In the Introduction, the editors explain, "Those Who Remain Will Always Remember" grew out of a desire to see Western Australian Aboriginal people better represented on the national map." To that end Anne Brewster, Angeline O'Neill and Rosemary van den Berg have collected stories, poems, legends, song lyrics, essays, and commentaries in this remarkable anthology.
In their many shapes, sizes, and colors, some of the stories seem to take the shape of paintings on the wall. They are pieces that are left behind, as a kind of marker. In "Bush Life," Ambrose Mungala Chalarimeri writes about the paintings: "When the rainy season came people would keep near the caves... Some did painting there on the rock. Nothing else to do. They would do painting, and then go away. Painting is evidence of what was before... The painting was left there for others to know that our tribal people had lived there."
Perhaps, too, these painting of words are ways of remembering, not only what is, but what was and what might have been. I guess that's the hope of fiction and artistic expression, the realization that you can dream without worrying. Then you can try to make the dream become a reality.
In all of these varied expressions of culture and identity, a poignant agony shines through — in poetry, prose and mythical narratives. Through language, myths are told and retold and experience is reevaluated, as a search for identity continues. In her essay, Kim Scott explains: "Identity is a fluid and shifting thing, which is not to deny the power of spiritual essence. As a writer, however, it seems to me that my identity is about articulating a position I inhabit at an intersection of histories and people, and it is an obligation to speak for those people... and by attempting this to step forward with a heritage largely denied me."
Perhaps, too, these painting of words are ways of remembering, not only what is, but what was and what might have been. I guess that's the hope of fiction and artistic expression, the realization that you can dream without worrying. Then you can try to make the dream become a reality.
In all of these varied expressions of culture and identity, a poignant agony shines through — in poetry, prose and mythical narratives. Through language, myths are told and retold and experience is reevaluated, as a search for identity continues. In her essay, Kim Scott explains: "Identity is a fluid and shifting thing, which is not to deny the power of spiritual essence. As a writer, however, it seems to me that my identity is about articulating a position I inhabit at an intersection of histories and people, and it is an obligation to speak for those people... and by attempting this to step forward with a heritage largely denied me."
In the works, there's an element of social consciousness, even political statements. There's a coming to awareness of what the history really is — for the Aboriginal people — along with a recognition that there's something precious in their culture and identity, and an eagerness to survive.
Anger and hate and loss and death all come to the surface. And, more powerful than anything else, is probably that desire to remember. In her short piece, "The Home of Silent Memories," Ethel Clinch creates the books title with her final words, "Now time has passed on and many are no longer her, but those who remain will always remember."
Anger and hate and loss and death all come to the surface. And, more powerful than anything else, is probably that desire to remember. In her short piece, "The Home of Silent Memories," Ethel Clinch creates the books title with her final words, "Now time has passed on and many are no longer her, but those who remain will always remember."
