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'Lionel Fogarty is a leading spokesman for Indigenous rights in Australia through a poetry of linguistic uniqueness and overwhelming passion. In resisting the colonising force of English, he has reterritorialised the language of the invaders and made of it a language that speaks for his people. As well as a selection of his recent poems, Lionel introduces works by two young poets, Yvette Walker and his son Kargun Fogarty.' (Source: publishers website)
Contents
- Kargun Fogartyi"Working on this book with my father and Yvette is yet another stepping stone in the first revolution.", single work poetry (p. 8)
- Yvette Walkeri"I am determined to give voice to young Indigenous women in Australia", single work poetry (p. 9)
-
True Blue Didgeridooi"White women playing our didgeridoo instrument",
single work
poetry
(p. 11)
Note: Works by Kargun Fogarty
- Fair Skinned Aboi"I may not be charcoal coloured but I'm Black", single work poetry (p. 12)
- Pay the Renti"Coming around the corner I saw a policeman", single work poetry (p. 13)
- A Newspaper Societyi"Only 30 years ago my race of people were suffragettes", single work poetry (p. 14-15)
- Nunukeli"Across the land and sea to Mageerabah way", single work poetry (p. 16)
- Man, Demand Landi"Isn't it funny how all people are suckers for money", single work poetry (p. 17)
- The Forefronti"We are at the forefront of our struggle", single work poetry (p. 18)
- What I Ami"I am not a child I am not a man nor an ocean fish", single work poetry (p. 19)
- Guppoi"Gupi guppo guppula gupipulka bursting from the sky", single work poetry (p. 20)
- TV's Black Leaders Selling Outi"Zonked out with a sore head 'cause watching TV left me brain dead", single work poetry (p. 21)
-
Just a Woman Bashing Dogi"You are always telling her you love her",
single work
poetry
(p. 22)
Note: *For all women and children who are victims of Domestic Violence
- Smell the Baconi"Counteract an attack on a brother colored Black", single work poetry (p. 23)
- School's Out NAH!i"Black people need to be educated white man's way", single work poetry (p. 24)
- Steal for a Meali"People do anything, for a dollar or a dime real sneaky mob,", single work poetry (p. 25)
- Mookadook Mani"A wise, intelligent man once spoke how can you hit your women", single work poetry (p. 26-27)
- Brown Mani"Glimmer, glimmer...softness, redness, brown backdrop canvas of man!", single work poetry (p. 29)
- Advicei"Little daughter barely there, swollen bososms and unstable identity", single work poetry (p. 30)
- Untitledi"Red ochre satin mixed with the colours of the rainbow", single work poetry (p. 31)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
y
Speaking the Earth's Languages : A Theory for Australian-Chilean Postcolonial Poetics
New York (City)
Amsterdam
:
Rodopi
,
2013
6178076
2013
single work
criticism
Speaking the Earth’s Languages brings together for the first time critical discussions of postcolonial poetics from Australia and Chile. The book crosses multiple languages, landscapes, and disciplines, and draws on a wide range of both oral and written poetries, in order to make strong claims about the importance of ‘a nomad poetics’ – not only for understanding Aboriginal or Mapuche writing practices but, more widely, for the problems confronting contemporary literature and politics in colonized landscapes.
The book begins by critiquing canonical examples of non-indigenous postcolonial poetics. Incisive re-readings of two icons of Australian and Chilean poetry, Judith Wright (1915–2000) and Pablo Neruda (1904–1973), provide rich insights into non-indigenous responses to colonization in the wake of modernity. The second half of the book establishes compositional links between Aboriginal and Mapuche poetics, and between such oral and written poetics more generally.
The book’s final part develops an ‘emerging synthesis’ of contemporary Aboriginal and Mapuche poetics, with reference to the work of two of the most important avant-garde Aboriginal and Mapuche poets of recent times, Lionel Fogarty (1958–) and Paulo Huirimilla (1973–).
Speaking the Earth’s Languages uses these fascinating links between Aboriginal and Mapuche poetics as the basis of a deliberately nomadic, open-ended theory for an Australian–Chilean postcolonial poetics. 'The central argument of this book,' the author writes, 'is that a nomadic poetics is essential for a genuinely postcolonial form of habitation, or a habitation of colonized landscapes that doesn’t continue to replicate colonialist ideologies involving indigenous dispossession and environmental exploitation.' [from the publisher's website]
-
y
Speaking the Earth's Languages : A Theory for Australian-Chilean Postcolonial Poetics
New York (City)
Amsterdam
:
Rodopi
,
2013
6178076
2013
single work
criticism
Speaking the Earth’s Languages brings together for the first time critical discussions of postcolonial poetics from Australia and Chile. The book crosses multiple languages, landscapes, and disciplines, and draws on a wide range of both oral and written poetries, in order to make strong claims about the importance of ‘a nomad poetics’ – not only for understanding Aboriginal or Mapuche writing practices but, more widely, for the problems confronting contemporary literature and politics in colonized landscapes.
The book begins by critiquing canonical examples of non-indigenous postcolonial poetics. Incisive re-readings of two icons of Australian and Chilean poetry, Judith Wright (1915–2000) and Pablo Neruda (1904–1973), provide rich insights into non-indigenous responses to colonization in the wake of modernity. The second half of the book establishes compositional links between Aboriginal and Mapuche poetics, and between such oral and written poetics more generally.
The book’s final part develops an ‘emerging synthesis’ of contemporary Aboriginal and Mapuche poetics, with reference to the work of two of the most important avant-garde Aboriginal and Mapuche poets of recent times, Lionel Fogarty (1958–) and Paulo Huirimilla (1973–).
Speaking the Earth’s Languages uses these fascinating links between Aboriginal and Mapuche poetics as the basis of a deliberately nomadic, open-ended theory for an Australian–Chilean postcolonial poetics. 'The central argument of this book,' the author writes, 'is that a nomadic poetics is essential for a genuinely postcolonial form of habitation, or a habitation of colonized landscapes that doesn’t continue to replicate colonialist ideologies involving indigenous dispossession and environmental exploitation.' [from the publisher's website]