Jeanine Leane unfortunately will have to miss our teaching Australian Literature panel at the Philadelphia MLA but I am doing a short paper instead, the first two paragraphs of which are below.
Reading Melissa Lucashenko’s Mullumbimby in the Age of Trump
On November 5, 2008, I taught Aimé Césaire’s Miraculous Weapons as part of the New School's then-current literary foundations course. The poem was on the standard syllabus, but I deliberately assigned that day’s class to this African diaspora text as likely to mark the election of the first African American President the day before. And so, bleary eyed but quietly celebratory, we convened and, after I acknowledged the previous day’s events, had an attentive and involved discussion of the Martinican poet.
Eight years later, I was teaching in New York University’s School of Professional Studies and was finally getting to give a course in one of my specialties, Australian literature. For November 9, 2016, I assigned Melissa Lucashenko’s Mullumbimby. This was not directly to honor the prospective first woman President, though I certainly wanted a female writer on that day. But I wanted to gesture towards a society where multiple racial, religious, sexual, and gender identities were celebrated, and dispossessed and under-recognized groups such as Indigenous Australians were achieving acknowledgment and redress for the land that had been stolen from them by white settlers.
My aspirations for this day were, alas, trumped.
Reading Melissa Lucashenko’s Mullumbimby in the Age of Trump
On November 5, 2008, I taught Aimé Césaire’s Miraculous Weapons as part of the New School's then-current literary foundations course. The poem was on the standard syllabus, but I deliberately assigned that day’s class to this African diaspora text as likely to mark the election of the first African American President the day before. And so, bleary eyed but quietly celebratory, we convened and, after I acknowledged the previous day’s events, had an attentive and involved discussion of the Martinican poet.
Eight years later, I was teaching in New York University’s School of Professional Studies and was finally getting to give a course in one of my specialties, Australian literature. For November 9, 2016, I assigned Melissa Lucashenko’s Mullumbimby. This was not directly to honor the prospective first woman President, though I certainly wanted a female writer on that day. But I wanted to gesture towards a society where multiple racial, religious, sexual, and gender identities were celebrated, and dispossessed and under-recognized groups such as Indigenous Australians were achieving acknowledgment and redress for the land that had been stolen from them by white settlers.
My aspirations for this day were, alas, trumped.
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