Summary
Since the 1980s, indigenous authors have had a high proﬁle in Australia and their writing 
has made a signiﬁcant impact on the Australian public. Given that poetry has attracted more 
indigenous Australians than any other mode of creative expression, this genre, too, has provided 
an important impetus for their cultural and political expression. Discussing the verse of Romaine 
Moreton, and taking up George Levine’s view (2000) that works of art are able to produce critical 
disruptions and generate alternative worlds, the article aims to show that Moreton’s mesmerising 
reﬂections on origin, dispossession, dislocation and identity of Australian indigenous peoples 
encouraged national self-reﬂection and helped create a meaningful existence for the deprived 
and the dispossessed. It also touches upon some other topics explored in Moreton’s poetry and 
provides evidence of its universal relevance.
Key words: Australia, indigenous literature, protest poetry, inter-cultural communication, 
Romaine Moreton, e Callused Stick of Wanting, Post Me to the Prime Minister
 Povzetek
V Avstraliji je od osemdesetih let dvajsetega stoletja opazen pravi razcvet staroselske književnosti. 
V vseh žanrih so nastala številna umetniško priznana dela in odločilno zaznamovala avstralsko 
politično in družbeno sceno. Še zlasti pomembno vlogo je pri tem imela poezija, saj je največje 
število avtohtonih Avstralcev izbralo prav ta medij za sredstvo svojega kulturnega in političnega 
izraza. Ob podrobni predstavitvi poezije Romaine Moreton, zlasti njene ostre družbenokritične 
note, in izhajajoč iz trditve Georgea Levina o politični moči umetniških besedil, avtorica članka 
ugotavlja, kako pesničino smelo razgaljanje družbene, politične in gospodarske neizravnanosti 
Avstralije nagovarja neavtohtone avstralske prebivalce in prispeva k nastanku pravičnejše družbe, 
k odpravi rasizma, podrejanja in kršitve človekovih pravic. Poezija Romaine Moreton pa ni 
geografsko in časovno zamejena, kot jo zaradi kritične ostrine omalovažujoče ocenjujejo nekateri 
kritiki; zaznamuje jo tudi tenkočutni pogled v skrivnostni čustveni svet, kar ji daje občo veljavnost. 
Ključne besede: Avstralija, staroselska književnost, angažirana poezija, medkulturna komunikaci-
ja, Romaine Moreton, e Callused Stick of W anting, Post Me to the Prime Minister
 DOI: 10.4312/elope.7.1.49-59
In 1980, when Adam Shoemaker started the research for his ground-breaking work, Black Words 
White Pages: Aboriginal Literature 1929-1988, he was amazed to ﬁnd how little known the 
Australian indigenous literature was in academia and in the broader arts community, let alone 
in Australian society as a whole. In contrast, less than a decade later, Kevin Gilbert claims in his 
Inside Black Australia: An Anthology of Aboriginal Poetry that “a whole new education ‘industry’ 
has arisen in the academic area, where it would appear that every student is doing his or her 
PhD thesis on ‘Aboriginal literature’” (Maver 2000, 13). Although Gilbert’s assertion is certainly 
exaggerated, the fact remains that the past thirty years have witnessed a veritable upsurge of 
critical interest in Australian indigenous authors. %is is hardly surprising considering that there 
is no area of creative expression in which indigenous Australians have not made a signiﬁcant 
contribution to Australian culture. Here are a few examples: in the ﬁeld of narrative prose, Alexis 
Wright’s Carpentaria won the 2007 Francis Miles Award for the best Australian novel of the 
year. In 2000, this award was given to Kim Scott for his novel Benang. For the achievements in 
poetry, Kevin Gilbert and John Muk Muk Burke won the 1995 and 2000 RAKA Kate Challis 
Award respectively; the former for the collection Black from the Edge and the latter for Night Song 
and Other Poems.
1
 Jack Davis’s play, No Sugar, received international acclaim at the 1986 World 
%eatre Festival in Canada. In the same year, Davis’s play was a co-winner of the Australian 
Writer’s Guild Award for the best stage play, whereas six years later, it received the RAKA Kate 
Challis Award. In listing the indigenous Australians’ accomplishments, it is impossible to 
overlook the success of Ivan Sen’s ﬁlm production and Philip Noyce’s internationally renowned 
2002 ﬁlm version of Doris Pilkington’s 1996 novel, Follow the Rabbit Proof Fence.
