Map of Australia, Land of the Fair Go, Stamped "Cancelled".

© Bakchos 2026 | Blak and Black est. 2010

This Post Has 11 Comments

  1. Polina

    Australia never had a golden age. But it had a map — an argument toward something better. This poem is about the moment we folded it up, who handed us the blade, and why the grief of loving this place doesn’t close.
    The Land of the Fair Go (A Lament)

  2. Bill Wheatley

    This is a strong, ambitious political poem—part lament, part jeremiad, part love letter to an idea of Australia that the poet believes is slipping away. At its best it achieves the difficult trick of being both emotionally raw and intellectually precise. At its worst it slips into the very didacticism it tries to avoid. Overall, it is one of the more honest and painful reckonings with post-Howard Australia I have read in verse.

  3. Mirko

    Mark remember me? I’m fairly certain that we went to school together. It seems that time hasn’t mellowed you. You left a lasting memory on me, when you walked off the footy field a smashed Egg in the face and said “if you pick on the runt again, I’ll kicked the shit out of you.” Egg stopped bullying everyone after that. One of the last things that my father said to me was “ what ever happened to that boy who played Guido d’Wacker? He was funny.” Seems that you made a lasting impression on some. I’ll look out for more of your poetry.

    1. Bakchos

      G’day Mirko, yes we seem to have gone to school together. I remember you. I’m saddened to read of the passing of your father. Unfortunately most of my characters I created for Drama wouldn’t pass the politically correct police monitoring these days. Guido would definitely be out, I suspect that Bernice Beatle and Dickie Possum Poo wouldn’t pass muster these days, either. Such is life. Thanks for touching base, please keep in touch.

  4. Kelly Conrad

    The poem’s greatest strength is its refusal of easy innocence. The opening line—“We were never innocent—let that be said”—is a masterstroke. It immediately disarms the usual progressive nostalgia and grounds the lament in historical reality (Stolen Generations, missions, silence). That honesty gives the later grief real weight. The repeated return to “the red earth” and “the long sky” and “the first peoples’ dreaming” never feels ornamental; it functions as a moral horizon against which all later failures are measured.

  5. Jen

    The section on John Howard is the poem’s high point. Howard is not caricatured as a cartoon villain (“He was not a monster. That would have been easier.”). The poem grants him “cold political intelligence” and then shows how that intelligence was deployed—not to create fear from nothing, but to harvest existing anxiety and direct it politically. That nuance is rare in Australian political poetry and makes the indictment sharper, not softer. The sketch of Pauline Hanson — “fish-and-chip grease and grievance, / a woman with a forest for a chip / on a shoulder barely wide enough to hold it” — is cruelly funny and oddly affectionate at the same time. It humanises without excusing. The distinction drawn between Howard and Hanson (“He didn’t light the fire. But he read the smoke…”) is politically astute and poetically economical.

    1. Bakchos

      “He didn’t light the fire. But he read the smoke…” that’s how John Howard unmade the fair go Aussie spirit. He read the smoke well.

  6. The long, accumulating sentences and the deliberate use of enjambment give the poem the feel of a pub argument that has turned into something more serious. It wants to be read aloud. Lines like “the round never gets bought” land like a punch because the poem has earned the right to be that blunt.

  7. Watershedd

    “He chose the simpler blade instead:
    be afraid of each other.”
    .
    This is where the shift started. Be alert, not alarmed. He really meant be suspicious and exclusionary.

  8. Melissa

    Powerful!

    “Petro Georgiou, Liberal member for Kooyong,
    broke with his own government
    over children in detention,
    put a human face
    in front of a policy
    and refused to look away.
    Judi Moylan stood beside him.
    Carmen Lawrence told her party
    that asylum seekers were people,
    not a wedge,
    and paid for the honesty
    in the currency of her career.

    They did not win.
    The tide was running the other way.
    But they planted something
    in the record of this country —
    a refusal entered into Hansard,
    quiet, inconvenient,
    available to anyone who wants to know
    that it was possible
    to know better, and say so,
    inside the machine, in real time,
    at real cost.”

  9. Mick Glass

    Australia was never the land of the fair go for blackfullas.

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