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Ali Cobby Eckermann
Translated from the English to the Bangla by Seemantini Gupta দরজার গোড়ায় জড়োসড়ো হয়ে দাঁড়িয়ে, আমি অবিশ্বাসী আর্তনাদ, আমি গাড়ির মধ্যে জবুথবু, আমি বিষাদের রহস্য-স্পর্শ, আমি-ই। যে কাঁথাটি কখনও ব্যবহার করা হলো না, আমি সে বা খালি, ধুলো-জমা পেরামবুলেটারটা টেডি …
It was a cool inner west Sydney evening in May 2015, alive with families out to dinner and bookshops open late. It was also one week after four Dalits were sexually abused, murdered, and their homes set on fire in Rajasthan, India, and three weeks before a Dalit girl in a village in Madhya Pradesh, India was beaten up because her shadow fell on an upper caste man. It was with the knowledge of such a blood-marked backdrop of systemic oppression, with the privilege of being innoculated from it, with the increasing awareness of its noxious roots and consequences, I began a conversation with Indian publisher and writer S Anand. He is the founder-publisher at Navayana, and co-author of Bhimayana and Finding My Way.
I love my wife she right skin for me pretty one my wife young one found her in the next community over across the hills little bit long way not far And from there she give me good kids funny …
Celebrated South Australian writer Ali Cobby Eckermann’s fourth volume of poetry, Inside My Mother, is her most substantial and diverse collection to date. Although the book includes a handful of reworked earlier pieces, most of the seventy-three poems are new. Across four sections, these poems enrich and intensify the politically urgent subject matter that Cobby Eckermann’s oeuvre has, over the past decade or so, addressed so effectively. As an Aboriginal descended from the Yankunytjatjara language group, Cobby Eckermann’s chief concern is to express what she sees as the untold truth of Aboriginal people, both in terms of vital aspects of their culture, as well as regarding the (ongoing) detrimental impact of European colonisation. In this new work, Cobby Eckermann’s personal story provides a strong substructure in relation to which these larger issues are artfully explored.
It was always an exciting time for me, during my time in the role of Art Centre Manager at Titjikala, to escort Aboriginal artists from central Australia to their art exhibitions and forums in Adelaide. On one occasion were two senior Pitjantjatjara / Luritja artists from Titjikala, and they were accompanied by their granddaughters. My granddaughter had joined the group in Port Augusta. And so we were in Adelaide when the news was announced.
inside the clearing of the bush cemetery I sit surrounded by a stark equality every grave is marked with a plain white cross the landscape is a post modern dirge stretched in the aftermath of Christian law the plastic flowers …
Interventionists are coming, interventionists are coming cries echo through the dusty community as the army arrive in their chariots Parents and children race for the sandhills burying tommy axes and rifela hiding in abandoned cars along the fence line One …
there is ilpintji in the wind by the singing rock down the river by the ancient tree love in malu ngintaka and kalaya love when spirits speak no human voice at sacred sites watch walawaru soar over hidden kapi find …
As I write this review, sunlight filtered through a pall of smoke casts a dull orange glow over my kitchen bench. The Blue Mountains are burning. Sydney’s haze resembles downtown Beijing’s and it’s only October. Such an apocalyptic scene – part of the ‘Australian experience’ I am assured by our Prime Minister – provides context for the world into which Outcrop and its ‘radical poetry of land’ emerges. This is not to suggest that the anthology’s outlook is primarily environmental, but that alternative ways of examining land are sorely needed.
In January 2013 I visited the inaugural exhibition of the new Blue Mountains City Art Gallery, an eclectic and compelling collection of works curated by Gavin Wilson and entitled ‘Picturing the Great Divide: Visions from Australia’s Blue Mountains’. I stood for what seemed like an hour before John Wolseley’s wonderful ‘The Proteaceae of NSW and Argentina 1996’ – a water colour and pencil work that is part of his ongoing creative enquiry into geological and biological temporalities, and one which advances an intensely felt and thought aesthetic of deep trans-historical and trans-biological emergence.
we are all just passing through this place of tabernacles and tombs scripted in a language we can no longer read do the concentric circles carvings freeze the breath of your sentimental heart? are the zigzag lines accounts of storms …
Lets falsify the census to topple the popular And drift enmasse to Burrup Peninsula With pride to protect the petroglyphs whatta we got to stay home for? eating snags on toast ‘cos we got no chops fish and chips on …