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Judith Bishop Judith Bishop i(A3724 works by)
Born: Established: 1972 Melbourne, Victoria, ;
Gender: Female
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Works By

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1 Leadbeater's Possum i "I cannot see the night, I cannot touch", Judith Bishop , 2021 single work poetry
— Appears in: Island , no. 162 2021; (p. 28)
1 "The Water Changing under Keel" : Chris Wallace-Crabbe and the Transformation of Style Judith Bishop , 2020 single work criticism
— Appears in: Antipodes , June vol. 34 no. 1 2020; (p. 7-21)

'In The Breaking of Style, Helen Vendler observes that "in lyric writing, style in its largest sense is best understood as a material body." The body of style resists reshaping, and though the breaking may seem, at last, as fluid as water, many poems may be needed to prepare the transformation. This essay explores the emergence of an original voice through the first four collections by the distinguished Australian poet Chris Wallace-Crabbe. It tracks the agonistic forces of two distinct styles, present from the beginning of Wallace-Crabbe's oeuvre, demonstrating how these stylistic sources led through gradual transformation to the poet's mature voice.'  (Publication abstract)

1 Morning / 14 June 2020 i "I walked away", Judith Bishop , 2020 single work poetry
— Appears in: Australian Poetry Journal , vol. 10 no. 1 2020; (p. 75)
1 Portraits of the Future i "Look, said the sonographer, your sister says hello!", Judith Bishop , 2020 single work poetry
— Appears in: Australian Book Review , November no. 426 2020; (p. 22)
1 'Lost in the Funhouse' : An Exceptional Third Collection Judith Bishop , 2020 single work review
— Appears in: Australian Book Review , October no. 425 2020; (p. 55-56)

— Review of Change Machine Jaya Savige , 2020 selected work poetry

'Change Machine is an exceptionally strong third collection. To the extent that a schematic of thesis–antithesis– synthesis applies to poets’ books, this one both exceeds and incorporates the work that came before.' (Introduction)

1 1 Tree i "Voltage arrowed you life", Judith Bishop , 2019 single work poetry
— Appears in: Australian Poetry Journal , vol. 9 no. 1 2019; (p. 23)
1 1 On Being Hybrid i "Time gentles.", Judith Bishop , 2019 single work poetry
— Appears in: Australian Poetry Journal , vol. 9 no. 1 2019; (p. 22)
1 Statement on the Poems 'On Being Hybrid' and 'Tree' Judith Bishop , 2019 single work essay
— Appears in: Australian Poetry Journal , vol. 9 no. 1 2019; (p. 21)
1 Apparitions i "A tree makes a pattern on the sky", Judith Bishop , 2019 single work poetry
— Appears in: Stilts , September no. 5 2019;
1 'His Civil Heart' : A Showcase of Robert Harris's Many Voices Judith Bishop , 2019 single work review
— Appears in: Australian Book Review , August no. 413 2019; (p. 46-47)

— Review of The Gang of One : Selected Poems of Robert Harris Robert Harris , 2019 selected work poetry
'In a letter to a friend, American poet James Wright reflected on the meaning of a Selected Poems for a peer he considered undervalued: ‘It shows that defeat, though imminent for all of us, is not inevitable.’ He quoted Stanley Kunitz, whose Selected was belatedly in press: ‘it would be sweet, I’ll grant, after all these years to pop up from underground … The only ones who survive … are those whose ultimate discontent is with themselves. The fiercest hearts are in love with a wild perfection.’' (Introduction)
1 Lyric Poetry : Resonance and Attunement Judith Bishop , 2019 single work criticism
— Appears in: Axon : Creative Explorations , May vol. 9 no. 1 2019;

Lyric poetry is an affective art: it engages with emotional experience, and seeks to communicate an experience to others, through the deft use of all the technical means available to the poet. The peculiar agency of the lyric poem has been formulated in myriad ways over time by poets and philosophers alike. John Hollander cites Pseudo-Longinus on this effect: ‘by the blending of its own manifold tones it brings into the hearts of the bystanders the speaker’s actual emotion…’ (Hollander 1985: 7). The New Princeton encyclopedia of poetry and poetics (1993: 713) defines the lyric poem as one in which musical elements, perceptions and the intent to communicate emotion and thought are brought together indivisibly in the fabric of the poem:

[t]he musical element is intrinsic to the work intellectually as well as aesthetically: it becomes the focal point for the poet’s perceptions as they are given a verbalized form to convey emotional and rational values.

