Indigenous Memoir

From a young age, Victor Steffensen has had a passion for traditional cultural and ecological knowledge. This was further developed after meeting two Elders, who were to become his mentors and teach him the importance of cultural burning. Developed over many generations, this knowledge shows clearly that Australia actually needs fire. Moreover, fire is an important part of a holistic approach to the environment, and when burning is done in a carefully considered manner, this ensures proper land care and healing.

Don’t Take Your Love to Town is a story of courage in the face of poverty and tragedy. Ruby recounts losing her mother when she was six, growing up in a mission in northern New South Wales and leaving home when she was 15. She lived in tin huts and tents in the bush and picked up work on the land while raising nine children virtually single-handedly. Later she struggled to make ends meet in the Koori areas of Sydney.

In the heart of Indian country in the American west, clandestine criminals were profiting greatly from the sale of sacred Native American artifacts stolen from tribal lands. These artifacts were so ancient they had been used since the migration of the first Americans into North America some 15,000 years ago. In the year 1998, the illegal trafficking of these artifacts peaked in Santa Fe, New Mexico.

Heart Berries is a powerful, poetic memoir of a woman's coming of age on the Seabird Island Indian Reservation in British Columbia. Having survived a profoundly dysfunctional upbringing only to find herself hospitalized and facing a dual diagnosis of post-traumatic stress disorder and bipolar II, Terese Mailhot is given a notebook and begins to write her way out of trauma.

This number-one internationally best-selling and award-winning memoir about overcoming trauma, prejudice, and addiction by a Métis-Cree author as he struggles to find a way back to himself and his Indigenous culture is “an illuminating, inside account of homelessness, a study of survival and freedom” (Amanda Lindhout, best-selling coauthor of A House in the Sky).

At just ten years old, Vanessa Turnbull-Roberts was forcibly removed – stolen – from her family, community and kinship systems. After eight years in various out-of-home care placements, Vanessa fled the system, reconnected with kin and returned to country for the very first time.

I’m only in my mid-20s, and some might think that’s young to write a memoir. Who does that, right? But for me and my team it’s always been important to reflect on every part of the journey, especially the end. In that context, the timing is perfect to share my story, from the first time I picked up a racket as a five-year-old girl in Ipswich, to the night I packed up my tennis bag at Melbourne Park after winning the 2022 Australian Open.

How does a self-described ‘skinny Aboriginal kid’ overcome a legacy of family tragedy to become an AFL legend? One thing’s for sure: it’s not easy. But then, there’s always been something special about Eddie Betts. Betts grew up in Port Lincoln and Kalgoorlie, in environments where the destructive legacies of colonialism – racism, police targeting of Aboriginal people, drug and alcohol misuse, family violence – were sadly normalised.

In the last few years, following the publication of his debut novel Jonny Appleseed, Joshua Whitehead has emerged as one of the most exciting and important new voices on Turtle Island. Now, in this first non-fiction work, Whitehead brilliantly explores Indigeneity, queerness, and the relationships between body, language and land through a variety of genres (essay, memoir, notes, confession). Making Love with the Land is a startling, heartwrenching look at what it means to live as a queer Indigenous person "in the rupture" between identities.

Growing up, Miranda often looked for faces like hers on our screens. There weren't many. And too often there was a negative narrative around Indigenous lives, and Aboriginal women especially. Now an award-winning actor, she decided to change things herself. Combining her love of romantic comedies with her love of Darwin, the Tiwi Islands and the Top End, Miranda wrote, produced and starred in the box office hit Top End Wedding. But who the hell co-writes, produces and acts in a film about a wedding in the same year they're having their own? Miranda Tapsell does!

Don’t Take Your Love to Town is a story of courage in the face of poverty and tragedy. Ruby recounts losing her mother when she was six, growing up in a mission in northern New South Wales and leaving home when she was 15. She lived in tin huts and tents in the bush and picked up work on the land while raising nine children virtually single-handedly. Later she struggled to make ends meet in the Koori areas of Sydney.

At the age of seventeen, an Anishinabe boy who was raised in the south joined a James Bay Cree family in a one-room hunting cabin in the isolated wilderness of northern Quebec. He learned a way of life on the land that few are familiar with. Reflecting on those five months and his search for his own personal identity, that boy–Duncan McCue–takes us on an evocative exploration of the teenage years, growing up in a mixed-race family, and the culture shock of moving to the unfamiliar North.

When Mark McKenna set out to write a history of the centre of Australia, he had no idea what he would discover. One event in 1934 - the shooting at Uluru of Aboriginal man Yokunnuna by white policeman Bill McKinnon, and subsequent Commonwealth inquiry - stood out as a mirror of racial politics in the Northern Territory at the time. But then, through speaking with the families of both killer and victim, McKenna unearthed new evidence that transformed the historical record and the meaning of the event for today.

Drawing on the wisdom and personal experience of its esteemed contributors, this first-of-its-kind anthology tackles complex questions of our times to provide a rich tapestry of Indigenous life, past, present, and future. These peace offerings—to settlers, to one another, to listeners—explore the histories that have brought us to this moment, the challenges and crises faced by present-day communities, and the visions that will lead us to a new architecture for thinking about Indigeneity.