![]() ![]() Just as in Aboriginal life, where stories are told with such compelling detail and with such beauty of language, there’s no excuse for using bad prose. If you can’t tell a story about important things without using jargon, I don’t think you’re a writer. But also I’m a writer I’m a fiction writer I like to write as well as I can. How do you see or frame yourself and the work that you do: you describe yourself as a writer of fiction, but you also seem to be a researcher, a scholar, a story-teller, an activist and a practitioner… Is there a driving motivation that unites these pursuits for you? Or would you frame what you do altogether differently?īruce Pascoe: I had a huge desire for justice, which once again came from my mother and father, who are the most just people I’ve ever met. (LG): One of the things that I found made Dark Emu such a compelling read was its register: it encompasses an almost breath-taking array of research across multiple disciplines, but it isn’t jargony or academic sounding. This is the second part of the interview, find the first one here. ![]() In the course of our Green Library series, we were lucky enough to chat to the acclaimed author of Dark Emu: Aboriginal Australia and the Birth of Agriculture about this earlier book and his work cultivating Aboriginal farming methods on his farm in eastern Victoria. In February 2021, Bruce Pascoe published a new book, Loving Country: A Guide to Sacred Australia, co-authored with Vicky Shukuroglou. Scholar of literary & cultural studies, editor of poco.lit. ![]()
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