'This essay proposes that recent philosophical, neuroscientific and psychotherapeutic research into the nature and experience of resonance and attunement provides a way of understanding the specifically emotional effects of a lyric poem on a reader. The phenomena of resonance and attunement, newly understood, have also begun to clarify the interpersonal nature of the space such poetry inhabits.'  (Publication abstract)

1 Forms in Bone Judith Bishop , 2019 single work review
— Appears in: Australian Book Review , May no. 411 2019; (p. 55)

— Review of Crow College : New and Selected Poems Emma Lew , 2019 selected work poetry

'Original voices are always slippery to describe. The familiar weighing mechanisms don’t work very well when the body of work floats a little above the weighing pan, or darts around in it. As in dreams, a disturbing familiarity may envelop the work with an elusive scent. It is no different for poetry than for any other art: the mercurial alloy, or unforeseen offspring, astonish and perturb. They divide opinion. The reception to date of Emma Lew’s poetry, gathered for the first time in her New and Selected Poems, demonstrates this effect.' (Introduction)

1 Judith Bishop Reviews Phillip Hall’s Fume Judith Bishop , 2019 single work review
— Appears in: Cordite Poetry Review , 1 February no. 89 2019;

— Review of Fume Phillip Hall , 2018 selected work poetry
1 A Door Ajar to the Future : Doubling and Dividedness in David Malouf's Poetry Judith Bishop , 2018 single work review
— Appears in: Australian Book Review , December no. 407 2018; (p. 47-48)

'It is a curious thing, and not a little moving, to see writers celebrated for their work in other genres turn in later life with renewed vigour to poetry. David Malouf, like Clive James, has avowed a desire for poetry now, as the main form of writing his expression wants to take. Certainly, its brevity has a part in this, for the best of poems can happen, if fortunate, in minutes, not months, as Malouf himself observes. Yet the cogency of poetry speaks also to an impulse to voice the essential in life and nothing but, and to do it in a way that calls on all the writer’s powers of sound and gesture and concision.'  (Introduction)

1 Recital i "Watching others love", Judith Bishop , 2018 single work poetry
— Appears in: Australian Book Review , November no. 406 2018; (p. 50)
1 'Spectacles of the Echo' : A Sensual Banquet from Judith Beveridge Judith Bishop , 2018 single work essay
— Appears in: Australian Book Review , September no. 404 2018; (p. 43-44)

 'The appearance of a New and Selected Poems by a widely loved and admired poet has all the pleasures of a major retrospective, but viewed alone, without the clamour of a gallery event. It’s in the nature of retrospective to raise the banner of analysis-as-public-spectacle. What does this art mean to us, and how is it unique? The artist’s own words form part of the context for understanding the lifelong happening that is the body of work. It seems fitting, then, that Judith Beveridge’s Sun Music: New and selected poems opens with an extended author’s note.'  (Introduction)

1 Even It It's Late Judith Bishop , 2018 single work review
— Appears in: Australian Book Review , June-July no. 402 2018; (p. 56)

— Review of Zanzibar Light Philip Mead , 2018 selected work poetry

'There is a shimmering, ludic intelligence to this collection of poems, Philip Mead’s first since 1984. The word ‘comeback’ is apt, with its grace note of gladness for renewed possibilities. Opening any new work, the anticipation is acute: will I be changed by reading this, and if so, how? What might I think, feel, or recognise that I have not before?' (Introduction)

1 Tact i "Last night, after we saw you both,", Judith Bishop , 2018 single work poetry
— Appears in: Cordite Poetry Review , 1 May no. 86 2018;
1 5 y separately published work icon Interval Judith Bishop , St Lucia : University of Queensland Press , 2018 13514494 2018 selected work poetry

'Bishop’s attentive poetic gaze unfailingly reveals the luminous. In Interval, her poems – many addressed to a lover, or to children – explore intimacy, solitude and the ‘chemical mess’ of human love. As Carl Phillips said of Event, ‘These are splendid poems indeed, whose intelligence, vision, and sheer beauty at every turn persuade.’ '  (Publication summary)

1 Aubade i "Come near, let me", Judith Bishop , 2017 single work poetry
— Appears in: Island , no. 151 2017; (p. 85)
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