Patriotic young men all over the world lined up to join the fight - including hundreds of Indigenous Australians.Shunned and downtrodden in their own country - and in fact banned by their own government from serving in the military - Aboriginal men stepped up to enlist. Undaunted, these bold souls took up arms to defend the free world in its time of greatest need. For them, facing the horror of war on a Gallipoli beach was an escape from the shackles of racism at home, at a time when Aboriginal people stood by, segregated, unable to vote, unable to act as their children were ripped from them. When the survivors came back from the war, there was no heroes’ welcome – just a shrug, and a return to drudgery and oppression.Black Diggers is the story of these men - a story of honour and sacrifice that has been covered up and almost forgotten.

    Henry Lawson’s story of the Drover’s Wife pits the stoic silhouette of a woman against the unforgiving Australian landscape, staring down a serpent – it’s our frontier myth captured in a few pages. In Leah’s new play the old story gets a very fresh rewrite. Once again the Drover’s Wife is confronted by a threat in her yard in Australia’s high country, but now it’s a man. He’s bleeding, he’s got secrets, and he’s black. She knows there’s a fugitive wanted for killing whites, and the district is thick with troopers, but something’s holding the Drover’s Wife back from turning this fella in a taut thriller of our pioneering past, this play is full of fury, power and has a black sting to the tail, reaching from our nation’s infancy into our complicated present. (7 male, 1 female).

    An inspector calls to interrogate the family, and during the course of his questioning, all members of the group are implicated lightly or deeply in the girl's undoing. The family, closely knit and friendly at the beginning of the evening, is shown up as selfish, self-centered or cowardly, its good humor turning to acid, and good fellowship to dislike, before the evening is over. The surprising revelation, however, is in the inspector...

    Roy demands Cosi Fan Tutte. An affectionate look at madness and mayhem (2 acts, 5 men, 3 women).

    It is based upon the lives of five indigenous people who dealt with the issues for forceful removal by the Australian government.Stolen tells the story of five Aboriginal children, who go by the names of Sandy, Ruby, Jimmy, Anne, and Shirley.Sandy has spent his entire life on the run, never having a set home to live in. Stolen tracks his quest for a place to be, a place where he doesn’t have keep hiding from the government (even though they are no longer after him), and a place he can call home.Ruby was forced to work as a domestic from a young age, and was driven insane by the abuse of her white masters. In the latter part of the play, she spends a lot of her time mumbling to herself, whilst her family desperately try to help her.Jimmy was separated from his mother at a very young age, and she spent her entire life looking for him. He spent a lot of time in prison, and on the day he finally got out, he was told about his mother’s search. As he went to meet her, she died, and he committed suicide in anger. Jimmy thought his mother was dead because everytime she writes him a letter the nuns take it and put it in the cabinet.Anne was removed from her family and placed in a Caucasian family’s home. She was materially happy in this home, a lot happier than many of the other characters, but when her indigenous family tried to meet her, she was caught in crossfire between her two “families”.Shirley was removed from her parents, and had her children removed from her. She only felt relief, safety, and comfort when her granddaughter was born, and not removed.Stolen toured extensively throughout Australia. On top of its seven years in Melbourne (starting in 1998), it was also performed in Sydney, Adelaide, regional Victoria, Tasmania, the UK, Hong Kong, and Tokyo. Furthermore, readings were performed in Canada and New York.Stolen won (along with Aliwa! by Dallas Wimmar) the Kate Challis RAKA award in 1998, on the back of largely successful first season[2][3]Stolen was studied on the Victorian Certificate of Education English syllabus, and the New South Wales Higher School Certificate syllabus. Many other schools throughout Australia have also placed Stolen on their English curriculum

    In Like a House on Fire, Kennedy once again takes ordinary lives and dissects their ironies, injustices and pleasures with her humane eye and wry sense of humour. In ‘Laminex and Mirrors’, a young woman working as a cleaner in a hospital helps an elderly patient defy doctor’s orders. In ‘Cross-Country’, a jilted lover manages to misinterpret her ex’s new life. And in ‘Ashes’, a son accompanies his mother on a journey to scatter his father’s remains, while lifelong resentments simmer in the background. Cate Kennedy’s poignant short stories find the beauty and tragedy in illness and mortality, life and love.

