Cirrus@Austlit

'In this article, I ask how the British nuclear humanities, and in particular literary studies, might turn towards Indigenous Australian artistic, literary and critical work on nuclear legacies. Reading responses to the afterlives of British nuclear operations at Maralinga by the activist-poet Dr Natalie Harkin (Narungga) and the artist Yhonnie Scarce (Kokatha / Nukunu), I consider how, for British scholars, interpreting Aboriginal nuclear texts asks particular questions of critical practice, drawing attention to empire’s intellectual, as well as social and chemical, residues. Such work invites a reflexive critical approach, attentive to what feminist and Indigenous scholars call ‘positionality’. In Britain, the places blasted and irradiated in the name of national defence have a vague, occluded presence in collective memory. This inhibited awareness of nuclear history, I suggest, has been shaped both by avoidant attitudes to empire, and also by strongly future-oriented nuclear imaginaries. By contrast, Harkin and Scarce draw attention to intimate, ongoing encounters with toxic legacies left by imperial and settler-colonial projects. As they celebrate the resilience of dispossessed, poisoned communities for whom nuclear apocalypse is an everyday reality, they emphasise interrelated forms of responsibility: to the past, to land, and to future generations. I discuss the important challenges that their art and activism present to mainstream nuclear cultures, and to the memory of empire in Britain.'  (Publication abstract)