Acknowledgements

Thank you to the Barengi Gadgin Land Council (BGLC) and, in particular, to the Elders and family representatives on the board. Land councils care for large areas of Country and are asked to do an enormous range of work, including regular requests for assistance on creative projects. I’m deeply grateful for the generosity and care with which my project was received. A portion of the proceeds from the sale of The Desert Knows Her Name will go to BGLC. After reading the novel, if you feel inclined to support the important work they do caring for culture and Country, please visit their website: www.bglc.com.au

Warm thanks to Wotjobaluk writer, artist and Indigenous consultant Kat Clarke, who did the final sensitivity reading. Kat helped me understand the effect a story like this might have on an Aboriginal reader from that Country, and her generous feedback and suggestions have made this a much better book. She named the survivor of the murders in the novel. I can imagine nothing more fitting.

Thank you to the many people in the Wimmera who helped me over the years, in particular the following people. The late Homer Rieth – author of the epic poem Wimmera, quoted in the opening – for mentoring me through the early stages of this novel. You are deeply missed. Tracey Rigney, Wotjobaluk and Ngarrindjeri filmmaker and playwright, for the wonderful conversations that, among so many other things, allowed me insight into the ways colonisation continues to impact the lives of Aboriginal people on the lands on which the novel is set; and how art might speak to this. Wergaia Elder, Uncle Ron Marks, for introducing me to his Country and community when I began researching this novel. Maree and Graham Goods, who took me into the desert, and whose constant dipping into Latin reminded me there are many languages for speaking about the natural world. Mirinda Thorpe and Iestyn Hosking, for teaching me about seed harvesting and regenerative farming practices, and for the great meals. D’Arcy Molan, saxophonist extraordinaire, for generously sharing his research into community arts and the politics of place-making. Dale Conway of the Dimboola Historical Society, for his insights into local history and how it is contested. Jonathan Sparks and Ian Morgan for their expertise on all things avian. Greg Pritchard, for introducing me to the Nati crowd, and for all the great stories. Marian Anderson of Redrock Books and Gallery. Regional bookshops like hers are so often the heartbeat of small towns.

Numerous people in the region provided me with a place to write or as a base from where to conduct research. My thanks to Kate Rose-Henry, Mary and Peter French, Gill Venn, Mirinda and Iestyn, D’Arcy, Greg, Maree and Graham. Also to Wal and Judy Ferguson who lent me an old farmhouse on the edge of Wyperfeld National Park, where the first draft was narrated. I’m always amazed by the generosity shown towards a writer looking for a place to stay, and nothing can replace writing on Country.

I’m deeply grateful to the people who generously read parts of or whole drafts, for their expertise and encouragement: Janine Coombs, Amber Munkara and Stuart Harradine from BGLC; ‘plot master’ Tadji Ulrich, Jock Serong, Marian Spires, Jack Kirne, Simmone Howell, D’Arcy Molan, Greg Pritchard, Laura Jean McKay, Patrick Ulrich, Jan and Tony Hills. And to those who helped me think through the ideas at the core of this novel: Emily Potter, Evelyn Araluen, Amy Spiers, Gabby Haynes, and the reading and writing groups at the Institute of Postcolonial Studies.

My gratitude to my fabulous agent Catherine Drayton, who has been a tireless advocate of my work. This novel wouldn’t exist without her. Huge thanks to my publisher, Martin Hughes, who had a vision and passion for this story that he’s upheld throughout; and to my wonderful editor, Ruby Ashby-Orr, for supporting me in every way, and always going above and beyond. It’s been such a pleasure! Thank you to all the rest of the amazing team at Affirm, especially Tace and Julia; to copyeditor Emma Schwarcz for her care and attention to detail; and to Lisa White for her incredible work on the cover. Also thanks to Emma Jennings for her beautiful painting of kangaroo grass.

I’m deeply grateful to Creative Victoria Creators Fund for the grant that financed my initial research for this novel in 2019. It allowed me the time to experiment with capturing voices on Country and finding new ways to write the nonhuman.

Much love and gratitude always to Patrick, Taman and Tadji, for joining me on trips to the Wimmera, listening to a thousand doubts and versions of this story, and constantly believing I’d get there in the end. None of this would make sense without you.