Written from interviews with the Aboriginal man Waipuldanya or Wadjiri-Wadjiri (Phillip Roberts) who was born in the Roper River region in 1922.
'This article approaches the question of how Aboriginal Australians describe their own experiences of drinking alcohol, sometimes to excess, and how they recover, through a reading of seven autobiographies alongside the scholarship on Aboriginal drinking. The evidence contained in these life stories stresses personal factors and adds to the picture we glean from the scholarship, whether academic or governmental, epidemiological, anthropological or historical, which explains Aboriginal drinking habits in more social terms. Thus, the autobiographies themselves make an important intervention into the scholarship on Aboriginal drinking. Beyond this, negotiating with the stereotype of the “drunken Aborigine” is unavoidable for Aboriginal people who write about their drinking and these autobiographies represent a challenge to this popular image. This article examines a previously unexamined discourse on Aboriginal drinking that goes some way towards undermining the public representation of a drunken Aboriginal culture while simultaneously giving individual Aboriginal Australians greater voice in describing their past and current experiences.' (Publication abstract)
When Mary Ann Hughes complained in 1998 that critics were preoccupied with the process of editorial collaboration that shaped Australian Aboriginal texts, she argued that this focus led to the neglect of the literary merit of the work. While the collaboration of mainstream writers with editors primarily went unremarked, “in the case of an Aboriginal writer, the role of the editor in constructing the work is the issue which most readily springs to the fore.” Hughes remarked upon the then decade-long critical determination to materialize the traditionally invisible craft of editing. This critical preoccupation ran parallel with the second wave of Aboriginal life writing (Brewster, 44), which witnessed the transformation of Aboriginal publishing from marginal to mainstream, reaching beyond the local to global audiences (Haag, 12). The exponential increase in the publication of Aboriginal life writing was accompanied by the politicization of publication processes, including coproduction, that have conventionally been kept from public view. (Introduction)
Aboriginal life writing... 'is a syncretic practice: bound to postcolonial structure of mourning and trauma which while also deeply engaged with tradition and its restoration. This double condition of tradition and continuance has been a consistent problem in the Indigenous paradigm of writing and of life writing particularly. To write of life, it is often necessary to break with precolonial Indigenous tradition: at the very least (since one is writing), the traditional positioning of self and kinship within the complexity of oral culture.' In this essay, the author offers a partial survey of the bounds of life writing, and frames his approach whilst examining the complexities of tradition in post-colonial Australia.
'This article approaches the question of how Aboriginal Australians describe their own experiences of drinking alcohol, sometimes to excess, and how they recover, through a reading of seven autobiographies alongside the scholarship on Aboriginal drinking. The evidence contained in these life stories stresses personal factors and adds to the picture we glean from the scholarship, whether academic or governmental, epidemiological, anthropological or historical, which explains Aboriginal drinking habits in more social terms. Thus, the autobiographies themselves make an important intervention into the scholarship on Aboriginal drinking. Beyond this, negotiating with the stereotype of the “drunken Aborigine” is unavoidable for Aboriginal people who write about their drinking and these autobiographies represent a challenge to this popular image. This article examines a previously unexamined discourse on Aboriginal drinking that goes some way towards undermining the public representation of a drunken Aboriginal culture while simultaneously giving individual Aboriginal Australians greater voice in describing their past and current experiences.' (Publication abstract)
When Mary Ann Hughes complained in 1998 that critics were preoccupied with the process of editorial collaboration that shaped Australian Aboriginal texts, she argued that this focus led to the neglect of the literary merit of the work. While the collaboration of mainstream writers with editors primarily went unremarked, “in the case of an Aboriginal writer, the role of the editor in constructing the work is the issue which most readily springs to the fore.” Hughes remarked upon the then decade-long critical determination to materialize the traditionally invisible craft of editing. This critical preoccupation ran parallel with the second wave of Aboriginal life writing (Brewster, 44), which witnessed the transformation of Aboriginal publishing from marginal to mainstream, reaching beyond the local to global audiences (Haag, 12). The exponential increase in the publication of Aboriginal life writing was accompanied by the politicization of publication processes, including coproduction, that have conventionally been kept from public view. (Introduction)
Aboriginal life writing... 'is a syncretic practice: bound to postcolonial structure of mourning and trauma which while also deeply engaged with tradition and its restoration. This double condition of tradition and continuance has been a consistent problem in the Indigenous paradigm of writing and of life writing particularly. To write of life, it is often necessary to break with precolonial Indigenous tradition: at the very least (since one is writing), the traditional positioning of self and kinship within the complexity of oral culture.' In this essay, the author offers a partial survey of the bounds of life writing, and frames his approach whilst examining the complexities of tradition in post-colonial Australia.
