Podcasts about blakwork

In this episode we reflect on the theme for NAIDOC week 2020, Always Was Always Will Be, by highlighting works by First Nations authors.  Tim spoke with writer, editor, teacher and proud Wuilli Wuilli woman Lisa Fuller about her award winning YA novel Ghost Bird . Sam recommends Gomeroi woman Alison Whittaker's collection Blakwork . We keep you up at night with the haunting YA mystery novel Catching Teller Crow by Palyku authors Ambelin Kwaymullina and Ezekiel Kwaymullina. We include Daniel's reflection on the Miles Franklin award winning work by Tara June Winch, The Yield  and we follow the career of Miranda Tapsell in her biography Top End Girl.

Sales is cross at one of the characters in the wildly-popular Normal People while Crabb has been deep inside an alternate reality where Hillary Rodham never married Bill Clinton.(1.30) Rodham by Curtis Sittenfeld(6.40) The Witches Are Coming by Lindy West(6.50) Lindy West is Preaching to the Choir Interview by Sara Fredman | Longreads.com(11.30) Anatomy of a Fake News Scandal by Amanda Robb | Rolling Stone(12.40) Mrs America TV Series | Trailer. Stream on YouTube | Google Play | Foxtel(14.10) The Last Dance - Netflix(20.40) Sacred Hoops by Phil Jackson(20.50) When The Game Was Ours by Larry Bird, Earvin Johnson, Jackie Macmullan(21.00) In the Woods by Tana French(21.20) Normal People by Sally Rooney | Series on Stan | Trailer(22.50) The Marvellous Mrs Maisel | Series on Amazon Prime | Best stand up from the series (24.25) Parisian Lives by Deirdre Bair(25.40) Blakwork by Alison Whittaker(27.00) Alison Whittaker's Opening Address at the Sydney Writers Festival (27.10) Fire Front by Alison Whittaker

Hello poets and readers, “The logics of law and poetry boil meaning and power down to their barest components.” We’re delighted to be able to bring you an interview with Alison Whittaker, a Gomeroi poet and author of the collections Lemons in the Chicken Wire and Blakwork, shortlisted in the Prime Minister’s Literary Award for…Read more →

Welcome to 2020! We get stuck into our first #litfestbookclub reviews of the year, having read the recommended January readings in the 2020 Australian Literary Journal - Taboo by Kim Scott and Blakwork by Alison Whittaker. Hear Amy read a stunner poem, Caroline cringe over the buzzword "trauma" and also we discuss the upcoming events in the Literary landscape for February! Be sure to watch out for our companion interview with Sisonke Msimang, Curator of the Literature and Ideas Program of the Perth Festival kicking off this week! Shout out to the Poetry Unbound podcast that is on heavy rotation at Amy's house and please let us know if you're planning any live readings Alison Whittaker - we want in!

