Introductory activities

Suitability

The text as a whole could be adapted to any Literature unit for Years 11 to 12 students, especially Heat, the collection of short stories told by different members of the Kresinger family, which is the first section of the text. The novella, Water, in the middle of the text could be taught in isolation in Year 10 but does include some sexual themes. The collection of short stories in the third section of the text, Light, while united under themes of identity, freedom and belonging, could also be taught individually. ‘Paddles, Not Oars’ and ‘Currency’ in particular, would resonate with Years 9 to 10 readers: the former as an exploration of a teenage boy living with his mum and yearning for connection with his father, and the latter following an instantly likeable ‘Aussie battler’ family with an Aboriginal father facing discrimination everywhere they travel (e.g. refusal of service, difficulty getting a job).

About the author

Ellen van Neerven is a Mununjali Yugambeh writer from South East Queensland. The Yugambeh people are a group of clans who are the traditional owners of the Logan City, Gold Coast, Scenic Rim, and Tweed City regions in South East Queensland. The Mununjali clan is from the Beaudesert region of the Scenic Rim. Queensland and northern NSW Aboriginal peoples sometimes also refer to themselves as ‘Murri’ a contemporary collective name spanning all clans and language groups (just as the collective colloquial term for Aboriginal peoples of NSW and Victoria is ‘Koori’). Ellen also has Dutch heritage.

Ellen’s first book, Heat and Light (UQP, 2014), was the recipient of the David Unaipon Award, the Dobbie Literary Award and the NSW Premier’s Literary Award: Indigenous Writers’ PrizeHeat and Light was also shortlisted for the Stella Prize, the Queensland Premier’s Award for a work of State Significance, and the Readings Prize.

Ellen’s second book, a collection of poetry, Comfort Food (UQP, 2016) was shortlisted for the NSW Premier’s Literary Award: Kenneth Slessor Prize and Highly Commended for the 2016 Wesley Michel Wright Prize.

Until 2016 Ellen was the Managing Editor of black&write!, an Indigenous writing and editing project hosted by the State Library of Queensland. Her experience as a student of creative writing at university and as an editor has heavily shaped her writing style: ‘My grammar and economy of language had been hardened from university, and my instincts sharpened from my training as an editor.’ (Neerven, E, 2015. ‘Kindness and Failure: the journey of writing Heat and Light’.

Discussion points:

Heat and Light draws on the author’s experience of Indigenous identity and connection with Yugambeh land in the South East Queensland region. Refer to the interactive language map with associated videos by local traditional custodians.

Note that the author’s finely honed crisp, evocative writing style and ‘economy of language’ will be discussed during this unit. For example, in the first story, Heat, Amy is told by a local shopkeeper that her real grandmother was Pearl, the sister of Marie whom she had grown up believing was her grandmother. Amy describes how she and her father react to the news of who her real grandmother was:

I tug at the traffic all the way back to the city, and quickly go into the house I grew up in. I find my father – on the back stairs, painting – who denies everything the old lady has told me. He spills paint three times on his boot, so I know I have to go back. (p. 5)

Van Neerven describes this dramatic revelation in such a simple yet elegant way, expressing a whole range of emotions and ideas in a few words.

Cultural and historical understanding

It is difficult to read texts by Aboriginal and Torres Strait Islander authors without considering the cultural, historical and sociopolitical references inevitable in the texts. Alice Healy-Ingram writes about teaching texts by Aboriginal and Torres Strait Islander authors as a non-Indigenous educator and makes the point that, ‘Indigenous writing is necessarily political, whether the purpose is to speak back to past colonial injustices or to offer a more affirmative celebration of Indigenous people…’ [Healy-Ingram, A. (2011), ‘Teaching Indigenous Literature: an ethics of voice’, in Doecke, Brenton, McLean Davies, Larissa and Mead, Philip (ed.) Teaching Australian literature: from classroom conversations to national imaginings. Wakefield Press.]

