This collection of essays has been produced for teachers, students, researchers, and readers in order to highlight AustLit’s BlackWords project, the most comprehensive resource of Indigenous Australian writing available. The essays aim to assist readers to better understand the impact of Aboriginal and Torres Strait Islander writing and publishing on Australia’s literary landscape.
The essays showcase recent trends in Aboriginal and Torres Strait Islander writing and highlight the diversity of voices, the range of themes, the genres authors are publishing in, and the ongoing importance of storytelling in contemporary Indigenous society. Common themes emerge in the concerns of Indigenous writers: identity; connection to country; urban life; language maintenance and reclamation. While Indigenous authored books to assist with literacy at a community level is a growing aspect of publishing.
Terminology
A range of terminology has been used in these essays in order to define Aboriginal and Torres Strait Islander writers and storytellers who make up the BlackWords dataset. In each case, the chosen term reflects the context of the work being considered. The term ‘First Peoples’ and ‘First Nations’ will mean Aboriginal only, while Indigenous and Black are inclusive of both Aboriginal and Torres Strait Islander Peoples.
Acknowledgements
The author, Dr Anita Heiss, would like to thank Emeritus Professor Gus Worby, Flinders University and Yunggorendi First Nations Centre, for his professional support and good will in undertaking a scholarly edit of these essays; and to Kerry Kilner for textual editing and for recognising the importance of having them as part of the AustLit database.
Dr Heiss would also like to acknowledge the support of the Aboriginal and Torres Strait Islander Arts Board of the Australia Council who granted her a literature fellowship to research and write these essays, and thereby making them freely available to visitors to BlackWords. AustLit maintains BlackWords through the support of The University of Queensland and the generosity of our subscribers.
'The last 40 years have seen a steady rise in the volume of Aboriginal writing published as authors across genres write stories that reflect not only the diversity of who we are today, but also demonstrate the skills we have collectively and individually honed over time. This paper looks at writing and publishing over the past decade (2005-2014) and explores the resources and milieu around Indigenous authored and controlled activities during the period.
Aboriginal people, along with Torres Strait Islanders, are collectively categorised as the Indigenous peoples of Australia. At the point of first contact there were approximately 700 different Aboriginal nations and languages across the continent, with an estimated population of 750,000. According to population statistics from the most recent census in 2011 the Indigenous population was 669,900 people or 3% of the overall Australian population.
Considering the size of the population and the relatively short history of our participation in the writing and publishing industries, there is much to celebrate in what our writers, publishers and editors have achieved in the past decade.'
Source: Author's introduction.
Revised Ed.
'In the 1960s Oodgeroo Noonuccal (then Kath Walker) hit the literary limelight as Australia’s first published ‘Aboriginal poet’ and since then Aboriginal writers have used their work as a form of self-definition and to defend our rights to our identity. Many authors are inspired by the need to redress historical government definitions of Aboriginality, to reclaim pride in First Nation status, to explain the diversity of Aboriginal experience, and to demonstrate the realities and complexities of ‘being Aboriginal’ in the 21st century.'
Source: Author's introduction.
Revised Ed.
In this essay Heiss not only illustrates the breakdown of stereotypes of what Indigenous relationship with land is, but she showcases the wealth of literature being penned nationally by writers who express the diversity of their experiences of 'country'. Whether it be their traditional lands, places they have chosen to relocate to; those that they or their families were removed to; places that people call home and/or connect to; and those who embrace a physical landscape. An historical, social and political space that renders them specifically and culturally significant to individuals, families and community.
Revised Ed.
In this essay Heiss demonstrates that stories, poetry, songs, plays and memoirs are 'living' evidence of truths otherwise untold or appropriated (Source: Introduction)
Revised Ed.
In this essay Heiss discusses and explains the important role of anthologies in the creation of communities of writers and in acknowledging, consolidating and launching writing careers.
Revised Ed.
In this essay Heiss addresses the increasing number of Aboriginal authored children's and young adult literature published that focuses on the 'meaning of place' in an Indigenous context. She demonstrates this by selecting writings and stories from regions such as remote, semi-remote and desert to tropics, which showcase the diversity of life in different parts of Indigenous Australia and the essence of Aboriginal storytelling.
Revised Ed.
'This essay explores how some recent Aboriginal and Torres Strait Islander authored titles have used local languages and personal histories - including complex stories which deal with the Stolen Generations - to engage and educate young Australian readers, while providing much needed inspiration to nurture Indigenous audiences.' (Source: Heiss, Anita, Aboriginal Literature for Children: More Than Just Pretty Pictures, 2015)
Revised Ed.
In this essay Heiss discusses Indigenous-authored works that are targeted for upper-primary and young adult readers, that address issues of identity, self esteem, relationships and peer-group pressure that are available for both educators and students. Heiss recommends that these works discussed in this essay, will not only engage young Indigenous students, but also non-Indigenous students and other readers with a sense of sameness in terms of coming of age, facing friendships, and the growing pains that all teenagers face.
Revised Ed.
'While the education of all Australians should remain the role and goal of government, the grassroots, community work of the Australian book industry facilitated by the Indigenous Literacy Foundation has created a model for what is possible in terms of increasing Indigenous reading rates through strategic, culturally appropriate and interesting approaches. This paper aims to give a brief history of the ILF with some statistics on Indigenous literacy and discusses some of the reasons literacy rates are so low in remote communities. It ends with testimonials from those benefiting from the work of the Foundation.'
Source: Author's introduction.
Revised Ed.
‘In ‘Considering sameness’, author and activist Adjunct Professor Anita Heiss confronts the challenges of writing and talking complex Indigenous characters into mainstream Australian literature and public discourse. Her ‘sameness’ does not ignore or oppose expression of ‘difference’. She looks for common ground from which to take a broader view of human interaction than is permitted in oppositional same-different debates underpinned by competing hierarchies of value. In doing so she surrenders neither space nor place. She discusses the approaches taken in 13 books of poetry, adult and young readers’ prose, and autobiography and essays to be found in the AustLit/Black Words database, to challenge and reverse dominant literary stereotypes in mainstream literature by arguing that – in all genres of writing and reportage – stereotypes have influence on identity construction, perception and reception: good and bad.’ (16-17)
‘In ‘Considering sameness’, author and activist Adjunct Professor Anita Heiss confronts the challenges of writing and talking complex Indigenous characters into mainstream Australian literature and public discourse. Her ‘sameness’ does not ignore or oppose expression of ‘difference’. She looks for common ground from which to take a broader view of human interaction than is permitted in oppositional same-different debates underpinned by competing hierarchies of value. In doing so she surrenders neither space nor place. She discusses the approaches taken in 13 books of poetry, adult and young readers’ prose, and autobiography and essays to be found in the AustLit/Black Words database, to challenge and reverse dominant literary stereotypes in mainstream literature by arguing that – in all genres of writing and reportage – stereotypes have influence on identity construction, perception and reception: good and bad.’ (16-17)
