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y separately published work icon Counsel for the Defence selected work   poetry  
Issue Details: First known date: 2016... 2016 Counsel for the Defence
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AbstractHistoryArchive Description

'‘A Modesty of Flowers’, a sequence in lines of nine syllables, is followed by a selection from ‘Dark Convicts’ (in thirteen-syllable lines), chronicling the fates of First Fleet African American ex-slaves.' (Publication summary)

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Kambah, Tuggeranong area, Canberra, Australian Capital Territory,: Recent Work Press , 2016 .
      image of person or book cover 8233779460869070972.jpg
      This image has been sourced from online.
      Extent: 1vp.
      ISBN: 9781740884433
      Series: y separately published work icon IPSI Chapbooks Kambah : Recent Work Press , 2016- 10757701 2016 series - publisher poetry Number in series: 7

Works about this Work

Review Short : Lisa Jacobson’s The Asylum Poems and Judy Johnson’s Counsel for the Defence Joan Fleming , 2017 single work review essay
— Appears in: Cordite Poetry Review , 1 February no. 57 2017;
'Lisa Jacobson is a Melbourne poet and social worker. In the chapbook The Asylum Poems, she attempts to empathetically inhabit the experiences of an Iraqi family fleeing persecution. Her images are often beautiful, like ‘uncle-blood falling in rays’ and ‘families scatter like music’. The prettiness of the language is a curious choice, though, given the raw horror of the subject matter. Closely observed grotesque details, like the father yelling ‘Towels! ’ as he carries his bleeding brother over the threshold of their Iraqi home, are among the sequence’s most satisfying moments.' (Introduction)
Review Short : Lisa Jacobson’s The Asylum Poems and Judy Johnson’s Counsel for the Defence Joan Fleming , 2017 single work review essay
— Appears in: Cordite Poetry Review , 1 February no. 57 2017;
'Lisa Jacobson is a Melbourne poet and social worker. In the chapbook The Asylum Poems, she attempts to empathetically inhabit the experiences of an Iraqi family fleeing persecution. Her images are often beautiful, like ‘uncle-blood falling in rays’ and ‘families scatter like music’. The prettiness of the language is a curious choice, though, given the raw horror of the subject matter. Closely observed grotesque details, like the father yelling ‘Towels! ’ as he carries his bleeding brother over the threshold of their Iraqi home, are among the sequence’s most satisfying moments.' (Introduction)
Last amended 23 Feb 2017 09:00:53
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