Suchergebnisse

Cover -- Praise -- Author biography -- Title page -- Imprint page -- Dedication -- 1: A House by the River -- 2: A Foot in the Wall -- 3: The Builder Who Lived in a Shed -- 4: The Girl with the Name of a Flower -- 5: The Deep End of the Pool -- 6: Death in the Morning -- 7: Dying of Starvation and the Taste of Lollipops -- 8: Sellouts -- 9: Lessons from a Flight Instructor -- 10: Falling for Mr J -- 11: A Few States of Emergency -- 12: The Art of Truth-bending -- 13: The Smell of Someone Too Old -- 14: Aftershocks -- 15: The Art of Self-defence -- 16: The Taste of a Cool Wind -- 17: Escapees -- 18: How Things Crumble -- 19: The Rainbow Nation -- 20: Unravelling -- 21: Childhood, Version 2 -- 22: Consecutive Acts of Trust-breaking -- 23: Heading North, Losing Things, Letting Go -- 24: Turning out the Lights -- 25: Money Is Sometimes Nothing -- 26: Entropy -- 27: Continental Drift -- 28: Time-travelling -- 29: Home Invasion -- 30: Skies of the Southern Hemisphere -- 31: The Last Return -- 32: Lost Stories -- 33: Imaginary Ending -- 34: After-images -- Acknowledgements

An exquisite, compelling story of courage, destiny and the search for home Lithuania, 1913. Haunted by memories of the pogroms, Jacob Frank leaves his village in the hope of a better life, and boards a ship bound for New York. Twenty-five years later, his daughter Bertha sets sail for South Africa to marry a man she has never met, unaware of the tumult that lies ahead. In time, her granddaughter Shelley, following those very steps in reverse, flees the violence of apartheid to live in America, before at last finding home in Australia. These immigrant voyages, repeated from one generation to the next, form the heart of this richly layered memoir. Drawing on her grandmother's diary and letters, Shelley Davidow tells her family's stories in vivid detail, recounting their experiences of love and loss alongside her own. As she learns about the past, Shelley discovers that her aspirations and fears, her dreams and nightmares, echo those of her forebears as ancestral whisperings in the blood. Spanning four continents and one hundred years, this extraordinary book explores the heartache and emotional legacies of those who leave their homelands forever

The impetus to decolonise high schools and universities has been gaining momentum in Southern locations such as South Africa and Australia. In this article, we use a polyvocal approach, juxtaposing different creative and scholarly voices, to argue that poetry offers a range of generative possibilities for the decolonisation of high school and university curricula. Australian First Nations' poetry has been at the forefront of the Indigenous political protest movement for land rights, recognition, justice and Treaty since the British settlement/invasion. Poetry has provided Aboriginal and Torres Strait Islander peoples with a powerful vehicle for speaking back to colonial power. In this article, a team of Indigenous and non-Indigenous researchers argue that poetry can be a powerful vehicle for Indigenous voices and Knowledges. We suggest that poetry can create spaces for deep listening (dadirri), and that listening with the heart can promote truth-telling and build connections between First Nations and white settler communities. These decolonising efforts underpin the "Wandiny (gathering together)—Listen with the Heart: Uniting Nations through Poetry" research that we discuss in this article. We model our call-and-response methodology by including the poetry of our co-author and Aboriginal Elder of the Kungarakan people in the Northern Territory, Aunty Sue Stanton, with poetic responses by some of her co-authors.

As a response to the corporatization of the university, nine scholars worked together to create spaces that fostered the possibility of collective dissensus. Using scholarly performative methods, we have sought to push back against the increasing corporate incursions into our institutions of higher learning—the over-valuing of money, measures, and metrics which encroach upon our capacity to think. This one-act ethnodrama below is one of our responses to the new corporatism of higher education. In the generation of this scholarly work, we have created the space and time to reconnect as colleagues and as scholars.