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Westerly 57-2 westerly the best in writing from the West Volume 55 Number 2, 2010 Adventurers learn here; but do not venture westerly Yet from their circular continuous sweep From start to start. Where going is home-turning West Australian Nothing is lost, what’s won is all to keep Writing Adventurers learn here; but do not venture Articles Yet from their circular continuous sweep From start to start. Where going is home-turning Play Extract Nothing is lost, what’s won Adventurers learn here; 55:2 Poems but do not venture. Yet from their circular continuous Stories sweep going is home-turning Nothing is lost, what’s won is all to keep Adventurers learn here; Tribute to but do not venture Randolph Stow, Name Author including two from ‘Book, Prose Poem’ previously unpublished poems westerly55:2 the best in writing from the West Thread bare: who I am and who am I. 2011 Marie McNeil Single copies of Westerly (not including postage) Aust $29.95, NZ $37, US $26, UK £15, Eur 17.50 westerly57:2 the best in writing from the West November 2012 westerly Volume 57:2 | November 2012 Publisher Westerly Centre, The University of Western Australia, Australia ISBN 978-0-9873180-1-5 Editors Delys Bird, Tony Hughes-d’Aeth Notice of Intention Editorial Advisors Julienne van Loon, Curtin University (prose) Westerly will convert the full backfile Roland Leach (poetry) of Westerly (1956–) to electronic Editorial Consultants text, which will be made available Tanya Dalziell (University of Western Australia) to readers and researchers in 2012. Paul Genoni (Curtin University) This work is being supported by a Dennis Haskell (University of Western Australia) grant from the Cultural Fund of the John Kinsella and Tracy Ryan (University of Western Australia) Copyright Agency Limited. Douglas Kerr (University of Hong Kong) All creative works, articles and reviews Susan Lever (Hon. Associate, The University of Sydney) Andrew Taylor (Edith Cowan University) converted to electronic format will be Edwin Thumboo (National University of Singapore) correctly attributed and will appear as published. Copyright will remain Administrator with the authors, and the material Lucy Dougan cannot be further republished without Charlotte Guest authorial permission. Westerly will Web Editor honour any requests to withdraw Paul Clifford material from electronic publication. Production If any author does not wish their Design: Rosalie Okely Design work to appear in this format, please Typesetting: Lasertype contact Westerly immediately and your Printer: Picton Press, West Perth, WA material will be withdrawn. Front cover: Marie McNeil Thread bare: who I am and who am I. Contact: Collage with needlework on paper, 2012. [email protected] A Foucaultian search for my mother. Digital montage, in collaboration, Rosalie Okely. All academic work published in Westerly is fully refereed. Copyright of each piece belongs to the author; copyright of the collection belongs to the Westerly Centre. Republication is permitted on request to author and editor. Westerly is published biannually with assistance from the State Government of WA by an investment in this project through the Department of Culture and the Arts. The opinions expressed in Westerly are those of individual contributors and not of the Editors or Editorial Advisors. This project has also been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. General CONTENTS From the Editors 5 Apology 8 WRITING AND ETHICS Articles Tiffany Shellam 16 Rachel Robertson 71 Commentary Clint Bracknell 32 Essays Kim Scott 10 Blaze Kwaymullina 37 Alice Pung 41 Frank Moorhouse 48 Benjamin Law 59 Alison and Graham Kershaw 66 Memoir Rozanna Lilley 88 POETRY Jennifer Compton 96 Diane Fahey 97, 98 Jill Jones 99 Ross Donlon 100 Judy Johnson 102 Graham Kershaw 104 3 Contents Christopher Konrad 105 Michelle Leber 106 Andrew Taylor 108 Robyn Rowland 109 Kia Groom 112 Ron Pretty 114 Belinda Rule 115 Eabhan Ni Shuileabháin 116 Brett Dionysius 118 Caitlin Maling 119 Maria Takolander 120 Paul Summers 122 John Kinsella 123 Bruce Dawe 124 Marjorie Main 125 Mark Lyall 127 Mags Webster 128 Nigel Ellis 129 Shane McCauley 130 FICTION Lucy Neave Love Animals 132 Laurence Steed The Knife 139 Robyn Mundy The Forgeries 149 Breton Dukes A Feer of Eels 158 Nicole Sinclair The Nest 173 Marcella Polain A Calf is an Animal 178 CONTRIBUTORS 186 WESTERLY: SUBSCRIPTIONS AND SUBMISSIONS 194 SUBSCRIBE TO WESTERLY 195 4 From the Editors e sometimes underestimate the decision to write. Perhaps W because there is so much writing it seems like the most natural thing in the world for someone to wish to add to the general store of it. This issue of Westerly was conceived as an attempt to draw attention