Book contents
- The Cambridge History of Australian Poetry
- The Cambridge History of Australian Poetry
- Copyright page
- Contents
- Figures
- Contributors
- Acknowledgements
- Introduction
- 1 Language, Text and Colony
- 2 British Speculations on Terra Australis and Romantic-Period Poetry
- 3 Poetry in the Penal Colony
- 4 Becoming Distinct
- 5 The Many-Voiced Charles Harpur
- 6 Anonymity and the Popular
- 7 Settler Labour Poetics and the National Imaginary at the Turn of the Twentieth Century
- 8 Children’s Poetry from 1840 to 1950
- 9 Australian Poetries of War and Conflict
- 10 ‘Poetry Is Its Own Advertisement’
- 11 The New Woman and Poetry (1885–1935)
- 12 Women Poets, Mobility and Being ‘In Between’
- 13 Fin-de-Siècle Symbolism and After
- 14 Kenneth Slessor’s Visualism
- 15 Surrealism and Australian Poetry
- 16 Gum Tears Which Are Also Real
- 17 The Mid Century Canon
- 18 Judith Wright
- 19 Oodgeroo Noonuccal
- 20 Aboriginal Song as Australian Poetry
- 21 Re-Imagining Place (1940–1990)
- 22 Australian Poetry and the Rise of a Suburban Quotidian (1950–2000)
- 23 The Three Ontologies of Regional Poetry
- 24 The Poetry of Antarctica
- 25 Poetry and the State (1945 to the Present)
- 26 Australian Expatriate Poets
- 27 Les Murray
- 28 Religion and Poetry in Australia
- 29 Francis Webb
- 30 Australian Poetry and Post-War Immigration from Europe
- 31 The Long 1970s and Print Culture
- 32 Australian Poets of the 1980s
- 33 Activism and the Eruption of Aboriginal Writing
- 34 Reading the Archive of Australian Feminist Poetry since 1970
- 35 Queer Poetry in Australia
- 36 Between Identity and Form
- 37 Poetry of the South West Asian and North African Diasporas
- 38 Transcultural Relations with Latin America
- 39 Performance Poetries
- 40 Long Form Poetry from the 1980s to the Present
- 41 From Conceptual to Concrete (1960–2020)
- 42 The Digital Era
- 43 The Earth Has Been Done
- 44 Contemporary Anthologies and the Question of Canonicity
- 45 New Dynamics in Twenty-First-Century Anthologies
- Index
- References
19 - Oodgeroo Noonuccal
Published online by Cambridge University Press: 19 November 2025
By
Book contents
- The Cambridge History of Australian Poetry
- The Cambridge History of Australian Poetry
- Copyright page
- Contents
- Figures
- Contributors
- Acknowledgements
- Introduction
- 1 Language, Text and Colony
- 2 British Speculations on Terra Australis and Romantic-Period Poetry
- 3 Poetry in the Penal Colony
- 4 Becoming Distinct
- 5 The Many-Voiced Charles Harpur
- 6 Anonymity and the Popular
- 7 Settler Labour Poetics and the National Imaginary at the Turn of the Twentieth Century
- 8 Children’s Poetry from 1840 to 1950
- 9 Australian Poetries of War and Conflict
- 10 ‘Poetry Is Its Own Advertisement’
- 11 The New Woman and Poetry (1885–1935)
- 12 Women Poets, Mobility and Being ‘In Between’
- 13 Fin-de-Siècle Symbolism and After
- 14 Kenneth Slessor’s Visualism
- 15 Surrealism and Australian Poetry
- 16 Gum Tears Which Are Also Real
- 17 The Mid Century Canon
- 18 Judith Wright
- 19 Oodgeroo Noonuccal
- 20 Aboriginal Song as Australian Poetry
- 21 Re-Imagining Place (1940–1990)
- 22 Australian Poetry and the Rise of a Suburban Quotidian (1950–2000)
- 23 The Three Ontologies of Regional Poetry
- 24 The Poetry of Antarctica
- 25 Poetry and the State (1945 to the Present)
- 26 Australian Expatriate Poets
- 27 Les Murray
- 28 Religion and Poetry in Australia
- 29 Francis Webb
- 30 Australian Poetry and Post-War Immigration from Europe
- 31 The Long 1970s and Print Culture
- 32 Australian Poets of the 1980s
- 33 Activism and the Eruption of Aboriginal Writing