2
 Stemming 
from the authors’ desire to illustrate the cataclysmic indigenous people’s situation in Australia 
during and after the era of colonization, these works function in a variety of ways; among the 
most important being an explicit call to white populace in Australia and worldwide to halt social 
injustice. Given that the major issues faced by indigenous Australians today, “equal rights, equal 
opportunities, equal housing, better health, better education. Everything equal […]” (Brewster, 
O’Neill, and Van Den Berg 2000, 189), are common to many other oppressed minorities, the 
worldwide appeal and numerous translations of these books are fully understandable.
3
 

Poetry has attracted more indigenous Australians than any other mode of creative expression, 
so this genre, too, has provided an important impetus for their cultural and political expression. 
Adam Shoemaker suggests that “if there is any ‘school of Black Australian poetry, it is one of 
social protest,” arguing that “most Aboriginal poets reject the art for art’s sake argument and 
feel that their work has at least some social utility” (Shoemaker  1989, 201, 180). Indeed, in 
accordance with Michael Lipsky’s deﬁnition of protest activity as a “mode of political action 
oriented toward objection to one or more policies or conditions” (Lipsky 1968, 1145), much of 
contemporary indigenous poetry is characterized by political or social critique in objecting to the 
conditions of indigenous people’s minoritisation. Another essential aspect of protest poetry is its 
capacity “to oﬀer revelations of social worlds […] to which readers respond with shock, concern, 
sometimes political questioning” (Coles 1986, 677). As several critical readers have shown for 
other visible and proliﬁc exponents of indigenous protest writing in Australia, such as Kath 
Walker (better known as Oodgeroo) and Kevin Gilbert for example, their writing is capable of 
ensuring maximum aﬀective impact on the readers. 
However, as several other critics have proved, it would be wrong to assume that protest is the only 
theme of this poetry and, on the basis of this assumption, to dismiss it as mere propaganda. And 
yet, despite the wide variety of indigenous writing, ranging from overt political commitment to 
celebrations of nature and personal introspection, critics often take this perspectival stance and 
discuss it in ways that serve to aﬃrm its politics and ﬁnd the aesthetics lacking.
4
 John Beston is 
right when he claims that the canonical ground rules of formalism do not always apply to this 
writing, and that indigenous poets indeed seem to feel comfortable in the “short line lyric with 
its established metrical and structural pattern” (Beston 1977, 458), or in free verse that often 
lacks ﬂuidity, but this is not to deny the power of their poetic expression, nor is it to diminish 
the signiﬁcance of their achievements.
Because of its overt political message, Romaine Moreton’s poetry has also been discussed 
dismissively and patronizingly (Brewster 2008, 59). In this essay, and in accordance with Anne 
Brewster, who positions Moreton within the context of Australian indigenous protest poetry, I 
discuss the aﬀective impact of Moreton’s hard-hitting reﬂections regarding the political, economic 
and cultural subordination of Australian indigenous peoples (56). In this sense, and taking up the 
view that works of art not only had “a deep implication in the politics of Western imperialism 
and the suppression of ‘inferior’ races and cultures,” but also displayed a clear capacity “to disrupt 
the exercise of power” (Levine 2000, 383−4), I aim to show that Moreton’s work, like the work 
of other contemporary indigenous poets, has played an important role in generating de-colonial 

thought and has contributed to the signiﬁcant improvement of the social and economic conditions 
of Aboriginal and T orres Strait Islander peoples in Australia. In addition to examining the poetess’s 
rigorous voice of protest and audience responses to the rhetoric of her social and political critique, 
this investigation also aims to show that any reading that acknowledges only the socio-political 
relevance of her poetry is too narrow to do it justice. Despite her activism, Moreton also explores 
more subjective themes of human existence, which urges us to see her writing in a perspective much 
wider than that of a political imperative for social improvement. 
 In Moreton’s poem “Don’t let it make you over”, published in her collection Post Me to the Prime 
Minister (2000), there are these revealing verses: “It ain’t easy being black/ this kinda livin’ is all 
political” (111). Indeed, Moreton “sees black life in Australia as inherently political” (Brewster 
2008, 64) and her work is marked by overt references to socio-economic issues concerning 
contemporary indigenous peoples. She has manifested her objection to the social and political 
marginalization of Australian indigenous peoples, and her Goenpul nation in particular, by 
writing poetry, performing her verse, and by making ﬁlms.