Aboriginal and Torres Strait Islander peoples’ experiences of life after 1788 can largely be divided into the eras of protectionism, assimilation and self-determination under Commonwealth and State Government policies. Much of Aboriginal and Torres Strait Islander literature explores the effects of all of these eras in some way (often noting the effects on families in cycles of trauma, or ‘intergenerational trauma’).

Provide students with information on the following key ideas. This could be divided up among groups of students in a jigsaw activity: students have an initial ‘home group’ of six members, who disband to re-form six ‘working groups’. After they complete and share the research about their topic within their working group, they return to their initial home group, where they teach their peers about their own topic. (Numbers of topics or groups may be changed to suit class numbers and the needs of individual cohorts.)

This activity may serve as an initial assessment activity, specifically evaluating research, collaborative and communication competencies, particularly for Essential English students if you are teaching in combined classes.
(ACELR041)   (ACEEE037)   (ACEEE038)

Key ideas

1Post-1788 Aboriginal and Torres Strait Islander history

Students should research and develop a basic understanding of the eras of protectionism (missions), assimilation and self-determination for Aboriginal and Torres Strait Islander people under Australian law.

Suggested resources are:

Draw out from discussions some understanding of how past interactions between government and Aboriginal and Torres Strait Islanders have affected people and families right up until today, including impairing connections to culture, altering way of life, and resulting in trauma (e.g. cycles of abuse leading to alcoholism, crime, mistrust of authority).
(ACELR041)

2. Diversity of cultures and histories

Australia is made up of different Aboriginal and Torres Strait Islander groups. Though these groups are similar in many ways, they have some different cultural customs and languages too (see the Aboriginal Languages Map). Some groups know more about their traditional culture and language than others due to the impact of colonisation. In heavily colonised areas, many Aboriginal groups have lost a lot of traditional knowledge, or they have some stories and memories but limited language. A lot of this is being re-learned from records that European anthropologists took in the early days of colonisation. In more remote places, where less colonisation occurred, groups have been able to maintain a lifestyle very close to traditional customs, but children learn how to function in both Aboriginal and Anglo-Australian ‘worlds’.

Ask students to view and compare two Indigenous resources: one from a remote community that lives more ‘traditionally’ and one from an urban environment. If at all possible, invite local Aboriginal guest speakers into the school, visit a local cultural centre, or access web/book resources about local groups.

For example, learn about the Yolngu culture and way of life through the Twelve Canoes digital resource and accompanying study guide. Compare it with your local culture. Or you could look at the Awabakal culture of Aboriginal people in the Hunter/Newcastle region, through the Miromaa Aboriginal Language and Technology Centre, who are reconstructing and re-teaching Awabakal language. Direct students particularly to the creation stories (including Biame, ‘god’); possum skin cloaks history (especially interesting as possums are protected under the Wildlife Act 1975); and terminology.

It is important that students do not take away the message that one group is superior to another, or that a group who seem to have less access to traditional cultural knowledge is in any way inferior or not ‘real Aboriginal people’. There is a strong cultural identity in both contexts; however, they are very different depending on their experiences of colonisation. The urban Aboriginal groups still feel a sense of connection to and pride in culture; they are not ‘assimilated’ into European culture and society.

3. Sexuality of Aboriginal women

Our colonial history reveals a complex relationship between settlers and Aboriginal women. There was a view among the settlers that Aboriginal women were merely chattels to their Aboriginal male husbands/masters (perhaps because they were often beaten and treated roughly) that seems to have resulted in the settlers taking similar liberties. A low female settler population meant that sex was a valuable commodity. Much has also been written about the exoticism attributed to Aboriginal women, and how they were both feared and guiltily desired by settlers. Sexual assault was also, as in most contexts, an important mechanism of control within the frontier wars: rape is a common war strategy. A good teacher resource for background on this subject is a 2008 Honours thesis by Amy Humphreys, ‘Representations of Aboriginal Women and their Sexuality’, as is Nicholas Clements’ The Black War: Fear, Sex and Resistance in Tasmania (UQP, 2014).

