Kevin Gilbert
Shame- PoemAnd some say "Shame" when we're talkin' up
And "Shame" for the way we are And "Shame" cause we ain't got a big flash house Or a steady job and a car. Some call it "Shame" when our kids they die From colds or from sheer neglect "Shame" when we live on the river banks While collectin' our welfare cheques "Shame" when we're blind from trachoma "Shame" when we're crippled from blights But I reckon the worstest shame is yours You deny us human rights |
ContextGilbert’s poetry is often claimed to be angry in tone. Gilbert claims this anger is from the discrimination he encountered: from whites who saw him as aboriginal; from aborigines because he was technically only one quarter aboriginal being born of mixed parentage; and from all because he was a convicted murderer despite the time he served in prison and what he achieved in his later life.
Gilbert’s mixed parentage could also explain his effective understanding of the white’s critical opinion toward aborigines as shown in the poem, Shame. |
Poetic devices- TEEL
In the poem ‘Shame’, Kevin Gilbert uses repetition and colloquial language to convey his general theme of aboriginal rights and the total unfairness of discrimination by white Australia against aborigines .
The author uses repetition of the word “shame” to emphasise the large amount of endless criticism of aborigines that is used by whites. The repetition and use of the word shame is even slightly sarcastic to create a patrionising tone, which further illustrates the whites’ poor attitudes towards blacks. It could even be used to lull the reader into agreeing with some of the criticisms – the repetition builds a long list of things the Aborigines are doing wrong! This further enhances the final sentence and theme of the poem - “But I reckon the worstest shame is yours. You deny us human rights.” So the long list created through repetition is suddenly nothing compared to the one thing white government denies aborigines in the 60’s and early 70’s, which includes citizenship, right to vote, land rights, etc.
Kevin also uses colloquial language by writing in English with an aboriginal accent, and dropping ending consonants and correct spelling. He is using shortened words such as “And some say "Shame" when we're talkin' up” or “While collectin' our welfare cheques” which immediately gives the poem an aboriginal voice, rather than a white man’s perspective.
Gilbert’s poem is a lot harsher in its sounds, tone and directness of its message compared with Oodgeroo’s. It uses no imagery, metaphor or personification techniques – just direct factual information repeated from white and black perspectives in a natural spoken voice.
The author uses repetition of the word “shame” to emphasise the large amount of endless criticism of aborigines that is used by whites. The repetition and use of the word shame is even slightly sarcastic to create a patrionising tone, which further illustrates the whites’ poor attitudes towards blacks. It could even be used to lull the reader into agreeing with some of the criticisms – the repetition builds a long list of things the Aborigines are doing wrong! This further enhances the final sentence and theme of the poem - “But I reckon the worstest shame is yours. You deny us human rights.” So the long list created through repetition is suddenly nothing compared to the one thing white government denies aborigines in the 60’s and early 70’s, which includes citizenship, right to vote, land rights, etc.
Kevin also uses colloquial language by writing in English with an aboriginal accent, and dropping ending consonants and correct spelling. He is using shortened words such as “And some say "Shame" when we're talkin' up” or “While collectin' our welfare cheques” which immediately gives the poem an aboriginal voice, rather than a white man’s perspective.
Gilbert’s poem is a lot harsher in its sounds, tone and directness of its message compared with Oodgeroo’s. It uses no imagery, metaphor or personification techniques – just direct factual information repeated from white and black perspectives in a natural spoken voice.