Kim Scott’s writing over a number of books is a voyage of discovery of his antecedents as a Noongar man, that is of the Indigenous people of Western Australia’s South-West. The Wilomin, to whom Scott has found he belongs, are the eastern-most sub-group of the Noongar, occupying sandy, mallee country along the south coast between Bremer Bay and Esperance and inland around Ravensthorpe, the territory covered by his much awarded novel, Benang (1999). His later novel That Deadman Dance (2010) was set further west, around Albany and the jarrah forested Stirling Ranges, although characters and geography overlap between the two novels, even if the names they are given differ.
In Kayang & Me Scott and his Aunty Hazel alternate in telling stories around Scott’s Noongar heritage. Different fonts are used so it is always clear who is talking. Kayang, by the way, has the meanings ‘Aunty’ and ‘Elder’. Scott says:
Most of Aunty Hazel’s writing in this book comes from transcriptions of tape-recordings we did together. That method created some difficult decisions for us, most of which could be reduced to the particular problem of how to capture the distinctive nature of her speech while allowing it to be relatively smooth to read on the page.
Aunty Hazel, Hazel Brown “was born on the ninth of November 1925, at a place called Kendenup [north of Albany]… I was born in an old packing shed. Years ago no women had their babies in hospital, you weren’t allowed to.” Her mother, Nellie, who had a white father, had been taken from her home at Marble Bar and sent 2,000 km south to Carrolup Native Settlement where, perhaps to cure her running away, she was made to marry a Wiloman man, Yiller, who died when Hazel was 5. Nellie, who by then also had a son, Lenny, then married Yiller’s brother, Fred Tjinjel Roberts, and Hazel grew up with her brothers and sisters and her father’s “full blood relations”, living a relatively traditional life in the Ravensthorpe/Wilomin region, while her father worked as a farm-hand and shearer.
My father’s father was called Bob Roberts (also known as Pirrup) and his mother was known as Monkey… Most of my grandmother Monkey’s family were massacred* some time after 1880 by white people at place called Cocanarup, a few miles from Ravensthorpe.
Kim Scott (1957- ) writes “my father, Tommy Scott, was the only surviving child to an Aboriginal woman who died when he was ten years old, after which his Aboriginal grandmother continued to raise him until his Scottish father arranged boarding schools …”. He died young, in his thirties. Scott remembers him telling him to be proud of his ‘Aboriginal descent’. Growing up, in Albany, Scott knew very few of his extended indigenous family, and only some of those identified as Noongar, but he was aware that his father’s mother and grandmother had lived around Ravensthorpe and Hopetoun.
As an adult enquiring after his family he was told, “go see Aunty Hazel. They reckoned Hazel Brown knew everyone who lived around Ravensthorpe.” And so it turned out, her husband and Scott’s father had been drinking buddies. “Your father was my cousin, she told me.” Scott had already put in a great deal of research to come up with the material that underlies Benang, now Aunty Hazel was able to flesh it out. The starting point from Scott’s notes was his great grandmother Granny (Fanny) Winnery, who Hazel remembered as Pirrup’s sister, having often visited her in Ravensthorpe as a young girl. Granny Winnery and Pirrup’s father, Old Bob Roberts, appears to be the ‘Bob’ recorded as guiding Surveyor General JS Roe along the south coast in 1849, and who ended up as a hated ‘black tracker’.
Hazel has stories of Old Bob and his brothers and sisters, who married whom, working for early settlers the Hassells, shepherding and on the wagons running from the coast to Balladonia 300 km inland. All of which Scott must reconcile with scanty written accounts.
Old Fanny Winnery, she had two daughters, didn’t she? She had two daughters. That’s right! Married Coleman twins. And after that one of their girls married the Scott.
