Eugenia Flynn Eugenia Flynn i(6956263 works by) (birth name: Eugene Elizabeth Hooi Lee Flynn) (a.k.a. Genie Flynn)
Gender: Female
Heritage: Chinese ; Aboriginal ; Tiwi people ; Aboriginal Larrakia
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Works By

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1 Australia in Three Books Eugenia Flynn , 2023 single work review
— Appears in: Meanjin , Autumn vol. 82 no. 1 2023; (p. 24)

— Review of Up, Not Down, Mate! : Thoughts from a Prison Cell Robert Walker , 1981 selected work poetry ; Carpentaria Alexis Wright , 2006 single work novel ; All That’s Left Unsaid Tracey Lien , 2022 single work novel
1 A (Sovereign) Body of Work : Australian Indigenous Literary Culture and the Literary Fiction Novel Eugenia Flynn , 2023 single work criticism
— Appears in: The Cambridge History of the Australian Novel 2023;
1 One, Two, Next Eugenia Flynn , 2022 single work essay
— Appears in: Peril : An Asian-Australian Journal , May no. 47 2022;
1 An Indigenous Grand Narrative Voice : Alexis Wright’s Carpentaria as Indigenous Epistemology Eugenia Flynn , 2022 single work criticism
— Appears in: Commonwealth : Essays and Studies , vol. 44 no. 2 2022;
'Through applying an Indigenous paradigmatic approach to reading Australian Indigenous literature, a new conceptualisation of Alexis Wright’s Carpentaria emerges, one that argues the novel is a practice in Indigenous epistemologies (ways of knowing). The form of the novel is considered, conceptualising Carpentaria’s Indigenous grand narrative voice as a praxis in Indigenous knowledge production, maintenance, and dissemination. This argument is supported by the configuration of Carpentaria’s content – the stories told within the text – as Indigenous knowledges.' 

(Publication abstract)

1 My Skin Is On the Ground i "Skin scraping the ground", Eugenia Flynn , 2021 single work poetry
— Appears in: Borderless : A Transnational Anthology of Feminist Poetry 2021; (p. 37)
1 y separately published work icon Reading Our Way : An Indigenous-centred Model for Engaging with Australian Indigenous Literature Eugenia Flynn , Kelvin Grove : 2021 23964231 2021 single work thesis

'Indigenous writers’ works have been subjugated in a context of power and domination by many historical publishing frameworks. However, through the act of writing many Indigenous writers assert their sovereign power and make clear interventions designed to challenge the status quo. This thesis argues for the further shifting of power from the majority non-Indigenous Australian literary sector to Indigenous writers and their communities through the development of an expansive model for reading Australian Indigenous literature.

'Using a theoretical framework of Indigenous ways of being, knowing and doing this thesis proposes a reading method based on Indigenous paradigms, constituted by Indigenous ontologies, epistemologies and axiologies. The proposed reading method is then operationalised in the reading of five texts written by Australian Indigenous women and non-binary writers: We Are Going by Oodgeroo Noonuccal (1964), Follow the Rabbit-Proof Fence by Doris Pilkington (1996), Carpentaria by Alexis Wright (2006), Heat and Light by Ellen van Neerven (2014), and The Yield by Tara June Winch (2019). New understandings and knowledges are derived from the works, derived from reading with responsibility and accountability to family, kin and community, reading for songlines and relations in the text, and reading with Indigenous notions of time and with the understanding that Indigenous literature is knowledge.

'The results of these readings are compared with the history of critical reception across four areas of the Australian literary sector, inclusive of the Australian media, published scholarly work, and the Australian literary and Indigenous literary industries. Differences and similarities confirm that reading from within Indigenous research paradigms results in a reorientation of Australian Indigenous literature across the literary sector. From this process, an Indigenous-centred reading approach is documented and an Indigenous-centred model for reading Australian Indigenous literature is further synthesised.

'The thesis builds on the work of Indigenous scholars such as Anita Heiss, Sandra Phillips, Jeanine Leane and Alexis Wright and makes a critical intervention within the Australian literary sector and especially the academy. The developed model places power back into the hands of Indigenous writers and readers, storytellers and storyreceivers and provides expansive ways of reading and a productive tension through which new knowledge can be produced for the benefit of Indigenous writers and their communities.'

Source: QUT ePrints.

1 `This Place' : On Aboriginal Women and Gendered Violence Eugenia Flynn , 2019 single work prose
— Appears in: #MeToo : Stories from the Australian Movement 2019;
1 Longbum Eugenia Flynn , 2018 single work prose
— Appears in: The Lifted Brow , December no. 40 2018; (p. 17-19)

'The grey mud creeps up my calves as I pick my way through the mangroves. Barefoot, the thick wetness moves between my toes, suctioning, slowing my movements down, and my thighs sting a little from the walk in the mangroves, something my body isn't used to. I pause for breath, look over to my sister and see she is concentrating on the ground, walking on a drier bit of the mangrove floor, harder and more solid. She bends down and with a so" cry, picks up a crab and chucks him into the white plastic tub she is holding.'  (Introduction)

 

1 Heading South Eugenia Flynn , 2015 single work prose
— Appears in: Peril : An Asian-Australian Journal , December no. 22 2015;
1 The Classroom Eugenia Flynn , 2015 single work essay
— Appears in: The Lifted Brow , November no. 28 2015; (p. 59-61) The Best of The Lifted Brow Volume Two 2017;

'I want to say this memory is vivid, but I associate the word vivid with positive feelings, so let's just say this memory is strong. Strong and soft, blunt and sharp, all of these things at all of the same time; vivid is far too simple. You see, in this memory I'm sitting on the floor of a classroom. I think I'm about eight years old and the afternoon sun is streaming through the windows. It is the late eighties or early nineties, I can't be sure, and we are learning about Aboriginal people for the first time. On the television there plays a video of an Aboriginal ceremony-corroboree it was called back then, Inma or Bungul as I know it now?and as the women on the screen start to sing, some of the children in the class begin to laugh.'  (Publication abstract)

1 A Survivor and a Fighter Eugenia Flynn , 2015 single work essay
— Appears in: Peril : An Asian-Australian Journal , no. 19 2015;
1 Archie Roach Still a Powerful Voice for Indigenous Justice Eugenia Flynn , 2014 single work column
— Appears in: The Guardian Australia , 24 January 2014;
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