This All Come Back Now

Australian Women Writers Gen 5-SFF Week 15-22 Jan. 2023

It occured to me only at the very last minute that I had had the ideal book in my hands for this Week, and that I had given it to Lou as a present earlier in 2022 and promptly forgotten all about it. The book, This All Come Back Now: An Anthology of First Nations Speculative Fiction is “The first-ever anthology of Aboriginal and Torres Strait Islander speculative fiction – written, curated, edited and designed by blackfellas, for blackfellas and about blackfellas.”

The editor, Mykaela Saunders has written a comprehensive overview of the book and her selection process in the Sydney Review of Books, 18 July 2022; there was a panel on This All Come Back Now at the Sydney Writers Festival, 21 May 2022; and a Symposium at USyd. 24 Oct 2022 featuring Gina Cole (Fiji), Arlie Alizz (Yugumbeh), Jeanine Leanne (Wiradjuri), Mykaela Saunders (Koori/Goori), Ellen van Neerven (Mununjali), and Karen Wylde (Martu). I can’t see video or audio recordings for these, but I will keep looking.

Louis Holloway is a primary school teacher in Tennant Creek where a large proportion of his class is as you might expect, Indigenous.


It is problematic to talk about ‘Aboriginal writers’ and Aboriginal identities from the critical perspective of a hetero, cisgender white person. But here we are. As a reader, presently your reviewer, it is hard not to try and make sense of the thing as a whole. I found myself listening intently for something that might be construed as common ‘authentic voice’. I also found that to read as an investigator, I wanted an academic framework. My thoughts went to Fannon’s Black Skins White Masks, and to Foucault’s Discipline and Punish. The first asks about the effect of colonization on the subjective existence of the colonized, and the second about how our identity incorporates governing ideas which subject our choices to the governance of the dominant paradigm.

Mykaela Saunders – Overture

“Short story anthologies are like mixtapes, and I want you to think of this book as a burnt CD from me to you, … and on opportunity to find exciting writers you might not otherwise have come across.”

In introducing the anthology, Saunders invites us to dip our toes in. While the collection is explicitly curated to present the diverse work of a subaltern community, it is not an argument constructed of parts, but rather exactly what it claims to be.

I have picked some examples which might lend to a reading of overarching theme, but the first is just a great piece of writing.

Jasmine McGaughey – Jacaranda Street

The haunting mystery of Jacaranda Street after interrupted roadworks. Short and viscerally compelling. Jacaranda is a superb example of the short story medium- just enough of a taste to realise a vision and leave the reader with an unsettled sense of something that might be possible.

If MacGaughey has only come to my attention as part of TheAustralianLegend’s project including Saunder’s anthology, then there must be a flaw in the mechanism by which I am selecting texts.

Lisa Fuller – Myth This!

A horror story. In this case, the wise local with secret knowledge and dire warnings is the protagonist. The foolish Steve Irwin from the University ignores her at his peril.

In Myth This! There is a clear depiction of an encounter between two world views. I found myself looking for this encounter as I considered what I was reading. Fuller’s protagonist is careful, competent, and essentially suburban character who worries that she has not taught her children enough of the truths she learned from her mother and aunties.

Elizabeth Araluen – Muyum, a Transgression

“When I crossed there was only little light darkly”

This is poetry in the shape of a story. While I pride myself in my vocabulary and ease of assimilation of text, the reading challenges both, demanding the pace of the spoken word as poetry often does. She is talking to someone. ‘Muyum’ might be a sister’s son, but I’m not sure how closely the language of my online dictionary matches the geography of Araluen’s biography. I was also tempted to look up more than one English word.

Araluen’s protagonist encounters a librarian “I ask him for rivers and he tells me of boats … our words for ‘find’ and ‘take’ jar and unsound..”

Introduced with the memory of her father’s lessons about how to view the world, Araluen argues the nature of things with a librarian and a cartographer (sort of), and leaves a trail of released artifacts as she busts up a museum – she contests governmentality in the sort of stream-of-consciousness that only such an accomplished poet could present engagingly.

Alison Whittaker – futures. excellence

“When I walk under it, my eyes trained on it’s looming insignia, my jaw tilts to the sky. I concede that’s probably it’s goal: an Aboriginal woman, proud jawed, looking to the sky. But it’s an earnest and uncomfortable thing to do…”

A meta-mob uploaded to a digital Australia- partly voluntary, and partly forced- where they are building something sovereign, new and common to all the First Nations, away from the influence of the “mission managers”.

Whittaker also references the development of a new governmentality, as something that is harnessed to frame the new consensus.

Mykaela Saunders – Terranora

“We’re symbiotic, not parasitic, like they were from the moment they got here… We’re all guests here, part of a diverse community of life… And as a lucid, powerful mob, we have an obligation to make sure that nobody is taking the piss or is trying to strongarm anyone else out of their fair share.”

In her own contribution to the anthology, Saunders creates a quasi-Utopian commune, somewhere between a vignette and a story, that asserts a distinct pan-(first)national identity. Saunders posits explicitly an underlying common culture for all of the First Nations, that can be realized when the colonial regime is swept away by its own ineptitude.

The texts I’ve sketched here have been reorganized by my own thinking. I’ve only made a line through a group of things by applying my own lens, and I offer nothing definitive. As a teacher, I’d like to share the McGaughey and Fuller stories with my students (and we read some Araluen poems last year which we’ll keep up with), while some of the others should probably wait until they are older.

I’ve been listening to highlights of the Fannon in the car. I can’t tell how much it translates to the Australian context. He does talk about identifying a subjectivity separate from the colonisers, engaging in discourse which recognizes the subaltern perspective as valid, and the assertion of a collective identity. I am not the individual to make any judgement, but I feel like I can see some of these themes within some of the texts I read, and explicit reference was made by some of the writers who have clearly more academic, as well as lived, expertise than me. 

To a reader, I can only recommend that we take Saunders’ offer at face value – to read a selection of writers we might not have encountered and find what is meaningful or beautiful and follow up what catches the eye.  

