Judith Wright's poetry does something most nature writing never quite manages: it makes the land morally demanding. This paper argues that across poems like "South of My Days, ""Bora Ring,"" Lyrebird," and "Dust," Wright turns the Australian landscape into ethical ground — not a backdrop or a metaphor, but the source of obligations that human beings are answerable to. Reading her through Val Plumwood's ecological animism, Robin Wall  Kimmerer's grammar of animacy, and postcolonial ecology, the paper shows
that Wright was practising a form of ecocriticism decades before anyone named the field.