5
 T o date, she has published two 
collections of poems, #e Callused Stick of Wanting (1995) and Post Me to the Prime Minister 
(2004). %e former, which will be the main topic of this discussion, was republished in the 
anthology Rimﬁre: Poetry from Aboriginal Australia, published by Magabala Books in 2000. She 
is represented in several other anthologies of Australian indigenous writing, including Untreated: 
Poems by Black Writers (2001). Despite her awareness of the common unappreciative stance 
towards engaged writing, Moreton has continued to view her verse in the ﬁrst place as a site 
of resistance: “I believe it is important as an indigenous poet that I create works that are not 
only accessible in terms of language and imagery to indigenous audiences, but also pertinent. 
As a result, the language and themes I do choose to work with have been considered rather 
confronting and challenging, which I can understand. However, the things I have to say and how 
I say them are a direct response to the environment in which I have grown up and continue to 
live in. T o create works that do not deal with the morbid and mortal eﬀects of racism for one, 
and the beauty of indigenous culture for another, would be for me personally, to produce works 
that are farcical.”
6
 
Expressing grievances and concern felt collectively by the entire indigenous community suﬀering 
racial discrimination, marginalization, dislocation, institutionalization, poverty and abuse, 
Moreton’s poetry is perhaps among the most penetrating ﬁctional indictment of colonization in 
Australia. Her angle of vision, coupled with the anger fuelled by righteous indignation and generative 
urgency, make her work sought after by a huge participatory audience. Moreton has ensured the 
maximum aﬀective impact of her verse also by employing living linguistic structures, such as 
rhetorical questions, direct address to the reader, satirical antitheses, etc. that invite the reader’s 

active participation through emotional identiﬁcation, together with individual and communal 
conversion. As Brewster puts it, Moreton’s verse engages the public in “a reassessment of history, 
an enquiry into contemporary cultural and economic inequality, and a scrutiny of white privilege, 
entitlement and denial” (2008, 68). “%e First Sin”, one of many poems in the collection #e 
Callused Stick of Wanting
7
 that perform this function by pointing to the unconscionable suﬀering 
and tyrannical living conditions of the indigenous minority begins thus:
He was guilty of the ﬁrst sin—
Being Black
He was sentenced very early in life—
At birth
and only substances appeased his pangs of guilt. (3)
In the same vein and aroused by both her anger and resentment at those inﬂicting injustice on 
other people, and her aﬀection for those experiencing the inhumanity of racial subordination, 
Moreton reﬂects in “You Are Black?”. %e poem abounds in references to injustices the Black 
communities have had to endure under the white settlers’ dominance. It begins in the manner 
of English mock-epic poetry and proceeds by piling on fact after fact about ﬂagrant violations 
of the native Australians’ civil and human rights, their loss of dignity, through threats, reprisals 
and violence.
If you are oppressed in any way,
you are Black.
If you are a woman who loves women
or a man who loves men,
you are Black.
If it is that people do not accept you
simply for what you do,
you are Black.
If they do not accept that their God is not yours
or yours is not theirs, and would want to crucify,
you are Black. (55)
%e poem closes with allusions to the Black people’s resilience and resourcefulness, which have 
kept alive their desire to live and retain their dignity on their own land: “[…] for you know how 
it is to ﬁght/ for the simple right/ to exist/ As You Please” (56).
In “Genocide Is Never Justiﬁed”, Moreton signals her moral outrage and the outright disapproval 
already in the poem’s title. Her fusion of intimate narrative sentences with a set of rhetorical 
questions enforces a symphonic quality in the poem. Involving the reader in an imaginary 
conversation with the indigenous speaker, the poem resembles a dialogic concert, with voices 
overlapping, complementing or opposing each other. %e ﬁrst part reads: 

And the past was open to gross misinterpretation.
Why do the sons and daughters of the raped and murdered 
deserve any more or any less than those who have prospered
from the atrocities of heritage?
And why do the sons and daughters refuse to reap
what was sown 
from bloodied soil?
And why does history ignore their existence?
%is land, terra nullius was never barren and 
unoccupied!
%is land was never void of human life!
