Ursula Dubosarsky: Do Teens Still Need Books?
'Read for your life!’ is Ursula Dubosarsky's official theme as the current Australian Children's Laureate. But recent reports have shown that an alarming drop in reading happens after children finish primary school.
How can secondary teachers support kids to become life-long readers? What hurdles do teachers typically face in terms of access to books, and access to a variety of books, when…
Ursula Dubosarsky: By the Book
Ursula Dubosarsky knew she wanted to be a writer when she was six years old. Today she's the author of more than 60 books and Australia's 2020–21 Children's Laureate. For this conversation we're bringing this prolific author and literary ambassador together with two avid teen readers, Caitlin and Yanna from 100 Story Building. Caitlin and Yanna will interview Dubosarsky on…
The Wheeler Centre
Briggs: Our Home, Our Heartbeat
Marlee Silva, left, and Briggs
Adam Briggs – better known simply as Briggs – is a Yorta Yorta rapper, record label owner, comedy writer and actor. He’s part of the ARIA-winning hip hop duo A.B. Original, and outside of music, he’s appeared regularly in ABC TV shows (Black Comedy, Cleverman, The Weekly with Charlie Pickering). Recently, he’s been a writer for Matt Groening’s animated Netflix series, Disenchantment.
Now, Briggs adds children’s book author to his CV. Adapted from his song, ‘The Children Came Back’ – with illustrators Kate Moon and Rachael Sarra – Our Home, Our Heartbeat is a beautiful picture book that celebrates Indigenous resilience, honours legends past and present, and salutes emerging generations of the oldest continuous culture on earth.
'You weren’t that yesterday; you’re this today. What could you be tomorrow?'Briggs
In conversation with writer, podcaster and Tiddas 4 Tiddas co-founder Marlee Silva, Briggs talks about the importance of children seeing themselves in picture books – and the rise of books (like Young Dark Emu and Welcome to Country) that distil complex conversations into accessible formats.
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OutLoud Secondary Digital Slam! 2020 Final
Are you ready to rhyme? Or is free verse your jam? Whatever your style, it's time to slam.
See what we did there? Yeah. We're presenting – definitely not competing in – this year’s OutLoud poetry slam final.
The annual competition sees secondary school students devising and performing original works of poetry and spoken word. There are three categories: Years…
The Wheeler Centre
In this short, special episode – to mark the launch of Clean, the latest edition of Notes – we bring you 'Hygiene Fidelity'. Non-fiction writer and art student CB Mako remembers the cleanest room in the cleanest ward of the Royal Children’s Hospital.
Read by the author themselves, this piece of memoir also coincides with Childhood Cancer Awareness Month.Read the story here 12 Sep 2019 Note Hygiene Fidelity / Health, medicine & psychology
Guest post by CB Mako
This episode was recorded and produced by Scott Limbrick and Jon Tjhia. Sophie Quick edited the original story.
The Wheeler Centre
Dhonielle Clayton: The Art of Inclusion
Melissa Keil and Dhonielle Clayton at the Wheeler Centre
In a response to a reader’s letter, YA author Malinda Lo once wrote, ‘Diversity is not important. Diversity is reality. Human beings are not all the same.’ If books function as tools of empathy, what happens when we never see ourselves in them, let alone at the centre of a story? How can we support and encourage real representation in our literature, especially for younger readers?
Dhonielle Clayton is a bestselling author of YA fiction, including The Belles and The Everlasting Rose. She’s a former teacher and librarian. And she’s the COO of We Need Diverse Books, the US-based campaign for a more inclusive and representative literary milieu. The movement began as a hashtag, went viral, then formalised into a non-profit in order to methodically press for progress.
Clayton joins host Melissa Keil to talk about her writing, as well as the importance of Own Voices stories, and some of the problems with traditional publishing models. She highlights ways these models can shift while still retaining the crucial ability to connect with readers, and considers how we can create a more equitable and exciting literary culture.
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