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59 pages 1 hour read

Ambelin Kwaymullina, Ezekiel Kwaymullina

The Things She's Seen

Fiction | Novel | YA | Published in 2018

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Themes

The Role of the Community in Healing Grief

Content Warning: This section of the guide discusses sexual violence and racism against Indigenous Australians.

A common practice in Aboriginal cultures is for the entire community to participate in mourning the passing of a community member. This process is conducted through a collection of visits, traditions, and ceremonies that are collectively referred to as “Sorry Business.” There is a belief that coming together and sharing sadness is essential for breaking through grief and beginning to heal. These cultural beliefs are reflected in The Things She’s Seen, for the authors take this same philosophical stance toward the process of overcoming trauma. The story’s central conflict focuses on the question of whether Beth, Catching, and Sarah will find a way to move on to the “other side.” Ultimately, this feat can only be accomplished once Beth feels sure that her father is healing from his grief and once Catching and Sarah regain their own hope and strength following the trauma of sexual assault. In both situations, the way forward is found through supportive relationships.

The complex family dynamics surrounding Beth’s death illustrate the many roles that the community can play in aiding the grieving process. For example, Beth’s family members support each another, share stories about Beth, and gather together to process the sadness of losing her. The cousins benefit from the wisdom of their elder relatives when Aunty June encourages them to balance their tears for Beth with their laughter over the lighter memories of her life.

By contrast, Michael isolates himself after Beth’s death and remains mired in his sorrow. Beth has watched him collapse into himself and lose interest in his job and his life. His willful isolation puzzles Beth until he explains that he feels undeserving of the happiness of family life because he could not protect his own daughter. Hearing this, Beth understands that her father is “impossibly turned around in his own mind” (131), and she tells him that his behavior is unfair to himself and to everyone else. Thus, just has Michael’s isolation causes his misguided behavior, his act of sharing his thoughts with Beth immediately allows him see more clearly, and her support helps him to make the resolution to reunite with the family and let them help him to overcome his grief. By the end of the story, Michael is finally on the road to healing, as indicated by his new willingness to speak with Aunty Viv and attend Grandpa Jim’s birthday party.

Just as Michael’s family connections help him to process his grief, Catching and Sarah both find a way to heal themselves through their relationship with one another. Before Catching arrives in the underground bunker, Sarah is lost in her own grayness and believes several things about the situation that she will later reject as “lies” (160). Each of these beliefs—that she will never escape the bunker, that she is unable to fight the Fetchers or the Feed, and that the only choice is to become a dead girl—eventually fades away in the face of Catching’s courage and determination. Likewise, Catching relies on Sarah’s help to overcome her own trauma, for when the pain and despair threaten to overwhelm her, she asks Sarah to help her remember and recite the names of her grandmothers so that she can draw upon their strength. This act also helps her to decide that, like them, she has the power to endure and overcome. Her ritual of repeating the names gives her the strength to battle back the “grayness” that symbolizes despair. As a result, she regains the colors that symbolize hope and joy. She and Sarah eventually grow strong enough to join together in the final fight against the Fetchers and the Feed, and together, they escape their prison and put a stop to the men’s predations.

The Impact of Colonialism in Australia

Australia has a long history of unequal and oppressive treatment of Aboriginal peoples. The Things She’s Seen reflects this history by including pointed references to the experiences of Catching’s ancestors, and the authors also deliver a condemnatory portrayal of policing. Additionally, the sexual violence to which Catching, Sarah, and others are subjected also highlights the extreme injustices that women of Aboriginal descent have experienced due to the oppression of colonialism.

The historical impact of colonialism is primarily portrayed through the stories that Catching’s mother relates about each of her matrilineal ancestors. As Catching’s mother tells her, “Catching women are fighters. We’ve had to be, to survive” (28). She explains that Catching’s great-great-grandmother, Granny Trudy, experienced the advent of colonial rule and was forced to engage in manual labor for a cruel white boss. Her daughter, Catching’s great-grandmother Nanna Sadie, was taken from her family by the Australian government as a part of the Stolen Generations and sent far away on a ship. Sadie escaped, but her own daughter, Catching’s Grandma Leslie, was also taken away and did not escape. Instead, she suffered for many years in a harsh new home far away from her homeland and the people she loved. By including these stories of Catching’s matrilineal ancestors, the authors emphasize the many layers of injustice that multiple generations of Aboriginal women have had to endure due to colonialism.

The novel also portrays more recent and even present-day impacts of colonialism. This pattern becomes apparent when the narrative reveals the crimes of three different police chiefs— Michael’s father, Gerry Bell, and Derek Bell—who all misuse their authority to discriminate against Aboriginal citizens. One of Michael’s primary criticisms of his father is that the man “thought the law was there to protect some people and punish others. And Aboriginal people were the ‘others’” (6). Similarly, Gerry Bell fails to properly investigate Sarah Blue’s disappearance—not only because he potentially suspects that his own son was involved, but because he does not prioritize solving a crime against an Aboriginal person. However, Derek Bell’s offenses against Aboriginal people are by far the most egregious. Along with Alex Sholt, whose whiteness and wealth also make him a representative of the powerful forces of colonialism, Bell perpetrates sexual violence against many Aboriginal women and girls. The narrative suggests that these crimes are at least partially motivated by race and are part of Australia’s colonial legacy, for this deeper message is metaphorically represented by the white masks that the Fetchers wear and by Catching’s initial description of the Feed as a grotesque, all-white creature.

Finding a Voice through Storytelling

The Things She’s Seen consists of two interrelated narratives, each of which reinforces the other even as the two storylines make use of highly contrasting styles. Beth’s narrative details the official investigation into the fire at the children’s home, and she also recounts her attempts to help her father process her death. By contrast, Catching’s narrative delivers a poetic, indirect version of her own abduction, sexual assault, and escape. Although Catching initially states that her purpose is simply to be heard, it is eventually revealed that Catching is also telling her story in order to help Beth “move on.” Catching’s story has a mythical quality that deliberately mirrors the traditional song-poems of various Aboriginal cultures, and the tone of her story is designed to pass on collective wisdom, just as these song-poems do. Her narrative also demonstrates that people can draw on the stories of the past to find strength and recover hope, and in Catching’s case, she uses the stories of her ancestors to help her out of her predicament. Catching’s story shows Beth that she, too, is strong—strong enough to leave her father behind and move on to her new existence on the “other side,” where she will join with the ancestors and become a part of their collective hope and joy.

Catching’s story therefore serves many purposes and has great power. Through Catching’s experiences, the author explains what really happened at the children’s home. The discovery of these facts relieves Hartley of the burden of wondering what happened to her long-lost friend, Sarah Blue (Crow), and Catching’s narrative also allows Michael and Hartley to begin the long process of trying to redress the wrongs that were perpetuated at the children’s home. By activating Michael’s sense of justice and his desire to protect children and Aboriginal peoples, Catching’s story serves as a catalyst to his recovery. And finally, the act of telling her story also unburdens Catching herself, and the beneficial effects of this process are likewise conveyed in symbolic form. Although telling her story exhausts and upsets her, Catching’s colors have deepen and she exhibits “a lightness […] that hadn’t been there before” (172). Sharing the story therefore sets Catching free in a way that simply escaping from the underground bunker has failed to do. Thus, Catching’s narrative demonstrates the importance of storytelling for both the storyteller and the audience.

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