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AbstractHistoryArchive Description
Reading Australia
This work has Reading Australia teaching resources.
Unit Suitable For
-Year 12 (Literature Unit 3)
Themes
change, creativity, dreams, friendship, Language, Life, love, memory, mortality, pain, philosophy, place, religion, the past
General Capabilities
Critical and creative thinking, Ethical understanding, Information and communication technology, Literacy
Notes
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Dedication: To Thomas Riddell
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This collection 'contains nearly 200 poems which do not appear in the most recent edition of the Selected Poems (2001), compiled by Gregory Kratzman', p.xxiv.
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Content indexing in process.
Contents
- The Rite of Springi"The Jew Stravinsky bidden to the feast", single work poetry (p. 77)
- The Dead Gumsi"Gigantic pillars bear the arching weight:", single work poetry (p. 78)
- The Fire-Scarred Hillsidei"Rocks are held in the air", single work poetry (p. 79)
- Water-Musici"Gently on the slipping stones", single work poetry (p. 80)
- Windy Night, Fern Tree, single work poetry (p. 81)
- Last Meetingi"Shadows gazing eastward melt", single work poetry (p. 82-83)
- In Articulo Mortisi"May Christ the Falcon bear me up", single work poetry (p. 84)
- Frontier Guardsi"Another tongue, another race", single work poetry (p. 85)
- My Tongue is My Owni"When my life whether sound or rotten", single work poetry (p. 90)
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The Double Image : To Rex Hobcrofti"We rest here, where no hours",
single work
poetry
(p. 105-106)
Note: Editor's note: Dated ca. 1962 (unpublished)
- Last Nighti"Last night my tough heart cracked his cage and tumbled", single work poetry (p. 108)
- Eloisa to Abelardi"Solace and hope depart. God's finger traces", single work poetry (p. 110)
- Abelard to Eloisai"Far above memory's landscape let the fears", single work poetry (p. 111)
- The Supplicanti"I remember you as warmth in that freezing island", single work poetry (p. 113)
- Sundayi"Pluck no crow-notes from blank air,", single work poetry (p. 114-115)
- On My Mother's Deathi"Clear light, loved landscape stretch to meet", single work poetry (p. 116-117)
- Octoberi"Companion, come at last", single work poetry (p. 119-120)
- Soireei"Measureless sorrow: Krote thinks", single work poetry (p. 122)
- The Last Eveningi"Never again will your hand press", single work poetry (p. 125-126)
- Soldier, Soldieri"Soldier, soldier, will you marry me", single work poetry (p. 201-202)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
In Her Father's House : Gwen Harwood as a Sacramental Poet
2013
single work
criticism
— Appears in: JASAL , vol. 13 no. 3 2013; 'This article considers the ways in which it is possible to interpret Gwen Harwood's poetry not only through the lens of what has been termed "the sacred", but more specifically as sacramental poetry whose form and content pursues the grace of the Eucharist. While the Eucharist brings with it notions of received power - and a male and Eurocentric locus of that power - this article considers the ways in which Harwood's poetry reconfigures and recentres the sacraments to render them distinctly female and distinctly Australian. This article goes further to suggest that Harwood's poetry could be said to be more theologically orthodox in this pursuit than a first guess might suggest, tracing Harwood's sacramentalism to other writers for whom a serious consideration of the Eucharist necessitates local and corporeal iterations of the Last (and first) Supper. A consideration is given to several of Harwood's poems, bearing out a discussion of Harwood's interest in the sacraments as not only epistemological and phenomenological, but fundamentally poetic.' (Publication abstract) -
Harwood's Monster: "Walter Lehmann" and the Embodied Subject
2013
single work
criticism
— Appears in: Antipodes , June vol. 27 no. 1 2013; (p. 61-68)'Dray talks about Gwen Hardwood's poetry. To say that the poet Gwen Hardwood was a prolific writer early in her career would be a vast understatement; in truth she was several. Employing a number of artfully crafted personas, all with his or her own distinct style and agenda, Harwood became so deft at employing these masks that each existed long enough to be established as a new voice in Australian poetry before the revelation of their true identity dissolved them–occasionally with some ironic complication–back into her greater canon.' (Editor's abstract)
-
[Essay] : Harwood : Collected Poems 1943–1995
2013
single work
essay
