Judith Wright (1915-2000)

Bora Ring

The song is gone; the dance
is secret with the dancers in the earth,
the ritual useless, and the tribal story
lost in an alien tale.

Only the grass stands up
to mark the dancing-ring; the apple-gums
posture and mime a past corroboree,
murmur a broken chant.

The hunter is gone; the spear
is splintered underground; the painted bodies
a dream the world breathed sleeping and forgot.
The nomad feet are still.

Only the rider’s heart
halts at a sightless shadow, an unsaid word
that fastens in the blood of the ancient curse,
the fear as old as Cain.


Beside his heavy-shouldered team
thirsty with drought and chilled with rain,
he weathered all the striding years
till they ran widdershins in his brain:

Till the long solitary tracks
etched deeper with each lurching load
were populous before his eyes,
and fiends and angels used his road.

All the long straining journey grew
a mad apocalyptic dream,
and he old Moses, and the slaves
his suffering and stubborn team.

Then in his evening camp beneath
the half-light pillars of the trees
he filled the steepled cone of night
with shouted prayers and prophecies.

While past the campfire’s crimson ring
the star struck darkness cupped him round.
and centuries of cattle-bells
rang with their sweet uneasy sound.

Grass is across the wagon-tracks,
and plough strikes bone beneath the grass,
and vineyards cover all the slopes
where the dead teams were used to pass.

O vine, grow close upon that bone
and hold it with your rooted hand.
The prophet Moses feeds the grape,
and fruitful is the Promised Land. 

Nigger’s Leap, New England

The eastward spurs tip backward from the sun.
Night runs an obscure tide round cape and bay
and beats with boats of cloud up from the sea
against this sheer and limelit granite head.
Swallow the spine of range; be dark. O lonely air.
Make a cold quilt across the bone and skull
that screamed falling in flesh from the lipped cliff
and then were silent, waiting for the flies.

Here is the symbol, and climbing dark
a time for synthesis. Night buoys no warning
over the rocks that wait our keels; no bells
sound for the mariners. Now must we measure
our days by nights, our tropics by their poles,
love by its end and all our speech by silence.
See in the gulfs, how small the light of home.

Did we not know their blood channelled our rivers,
and the black dust our crops ate was their dust?
O all men are one man at last. We should have known
the night that tidied up the cliffs and hid them
had the same question on its tongue for us.
And there they lie that were ourselves writ strange.

Never from earth again the coolamon
or thin black children dancing like the shadows
of saplings in the wind. Night lips the harsh
scarp of the tableland and cools its granite.
Night floods us suddenly as history
that has sunk many islands in its good time.


The road beneath the giant original trees
Sweeps on and cannot wait, varnished by dew,
its darkness mimics mirrors and is bright
behind the panic eyes the driver sees
caught in headlights. Behind the wheels the night
takes over: only the road ahead is true.
It knows where it is going; we go too.

Sanctuary, the sign said Sanctuary–
trees, not houses; flat skins pinned to the road
of possum and native cat; and here the old tree stood
for how many thousand years? That old gnome-tree
some axe-new boy cut down. Sanctuary, it said:
but only the road has meaning here. It leads
into the world’s cities like a long fuse laid.

Fuse, nerve, strand of a net, tense
bearer of messages, snap-tight violin-string,
dangerous knife-edge laid across the dark,
what has that sign to do with you? The immense
tower of antique forest and cliff, the rock
where years accumulate like leaves, the tree
where transient birds and mindless insects sing?
The word the board holds up is Sanctuary
and the road knows that the notice-boards make sense,

but has not time to pray. Only, up there,
morning sets doves upon the power line.
Swung on that fatal voltage like a sign
and meaning love, perhaps they are a prayer.