Tuesday, April 15, 2025

SF's Ecocriticism

 Dr. Suresh Frederick, an Associate Professor and UG Head at Bishop Heber College, Trichy, India, has coined and engaged with pocoecocriticism in his scholarly work, notably in his book Contemporary Contemplations on Ecoliterature (2012). In this collection of essays, he contributes a specific study titled “Lost Land: A Pocoecocritical Study of Select Poems of Oodgeroo Noonuccal (Kath Walker)”. Here, he analyzes the poetry of the indigenous Australian poet Oodgeroo Noonuccal, exploring how her work reflects the loss of land and cultural identity due to colonial dispossession. Frederick’s pocoecocritical approach highlights the environmental devastation tied to colonial policies, such as land theft, and the resulting alienation of indigenous communities from their ancestral ecosystems.

 

Pocoecocriticism, a blend of postcolonialism and ecocriticism, examines the intersections of environmental issues, colonial legacies, and cultural narratives in literature, particularly from marginalized or indigenous perspectives. It critiques how colonial exploitation of land and resources shapes ecological and social injustices, often amplifying the voices of those dispossessed by such histories.

 

His analysis frames Noonuccal’s poetry as a resistance narrative, where the land is not just a physical space but a cultural and spiritual entity. By applying pocoecocriticism, Frederick underscores how colonial power structures disrupt human-nature relationships, a theme resonant in postcolonial contexts globally. This work aligns with broader pocoecocritical goals of exposing environmental injustice as inseparable from colonial oppression.

 

Dr Suresh Frederick’s contribution to pocoecocriticism is part of his larger ecocritical scholarship, which spans American, Australian, and Indian literature. His role as Vice President of OSLE (Organization for Study of Literature and Environment) and his extensive publications—over 90 articles—further establish him as a key voice in bridging ecocriticism with postcolonial concerns.

 

He has published over 80 papers in reputed journals and books, so this is a representative sample rather than a complete catalogue.

 

- “Suicidal Motive: An Ecocritical Reading of Four Poems”  

  Published in Essays in Ecocriticism, edited by Nirmal Selvamony, 2007.  

  Examines themes of self-destruction in poetry through an ecocritical lens, emphasizing environmental ethics.

 

- “Striving for Symbiosis: An Ecocritical Study of Selected Poems of Tagore’s The Gardener”  

  Published in *Indian English Poetry: Recent Explanations*, edited by Gauri Shankar Jha, 2008.  

  Analyses Rabindranath Tagore’s poetry for its ecological harmony and symbiotic themes.

-“Interspecific Relationship in the Select Poems of Charles Harpur”  

  Published in *Critical Essays on Australian Literature*, edited by K. Balachandran, 2010.  

  This article explores ecological relationships in the poetry of Charles Harpur, focusing on human-nature interactions.

 

- “Ecowisdom in Keki Darwalla’s Poems “Wolf” and “The Last Howl””  

  Published in Critical Essays on Indian English Poetry and Drama: Texts and Contexts, edited by Arvind M. Narwale, 2010.  

  Discusses ecological wisdom in Darwalla’s portrayal of animals and nature.

 

- “Lost Land: A Pocoecocritical Study of Select Poems of Oodgeroo Noonuccal (Kath Walker)”  

  Published in Contemporary Contemplations on Ecoliterature, edited by Suresh Frederick, 2012.  

  Combines postcolonial and ecocritical perspectives to analyse Indigenous Australian poetry.

 

- “Exploitation of Animals in Jack London’s The Call of the Wild”  

  Published in a collection of essays, Contemporary Contemplations on American Literature (2014)

  Focuses on animal treatment and environmental themes in London’s novel.

An Explanation for the article: “Lost Land: A Pocoecocritical Study of Select Poems of Oodgeroo Noonuccal (Kath Walker)”

 

An Explanation for the article: “Lost Land: A Pocoecocritical Study of Select Poems of Oodgeroo Noonuccal (Kath Walker)”

 

Introduction

Dr. Suresh Frederick’s essay, “Lost Land: A Pocoecocritical Study of Select Poems of Oodgeroo Noonuccal (Kath Walker)”, published in Contemporary Contemplations on Ecoliterature (2012), combines postcolonial and ecocritical perspectives to analyse the poetry of Oodgeroo Noonuccal, an Indigenous Australian poet and activist. Dr Suresh Frederick who has coined the term, pocoecocriticism”, made use of this term in his lectures from 2006.

