Every writing project starts with an idea and ends with a sigh of relief. Black Words White Page is no exception.

In this case the original idea was especially important since the subject had never really been explored in depth. For his suggestion that I should research Aboriginal literature I will always be indebted to Bob Brissenden, former Reader in English at The Australian National University.

Two of my first interviewees have become both friends and collaborators on other projects. Mudrooroo Narogin (formerly Colin Johnson) and Jack Davis are two of the many Black Australian authors whose talent and openness have made this book possible. I would also like to offer special thanks to Mona Tur, Cliff Watego, Maureen Watson and Archie Weller for their help.

Many non-Aboriginal individuals have encouraged my work in its growth from research to publication: Livio Dobrez, Johanna Dykgraaf, Tony Hassall, Campbell Macknight, Stephen Muecke and Craig Munro have all played an important role. The University of Queensland Press has been supportive throughout, and especially Clare Forster. I also owe thanks to Barry Maher and Miguel Peirano for their computing and typesetting expertise.

Although this manuscript was completely revised and updated in 1987-88 I cannot claim that it is totally comprehensive or up-to-date. Black Australian writing – like Aboriginal politics – is changing and expanding so rapidly that each study becomes like a frame frozen in a point of time.

It is my hope that by providing a socio-historical context for Black Australian literature I have given the subject some of the depth of attention – and respect – it deserves. In this sense the most important - xiiv -acknowledgment will be public recognition that Aboriginal voices tell the unique and vital story of Australia’s Fourth World.

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