Crow Country

Introductory activities

Crow Country is a novel about a girl named Sadie Hazzard who moves to country Victoria with her mother. Sadie meets two boys named Walter and Lachie and gets to know them, herself, and the area – including its land, histories, and secrets. Crow Country is a story of time travel, healing, forgiveness, and understanding, with Sadie and the boys learning how to right some of the wrongs of the past in their present.

The following activities are designed to introduce students to the narrative, themes, characters, and key concepts in Crow Country.

Author study

Crow Country was written by Kate Constable, a Melbourne-based writer of young adult fiction. As a class, read the About the Author page at the back of the novel. Ask students to turn to the person next to them and discuss one or two interesting things they learned from this page. You could also have them jot down some fun facts based on this and other resources, such as:

• Allen & Unwin – Crow Country (see author bio)
• Booked Out – Kate Constable
• The Booktopian – Kate Constable, author of Crow Country, answers Ten Terrifying Questions
• My Book Corner – Author Interview: Kate Constable

It is important to note that Crow Country – a novel by a non-Indigenous writer – contains references and explores themes relating to Aboriginal peoples, experiences, histories, and beliefs. According to the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS), the best practice for evaluating and selecting these resources is to start with those developed by First Nations peoples themselves, followed by those written in collaboration and respectful partnership. The pyramid on AIATSIS’ website provides an easy way to visualise the spectrum between more and less appropriate resources.

After acknowledging and discussing these considerations, explain that Constable collaborated and consulted with Dja Dja Wurrung people before Crow Country was published. This process is outlined in the appendix of Allen & Unwin’s teachers’ notes (pp. 18–19), along with some of the feedback from Dja Dja Wurrung Elder Gary Murray (who also wrote the Foreword to the novel). It is important to view this material with your students so that they understand the cultural sensitivities and protocols involved in publishing a story like Crow Country. It may also be worthwhile discussing Indigenous Cultural and Intellectual Property (ICIP) and how they keep stories and knowledge safe; the Lowitja Institute, Reconciliation Australia, and Australian Society of Authors all provide useful information about ICIP.

Making predictions

Previewing the content of a book is an effective way to spark students’ interest and provide some of the context that will help them engage with the text. Spend some time looking at the cover of Crow Country with your students. At this stage, just focus on the images. Give them some time to look at it carefully and closely. Then have students make some predictions about the text by asking:

• What do you think the story will be about?
• Who do you think the story will be about?
• What do you notice on the cover that may be an important feature of the setting?
• What do you notice on the cover that may be a symbol?
• Does the feel and details of the cover remind you of any other books you have read?

Remind students that prediction questions encourage critical thinking and activate prior knowledge; they shouldn’t be worried about ‘getting it right’. The questions above could be discussed in pairs or groups of three. Students could also respond individually in writing and revisit their predictions at the end of the novel study.

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Map and video

As a pre-reading exercise, show students the AIATSIS map of Indigenous Australia and point out Dja Dja Wurrung Country in Central Victoria. Also play this ABC Education video about some of the significant places on Dja Dja Wurrung Country. Students can listen to Dja Dja Wurrung man Trent Nelson talk about the importance of language and place, and hear the pronunciation of ‘Dja Dja Wurrung’ if this is new to them.

NOTE: Alternative spellings of Dja Dja Wurrung are listed on AIATSIS’ website (under Name > Synonyms).

The blurb

Return to Crow Country and read the blurb aloud while students follow along. Pause to ask the following questions, either rhetorically or to generate discussion:

• What work do you think a crow would want done?
• Do you know any other stories about time travel/time slips?
• Which words indicate that there will be secrets and mystery in the novel?

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Vocabulary

It is important to warn students that some of the characters (mostly the Mortlock men) use racist language, and to come to an agreement on how the class is going to approach this. Ensure that students understand that such language is offensive. Certain words should not be read aloud (e.g. the slur at the bottom of p. 76), and other examples of racist language should not be repeated outside the context of the novel study, nor should offensive terms be repeated unnecessarily in class discussions.

NOTE: The term ‘blackfella’ is not offensive when used by Aboriginal people, but may cause offense when used by non-Indigenous people (as on p. 104).

Introduce the following vocabulary from the Foreword by Elder Gary Murray. Explicitly teach these terms and have students make some notes in a table like the one below. Note that some words may require further research and/or explanation.

Optionally, as they progress through the novel study, students could expand their vocabulary tables to create a picture dictionary or novel glossary. As they encounter unfamiliar words (no more than two or three per chapter), they could add a definition and/or corresponding image to show its meaning. They can continue this as they read to create an extended dictionary document.

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The Foreword

The foreword of a book – literally the ‘word at the beginning’ – establishes context by introducing readers to the author and main subject. Forewords are written by people other than the authors. Direct students to find the Foreword in their copies of Crow Country. As mentioned above, it was written by Elder Gary Murray. Point out that this authorises the story’s connection to the Dja Dja Wurrung cultural content and places. Read the Foreword aloud to the class as they follow along in their books. Discuss any new and interesting information the students may have learned. Then ask them to write down any questions they have about the novel now that they have read the Foreword. These could be questions that start with the Five Ws (who, what, when, where, why). Return to these questions once students have finished reading the novel, or as part of their Personal Response on Reading the Text (see below).

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Boort

Locate Boort on a map to introduce the setting of Crow Country as a real place in rural Victoria. You could also show students some aerial footage of the town. Suggest that they look for the pub, lake, houses, graveyard, and football oval while watching. This will help them to gain a general sense of the size and features of Boort. As this video is almost 10 minutes long, it may be more convenient to play this shorter video to give students an impression of what Boort is like.