 

What is Pocoecocriticism?

Pocoecocriticism is a hybrid framework that merges “Postcolonialism” (which examines the cultural, social, and political impacts of colonization, especially on marginalized groups) with “ecocriticism” (which studies the relationship between literature and the environment). Dr Suresh Frederick uses this lens to explore how colonial exploitation affects both Indigenous peoples and their natural environments, emphasizing interconnected oppressions of land and culture.

Overview of the Essay

Dr Suresh Frederick’s essay focuses on select poems by Oodgeroo Noonuccal, including works like “We Are Going” and “No More Boomerang”, to highlight the dual loss of Indigenous land and cultural identity under colonial rule. He argues that Noonuccal’s poetry reflects a deep ecological awareness tied to Aboriginal spirituality, where land is not just a resource but a sacred entity integral to identity.

Key Themes and Arguments

1. Colonial Dispossession of Land and Culture  

   Dr Suresh Frederick shows how Noonuccal’s poems mourn the theft of Aboriginal land by European settlers, portraying it as both an environmental and cultural tragedy. In “We Are Going”, the land’s degradation, urbanization, deforestation, mirrors the erosion of Indigenous traditions. He frames this as “ecological imperialism”, where colonization disrupts harmonious human-nature relationships.

2. Indigenous Ecological Wisdom  

   The essay emphasises Noonuccal’s portrayal of Aboriginal knowledge, which views humans as part of nature, not its masters. Frederick contrasts this biocentric view with the anthropocentric mindset of colonizers, who exploited land for profit. Poems like “No More Boomerang” critique modern industrialization while longing for pre-colonial ecological balance.

3. Pocoecocritical Resistance  

   Noonuccal’s work, as Dr Suresh Frederick interprets it, is a form of resistance. Her poetry reclaims Indigenous voices, advocating for environmental justice and cultural revival. By blending postcolonial themes (oppression, identity) with ecocritical ones (land, sustainability), Dr Suresh Frederick argues that Noonuccal challenges the colonial narrative that dehumanizes both people and nature.

Analytical Approach

Dr Suresh Frederick employs textual analysis to unpack Noonuccal’s imagery and tone. For example, he highlights her use of stark contrasts, barren urban landscapes versus vibrant pre-colonial ecosystems, to underscore environmental loss. He also connects her activism (e.g., her role in Indigenous rights movements) to her writing, showing how her poetry serves as both art and advocacy.

Significance

The essay is significant because it bridges two critical fields, offering a nuanced way to understand literature from colonized regions. By focusing on Noonuccal, Dr Suresh Frederick elevates an Indigenous voice, showing how her work speaks to global issues of environmental degradation and cultural erasure. It also contributes to pocoecocriticism as a growing framework, encouraging scholars to examine how colonialism’s legacy continues to harm both ecosystems and marginalized communities.

Conclusion

Dr. Suresh Frederick’s analysis underscores the urgency of listening to Indigenous perspectives in environmental discussions. Noonuccal’s poetry, through his lens, becomes a call to rethink humanity’s relationship with nature, challenging readers to confront historical injustices and their ongoing ecological impacts.

Wednesday, April 2, 2025

Papers Published (2024-25)

Papers Published (2024-25)

1. Frederick, Suresh(2024). Vocabulary Acquisition through Deep ReadingExploring the Potential of Poetry with ESL Learners”, in the Educational Administration: Theory and Practices |ISSN: 1119-5096| Vol. 30 No.6 (2024). Scopus Indexed Journal. Published in June 2024. PP. 4950-4955

DOIhttps://doi.org/10.53555/kuey.v30i6.8969

 

2. Frederick Suresh. (2024), “Is the Playboy of The Western World A Celebration Of Violence? A Critical Inquiry”, International Journal of Communication, Languages & Literature, Volume 7, Issue 1, 2024, pp 08-23.  

