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Tara June Winch Tara June Winch i(A84662 works by)
Born: Established: 1983 Wollongong, Wollongong area, Illawarra, South Coast, New South Wales, ;
Gender: Female
Heritage: Aboriginal ; Aboriginal Wiradjuri ; English
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Works By

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1 I’m Homesick for Australia but It Isn’t Mine Any More. It’s an Unwell Country in Crisis Tara June Winch , 2021 single work column
— Appears in: The Guardian Australia , 30 April 2021;

'Stranded in France, the Miles Franklin winner reflects on what her country looks like from the outside: violent, racist and in denial'

1 When We Talk About Time Tara June Winch , Behrouz Boochani , 2020 single work essay
— Appears in: Meanjin , Summer vol. 79 no. 4 2020;
1 Documenting 'the Old Language' in Tara June Winch's The Yield Tara June Winch , 2019 single work column
— Appears in: ABC News [Online] , December 2019;
A reading from The Yield by Tara June Winch.
1 'Words I Found on the Wind' : Extract from The Yield by Tara June Winch Tara June Winch , 2019 extract novel (The Yield)
— Appears in: The Guardian Australia , 13 July 2019;
2 21 y separately published work icon The Yield Tara June Winch , Melbourne : Hamish Hamilton , 2019 15449866 2019 single work novel

'After a decade in Europe August Gondiwindi returns to Australia for the funeral of her much-loved grandfather, Albert, at Prosperous House, her only real home and also a place of great grief and devastation.

'Leading up to his death Poppy Gondiwindi has been compiling a dictionary of the language he was forbidden from speaking after being sent to Prosperous House as a child. Poppy was the family storyteller and August is desperate to find the precious book that he had spent his last energies compiling.

'The Yield also tells the story of Reverend Greenleaf, who recalls founding the first mission at Prosperous House and recording the language of the first residents, before being interred as an enemy of the people, being German, during the First World War.

'The Yield, in exquisite prose, carefully and delicately wrestles with questions of environmental degradation, pre-white contact agriculture, theft of language and culture, water, religion and consumption within the realm of a family mourning the death of a beloved man.'

Source: Publisher's blurb.

1 1 form y separately published work icon Carriberrie Tara June Winch , ( dir. Dominic Allen ) Australia : Reddogs VR Isobar Jaunt , 2018 14364832 2018 single work film/TV multimedia

Carriberrie is a multi-platform immersive journey across Australia that celebrates 'the depth and diversity of indigenous dance and song from the traditional to the contemporary.'

'From the heart of the country at Uluru, actor and performer David Gulpilil welcomes us to a journey through time and space across Australia, from traditional ceremonial dance and song, towards intrinsically contemporary and modern expressions.'

With 156 dancers, 9 cultural groups, and 35 performances, this film 'tells the expansive story of Carriberrie: Indigenous Australian song and dance. Beginning with a stunning passage from the highly acclaimed Sydney Opera House peformance, Bennelong, by Australia's premier Aboriginal dance theatre group Bangarra, actor and performer David Gulpilil welcomes us on a concentric, snake-like journey through time and space.

'[They] travel from traditional ceremonial dance and song, towards intrinsically contemporary and modern expressions. Intimate, immersive and breath-taking, this documentary showcases a stunning range of Australian locations and performances from iconic ceremonial traditional dance in Uluru, through to food gathering dances in the rain forrest, war songs on the most northern tip of Australia and funeral songs in the Arnhem wetlands before culminating with a highly charged hunting track in the central desert.'

Source: Carriberrie website.

1 First, Second, Third, Forth Tara June Winch , 2018 single work life story
— Appears in: Growing Up Aboriginal in Australia 2018; (p. 278-281)

First, looking up, there is the dance. How long ago? A long time ago. Growing up, I knew my father's family came from a long time ago. All rime, from time travel, yet we were severed from the knowledge of the dance — where the feet go, the arms bent, the hips, the line of spine. We didn't have the carriberrie or corroboree, nor the song with it. We were living on saltwater country, not freshwater, not from those rivers and lakes where history sat beyond the escarpment in a slouched pose, defeated. There was no dance handed down, it had been cast into the four winds, yet I saw the dance. My cousin is the dancer still and there, that early memory is of her at a family gathering — in one of those blip moments, I am looking up at an impromptu modern dance, fluid, mad, yet articulate. I think she'd just graduated from dancing with the Martha Graham School in New York and returned to our slip of coast. I looked up from where I sat and saw all the possibility in the world. My cousin evoking a dance long buried. From those child's eyes she was the most incredible person I knew. I wondered how it was that she salvaged the dance? I wondered, had she read about it, had someone whispered it to her, did she time travel to find the moves, did the ancestors visit her in her dreams? Would they visit Ma too?  (Introduction)

