The character of "Saltbush Bill" is introduced in this poem as a drover of sheep along "the track of the Overland", who stretches the "the law of the Great Stock Routes" by allowing his sheep to make use of all the good grass they find. On the occasion described in the poem, Bill's sheep have spread across a squatter's property. A Jackaroo arrives and attempts to drive the sheep back into the accepted "space of the half-mile track". An argument and then fight ensues between Bill and the Jackaroo, and, while Bill concedes after a marathon fight, in the end he achieves his aim of finding his sheep a good feed.
'This paper investigates the affective labour done by, specifically, native species images in Australian poetry, using Judith Wright's bird poems, and various poems about kangaroos as example. It uses the anthropological term, "deep hanging out", borrowed from an article about fashion models, to extend the idea of affective labour, and to measure poems' attentions to birds and animals, and their relation to iconising as the work of nationalism. It is concerned with cultural capital, and Canberra, and the human empire.' (Publication abstract)
'This paper investigates the affective labour done by, specifically, native species images in Australian poetry, using Judith Wright's bird poems, and various poems about kangaroos as example. It uses the anthropological term, "deep hanging out", borrowed from an article about fashion models, to extend the idea of affective labour, and to measure poems' attentions to birds and animals, and their relation to iconising as the work of nationalism. It is concerned with cultural capital, and Canberra, and the human empire.' (Publication abstract)