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Mykaela Saunders ed., This All Come Back Now, UQP, Brisbane, 2022. 314pp

Another Day in the Colony 3

If you think we are not settlers in a colony run by the white man for the white man then just consider this past week (and I think/hope I am being true to the spirit of Dr Watego’s book here):

1. A 15 year old Noongar school boy, Cassius Turvey, died in hospital on Sunday, 10 days after being beaten by a lynch mob. He was walking home from school with a group of friends in Midland, a working class suburb of Perth, when a group of men, suspecting him, someone, anyone, of having been involved in the breaking of a car window chased after the school kids in a car, leapt out, and began beating them with bars.

The WA police commissioner’s tone deaf response was that it was a “tragic case of him being in the wrong place at the wrong time” and that it would be wrong to assume that the motive for the attack was racial.

One man has been arrested and charged with murder. The other men, the woman driver of the car which chased after the kids, have not.

And let us not forget 14 year old Elijah Doughty, who died after being chased and run down in Kalgoorlie by a 56 year old white man in a 4wd, on an allegedly stolen motor bike, in 2016 (Guardian).

2. A 20 year old Aboriginal man was arrested by police in Hobart over the weekend, on a minor breach of bail, was strip searched by having his clothes cut off, and left naked on the floor of his cell in a pool of blood for 12 hours without medical assistance or legal representation. (SBS)

3. ABC Four Corners ran a report ‘How Many More?’ into the deaths/disappearance of Aboriginal women, at up to 12 times the national murder rate, and the failure of police in every state to take this seriously:

“Four Corners can reveal at least 315 First Nations women have either gone missing or been murdered or killed in suspicious circumstances since 2000.

But this is an incomplete picture. We will likely never know the true scale of how many First Nations women have been lost over the decades.

This is because there is no agency in Australia keeping count ..”

The lead story was that of Constance May Watcho who went missing in Brisbane in 2017. Queensland Police failed to instigate a search. Her dismembered remains were found 10 months later in a sports bag a few hundred metres from her apartment. No one has been charged. Police will not even confirm she was murdered.

4. The inquest continues in Alice Springs into the death of 19 year old Walpiri man Kumanjayi Walker, shot by police constable Zachary Rolfe during a botched arrest in the remote NT community of Yundemu, where Walker had breached bail conditions to attend his grandfather’s funeral. Rolfe was tried for and acquitted of Walker’s murder after evidence of his previous racism and violence was suppressed. (ABC).

NT Police have not explained why the Alice Springs-based Immediate Response Team was called in for the arrest of a man who would have handed himself in anyway to local community-based police at the end of the funeral.

5. The inquest has begun into the death of 27 year old Aboriginal man, Michael Peachey, of heart failure after he was tasered and pepper sprayed by police in Gunnedah, NSW. Peachey had known mental health issues and the police were called by family (ABC).

6. Billionaire mining heiress, Gina Reinhardt withdrew $15mil sponsorship from the national, state (WA) and Perth netball teams, at the beginning of this week, after the national squad refused to wear Reinhardt’s ‘Hancock Prospecting’ logo in support of Indigenous squad member Donnell Wallam (she’s from WA but none of the stories name her Country).

Lang Hancock, Reinhardt’s father, famously proposed in 1984:

“The ones that are no good to themselves and can’t accept things, the half-castes — and this is where most of the trouble comes — I would dope the water up so that they were sterile and would breed themselves out in future and that would solve the problem.”

Reinhardt, who was in her 30s and working for her father at the time of the statement, refuses to apologise or even to distance herself or her business from her father’s views.

Wallam had the last word on Weds night, shooting the winning goal in the dying seconds of her first game representing Australia (ABC).

7. WA houses children as young as 10 and most of them Indigenous in Banksia prison, which is to use a technical term, a shithole (Independent Australia). Western Australia’s Inspector of Custodial Services said children in the facility were subject to “cruel, inhuman and degrading” treatment (here).

Riots at Banksia have led to the (hugely popular) WA Labor government imprisoning older boys in the maximum security adult prison, Casuarina, where they are held in solitary for their own ‘protection’. (ABC: “[Premier] McGowan at loggerheads with Children’s Court”)

8. Wednesday’s Commonwealth Budget, by the incoming Labor government, contained hundreds of millions of dollars for the ongoing – ten years now – offshore detention of non-white ‘illegal’ immigrants, which is the name we give to refugees who arrive at our border seeking assistance (Yahoo). We are all complicit in these concentration camps.

9. To top it all off, out shopping today (Thu. 27/10) in Darwin, the NT News is headed “Teen Girl Dies in Care: Second death within the past three months”. Both children, a girl 17 and a boy 15, were under the care of Territory Families, which is to say they had been removed from Aboriginal families. The girl died in a Katherine “intensive therapeutic residential care home” on Oct 2 and the boy after a car crash (the paper uses the word stolen without bothering with “allegedly”) on July 3.

As it happens, the next story begins, “Lawyers for an NT Police sergeant who sent “racist” text messages to Zach Rolfe [no need to explain who Zach is] will appeal a decision to compel him to answer questions about them at an inquest into the death of Kumanjayi Walker.” Further on we learn the sergeant’s text to Rolfe referred to Aboriginal people as “bush c**ns”. Neither Constable Rolfe nor Sergeant Lee Bauwens has lost his job.

What can we do?

Listen when Black people talk
Vigils for Cassius (Lifehacker)
Read this book!
Defund the Police

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Images:
Cassius Turvey, Marie Claire
Constance Watcho, Qld Police missing persons photo
Donnell Wallam, (ABC) Mark Evans Getty Images


If you’d like to go on reading, here’s some (mainly WA) history –

Australian Genocide, Sydney NSW, 1779 (here)
The ‘Battle’ of Pinjarra, Pinjarra WA, 1834 (here)
Wardandi Massacre, Wonnerup/Lake Mininup WA, 1841 (here)
Cocanarup (Kukenarup) Massacre, Cocanarup Station, Ravensthorpe WA, 1880s (here)
Kimberley Massacres, 1886-1924 (here)
Flying Foam Massacre, in the Pilbara, 1868 (here)
Forrest River massacres, 1926 (Wiki here)

Another Day in the Colony, Chelsea Watego

We here in Australia are finally reaching the stage where the terms of the discussion of Black-White relations are being set by Indigenous activists. And that is a good thing. For as long as the discussion was being dictated by white liberals and running along the lines of, “Oh you poor darlings, we understand, and we will allow you such and such” – and Labor governments, state and federal, are still trying this on – then we were/are getting nowhere.