One of my goals at Final Draft is to present Australian writing and Australian writers in a way that might intrigue and captivate, perhaps challenge but never judge. Having the extraordinary opportunity to meet and discuss with so many literary minds I’d prefer if they hold the stage so that you, the listener can get more of the books you love.I don’t always love every book that I read, but I also understand that many of these books will have readers that love them. I also understand that these books are not written exclusively for my personal edification and so I try to approach them with an open heart.It’s quite difficult then for me to collate a list of the best or select from a certain period books that are more worthy than others. I have huge respect for those who can and I eagerly devour awards list and wrap ups, but I guess I’ve always been a little reluctant. I mean, I read a lot, but nothing close to every single Australian release in a given period so I won’t even pretend to in the entire scope of Aussie writing.This then is a list of books that have personally impacted me this year. They’re all 2019 releases and all Australian; which meant a few books from writers working in Australia missed out because I wanted the list to reflect stories being told about Australia. I’ve also left off some hugely entertaining books because they didn’t move me in the same way as these works haveIt’s a highly unsatisfactory process and I thank you for sticking with me this far! I guess if I could tell you what to read I would say read these works from 2019. They all have something important to say about our world, our country, our lives and our future. They have challenged me and given me tears and troubled sleep, but have also left me with the feeling that reading and being part of a literary community is a very fine thing to be!Alison Whittaker’s BlakworkBlakwork is a collection of Alison Whittaker’s poetry and essay covering personal and social biography, satire and critique. It explores Alison’s life as a First Nations woman, and her experiences as a poet and a lawyer.Alison’s collection and my time speaking with her for Final Draft helped crystallise for me threads of thoughts about the ways in which I read and the impact of that reading. At the beginning of the year I undertook to review the ways Final Draft represented voices in our community. It was important to me that voices of First Nations people as well as queer and other non-white, non-dominant culture writing was featured on the show.In Blakwork and through Alison’s writing I discovered that just having that representation is only a first step. That we read writers from a variety of cultural or otherwise perspectives means nothing if we fail to challenge the dominant colonial lens through which we read. Now maybe what I’m saying doesn’t resonate with you, maybe it makes you feel uncomfortable, maybe you feel like being told how to read is a betrayal of why you engage with literary discussion.For me, I discovered a challenge to decolonise my reading and approach the literature I consume in new ways.Alice Bishop’s A Constant HumA Constant Hum presents a collection of stories exploring the aftermath of bushfire. Across nearly fifty stories the collection looks at the many ways we try to understand and move forward when catastrophic events occur.At the time of A Constant Hum’s release I spoke with Alice and reviewed A Constant Hum I wrote that “The stories are visceral and sensory, opening up a world that the average reader may never experience…” Now mere months later and across the country Australian’s are getting a first hand understanding of fire and its seemingly new place in our summer life.Still many of us will live our city lives without confronting a wall of flames, but none of us are unaffected anymore. Alison’s stories open up a space where stories can be shared and these stories help us begin to make senseChristos Tsiolkas’ DamascusDamascus tells the story of Saul of Tarsus. Saul was a Greek speaking Jew, a tent-maker who some two thousand years ago was met on the road to Damascus by a blinding light and was convinced that he must bring the teachings of the Jewish prophet Jesus to the world.This is a story perhaps well known to many, while others may have little understanding of the tent-maker whose letters came to spread Christianity to the world. In Damascus Christos Tsiolkas takes the story of Saul the man and explores his life and the origins of the early church.Christos’ book was a challenge to me in so many ways.Raised a Catholic, my initial reaction was ‘do I really need to go into these stories that I’d been subject to as part of my youth?’ It is also a departure from the stories of contemporary Australia that many of Tsiolkas’ readers are familiar with; the sort of stories we typically explore on Final Draft. So I resisted initially and squirmed through my early readings…There’s something about Christos’ writing though; visceral and charged, he brought me into a world where religion and social life was fractured and people sought truth amidst falsehood.The book didn’t seek my conversion and there was no road to Damascus moment, but in elucidating an historical moment and revealing characters from their dogmatic caricatures I was able to engage with these stories in a way that showed me more of a world I had long dismissed as irrelevant.Tara June Winch’s The YieldThe Yield is a story of Australia told across three distinct narratives; Albert Gondiwindi is writing a dictionary that he hopes will help revive his language and culture for his family when he dies. August, his granddaughter, is returning to Prosperous House to farewell her grandfather, just as the miners arrive to plunder the land for tin. While through the letters of Reverend Ferdinand Greenleaf we are taken back to the founding of Prosperous House and see exposed the racism and discrimination at the heart of these relations a century earlier.The Yield is quite simply an extraordinary literary work that I wish everyone could read for its style, its linguistic dexterity, its remarkable story and so many more small features that go into holding us as readers transfixed between the pages.It is one of many books that found me this year and challenged my thinking about the ways I read and try to understand my world and place in Australia. I’ve already mentioned Alison Whittaker’s Blakwork and the challenge of decolonising my reading. I’ll also mention here Bruce Pascoe’s Dark Emu and Tyson Yunkporta’s Sand Talk. Amongst these works The Yield stands up as a narrative that engages with the ways we read and understand history and culture and the reckoning that must be had between our colonial invader history and the history and culture of first nations people that was so brutally damaged but not destroyed.Mandaangguwu is the Wiradjuri word for thank you and I’ll say Mandaangguwu again to Tara and all these writers I mentioned (though not all Wiradjuri people).

Recorded live at the Sydney Writers Festival, Alison speaks about her second collection Blakwork — a book that slips from verse to prose.

