Good Reading Podcast

Good Reading Magazine

Book talk and author interviews aimed at helping you discover your next favourite read, presented by Good Reading Magazine.

  1. Martin McKenzie-Murray on the shadow world of first responders in 'Sirens'

    3 DAYS AGO

    Martin McKenzie-Murray on the shadow world of first responders in 'Sirens'

    Three first responders – a paramedic, a police officer and a firefighter – are motivated by a desire to serve the community. But they are drawn to their work by more complicated impulses as well: a need for control, an acute awareness of danger, and childhood experiences they are still running from. Peter, a paramedic, served at high-profile disasters including the Port Arthur massacre and the Beaconsfield mine collapse. Despite helping countless people, he is haunted by the lives he couldn't save. Tara, a firefighter, experienced devastating loss at a young age. She found camaraderie in the fire brigade, but also confronting reminders of her past. Brett, a police officer, survived childhood neglect and abuse. Policing offered a way to impose order, but it eventually forced him to question his rigid moral view of the world. In telling their stories, Martin McKenzie-Murray draws on his own experience and his research into trauma and recovery to ask profound questions about human motivation and survival. What draws people to these intense professions, and how does their work reshape them? And what happens when their carefully built walls between past and present, personal and professional, start to crumble? In this episode Gregory Dobbs chats to Martin McKenzie-Murray about why we need know about the experiences of first responders, why it is a vocation and not just a job, and reasons for the reluctance to seek treatment for the PTSD that many first responders suffer from.

    30 min
  2. Luke Taylor on Peter Marralwanga, Painter of the Djang of Western Arnhem Land

    3 APR

    Luke Taylor on Peter Marralwanga, Painter of the Djang of Western Arnhem Land

    Peter Marralwanga (1916–1987) was a leading figure in one of the great art practices of the world. He grew up in western Arnhem Land surrounded by artists painting in rock shelters and he learned to paint this way himself. The subjects of his paintings were the Djang who made his country and placed the spirits of people within it. Marralwanga’s story highlights the way bark painting became important as a way of evading assimilation policies rife within Northern Territory towns. Marralwanga established an outstation at Marrkolidjban where he could teach his children how to properly care for Ancestral lands, with part of this care involving a knowledge of how to paint. As a senior person who had travelled widely in his youth, and gained extensive ceremonial knowledge, Marralwanga was highly influential among a broad group of painters. Ivan Namirrkki, a painter of note and Peter Marralwanga’s son, has provided here his own account of his father’s life. This book tracks Marralwanga’s life of learning about country and conveys the religious meaning of numerous major works, offering outsiders a richer understanding and appreciation of Arnhem Land art. It also shows the crucial role of individuals working for the community arts cooperative Maningrida Arts and Culture in facilitating Marralwanga’s rise to recognition as a major Australian and world artist. In this episode Gregory Dobbs chats to Luke Taylor about the tradition of Aboriginal bark painting that Peter Marralwanga drew from, the depth of knowledge of Aboriginal culture and ceremony that he brought to his paintings, and the political dimension to Marralwanga's work and its role in the developing land rights movement of the 1960s and 70s in Australia.

    25 min
  3. Debra Dank on family, culture, connection and the power of memory in 'Ankami'

    14 JAN

    Debra Dank on family, culture, connection and the power of memory in 'Ankami'

    Debra Dank had long been desperate to paint a fuller picture of her family, to add flesh to the name-bones and the few precious stories she possessed. Debra had been aware of her father's five siblings, some of whom had died before she could come to know them, but there were always whispers and gaps and silences. Her parents had experiences that affected how Debra grew up, but hers seemed to be one of the very few Aboriginal families who had escaped having children stolen, who had viewed this horror from a seemingly safer distance. What Debra discovered would shatter everything she thought she knew about her family and her past. The information she uncovered revealed that her paternal grandmother had given birth to ten children. Four had been taken from her. Ankami is written from the perspective of those left behind, those who search always for the faces of stolen and lost Aboriginal children, now known only through a few cruel, thoughtless words written by a violent pastoral manager and a paternalistic colonial administrator, a footnote in a yellowed letter. In this episode Gregory Dobbs chats to Debra Dank about the culture of silence she faced in uncovering her family history, the memories she relied on to tell this story and those she was compelled to imagine in the absence of the family she never knew, and the inadequacy of Australian standard english in describing, expressing and communicating Aboriginal culture and the words she invents to address that problem.

    37 min
4.6
out of 5
16 Ratings

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Book talk and author interviews aimed at helping you discover your next favourite read, presented by Good Reading Magazine.

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