Latest Issues
Adaptations
-
form
y
Karroyul
( dir. Kelrick Martin
)
Australia
:
Spear Point Productions
,
2015
8733237
2015
single work
film/TV
'An Aboriginal girl, lost and empty after the death of her mother, discovers her past in an unlikely place.'
Source: Publisher's blurb.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Six Groundings for Aboriginal and Torres Strait Islander Story in the Australian Creative Writing Classroom: Part 2
2018
single work
criticism
— Appears in: TEXT : Journal of Writing and Writing Courses , October vol. 22 no. 2 2018;‘All Australian children deserve to know the country that they share through the stories that Aboriginal people can tell them,’ write Gladys Idjirrimoonra Milroy and Jill Milroy (2008: 42). If country and story, place and voice are intertwined, it is vital that we make space in Australian creative writing classrooms for the reading and writing of Australian Indigenous story. What principles and questions can allow us to begin? We propose six groundings for this work:
- Indigenous story is literary history, literary history is creative power.
- We do culture together: culture becomes in collaboration, conscious or unconscious.
- There is no such thing as Indigenous story, and yet it can be performed and known.
- Country speaks, to our conceptions of voice and point of view.
- History and memory are written in the land and on the body in bodies of practice.
- Story transmits narrative responsibility. Narrative responsibility requires fierce listening.
'This two-part paper discusses each of these groundings as orienting and motivating principles for work we do as teachers of introductory creative writing units at the University of Canberra. Part 1 discussed the first three groundings and was published in TEXT Vol 21, No 2, October 2017. Part 2 discusses the remaining three groundings.' (Publication abstract)
-
Traumatic Landscapes : Inscribing Spectrality and Identity in Kim Scott's 'A Refreshing Sleep', 'Capture' and 'An Intimate Act'
2016
single work
criticism
— Appears in: A Companion to the Works of Kim Scott 2016; (p. 88-100)
-
Traumatic Landscapes : Inscribing Spectrality and Identity in Kim Scott's 'A Refreshing Sleep', 'Capture' and 'An Intimate Act'
2016
single work
criticism
— Appears in: A Companion to the Works of Kim Scott 2016; (p. 88-100) -
Six Groundings for Aboriginal and Torres Strait Islander Story in the Australian Creative Writing Classroom: Part 2
2018
single work
criticism
— Appears in: TEXT : Journal of Writing and Writing Courses , October vol. 22 no. 2 2018;‘All Australian children deserve to know the country that they share through the stories that Aboriginal people can tell them,’ write Gladys Idjirrimoonra Milroy and Jill Milroy (2008: 42). If country and story, place and voice are intertwined, it is vital that we make space in Australian creative writing classrooms for the reading and writing of Australian Indigenous story. What principles and questions can allow us to begin? We propose six groundings for this work:
- Indigenous story is literary history, literary history is creative power.
- We do culture together: culture becomes in collaboration, conscious or unconscious.
- There is no such thing as Indigenous story, and yet it can be performed and known.
- Country speaks, to our conceptions of voice and point of view.
- History and memory are written in the land and on the body in bodies of practice.
- Story transmits narrative responsibility. Narrative responsibility requires fierce listening.
'This two-part paper discusses each of these groundings as orienting and motivating principles for work we do as teachers of introductory creative writing units at the University of Canberra. Part 1 discussed the first three groundings and was published in TEXT Vol 21, No 2, October 2017. Part 2 discusses the remaining three groundings.' (Publication abstract)
Awards
- 2010 winner Patricia Hackett Prize For best contribution to Westerly in 2009
- Southwest Western Australia, Western Australia,
