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ABR Arts

Book of the Week

On Kim Scott: Writers on writers
Literary Studies

On Kim Scott: Writers on writers by Tony Birch

In this latest instalment of Black Inc.’s ‘Writers on Writers’ series, we have the intriguing prospect of Tony Birch reflecting on the work of Kim Scott. While most of the previous twelve books in this series have featured a generational gap, Birch and Scott, both born in 1957, are almost exact contemporaries. This is also the first book in the series in which an Indigenous writer is considering the work of another Indigenous writer. It will not be giving too much away to say that Birch’s assessment of Scott’s oeuvre is based in admiration. There is no sting in the tail or smiling twist of the knife.

Interview

Interview

Interview

From the Archive

From the Archive

September 2009, no. 314

Open Page with Nam Le

Nam Le is the author of The Boat (2009). He has received the Dylan Thomas Prize (2008), the Anisfield-Wolf Book Award, the New South Wales Premier’s Literary Award for Book of the Year (2009) and the Sydney Morning Herald Best Young Novelist Award (2009), among other prizes. His fiction has been widely anthologised. Currently the fiction editor of the Harvard Review, he divides his time between Australia and overseas.

From the Archive

May 2004, no. 261

The Loss of Tongue and Tradition

One sun-filled Saturday in spring 2000, I wandered through Salamanca market, in and around the historic sandstone buildings on Hobart’s waterfront. After a long absence, I expected the arts and crafts, antiques, and books amid tourists and the local caffe latte set. What surprised me were stalls of beautiful fresh fruit and vegetables, grown and sold by smiling ethnic Hmong. The bright front cover of The Hmong of Australia zooms into that image of my memory.

It is pleasing to learn from sociologist Roberta Julian that, for Tasmanians, the Hmong ‘symbolise a new openness to Asia’. Yet it is disconcerting to be told: ‘Insofar as the Hmong are accepted as Tasmanians, however, their identity has become commodified, trivialised and marginalised … a superficial Hmong identity.’ Any more so than that of the Han Chinese and Italian vendors, who draw camera-clicking busloads to Melbourne’s Queen Victoria Market? Or that of the colourfully clad Hmong minority in China’s southern Yunnan province, ancestral homeland of the Hmong?