'1852
'When the township of Gundagai is devastated by raging floodwaters, two local Wiradjuri men, Yarri and Jacky Jacky, risk their lives to rescue a third of the town's residents in bark canoes on the treacherous Murrumbidgee River.
'Among those saved are James and David Bradley, wealthy settlers. The Bradleys leave for Wagga Wagga, with James’s new bride, Louisa – and Yarri’s daughter, Wagadhaany, their Aboriginal servant, removing her from her beloved family and country. As a Quaker, Louisa’s mission is to help the Wiradjuri people, including Wagadhaany, and the two women develop an unorthodox friendship.
'In Wagga Wagga, Wagadhaany meets Yindyamarra, a young Wiradjuri stockman working for the Bradleys, and they fall deeply in love. They dream of a better life, of children, and of going home, away from the degradation of being owned – and one day, with their young family, they set out on a journey along the river of their ancestors in search of lost family and country – one that will bring hope and heartache.
'Set on timeless Wiradjuri country where the life-giving waters of the rivers can make or break dreams, and based on devastating true events, River of Dreams is an epic story of love, loss and belonging.'
(Source : Simon and Schuster)
'Despite focusing on stories that end happily ever after, the romance genre and public libraries have a difficult history. Many library’s acquisition policies include the purchasing of romances for the collection and even provide a percentage of the funds to romances. Other libraries purchase a small number of romances but there are some that are only collected via donation. The collection development of romance is not clear-cut. Cataloguing of romance novels shows that not all books have full catalogue records nor are certain types of romances even considered worthy of being listed in the catalogue. The catalogue is about the discoverability of materials (all formats) for the customers. This research explores the purchasing, collection development and cataloguing practices of romance novels in Australian and New Zealand public libraries. A survey was sent to the public library staff responsible for collection development in Australia and New Zealand. Questions about collection development and cataloguing were then combined with data derived from catalogue searches of romance novel titles in a sample of public libraries in a mixed-method approach to explore the perceptions and practices within public libraries in Australia and New Zealand.' (Publication abstract)
'In the ‘Prologue’, to her novel, Heiss introduces us to Aboriginal tribal life at the onset of colonial expnsion in southern NSW. This is Gundagai in 1838. She provides the historical setting for the action and events to follow. At this time Wagadhaany, the central Aboriginal character in this novel, is a small child living with her family along the Marrambidja Bila (Murrumbidgee River). She hears the adults complaining about the changes, the loss of their land, the clearing of their hunting grounds. They don’t understand why the settlers won’t listen to their advice. Heiss introduces the reader to Wiradjuri words and names, which give greater authenticity to her description of the river people and their culture. There is a glossary of Wiradjuri words and reference notes included at the end of the book.' (Introduction)
'As a part time local to Bundjalung Country and someone who grew up in the flood prone Clarence Valley, I am no stranger to flood stories. As I reflect on recent and historical flood events, it is apparent that First Nations knowledges about the land have been undervalued at best. At worst, they have been flatly ignored. The failure to truly listen and observe has led to the establishment of permanent settlements in areas well-known to us to flood frequently in significant and devastating ways. Humans and livelihoods have drowned and been washed away, literally and figuratively. In the muddy depths of grief that is left behind, there are lessons to be had, opportunities to reimagine and reconfigure settler relations with the land. In fact, the emerging climate crisis, the inevitability of future disasters and the threat of another year of La Niña demands this of us all. And for each flood story, there is an Aboriginal Hero in whom our future navigational path resides.' (Introduction)
At Home with Anita Heiss
Astrid Edwards
(interviewer),
2021
23449892
2021
single work
podcast
interview
'Dr Anita Heiss is an award-winning author of non-fiction, historical fiction, commercial women’s fiction, children’s novels and blogs. She is a proud member of the Wiradjuri Nation of central New South Wales, an Ambassador for the Indigenous Literacy Foundation, the GO Foundation and Worawa Aboriginal College.
'Her novel Barbed Wire and Cherry Blossoms, set in Cowra during World War II, was the 2020 University of Canberra Book of the Year. Bila Yarrudhanggalangdhuray is her second work of historical fiction, and it is the first commercial work published with only Aboriginal language on the cover in Australia.
'Anita is a board member of University of Queensland Press and Circa Contemporary Circus, and is a Professor of Communications at the University of Queensland. As an artist in residence at La Boite Theatre in 2020, Anita began adapting her novel Tiddas for the stage.' (Production introduction)
'Heiss’s indelible new novel is at once a joyful love story, a celebration of language, and an invitation to trace the old wounds of our history.'
'Bila Yarrudhanggalangdhuray begins in Gundagai in 1852. It is the story of Wagadhaany, a young Wiradyuri woman who is coming of age when a great flood devastates her homeland and community. After the flood, Wagadhaany is taken to Wagga Wagga by a white family who appoint her as their servant under the colonial system. Her family is distraught at her departure but are threatened with the Master and Servant Act should they refuse.' (Introduction)
'As a part time local to Bundjalung Country and someone who grew up in the flood prone Clarence Valley, I am no stranger to flood stories. As I reflect on recent and historical flood events, it is apparent that First Nations knowledges about the land have been undervalued at best. At worst, they have been flatly ignored. The failure to truly listen and observe has led to the establishment of permanent settlements in areas well-known to us to flood frequently in significant and devastating ways. Humans and livelihoods have drowned and been washed away, literally and figuratively. In the muddy depths of grief that is left behind, there are lessons to be had, opportunities to reimagine and reconfigure settler relations with the land. In fact, the emerging climate crisis, the inevitability of future disasters and the threat of another year of La Niña demands this of us all. And for each flood story, there is an Aboriginal Hero in whom our future navigational path resides.' (Introduction)
At Home with Anita Heiss
Astrid Edwards
(interviewer),
2021
23449892
2021
single work
podcast
interview
'Dr Anita Heiss is an award-winning author of non-fiction, historical fiction, commercial women’s fiction, children’s novels and blogs. She is a proud member of the Wiradjuri Nation of central New South Wales, an Ambassador for the Indigenous Literacy Foundation, the GO Foundation and Worawa Aboriginal College.
'Her novel Barbed Wire and Cherry Blossoms, set in Cowra during World War II, was the 2020 University of Canberra Book of the Year. Bila Yarrudhanggalangdhuray is her second work of historical fiction, and it is the first commercial work published with only Aboriginal language on the cover in Australia.
'Anita is a board member of University of Queensland Press and Circa Contemporary Circus, and is a Professor of Communications at the University of Queensland. As an artist in residence at La Boite Theatre in 2020, Anita began adapting her novel Tiddas for the stage.' (Production introduction)
'Despite focusing on stories that end happily ever after, the romance genre and public libraries have a difficult history. Many library’s acquisition policies include the purchasing of romances for the collection and even provide a percentage of the funds to romances. Other libraries purchase a small number of romances but there are some that are only collected via donation. The collection development of romance is not clear-cut. Cataloguing of romance novels shows that not all books have full catalogue records nor are certain types of romances even considered worthy of being listed in the catalogue. The catalogue is about the discoverability of materials (all formats) for the customers. This research explores the purchasing, collection development and cataloguing practices of romance novels in Australian and New Zealand public libraries. A survey was sent to the public library staff responsible for collection development in Australia and New Zealand. Questions about collection development and cataloguing were then combined with data derived from catalogue searches of romance novel titles in a sample of public libraries in a mixed-method approach to explore the perceptions and practices within public libraries in Australia and New Zealand.' (Publication abstract)