Use the Boort handout (PDF, 73KB) to encourage students to research other maps, images, and descriptions of Boort. This will help them get to know the town and see its importance as the setting of Crow Country and the place in which Sadie comes to reside.

Crows

Crows feature prominently in the novel, as indicated by the title and cover image. Distribute the crows handout (PDF, 142KB) and lead a brainstorm activity on the board, inviting students to share what they know about birds and where they have encountered them in life and in texts. The Queensland Government provides reliable information about crows, but referring to other contextually relevant resources specific to your state or territory is appropriate. In Western Australia, for instance, what is known as the crow or waardong is actually the Australian Raven. In Tasmania, it is the forest raven. Give students approximately 10–15 minutes to fill in the crows handout. You could extend this into a creative activity (e.g. making a crow-themed bookmark) if desired.

The way crows are viewed depends on the environments they inhabit and the cultural and historical stories and relationships people have with them. In some places crows are considered pests, but in others they are highly valued. In writing Crow Country, Constable has drawn on a range of stories and cultural understandings about places and animals. Ask your students if they know of an animal or natural feature that is significant where they live or study. Are there any stories or beliefs about those animals or natural features?

You may also like to show students the provided slides (PDF, 96KB). These explore some facts about crows and their representation in literature. They can be associated with mystery, magic, and death on the one hand, and wisdom, transformation, and protection on the other. It is useful for students to be aware of these connotations before studying Crow Country.

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Picture books

If your class is enjoying learning about crows, you might consider exploring representations of crows in picture books. Reading Australia’s teaching resource for Clever Crow*, written by Nina Lawrence and illustrated by Bronwyn Bancroft, suggests the following titles as possibilities for developing students’ background knowledge (see Literature > Exploring the Text in Context of our Community, School and ‘Me’ > Considering Crows):

• Clever Crow by Chris Butterworth, illus. Olivia Lomenech Gill
• I Am We: How Crows Come Together to Survive by Leslie Barnard Booth, illus. Alexandra Finkeldey
• Mo and Crow by Jo Kasch, illus. Jonathan Bentley
• Six Crows by Leo Lionni
• Crow and the Waterhole by Ambelin Kwaymullina
• Cunning Crow* by Gregg Dreise

* Reading Australia title

If time allows, this 2014 TEDx Talk by avian researcher John Marzluff may be of interest, as would extracts from Bird Brains by nature writer Candace Savage.

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Cross-curricular initiatives in teaching and learning

Teaching about the significance of crows may lend itself to collaboration with Science, Drama, Media Arts, and/or Visual Arts teachers. Consider how you might involve teachers from other learning areas to lead an activity or support your planning. You might even be able to invite a local Elder or cultural educator to share insights and stories as appropriate, understanding that – as with all speakers – they would need to be remunerated for their time and expertise. For more on this, see Reading Australia’s teaching resource for Guwayu — For All Times* edited by Jeanine Leane (see Initial Response > Synthesising Tasks > A Note on Cultural Safety and Remuneration).

* Reading Australia title

Historical context: World War I

Ask students to research the participation of Aboriginal and Torres Strait Islander soldiers in World War I and their treatment after the war. Useful resources include:

• Anzac Portal – First Nations Australians serving during World War I
• AIATSIS – Serving their country
• Deadly Story – ANZAC Day & Aboriginal Service People
• Australian War Memorial – Indigenous defence service
• ABC News – ‘They were back to being black’: The land withheld from returning Indigenous soldiers

To link this to Crow Country, see the Extension Study on pp. 4–5 of the publisher’s teachers’ notes, particularly the questions about the relationship between Clarry Hazzard, Jimmy Raven, and Gerald Mortlock.

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Personal response on reading the text

Crow Country is a powerful story in the way that it foregrounds place and captures the omnipresence of the crows. Guide students to trace the involvement of the crows throughout the book. They could make notes after each chapter and, after every five chapters, discuss in pairs what they have learned about the crows and their role in the story so far. Have they been helpers? Prophets? Guides? Judges? Something else? Students could record their impressions in this table (PDF, 55KB).

Questions to ask while reading the text

There are various narrative elements in Crow Country that might be considered features of genres such as murder mystery, romance, drama, or coming of age. Some of these are listed in this handout (PDF, 47KB). Students can answer the questions to identify the different elements and the genres in which they typically appear. If they think of any other conventions/genres while reading, they can add them to the handout. Discuss the responses in small groups, then as a whole class.

Personal connections: identifying with the characters and their situations

Crow Country presents experiences and explores issues that are relevant to many young readers. These may include experiences of racism, public embarrassment, conflict, moving somewhere new, standing up for one’s beliefs, atoning for past wrongs, and communicating with nature. Encourage students to reflect on these experiences through a series of journal responses, perhaps focusing on those with which they have a personal connection. Consider the individual students in your class to determine any sensitivities around these topics. Some suggested experiences, events, and reflection questions are listed below.

Reflection on completion of the text

Students might write a reflective journal entry on their first reading of the novel. Were there any plot points or characters that resonated with them, puzzled them, or made them feel uncomfortable? If students need guidance writing reflectively, encourage them to follow the ‘What? So what? Now what?’ model of reflection, outlined in this handout (PDF, 74KB).

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Outline of key elements of the text

Responding to the plot

In Crow Country, 13-year-old Sadie Hazzard moves to Boort in country Victoria with her mother Ellie. She finds herself being transported to 1933, where she becomes embroiled in the secrets of the past involving her own family, the wealthy Mortlock family, and the Mortlocks’ Aboriginal stockman Jimmy Raven. A more detailed plot overview is available on p. 2 of Allen & Unwin’s teachers’ notes.