    So will The Longest Memory, the powerful, beautifully crafted, internationally acclaimed fictional debut of prizewinning Guyanese poet Fred D'Aguiar. In language extraordinary for its tautness and resonance, The Longest Memory tells the story of a rebellious, fiercely intelligent young slave, who in 1810 attempts to flee a Virginia plantation - and of his father who inadvertently betrays him. The young slave's love for a white girl who slakes his forbidden thirst for learning and his painful relationship with his father are hauntingly evoked in this novel of astonishing lyrical simplicity. It is a measure of D'Aguiar's achievement and bravery that The Longest Memory is informed not only by the complicities between black slave and white master but also by the tensions among slaves themselves - between stoic survivalists and passionate rebels. Remarkable for its keenness of observation, subtlety, and restraint, The Longest Memory heralds the arrival of a major new voice in the contemporary literature of the African diaspora.

    Its publication in 1965 marked a unique literary event, for this was the first novel by any writer of Aboriginal blood to be published in Australia. As well, it is a remarkable piece of literature in its own right, expressing the dilemmas and conflicts of the young Aboriginal in modern Australian society with its memorable insight and stylishness.

    Sally Morgan traveled to her grandmother’s birthplace, starting a search for information about her family. She uncovers that she is not white but aborigine—information that was kept a secret because of the stigma of society. This moving account is a classic of Australian literature that finally frees the tongues of the author’s mother and grandmother, allowing them to tell their own stories.

    Set in Sydney, 1937, this is the fictional diary of a young Aboriginal girl, a member of the Stolen Generation.She is given the diary by the Sister in charge of Bomaderry Aboriginal Children's Home and through its pages she describes her life - from her arrival there, aged five, through her struggle to understand why she was taken from her real mother, to her adoption at ten years of age by a white Catholic family in St.Ives.Mary Talence, birth name Amy Charles, is increasingly confused - and then ashamed - as she is taught that white skinned is good, black skinned is bad. She longs to understand why this is so but finds that logical questions - almost any questions - provoke anger and accusations of ingratitude from her white family. Her music - her beautiful voice and her ability to make up songs - is her greatest source of comfort.This is an honest, thought-provoking book that acknowledges the terrible wrong done to aboriginal children taken from their families whilst also recognising the combination of ignorance, genuinely good intentions and political convenience that brought about this dreadful policy. Very appropriate for integration with HSIE and highly recommended for general reading as a clear introduction to the reality of the Stolen Generations to primary students.

    It premiered in London, in 1980 and won the Society for West End Theatres (SWET) award for Best Comedy of the Year. It was made into a highly successful film with Michael Caine and Julie Walters and won the 1983 BAFTA award for Best Film.Commentary and notes by Steve Lewis.

    On January 26, no Australian can really look away.'Since publishing his critically acclaimed, Walkley Award-winning, bestselling memoir Talking to My Country in early 2016, Stan Grant has been crossing the country, talking to huge crowds everywhere about how racism is at the heart of our history and the Australian dream. But Stan knows this is not where the story ends.In this book, Australia Day, his long-awaited follow up to Talking to My Country, Stan talks about our country, about who we are as a nation, about the indigenous struggle for belonging and identity in Australia, and what it means to be Australian. A sad, wise, beautiful, reflective and troubled book, Australia Day asks the questions that have to be asked, that no else seems to be asking. Who are we? What is our country? How do we move forward from here?

    After her daughter disappeared and left her with her granddaughter Sissy to raise on her own, Odette has managed to stay under the radar of the welfare authorities who are removing fair-skinned Aboriginal children from their families. When a new policeman arrives in town, determined to enforce the law, Odette must risk everything to save Sissy and protect everything she loves.In The White Girl, Miles-Franklin-shortlisted author Tony Birch shines a spotlight on the 1960s and the devastating government policy of taking Indigenous children from their families.

    Told by an eclectic group of historical and modern characters in a continuous conversation across ages and generations, Top Girls was hailed as 'the best British play ever from a woman dramatist' by The Guardian.

    "Judith Thompson hears the poetry of the inarticulate and the semi-literate, embodying the colloquialisms, the brand names, the fractured but expressive syntax, with the urgency of their speakers. These characters do terrible things, and they have terrible things done to them."—Urjo Kareda