AustLit
Latest Issues
AbstractHistoryArchive Description
'The Yumba, an Aboriginal settlement, is home to Herbie, his brothers,
sisters, relations and friends on the outskirts of town. From his back
door the view of his playground stretches beyond the banks of the
Warrego River, as far as the eye can see. The fun-loving Herbie learns
his culture from both Aboriginal and white worlds: from his tribal
elders and from the local townies. For Herbie his Yumba is a village
peopled with friends and family, who keep an eye on him and his mates.
But there's always escape to the surrounding hopbush plain, a larrikin's
paradise. Herbie's rollicking adventures range from school-age antics
to his teenage years as a stockman and, briefly-on into the present and
his wry observations in travelling the world as an author.' (Source: Publisher's blurb)
Notes
-
Included in the 2000 White Ravens Catalogue compiled by the International Youth Library in Munich, Germany.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Other Formats
- Also sound recording.
Works about this Work
-
Spreading the Seeds : Australian Indigenous Publishing for Young People
2009
single work
essay
— Appears in: Magpies : Talking About Books for Children , May vol. 24 no. 2 2009; (p. 8-12)Sheahan-Bright explores '...the growth in publishing by Indigenous writers and publishers, and of writing on Indigenous cultural themes, and some of the issues which confront publishers when dealing with Indigenous writers and illustrators' (8). The article begins with some background, and points out that despite a cultural and artistic heritage that dates back thousands of years, Indigenous writing and publishing has not been widely recognised in mainstream Australian until most recently and Sheahan-Bright says "This is despite their having been engaged in colonial conflict and later subject to the...assimilation policies which discouraged involvement with European notions of literacy" (8). She discusses the origins of the Indigenous publishing houses Aboriginal Studies Press (ASP), Institute of Aboriginal Development (IAD Press), Magabala Books, Keeaira Press, Black Ink Press, Indij Readers and briefly refers to the above mentioned texts in the section entitled 'what's being published'. This leads into a summary of the five main issues in relation to Indigenous publishing and the 'need for authenticity in writing about Indigenous peoples and culture' (11). Sheahan-Bright lists these issues as 'respect for country and Indigenous control of material', relevance of copyright issues, lack of understanding from non-Indigenous Australians, the need to consider 'protocol, specific authority, appropriation' and finally, to develop an awareness of the social factors that contribute to the socially and economically disadvantaged position of the majority of Indigenous Australians. She argues that 'knowledge of Indigenous culture is a genuine part of Australian culture ...and the publishing output should reflect that' (12). However, she concludes that while 'there has been growth in publishing Indigenous voices in English', in general, 'there are many miles still to be travelled and many seeds still to be sown' (12)
-
Untitled
2006
single work
review
— Appears in: Books from Our Backyard : Must-Read Books from Queensland 2006; (p. 81)
— Review of Yumba Days 1999 single work autobiography -
Writing the Childhood Self : Australian Aboriginal Autobiographies, Memoirs, and Testimonies
2001
single work
criticism
— Appears in: Lion and the Unicorn , April vol. 25 no. 2 2001; (p. 226-241) The author discusses how Australian Aboriginal writers are dealing with cultural loss by calling on childhood memories to restore a sense of reality, significance and wholeness. -
Untitled
2000
single work
review
— Appears in: Fiction Focus : New Titles for Teenagers , vol. 14 no. 3 2000; (p. 40-41)
— Review of Yumba Days 1999 single work autobiography -
Untitled
2000
single work
review
— Appears in: Reading Time : The Journal of the Children's Book Council of Australia , February vol. 44 no. 1 2000; (p. 26-27)
— Review of Yumba Days 1999 single work autobiography
-
Untitled
2000
single work
review
— Appears in: Reading Time : The Journal of the Children's Book Council of Australia , February vol. 44 no. 1 2000; (p. 26-27)
— Review of Yumba Days 1999 single work autobiography -
Untitled
1999
single work
review
— Appears in: Magpies : Talking About Books for Children , November vol. 14 no. 5 1999; (p. 44)
— Review of Yumba Days 1999 single work autobiography -
Untitled
2006
single work
review
— Appears in: Books from Our Backyard : Must-Read Books from Queensland 2006; (p. 81)
— Review of Yumba Days 1999 single work autobiography -
Untitled
2000
single work
review
— Appears in: Fiction Focus : New Titles for Teenagers , vol. 14 no. 3 2000; (p. 40-41)
— Review of Yumba Days 1999 single work autobiography -
[Review] Is That You, Ruthie?
2000
single work
review
— Appears in: Imago : New Writing , vol. 12 no. 1 2000; (p. 117-120)
— Review of Is That You, Ruthie? 1999 single work autobiography ; Yumba Days 1999 single work autobiography -
Writing the Childhood Self : Australian Aboriginal Autobiographies, Memoirs, and Testimonies
2001
single work
criticism
— Appears in: Lion and the Unicorn , April vol. 25 no. 2 2001; (p. 226-241) The author discusses how Australian Aboriginal writers are dealing with cultural loss by calling on childhood memories to restore a sense of reality, significance and wholeness. -
Spreading the Seeds : Australian Indigenous Publishing for Young People
2009
single work
essay
— Appears in: Magpies : Talking About Books for Children , May vol. 24 no. 2 2009; (p. 8-12)Sheahan-Bright explores '...the growth in publishing by Indigenous writers and publishers, and of writing on Indigenous cultural themes, and some of the issues which confront publishers when dealing with Indigenous writers and illustrators' (8). The article begins with some background, and points out that despite a cultural and artistic heritage that dates back thousands of years, Indigenous writing and publishing has not been widely recognised in mainstream Australian until most recently and Sheahan-Bright says "This is despite their having been engaged in colonial conflict and later subject to the...assimilation policies which discouraged involvement with European notions of literacy" (8). She discusses the origins of the Indigenous publishing houses Aboriginal Studies Press (ASP), Institute of Aboriginal Development (IAD Press), Magabala Books, Keeaira Press, Black Ink Press, Indij Readers and briefly refers to the above mentioned texts in the section entitled 'what's being published'. This leads into a summary of the five main issues in relation to Indigenous publishing and the 'need for authenticity in writing about Indigenous peoples and culture' (11). Sheahan-Bright lists these issues as 'respect for country and Indigenous control of material', relevance of copyright issues, lack of understanding from non-Indigenous Australians, the need to consider 'protocol, specific authority, appropriation' and finally, to develop an awareness of the social factors that contribute to the socially and economically disadvantaged position of the majority of Indigenous Australians. She argues that 'knowledge of Indigenous culture is a genuine part of Australian culture ...and the publishing output should reflect that' (12). However, she concludes that while 'there has been growth in publishing Indigenous voices in English', in general, 'there are many miles still to be travelled and many seeds still to be sown' (12)