DOI : https://doi.org/10.53882/IJCLL.2024.0701002

 https://arseam.com/paper?title=article_49527&issue_code=858146

 

3. Frederick, Suresh(2024). “An Overview of Crime News Reporting and Investigative News Reporting” in Library Progress International (Print version ISSN 0970 1052 Online version ISSN 2320 317) XVol.44 No.3, Jul-Dec 2024: Scopus Indexed Journal. Published in July 2024. PP.6205-6209.

DOIhttps://doi.org/10.48165/bapas.2024.44.2.1

 https://bpasjournals.com/library-science/index.php/journal/article/view/1592

 

4.Frederick, Suresh(2024). “Psychological Trauma in Buchi Emecheta’s The Bride Price” (Co-author Sindhu), in African Journal of Biomedical Research, Vol. 27 No. 3 (2024). Scopus Indexed Journal. Published September 7, 2024. PP 2527-2531.

DOIhttps://doi.org/10.53555/AJBR.v27i3.5872

 

5.Frederick, Suresh(2024). Vocabulary Acquisition in Adult ESL: A Multimodal Approach to Life Sciences Terminology through Narrow Reading and Viewing” in the Educational  Administration: Theory and Practices |ISSN: 1119-5096|  Vol. 30 No.10 (2024). Scopus Indexed Journal. Published in October 2024. PP 642-647.

DOIhttps://doi.org/10.53555/kuey.v30i10.9020

 

6. Frederick, Suresh(2024). “Cultivating Ecoliteracy: Using Local Translations to Teach English Vocabulary and Environmental Values”, in the Educational Administration: Theory and Practices |ISSN: 1119-5096|  Vol. 30 No.11 (2024). Scopus Indexed Journal. Published in November 2024. PP 1181-1188.

DOIhttps://doi.org/10.53555/kuey.v30i11.9198

 

7. Frederick, Suresh. (2024). “From Mourning to Mutiny: Successful Communication Strategy Used by Antony in Shakespeare’s Julius Caesar”. Shanlax International Journal of English13(1). Published in December 2024. PP 12-17.

DOIhttps://doi.org/10.34293/english.v13i1.8354    

 

8. Frederick, Suresh(2024). “Rooted in Landscape: Exploring Place and Identity in Tim Winton’s Novels”(Co-author Thilaga, P. J. S.) in Journal of Ecohumanism3(8),  Scopus Indexed Journal. Published in December 2024. PP 12130–. 12136.

DOIhttps://doi.org/10.62754/joe.v3i8.5921

 

9. Frederick, Suresh(2024). “The Natural Approach and Short Story Reading: Enhancing English Language Acquisition”, (Co-author Ridgley, Jerrick), in the Educational Administration: Theory and Practices |ISSN: 1119-5096| Vol. 30 No.11 (2024)Scopus Indexed Journal. Published in December 2024. PP 1260-1281

DOIhttps://doi.org/10.53555/kuey.v30i11.9306

 

10. Frederick, Suresh(2025). Early Seeds of  Bioregionalism: Place-Consciousness and Harmony in Andrew Marvell’s “The Garden” (Co-author Edwin Moses) Journal of Ecohumanism ISSN: 2752-6798 (Print) | ISSN 2752-6801 2025 Volume: 4, No: 1, pp. 1260812612.

https://ecohumanism.co.uk/joe/ecohumanism

DOI https://doi.org/10.62754/joe.v3i8.5954


Tuesday, March 25, 2025

“No More Boomerang” by Oodgeroo Noonuccal (Kath Walker)/ III BA/ Prepared in 2015

 

“No More Boomerang”
by Oodgeroo Noonuccal (Kath Walker)

Oodgeroo Noonuccal (1920-1993) is known for most of her life as a writer, painter and political activist. She changed her name from Kath Walker to Oodgeroo Noonuccal in 1988 to resume her traditional name. She returned her MBE in protest at the condition of her people in the year of Australia's Bicentenary celebrations.  In “No more Boomerang”, Oodgeroo Noonuccal explains how the so called civilization has destroyed their culture and land.

