This edition published by ETT Imprint, Exile Bay 2018
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ETT IMPRINT
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Copyright © Paul Bryden 2018
ISBN 978-1-925706-48-2 (ebook)
ISBN 978-1-925706-49-9 (paper)
Design by Hanna Gotlieb
AUTHOR’S NOTE
In 1976 I made and threw my first boomerangs and a ‘window’ into Australia’s Aboriginal culture opened. In that year I travelled to Alice Springs and met a local Aboriginal watercolour artist. Then in 1983 I visited Cairns to meet a Mornington Island artist known for bark paintings, and later flew to Broome and shared special days with two highly respected elders. Since then I’ve had the privilege of meeting custodians and boomerang craftsmen from various regions, some of whom I’m still in touch with. I gained valuable information from them about traditional subjects and enjoyed many good times, but The First Boomerang is a work of fiction, except for historical details, created from my thoughts, intuition and experiences.
Traditionally, Aboriginal peoples had no written languages, their cultures maintained by oral tradition. “Language” words therefore are usually interpretations made by linguists after interacting with native speakers. In the text I’ve written English names first, followed by language names. For example Ayers Rock (Uluru), which is well known, and Anzac Hill (Atnelkentyarliweke) that’s hardly known at all. As well as difficult pronunciation, spellings change. For example Arunta, Aranda, Arrarnta and Arrernte have been, or still are, used to name Aboriginal clans in and around Alice Springs. For the story I prefer Aranda, as does the Elder, because it is easier to pronounce at first attempt than Arrernte, the most recent version. Unfortunately, my use of “language” words is not consistent because spellings vary, but I urge the reader’s indulgence! Also, because of respect for Aboriginal culture and the complexity of skin names and kinship systems, I gave the Elder a European name only.
Dreaming Track, a translation of “Tywerrenge impatye,” also has alternate spellings and describes pathways made by Ancestral Beings in Aboriginal country along which ceremonies are performed. Its widely used name is Songline, and the Elder and Rob Noble use it most often. The idea that Rob, a caucasian Australian, was Aboriginal in a passed life may surprise some readers. However, reincarnation was well known to many clans. I spoke with a traditional owner about this subject and he told me: “When a child was born they used to look for marks (birthmarks) which may suggest a spear wound from the last life.”
Synchronicity played its part while I was writing. One example occurred when Rob was in Alice Springs after beginning his quest and the Araluen Arts Centre was hosting The Yuendumu Doors exhibition. On one painted door he saw a Dreamtime story that featured “comeback” boomerangs. This surprising discovery added real intrigue because returning boomerangs were never used by Aboriginal clans in Central Australia!
In Chapter 3 Rob travels with Rock Art researchers to Ewaninga (Napwerte) Conservation Reserve and they take photos and record video of the rock engravings. Even though a fictional trip, it occurred several years before the site’s custodians stopped allowing filming or photography.
Finally, most of the action, apart from earlier historical events, is set in the year 2000. This means that some names and other references may have changed since then, however they do not detract from the plot, themes and characters of the story.
Paul Bryden, March 2018
I lovingly dedicate this book to my late parents
Les and Daphne Bryden
ACKNOWLEDGEMENTS
I wrote this story on and off over many years, so it is next to impossible to thank by name everyone who contributed. This includes friends and professionals who read sections or the entire text, edited a page or a chapter, enhanced it by formatting, guided my searches in libraries, encouraged me by asking “how’s the book,” confirmed information, especially about Central Australia, made original suggestions, and offered to buy a copy well before its publication.
My warm-hearted thanks to each of you who helped in those and all other ways, and to the great people I met during my research trips, as well as the Elders in spirit.
Many thanks also to writers of the numerous books and periodicals – published over the last 200 years or so – which I browsed or read completely for background.
Books I’ve quoted from are Moon and Rainbow by Dick Roughsey (A.H. & A.W. Reed, 1971), Flinders Ranges Dreaming by Dorothy Tunbridge (Aboriginal Studies Press, 1988) and Lardil – Keepers of the Dreamtime by D. McKnight (Chronicle Books, 1995), their words much appreciated.
I’ve also quoted from the “Dreamtime” books by Charles P. Mountford & Ainslie Roberts, and from Dreamtime Heritage by Melva Jean Roberts (Angus & Robertson, 1971). Special thanks to Rhys Roberts, Ainslie Roberts’ son, who graciously gave his permission and made this possible.
And finally I wish to acknowledge the author who wrote: “If the letter ‘h’ is taken off the end of the word ‘earth’ and placed in front, the word ‘heart’ is formed.” You’ll see it on page 68, however, I cannot remember where or when I found it, so I offer my apologies, but please get in touch after reading this! I can be contacted at www.firstboomerang.com
CONTENTS
PART ONE
Return to Country
PART TWO
Dreamtime Quest
1
Rob was soaking lazily in the spa bath after a busy day working in a native art gallery on East 57th Street. Indulging like this was rare so he stretched out his long legs and relaxed completely. Suddenly a ringtone broke the silence, jolting him out of his watery bliss. Easing himself up he stepped out, dripping suds onto the marble tiles and picked up the phone.
“Hello?”
“G’day there. Is that you Rob? It’s Hugo catching up from Sydney.”
“Yes, Hugo. What a surprise. Great to hear your voice.”
“I’m really pleased you’re there Rob, and great to hear yours too. I did get your last email, but apologies, it’s been a while.”
“Yeah, for sure. But I understand. We all get busy.”
Rob Noble
