ALEXIS WRIGHT

When the world changed, people were different. Towns closed, cities were boarded up, communities abandoned, their governments collapsed. They seemed to have no qualms that were obvious to you or me about walking away from what they called a useless pile of rubbish, and never looking back.

My world has been quite rich in my life, and I've been happy. I've no regrets.

English is my language because of the history, and what I try to do - and I did that in 'Carpentaria' in particular - is to write in the way we tell stories and in the voice of our own people and our own way of speaking.

No matter what happens to you, you can maintain your own control about what you believe and who you are.

My role as a novelist is to explore ideas and imagination, and hopefully that will inspire people from my world to continue dreaming and to believe in dreams.

We have to think big. We have to imagine big, and that's part of the problem. We're letting other people imagine and lead us down what paths they want to take us. Sometimes they're very limited in the way their ideas are constructed. We need to imagine much more broadly. That's the work of a writer, and more writers should look at it.

It's a really important thing for Aboriginal people to remember how stories are told and the power of stories, and make it an important feature in our world again.

That attitude that I wouldn't succeed didn't come from my family; it came from school and then the township we lived in. I wasn't going to settle for that, and my mother warned us not to settle for less, to make the most of our lives.

I've never seen myself as a spokesperson. I've always seen myself as a worker and am very grateful for the trust that my own people have given me over the years.

The expectation was I would get married and become a mother and settle down. We didn't have any role models. We saw teachers and doctors and nurses, but I'm not a teacher, and there was no possibility of being a doctor or a nurse. I had to work and find my own way.

I've never seen myself as a spokesperson. I've always seen myself as a worker and am very grateful for the trust that my own people have given me over the years.

We have to think big. We have to imagine big, and that's part of the problem. We're letting other people imagine and lead us down what paths they want to take us. Sometimes they're very limited in the way their ideas are constructed. We need to imagine much more broadly. That's the work of a writer, and more writers should look at it.

No matter what happens to you, you can maintain your own control about what you believe and who you are.

It's a really important thing for Aboriginal people to remember how stories are told and the power of stories, and make it an important feature in our world again.

My role as a novelist is to explore ideas and imagination, and hopefully that will inspire people from my world to continue dreaming and to believe in dreams.

My world has been quite rich in my life, and I've been happy. I've no regrets.

English is my language because of the history, and what I try to do - and I did that in 'Carpentaria' in particular - is to write in the way we tell stories and in the voice of our own people and our own way of speaking.

That attitude that I wouldn't succeed didn't come from my family; it came from school and then the township we lived in. I wasn't going to settle for that, and my mother warned us not to settle for less, to make the most of our lives.

The expectation was I would get married and become a mother and settle down. We didn't have any role models. We saw teachers and doctors and nurses, but I'm not a teacher, and there was no possibility of being a doctor or a nurse. I had to work and find my own way.

When the world changed, people were different. Towns closed, cities were boarded up, communities abandoned, their governments collapsed. They seemed to have no qualms that were obvious to you or me about walking away from what they called a useless pile of rubbish, and never looking back.