Cirrus@Austlit

Michele Grossman argues that life writing 'has proved a particularly attractive genre for Indigenous Australians wishing to re-vision and re-write historical accounts of invasion, settlement and cross-cultural relationships from individual, family and community-based Indigenous Australian memories, perspectives and experiences'. Grossman draws particularly on Gladys Gilligan's writing of her time at the Moore River Settlement in Susan Maushart's Sort of a Place Like Home: The Moore River Native Settlement (1993).

Opening paragraph: 'However the craft of nature writing might be conceived, there is a sense in which the nature writer is necessarily called to be a follower. Such writing, that is to say, necessarily follows nature: temporally, in that the natural world to which it refers is presumed to pre-exist the written text; normatively, in that this pre-existing natural world is implicitly valued more highly than the text which celebrates it; and mimetically, in that the text is expected to re-present this pre-existing and highly regarded natural world in some guise. Let me stress at the outset, that I am all for the kind of writing (which comes in a wide variety of literary and non-literary genres) that calls upon its readers to revalue more-than-human beings, places and histories. In defence of such writing, along with the more-than-human beings, places and histories to which it bids us turn our concern, I am nonetheless going to argue here that the relation between nature and writing, especially in the literary mode, might best be thought otherwise.'

An examination of the function of car accidents in Australian film and in the Australian landscape (through roadside memorials).