Kim Scott

I write the ambivalence and speak the ambivalence a little bit more than I feel it, I think, in terms of who I am. Amongst my people, there are very few of us that write and because of the damage done in the last few generations, there’s not a lot of people reading either. So I immediately think things like who am I writing for? Who am I benefiting, writing this sort of material? And partly for those reasons, I think that I start this book out the way I do, to make sure, I hope, that it is done with integrity. Even though it is fictional, I still make myself vulnerable positioning myself like that.

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Stan Grant’s comment on the prolonged booing of the Australian Rules football star Adam Goodes – featured in Daniel Gordon’s new documentary, The Australian Dream (produced by Grant himself) – has attracted much interest, including more than one million hits on one website ...

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To complement our 2017 ‘Books of the Year’, we invited several senior publishers to nominate their favourite books – all published by other companies.

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To complement our coverage of new books on the subject, we invited a number of writers, scholars, and environmentalists to nominate the books that have had the greatest effect on them from an environmental point of view.

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When a new novel from Kim Scott appears, one feels compelled to talk not only about it as a work of fiction by a leading Australian writer, but also about its cultural significance. In this sense a Kim Scott novel is an event, and Taboo does not disappoint ...

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In 2004 Kim Scott delivered the prestigious Herbert Blaiklock Memorial Lecture to a predominantly academic audience at the University of Sydney. Provocatively, he began ...

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The shortlist for the 2011 Miles Franklin Literary Award, which included Kim Scott’s That Deadman Dance, was controversial because it consisted of only three novels, all w ...

Professor Kim Scott (1957-) is an award-winning indigenous author. His books include True Country (1993), Benang (1999), Kayang and Me (with Hazel Brown, 2005), and That Deadman Dance (2010). He has won the Miles Franklin Literary Award twice (for Benang and That Deadman Dance) and has also been awarded th ...

A relatively unusual occurrence until recently, the publication of a plethora of new Australian Aboriginal-authored and/or Aboriginal-themed children’s books has begun transforming the Australian publishing landscape. A number of these books, like Rhoda Lalara and Alfred Lalara’s charmingly evocative Yirruwa Yirrilikenuma-langwa (When We Go Walkabout: Allen & Unwin, $24.99 hb, 32 pp, 9781743314562), are rendered bilingually, in the latter case in Anindilyakwa, the mother tongue of the majority of Groote Eylandt residents, as well as in English.

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An American friend recently asked me to define the Australian short story. Despite misgivings, I muttered something about birth, landscape and setting, vernacular, diversity, then retreated. The Best Australian Stories 2013 provides a viable answer. Short stories don’t want to be defined; they are much too subversive for that. They only want to be read. The best ones will want to be read again, and will offer up something new each time.

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