![]() "It doesn't have to be POC writers against white voices – we have to work together to bring voices to the fore. Nevertheless, she remains positive about the future and the new voices that were going to emerge. While she acknowledged there was now greater global awareness of black voices – "It's about bloody time" – she hadn't forgotten finding Swallow the Air relegated to the Australiana section in bookshops. There is so much possibility and it's exciting." It means they're going to have to build relationships with Aboriginal and Torres Strait editors and translators – and writers, of course. There is an exactness to her phrasing as she writes that being home means being seen, having a witness, and bearing witness. I wrote about The yield’s genesis last year, but will repeat it here. It makes a powerful plea for Indigenous agency and culture. Ten years in the making, The yield could be described as her passion project. ![]() ![]() "The publishing industry can go a step further. One of the highlights of The Yield is the way Winch conjures the specific texture of home, the expectation that it will always remain the same, and the feeling when it doesn’t. Tara June Winch’s novel, The yield, follows her impressive and David Unaipon award-winning debut novel Swallow the air (my review ). ![]() She hoped for more bilingual publications in the mainstream. "I wanted the reader to discover that and how beautiful it is to roll another language, an Indigenous language, on your tongue." Discovering the Wiradjuri language of her father at a course run by Stan Grant snr while she was working on her first novel, Swallow the Air, had been a balm to her. ![]()
0 Comments
Leave a Reply. |