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Poems From the Edge of Extinction (Part 2) - The Good Men Project

The Good Men Project Become a Premium Member We have pioneered the largest worldwide conversation about what it means to be a good man in the 21st century. Your support of our work is inspiring and invaluable. Poems From the Edge of Extinction (Part 2) In part 2 we look at examples in Patwa/Jamaican Creole and Yolngu Matha. If you ve never heard of these languages, read on!   Welcome to part 2 of our blog on poetry in endangered and lesser-known languages in collaboration with our European Studies colleagues. In part 1 of this blog, we considered examples of poetry in Tongan and Yucatec Maya, and here in part 2 we look at examples in Patwa/Jamaican Creole and Yolngu Matha. If you’ve never heard of these languages, read on!

University of Newcastle author wins major literary award

University of Newcastle author wins major literary award
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Indigenous authors win big at Prime Minister s Literary Awards

Wiradjuri author Tara June Winch won the fiction prize for her novel The Yield . Songspirals: Sharing women s wisdom of Country through songlines by the Gay wu Group of Women was the joint winner of the non-fiction prize alongside Sea People: The Puzzle of Polynesia by Christina Thompson. Cooee Mittigar: A story on Darug Songlines by Jasmine Seymour, illustrated by Leanne Mulgo Watson won the Children s Literature prize. The $80,000 fiction prize is the latest accolade for Ms Winch, who has also taken out the NSW Premier s Literary Awards Book of the Year, the Christina Stead Prize for Fiction and the Miles Franklin Literary Award.

Prime Minister s Literary Awards: The Yield and The Lost Arabs throw fragile lines across cultural and linguistic divides

Tara June Winch’s The Yield has won the fiction category of the Prime Minister’s Literary Awards. I wrote an enthusiastic review of this novel earlier in 2020, and my admiration has not abated in the months since it won the Miles Franklin award. If anything, the heart of the story one of reclaiming language, culture, identity, and a possible future seems only more potent now. There is nothing new about the knowledge that whose stories are told, and how they are told, matters enormously. Or understanding that a significant part of what becomes the shared “truth” of a time and culture is the product of the stories told and told again until they are embedded in a reader’s sense of the world.

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