The idea of ‘black skeletons’ in the closet is another aspect of colonial history – babies born from these illicit cross-cultural liaisons would pose a threat to family ancestry due to the prevailing view of the time that Aboriginal people were an inferior race; therefore, true identity and connection to culture would be denied.

4. Lesbian history in Australia

As many of the main characters throughout Heat and Light are not only Aboriginal but lesbian, it is worth students comparing the marginalisation of Indigenous Australians with that of the LGBTQI community (even, in itself, the evolution of names from homosexual to gay and then gay and lesbian; to gay, lesbian and transgender, to now being referred to as lesbian/gay/bisexual/transgender/queer/questioning and intersex).

Andrew Gorman-Murray explores the distinct lack of academic historical research into these communities. Of particular note to students reading Heat and Light is that the legislation around homosexuality has traditionally always been concerned with legislating against male homosexual relations. This is often seen as a product of the history of marginalisation of women – lesbians were simply ‘invisible’ in the public sphere due to the fact of being women. As awareness and acceptance has grown, it has reinforced society’s inequitable treatment of males and females: for example, the AIDS epidemic and subsequent awareness campaigns, vigils and commemorations were public displays of growing acceptance of gay men while lesbian women remained silenced in the margins.

Resources for discussion include:

Culminating discussion

Students should be supported in discussion to make some general reflections on what they have learned so far on:

  • the role of storytelling in maintaining connections to culture
  • modes of storytelling – elders passing on stories, songs, ceremony, art
  • what ‘connection to country’ means for Aboriginal and Torres Strait Islander peoples
  • how different Aboriginal and Islander groups may have different contemporary cultures due to their experience of colonisation
  • how the impacts of colonisation have continuing implications for family histories, confused identities, isolation, disadvantage
  • the ways the history of gay and lesbian rights activism and legislation in Australia mirror the themes of Indigenous disadvantage and how the intersecting identities of ‘Aboriginal’ and ‘Lesbian’ position a woman in Australia.

(ACEEE037)   (ACEEE038)   (ACELR039)   (ACELR041)

 

Personal response on reading the text

Students can complete the following questions individually and in class discussion: Stella prize study notes.

Set up a double-entry journal with students before reading and ensure there is time in class to add to the journal throughout the unit. In the double-entry journal, students rule a page in their book in half (or create a two-column table electronically) and they enter key events and quotes in the left-hand column as they read. In the right-hand column they enter questions, thoughts, personal responses and connections to their own experience, and identification with characters and situations.
(ACELR038)   (ACELR044)   (ACELR042)   (ACELR045)   (ACELR046)   (ACELR047)

Guide students to look specifically for quotes and events that reflect the themes of the texts within this collection of writing. You may like to provide some key sections for them to add to their journals and discuss in class, such as those suggested in the Key quotations and discussion points guide (PDF, 138KB), which includes a discrete activity relating to the short stories in Light that could be used in a standalone study of that section of the book.

 

Outline of key elements of the text

Plot

The text is divided into three parts: Heat, Water and Light. It is structurally unusual in that the three parts are quite separate and, while Heat and Light are collections of short stories, Water takes the form of a single novella. From a publishing perspective, it is striking to see a book break the standard form in this way, but it offers wonderful opportunities to study the text in a variety of ways and at various levels of student ability.

The stories collected in Heat revolve around the Kresinger family, and are narrated by various family members at different times in their personal history. Amy is the daughter of an Aboriginal man, Charlie, and a Greek woman, Lena, who died when Amy was young. Charlie had been brought up as Marie and Griffin’s son alongside their children, Irma and Peter, but he was really the illegitimate son of Marie’s sister, Pearl. Griffin was an Aboriginal man who had been adopted into a white family. He became estranged from them when he married Marie because she was an Aboriginal woman. Marie and Griffin’s daughter, Irma, had an illegitimate son to an Irishman, Colin. Colin and Amy, although growing up together at the Kresinger homestead as cousins, become estranged as adults when Colin chose to abandon his Aboriginal heritage.