Another Day in the Colony (2021) is a major step up in this discussion and as my first attempt to get you to read it was such an obvious failure, I am making a second.

Doctor Chelsea Watego is a Munanjahli and South Sea Islander woman born and raised on Yuggera country – Brisbane southern suburbs. Her father was a Munanjahli and South Sea Islander man, and a truck driver. Dr Watego by her own account messed up a bit during her last couple of years of high school, but went on to a degree and then a PhD in Indigenous Health.

Another Day in the Colony started out as “a hashtag I and other Blackfullas have used on Twitter to describe the types of colonial violence that Blackfullas are subjected to every day and everywhere in this place in real time.”

One of the reasons my first post was an exhortation rather than a review was that this book and those conversations on Twitter are not intended as educative for white “allies”, nor as a venue for liberals to carry on white-splaining, but as an opportunity for Black activists to reinforce each other with stories, and which I guess are out in the open so that we whites can (shut up and) listen.

When I speak of the uppercase Blacks, I speak of those who simultaneously recognise and refuse the racialised location we’ve been prescribed, as well as those who’ve been haunted by it. In writing for/to them, I have presumed a prior knowledge and a shared frame of reference… Parts of this book speak to a pain and a vulnerability that need not be fully paraded about this place, but which the Black reader no doubt will know and feel intimately.

Introduction

The book consists of six or eight pieces in which Watego uses her own life experience as an example. Growing up, in the 1980s, she discovers that ‘Aboriginals’ typically live in the desert, carry spears and eat witchetty grubs – I remember learning these things in the 1950s, but apparently even Watego’s daughter, so in 2010 say, was being taught these same ‘facts’. And of course she is attacked for not being black enough.

By and large, Watego doesn’t use the book to name names, but she did her degrees at University of Queensland and “worked there as Principal Research Fellow in the School of Social Sciences… in 2019 she lodged a race and sex discrimination complaint against UQ and left the university for QUT” where she is Professor of Indigenous Health (wiki).

Her descriptions of how white academics, anthropologists especially, insist that they are the experts on Black culture; of Indigenous Health studies always beginning with the premise, “So, what is wrong with Aboriginal people?”; are to be expected, I suppose; but her treatment by the department that housed her in the “sandstone buildings of one of Australia’s elite universities” in an office two floors away from her fellows, and then refused her room at all to accommodate a prestigious research grant she had been awarded, is just plain shocking.

I don’t want to summarize this book for you, or even to draw conclusions from my reading of it. That is for each of you to do for yourselves. But I guess its theme is that ‘Australia’ is an ongoing colonial project from which we settlers continue to benefit: that white settlement of Aboriginal lands was and is violent; that ownership of the lands has never been resolved; and that, apart from the obvious violence inflicted on Blacks by police (and by racists), there is also the violence of white liberals overriding Black independence and sovereignty.

Within the current Indigenous social policy context of gap closing, the Aborigine is constructed as the problem; a problem that can be resolved statistically, through increased control and surveillance by the state. So, naturally, they need texts [from white academics] which simultaneously construct us as the problem and themselves as the solution.

As this is notionally a Lit.Blog, one chapter I will mention is on the representation of Indigenous people in Australian Lit., with particular reference to Larissa Behrendt’s critique of ‘the white damsel in danger from savages’ trope, Finding Eliza. Watego then goes on with a savage takedown of Cathy McLennan’s Saltwater, a critique which had been commissioned by Australian Feminist Law Journal but was eventually refused publication.

Another Day in the Colony is not easy reading. Your liberalism, your ally-ship will be challenged. Her use of ‘violence’ as a consequence of bureaucracy and academic reports is confronting. I, at least, stopped a number of times and thought ‘do they think that!’. And ‘they’ is the right word. We have a huge amount of work to do before there is an ‘us’.

Dr Watego does not show us settlers a way forward, that is not her job, but, importantly, she has taken the trouble to at least let us see where we are starting from.

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Chelsea Watego, Another Day in the Colony, UQP, St Lucia, 2021. 250pp. Cover photograph from Michael Cook’s Broken Dreams series.

Postscript: I was thinking about this for an introduction but Dr Watego shamed me into not centering myself in what should be an important post. In short, the Holloways have been Hawthorn (AFL) supporters for 80 years. Earlier this year Cyril Ryoli, perhaps the club’s most loved player ever, announced that he would have nothing more to do with the club after his partner was shamed by club president and former Liberal premier Jeff Kennett. Then just recently, two other (unnamed) young Indigenous players told the ABC that they had variously been separated from family support, told to live apart from their partners, and one partner told to consider an abortion. Kennett of course said “nothing to see here.” After a lifetime, I no longer have a football club.

see also: SBS, 11 Oct. 2022- Professor Chelsea Watego loses racism case (here). The incident which led to the case is discussed in the book. Prof Watego says she was out late ‘celebrating’ when she was accosted by a white man. When the police arrived she was arrested while the man was allowed to leave.

Enclave, Claire G Coleman

Claire G Coleman routinely reposts reviews of her books on Twitter (as does Nathan Hobby of his). She even reposted my recent review of her Lies, Damned Lies (via a Liz Dexter post). I think they’re both brave to read them in the first place!

But, CGC, don’t repost this one, I don’t think it’s your best work.

Not that I think anyone should be deterred from reading it. I loved Terra Nullius (2017) and I loved The Old Lie (2019). Indigenous.Lit and especially the current wave of women’s Indig.Lit, to which Coleman belongs, seems to me to be both innovative and full of life.

Like her first two, Enclave, which was released just last month, is Science Fiction, though falling easily within ‘Dystopian’ which all you regard as safe, not-really SF. But for me, this one did not flow as easily – the descriptions felt forced and there is a concentration on just one character – a privileged young white woman, Christine – where the other two had a wider cast.

