Jeanine Leane

What the First Nations writers in This All Come Back Now reveal is that the only civilization in need of saving is the present western capitalist one – for its capacity to self-destruct and for its inability to listen.

Shapes of Native Nonfiction brings together and solidifies a genealogy of what First Nations creative nonfiction could be through documenting a gathering of lyric essays that push and expand the boundaries of nonfiction beyond the auto/biographical and/or the academic. In doing this, Shapes of Native Nonfiction invites and gives shape to an approach to First Nations nonfiction that demonstrates moving beyond ethnographic and academic methods; one that experiments with form and embarks on carefully crafting and re-crafting interventions that both challenge and expand existing genre structures.

‘A testament to love and joy in the face of ongoing dispossession, continued violence and lack of recognition of the rights of First Nations peoples in Canada and abroad.’

In Araluen’s work spirits and ghosts speak from beyond, above and below the layers of colonial time to remind us of past in present and present in past intertwined and unresolved.

Right from its opening line: ‘The white boys stare at us from the pub’, this story brings its readers into the First Nations community of south coast of NSW and into the realm of Aboriginal protagonist Jackson on the cusp of adulthood.

Since the invasion the settler diaspora has demonstrated its fascination with and obsession for bigness – the vast, the immense, the wide. This preoccupation manifests itself on the physical landscape in all sorts of crass shapes and forms. There is the Big Banana, the Big Prawn, the Big Potato, the Big Pineapple, just to name a few. These scars of the physical environment cross the settler psyche as well through the repeated discourse of ‘nation’, the ‘national anthem’, ‘ordinary Australians’ and the ‘wide brown land’. Kwaymullina asks: ‘What is bigness other than a network of small places? What is this nation other than an interconnected network of Indigenous locales invaded and now occupied by different settler diasporas?’

Guwayu – a Wiradjuri word – means still and yet and for all times. Guwayu means all times are inseparable; no time is ever over; and all times are unfinished. Guwayu – For All Times releases the arrested times of the Country’s First Peoples held captive in the colonial calendar, and frees kidnapped memories held hostage to false claims of settlement, nationhood, sovereignty and justice. In all First Nations languages, there is a word for all times. And now there is a time for these words. Guwayu breaks the silence Munro’s poem speaks of to unleash the beauty of First Nations words that have been and always will be here.

It has only been four years since Mununjali Yugambeh poet Ellen van Neerven’s first volume, Comfort Food, appeared. While central to both collections are the experiences of young queer First Nations identity in settler Australia, Throat extends the work of Comfort Food from the retrospective of the four years that have passed since its writing. And, certainly much has happened.

On 13 July 2019, in the middle of Canberra’s notoriously hard winter, Australia lost a literary treasure and lifelong activist whose work and writing was, in her own lifetime at least, largely unsung.

Whittaker uses English as both an object of ridicule and a tool of empowerment. In subverting the conventional rules of usage, she makes it her own. In her hand, English does and says and tells a different story. Audre Lorde said that the master’s tools will never dismantle the master’s house. And they won’t. But Blak writers like Whittaker use these tools to carve out their own spaces to build other story – to re-story Country with the old stories, and to create new ones.

‘Blak anthologies unsettle Australian literary whiteness, which has often marginalised, and categorised First Nations work through stereotypes, assuming it falls into narratives of protest or disadvantage. Guwayu pushes against this, creating what Leane terms ‘a radical intervention in Aboriginal publishing for its breadth of representation, diversity of language, and drafting and editing protocols’. And while a groundswell of Blak anthologies are emerging, there’s a continued need to push Blak practice further, evident in the uneven way this work is often perceived by the industry.’

Smith’s biggest achievement in Wade in the Water is her effort to stay true to all the different music she heard through writing the book and to reflect that in the sound of this book. The book is a gathering, and a chorus.