person or book cover
Image courtesy of Magabala Books
y separately published work icon When You Grow Up single work   autobiography  
Note: Written with Jill Finnane.
Issue Details: First known date: 1996... 1996 When You Grow Up
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AbstractHistoryArchive Description

'Brought up an orphan at Forest River Mission, Connie McDonald became a teacher, a missionary in the Church Army and a welfare worker. Her stories recall an era of matrons and missionaries, strict regulations and clothes made out of flour bags. Confronting and suffering racism, Connie kept searching for her place in the world and her family.' (Source: Libraries Australia).

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Works about this Work

Writers on Country BlackWords : Writers on Country Anita Heiss , 2015 single work criticism
— Appears in: The BlackWords Essays 2015; (p. 3) The BlackWords Essays 2019;

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.
Editorial Clare Bradford , 1999 single work column
— Appears in: Papers : Explorations into Children's Literature , April vol. 9 no. 1 1999; (p. 3-4) In the editorial for this issue, Clare Bradford gives a critical reading of the picture used on the front cover which is reproduced from an anutobiographical work by Conni Nungulla McDonald (with Jill Finnane) entitled When You Grow Up. Discussing texts which cross the boundaries between adolescent readers and a more general readership, Bradford draws attention to ways in which photographs of Aboriginal subjects relate to the 'cultural and institutional settings in which they were taken' (3). Aboriginals were often depicted in photographs 'dressed entirly in European attire' and/or placed against bush landscapes or blank settings which represent Aboriginal people as noble savages or belonging to a 'dying race' (4). Bradford argues that the reworked picture of Connie Nungulla McDonald resists any unitary or straightforward interpretations and instead, implies a striking departure from traditional racist representations of Aboriginality by reiterating that 'the Aboriginal traditions which link identity with a particular country have survived the dispossession over the last two centuries' (4).
One Woman's Story... 1996 single work review
— Appears in: Koori Mail , 14 August no. 132 1996; (p. 27)
— Review of When You Grow Up Connie McDonald , Jill Finnane , 1996 single work autobiography
The Bitter Price of Aboriginality Peter Read , 1996 single work review
— Appears in: The Sydney Morning Herald , 9 November 1996; (p. 13s)
— Review of When You Grow Up Connie McDonald , Jill Finnane , 1996 single work autobiography ; An Australian Son Gordon Matthews , 1996 single work autobiography
One Woman's Story... 1996 single work review
— Appears in: Koori Mail , 14 August no. 132 1996; (p. 27)
— Review of When You Grow Up Connie McDonald , Jill Finnane , 1996 single work autobiography
The Bitter Price of Aboriginality Peter Read , 1996 single work review
— Appears in: The Sydney Morning Herald , 9 November 1996; (p. 13s)
— Review of When You Grow Up Connie McDonald , Jill Finnane , 1996 single work autobiography ; An Australian Son Gordon Matthews , 1996 single work autobiography
Editorial Clare Bradford , 1999 single work column
— Appears in: Papers : Explorations into Children's Literature , April vol. 9 no. 1 1999; (p. 3-4) In the editorial for this issue, Clare Bradford gives a critical reading of the picture used on the front cover which is reproduced from an anutobiographical work by Conni Nungulla McDonald (with Jill Finnane) entitled When You Grow Up. Discussing texts which cross the boundaries between adolescent readers and a more general readership, Bradford draws attention to ways in which photographs of Aboriginal subjects relate to the 'cultural and institutional settings in which they were taken' (3). Aboriginals were often depicted in photographs 'dressed entirly in European attire' and/or placed against bush landscapes or blank settings which represent Aboriginal people as noble savages or belonging to a 'dying race' (4). Bradford argues that the reworked picture of Connie Nungulla McDonald resists any unitary or straightforward interpretations and instead, implies a striking departure from traditional racist representations of Aboriginality by reiterating that 'the Aboriginal traditions which link identity with a particular country have survived the dispossession over the last two centuries' (4).
Writers on Country BlackWords : Writers on Country Anita Heiss , 2015 single work criticism
— Appears in: The BlackWords Essays 2015; (p. 3) The BlackWords Essays 2019;

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.
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Last amended 18 Jun 2015 14:15:47
Subjects:
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    Reunion,
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    Indian Ocean - Africa, Africa,
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