— Appears in: Reading Australia 2013-;'Since its publication in 2003, the availability of Harwood’s Collected Poems 1943 – 1995 has allowed students and teachers to gain a deep understanding of her work, through the long view of its development over her life. Born in Brisbane in 1929, but living most of her adult life in Tasmania until her death in 1995, Harwood inhabited a number of identities that reflect the protean quality of her poetic personae. In the above quote, poet and critic John Kinsella describes the contradictions and surprises to be found in Harwood’s work, particularly its sometimes ‘savage’ manner and ‘horrific’ view of human nature. A famous example of these qualities is found in Harwood’s short poem, Suburban Sonnet.' (Introduction)
-
Editing Gwen Harwood
2007
single work
criticism
— Appears in: Island , Summer no. 111 2007; (p. 29-45) Alison Hoddinott tells of the 'experience of editing some of the prose and poetry of Gwen Harwood'. (Island) -
A Symphony Complete
2004
single work
review
— Appears in: Meanjin , vol. 63 no. 1 2004; (p. 185-190)
— Review of Gwen Harwood : Collected Poems 1943-1995 2003 collected work poetry
-
Immortal Harwood
2003
single work
review
— Appears in: The Courier-Mail , 8 March 2003; (p. 8)
— Review of Gwen Harwood : Collected Poems 1943-1995 2003 collected work poetry -
Harwood's Many Faces
2003
single work
review
— Appears in: The Age , 22 March 2003; (p. 4)
— Review of Gwen Harwood : Collected Poems 1943-1995 2003 collected work poetry -
Tendering the Cup
2003
single work
review
— Appears in: Australian Book Review , April no. 250 2003; (p. 44-45)
— Review of Gwen Harwood : Collected Poems 1943-1995 2003 collected work poetry -
Satires in C Major
2003
single work
review
— Appears in: The Times Literary Supplement , 9 May no. 5223 2003; (p. 7) The Best Australian Essays 2003 2003; (p. 408-413)
— Review of Gwen Harwood : Collected Poems 1943-1995 2003 collected work poetry -
'To Show with Love Much that Cannot be Spoken of' : Reflections on Gwen Harwood: Collected Poems 1943-1995
2003
single work
review
— Appears in: New England Review , no. 18 2003; (p. 18-19)
— Review of Gwen Harwood : Collected Poems 1943-1995 2003 collected work poetry -
Editing Gwen Harwood
2007
single work
criticism
— Appears in: Island , Summer no. 111 2007; (p. 29-45) Alison Hoddinott tells of the 'experience of editing some of the prose and poetry of Gwen Harwood'. (Island) -
Harwood's Monster: "Walter Lehmann" and the Embodied Subject
2013
single work
criticism
— Appears in: Antipodes , June vol. 27 no. 1 2013; (p. 61-68)'Dray talks about Gwen Hardwood's poetry. To say that the poet Gwen Hardwood was a prolific writer early in her career would be a vast understatement; in truth she was several. Employing a number of artfully crafted personas, all with his or her own distinct style and agenda, Harwood became so deft at employing these masks that each existed long enough to be established as a new voice in Australian poetry before the revelation of their true identity dissolved them–occasionally with some ironic complication–back into her greater canon.' (Editor's abstract)
-
In Her Father's House : Gwen Harwood as a Sacramental Poet
2013
single work
criticism
— Appears in: JASAL , vol. 13 no. 3 2013; 'This article considers the ways in which it is possible to interpret Gwen Harwood's poetry not only through the lens of what has been termed "the sacred", but more specifically as sacramental poetry whose form and content pursues the grace of the Eucharist. While the Eucharist brings with it notions of received power - and a male and Eurocentric locus of that power - this article considers the ways in which Harwood's poetry reconfigures and recentres the sacraments to render them distinctly female and distinctly Australian. This article goes further to suggest that Harwood's poetry could be said to be more theologically orthodox in this pursuit than a first guess might suggest, tracing Harwood's sacramentalism to other writers for whom a serious consideration of the Eucharist necessitates local and corporeal iterations of the Last (and first) Supper. A consideration is given to several of Harwood's poems, bearing out a discussion of Harwood's interest in the sacraments as not only epistemological and phenomenological, but fundamentally poetic.' (Publication abstract) -
[Essay] : Harwood : Collected Poems 1943–1995
2013
single work
essay
— Appears in: Reading Australia 2013-;'Since its publication in 2003, the availability of Harwood’s Collected Poems 1943 – 1995 has allowed students and teachers to gain a deep understanding of her work, through the long view of its development over her life. Born in Brisbane in 1929, but living most of her adult life in Tasmania until her death in 1995, Harwood inhabited a number of identities that reflect the protean quality of her poetic personae. In the above quote, poet and critic John Kinsella describes the contradictions and surprises to be found in Harwood’s work, particularly its sometimes ‘savage’ manner and ‘horrific’ view of human nature. A famous example of these qualities is found in Harwood’s short poem, Suburban Sonnet.' (Introduction)