Responding to the characters

Characters are the people represented in a narrative. They are interpreted by readers as having specific moral, intellectual, and emotional attributes or characteristics. Readers make inferences from what the characters say and how they say it (dialogue); from what they do (actions); and from narratorial comments. Some key characters in Crow Country are listed below.

Present day

1933

From this list – and from reading the blurb – students will be aware that the main characters in the present-day narrative are Sadie, Walter, and Lachie. As an initial response to the first four chapters, have students record their first impressions of these characters. For example:

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Character study

As students progress further into the novel, they can undertake character studies. At the halfway point, and again at the end, have students form groups of three to four and guide them to work through the character study handout (PDF, 72KB). They should write relevant quotations from the novel in the boxes and complete the two activities, then present their work to the rest of the class.

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Responding to the themes

Works of literature have themes that develop as the story unfolds. These express ideas about human experiences and real-life issues. Characters and events in the plot often highlight a text’s themes and important messages. Encourage students to reflect on some of the themes in Crow Country:

• Belonging
• Family
• Growing up
• Prejudice and discrimination
• Secrets
• Justice and restitution

The questions on the themes handout (PDF, 73KB) are designed to help students explore some of these themes and what the novel says about them. You could also get students to chart the occurrences of different themes using the theme tracker (PDF, 64KB). If they identify additional themes or other important ideas/messages while reading, they can add them to the bottom of the tracker.

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Synthesising tasks

Letter to the local council

This task will bring together students’ learning about crows with their understanding of how changes to natural habitats can impact wildlife. Have them imagine that their local council is proposing to alter the use of an area (e.g. by damming, constructing a road, developing property, etc.), which will impact the habitat of a local bird species. Have students investigate the best way to voice their concerns to the council. They will need to do some research about their local environment and the birds that inhabit it.

Each student should draft a letter to persuade the local council of the importance of preserving their chosen bird species and its habitat. These annotated work samples may be useful, as may this guide.

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Book trailer

Construct a book trailer as an advertisement for Crow Country. Establish clear time limits so that this does not take too long. Begin by reminding students of the importance of respecting ICIP. Even if you have already done so, now is a good time to review the resources provided at the end of the earlier Author Study.

Depending on students’ prior knowledge, you may need to spend some time exploring the concept of book trailers. Samples are available from Rocket Expansion, and help tips are available from:

• Tristan Bancks – How to Make a Book Trailer
• ACMI – Make a book trailer

Students should use an appropriate app or platform (e.g. iMovie, Adobe Premiere, Canva, etc.) to combine images, video, and/or sound to advertise the novel. They could outline the plot or highlight characters or key themes. Remind students not to reveal too much – there should be no spoilers!

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Optional task: protagonist summary

As an additional task, time allowing, have students summarise what they have learned about Sadie based on the earlier Character Study. Ask them to create a one-page summary that includes an image that represents Sadie (this can be abstract rather than physical). They will need to explain how the image reflects their impression of Sadie and how she is constructed in Crow Country. You may wish to direct students to the following key scenes from the novel:

To guide students to structure their summary, you may like to recommend the following steps:

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The writer’s craft

The setting

Boort is a real town in Victoria, approximately 100km northwest of Bendigo and 250km northwest of Melbourne. Located in the Loddon Valley, it is known as the ‘Northern Oasis’ for its healthy wetlands and copious birdlife (there are more than 50 species in and around the area). ‘Boort’ is a Dja Dja Wurrung word meaning ‘smoke from the hill’. It is important to distinguish between Boort as a real place and Crow Country as a work of fiction. Boort may provide the geographical setting for the book, but the characters and events do not reflect the town’s actual history.

Conduct a close reading of Chapter 1 (pp. 1–7), reading aloud to students and pausing occasionally to elicit predictions and check for understanding. Draw attention to the way content is privileged according to the order in which it is introduced: the crow, then the land, then Sadie. Also emphasise the impression readers get from Constable’s descriptions of the land. We might read it as a vast open space, more landscape than cityscape. Constable begins with an aerial view of Boort from the crow’s perspective, then zooms in to provide more detail about the town and its surrounds. Ask students to work in pairs to study these descriptions and complete the setting handout (PDF, 79KB). They should ask themselves:

• How is Boort described? What details do we get about the town and its physical environment?
• What is the effect of developing these details? How do they affect your understanding of the place in which Sadie and the other characters live?
• How does the description establish the vastness of rural Australia?
• How does the description construct representations of Australia?

As an alternative or extension activity, students can work in groups to produce a poster (PDF, 70KB) to explore other features of the setting and how they contribute to plot, character, and genre.

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The plot

Allen & Unwin’s teachers’ notes, in addition to providing a plot overview (p. 2), contain a useful summary of events in a table on p. 9. There are several focus questions for each section of the story. Students could discuss these as a class before responding in writing so that they develop their notes as they study the novel.

Style

Using language to develop pace and action

A trademark of Constable’s writing is her use of figurative language, which contributes to evocative imagery throughout the novel. It also helps control the pace and action of the narrative, as events are presented in vivid detail and readers are positioned to imagine the distinctiveness of each scene.

