroy and Jill Milroy (2008: 42). If country and story, place and voice are intertwined, it is vital that we make space in Australian creative writing classrooms for the reading and writing of Australian Indigenous story. What principles and questions can allow us to begin? We propose six groundings for this work:

  • Indigenous story is literary history, literary history is creative power.
  • We do culture together: culture becomes in collaboration, conscious or unconscious.
  • There is no such thing as Indigenous story, and yet it can be performed and known. 
  • Country speaks, to our conceptions of voice and point of view.
  • History and memory are written in the land and on the body in bodies of practice.
  • Story transmits narrative responsibility.  Narrative responsibility requires fierce listening.

This two-part paper will discuss each of these groundings as orienting and motivating principles for work we do as teachers of introductory creative writing units at the University of Canberra.'  (Publication abstract)

Six Groundings for Aboriginal and Torres Strait Islander Story in the Australian Creative Writing Classroom : Part 1 Paul Collis , Jen Crawford , 2017 single work criticism
— Appears in: TEXT : Journal of Writing and Writing Courses , October vol. 21 no. 2 2017;

'‘All Australian children deserve to know the country that they share through the stories that Aboriginal people can tell them,’ write Gladys Idjirrimoonra Milroy and Jill Milroy (2008: 42). If country and story, place and voice are intertwined, it is vital that we make space in Australian creative writing classrooms for the reading and writing of Australian Indigenous story. What principles and questions can allow us to begin? We propose six groundings for this work:

  • Indigenous story is literary history, literary history is creative power.
  • We do culture together: culture becomes in collaboration, conscious or unconscious.
  • There is no such thing as Indigenous story, and yet it can be performed and known. 
  • Country speaks, to our conceptions of voice and point of view.
  • History and memory are written in the land and on the body in bodies of practice.
  • Story transmits narrative responsibility.  Narrative responsibility requires fierce listening.

This two-part paper will discuss each of these groundings as orienting and motivating principles for work we do as teachers of introductory creative writing units at the University of Canberra.'  (Publication abstract)

Last amended 9 Oct 2009 13:22:27
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