'One of Australia's best known poets, Judith Wright, brings together for the first time a selection of twenty-one essays. Her messages about our need to preserve Aboriginal culture and care for the land run through them all.' (Source: Publishers website)
'The Aboriginal Treaty Committee began work early in 1979, on a voluntary basis, to convince the public and politicians of the need for a properly negotiated Treaty with Australian Aborigines. When the Fraser government fell in 1983 and the first Hawke government succeeded it, Labor had made many promises to Aborigines. Many of our supporters believed that these promises would be kept.' (Introduction)
'Since the middle of the twentieth century, the phenomenon of public apology has become increasingly prevalent and visible, enacted in contexts ranging from the South African Truth and Reconciliation Commission to the Australian government’s apology to the Stolen Generation, to the iconic genuflection of Willy Brandt before the Warsaw Ghetto Monument. While research surrounding public apology (particularly in the context of work on trauma, memory and reconciliation) has also become increasing prevalent, literary representations of public apology remain under-researched. Works like J. M. Coetzee’s Disgrace (1999) and Gail Jones’ Sorry (2007) present something of a scholarly conundrum. In the final historical and cultural assessment of public apologies, how are imaginative representations of apologies to be understood? Do they participate in the apologising process, or do they simply describe it? What implications does a judgement either way hold for scholarship on the larger relations between art and civic life? This paper finds a way into some of these large questions by considering the specific case of Judith Wright and the forms of literary redress she made to Indigenous Australians. ' (Introduction)
Sue King-Smith says: 'There are three main spectres in Wright's poetry that this article addresses. The first relates to the loss and separation Wright experienced when she became aware of the history of the land she had felt a profound sense of identification with since early childhood ... The second spectre relates to the traces of Aboriginal massacres and dispossessions. And the third is the spectre of the indigenous landscape that existed prior to British occupation, with a substantial number of indigenous species of flora and fauna now extinct.
'This article will argue that these spectres are intimately linked in Wright's writing and that her poetic and private relationships with the Australian landscape are constantly mediated by the need to acknowledge these ghosts.' (pp.117-118)
Sue King-Smith says: 'There are three main spectres in Wright's poetry that this article addresses. The first relates to the loss and separation Wright experienced when she became aware of the history of the land she had felt a profound sense of identification with since early childhood ... The second spectre relates to the traces of Aboriginal massacres and dispossessions. And the third is the spectre of the indigenous landscape that existed prior to British occupation, with a substantial number of indigenous species of flora and fauna now extinct.
'This article will argue that these spectres are intimately linked in Wright's writing and that her poetic and private relationships with the Australian landscape are constantly mediated by the need to acknowledge these ghosts.' (pp.117-118)
'Since the middle of the twentieth century, the phenomenon of public apology has become increasingly prevalent and visible, enacted in contexts ranging from the South African Truth and Reconciliation Commission to the Australian government’s apology to the Stolen Generation, to the iconic genuflection of Willy Brandt before the Warsaw Ghetto Monument. While research surrounding public apology (particularly in the context of work on trauma, memory and reconciliation) has also become increasing prevalent, literary representations of public apology remain under-researched. Works like J. M. Coetzee’s Disgrace (1999) and Gail Jones’ Sorry (2007) present something of a scholarly conundrum. In the final historical and cultural assessment of public apologies, how are imaginative representations of apologies to be understood? Do they participate in the apologising process, or do they simply describe it? What implications does a judgement either way hold for scholarship on the larger relations between art and civic life? This paper finds a way into some of these large questions by considering the specific case of Judith Wright and the forms of literary redress she made to Indigenous Australians. ' (Introduction)