Instead
thriving with the knowledge of tens of thousand of years. (31−2)
%e poem is a powerful protest against the unbridled egoism of the white colonizers. Characterized 
by a direct manner of writing, which gains poignancy by the ironic subtleties of her statements, 
it exposes the key social injustices, including the tyranny of oppression and abuse, arrogance of 
power, poverty, and willful destruction of indigenous peoples. Although not an autobiographical 
confession, the poem is acutely personal; it is a harrowing cry against all the forms of suppression 
and victimization of the people who lived in Australia for thousands of years before the white 
settlement. But, “who was here ﬁrst is not the question/ anymore,” Moreton continues her 
exposure of institutional and historical processes and logics that have maintained white racial 
privilege, suggesting at least the recognition of oppression by majority Australians: “It is what 
you have done since you arrived, the actions you refuse to admit to,/ the genocide you say you 
never committed!” (31).
8
 A startling eﬀect is achieved by ﬁnally pointing to the indigenous 
peoples’ spiritual and emotional depth. %is inherent quality has not only helped them survive 
in a hostile, morally decayed and emotionally sterile white environment, Moreton suggests at the 
end of this deeply felt elegy, but also distinguishes them from it: 
Why are you so rich, by secular standards 
and we now so poor, by secular standards
%e remnants of a culture though, 
still 
Rich 
In
Spirit 
and
Soul. (32)
Several other poems in this collection also humanize indigenous Australians and attack the 
atrocities performed in the name of “civilizing the uncivilized,” as Moreton ironically refers to 

the inhuman practices of those who have “elect[ed] themselves as the/ supremacist race/ by 
virtue of the christened barrel, all in the name of peace/ and justice” in the poem “What Kind 
of People?” (45). “What kind of people would kick the heads oﬀ babies/ or rip at the stomach 
of the impregnated,/ as would a ravaged wolf,” the poetess continues in her disdainful address 
to an apathetic reader, who repudiates any suggestion that their ancestors were capable of “such 
murderous feats” (45). %e poem proceeds in true Moreton fashion, compiling a catalogue of 
evidence to show the inhumanity of racial subordination. %is is done in the form of rhetorical 
questions which Moreton frequently employs to point to “the absence of responsiveness in 
contemporary Australian culture and politics” (Brewster 2008, 66). It has to be borne in mind 
that it was not until February 2008 that Prime Minister Kevin Rudd opened a new chapter in 
Australia’s tortured relations with its indigenous peoples by making a comprehensive apology for 
the past policies, which had − in Prime Minister’s words − “inﬂicted profound grief, suﬀering and 
loss” (Johnston 2008, 3) on fellow Australians. 
%e underlying irony of her statements, a common poetic device of Moreton’s verse, is well-noticed 
also in “Forgive and Forget”. So is a high degree of seriousness and emotional commitment with 
which she approaches her material:
Sometimes images just fade
and you ﬁnd yourself
wondering
whether it was real
or merely ﬁgments of our imagination.
And it is easy to forget,
If you are not reminded or educated
about past atrocities.
Mere wailings
of archaic ghosts
who live on in the ﬂesh of presence,
who refuse to die
although focussed extermination
was the only purpose of a nation’s existence. (27)
%e above poem also displays another characteristic that is symptomatic of Moreton’s verse in 
general: its dialogic structure. It is through such conversational tone and a direct address to a 
reader (“you”) that Moreton excels in revealing the tensions underlying the relationships between 
white and black Australians. While in several other poems, Moreton provides for a textual illusion 
of a discourse between the indigenous speaker and the non-indigenous reader, thus dramatizing 
the inter-racial encounter, in this poem she invokes indigenous addressee: 
T o forgive and forget is a fool’s utopia— 
Justice and peace should persuade the rich man’s pride.
Justice and Peace will convince the rich man’s pride,
until are all equal
in truth
and all are equal 
in life
as they are
in death. (27)
“%is Place”, another poem that demonstrates Moreton’s power dynamics and her ability to 
address issues of social injustice through piercing scrutiny and deft argument, begins: “%ere is 
a place where babies are more burden than beauty,/ where education is an empty cause, […]/. 
Where reading means just being able to sign your name,/ and arithmetic becomes obsolete, 
except when counting/ small change” (70). Like much of Moreton’s poetry, this poem proceeds 
as a “deductively reasoned analysis,” merging the feelings of sorrow and dark despair (Brewster 
2008, 65). A heart-breaking picture of the reproduction of white privilege and the concomitant 
invisibility of indigenous peoples, which Moreton elaborates throughout the poem, takes an 
unexpected ending by not turning this invisibility to the indigenous peoples’ advantage. Rather, 
the last stanza reads: “%e old remember all, for time drags her feet, while the/ young lay with 
hands behind their heads supine, swearing to/ never end up like the rest, their only true desire/ 
Is to get out of %is Place” (71).