She stared, half-blind,at the cold screen of her smartphone. Safetynet told her the news: updating her on the crime Safetynet and Security were protecting her from; informing her of the dangers outside, the bad people and dangerous criminals being kept outside the city Wall; of the terrorists threatening her life, buildings falling, people dying. Safetynet told her she had no emails…

Christine, a university student in the last year of a maths degree, lives at home with her parents and younger (year 12 ish) brother. Her father is on the committee which runs the walled city in which they live. Her mother, notionally a designer, is an alcoholic, one of the women who lunch, all plastic-surgeoned into near identical faces. The city is patrolled by black-uniformed security forces who live in their own walled compound outside the Wall. Servants, non-white of course, come in by train each day to do all the work. Outside the Wall is a wasteland of broken buildings and scrublands.

The news from outside is of wars, desperate populations, burning cities. No one travels.

Surveillance within the city is constant, by fixed cameras, inside and out, and drones.

A new year starts; her brother begins a Business course which will lead him into the ruling elite; Christine enrols to do her Masters. Her father buys her an apartment which she allows her mother to furnish. Her (platonic) best friend Jack has disappeared and she is lost without him; her mother encourages her to drink.

Coleman seems to have the trick of building the story up in one direction for a while, and then surprising us by taking it down another. This is more muted in Enclave but still, having spent the first part establishing Christine’s life of privilege, she then snatches it away.

Christine takes increasing notice of one of the servants, Sienna. They kiss.

Chill and heat chased each other up and down her skin, fought for the territory of her face.
The hand fell away from her neck. The mouth she would die for pulled away from hers and she chased it, almost caught it before it spoke.
‘Christine’, Sienna warned. ‘We can’t get caught.’

But they do, captured on cameras in Christine’s bedroom.

I currently have two other works of women’s SF on the go, Marge Piercy’s Woman on the Edge of Time (1976), and Yoko Ogawa’s The Memory Police (1994). Piercy in a later Introduction discusses women’s SF at some length and I’m going to have to get hold of a written copy (mine is on Audible), before I write a review.

SF is quite often bursting with ideas, and that is true of Enclave, and the whole literary thing suffers at least a little. But Piercy and Ogawa both write smoothly, while developing the characters of their respective ‘heroines’ with some depth – often a strength of women’s SF compared with men’s. Coleman has interesting characters around Christine, but they are not fully developed and I don’t feel that she uses the resulting space to fill out Christine as much as she might have.

I’m also not sure what Coleman was trying to achieve by having a white heroine. Yes, she wanted, as she always does, to highlight racial inequality. But the depictions of Black-white relations are sketchy, and incidental to the main theme which is surveillance and authoritarianism. In my opinion her Indigenous heroines are more effective.

Enclave has two changes of direction, so is a novel in thirds rather than halves. The middle third is an adventure, a struggle to survive, and the last third is – well not a utopia as I’ve seen it described – but Coleman’s current home and my old home, Melbourne, as a model society (and CGC, I love the trains!).

A short review, but what can you do when any description of Christine’s progress must necessarily be full of spoilers. We’ve discussed before that books whose writing I found awkward (Lucashenko!) you found lively and real, so you’ll probably all enjoy this one too. You’ll certainly enjoy the ideas Coleman discusses. Ignore me and give it a try.

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Claire G Coleman, Enclave, Hachette, Sydney, 2022. 307pp.

For a much more thoughtful review than mine try Alexander Te Pohe’s in Kill Your Darlings 14 July 2022 (here).

Lies Damned Lies, Claire G Coleman

ANZLitLovers First Nations Literature Week, 3-10 July 2022

I first really got to Indigenous Lit just seven years ago when WG persuaded me to read Kim Scott’s That Deadman Dance, which I would say now was an almost perfect introduction. Shortly after, a letter appeared in the West, our local newspaper – now a Murdochesque rag – which I reproduced and subsequently revised/expanded on as Pinjarra Massacre (1834). That began two important (belated!) streams in my blogging – reading Indig.Lit and documenting Western Australian massacres.

A year or so later when I got to Scott’s Benang, I wrote to him and he sent me some newspaper cuttings from which I was able to write up the Cocanarup Massacre. The central figure of that novel is the matriarch Fanny (Benang) of the Wirlomin-Noongar people. She marries a white sailor and they have a son and two daughters. Scott tells and retells this story over a number of books, each time with variations on the names, in one of which he discovers that Benang is his own great-grandmother.

Basically, Wirlomin country is on the WA south coast east of Albany , around the (small) towns Ravensthorpe and Hopetoun. Benang’s two daughters marry twin brothers, named Coolamon (in Benang) or Coleman. The Cocanarup Massacre, which is witnessed by Benang, occurs on the Dunn bother’s Cocanarup Station, west of Ravensthorpe, in the 1880s after John Dunn rapes a Wirlomin girl and is killed by her relatives by spearing.

Claire G Coleman appeared on the literary scene with the clever Terra Nullius in 2017. She is a Wirlomin-Noongar woman and a descendant of one of Benang’s daughters. She writes that “the Coleman name came from my dad’s grandfather, a free settler from Ireland via South Australia”, and later refers to her (paternal) grandfather’s mother Harriette, and grandmother Binian.

The place of my grandfather’s birth was said to be taboo. No blackfellas ever dared to go there these days, not for a long time, my dad used to tell me, too many ghosts, he said, too much death, too many bones in the ground … My dad told me that blackfellas drove through that town with their windows closed tight, not to breathe the air, not to get the bad stuff, the ghost stuff, on them.

For some reason, I had expected Lies Damned Lies to be a collection of facts about the settler project in Australia, but it begins at least as a passionate memoir: “I am furious about colonisation, that fury is perhaps all the qualification I need to write a book excoriating it.”