1 The Yield Tara June Winch , 2016 single work short story
— Appears in: Westerly , vol. 61 no. 1 2016; (p. 27-38)
1 8 y separately published work icon After the Carnage Tara June Winch , St Lucia : University of Queensland Press , 2016 9383449 2016 selected work short story

'Ten years after the much-acclaimed Swallow the Air, Tara June Winch returns with an extraordinary new collection of stories'

'A single mother resorts to extreme measures to protect her young son. A Nigerian student undertakes a United Nations internship in the hope of a better future. A recently divorced man starts a running group with members of an online forum for recovering addicts. '

'Ranging from New York to Istanbul, from Pakistan to Australia, these unforgettable stories chart the distances in their characters’ lives – whether they have grown apart from the ones they love, been displaced from their homeland, or are struggling to reconcile their dreams with reality. A collection of prodigious depth and variety, After the Carnage marks the impressive evolution of one of our finest young writers.' (Source: Publisher's website)

1 The Proust Running Group of Paris Tara June Winch , 2016 single work short story
— Appears in: After the Carnage 2016; (p. 157-172)
'Avant-garde posturing - his wife liked those types of books, which further cemented Proust's general disdain for her...' (157)
1 Longitude Tara June Winch , 2016 single work short story
— Appears in: After the Carnage 2016; (p. 143-155)
'When they fucked at the beginning of the relationship he would look at her face, and make an O with his lips and break a smile, lean in and kiss her...' (143)
1 Mosquito Tara June Winch , 2016 single work short story
— Appears in: After the Carnage 2016; (p. 129-142)
'For my nineteenth birthday I got a single-parent pension card and a bassinet. He was gone before the first ultrasound.' (129)
1 Meat House Tara June Winch , 2016 single work short story
— Appears in: After the Carnage 2016; (p. 101-111)
'In front of the Hagia Sophia the woman's skirt billowed, the pleats of houndstooth becoming momentary jellyfish bell, before the woman ran from the gust, flattening the fabric with her forearms, holding tight her modesty...(101)
1 Easter Tara June Winch , 2016 single work short story
— Appears in: After the Carnage 2016; (p. 87-100)
'When I was younger I felt as if I could feel everything, and afterward I could own those feelings like objects to revisit...' (87)
1 Baby Island Tara June Winch , 2016 single work short story
— Appears in: After the Carnage 2016; (p. 73-85)
'Guangzhou that September was thirty-six degrees Celsius, thick with humidity. It was a pleasure to arrive in my room, to escape the scent of diesel, camphor burning and onions frying, to catch the edge of a cold front pitched from the air-conditioning.' (73)
1 Failure to Thrive Tara June Winch , 2016 single work short story
— Appears in: After the Carnage 2016; (p. 57-72)

'First Day

I knew if I reached the seat first, presented my argument as to why I should be president of the missions committee, they'd just let me have it. I angled my knees toward the far corner of the auditorium.' (57)

1 Happy Tara June Winch , 2016 single work short story
— Appears in: After the Carnage 2016; (p. 43-55)

'Jules and Tomas weren't a particularly happy couple. They'd traded in their fuller, busier lives in the city a few years prior and had settled in a quiet village on the banks of a picturesque river...' (43)

1 After the Carnage, More Tara June Winch , 2016 single work short story
— Appears in: After the Carnage 2016; (p. 35-41)
'I look up and I remember a veer of redstarts and house crows, the birds leaving the slip of clear sky, sky rapidly remodelling itself in ash. I'd wondered if it was the first time I'd seen the birds of Lahore from that angle.' (35)
1 The Last Class Tara June Winch , 2016 single work short story
— Appears in: After the Carnage 2016; (p. 19-33)
''Who brought the knife? In fact it wasn't a good idea to have a knife at school.' (19)
1 Wager Tara June Winch , 2016 single work short story
— Appears in: After the Carnage 2016; (p. 1-18)

'By morning someone would die, but at that moment I couldn't have known. The only thing I did know then was that I was feeling overwhelmingly out of place in her bathtub...' (1)

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