Five minutes with author and editor Jasmin McGaughey

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Words to Sing the World Alive is a special collection of forty Indigenous words, selected by First Nations writers, thinkers, artists, musicians – and even an astronomer!
Each piece speaks to the significance or specialness of the word, with pieces ranging across the trauma of lost language, to the celebration of language renewal, Country, and connection.
We sat down with co-editor Jasmin McGaughey to talk about the anthology.
The title, Words to Sing the World Alive, is very evocative – where did it come from?
The title actually came from Jazz Money’s piece Giyira. The funny thing about a book full of poetry and poetic prose is that there are so many lines that could have been the title. But Jazz’s piece like all their writing is gorgeous and I’m so glad we chose the title to come from their piece.
How did you approach the different genres of writing in the book in terms of editing, collating, and ordering?
To be honest, the pieces came in over a fairly long period of time, so it never felt like I had to switch gears in my brain too often. And I’ve found that many of them are connected and interwoven beautifully.
If you had to select a favourite word from the collection which might it be and why?
I can’t choose! But I can tell you how connected I felt to Aunt Rose Elu’s piece Kurusipagiz which talks of listening. Truly listening to do more than just respond.
Is there a word from your own Torres Strait culture that you would select as significant to you if you could?
I’m slowly trying to learn my language from my Aka (grandmother). I suppose Aka might be significant to me because it’s one of the first words I ever learned! I remember being a four-year-old and very impressed that I was able to spell this three-letter word. I grew up then and realised it was a very easy word to spell.
What are your hopes for the book? What are the audiences you hope it will reach?
I hope the book makes a positive impact on anyone who picks it up. I hope young people might read it and feel encouraged to learn their languages or teach their languages if possible.
I know that you worked quite collaboratively with a couple of the contributors – can you tell us about that?
I don’t think it was working collaboratively necessarily, but being an accessible sort of editor for all the contributors. Aunty Rose and I talked on the phone and I typed out what she said and sent it back to her. This was so lovely as I think conversations and oral storytelling are a big and impactful part of our cultures.
What was the most surprising thing you found out while working on the book?
I don’t think anything surprised me, really. But at times it was hard to see how everything would come together. So when I finally held the physical book in my hands and could see Jenna Lee’s perfect designs, I was moved by how special it all seemed.
What might readers of Words to Sing the World Alive also be interested in reading?
I haven’t read it yet but Shape Shapeshifting: First Nations Lyric Nonfiction edited by Jeanine Leane and Ellen van Neerven looks like it would be a beautiful addition to any bookshelf.
What’s on your TBR?
Too many books to list here. Seriously, I have a book-buying problem. But I’m currently reading The Principle of Moments by Esmie Jikiemi-Pearson and Black Witness: The Power of Indigenous Media by Amy McQuire.
Words to Sing the World Alive is available now in all good bookstores or direct from publisher UQP.
Feature image: Supplied.