Thread by @IndigenousX

So, those themes. Before I start, a word: I'm dyslexic. So I'm not interested in any spelling corrections. People that do that on social media are annoying, and it can be a type of ableism. Please don't be one of those people.

https://twitter.com/IndigenousX/status/1312712591710457859

The spark for my book Where the Fruit Falls occurred when I was listening to Billie Holiday's Strange Fruit. I started thinking about how Australians often know more about historical events & injustices that happened elsewhere, than what settler-colonials did/do here on this soil

All my stories - novels and short stories - start with one image. This is generally not the opening, and often just a minor scene. I write that image, and then I build around it. So this book started with a traumatic image. It's about half-way through the novel. Because I used >

> magic realism as a literary device in this novel, those types of scenes are not graphic. Magic realism allows a more symbolic telling, that doesn't rely on a step-by-step account of an event, or even has some action happening "off-stage" - so the impact is different.

However, when writing about the impact of colonisation, it's not possible to skip over trauma the settler-colonials caused. This must be told, even if softly. The story starts in the 1950s, with some references to the previous generation, but the main action is the 1960 - 70s.

I wanted to focus on that era as it was a time when activism for Aboriginal rights was becoming more visible, as was the pushback. Injustice, racism, forcible removal of children, discrimination etc were very much everyday occurrences in Australia. Social change doesn't come easy

I also wanted to write about eras/events I already had some understanding of. Whether because I was there, was influenced by others (ethics & protocols apply, of course), or applied what I read/learnt through past tertiary studies. "Write what you know" is not just a throwaway.

There's references to past policy eras & landmark events, such as: Stolen Generations, land rights marches, post-WWI &WWII migrations, Black Diggers, segregation etc. And some references to historical events overseas. I love history, and sagas are a good way to tell these stories

I wanted to take some different approaches. I didn't want a book that highlighted trauma or violence. Especially towards Aboriginal women. My main characters (mother & daughters) are independent & have full agency; even if they experience barriers, trouble, racism, heartbreak etc

The violence I write about in this novel is mostly subtle but still have big impacts on the main characters. Often these instigators of harm are white women. A word said, a tear shed. Small acts can have big impacts. I probably won't get short-listed for awards but well.

Not all of the non-Aboriginal women are Karens, Beckys etc. There's female characters that provide shelter, friendship, care, support. Some are migrants, overcoming their own traumas. And the main characters meet Aboriginal matriarchs that help them recover, reconnect, revitalise

These matriarchs are 🤎 And I created male Aboriginal characters with a similar energy. They're loving, kind, generous, respecting women's agency and in awe of their strength. They've a minor role in the novel, but they are there and what they bring is necessary and appreciated.

The perpetrator of (mostly psychological abuse) is a white male. Writers sometimes use violence towards women to create a turning point - in the plot or the character's behaviour/motivation. I view rape as a plot device often gratuitous & unimaginative. It can be lazy writing.

His treatment of the main characters (i.e an Aboriginal woman & her two daughters) is shocking in parts. But it's written in a manner that is mindful of readers. And, like mentioned earlier, I applied magic realism and the action if mostly off-stage. Still, its the turning point.

Other themes in my novel: place, belonging, family/kinship, disconnection, coming of age, parenting, grief & loss, homecoming, acceptance of self & others, misogynoir, whiteness, identity and colourism. I suddenly realise - this is a busy book! No wonder publishers didn't want it

That's probably enough for now. I'll have more to share during this week. If you want to comment/discuss any of the themes and approaches I've mentioned in this thread - please do. And the other thread if you want to talk about publishing.

My book is now in Australian bookshops. I'm not well-known and my publisher is small, so you might need to request a copy at your local. Or you can order direct from the publisher (they also sell e-books, so no need to give your money to you-know-who) > uwap.uwa.edu.au/products/where…