Despite the seeming darkness of much of her verse, and contrary to the above poem, Moreton’s 
conception of art is not pessimistic, and her thorny plight is often brightened with instances of 
hope and optimism. In “Time for Dreaming”, for example, she alludes to the passing of white 
supremacy by addressing the reader with the words: “Do not wonder about the ways of the 
whiteman/ for they have already run their course” (1). My T ellurian grandfather, too, ends on an 
optimistic tone, pointing to the native Australians’ capacity for survival in a hostile world: “[…] 
you can put the ﬂame out/ […] but there will always be ﬁre” (29). 
 In several of Moreton’s poems the invisibility of black women is either the central or the 
subordinate theme. Written as an intimate confession, these poems chronicle experiences 
illustrative of her own and the communal situation. “Ode to Barbie”, for example, is a 
welcome commentary for all black women who struggled as teenagers to ﬁt into the mould of 
a blonde, beautiful and sexually appealing white woman. In an admirably condensed manner 
and conversational style, Moreton conveys the message that instead of suﬀering “a barbie 
doll complex,” a black woman should ﬁnd her own identity (“we all do not have to look like 
barbie,/ anorexic bitch that she is”), and for doing that one does not need “barbie’s goddam 
permission” (21−5). In “Raggedy Anne”, Moreton attacks men’s selﬁsh lust and ruthlessness 
by exposing their lack of sensitivity to other people’s need. Unlike a man, who quickly “pay[s] 
homage to his conscience” and “redeem[s] his innocence,” a woman is “sentenced to a lifetime 
of never being able to forget/ for his Crime” (64). %is poem is also formally interesting: the 
opening conversational tone suddenly takes an unexpected turn with the short, only one or 
two word lines of blunt antitheses (“Yes/ I will/ No/ I won’t; Yes/ I do/ No/ I don’t”) to make 
the message even more emphatic. 
%e same holds true for the poem “Womankindness”, which opens with a series of rhythmic 
repetitions, with lines returning repeatedly, just as in oral delivery: “She is trying to get out/ She 
is trying to get out/ She is trying to get out/ %is woman inside of me/ %is woman inside of 
me/ %is woman inside of me/ She is ready to come out/ She is ready to come out/ %is woman 
inside of me/ %is woman inside of me” (50). Like “Ode to Barbie” and “Raggedy Anne”, it is 
pervaded by a sense of female identity: 
She has seen too much now 
this woman inside of me,
to be ever the misinformed, 
menial
meek, 
dutiful courtesan again.” (51)
Although initial rejection letters from publishers stated that her poetry was “more polemical than 
poetic,” as Moreton writes in the Introduction to her collection in Rimﬁre, several poems are 
nonetheless very illustrative of the opposite (Moreton, Taylor, and Smith 2000, viii). She moves 
freely in intellectual, philosophical and metaphysical spheres, thus transcending the narrowness 
of an individual, particular and local observation. In this sense, Moreton speaks not only to and 
of indigenous and non-indigenous Australians, but of the universal. In the poem “Sanguine”, for 
example, she meditates on the quick passing of time, reminding the reader that life is inevitably 
approaching its end: 
Each moment passes
into the next
And one day
your regrets
may multiply,
because while you were regretting
you were forgetting
that 
Life is short. (2)
%us, she advises the reader, “do not hold tightly onto that which can be purged by ﬁre/ and 
water,/ but rather that which you can hold only/ in spirit and thought,/ emotion and memory” 
(2). Still, modern society gives priority to material wealth, Moreton laments in “%e Callused 
stick of wanting”, for “everything had been sold/ […]/ to that persistent evil,/ the monetary 
devil” (16). Moreton develops this theme also in “Poverty Is Silence” and criticizes the servile 
attitude of society towards this force: “%e only truth/ being in/ monetary power,/ For Money 
Speaks/ and poverty is silence” (47). 