For example, in Chapter 24 (pp. 193–200), Lachie pursues Sadie and Walter on his trail bike after catching them inside the Invergarry homestead. The language shapes the pacing and dramatisation, building suspense to a high point of action. Similarly, in Chapter 25 (pp. 201–208), the language helps to dramatise the moment when Sadie (in 1933) retrieves Jimmy’s sacred objects and hides them for herself (in the present). Read Chapter 25 aloud, then give students time to pair up and read some of the paragraphs to each other. In doing so, they will hear the varied sentence lengths and structures that help build suspense and tension until Sadie has completed her task.

The beginning of Chapter 24 is a good example of how chapters can engage readers in medias res, and by beginning with dialogue. Read and discuss the first four paragraphs on p. 193, then give students time to write their own scene in which two friends are fleeing a trail bike or motorbike on foot. They can use Constable’s writing as a model, aiming to include specific details that bring the setting to life and dramatise the action of the pursuit.

An additional option is to read and discuss the characterisation of the trail bike, from the bottom of p.195 to the middle of p.197 (just before Walter throws mud at Lachie). As with the previous activity, give students time to write creatively about a car, bike, bus, boat, or other vehicle that is pursuing them. Encourage them to think about using personification and onomatopoeia to humanise the vehicle and characterise the threat it poses. This could involve describing villainous traits or invoking feelings of terror through sinister combinations of human and non-human qualities.

Now share this annotated extract (PDF, 54KB), which examines style more closely, with students. Read through the extract and give students time to examine the annotations. Encourage them to add their own notes and to mark/highlight stylistic features, including language, syntactical, and punctuation choices.

Alternatively, you may wish to guide students to complete the following activity adapted from Reading Australia’s teaching resource for Blueback* by Tim Winton (see Initial Response > Personal Response on Reading the Text > Evocative Language and Quote Analysis).

While reading, have students keep a record of evocative language Constable uses to vary pace, establish setting, and construct characters. Using p. 11 as an example, discuss what we can learn about the characters, their experiences, and the setting from the description of Sadie and Ellie’s house. Then model how to:

• Analyse the passage, giving particular attention to the use of figurative language and word choices
• Evaluate the quote and explain its significance

Students can then work independently to identify other examples of evocative language in Crow Country. They can use a record-keeping table (PDF, 49KB) to conduct their own language analysis and evaluation.

* Reading Australia title

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Using language to construct characters

Constable also effectively constructs characters in whom readers are willing to become invested. At times, we are moved by the events of the story because the characters are convincing and (for the most part) likeable. In Chapter 8 (pp. 51–60), during Sadie’s first time slip to 1933, the Hazzards are visited by Jimmy. Constable’s language constructs Jimmy as a big, friendly, but serious man with something troubling on his mind.

Distribute another annotated extract (PDF, 55KB) from this chapter. Again, read through the extract and annotations with students and encourage them to add their own notes. Students can then work individually, in pairs, or in small groups to annotate one of the following short passages in relation to character construction:

• Sadie (pp. 8–9)
• Lachie (pp.19–20)
• Walter (pp. 22–23)
• Clarry (p. 48)

For a creative option, you could ask students to write a more detailed description of a minor character from Crow Country using the annotated extract as a model. For example, they could write a description of Mrs Fox from the supermarket (pp. 126, 144), or one of Lachie’s friends from the pub (pp. 33–34).

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Text and meaning

Exploring themes and ideas

As a way of encouraging students to explore the themes in the novel (see Initial Response > Outline of Key Elements of the Text > Responding to the Themes), place them into groups of four or five and assign each group a different theme. Ask them to complete the following table and then verbally present their findings to the class at the end:

Values that students may identify in completing this task include (but are not limited to):

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Meaning in context: the crows

Throughout Crow Country the crows instruct, at times haunt, and other times protect Sadie, who has been tasked with ‘finishing the story’ that began with Clarry, Gerald, and Jimmy. The crows urge Sadie to right past wrongs and atone for Jimmy’s murder, as well as the neglect and displacement of his sacred objects.

Thinking back to their exploration from the Initial Response section (see Introductory Activities > Crows), students should consider whether the crow is a helper and protector, a guide and authority, or a bearer of bad news. Where do the crows appear in the novel and why? Guide students to record these details as a way of mapping the development of Sadie’s relationship with the crows. They might present their findings visually, in the form of a poster or using an app or platform like PowerPoint, Sway, or Canva. The learning process here establishes the crow as a motif in the novel.

To build on this work, guide students to compare Sadie’s understanding of the crows to Walter’s. Read Chapter 15 (pp. 109–118) with the class, focusing particularly on pp. 116–117. Discuss and then have students respond in writing to the following questions:

• What non-Indigenous beliefs about crows do Walter and David identify?
• Why are crows important in Boort, on Dja Dja Wurrung Country?
• How do Ellie and David respond to Sadie and Walter’s convictions about the crows? In what ways is this reaction problematic?

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Synthesising tasks

Storytelling through a different medium

Ask students to imagine that they are adapting Crow Country as a Netflix series. Their task is to create an outline for the adaptation and possibly develop a storyboard based on one or more significant plot events. Students should consider:

• Who is your audience? Is it the same as the original novel?
• How would you adapt the narrative into an episodic format?
• Would you include all characters and subplots?
• What would the major settings be? What would they look like?
• How will the time slip work visually as opposed to in writing?
• Which actors could be cast in the various roles?
  • NOTE: Remind students of the importance of authentic representation; Aboriginal characters should be played by Aboriginal actors.
• Crow Country was first published in 2011; would any elements of the story need to be reconsidered or updated for the current year?

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Working with point of view

Crow Country is written in the third person. Explore the effect of this choice of narration on the story. What would change if it was written in the first person?