Fanny Winnery is recorded as having given birth to a daughter at a camp east of Esperance, the father’s name given as John Mason. Mason had been a sailor and Scott finds an account, by a settler, of a marriage between a ‘Jack Tar’ who is shepherding for him, and an Aboriginal woman who was probably Fanny. More information comes from the records of the Chief Protector, enquiring after a John Mason who served in the First World War. He is the son of Jack Mason and Fanny ‘Pinyan’. Fanny died in 1913, in the house of her son in law Daniel Coleman, and she and Jack were buried together in Ravensthorpe. These names of course are all familiar to us from Benang.
Scott goes down to Ravensthorpe with Hazel’s brother, Lomas Roberts who is documenting a Native Title claim, to visit long time resident, Mrs Cox –
‘And you must have known Kimmy’s father’, Uncle Lomas said.
‘Oh yes’, she said, bursting into a smile, ‘I went to school with Tommy Scott.’
She remembered my grandmother too.
That was Harriette Coleman, daughter of Fanny, and mother of Scott’s Uncle Will. You can see the problem though – Fanny Winnery was dead before Aunty Hazel was born, so the Granny ‘Winnery’ she remembers seeing must have been Harriette. Reconciling Hazel’s oral genealogy with his ‘scraps of paper’ became a problem for Scott and held up the writing of this book. In the meanwhile we learn a great deal about the history of White/Noongar relations from both Scott and from Aunty Hazel, the murders, the imprisonments on Rottnest and other islands, the apartheid-like impact of the 1905 Aborigines Act, the ‘colour bar’ in country towns, the deaths caused by doctors refusing to treat black children.
But Aunty Hazel is a woman who knows her own mind, she and her husband had friends in the white community, and not all her stories are dark. At one time in the thirties a very young Hazel and her family were walking along a track between Ravensthorpe and Esperance –
Now these people came along. They had an old black motor and I don’t know … it was like a square top and it had a funny little front. It was like a little ute. … She was a woman that was going through to Esperance, and she was going to South Australia, and in some way she was connected to Daisy Bates. … she started sending Mummy the funny little magazine that Daisy Bates made.
Scott doesn’t speculate as to who this might have been. Ernestine Hill went from WA at this time to meet Bates, but by train. And she did her trans-Nularbor road trip with Henrietta Drake-Brockman in 1947 when Hazel would have been 22.
Aunty Hazel lectures Scott on truth in story telling, even when it’s told different each time: “We don’t wanna bore people, unna? We wanna tell a good story. You should know that better than me, you s’posed to be the writer.” This is a fascinating book, of genealogical enquiry, of the details of an almost forgotten way of life, of Scott’s attempts to interpret and interrogate his Noongar heritage. Aunty Hazel is a wonderful story teller and of course Scott is one of our finest writers.
Here is Scott’s (confronting) conclusion, which I think ties in with what I’ve be I’ve been trying to say about leaving space for Indigenous writers –
In order to strengthen Indigenous communities – and that’s the only means by which an Australian nation-state will have any chance of grafting onto Indigenous roots – we need some sort of ‘gap’ between Indigenous and non-Indigenous societies, a moratorium, a time of exclusion to allow communities to consolidate their heritages. After that, exchange and interaction from relatively equal positions should be possible, because that’s how cultural forms are tested and grow.
Kim Scott and Hazel Brown, Kayang & Me, Fremantle Press, Fremantle, 2005
*I have not said any more about the Cocanarup massacre because there is too much to say. The authors provide pages of recollections, but as Scott says there is very little documentation. A search on Google brings up nothing and on Trove, one account of an expedition to the Goldfields in 1890.
If I can I may put up more in a separate post at a later date. I have overcome these difficulties (with some assistance) and will put up a post on the massacre in a few days.
The Cocanarup Massacre, my post based on Kim Scott’s source material (here)
The Pinjarra Massacre (here)
My reviews of Kim Scott’s other works –
True Country, 1993 (here)
Benang, 1999 (here)
That Deadman Dance, 2010 (here)
Taboo, 2017 (here)