to the complicated relationship that writers have to their work. We approached a number of writers with the question of how they consider the ethics of writing. We did not offer much more guidance than this, preferring to leave it to each to answer the question in the way it pertained to them and their work. We have been rewarded by a rich variety of responses which show the way that writers negotiate complex, often quite painful, issues as they attempt to put into words the matters that are nearest their hearts and often involve those closest to them. In a range of essays and articles, and a memoir, as well as in much of the poetry and fiction chosen for thisWesterly , writers raise and wrestle with, sometimes allusively and sometimes more directly, those ethical issues which underlie many forms of writing. In response to our invitation to contribute to this issue, Alice Pung replied thanking Westerly for the opportunity to reflect on her own recent work, in a 5 Westerly 57:2 way that defines the topic of thisWesterly . She wrote: ‘I usually get asked to write about food/refugees/culture/identity and belonging, [but] this is the first time a magazine has asked me to consider the ethics of writing, which were the whole point of Her Father’s Daughter.’ She goes on: ‘Published “migrant stories” are generally just meant to be a chronological trajectory culminating in success/ happy assimilation, but I couldn’t do that in this book and you’ve given me a chance to explain why.’ The question of why it is right to write at all is put into acute relief by the colonial history of Western Australia, something which emerges sharply in the contributions of Blaze Kwaymullina and Kim Scott, as well as those of Tiffany Shellam and Clint Bracknell. Kwaymullina’s evocative image, ‘frozen colonial soldiers’, seems among other things to be a statement about the muteness of the archive in the face of historical atrocity. Scott’s own work in attempting to rebuild the Noongar language, to make it a living language, is a movement against the capacity that language has to kill and render extinct that which does not fit within its purpose. But the problem he addresses for us is even more personal, which is his innermost search for a reader, an imagined reader, for whom his writing is of vital importance. So he has written an open letter, in every sense. Inasmuch as writers are often trying to express their most personal struggle with truth, writing also strains against the prohibitions that protect intimate life. Rachel Robertson has written a memoir of her life raising her autistic son. In her essay, she considers carefully the question of why this might be a proper thing to do. The embargo on family life is also a question that is touched upon in the reflections offered by Frank Moorhouse, Alice Pung and Rozanna Lilley. Lilley’s mother Dorothy Hewett did not shy away from speaking frankly of family affairs. Lastly, the very question of writing in the age of ‘new’ media is addressed in two essays. Benjamin Law considers the still evolving ethics of writing in social media, where it comes much closer in both tone and immediacy to actual speech and has become a continuous 6 From the Editors source of problems in the current age. Against this we have the account by Alison and Graham Kershaw who have painstakingly produced a book via the almost obsolete technologies of the age of print, setting the type and hand-pressing an edition of West Australian poetry. Delys Bird and Tony Hughes-d’Aeth An Apology Westerly editors wish to apologise for the errors that crept into the Randolph Stow poems that opened the last issue, 57:1. In ‘Miss Laura Wellborn’s Song’, in the line at the end of the first stanza, ‘drop’ should read ‘dropped’. In ‘Mrs Chiffle’s Song’, in two places, the ‘stars in ladies’ eyes’ have been referred to as ‘the starts in ladies’ eyes’. In the fourth stanza, second line, ‘the’ should be deleted, so that the line reads ‘see melons half the size of man.’, and in the penultimate stanza, third line, ‘lamingtons’ should be capitalised. 7 WRITING AND ETHICS A whisper in stone Kim Scott had written you a letter which I had, for want of better… I But I am not writing to Clancy of the Overflow, even though my desired reader is similarly remote and isolated. Instead, I want to send a message of encouragement and support to a prison inmate, an Aboriginal man and — as we say — a Wirlomin brother. It’s probably unwise — let alone ethical — to use his name or that of the prison that holds him. Initially, I thought of writing an open letter beginning, ‘Dear X’ but, since I’ve already mentioned Clancy of the Overflow, let’s call my ideal addressee Clancy (junior).
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