Students should choose a character from the novel and re-write a scene from their first-person perspective. Sadie would be an obvious choice, but students could also pick Ellie, Lachie, or someone else altogether. They should not write in the voice of Walter, David, Jimmy, Vonn, or Auntie Lily if they themselves are not Aboriginal. It may be pertinent to explain why this is not appropriate; this 2014 article about writing First Nations characters, featuring Wiradyuri writer Anita Heiss, may be useful here.

Students should focus on creating an authentic voice through language choices. They should also aim to accurately reflect their character’s attitudes and insights. This is a good time to revise the earlier Character Studies (see Initial Response > Outline of Key Elements of the Text > Responding to the Characters), or complete new ones if necessary. More capable students might experiment with incorporating memory passages or complex contextual engagements.

Students should also submit a rationale or statement of intent that outlines their choices in relation to:

• The construction of voice
• What this narrator enables
• What new or different information they make available to the audience
• Whether the audience might respond differently to themes, ideas, etc. based on the narration

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Close reading

Conducting a close reading teaches comprehension by closely examining how language, structural, and generic features make meaning in a text. This was explored above in relation to Style. The aim of this task is to assess how well students understand how authors use language to construct ideas and position readers.

Ask students to carry out a close reading of one of the following passages:

• Chapter 20 (pp. 155–162)
• The bottom of p. 53 to the end of p. 57
• Pp. 62–68
• Pp. 105–108

Make sure each student has a copy of the book so they can access the relevant passage. Allow time for them to read the text closely and complete the task, which may take one to two lessons. If additional scaffolding is needed, revisit some of the earlier work around annotated extracts.

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Ways of reading the text

Although it is a work of fiction, Crow Country explores events and situations that recall or replicate moments from Australia’s past – or, indeed, contemporary contexts. In doing so, the novel explores critical postcolonial understandings of our national history, engaging with both colonial and Aboriginal voices. The following activities will help students understand the different perspectives within the text, the surrounding cultural theories, and our role as readers of the novel.

Boort: past, present, and future

Crow Country is a story of Australia’s past, present, and future. As explored in the Close Study section (see The Writer’s Craft > The Setting), Constable has combined a factual location with a fictional storyline. Considering Boort as symbolic of Australia opens up an interesting way of reading the novel.

Ask students to consider Boort as a stereotypical Australian town. As a class, list the stereotypically ‘Australian’ elements of the town, thinking about:

• Its location
• The landscape
• Features, buildings, and landmarks
• The interests of the townspeople
• What brings them together
• What divides them

What statements could students make about Boort as a representation of Australian society, culture, and/or history? Brainstorm ideas, write some examples together, and decide on the best sentences to communicate this aspect of the novel.

Boort’s story spans multiple generations. Using a table like the one below, ask students to list the various perspectives presented about who belongs, what gives people power, and who is allowed a voice in Boort. With each of these perspectives, students should also cite an example of where they see this operating in the novel.

After completing the table, students should consider the following question as a personal reflection:

What do I understand about Australia’s history from reading Crow Country?

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Different voices

Crow Country is told in a way that allows for multiple voices to be heard. It moves between past and present, and concludes by focusing on the voices of the future (Sadie, Walter, and Lachie) as well as those from everywhen (the crows). We hear from various characters over the course of the novel, but ultimately it is the close relationship between the reader and Sadie that drives home Constable’s messages about reconciliation and reparation.

Students should analyse and annotate Sadie’s dialogues with Clarry and/or Gerald in Chapter 18 (pp. 134–144), as well as Jimmy’s dialogue with Clarry in Chapter 17 (pp. 131–132). Pay close attention to the ways the different characters use language (word choices, register, idioms, etc.) as well as their dominance within the dialogue. This is indicated by the amount they speak; their tone and volume; whether they question or demand something of the person they are conversing with; and whether they appear to actually listen to that person’s responses.

Now ask students to imagine what would happen if Lachie slipped back in time to meet his great-grandfather. Students should write a 100-word dialogue in which Lachie asks Gerald about his life, his choices, and his fate. Remind students of the fundamentals of writing dialogue (e.g. punctuation), and instruct them to retain the third-person point of view. The dialogue should attempt to represent the characters’ views (though you should caution students against reproducing potentially offensive ideas) as well as the language patterns they use when they speak.

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Critical histories

Constable has written a fictional story about a crime from the past: the murder of an Aboriginal man, which was never investigated and for which no one was ever held accountable. As explored above, we can read the Boort of Crow Country as a reflection of broader issues within Australia. Jimmy’s murder and Gerald’s unblemished reputation echo real injustices that have transpired over years, decades, and centuries. Anthropologist W. E. H. Stanner has written about ‘a secret river of blood’ running through our nation’s history; novels like Crow Country seek to expose this history in an act of truth-telling.

NOTE: Be sure to consider cultural sensitivities and provide safeguards for students when discussing this difficult history.

Crow Country also asks readers to interrogate how we have come to understand values such as mateship, perseverance, egalitarianism, and resilience. Related to this is the issue of remembrance and who or what we choose to commemorate. This is highlighted by the dedication at the front of the novel:

In memory of all the Jimmy Ravens who fought and died for their country, and who should not be forgotten.

Ask small groups of students to write down some ideas in response to the following questions, for subsequent discussion as a whole class:

• Why is Clarry, Gerald, and Jimmy’s war service so important in the novel?
• What does Jimmy’s fate reveal about the fraught history of race relations in Australia?
• Do you think the dedication is only talking about people who served in World War I? What other events might it refer to?
• How do you think Crow Country has shaped your thoughts about remembrance? Think of the war memorial, the stones, the graveyard, etc.