Water is a speculative fiction novella that imagines a future Australia where Aboriginal rights have advanced in certain ways – phones are searched for racial violation and their owners can be jailed for such violations; social media is banned; Aboriginal spirituality is the most popular religion on the census; Australia has become a republic and adopted a Jessica Mauboy song as the national anthem; and a new flag mashing together Australian, Aboriginal and Torres Strait Islander flags has been created. However, with Aboriginal art becoming so heavily commodified there is a new industry of ‘slaves’ in art galleries and the children of artists being ‘enlisted’ to follow their footsteps. The new prime minister’s misguided idea to return sovereignty and land ownership to Aboriginal people is to create a new island called ‘Australia 2’ and invite Aboriginal people to apply to live there. Then there is the matter of the ‘plantpeople’: a new hybrid race created out of science experiments but with links to Aboriginal ancestry. These are the new marginalised group who are dehumanised and controlled by the government in a similar way to the previous mission era in Australia.

The stories of Light, on the other hand, are linked thematically, looking at the desires of young people both to belong and to assert their own individuality. ‘Paddles, not oars’  is  an exploration of a teenage boy living with his mum and yearning for connection with his father, and ‘Currency’ follows an Aussie battler mixed-race family with an Aboriginal father who faces discrimination everywhere he and his family travel (e.g. refusal of service, difficulty getting a job). ‘Sound’ is a rather chilling exploration of a family broken by a history of violence and the mental illness of the protagonist’s brother. Jodie starts to piece together a relationship of sorts with her brother, David, through his partner, Sarah. Sarah and Jodie embark on an affair which makes the relationship with David all the more difficult. There is reference to a violent past and Jodie worries about Sarah’s safety. The story ends when she arrives at their house to find him having some kind of mental health episode and preparing to bury their dead dog (with the implication that he has killed it).

Character

Heat

There is no main character and Heat is told from a number of different Kresinger family members’ points of view. This will be further examined in the Close Study section of this unit. However, one character whose absence means her point of view remains untold, is Pearl.

Pearl is a key character in Heat who has a significant impact on all who encounter her. Wild and unpredictable, Pearl would be the only one who would go outside during a cyclone, exhilarated by the wind and unafraid of nature’s fury. She became an outcast from her community when she electrocuted her brother during a storm: ‘The others ran for shelter and Pearl stood there and let it lift her, she went into the electricity wires and they curled into each other like lovers as she was jolted. Her brother moved to her lifeless body and she touched him, and he took her place.’ (p. 4)

Pearl embodies the Aboriginal exotic trope and the stereotype of a woman whose lure men cannot resist: a woman doomed to always be an object of desire, both a powerful and vulnerable position. She is attacked by a group of men who frequented the roadside diner she worked in, and it is narrated to us in a way that implies its inevitability:

  • ‘Jimmy told Pearl it would be best for her not to come out while they were there. “Bad men,” Jimmy said to her. “But they’re half my business.” Pearl didn’t listen, of course, and one day when they were talking about wildfowl she went out and sat down at their table.’ (p.8)
  • ‘She always wore her [duck] call around her neck, between her breasts, so the men couldn’t help but notice it.’ (p. 10)
  • ‘”Show us again”, Bandit said firmly. They made her draw the call until her eyes teared up.’ (p. 11)
  • ‘One cloudy day when Jimmy wasn’t around the men called Pearl out of the back. “Let’s go out to the lake,” they said. “A good day for it, ducks like getting wet.” The lake was a dark place in town folklore, a sinkhole for small children and women…They told Pearl she had to come along.’ (pp. 13–14)
  • ‘Pearl turned to me and acknowledged me for the first time. “Can you come?”…That’s when I knew what was going to happen explicitly. They were going to take her there, away from the protection of the store and Jimmy and they were going to attack her.’ (p. 14)
  • ‘I found Pearl lying on the ground a long way from the lake. She had called me there with her whistle. She looked half-dead.’ (p. 19).

