‘People come to me all the time and tell me about the metaphors I built in, and I tell them, “Man, I just threw it in there.”‘
David Heska Wanbli Weiden is an enrolled citizen of the Sicangu Lakota nation and the author of Winter Counts. His debut novel, Winter Counts was the winner of the 2021 Thriller Award for Best First Novel, the Spur Awards for Best Contemporary Novel and Best First Novel, the Barry Award for Best First Novel, the Lefty Award for Best Debut Novel, and the Tillie Olsen Award for Creative Writing. He lives in Colorado.
Winter Counts is the story of Virgil Wounded Horse, a hired vigilante on the Rosebud Indian Reservation in South Dakota. Through a compelling crime story, David reveals the profoundly broken criminal justice system on American reservations.
In episode 40 of James and Ashley Stay at Home, we ask David what it means to be a Super Indian (and discuss the term ‘Indian’ in the American context), his starting place for the novel’s narrative, Lakota and Indigenous cuisine and food culture, and the surprising and heartening reader responses to the book.
Plus, if you’re ever in Nebraska, David recommends checking out Carhenge, a replica of Stonehenge made of out actual cars. Seriously.
Books and authors discussed in this episode: – Jim Thompson, US noir author – Don Becker, Denver comedian – Razorblade Tears by SA Cosby – These Toxic Things by Rachel Howzell Hall – They Can’t Take Your Name by Robert Justice – The House of Ashes by Stuart Neville – The Shadow House by Anna Downes (our guest from episode 5) – The Looming Tower by Lawrence Wright – Haunted by Chuck Palahniuk
The Boundless Indigenous Writer’s Mentorship, presented by Writing NSW and Text Publishing, is awarded to an unpublished Indigenous writer who has made substantial progress on a fiction or non-fiction writing project. The writer is paired with a senior Indigenous writer for a structured year-long mentorship.
The 2021 Boundless runner-up is Bundjalung writer Samia Goudie, for her memoir, The Woman Who Came from the Sea. She’ll be working under the mentorship of Goorie writer Melissa Lucashenko.
I’m especially excited for Samia because my husband and I had the honour of funding the 2021 runner-up mentorship. In this Q&A, she talks about her early experiences with writing, how she began to work on her memoir, writers that have inspired her, and her best writing tip.
When did you start writing, and what kind of writing did you first aspire to? As a child and all through my teens writing was my to go safe place and I wrote prolifically. Stories, poetry, prose, mostly long streams of consciousness and long 10-page letters to my grandmother and pen pal friends.
The touch of a fresh sharpened pencil and feel of the pen on paper completely absorbed me. I was deeply traumatised as a young person, so reading, writing and painting were my world, my safe place, and helped me survive.
I had two significant English teachers. One was Mr Jardine, he wore a cravat. It was the 70s, he took us to A Clockwork Orange, exposed us to Russian writers, Blake, and the classics as well as contemporary Australian and American writers. In my mid-teens and I was introduced to feminists and Marx, which was unusual, through another English teacher, Elizabeth Cousins.
Elizabeth knew my life was hard and in many ways I couldn’t function in the mainstream-learning environment, so she just let me write whatever I liked and didn’t require I come to class. I’d meet with her regularly instead and she’d read my writing, point me to things to read and make comments and constantly encourage me.
I also did a radio show at my school, so I was very influenced by radio, drama, youth theatre and music. A real mix, symphony, opera, jazz. Mozart and Pink Floyd and Country. We didn’t have a TV till I was 11. So these things shaped my world.
I was an adopted baby, taken from my birth mum, and my parents were significantly older than all my friends’ parents. I had a very lonely and abusive childhood. I just didn’t fit in for all kinds of reasons, Race being just one, so, I had to have a rich inner life to survive.
I spent hours learning and reciting poetry, long form and verse. I loved acting, and I would write my own scripts and then spend hours playing all the characters.
As a young teenager I also spent a lot of time at the Aboriginal Tent Embassy and this is where I first started to understand that there were alternative stories and histories to the ones I was being exposed to. I’d grown up with Albert Namatjira on the living room wall, strict Methodists who had both been in the Army during WWII, and a father who grew up in an orphanage. I also spent long periods of time with relatives and then in institutions, so there were lots of disconnections and contradictions. Writing continues to fulfill the same role. It’s my safe place and my way to challenge the complexity of my inner and outer world. To give voice to these complexities and challenge the status quo of society. I love the craft, the voice, the landscape and terrain of stories. I love reading other people’s stories, ones that take you on a journey that transports you. That’s what I’d love to achieve. Telling a story that takes the reader on a journey.
I’ve written a lot of poetry over more recent years, up till then I put all my creativity into community projects, films, digital stories, events, concerts and lecturing and travelling.
Tell us about your memoir, The Woman Who Came from the Sea. Last year after I had an accident and was having a lot of severe pain, I started writing again just for myself, to distract myself. It started to become what felt like a story, one that had been sitting inside me for decades. I decided okay, just write.
