AustLit
Latest Issues
AbstractHistoryArchive Description
'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)
Contents
- Creating a New Dreamtime Moongalba, single work prose (p. 3-9)
- Bond With the Land, single work prose (p. 13-14)
- Wilderness, Waste and History, single work prose (p. 17-25)
- The Broken Links, single work prose (p. 29-30)
- Towards the Bicentennial Landscape, single work prose (p. 33-43)
- Whose Country is It Anyway?, single work prose (p. 47-49)
- Aborigines and Government The Weight of the Past, single work prose (p. 53-55)
- Aborigines and Mining, single work prose (p. 59-63)
- Aborigines and the Pastoral Industry, single work prose (p. 67-70)
-
`Our Story Is in the Land',
single work
review
— Review of Kakadu Man : Bill Neidjie 1985 selected work prose biography poetry ; (p. 73-74) - The Landless Peoples and Their Right to Land, single work prose (p. 77-81)
- Two Hundred Years of Exploitation, single work prose (p. 85-87)
- Critics, Reviewers and Aboriginal Writers, single work prose (p. 91-93)
- Learning to Look, single work prose (p. 97-98)
- After Two Hundred Years, single work prose (p. 101-105)
-
What Became of That Treaty?,
single work
prose
'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)
- Facing the Past and the Future, single work prose (p. 119-124)
- The Writer as Activist, single work criticism (p. 127-133)
- Hurt Not the Earth, Neither the Sea, Nor the Trees The Meaning of the Word Sacred, single work prose (p. 137-139)
- Australian Wilderness and Wasteland, single work prose (p. 143-150)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
‘Sorry, above All, That I Can Make Nothing Right’ : Public Apology in Judith Wright
2017
single work
criticism
— Appears in: Australian Humanities Review , May no. 61 2017;'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)
-
Judith Wright's Poetry and the Turn to the Post-Pastoral
2010
single work
criticism
— Appears in: Australian Humanities Review , May no. 48 2010; In this article, Terry Gifford introduces readers to some of the important ecological dimensions and insights of Australian poet Judith Wright. -
Ancestral Echoes : Spectres of the Past in Judith Wright's Poetry
2007
single work
criticism
— Appears in: JASAL , Special Issue 2007; (p. 117-129)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)
-
Belonging to Language, Belonging to Being
1992
single work
review
— Appears in: Overland , Summer no. 129 1992; (p. 78-80)
— Review of Born of the Conquerors : Selected Essays 1991 selected work prose criticism -
Drought Breaker
1992
single work
criticism
— Appears in: The Bulletin , 21 January vol. 113 no. 5804 1992; (p. 92)
-
Wright's Resolute Opposition to Social Injustice
1991
single work
review
— Appears in: The Canberra Times , 21 September 1991; (p. C10)
— Review of Born of the Conquerors : Selected Essays 1991 selected work prose criticism -
Friendship Spanning Ancient Rites, Modern Wrongs
1991
single work
review
— Appears in: The Weekend Australian , 14-15 September 1991; (p. rev 7)
— Review of Born of the Conquerors : Selected Essays 1991 selected work prose criticism -
Belonging to Language, Belonging to Being
1992
single work
review
— Appears in: Overland , Summer no. 129 1992; (p. 78-80)
— Review of Born of the Conquerors : Selected Essays 1991 selected work prose criticism -
Ancestral Echoes : Spectres of the Past in Judith Wright's Poetry
2007
single work
criticism
— Appears in: JASAL , Special Issue 2007; (p. 117-129)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)
-
Judith Wright's Poetry and the Turn to the Post-Pastoral
2010
single work
criticism
— Appears in: Australian Humanities Review , May no. 48 2010; In this article, Terry Gifford introduces readers to some of the important ecological dimensions and insights of Australian poet Judith Wright. -
Judith Wright Essays Covers Treatment Of Aborigines, Islanders
1991
single work
review
— Appears in: Koori Mail , 28 August no. 8 1991; (p. 16) -
Drought Breaker
1992
single work
criticism
— Appears in: The Bulletin , 21 January vol. 113 no. 5804 1992; (p. 92) -
‘Sorry, above All, That I Can Make Nothing Right’ : Public Apology in Judith Wright
2017
single work
criticism
— Appears in: Australian Humanities Review , May no. 61 2017;'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)