- 34 Reading the Archive of Australian Feminist Poetry since 1970
- 35 Queer Poetry in Australia
- 36 Between Identity and Form
- 37 Poetry of the South West Asian and North African Diasporas
- 38 Transcultural Relations with Latin America
- 39 Performance Poetries
- 40 Long Form Poetry from the 1980s to the Present
- 41 From Conceptual to Concrete (1960–2020)
- 42 The Digital Era
- 43 The Earth Has Been Done
- 44 Contemporary Anthologies and the Question of Canonicity
- 45 New Dynamics in Twenty-First-Century Anthologies
- Index
- References
Summary
This chapter is an overview of the life and work of Oodgeroo Noonuccal (formerly Kath Walker), whose poetry collection We Are Going (1964) was not only the first ever book of poetry by an Aboriginal person but also one of the fastest-selling books in Australian history. It traces her early involvement in civil rights in Queensland, her ongoing activism in Aboriginal struggles, and the power of her poetry to articulate the feelings and lived experiences of the Aboriginal people. It discusses Oodgeroo’s friendship with Judith Wright and her founding of Moongalba, an Aboriginal cultural and education centre on Noonuccal country. The chapter outlines her role in various national Aboriginal and Torres Strait Islander arts organisations and her international connections with Indigenous writers. Lastly, it emphasises Oodgeroo’s lifelong work in foregrounding Aboriginal cultural and political perspectives.
Keywords
Information
- Type
- Chapter
- Information
- The Cambridge History of Australian Poetry , pp. 353 - 375Publisher: Cambridge University PressPrint publication year: 2025
References
Select Bibliography
Allen, Chadwick, ‘Dreaming in the Present Progressive: Kath Walker across, beyond, and through an Indigenous 1964’, Journal of the Association for the Study of Australian Literature 17.1, 2017, pp. 1–16.Google Scholar
Brewster, Anne, ‘Oodgeroo: Orator, Poet, Storyteller’, Australian Literary Studies 16.4, 1994, pp. 92–104.Google Scholar
Cochrane, Kathie‘Oodgeroo Noonuccal’, in Kleinert, Sylvia, Neale, Margo and Bancroft, Robyne (eds.), The Oxford Companion to Aboriginal Art and Culture, Melbourne: Oxford University Press, 2000.Google Scholar
Fesl, Eve Mumewa D., ‘The Road Ahead’, Australian Literary Studies 16.4, 1994, pp. 141–6.Google Scholar
Foley, Gary, ‘Black Power and Aboriginal Arts’, Tracker (2 August 2012), kooriweb.org/foley/essays/tracker/tracker16.html.Google Scholar
Gilbert, Kevin, ‘Oodgeroo Noonuccal’, in Kevin Gilbert (ed.), Inside Black Australia: An Anthology of Aboriginal Poetry, Ringwood: Penguin, 1988, pp. 94–5.Google Scholar
Heiss, Anita and Minter, Peter, ‘Aboriginal Literature’, in Heiss, Anita and Minter, Peter (eds.), Macquarie Pen Anthology of Aboriginal Literature, Crows Nest: Allen & Unwin, 2008, pp. 7–13.Google Scholar
Hodge, Bob, ‘Poetry and Politics in Oodgeroo: Transcending the Difference’, Australian Literary Studies 16.4, 1994, pp. 63–76.Google Scholar
Jones, Jennifer, ‘Oodgeroo and Her Editor: The Production of Stradbroke Dreamtime’, Journal of Australian Studies 27.76, 2003, pp. 45–56.CrossRefGoogle Scholar
Hodge, Bob‘Why Weren’t We Listening? Oodgeroo and Judith Wright’, Overland 171, 2003, pp. 44–9.Google Scholar
Jose, Nicholas, ‘Oodgeroo in China’, Australian Literary Studies 16.4, 1994, pp. 42–54.Google Scholar
Minter, Peter, ‘Kath Walker (Oodgeroo Noonuccal), Judith Wright and Decolonised Transcultural Ecopoetics in Frank Heimans’ Shadow Sister’,Sydney Studies in English 41, 2015, pp. 61–74.Google Scholar
Shoemaker, Adam, Black Words, White Page: Aboriginal Literature 1929–1988, Canberra: ANU E Press, 2004.CrossRefGoogle Scholar
