'Bulu Line is a pioneering experiment in contemporary Australian literature, it is a translation of a richly textured oral poetry into print form. The seventeen verses of 'The Bulu Line are full of magic and local history, the poems describe journeys with ancestors and spirit beings, encounters with rainbow serpents and ferocious storms, and explore the vast distances of the West Kimberley landscape.' (Source: Backcover)
The Poem/Song Cycle is in Two Parts:
Bulu Part One contains: verse 1 to Verse 8
Bulu Part Two contains: verse 9 to verse 17
'That poetry is implicated with politics is incontrovertible. As Theodore Adorno writes ‘art exists in the real world and has a function in it, and the two are connected by a large number of mediating links.’ Those mediating links however, the things that connect each to the other, are harder to grapple with. What does the daily life of a protest poet look like compared to a conservative one when both work in a modern university? What poetry does the politician read?' (Introduction)
'The cover of George Dyuŋgayan’s Bulu Line: A West Kimberley Song Cycle needs more names. An innovative experimentation in both aesthetic and material structuring, this book features at various points up to seven figures performing in various functions and subversions of poetic and critical authorship.' (Introduction)
'In a more perfect world (where there are fewer crippling complications) Stuart Cooke’s multi layered and lyrical verse translation of a Traditional Song Cycle would probably be what most of us would like First Nations literature to look like. It is a richly collaborative project bringing together the creative energies of Traditional Owners and a non-Indigenous academic and poet. Cooke’s book is a proud celebration of Nyigina Culture and Language and makes an invaluable contribution to Cultural maintenance. ...'
'A history of Australian Aboriginal songpoetry in English is a shadow project. Of course it exists as a thing in and of itself. But in translation, as it so often is, songpoetry can be considered symptomatic of an Anglophone poetry project. This is not to suggest there is no exchange between the country of the songs and the poetry context into which they are translated. It is surely a work of collaboration. However, what we do see when we read songpoetry in translation are the changes in Australian poetry itself — there is, for example, strict meter, rhyme, and line in the early nineteenth century, wholly replaced by freer forms of expression 150 years later. The most recent example of Aboriginal songpoetry in mainstream literary publishing is Stuart Cooke’s George Dyungayan’s Bulu Line: A West Kimberly Song Cycle (Puncher and Wattman 2014). Cooke uses changes in font, loose rhyme, minor repetition, and a free, fragmentary approach comprising short lines that recalls some classical Greek and Chinese texts as they are currently presented in the transnational Anglophonic world. In other words, this rendering by Cooke relies on a whole series of poetic choices that are themselves indicators of what is happening in poetry now not just songpoetry in its home location.' (Introduction)
'In a more perfect world (where there are fewer crippling complications) Stuart Cooke’s multi layered and lyrical verse translation of a Traditional Song Cycle would probably be what most of us would like First Nations literature to look like. It is a richly collaborative project bringing together the creative energies of Traditional Owners and a non-Indigenous academic and poet. Cooke’s book is a proud celebration of Nyigina Culture and Language and makes an invaluable contribution to Cultural maintenance. ...'
'A history of Australian Aboriginal songpoetry in English is a shadow project. Of course it exists as a thing in and of itself. But in translation, as it so often is, songpoetry can be considered symptomatic of an Anglophone poetry project. This is not to suggest there is no exchange between the country of the songs and the poetry context into which they are translated. It is surely a work of collaboration. However, what we do see when we read songpoetry in translation are the changes in Australian poetry itself — there is, for example, strict meter, rhyme, and line in the early nineteenth century, wholly replaced by freer forms of expression 150 years later. The most recent example of Aboriginal songpoetry in mainstream literary publishing is Stuart Cooke’s George Dyungayan’s Bulu Line: A West Kimberly Song Cycle (Puncher and Wattman 2014). Cooke uses changes in font, loose rhyme, minor repetition, and a free, fragmentary approach comprising short lines that recalls some classical Greek and Chinese texts as they are currently presented in the transnational Anglophonic world. In other words, this rendering by Cooke relies on a whole series of poetic choices that are themselves indicators of what is happening in poetry now not just songpoetry in its home location.' (Introduction)
'The cover of George Dyuŋgayan’s Bulu Line: A West Kimberley Song Cycle needs more names. An innovative experimentation in both aesthetic and material structuring, this book features at various points up to seven figures performing in various functions and subversions of poetic and critical authorship.' (Introduction)
'That poetry is implicated with politics is incontrovertible. As Theodore Adorno writes ‘art exists in the real world and has a function in it, and the two are connected by a large number of mediating links.’ Those mediating links however, the things that connect each to the other, are harder to grapple with. What does the daily life of a protest poet look like compared to a conservative one when both work in a modern university? What poetry does the politician read?' (Introduction)