Gomeroi writer and Fulbright scholar Alison Whittaker melds memoir, reportage, fiction, satire and critique in her fearless collection Blakwork, which was shortlisted for a Victorian Premier’s Literary Award. She speaks with ABC RN’s Daniel Browning about her collection, which touches on urgent topics including social justice, feminism, class, incarceration and the erasure of Aboriginal peoples in settler history and policy. It also contains poignant and humorous recollections of her childhood in Sydney and rural Australia.

Great Conversations features interviews with authors and writers, exploring books, writing and literary culture from Australia and the world.Today's episode features Gomeroi poet Alison Whittaker discussing her new collection Blakwork.Blakwork collects Alison’s poetry and essay covering personal and social biography, satire and critique. It explores Alison’s life as a First Nations woman, and her experiences as a poet and a lawyer.

In episode 19, we discuss Alison Whittaker’s Blakwork.A mix of memoir, reportage, fiction, satire, and critique, Alison Whittaker’s Blakwork is an original and unapologetic collection from which two things emerge; an incomprehensible loss, and the poet’s fearless examination of the present.Whittaker, a Gomeroi multitasker from the floodplains of Gunnedah in NSW, has been published in the Sydney Review of Books, Seizure, Overland, Westerly, Griffith Review, the Lifted Brow, Meanjin and Archer, was the co-winner of the Overland Judith Wright Poetry Prize in 2017 for her poem, 'Many Girls White Linen' and most recently, she was the Australian Indigenous Poet-In-Residence for the 2018 Queensland Poetry Festival.Show Notes:Book Review / Blakwork by Alison Whittaker: https://writingnsw.org.au/blakwork-by-alison-whittaker/Blakwork (Alison Wittaker, Magabala): https://www.booksandpublishing.com.au/articles/2018/07/26/112124/blakwork-alison-wittaker-magabala/Heart is full and burstin’ blak: https://nit.com.au/heart-is-full-and-burstin-blak/Confronting Multiplicity: An interview with Alison Whittaker: https://www.killyourdarlings.com.au/2016/03/confronting-multiplicity/Feminist Writers Festival Q&A: Alison Whittaker: https://feministwritersfestival.com/fwf-qa-alison-whittaker/'Dragged like a dead kangaroo': why language matters for deaths in custody: https://www.theguardian.com/commentisfree/2018/sep/07/dragged-like-a-dead-kangaroo-why-language-matters-for-deaths-in-custodyRecommendations:Fi:‘Where It Hurts’ by Sarah de de Leeuw‘Birds Art Life Death: A Field Guide to the Small and Significant’ by Kyo Maclear‘Half a Life’ by Darin StraussKirby:‘Daughters of Passion’ by Julia O’Faolain‘The Fish Girl’ by Mirandi Riwoe‘Little Fires Everywhere’ Celeste NgNeve:Doctor Who, Season 11, Episode 3Charmed, 2018 Contact Us:Twitter: @litcanonballInstagram: @literarycanonballFind us on Facebook at Literary Canon BallEmail: literarycanonball@gmail.com

Tuesday Breakfast August 14th7.00 am  Acknowledgement of Country7.05 am  News headlines  7.20 am   Hannah Viney joins us in the studio to discuss the Australian Women's History Network Symposium that was held in July and the theme of bridging academia and activism.   7.40 am   Dr Nicole Kalms joins us to talk about the work of XYX Lab, and how city planning through a feminist lens and co-design with women can make cities safer for women and girls.  8.00 am  Alison Whittaker, Gomeroi poet, life writer and essayist from Gunnedah and Tamworth, and a 2017 Fulbright Indigenous Postgraduate Scholarship recipient, joins us in the studio to talk about her upcoming book Blakwork (from Magabala Books), legal scholarship and activism through words, and to read her poem MANY GIRLS WHITE LINEN. 8.20 am  Alternative news: The team discusses the #MeToo Movement in China amidst government crackdowns, internet censorship, and cultural factors.Songsartist: Joyce Wricesong: Good Morningartist: Empress Of song: Woman Is A Wordartist: DRMNGNOW  song: Indigenous Land artist: Beyonce  song: Formation