Coleman, born in the 1970s, grew up in Perth not knowing she was Wirlomin-Noongar, still not knowing when she left Perth in her twenties to move to Melbourne (Naarm). She was not/is not white – though she has written a lovely poem about ‘passing’, Forever, Flag – her father told her she was Fijian, a fiction begun by his father to prevent his children being taken away under the (WA) Aborigines Act, 1905. So her family weren’t Stolen Generations; she refers instead to ‘Hidden Generations’, people forced to deny their Aboriginality by the Aboriginal “Protection” laws.

My grandfather was so scared to lose his sons he hid us from the government by hiding us from ourselves; from our families; from our Country.

I see Coleman on Twitter. She is fierce, gets in lots of blues. Trolls for some reason respond to her by questioning her skin colour. She writes a chapter Not Quite Blak Enuff where she interrogates this: “There can be no doubt that all mixed-race Aboriginal people are a product of colonisation; and the attempt to define us as not Aboriginal enough is also part of colonisation.”

She writes else where that she automatically identifies with the underdog, but here are the three reasons she gives for identifying as Aboriginal
1. Who would you identify with? the bully/murderer or the victim
2. Pride in being able to identify with the first people, the ones who belong;
3. The colonisers were attempting genocide. “If I identified with my wadjela ancestry at the expense of my Aboriginality, the colonisers win.”

Colonisation, and to be precise, settler colonisation – the occupying of a land by settlers replacing the original inhabitants – is not an event, does not occur at one particular date, it is a process, a process which in Australia is ongoing. Coleman offer us the hope that if we cease attempting to take over, we might earn a place here in “a postcolonial society, a new Australia that is connected to Country”, born of a dialogue between wadjelas and First Nation people.

I’m not going to spoil Coleman’s novel Terra Nullius for those of you who haven’t read it, but is (surprisingly) dystopian SF. Coleman says all novels about the history of Australia are dystopian – post-apocalyptic for the original inhabitants. And writes further that the inspiration for HG Wells’ The War of the Worlds about an invasion from Mars was the invasion by the British of Van Dieman’s Land (Tasmania) and the near-genocide of the Palawa people.

Coleman uses the central part of her book to debunk myths; from the obviously ignorant like (former) prime minister Morrison’s assertion that Cook circumnavigated Australia; to the odd belief that Australia was first settled by ‘negrito’ pygmies (an hypothesis attributed to Tindal and repeated by Windshuttle); to the original inhabitants benefitted from being colonised (also Windshuttle); to ‘you were lucky it was the British’; to Australia Day, “an annual vitriolic and excited spasm of settler colonialism and white nationalism”.

There is a long chapter about Grog; depression; the Intervention; Grog bans enforced only on Black people; but this quote struck me: “Remember how well Prohibition went in the US. All it did was lead to organised crime. Already white crime gangs smuggle grog into Aboriginal communities, even the government knows about that ..”

Towards the end, Coleman writes: “It can be hard work being an Aboriginal writer, columnist, activist, it’s hard work and risky work sticking our necks out in this increasingly polarised, dangerous, and in my opinion, increasingly white supremacist society we call Australia.” But she sticks at it! This, she says, is her compilation albumn, a book of all her greatest hits from years of writing. Not as fierce as Chelsea Watego, but in some ways more thoughtful, offering at least the possibility of a way forward.

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Claire G Coleman, Lies Damned Lies, Ultimo Press, Gadigal Country, 2022. 270pp

Coleman’s latest novel, Enclave was released a few days ago. My copy awaits me at Crow Books. See my reviews of her two previous novels:
Terra Nullius (here)
The Old Lie (here)

Australian Genocide

Today, January 26, 2022, marks 234 years since, well, since a few shiploads of British soldiers and convicts moved their base from Botany Bay to Sydney Harbour. That the foundation of Sydney is now conflated with the foundation of the nation of Australia is no surprise to the rest of us watching as a series of Prime Ministers, from Howard to Morrison, in defiance of the Constitution, increasingly live in and govern from (and for) Sydney.

And it’s probably fitting that a nation built on the lies of Terra Nullius and ‘peaceful settlement’ should now be blessed with a Prime Minister whose continuous lying has been so comprehensively documented.

One aspect of ‘peaceful settlement’ in white settler histories has always been that Indigenous populations just seemed to fade away, so that by the 1850s there were very few Aboriginal people left in (white) settled areas. This, ‘the passing of the Aborigines’ became both accepted myth and an excuse for inaction. The blame being generally ascribed to the introduction of European diseases, and despair.

In particular, Sydney and its environs were left wide open for white settlement by a smallpox plague in the local Indigenous population in 1789.

An extraordinary calamity was now observed among the natives. Repeated accounts brought by our boats of finding bodies of the Indians in all the coves and inlets of the harbour, caused the gentlemen of our hospital to procure some of them for the purposes of examination and anatomy. On inspection, it appeared that all the parties had died a natural death: pustules, similar to those occasioned by the small pox, were thickly spread on the bodies; but how a disease, to which our former observations had led us to suppose them strangers, could at once have introduced itself, and have spread so widely, seemed inexplicable.

Watkin Tench, Transactions of the Colony in April and May, 1789

It is now clear that this was an act of Genocide.

Here are the facts:

No one on the First Fleet had smallpox. Smallpox hadn’t been eradicated but vaccination (variolation) had been developed in China in the 1500s and introduced into Europe in the early 1700s.

No person among us had been afflicted with the disorder since we had quitted the Cape of Good Hope, seventeen months before.

Tench

The British weaponized the use of smallpox against North American First Nations people in 1763 (a decade before the great North American epidemic), giving blankets and a handkerchief contaminated with smallpox to Native Americans during an extended military campaign to quash an uprising against colonial rule.

“Could it not be contrived to send the smallpox among those disaffected tribes of Indians? We must, on this occasion, use every stratagem in our power to reduce them.”

General Amherst, British Commander in Chief, North America (and later, Governor General)

A surgeon with the First Fleet, Dr John White, was carrying vials of smallpox (scabs, which were used for variolation).

It is true, that our surgeons had brought out variolous matter in bottles; but to infer that [the outbreak] was produced from this cause were a supposition so wild as to be unworthy of consideration.

