1. Post-colonial Literature for Children EDU32PLC Week 5 - Lecture 8 European voices in Aboriginal History: Telling the Big Picture © La Trobe University, David Beagley 2005

2. References Foster, J., Finnis, E.J. and Nimon, M. (1995) Aboriginal Australia: a century of attitudinal change. in Australian Children’s Literature: an exploration of genre and theme. Wagga: CIS, Charles Sturt University Ellingsen, P. (2002) Australian Rules. The Age. 10 August. Saturday Extra: 1-4

3. Differing approaches Positive reminiscences have advantages Forward looking, not living in the past Focus on the good aspects, not the “black armband” features Enables pride in self and identity Emphasis on young audience promotes shared identifications Don’t scare the children

4. But …… The reality is … Near genocide across a continent over two centuries - massacres, dispossession, racism Life expectancy 20+ years less than other Australians Many communities with 3rd world conditions in health, housing, finance Immense social problems of adjustment to European expectations How is this story to be told?

5. Fact or Fiction? Stories for older readers Children of Mirrabooka Deadly, Unna? European authors Focus on the interaction between Europeans and Aboriginals Do not shy away from the negative and confronting elements Present the story in direct, realist style

6. Children of Mirrabooka “Dream/flashback/time travel” style used by other authors for similar stories Tangara - Nan Chanucy, You, me and Murrawee Allows two voices to be used: European in present, Aboriginal in past Allows “discovery” by modern world or character of hidden crimes Therefore, allows reflection by modern European on past injustices But also maintains explorer/discovery binary of post-colonialism

7. Children of Mirrabooka Probably the first non Aboriginal novel which deals explicitly and as an extended theme with Land Rights and dispossession But does the fantasy / time travel aspect weaken the reality of the situation by making it fantasy, or by resigning it to history? Eventually, the colonization of the station is accepted and continues – Jenny as colonial master, despite her pangs of conscience..

8. Children of Mirrabooka Multiple voices: European/Aboriginal Authorial/Narrative Can such a story be told in an unbiased, balanced way? Is the story about the European in the present or the Aboriginal in the past? Is it appropriation of an Aboriginal story for European sensibilities?

9. Deadly, Unna? Focus is on the injustices of the present, rather than events of the past Modern Europeans are active participants in the story … … especially as it is based on real events. This makes them active participants in both the positive and negative aspects of the situation This has also led to considerable controversy as different people claim ownership of the events and the right to tell (or not tell) the story

10. Deadly, Unna? Several themes in European story Interpretations of right and wrong - breaking & entering vs shooting, parent/child relations, Separation of communities, unless convenient for dominant group - cf. Apartheid Ultimate success or failure determined in European terms, by European values Several themes in Aboriginal story Dispossession, racism, colonization Respect for dead and family Authority of community over individual

11. Deadly, Unna? Book -> Movie Australian Rules: The issue of ownership Is it Gwynne’s story (based on his personal experiences) or is it the story of the community who lost someone? Or is it simply a work of imagination - a fiction? Who can control a work of fiction? How much of a fiction is still fact?

12. Both novels Is each a European story or an Aboriginal story? Is there a difference?