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In a political system that renders them largely voiceless, Australia's Aboriginal people have used the written word as a powerful tool for over two hundred years. Anthology of Australian Aboriginal Literature presents a rich panorama of Aboriginal culture, history, and life through the writings of some of the great Australian Aboriginal authors. From Bennelong's 1796 letter to contemporary writing, Anita Heiss and Peter Minter have selected works that represent the range and depth of Aboriginal writing in English. Journalism, petitions, and political letters from both the nineteenth and twentieth centuries are brought together with major works of poetry, prose, and drama from the mid-twentieth century onward. These works voice not only the ongoing suffering of dispossession but the resilience of Australia's Aboriginal people, their hope and joy. Presenting some of the best, most distinctive writing produced in Australia, this groundbreaking anthology will captivate anyone interested in Aboriginal writing and culture.

After decades of strict, puritanical censorship, Australian writers are free to address sexual issues. But sex remains a controversial and disturbing topic—its representation in poetry or fiction can never be free of ambiguities and still requires a variety of literary strategies to be made acceptable. Messengers of Eros examines those strategies and offers close readings of many Australian literary texts. It revisits classics such as Coonardoo, Capricornia or Such Is Life as well as major.

Examines how colonial and postcolonial violence is understood and conceptualized through Indigenous storytelling.

An authoritative collection of Australian Aboriginal writing over two centuries, across a wide range of fiction and non-fiction genres. Including some of the most distinctive writing produced in Australia, it offers rich insights into Aboriginal culture and experience.

There is increasing recognition of Indigenous perspectives from various parts of the world in relation to storytelling, research and its effects on practice. The recent emergence of storytelling or yarning as a research method in Australian Aboriginal and Torres Strait Island studies and other Indigenous peoples of the world is gaining momentum. Narratives, stories, storytelling and yarning are emerging methods in research and has wide ranging potential to shape conventional research discourse making research more meaningful and accessible for researchers. In this paper we argue for the importance of Indigenous research methods and Indigenous method(ology), within collaborative respectful partnerships with non- Indigenous researchers. It is imperative to take these challenging steps together towards better outcomes for Indigenous people and their communities. In the Australian context we as researchers cannot afford to allow the gap between Aboriginal and Torres Strait Islanders and mainstream Australia health outcomes to grow even wider. One such pathway is the inclusion of Aboriginal storytelling or yarning from an Aboriginal and Torres Strait perspective within Indigenous and non-Indigenous research paradigms. Utilising Aboriginal storytelling or yarning will provide deeper understanding; complementing a twoway research paradigm for collaborative research. Furthermore, it has significant social implications for research and clinical practice amongst Indigenous populations; thus complementing the biomedical medical paradigm.

How does one read across cultural boundaries? The multitude of creative texts, performance practices, and artworks produced by Indigenous writers and artists in contemporary Australia calls upon Anglo-European academic readers, viewers, and critics to respond to this critical question. Contributors address a plethora of creative works by Indigenous writers, poets, playwrights, filmmakers, and painters, including Richard Frankland, Lionel Fogarty, Lin Onus, Kim Scott, Sam Watson, and Alexis Wright, as well as Durrudiya song cycles and works by Western Desert artists. The complexity of these creative works transcends categorical boundaries of Western art, aesthetics, and literature, demanding new processes of reading and response. Other contributors address works by non-Indigenous writers and filmmakers such as Stephen Muecke, Katrina Schlunke, Margaret Somerville, and Jeni Thornley, all of whom actively engage in questioning their complicity with the past in order to challenge Western modes of knowledge and understanding and to enter into a more self-critical and authentically ethical dialogue with the Other. In probing the limitations of Anglo-European knowledge-systems, essays in this volume lay the groundwork for entering into a more authentic dialogue with Indigenous writers and critics.

The Dhurga Dictionary and Learners Grammar: A South-East Coast NSW Aboriginal Language is an overdue and extremely valuable resource for the Dhurga speaking people of Yuin Country and of any person wanting to learn the traditional language. The Dhurga language is spoken from south of Nowra to Narooma and west to Braidwood and Araluen. This publication is the most concise compilation of the Dhurga language to date with over 730 words including informant and recorder details as validation of authenticity. The dictionary is user-friendly for all literacy levels and readers; it is the very first of its kind and in high demand.

Itravel Country, like my Old People done. I see the Country, like my Old Peopledone I burn Country, like my Old People done. I sing Country, like my Old Peopledone - JacobMorris, Ban Maganindadjyang (My Old People Done).

Alison Ravenscroft, author of The Postcolonial Eye: White Australian Desire and the Visual Field of Race, discusses her book with Kira Randolph.

This article proposes a re-reading of Aboriginal author Sally Morgan’s Stolen Generations narrative My Place (1987) in post-Apology Australia (2008–present). The novel tells the story of Morgan’s discovery of her maternal Aboriginal origins through the life-stories of her mother and grandmother; the object of a quest for the past that is both relational and matrilineal; incorporating elements of autobiography and as-told-to memoirs to create a form of choral autoethnography. Morgan’s text explores the intergenerational consequences of child removal in the Aboriginal context and is representative of Indigenous-authored narratives in its suggestion that the children and grand-children of victims of colonial policies and practices can work through the trauma of their ancestors. I examine the literary processes of decolonization of the Indigenous writing/written self and community; as well as strategies for individual survival and cultural survivance in the Australian settler colonial context; especially visible through the interactions between traumatic memories and literary memoirs, a genre neglected by trauma theory’s concern with narrative fragmentation and the proliferation of “themed” life-writing centered on a traumatic event. This article calls for a revision of trauma theory’s Eurocentrism through scholarly engagement with Indigenous experiences such as Morgan’s and her family in order to broaden definitions and take into account collective, historical, and inherited trauma.