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The given text explores the poetry of Lionel Fogarty and its connection to the Mabo vs. Queensland (No. 2) case, a significant moment in the land rights movement in Australia. Fogarty's poetry challenges the idea of a singular turning point in Aboriginal literature and land rights struggles, offering a poetics of utopic pessimism that resists closure and appropriation. The article critiques existing literature on the Mabo decision for overlooking Fogarty's contributions and highlights his personal history of political activism. Fogarty's poetry explores themes of repatriation, fear of loss of settler land, and envisions a future state of unity among Indigenous peoples. [Extracted from the article]

In his essay, "Desert Islands", Deleuze suggests that an island could be considered "an island or a mountain, or both at once: the island is a mountain under water, and the mountain, an island that is still dry" (2004, 13). In Herman Melville's novel I Moby-Dick i (1851), the whalers gaze across the sea for signs of an "island bulk" rising above the water surface (6). Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC 16 Melville Herman. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC 17 Melville Herman. [Extracted from the article]

This paper examines Yoogum and Kudjela poet Lionel Fogarty's commitment to define the terms in which his work will be remembered through close analysis of a range of archival materials gathered by Kalkadoon scholar Philip Morrissey and Tyne Daile Sumner for Lionel Fogarty's Selected Poems 1980–2017 (2017). I describe this component of his work as hauntology, a term picked up from Jacques Derrida's Spectres of Marx (1993) by Eve Tuck and Christopher Ree, who redefine hauntology as a 'relentless remembering and reminding that will not be appeased by settler society's assurances of innocence and reconciliation.'1 In reference to these materials, I argue that Fogarty's poetry has a hauntological capacity to recall the moment of the poem's expression in endlessly cyclical processes so as to resist closure. By analysing the way these materials exemplify Fogarty's poetic principles, the paper anticipates a shift in the relationship between Aboriginal Australian writers and the literary archive. [ABSTRACT FROM AUTHOR]

There exists an extensive amount of research in the fields of anthropology, literary studies, and philosophy driven by settler-oriented comparisons between Indigenous nations that verified the representation of Indigenous peoples as Other. Meanwhile, the amount of scholarly works on comparative Indigenous literary encounters in the last decade is worthy of note as indicative of the emergence of a planetary decolonial consciousness. To present an argument as to the need to think of the planetary agency of Indigenous writers, I will closely examine the variety of poetic strategies utilized by Yankunytjatjara poet Ali Cobby Eckermann of South Australia, and Yoogum and Kudjela poet Lionel Fogarty of Southern Queensland, in their writing towards other Indigenous peoples from Gaelic Ireland, and the Pacific. This serves two crucial interventions, puncturing through the deficit discourse that essentializes the poethical contribution of Aboriginal writers, and developing comparative strategies for future Indigenous-to-Indigenous encounters. [ABSTRACT FROM AUTHOR]