The Flowers on his bedside speak of eternity

Poem

Elegy To space

Poem

Exploring Indigenous representations in Australian film and literature for the Australian Curriculum

The Australian Curriculum: English, v.5 (ACARA, 2013) now being implemented in Queensland asks teachers and curriculum designers to incorporate the cross curriculum priority (CCP)of Indigenous issues through Aboriginal and Torres Strait Islander histories and cultures. In the Australian Curriculum English, (AC:E) one way to address this CCP is by including texts by and about Aboriginal and Torres Strait Islander people. With the rise of promising and accomplished young, Indigenous filmmakers such as Ivan Sen, Rachael Perkins, Wayne Blair and Warwick Thornton, this guide focuses on the suitable films for schools implementing the Australian Curriculum in terms of cultural representations. This annotated guide suggests some films suitable for inclusion in classroom study and suggests some companion texts (novels, plays, television series and animations, documentaries, poetry and short stories) that may be studied alongside the films. Some of these are by Indigenous filmmakers and writers, and others features Aboriginal and Torres Strait Island representations in character and/or themes.

The hazards

Poem

Postcard from another life

Poem

Three sketches of a favourite cat

Poem

Possum

Poem

Approaching Paradise

Poem

A crab tide

Poem

Transforming saltbush : science, mobility and metaphor in the remaking of intercolonial worlds

The movement of exotic biota into native ecosystems are central to debates about the acclimatisation of plants in the settler colonies of the nineteenth century. For example, plants like lucerne from Europe and sudan grass from South Africa were transferred to Australia to support pastoral economies. The saltbush Atriplex spp. is an anomaly-it too, eventually, became the subject of acclimatisation within its native Australia because it was also deemed useful to the pastoralists of arid and semi-arid New South Wales. When settlers first came to this part of Australia, however, initial perceptions were that the plants were useless. We trace this transformation from the desert 'desperation' plant during early settlement to the 'precious' conservation species, from the 1880s, when there were changes in both management strategies and cultural responses to saltbush in Australia. This reconsideration can be seen in scientific assessments and experiments, in the way that it was commoditised by seeds and nursery traders, and in its use as a metaphor in bush poetry to connote a gendered nationalist figure in Saltbush Bill. We argue that while initial settlers were often so optimistic about European management techniques, they had nothing but contempt for indigenous plants. The later impulses to the conservation of natives arose from experiences of bitter failure and despair over attempts to impose European methods, which in turn forced this re-evaluation of Australian species.

'In the Room' and 'School Chemistry Class'

Two poems in journal Axon. 2013 Issue 4.

Chrissy Amphlett and You

Poem - elegiac on the death of Chrissy Amphlett, international songwriter and vocalist.

The Visitor

A poem of 25 lines that examines the postcolonial aspect of living in a small country town. The poem feeds into research of place and identity. It explores how poetry can highlight the conflicts of a changing sense of place and identity. This poem specifically contributes to research on Australia as a postcolonial space. It also fits in with ideas of ecocriticism and how a sense of place and space are constantly changing. It uses a ecocritical lens.

Aha! The return of Alan Partridge

Throughout a long and occasionally distinguished career first as a television sports correspondent, then chat show host (dramatically ended by the accidental homicide of a guest live on air), then rebirth as a radio presenter at North Norfolk Digital, Alan Partridge has navigated the stormy waters of the British media landscape, now achieving mainstream success on the big screen with a starring role in Steve Coogan’s Alpha Papa (Declan Lowney, 2013). A man who in his desperation for a television series of his own once sank so low as to pitch a show called Monkey Tennis to the BBC finally finds his inner hero in a film which, while presenting mainly as comedy, also contains a biting critique of trends in the British media with which all journalists and media practitioners in general will be familiar. Alpha Papa is a nostalgic, elegiac riff on the pleasures and values of local radio the way it used to be, exemplified by North Norfolk Digital’s stable of flawed, but endearing jocks – Wally Banter, Bruno Brooks, Dave Clifton (who in one scene recounts the depths to which he sank as an alcoholic, drug addicted wreck—“I woke up in a skip with someone else’s underpants in my mouth. I can laugh about it now …”), and Pat Farrell. 50- something Pat is sacked by the new owners of North Norfolk Digital, who in their efforts to transform the station into a “multiplatform content provider” going by the more Gen Yfriendly name of Shape (“the way you want it to be”), wish to replace him with a younger, brattish model lacking in taste and manners. Out go records by the likes of Glen Campbell and Neil Diamond (“You can keep Jesus Christ”, observes Partridge after playing Diamond’s Sweet Caroline in a demonstration of the crackling radio repartee for which he is by now renowned, “that was the king of the Jews”), in comes Roachford. Pat, grieving his dead wife Molly, finally snaps and turns the glitzy media launch of Shape into a hostage siege. Only Alan Partridge, it seems, can step in and talk Pat out of a looming catastrophe.