She says she attributes this to a combination of factors, including an unprecedented number of Indigenous writers and illustrators winning literary awards and a growing appetite for Indigenous perspectives, fueled by the #ownvoices and #diversevoices campaigns. “There has never been a better time for Indigenous publishing,” says Anna Moulton, CEO of Indigenous publishing house Magabala Books. National reading initiatives are also focused on highlighting Indigenous writers like Karen Manbulloo, whose bilingual children’s book Moli det Bigibigi ( Molly the Pig) was the first Indigenous title chosen for Australia’s largest reading awareness campaign, Australian Reading Hour.Īnd reading initiatives like Australian Reading Hour are focused on highlighting Indigenous voices You also see it in international rights sales for books as diverse as Tyson Yunkaporta’s Sand Talk: How Indigenous Thinking Can Save The World and Ambelin and Ezekiel Kwaymullina’s YA crime-thriller Catching Teller Crow. This is evident in the bestseller charts, with regular appearances from Bruce Pascoe’s groundbreaking nonfiction book Dark Emu-a multiple award-winner itself-and Marcia Langton’s guidebook to Indigenous Australia Welcome to Country. This article is sponsored by the Australian Publishers Association.īy Andrea Hanke When Melissa Lucashenko became the third Indigenous author to win Australia’s prestigious Miles Franklin Literary Award for her novel Too Much Lip in July, it capped a remarkable year for Australian Indigenous publishing.

Say G’day at the joint Australia and IPG Stand Party at the Frankfurt Book Fair: 17:30pm on Thursday 17 October, Hall 6.2, stands A56 and A57.

Melissa lucashenko too much lip