Only a few of her poems deal with love. %ere is hardly anything more exciting in our life 
than those magical and buoyant moments when we fall in love, Moreton reﬂects in the short 
lyric “Love Infected”. %e poem “Mother”, on the other hand, focuses on parental love; the 
ﬁrst-person meditation on the complexity of relationship within a family is supported by the 
speaker’s knowledge that “all love takes time/ to comprehend and fulﬁll” (38). %e quality of this 
poem, as well as of Moreton’s poetry as a whole, rests on the sincerity of content arising from 
the personal tone she employs. In this sense, her oeuvre adheres to the traditional deﬁnition 
of poetry as a genre that expresses the emotions of the poet in conjunction with a particular 
experience or aﬃnity. %e things I never knew about you: me, another intimate piece of writing 
that suggests the ﬂavor and dimensions of Moreton’s recitation, is a lyrically even and logically 
coherent expression of the speaker’s intuitive awareness that she has spent her whole life not 
knowing her true being and the hidden recesses of her heart. %e poem springs from a personal 
experience: the speaker regrets that she has remained a stranger to herself. However, behind this 
individual aspect, one can read a general truth: 
I think it is with much regret
that I never knew you,
the colour of your eyes, 
the texture of your hair
or the shape of your mouth.
Yet it is your eyes I stare into 
when I look into the mirror,
your lips my lover kisses, (38)
%e notion that a person can transcend alienation from the self, as well as heal the split between 
the self and the world by making one’s life genuine and sincere, also pervades the poem “Corners 
of Her Mind”. By portraying a concrete personal situation as a source of reﬂection, Moreton 
conveys the wisdom that “beauty in the eyes of others/ is worthless/ without/ beauty in the eyes 
of self” (20). What really matters is not an outside world characterized by hypocrisy, indiﬀerence 
and betrayal, but human inner life, Moreton further meditates in “%e Never Ending Rain”. %is 
is why she writes “Every breath I breathe I breathe for me/ and not for the one who would not 
notice my waving hand/ as I drown in this/ emotional sea” (33). 
 Without analyzing other poems we can conclude that Moreton is a very ingenious and creative 
author. Although she owes her fame and recognition much more to the fact that her verse 
embodies the shape of her faith and devotional posture than to the technical perfection of her 
expression, she has produced provocative and empowering articulations of racial traumas that 
have undermined the status quo and contributed to a positive change in Australia.
9
 %is quality of 
her poetic expression places her in the league of poets like Oodgeroo, Jack Davis, Kevin Gilbert, 
Lionel G. Fogarty, Alf Taylor, Lisa Bellear, among others, who have considered verse as a “verbal 
discourse in which message is dominant and the aesthetic function is subordinate” (Mudrooroo 
1990, 35). Given the increasingly wider public and scholarly interest in their message, which 
 For indigenous Australians this means their successful blending into the mainstream society; the process that has just begun after 
they were isolated from the rest of Australia, following the Nugget Coombs’ 1976 plan for self-governing indigenous communities.  
See Adi Wimmer’s article Autonomous Aboriginal Communities in Australia
culminated in the Prime Minister’s apology to indigenous Australians for past mistreatment and 
in the subsequent process of reconciliation, Moreton has provided additional evidence that works 
of art are an important site for negotiating change. Destabilizing white readers’ assumptions 
about the authority and entitlement of their race, her poetry can be seen to contribute to what 
Walter Mignolo describes as the undoing of “the coloniality of knowledge” (2005, 391). And 
what is also important − alongside the dark picture of their disenfranchisement and a more 
radiant picture of their enduring resilience, inventiveness and power, which further Moreton’s 
reputation as an important advocate of indigenous rights − her verse oﬀers an illuminating 
insight into secret inner worlds and makes an excellent point of departure for many discussions 
on a global scale. 
 Beston, J. 1977 . The Aboriginal Poets in English: Kath Walker, Jack Davis, and Kevin Gilbert.  36: 446−2.
 – – –. 2008b. Humor and the Defamiliarization of Whiteness in the Short Fiction of Australian Indigenous Writer Alf Taylor.  44: 429−40.
 Coles, N. 1986. Democratizing Literature. 48 (November): 64−80.
 Levine, G. 2000. Reclaiming the Aesthetics. In , ed. D.H. Richter, 
378−91. Boston/ New York: Bedford/ St. Martin’s.
Lipsky, M. 1968. Protest as a Political Resource.  62(4): 1144−58.
Maver, I. 2000. Contemporary ‘New’ Aboriginal Poetry in English. In , eds. M. Jurak 
and I. Maver, 13−20. Ljubljana: Znanstveni inštitut Filozofske fakultete.
Mignolo, W.D. 2005. On Subalterns and Other Agencies.  8(4): 381−407 .
 Shoemaker, A. 1989. St. Lucia: Queensland UP .
Wimmer, A. 2009. Autonomous Aboriginal Communities in Australia.  42(1−2): 111−22.