As an optional extension, ask students to explore the term ‘postcolonial’. In their landmark book The Empire Writes Back (1989), Bill Ashcroft, Gareth Griffiths, and Helen Tiffin use ‘postcolonial’ to describe culture that has been impacted by ‘the imperial process’, ‘from the moment of colonisation to the present day’. There is debate as to whether Australian literature may be read as postcolonial because, in Australia, the coloniser has not departed (Wiradyuri writer Anita Heiss has explored this at length in ‘Post-Colonial – NOT!’). Ask students:

How might we position Crow Country in relation to postcolonial theory? Should we describe the novel as postcolonial literature?

For more information on postcolonial (and decolonial) approaches to non-Indigenous writing, see Reading Australia’s teaching resources for Limberlost* by Robbie Arnott (Significance > Ways of Reading the Text > Postcolonial and Decolonial Approaches) and The Secret River* by Kate Grenville (Significance > Ways of Reading the Text > Postcolonial Reading).

* Reading Australia title

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Comparison with other texts

Blended genres

As a novel, Crow Country blends several genres. The publisher describes it as ‘a gripping time-slip adventure’ involving a ‘strange mystery’, but it could also be considered a coming-of-age story or historical fiction. Explore the conventions of each of these genres using a jigsaw strategy.

Divide the class into groups of four and allocate a genre to each group member:

1. Time slip
2. Mystery
3. Coming of age
4. Historical fiction

Allow time for students to do some individual research on their allocated genre. Focus questions might include:

• What are some well-known texts in this genre?
• What are the usual features of this genre?
• Who are some authors who have written in this genre?

Now have students form groups based on their allocated genre (there will be four in total). They must work together to summarise the conventions of that genre. Each student should share information from their individual research. Circulate among the groups to ensure that the information being shared is accurate.

Students will then return to their original group of four to share their genre summaries (within a directed timeframe). As a group, they should identify the elements of each genre that are evident in Crow Country, and cite at least two examples of each genre from the book.

Finally, pose the following question and ask students to write an informal response:

Could the ‘strange mystery’ of Crow Country be solved without the blended genres we have identified?

NOTE:  You could extend this activity to six genres if you added romance and fantasy.

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Time slip

The time-slip novel has one specific feature that is different to other types of storytelling: the protagonist’s unintentional time travel (at least in the first instance).

Here are some features of the time-slip novel:

• This genre allows readers to explore the past, and often comments on the impact of the past on the present by contrasting or tracing the experiences of characters in both periods.
• The historical elements provide realism while also making the fantastical elements more believable.
• Narrative style can vary; some stories rely more on fantasy (e.g. magic, surrealism) while others are more realistic. In Crow Country, Aboriginal storytelling traditions are also important as time structures and divisions between human and non-human actors are not rigid.
• Many time-slip stories follow non-linear narrative structures with flashbacks and flash-forwards. Sometimes there are also multiple narrators.
• Characters operate as they do in most narratives, except that the protagonist’s growth is influenced by their experience of multiple times/contexts. There are complex characters in each time.
• The construction of setting in the past and present is critical to the narrative’s believability. Both settings need to be rendered in detail, with critical differences and well as important similarities and connections.
• Time-slip narratives often explore the idea that time is not linear, but rather a web of interconnected moments. Another common theme (as mentioned above) is the impact of the past on the present.

Based on this summary, consider other examples of time-slip stories that students may be familiar with (e.g. novels, films, television series). One way to explore this would be:

• Write each feature on a separate A3 sheet, and place the sheets at stations around the classroom
• Ask students to think of examples (from any genre) for each station and write them on sticky notes
• Once they have exhausted their own examples, provide them with others they may not have considered. For example:
  • The Mud Puddlers by Pamela Rushby
  • The Girls Who Changed the World series by Jackie French
  • Elsewhere Girls by Emily Gale and Nova Weetman
• As a class, cross-reference the examples to find texts that meet all the criteria, most of the criteria, half of the criteria, and just one of the criteria of time-slip narratives
• Decide whether a text needs to meet every single criterion to be considered a time-slip narrative

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While considering ideas about time and time slips, also explore concepts of time in Aboriginal and Torres Strait Islander cultures. An understanding of non-linear time – in which past, present, and future exist simultaneously – provides a useful perspective on the plot, characters, symbolism, and themes of Crow Country.

See Chapter 4 of Listening from the Heart by Cara Shipp for a discussion of the Dreaming and concepts of time (pp. 75–76). The following websites may also be useful:

• Common Ground – The Dreaming > Everywhen
• The Conversation – ‘Dreamtime’ and ‘The Dreaming’: an introduction
• Climate Justice and Resilience Toolkit – Concepts of Time > Indigenous concepts of time

Coming of age

Coming of age is a popular storytelling structure that describes many young adult (YA) novels and film.

Here are some features of the coming-of-age novel:

• The protagonist undergoes various experiences that lead to growth and maturation.
• These experiences often include moving or leaving home; finding friends and coming into conflict with them; difficult parental relationships; and a loss of innocence in relation to the wider world and surrounding institutional structures.
• The protagonist’s maturation relates to their moral growth, as well as emotional development and social experiences.
• Most coming-of-age stories provide insight into the protagonist’s thoughts and feelings, as well as the wider world that they must learn to be part of.
• They also address issues that are relevant to young people at the time of writing, and sometimes provide social commentary on the world depicted in the book.