Once I made that decision words just flowed out faster than I could type. I have called this work The Woman Who Came from the Sea because the ocean, salt water, and fresh water have always been important in my life. I have experienced deep bliss surfing down the face of a clear blue wave and near death in the center of a cyclone in the middle of the ocean on a small yacht.
I’d say its memoir, but also could fall into being creative non-fiction. I don’t want to give away too much yet; I can say it’s a wild story, a story of adventure and survival against the odds. I know I have lived a life that’s very full and left of center. I actually hate boxes and strive to challenge being labeled or locked into other people’s definitions of who I am. I’d like that to be the same with my writing, I am not trying to write in a specific formula or write for a living. I am just writing.
Various people throughout my life have heard pieces of my life and always commented that they would love to read the full story. So, maybe they will get that chance. I hope so, that would be wonderful.
What books or authors have inspired your writing? I have read broadly, the books that really stand out are always ones with rich landscapes and diverse voices. First Nations writing from this country has always had a special place ever since meeting and then reading the work of some of our early trailblazers, people like respected Elders Oodgeroo Noonuccal or Aunty Kerry Reed-Gilbert who founded the writing group I’m currently part of called Us Mob writers in Canberra.
Since being involved with Us Mob writers and First Nations Australia Writers Network, I have made a point to read nearly exclusively Aboriginal and Indigenous writers. We have so many talented storytellers; I have a never-ending pile.
I also love Hispanic and Latino and First Nations writers from the Americas where I lived for 12 years, mostly in the southwest. So, of course I am very impacted by the landscape of those places and the voices from those lands. I like to read and listen to stories that are recommended me by other writers. Films, theatre and podcasts inform me as well.
Through the Boundless Mentorship, you’ll be working with author Melissa Lucashenko, winner of the 2019 Miles Franklin Literary Award. What are you hoping to take from this? Being runner up in the Boundless Mentorship and being matched with Melissa Lucashenko, whose book Too Much Lip won the 2019 Miles Franklin Literary Award, is an extraordinary opportunity. The process of shaping my writing into structure and working out how to keep the story moving, is why it’s important for me to have a mentor. Just to get feedback and encouragement and not be so isolated means a lot.
I’m just grateful to learn whatever I can from her and hope it helps me bring my story to life.
What writing tip have you found most useful so far? Right now, it’s just about getting the writing on the page. That’s the best tip I have had. Just write, don’t stop, don’t edit, just get it down first. The rest will follow. The others are to read and read a lot. I’d add listen. Listen, be interested and brave.
It’s scary sometimes, to be visible, but I have such a great community of writers who inspire me. Aunty Kerry kept telling me before she died that she’d watching me and will be on my back if I don’t write. So, I have to honor her, as she really believed in me.
I want to thank Boundless, Writing NSW, Text Publishers, Booktopia, the judges, and of course my generous sponsors. I hope I can give you something that rewards your choice in supporting me with this opportunity.
Time is precious, so, now, it’s back to my story. I hope you might get to read it one day.
Congrats also to this year’s Boundless winner, Torres Strait Islander Lenora Thaker.For more about the Boundless Indigenous Writer’s Mentorship, visit Writing NSW.
“What I would ultimately like, you know, my huge big goal [for the book, is that] people can look back on this and say, ‘You know, there are bits in that – as a non-Indigenous person – I didn’t understand, but that’s okay, and I don’t need to acquire and learn and make meaning for everything in that book,’ because sometimes parts of that book are for Aboriginal people, some parts are for Yuwaalaraay people, and other parts are for Yuwaalaraay senior people.”
Our first guest for 2021 is Yuwaalaraay author Nardi Simpson. From North West NSW freshwater plains, Nardi is a founding member of Indigenous folk duo Stiff Gins, and has been performing nationally and internationally for 20 years. Her debut novel, Song of the Crocodile, was a 2018 winner of a black&write! writing fellowship.
Speaking to us from a beach on the Northern Rivers, Nardi delved into the intercultural aspects of the book, and of navigating modern society as an Indigenous person in Australia.
Song of the Crocodile is set in the fictional town of Darnmoor, in regional NSW. The story spans four generations of the Billymil family and their effort to sustain their Indigenous culture and community despite the overt and covert racism of the settlers, and the corrosive impact of intergenerational trauma.
Filled with ancestral spirits and Yuwaalaraay language, it presents both an insight into an ancient worldview that understands the healing power of the natural world, and a sharp, affecting critique of Australian society.
Her book reminded me of my own research into my family members’ survival of the Armenian genocide and the process of weaving that research into fiction when writing My Name Is Revenge.
“What happened to those families is basically what happened to my family,” Nardi says. “I wanted to understand that, and I didn’t want to judge it.”
Going too much into detail on the connections would be a spoiler for both Nardi’s book and my own, but one of the broad strokes points we both explore is how much has been lost due to the violence suffered by both communities – not just lives, livelihoods, homes and land, but also cultural knowledge and worldviews.
It’s a great conversation, and Nardi is a fascinating speaker and well as a powerful writer.
In this episode, we also discuss Bindi by Kirli Saunders, The Road to Woop Woop by Eugen Bacon, and James’s thoughts on reaching the end of Karl Ove Knausgaard’s six-book memoir series.