AustLit

'This interview with some of the cast and crew of Belvoir Street Theatre’s 2016 production of The Drover’s Wife – including Goa-Gunggari-Wakka Wakka Murri writer and actor, Leah Purcell, director, Leticia Cáceres, and set designer, Stephen Curtis – was conducted via a series of emails, text messages, and transcribed phone conversations during 2018 and 2019. Inspired by my ongoing conversations with Leah’s manager and partner Bain Stewart, I have chosen to present these interviews as an overlapping Q&A session in order to capture the intensely collaborative nature of the production and bring together the various processes and values that informed the adaptation of this classic Australian text.' (Introduction)

'Collapsing the barriers between personal memory and forms of fiction, Alexis Wright’s short stories are frequently framed by what has not been resolved and cannot be recounted. This interview with French translator and postcolonial critic Sylvie Kandé discusses the depiction/translation of trauma in Wright's French short fiction volume, Le Pacte du serpent arc-en-ciel. An awareness of the dynamics underpinning Indigenous exposition and cross-cultural exchange are integral to understanding Alexis Wright’s oeuvre. In this interview, Kandé proposes an analysis of the “writer in the text,” as both a wordsmith and a spokesperson for Indigenous silenced trauma.

'Le Pacte du serpent arc-en-ciel has not been published in English under the same format, this interview also examines the reception of Wright's work both in Australia and overseas. ' (Publication abstract)

In this essay, Hall argues that the floating island of rubbish in Alexis Wright's Carpentaria can be seen as a Foucauldian heterotopia.