As a class, explore these features and consider how Crow Country conforms to the coming-of-age genre. This can include:

• A consideration of how Sadie and Ellie’s relationship evolves
• Plotting the moments of transcendence, revelation, or initiation (when Sadie realises something about the world that she didn’t know previously)
• Comparing how Sadie sees herself at the beginning and end of the novel
• Comparing how Sadie sees the people and world around her at the beginning and end of the novel

Finish by discussing:

What does it mean to ‘come of age’ in Sadie’s context?

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Option for comparative study

Catching Teller Crow is a blended genre YA novel by Ambelin and Ezekiel Kwaymullina, siblings who come from the Palyku people of the Pilbara region of Western Australia. It is a dual narrative set in regional Australia with ghost story, crime, and thriller elements. Catching Teller Crow explores themes of grief, colonial history, violence, hope, and love in both the present and the past. This makes it an interesting candidate for comparison with Crow Country, facilitating exploration of genre, symbolism, theme, and the writing of Aboriginal and Torres Strait Islander characters and experiences.

Once again, a teaching resource is available from the publisher Allen & Unwin.

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Evaluation of the text

Commemoration and Australian culture

Crow Country contains a number of critical representations of Australian culture. You might consider the football club or the pub, but the war memorial would make the most interesting case study.

If possible, read Memorial by Gary Crew and Shaun Tan and ask students to write a personal response to the book. You might provide them with a focus question such as ‘What does this book make you think about Australia?’ or ‘How is the Anzac legend commemorated?’

Then ask students to revisit Chapter 2, when Sadie first notices the war memorial in Boort (pp. 9–10). They can also look up references on pp. 16 and 57. As a class, discuss the significance of the memorial to:

• Boort (as depicted in the novel)
• Sadie’s sense of belonging
• The themes of the novel

Pose the following question for class discussion:

What is the importance of commemoration in the novel?

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Time-slip worldbuilding

Works of both fantasy and historical fiction require a composition process called worldbuilding. This means that the creator of the text must create a world that is believable and understandable for both the characters who inhabit it and the readers who do not.

The world of Crow Country will be familiar to contemporary readers. While Boort has its own unique features and significant sites within the novel, it will still be recognisable to people who have spent time in small country towns (or seen them depicted in other media). The Boort of 1933, while also familiar, must be different enough that Sadie and the reader understand that a time slip has occurred. The social contexts in the past and present will also differ significantly.

Read Sadie’s first time slip aloud to the class, from p. 43 (when the crow unfurls its wings) to the bottom of p. 47 (when Sadie starts to feel faint). Students should follow along with their own copy of the book. After reading the passage in its entirety, ask the class what makes it apparent that (1) the time has changed and (2) the past is different to the present. Remind them to cite examples from the text.

Ask students to closely read the paragraph at the bottom of p. 43, and analyse the language features Constable uses to indicate movement and confusion. Then have them select a two- or three-sentence block from the wider excerpt (pp. 43–47), read it  closely, and annotate the language that helps to establish the world of the past.

If you have not already done so, look at examples of other time-slip narratives to consider how the authors engage in worldbuilding and signal the time slips. Suggestions include:

• The Mud Puddlers by Pamela Rushby
• The Girls Who Changed the World series by Jackie French
• Elsewhere Girls by Emily Gale and Nova Weetman
• Heroes of the Secret Underground by Susanne Gervay
• The Children of the King by Sonya Hartnett
• The Timeslip Collection by Belinda Murrell
• Playing Beatie Bow* by Ruth Park

* Reading Australia title

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Rich assessment tasks

Analytical essay: Sadie comes of age

Guide students through the process of writing an analytical essay. It should be clear that analytical essays are shaped around points of analysis and understanding. Thesis construction, paragraph structure, and the incorporation of quotations/textual evidence should all be part of your preparation.

Students are to compose an essay in response to the following prompt:

Explain how Sadie Hazzard comes of age in the novel Crow Country.

Depending on your students’ experience and skill level, you may wish to provide some scaffolding for this task (Matrix Education has a useful guide). Students could complete the essay in one period, over multiple periods, or as a combination of at-home and in-class work. If conducting the assessment in class, you may decide whether or not to allow students to bring notes (ranging from essential quotes to an essay outline/draft) or a copy of the novel, depending on the level of support required.

The Protagonist Summary from the Initial Response section (under Synthesising Tasks) will provide some useful training for this assessment.

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Worldbuilding: time-slip transition

Students should select a place that they know well and investigate what it would have been like 100 years ago. Alternatively, if something historically significant has happened at your school’s location, you may wish to use that as the setting for this task.

Ask students to write a time-slip transition of approximately 400 words. This should include three components:

1. A grounding in the present
2. The time-slip confusion
3. Worldbuilding to establish both the familiarity and difference of the past

If students are choosing their own time-slip location, they must present their idea(s) to you before they start writing. Remind them that it is not appropriate to assume the voices of Aboriginal or Torres Strait Islander characters if they do not share this background.

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Synthesising core ideas

What did I think? Where did it go?

Students made predictions about Crow Country at the beginning of the novel study (see Initial Response > Introductory Activities > Making Predictions). These should be revisited now alongside focus questions that will help students to reflect on their initial thoughts and how their knowledge/understanding has developed. For example:

• How accurate were your predictions? Cite examples of what you thought would happen versus what actually happened in the story.
• How significant was the symbol on the front of the cover? Explain your thinking.
• Did the novel address the same ideas you thought it would? What more did you discover? NOTE: You might like to revisit earlier work under Initial Response > Outline of Key Elements of the Text > Responding to the Themes.
• With this reading experience behind you, are you interested to read any other types/genres of books?

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Whose story is it to tell?