These indigenous people have lost their valuable instruments like the boomerang (Curved throwing weapon) and the spear and gained the useless bar and intoxicating beer. They have lost corroboree, the Aboriginal singing and dancing, happy dancing and shouting, for movies where one has to pay to watch.Once these people used to share the animals hunted by the hunter, but now there is no sharing and one has to work for money and pay it back for buying things. They have to go in search of bosses to gain a few bobs. Bob is a slang term for a unit of currency. They cannot live on their own by hunting and they have to depend on the whites for their food.

Once they were naked but they did not feel ashamed but now they need clothes and for that they need money. Now they don’t live in gunya which is a basic aboriginal shelter made of bark and sticks. But now they have to buy a bungalow by hire purchase and have to pay for twenty long years. They have laid down their traditional tools like stone axe for steel ones. Oodgeroo feels that now they have to persevere and exist like a slave to make both ends meet. The white people ridiculed the fire sticks used by the natives and the electrical stoves they gave as a replacement is no better.

The aboriginal Australians believed in bunyas. Bunyip is a Mythical monster inhabiting the rivers. It is a legendary spirit or creature of the Australian aborigine. Bunyips haunt rivers, swamps, creeks and billabongs. Their main goal in life is to cause nocturnal terror by eating the people or the animals in their surrounding area. They are renowned for their terrifying bellowing cries in the night and have been known to frighten aborigines to the point where they would not approach any water source where a bunyip might be waiting to devour them. Now the white settlers have become the bunyips.

Oodgeroo feels that the modern paintings are no match for the old cave paintings. The expressed feelings on the walls of the caves, by the native people, covey more than the abstract paintings of the whites.

The native people of Australia hunted the kangaroos for living but the whites hunt for money. Oodgeroo feels that the white doctors are witch doctors who wear dog collars. The young boys and girls have no entertainment except television. In those days the aborigines had message stick. A message stick is a form of communication traditionally used by Indigenous Australians. It is usually a solid piece of wood, around 20–30cm in length, etched with angular lines and dots. Traditionally, message sticks were passed between different clans and language groups to establish information and transmit messages. They were often used to invite neighbouring groups to corroborees (a ceremonial meeting), set-fights and ball games. The television programmes too carry more of advertisements.

The native people have laid down their weapons like the woomera or the waddy. The woomera or  womera is a throwing stick used to launch a spear. The waddy is an aboriginal club, any stick or cane used for corporal punishment. The whites have the atom bomb to end the world. Thus the land has lost its past glory.

In “The Poetemics of Oodgeroo”, Mudrooroo calls Oodgeroo Noonuccal “a poet of the people”. As a poet of the people, Oodgeroo expresses her opinions on how life has deformed for the aboriginals through her poetry.

Kamala Wijeratne’s “To a Student” / III BA

Trauma and Connection in Kamala Wijeratne’s “To a Student”

In “To a Student”, Kamala Wijeratne crafts a poignant and powerful poem that delves into the complexities of trauma, connection, and humanity. Through a nuanced exploration of imagery, metaphor, and tone, Wijeratne offers a searing portrayal of the effects of violence and war on individuals and society.

 The poem begins by addressing the student directly, establishing a sense of intimacy and immediacy. However, the speaker quickly reveals that the student’s gaze is averted, and their ears are blocked against the speaker’s voice (lines 1-4). This image effectively captures the sense of disconnection and trauma that can result from exposure to violence.

Throughout the poem, Wijeratne employs vivid and disturbing imagery to convey the horrors of war. The speaker describes seeing “torn pieces of human flesh / suspended from bushes and trees” (lines 9-10) and hearing the “echoes of gun-shots” and “blasts of grenades”(lines 5-6). These images are both haunting and visceral, emphasizing the brutal reality of war.

One of the most striking aspects of the poem is its exploration of the consequences of trauma on human connection. The speaker notes that the students’ fear for their loved ones has created a barrier between them, preventing their eyes from locking and their ears from hearing (lines 11-12). This image highlights the ways in which trauma can disrupt even the most basic forms of human connection.

 Despite the bleakness of the poem's imagery, Wijeratne offers a message of hope and resilience. The speaker urges the student to “shake off these brand names” and seek out a more authentic, compassionate way of being (lines 17-18). This call to action is both powerful and poignant, emphasizing the need for individuals to come together and create a more just and peaceful world.