Tench

Whatever Tench supposed – and his protestations indicate that deliberate infection had at least been considered – some of the military with the First Fleet had served in the North America campaign and not all of them were as friendly towards the local population as he was.

In a paper in the international journal History of Psychiatry, Raeburn, Doyle and Saunders “describe evidence supporting the theory that smallpox was deliberately unleashed by the British invaders”; and that the outbreak began with the kidnapping of Eora man Arabanoo, on 31 Dec. 1788, using the distribution of ‘gifts’ as a distraction.

Following exposure to the smallpox virus, it takes one to two weeks for symptoms to appear. Our theory is the epidemic had been spreading for several weeks before the British became aware of it, and it may have originated from the gifts handed out when Arabanoo was kidnapped about 12–13 weeks earlier. This theory is supported by Aboriginal oral history from the Manly area.

Raeburn, Doyle, Saunders

This outbreak led to the deaths of between 50 and 90% of the Eora and related peoples in the Sydney basin. Being deliberately caused would make it just the first in a long chain of ‘dispersals’, poisonings, and murders by white Australian settlers and police.

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Nakari Thorpe, Olivia Willis, Carl Smith, ‘Devil Devil: The Sickness that changed Australia’, ABC RN, 18 Aug. 2021
Toby Raeburn, Kerrie Doyle, Paul Saunders, ‘How the kidnapping of a First Nations man on New Year’s Eve in 1788 may have led to a smallpox epidemic’, The Conversation, 12 Jan 2022
Watkin Tench, A Complete Account of the Settlement at Port Jackson (1. here) (2. here)


My usual focus is my home state of Western Australia, as you may see in my Aboriginal Australia page, (here) and in particular the section titled ‘Massacres’.

Another Day in the Colony, Chelsea Watego

It took me a while to realise that in teaching Indigenous anything I was meant to be teaching students to feel good about being a coloniser: that in my presence I was meant to be the site of absolution both for the institution and its students …

I was meant to teach them ways that they could save us, to redeem their unsettled self via sanctioning their continued control over our lives. I was meant to teach us as problems and them as solutions

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READ THIS BOOK!

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Chelsea Watego (Dr Chelsea Bond), Another Day in the Colony, UQP, St Lucia, 2021. 250pp. Cover photograph from Michael Cook’s Broken Dreams series.

Chelsea Watego is a Munanjahli and South Sea Islander woman born and raised on Yuggera country.

I subsequently posted a more detailed review (here)

The Yield, Tara June Winch

Journal: 076

Since moving back to running up north I have settled into an easy routine – load Thurs/Fri, unload Sun/Mon, back in Perth Tues/Wed, for a round trip of about 3,000 km. Running over east I would do one round trip Perth-Melbourne, 8,000 km, every 3 weeks. So now, over 3 weeks, I’m running a little further and getting a bit less time off – though it doesn’t feel like it – and earning about the same money (but as I’m not always running as a road train, I am using a fair bit less fuel).

Over the course of a weekend I listen to about 20 hours of audiobooks, say three books a week. This trip just past (actually the trip before last by the time this goes up) I listened to The Yield, Max Barry’s wild Jennifer Government (thank you Emma), and Nelson Mandela’s Conversations with Myself.

I originally wrote this post as a review, but as it’s mostly just me bitching about stuff, I’ll keep it between us and won’t put it up on the Australian Women Writers Challenge site.

Tara June Winch (1983- ) was born in and grew up around Wollongong, a steel manufacturing and port city 50 kms south of Sydney. She now lives between Sydney and France. So not a bush person then.

Winch’s father is a Wiradjuri man. Wiradjuri country is roughly contiguous with the Riverina region of NSW, which is to say the country we are looking at in Such is Life, the open grassland and semi desert country of the Murrumbidgee and Lachlan Rivers, north of the Murray, and the southern reaches of the Bogan and Macquarie Rivers (such as they are).

“The Wiradjuri language is effectively extinct, but attempts are underway to revive it, with a reconstructed grammar, based on earlier ethnographic materials and wordlists and the memories of Wiradjuri families” (Wiki). Winch acknowledges the actual people working on this grammar, but in her novel ascribes it to the fictional Albert Goondiwindi. (I don’t have a problem with that).

The Yield (2019), which won the 2020 Miles Franklin, is an exploration of Wiradjuri heritage and language through the eyes of a young woman protagonist, August, returned from London for the funeral of her grandfather, Albert Goondiwindi. August, now thirtyish, had been brought up by her grandparents, following the arrest and imprisonment of her parents on drugs charges, on the family property, a 500 acre wheat sheep farm on the banks of the (fictional) Murrimby River outside the town, and shire centre, Massacre Plains (also fictional).

The problem I had with the novel, which others clearly did not, is that it is based on learned rather than lived experience and the history is, as the author says, a composite of the average experiences of this sort of community. Still, it is well written, indeed innovative in the way Albert Goondiwindi’s Wiradjuri dictionary is woven into the text.

There are three stories, with different voices: a foundation story, set in the 1880s – ie. at exactly the same time as Tom Collin’s stories in SIL – told by the Lutheran missionary who gathered the Goondiwindi community onto one property; Albert Goondiwindi’s story of his childhood in the 1940s; and August’s story of her return to be with her grandmother and to attempt to save the family property from (tin) miners who are about to commence mining their land. There is also a further story running in the background, the disappearance of August’s sister, Jedda, as a child, which we hear of first from August then from Albert.

The one definite location we are given is that Massacre Plains is on the Broken Highway, which runs from Dubbo to Broken Hill (more or less horizontally across the centre of the map), shading from cotton farming, to scrub, to open desert capable of supporting only feral goats and pigs, and with, beyond Nyngan, and the cotton country on the Bogan, just two towns – the mining community of Cobar, and the run down rural community of Wilcannia on what is left of the Darling River.

My guess is that Winch was thinking of Nyngan for Massacre Plains, though there would be little chance of making a living off 500 acres there, and the nearest wheat farm would be further east or south. Maybe Nyngan has a modern, three storey shire office, it’s two or three years since I was last through there, but it’s a long way to the Darling, where Albert takes the local kids camping.

