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Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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A Poetry Mixed Bag
2016
single work
review
— Appears in: Antipodes , June vol. 30 no. 1 2016; (p. 231-233)
— Review of Dark Cupboards New Rooms 2014 selected work poetry'The second stanza of the poem "What's in a Name" contains the lines, But at the Foundling Hospital Museum I find a clue in names inscribed of orphans left by desperate women with no choice; it's easy to imagine I'm descended from rough trade to Muddle Lane, for beside Ms. Plantagenet and Master Tudor, Ollie Cromwell and Alexander Pope, the moniker of my own great forbear, Augustus Caesar is plainly blazoned, a long way from court and the affairs of state. Section 2, "Shots in the Louvre," is the shortest of the collection and is not especially compelling because in the poems the speaker's voice has a heavy-handed element that leads readers to suspect he is attempting to moralize the paintings he is observing.' (Publication abstract)
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Australian Poetry : Geoff Page
2015
single work
review
— Appears in: The Weekend Australian , 25-26 April 2015; (p. 20-21)
— Review of Glass on the Chimney : And Other Poems 2014 selected work poetry ; Dark Cupboards New Rooms 2014 selected work poetry
-
Australian Poetry : Geoff Page
2015
single work
review
— Appears in: The Weekend Australian , 25-26 April 2015; (p. 20-21)
— Review of Glass on the Chimney : And Other Poems 2014 selected work poetry ; Dark Cupboards New Rooms 2014 selected work poetry -
A Poetry Mixed Bag
2016
single work
review
— Appears in: Antipodes , June vol. 30 no. 1 2016; (p. 231-233)
— Review of Dark Cupboards New Rooms 2014 selected work poetry'The second stanza of the poem "What's in a Name" contains the lines, But at the Foundling Hospital Museum I find a clue in names inscribed of orphans left by desperate women with no choice; it's easy to imagine I'm descended from rough trade to Muddle Lane, for beside Ms. Plantagenet and Master Tudor, Ollie Cromwell and Alexander Pope, the moniker of my own great forbear, Augustus Caesar is plainly blazoned, a long way from court and the affairs of state. Section 2, "Shots in the Louvre," is the shortest of the collection and is not especially compelling because in the poems the speaker's voice has a heavy-handed element that leads readers to suspect he is attempting to moralize the paintings he is observing.' (Publication abstract)