In conclusion, “To a Student” is a powerful and thought-provoking poem that offers a searing portrayal of the effects of trauma and violence on individuals and society. Through its exploration of imagery, metaphor, and tone, Wijeratne emphasizes the need for human connection and compassion in the face of adversity.


Monday, March 10, 2025

“An Aboriginal Mother’s Lament” by Charles Harpur / III BA

 “An Aboriginal Mother’s Lament” by Charles Harpur

STILL farther would I fly, my child,
    To make thee safer yet,
From the unsparing white man,
    With his dread hand murder-wet!
I’ll bear thee on as I have borne
    With stealthy steps wind-fleet,
But the dark night shrouds the forest,
    And thorns are in my feet.

        O moan not! I would give this braid  –
            Thy father’s gift to me –
        For but a single palmful
            Of water now for thee.

Ah! Spring not to his name – no more
    To glad us may he come!
He is smouldering into ashes
    Beneath the blasted gum!
All charred and blasted by the fire
    The white man kindled there,
And fed with our slaughtered kindred
    Till heaven-high went its glare!

And but for thee, I would their fire
    Had eaten me as fast!
Hark! Hark! I hear his death-cry
    Yet lengthening up the blast!
But no – when that we should fly,

    The way that we should fly
On the roaring pyre flung bleeding –
    I saw thy father die!

No more shall his loud tomahawk
    Be plied to win our cheer,
Or the shining fish-pools darken
    Beneath his shadowing spear;
The fading tracks of his fleet foot
    Shall guide not as before,
And the mountain-spirits mimic
    His hunting call no more!

        O moan not! I would give this braid  –
            Thy father’s gift to me –
        For but a single palmful
            Of water now for thee.


"An Aboriginal Mother’s Lament" by Charles Harpur

Introduction:

“An Aboriginal Mother’s Lament” is a poem written by Charles Harpur. This is written in the form of a dramatic monologue. Charles Harpur (1813-1868) was an outstanding Australian poet in the early days of Australia. In this poem, Harpur brings out the plight of an aboriginal mother. The words “aboriginal” and “aborigine” are used by the invaders to designate the indigenous people of Australia.

In this poem, “An Aboriginal Mother’s Lament”, Harpur presents the plight of an aboriginal mother. The aboriginal mother is escaping from the murderous white people, with her child, who is just a toddler. She has to go still some more distance, so that she can be safe from the “unsparing” white men. The white men’s hands are wet with murder. The mother carries her child unnoticed by the white men into the dark forest. She treads on, even though thorns pierce her feet, in the darkness.

“O moan not …..” is like a refrain in a song. Moaning is a low sound made by a person expressing physical or mental suffering. The mother is also suffering along with the boy, mentally and physically, but she prefers to console the child first. She says that she is willing even to part with “the braid”, which was given to her as a gift by her deceased husband, so that she can get a “palmful of water” for her child. Here the poet presents the plight of the aboriginal mother, whose only objective is to save her child.

The baby jumps up in happiness, when he hears her father’s name. But the mother asks the baby not to “spring”, on hearing his father’s name, because he is no more. The father is “smouldered” into ashes under the “blasted gum”. He has been killed and his body is charred and blasted by the fire. In that very big fire, he was slaughtered along with his relatives.

The mother feels that, she would have also died with her husband, but she has to live only for the sake of her small child. She urges her child to listen to the death cry. She wants to escape from these bloodthirsty people. She is unable to forget her husband who died bleeding on the roaring fire.

              The mother recollects her husband’s fame. Now, no one can hear the loud noise made by him with the thomahawk (a type of axe used by the natives of Australia) in his hand. Now, none can see his ability to use the spear, because, he was killed brutally by the white men. His leadership in the family and to the community is lost. His hunting call will not be echoed in the mountain, any more.

             At last, the mother finds hope in the child. She is willing to barter the valuable braid given by her beloved husband to save her child by getting him a “palmful of water”.

Conclusion:

“An Aboriginal Mother’s Lament” is full of pathos (a quality that evokes pity or sadness). This poem also expresses maternal love as well as love for the spouse.