The names too, are puzzling. The family name Goondiwindi is from southern Queensland, and Jedda comes from the story of an Aboriginal girl in the Northern Territory (and Australia’s first colour movie).

I could go on but you get sick of my pedantry. And luckily for you, books that I listen to rather than read, I can only make notes in my head, and most of them I forget. Anyway, it’s only fiction you say. But that’s the point, it’s not. We are meant to read The Yield as representative of Aboriginal experience. I’m sure that it is, but compared with, for example, Marie Munkara’s visceral lived experience of colonial racism, Winch’s telling feels second hand.

A better comparison might be with Benang, Kim Scott’s exploration of his Wirlomin/Noongar heritage and his family’s experience of the actual, not invented (or “composite”), Cocanarup Massacre. Even leaving aside the magnificence of Scott’s language compared with Winch’s, the way he incorporates his search for identity into the text is clearly superior to Winch’s regurgitation/reconstruction of stuff she has read.

I’ll admit that as the story went on, August’s and Jedda’s stories in particular, I became more engaged. But did I like it, Melanie? No, not a lot. The problem (for my point of view) of course is that the Wiradjuri’s story needs to be told, and if not by Winch then who? But firstly, I think it could have been told better, and without the inconsistencies; and secondly, from memory, there were actual massacres, the Bathurst/Wiradjuri Wars for instance, which might better have illustrated her telling.

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Tara June Winch, The Yield, Harper Collins, Sydney, 2019. Harper Audio, read by Tony Briggs. 9 hours.


The map is of the rivers of New South Wales (I forget where I got it now). For scale, it is about 1,000 kms from left to right. Sydney is under the ‘River’ of Nepean River. The Great Dividing Range runs parallel to the coast and about 100 kms in, forming the eastern boundary of Wiradjuri country. The western/northern boundary would seem to be some distance east and south of the Darling.

Born in to This, Adam Thompson

ANZLitLovers Indigenous Literature Week, 4-11 July 2021

A number of bloggers have got before me to this short story collection by new (43 year old) Indigenous writer Adam Thompson, a Pakana man from northern Tasmania. Not helped by me leaving it at home on my last trip and so missing Lisa’s ANZLL Indig. Lit. Week.

Brona/This Reading Life aka Brona’s Books writes (here): there are powerful and promising things going on here. Some of his stories pack a serious punch, others creep in quietly under your skin. Either way, it is the diversity of characters, settings and tone that is truly impressive.

Kimbofo/Reading Matters’ take is similar (here): Identity, racism and Aboriginal heritage are key themes, with many of the stories focused on First Nations characters caught between two worlds. All provide a refreshing perspective on Australian life and the ways in which we navigate society and find (or don’t find) our place within it… But despite the sometimes heavy subject matter, the collection is not without humour and pathos.

And what does Sue/Whispering Gums, who thought to send me this book, say? (here): … these stories are punchy, honest interrogations into the experience of being Indigenous in contemporary Australia. I say contemporary Australia, because most of the stories deal with recognisably First Nations Australia concerns. However, the collection is also particularly Tasmanian.

I, as Sue knows, am not a short story person. Was giving me this book punishment for something I said or did? Am I going to like all or some of these stories? Am I going to be able to say something different? Great questions. Well done Bill. (That’s an Angus Taylor joke. Angus Taylor is an Angus Taylor joke.).

Ok, the first story, The Old Tin Mine was good. An older Indigenous man taking a group of townie Indigenous boys on a survival camp in country he knows, or thinks he knows, comes unstuck.

The second story is better. What’s going on here? A white guy with a Black employee boasts to him about destroying Aboriginal stone implements, “Hope I’m not offending ya.” And he comes unstuck.

The third is more like it, female protagonist/male author, I’m sure not to like it. Kara is a receptionist with a shitty boss and a shitty job. She goes for a quiet walk in the bush on her afternoon off. Both the people she encounters, and the bush are closely observed

The strangers passed, oblivious to her presence. A middle-aged couple, slim and fit. The man had an odd-shaped but well-clipped beard. The woman wore a designer hiking outfit in retro pastel colours. Kara could tell they weren’t from round here. They held themselves – as did all white mainlanders – with that peculiar, assured air. It made them seem taller and more upright than the locals.

Interestingly, the story harks back to the previous story’s stone tools. As a girl she would go out with her uncle, looking for stone tools, photographing them and recording their location.

The walk turns out to have a destination and a purpose. To take a small revenge on the forestry companies replacing native bush with plantation pines. Oh well, perhaps I’ll dislike the next one.

And I did. Well, I thought it – Invasion Day – an awkward evocation of what it is like to be up the front at a protest march.

We go on .. A man alone on an island off the north coast. His uncle who was staying with him, no longer is. A flash cruiser with five police on board brings him a letter. Which he burns. That’s it.

A very good story, a young couple going camping. Is he her trophy Black boyfriend? He certainly thinks she’s his trophy summer girlfriend

‘I’m so sorry’, you blurt out before I can react…
‘For what?’ …
‘For what my people did to yours.’ Your eyes well up again. ‘You owned all this land and now you have to struggle – like now, just to get a camp on the beach.’ Breaking into a sob, you collapse into me…
If you could see my eyes right now, it would kill you to witness them roll in irritation…
‘It’s not your fault,’ I say.
‘You’re so kind,’ you whisper.

A curate’s egg of a story, Mean Girls, aided by teachers, picking on smart Black girl. An awkward story of a white guy at his black mate’s funeral. Another awkward story, awkward in that the writing is stilted, a man waiting on an island for his mate at sea in a tinny in a storm. A not very convincing story about a man and a gun. A silly story about a doctor being shamed into signing his posh house over to a young Aboriginal woman.

“What’s with these acknowledgement of country speeches that kick off every public event these days? It’s all just words! Where is the action? If you acknowledge that this is Aboriginal land, then bloody well give it back, Don’t just say it, do it!”

Then a clever story about a new (Conservative) government policy – every (white) taxpayer gets a letter from one (Black) person on the dole whom they are “sponsoring”. A touching story about … climate change, fathers and sons, a dead child.

