8: Spatial Poetics and the Uses of Ekphrasis in Kim Scott’s “Into the Light” and Other Stories

Chapters in this book

1. Frontmatter i
2. Contents v
3. Foreword vii
4. Acknowledgments ix
5. Note on Orthography xi
6. Chronology of Key Writings xiii
7. Introduction 1
8. 1: Kim Scott’s Publishing History in Three Contexts: Australian Aboriginal, National, and International 9
9. 2: Kim Scott’s True Country as Aboriginal Bildungsroman 25
10. 3: The Land Holds All Things: Kim Scott’s Benang— A Guide to Postcolonial Spatiality 37
11. 4: Kim Scott’s Kayang and Me: Noongar Identity and Evidence of Connection to Country 49
12. 5: “Wreck/Con/Silly/Nation”: Mimicry, Strategic Essentialism, and the “Friendly Frontier” in Kim Scott’s That Deadman Dance 61
13. 6: The International Reception of Kim Scott’s Works: A Case Study Featuring Benang 74
14. 7: Traumatic Landscapes: Inscribing Spectrality and Identity in Kim Scott’s “A Refreshing Sleep,” “Capture,” and “An Intimate Act” 88
15. 8: Spatial Poetics and the Uses of Ekphrasis in Kim Scott’s “Into the Light” and Other Stories 101
16. 9: The Poetry of Kim Scott 114
17. 10: The Wirlomin Project and Kim Scott: Empowering Regional Narratives in a Globalized World of Literature 130
18. 11: Kim Scott as Boundary Rider: Exploring Possibilities and New Frontiers in Aboriginal Health 146
19. 12: An Interview with Kim Scott 158
20. Notes on the Contributors 171
21. Index 177