Later in the story we hear that Pearl also had an affair with her sister Marie’s husband, Griffin, just before giving birth to her illegitimate son. It is described in van Neerven’s crisp, simple and unsentimental writing style. Soon after Pearl gives birth, she leaves the baby with Marie and disappears. Marie and Griffin carry on as if nothing happened (pp. 50–51). It is interesting to ponder why Pearl was not expected to take responsibility for her baby. In fact, early in the story we are told: ‘It had been understood from the very beginning that Marie would take the child.’ (p. 15). Was there an assumption that Pearl was so broken, untamed or otherworldly that she simply couldn’t/wouldn’t look after the baby properly?

Van Neerven plays with a number of stereotypes about Aboriginal women in the characterisation of Pearl, and the reader’s response to this character would be interesting to explore. Why is Pearl characterised in this way? What does she represent about our history of settler-Aboriginal relations? Is it the author’s intent to draw a character that represents this shared history? Where does this leave Pearl’s granddaughter, Amy, who is depicted in a similar light and in a way that almost suggests it was her fate to be like Pearl?

Other characters who have all experienced their Aboriginal identity very differently in Heat include: Colin, Mia, Griffin and Charlie.

Water

Kaden is the daughter of a famous Aboriginal artist who killed himself due to dealing with the pressure of his fame. She takes a government job delivering rations to the plantpeople. She has an illicit affair with Larapinta, one of the leaders of the plantpeople, and then learns that her family ancestry connects with the plantpeople’s and agrees to go underground to sabotage the government’s operations. Kaden is a righteous and intelligent character who thinks deeply about Larapinta and the plantpeople and challenges the government workers about unethical practices. (p. 94)

‘Paddles, Not Oars’, a short story in Light

Kela is a teenager with a single mum doing it tough. His father is Aboriginal and he longs to connect with him and learn from him – he would have been initiated by now – but his mum is afraid he will ‘get out of control’.

‘Currency’, a short story in Light

Park is an Aboriginal man with a wife, Blue, and young son, Connor. Park provides for his family as best he can despite the difficulty he has finding jobs due to racism: ‘Connor is hungry, and Park reaches into his pockets and passes Blue a small nectarine. The habit of Park to carry fruit with him never ceases to amuse Connor and his mother.’ (p. 187)  Park is cautioned about his destination, Boom, in a petrol station: ‘You got to know it’s a lot different out there. Not what you’d expect.’ (p. 188) But Park is unfazed, and carries on. They stop in a small town where Park is refused service: ‘The man refuses to serve him. Park feels humiliation grow on his cheeks. The other people in the bar look over at him with a roughness in their eyes, stopping him from tempering over.’ (p. 190) Despite this rejection, when a local down the street stops to chat, and asks for a cigarette, Park willingly shares: ‘Park reaches into his pocket and under-arms the man the packet…He lights up and waves, before he starts back into the mill, whistling as he goes.’ (p. 193)

 

Synthesising activity

Personal connections with own experience 

Across Heat, Water and Light the themes around identity and belonging are central to the characters’ experiences. Students are to write a two-page analysis comparing how identity and belonging have been experienced in any of the stories from Heat and Light with their own family stories.

Students can ask relatives about their own family histories and find out how identity and belonging played out in their family. The following question points may assist this investigation:

  • How do their families explain their family trees? Is there any aspect of culture or history particularly emphasised in their family’s identity? (e.g. Scottish background and clan tartans; Greek Orthodox religion and language; Aboriginal ‘country’, clan and totem)
  • Was there an experience of racism or marginalisation in their family history, perhaps as immigrants to Australia, ‘£10 Poms’, or as a result of political conflict in their home countries?
  • Was there a liaison with someone of different race/religion/background that was not accepted by the family and resulted in estrangement?
  • Was there a family ‘curse’ believed to be passed down through the generations?
  • Was there a change in family circumstances brought about by government policy? (Stolen generation; Chinese Migration Act; Immigration Restriction Act or the White Australia policy? World War II Nazi control of Germany – persecution of Jews and anti-German sentiment in Australia?)

For some students and families this can be too confronting to discuss. An alternative task can be for students to compare the ways in which identity and belonging are played out in Heat and Light compared to short stories in some of the following collections:

(ACELR047)   (ACELR049)   (ACELR050)   (ACELR052)