In the past, many Aboriginal and Torres Strait Islander peoples have had stories told about them – or have had their own stories stolen – with no opportunity to speak for themselves and no acknowledgement of their cultural and literary knowledge. This 2016 Meanjin essay by Waanyi author Alexis Wright is likely too advanced for students, but will be important for your own understanding of this topic. A lot of stories have been hidden or suppressed over the course of Australia’s history, and many others have been told by those who did not have the authority to tell them.

By now students will have an understanding of the cultural sensitivities and protocols surrounding Crow Country. Review the information under Initial Response > Introductory Activities > Author Study, as well as the appendix of Allen & Unwin’s teachers’ notes, to remind students of the collaboration and consultation that took place between Constable and Dja Dja Wurrung people. Also re-read the Foreword by Elder Gary Murray. Then consider the importance of these processes by discussing the following questions:

• Why do you think it is important for people who are interested in Crow Country to understand the consultation process involved?
• How do you think Uncle Gary’s input shaped the representation of Dja Dja Wurrung land and beliefs in the novel?
• If you didn’t know that a consultation process had been completed, might you be worried about the Dja Dja Wurrung cultural knowledge being included in the story? Explain your thinking.
• Thinking about the Foreword now, why do you believe it was included? How does it shape your understanding of the novel?

Explore the idea of authenticity in storytelling by having students write a story that is theirs – and only theirs – to tell. They do not need to share this story with anyone if they do not wish to do so. You might have them write on loose sheets of paper so they can take them home at the end of the lesson. Once they have written their story, however, have them answer the following questions:

• Would your story be the same if someone else told it? How might it be different? NOTE: Students can respond broadly to this question; they do not need to provide details from their story.
• How would you respond if you heard someone else telling your story in a way you didn’t agree with?

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Activist literature

As a class, explore the question:

What is a dedication?

Dedications can be very personal acknowledgements, but can also be public statements about particular issues, situations, or causes. Look at some dedications in texts the students are familiar with and assess their role. Have students respond individually in writing to the aforementioned question. Then display the dedication at the front of Crow Country:

In memory of all the Jimmy Ravens who fought and died for their country, and who should not be forgotten.

After a moment of consideration, underline the word ‘all’ and ask students what it means. Hopefully they will find their way to the answer that Jimmy is an emblematic or representative figure. They might interpret this as representation of First Nations servicemen, or of First Nations peoples throughout Australia’s colonial history. Ask students to write down what they understand from this dedication.

Now ask students to consider the dedication as an example of literary activism: a story to move readers to action in relation to an injustice, or to provide a voice to the voiceless. You may find aspects of this 2008 paper useful here. After some discussion, choose one of the following activities to consolidate learning.

Option 1

Introduce the term ‘reconciliation’. Ask students to write down any words they associate with this term and whether they see it as having a role in Crow Country. Display the Reconciliation Australia website and together read through the five dimensions of reconciliation:

1. Race relations
2. Equality and equity
3. Historical acceptance
4. Institutional integrity
5. Unity

Ask students to record these dimensions and see if they can think of any events, characters, or settings in Crow Country that seem relevant.

Conclude by asking students to write a written reflection on the following question:

Do you think Crow Country is a work of literary activism?

Option 2

Provide the following statement and question to students:

In this 2014 article for Kill Your Darlings, Palyku writer Ambelin Kwaymullina reflects on how Indigenous people ‘continue to be pushed to the edges … where it is easy to fall out of the world’.

How do you think this statement relates to the character of Jimmy Raven, and to ‘all the Jimmy Ravens’ mentioned in the dedication?

You might like to start with a think-pair-share or class discussion to generate some ideas, then have students jot down their thoughts in writing. Invite them to share and explain their ideas with the rest of the class.

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Rich assessment tasks

History and the present

Review the features of time-slip novels as described in the Significance section (see Comparison with Other Texts > Blended Genres > Time Slip). Then share this Brightly essay about the benefits of reading historical fiction. Focus particularly on the last four paragraphs, which talk about opening a dialogue between past and present; learning about truth and change; and preparing for the future.

With this in mind, ask students to write an analytical essay in response to the following prompt:

Explain how Crow Country’s use of genre helps readers to understand ideas about the past.

As mentioned, reviewing the features of time-slip novels will help students establish a thesis and main points for discussion. They can also refer to:

• Initial Response > Outline of Key Elements of the Text > Responding to the Themes (for further discussion material)
• Significance > Rich Assessment Tasks > Analytical Essay (for guidance structuring an analytical essay)

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Biographical narrative about landscape

Telling stories about our own lives seems simple enough. After all, we were there, so it is easy to recall and recount what happened. Sometimes, however, it can be difficult to find the right words to explain our feelings and understandings of an event. It can also be challenging to remain objective in recounting something that happened to us. We may even forget to relay the small details that make our own memory of a situation so vivid.

One way to ensure that our storytelling is effective, engaging, and memorable is to provide the details that stand out from our sensory experience: that is, what we saw, heard, smelled, tasted, or physically felt in the moment. This type of writing does not need to be objective; it is simply an exploration of what you felt at the time.

Plan and draft a 500-word narrative about a time you felt overwhelmed by an aspect of nature or the landscape. It might be the sea, the rain, the sky, thunder, the beauty of a plant or animal, and so on.

Be sure to:

• Provide the details of what you sensed as you observed this phenomenon – how did it look, sound, physically feel against your skin? What could you smell or taste in the air?
• Try to capture not only how your senses were engaged, but also what emotions and thoughts were elicited by this experience.
• Write from the first-person point of view.

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