The White Earth Essay

Andrew McGahan’s historical fiction novel, ‘The White Earth’ published in 2004, depicts the interrogation of racial, proprietorial, and cultural politics of 20th century Australia, as it recounts the protagonist, William and his mother migrating to Kuran station; a land of rich, black soil, with a House filled with sinister overtones but the inheritance of the land proves to be the character’s downfall. Set in 1992, the novel demonstrates qualities of gothic elements to bring forward the attitudes and actions of post-colonial Australia and articulates the significance of the Mabo decision and its legacy for social and legal changes. This idea of land and place results in a spiritual relationship with its inhabitants; this is prevalent in ‘The

Despite the absence of an Indigenous voice, the reader is conscious that the relationship between the Kuran people and land is not about ownership but revolves around their spiritual connection to the land. Inherent injustice lurks behind the concept of land ownership as the sacrilegious act of colonisation has left Indigenous communities without land, ‘This country was Aboriginal land, and it was stolen from them without compensation’ this gap lends the reader to consider the concept of ‘terra nullius’ and its sovereignty that stipulated upon colonial settlement. The annulment of ‘terra nullius’ allowed for a reestablishment of Indigenous people reclaiming their land. It enhances the reader’s knowledge to consider that the Indigenous people work with the land, instead of manipulating and forcing the land, ‘It doesn’t care what colour I am, all that matters is that I’m here.’ John exhibits this notion of ‘white’ magic proves both illusory and harmful as it is a way of justifying the actions of past settlers and believing that their ‘relationship’ with the land as sacred as an Indigenous bond. McGahan utilises gothic elements of agitating visions, ‘The light was orange, not white like the farmhouses’ and ‘Then it flickered and blinked out, and everything up there was night again.’ This motif of fire recurs throughout the novel as a significant force. It is a mechanism of ambiguity and terror from past guilt haunting those who live in Kuran Station; these visions are personifications of white settlement, ‘But tonight he had actually seen it – a hand reaching out, wreathed in fire, and then a human shape, all ablaze, and yet standing motionless as it burned.’ The fire man haunts John’s dreams, as it belongs in his conscience as guilt, and insinuations of the secrets that lie in Kuran. But it can also be reminiscent of an Indigenous man bringing to light the genocide of