A story that points to a missed opportunity – in my eyes only probably – a Black guy at the beach on Invasion Day, flying an Aboriginal flag kite amongst all the whities in their Australia flag picnic chairs, when the Invasion Day story above has already caused a stir.

And finally, “It all started when I discovered my brother was sleeping with my wife …”

How would I describe Born to This? Not so bitsy as some collections. But still a missed opportunity to write something more cohesive, stories which point back to each other, which are connected not just by a shared geography but by recurring characters and families. With a bit more effort Thompson may have turned out, if not Olive Kitteridge, which revolves around one person, then at least The Turning, which involves an extended community seen from multiple viewpoints (and times).

My other problem is my problem – I don’t like authors who step outside their own POV. But, for all you (strange) readers who don’t mind that, who actually like short stories, what can I say? What they said, ” punchy, honest interrogations into the experience of being Indigenous in contemporary Australia.

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Adam Thompson, Born in to This, UQP, Brisbane, 2021. 206pp, Cover painting and artwork between stories, Judith-Rose Thomas

Tell Me Why, Archie Roach

ANZLitLovers Indigenous Literature Week, 4-11 July 2021

Archie Roach (1956- ) is a much loved Australian Indigenous singer-songwriter. This is his memoir, read by himself in the kitchen of his home in Port Fairy – a fishing and now tourist/sea-changer village in Western Victoria – with his guitar in his hands. Port Fairy for him is home country, his mother was from nearby Framlingham Mission – his father was an Indigenous (Bandjalung) man from the NSW North Coast – and as he researches his life he slowly becomes closer to the people there, the Gunditjmara. A number of clans were aggregated at Framlingham, though Archie doesn’t look back that far, and many of them were then further concentrated at Lake Tyers, in eastern Victoria. Archie mentions that the World Champion boxer and country singer, Lionel Rose, famously from Lake Tyers, is his cousin.

One dark day on Framlingham/Come and don’t give a damn/My mother cried go get their dad/He came running, fighting mad

Mother’s tears were falling down/Dad shaped up and stood his ground/He said, “You touch my kids and you fight me”/And they took us from our family

Took us away/They took us away/Snatched from our mother’s breast/Said this was for the best/Took us away

Archie Roach, They Took the Children Away

Archie was about five. He was first fostered to an abusive family, whom he refuses to describe and then to the Coxes, Scottish migrants in Melbourne’s north-eastern suburbs. The Coxes had children of their own and then two or three Aboriginal boys. Archie was happy there and shy and studious at school. The Coxes’ youngest daughter, Mabel I think, taught him to play the piano and Mr Cox bought him a Hammond organ and taught him to sing Highland ballads.

But. At age 14 or 15 Archie received a letter at school telling him he had sisters, then living in Sydney, and his mother who had coincidentally been living in a nearby eastern Melbourne suburb, had just died, his father having died some years earlier. This jibed with occasional memories he had of a different life, in the bush, surrounded by brothers and sisters. Unable to deal with his feelings he turned first to the Pentecostal church he had already been attending, separately from the Coxes, and then struck out on his own altogether. He never saw or contacted his adoptive mother and father again.

The ugly truth at the heart of this story is that many Aboriginal people form communities around the excessive consumption of alcohol. This was true for Archie, for all his family when he finally caught up with them, and for his life partner Ruby Hunter.

Archie sets off to locate the sister who had written the letter; is derailed for a couple of years when a ride in a (unbeknownst to him) stolen car leads to his first stint in jail and then two years probation; gets to the boarding house address on the letter only to find his sister has moved on; and finally has his name recognised in an inner Sydney pub and is introduced to three of his sisters. He learns the story of his and their forced removal into ‘care’, about his wider family including his brothers, and his childhood nickname, Butterboy.

You will have to read this yourselves to get all the dates and places, but he lives with his sisters, the older ones move back south, lives by begging and odd jobs, lives for the next flagon or beer, leaves his youngest sister to fend for herself and moves back south to Melbourne, lives in tiny housing commission flats with his sisters and their partners and children, sings occasionally, country standards, joins up with his brother two or three years older, drinks, lives rough in the (inner suburban) Fitzroy area, specifically ‘Charcoal Lane’ near the old briquette works where I was living too at that time, in a tiny terrace house on Alfred Cres., and never saw a Black face.

Side by side/We walk along/To the end of Gertrude Street/Then we topple in muster for a quart of wine

Thick or thin/Right or wrong/In the cold or in the heat/We cross over Smith Street to the end of the line

And we laugh and sing/And do anything/To take away the pain/Trying to keep it down as it first went round/In Charcoal Lane

Archie Roach, Charcoal Lane

I forget the order now, but there’s a stint in Sharman’s boxing troupe touring eastern Victoria, where his oldest brother and I think his father had fought before him, more jail, moves on to Adelaide, finds a room with the Salvos and, still a teenager, meets Ruby Hunter, a Ngarrindjeri woman, from the lower Murray, east of Adelaide. Slowly forms a relationship with her that was to last until her death more than 30 years later in 2010.

Eventually Archie is persuaded to sing in public, in a talent quest, is heard by Paul Kelly and the result is his first albumn, Charcoal Lane and the rest of course is history. Archie and Ruby have children. Ruby begins to write and perform too. They battle alcoholism. Finally dry out for good at Indigenous clinics in Melbourne.

This is wonderful story, told with heart and enormous honesty by a wonderful man. Read it.

Down city streets I would roam, I had no bed I had no home/Crawled out of the bushes early morn/Used newspapers to keep me warm, then I’d have to score a drink/Calm my nerves, help me to think

Down city streets I would roam, I had no bed I had no home/There was nothing that I owned, used my fingers as a comb/In those days when I was young, drinking and fighting was no fun/It was daily living for me, I had no choice. It was meant to be

Ruby Hunter, Down City Streets

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Archie Roach, Tell Me Why, Simon & Schuster, 2019. 384pp. Audiobook, 2020, read by Archie Roach. 10 hours

see also: Archie Roach Tell Me Why tour (here)