On her Grandparent’s farm Edie is free to run and play, and to explore her world, nature and her culture. She and her friends and family live a normal life, going to school, hanging out at the beach and spending time with their families. But Edie and the other children in the town are aware of the threat that the ‘shiny black car’ brings. In sixteen entertaining, humorous and sometimes emotional short episodes we learn the stories of the townspeople, and how both black and white cultures can work side by side to stay together.

Fran Dobbie, a descendant of the Yuni tribe from the south coast of NSW, writes of her own memories and shared experiences in this, her first novel. A teacher in a country town outside Sydney, she enjoys sharing her appreciation of nature with her children. Since publishing Whisper, Dobbie has written her second children’s book Paper Bags and Dreams (2004).

Whisper presents as a novel, however it reads more as a collection of short stories, separate episodes in the young Edie’s life that help her to discover more about herself, her culture and about life. Told from the perspective of Edie, a young aboriginal girl from a small mixed race community, the book explores the indigenous culture, with examples of the wider family construct, spirituality, and reference to the Stolen Generation. Edie’s voice, that of an innocent young child, offers a compassionate and less complicated view of life, although at times a slightly naïve one- ‘What’s our skin got to do with the speed of our legs? Nothing, you know that’ (Dobbie, 2000: 82).  To her the concept that one should be made to feel different because of colour is simply ridiculous- a view held by most children until they are old enough to witness or bear the pain of discrimination themselves.

There is a clear sense of community in the book. It is difficult to determine through reading whether the town is dominated by one race or not, but it is clear that, through Edie’s eyes at least, the people there live relatively peacefully, accepting and respecting each other’s differences. When the black car comes calling for Edie’s relatives the town rallies to help them. ‘I suppose the Protection Board didn’t count on a small town’s action plan to protect their own. Aunty Junie disappeared with her kids, the townsfolk saw to that,’ (Dobbie, 2000: 116). Edie’s best friend Maggie, is white and the strong friendship between them and their families is evident throughout the book. The School principle, also white plays an important role in this equality and acceptance, teaching that each culture has a part to play, and incorporating each into their learning.

The Stolen Generation is a subtle theme throughout the first half of the book, the appearance of the ‘black car’ at the farm the only indicator of its presence and threat- ‘Suddenly we hear that bell ringing: it’s Pop’s way to alert us to trouble… We know what we have to do’ (Dobbie, 2000: 4). In later episodes Edie learns more of its potential to change her and her family’s lives, as previously mentioned when the town rallies together to save Edie’s aunt and cousins from the institutionalism that would have awaited them had they been taken. In ‘Outside the Dogtag’ Edie must come to terms with her cousin being taken, and we are witness to the emotions she feels at this time.

The beauty of Whisper is that unlike many stories about Aboriginal and white Australians, the characters are not classified by race. Joel is simply Joel, the boy who has a crush on Edie. Edie herself in one chapter notes her lighter skin, suggesting that perhaps one of her parents was white, however, this is not important to her, ‘You know, I got questioned because of my light skin but I knew who I was’ (Dobbie, 2000: 62). Whether an view clouded by innocence and naivety the community in this book genuinely seem to respect and care for each other, whatever race, and work together to ensure the Families are not separated by the government, as demonstrated in the tuck shop incident and that involving Edie’s Aunts and cousins. This more positive documentation of the life of an indigenous community is one commonly offered by indigenous authors themselves, in contrast with the more confrontational stories written be non-indigenous authors.

One criticism of the book is that it presents as a novel primarily featuring the two girls Edie and Maggie, and their friendship. However, although Maggie is present in many of the stories, the girls’ friendship is not a vital factor in the book. Young readers may also be confused by the lack of continuity between chapters, as each is a separate incident and does not flow from the previous episode. Readers may feel that they have missed something and be confused by the absence of any further explanation.

At times it may be difficult for young children to connect with characters, unless they have some knowledge of the Indigenous culture themselves. Although in essence Edie is just like any other twelve year old, discovering boys and clothes and having sleepovers with her friends, her references to her culture may be confronting to those who have had no exposure to this. Her spirituality may also be something some younger readers have not yet come to terms with in their own lives, and at times the young Edie shows maturity beyond her twelve years. For these children however, the book may prove an important and useful introduction to another culture, and provide a launch pad for further discovery.

The innocence and childhood logic of the young Edie do, however, draw the reader in. She plainly states her point of view and the reader can appreciate her honesty. Older readers can remember a time when life was not full of some many complications and things seemed clear cut. Edie has a good heart and the book leaves the reader satisfied that through all the discrimination our indigenous communities faced there were those out there willing to do their part to create a better place. Whisper is an interesting, educating and enjoyable read for young readers and adults alike.

Review by Anna Rookes

This piece was originally submitted as part of the course work in Post-colonial Literature for Children.

© 2006 Anna Rookes