Turcotte, Gerry, ‘“Recording the Cries of the People”: An Interview with Oodgeroo (Kath Walker)’, Kunapipi 10.1–2, 1988, pp. 16–35.Google Scholar
Daozhi, Xu, ‘From Oodgeroo Noonuccal to Alexis Wright: Postcolonial Reading of Australian Indigenous Literature in China, 1988–2018’, Journal of Postcolonial Writing 58.1, 2022, pp. 95–110.Google Scholar
Accessibility standard: WCAG 2.1 AA
Why this information is here
This section outlines the accessibility features of this content - including support for screen readers, full keyboard navigation and high-contrast display options. This may not be relevant for you.Accessibility Information
The HTML of this chapter
complies with version 2.1 of the
Web Content Accessibility Guidelines
(WCAG), covering newer accessibility requirements and improved
user experiences and achieves the intermediate
(AA)
level of WCAG compliance, covering a wider range of accessibility requirements.
Content Navigation
Table of contents navigation
Allows you to navigate directly to chapters, sections, or non‐text items through a linked table of contents, reducing the need for extensive scrolling.
Allows you to navigate directly to chapters, sections, or non‐text items through a linked table of contents, reducing the need for extensive scrolling.
Index navigation
Provides an interactive index, letting you go straight to where a term or subject appears in the text without manual searching.
Provides an interactive index, letting you go straight to where a term or subject appears in the text without manual searching.
Reading Order & Textual Equivalents
Single logical reading order
You will encounter all content (including footnotes, captions, etc.) in a clear, sequential flow, making it easier to follow with assistive tools like screen readers.
You will encounter all content (including footnotes, captions, etc.) in a clear, sequential flow, making it easier to follow with assistive tools like screen readers.
Short alternative textual descriptions
You get concise descriptions (for images, charts, or media clips), ensuring you do not miss crucial information when visual or audio elements are not accessible.
You get concise descriptions (for images, charts, or media clips), ensuring you do not miss crucial information when visual or audio elements are not accessible.
Full alternative textual descriptions
You get more than just short alt text: you have comprehensive text equivalents, transcripts, captions, or audio descriptions for substantial non‐text content, which is especially helpful for complex visuals or multimedia.
You get more than just short alt text: you have comprehensive text equivalents, transcripts, captions, or audio descriptions for substantial non‐text content, which is especially helpful for complex visuals or multimedia.
Visual Accessibility
Use of colour is not sole means of conveying information
You will still understand key ideas or prompts without relying solely on colour, which is especially helpful if you have colour vision deficiencies.
You will still understand key ideas or prompts without relying solely on colour, which is especially helpful if you have colour vision deficiencies.
Structural and Technical Features
ARIA roles provided
You gain clarity from ARIA (Accessible Rich Internet Applications) roles and attributes, as they help assistive technologies interpret how each part of the content functions.
You gain clarity from ARIA (Accessible Rich Internet Applications) roles and attributes, as they help assistive technologies interpret how each part of the content functions.