AustLit
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Notes
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Dedication: To Thomas Riddell
Contents
- The Lion's Bridei"I loved her softness, her warm human smell,", single work poetry (p. 1)
- Madame Esmerelda's Predictionsi"Dream and instinct will warn", single work poetry (p. 2)
- The Waspsi"Take up your brush, beloved artist,", single work poetry (p. 3-5)
- Ephemeroni"Man, there's a fly in that", single work poetry (p. 6)
- Being in the Worldi"Alone behind the wheel", single work poetry (p. 6)
- Burning the Radiatai"Burning the young straight trees I think of you", single work poetry (p. 6-7)
- Seven Philosophical Poems (to Edwin Tanner), sequence poetry (p. 6-9)
- Religious Instructioni"My friend and I, put out", single work poetry (p. 7)
- A Dream of Wittgensteini"I am in Vienna, in a cobbled-street.", single work poetry (p. 8)
- Dreami"I see my lover in a field of women", single work poetry (p. 8)
- Some Thoughts in the 727i"Wittgenstein once said he wrote", single work poetry (p. 9)
- A Music Lessoni"Krote's not well. His mood is bloody.", single work poetry (p. 10-11)
- An Address to my Musei"Dear Sir, or Madam, as the case is,", single work poetry (p. 12-13)
- Untitledi"Leave me alone. -You will?", single work poetry (p. 14)
- The Sharpness of Death, sequence poetry (p. 14-15)
- Heideggeri"Like Wittgenstein, he found much cause to wonder", single work poetry (p. 14-15)
- Untitledi"Death, I will tell you now:", single work poetry (p. 15)
- Nasturtiumsi"Purest of colours, how they shone", single work poetry (p. 15)
- Isolde's Songi"My daughter never to be born", single work poetry (p. 16)
- Mappings of the Planei"All those scales we rehearsed", single work poetry (p. 17-19)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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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)
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Another Language
1985
single work
review
— Appears in: PN Review , [47] vol. 12 no. 3 1985; (p. 64-65)
— Review of The Lion's Bride 1981 selected work poetry ; The Three Fates and Other Poems 1984 selected work poetry - y Tasmania and Australian Poetry Hobart : University of Tasmania , 1984 Z103086 1983 single work criticism
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Gwen Harwood's Liebestod
1983
single work
review
— Appears in: Quadrant , April vol. 27 no. 4 1983; (p. 90-92)
— Review of The Lion's Bride 1981 selected work poetry -
Toward the Heart's True Speech : Voice-Conflict in the Poetry of Gwen Harwood
1983
single work
criticism
— Appears in: Southerly , March vol. 43 no. 1 1983; (p. 45-72)
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Untitled
1982
single work
review
— Appears in: Meanjin , Spring vol. 41 no. 3 1982; (p. 403-405)
— Review of The Lion's Bride 1981 selected work poetry -
An Exhibition Gallop from the Ageing Champion
1982
single work
review
— Appears in: The Age , 2 October 1982; (p. 13)
— Review of The Lion's Bride 1981 selected work poetry -
Sunlight and Grief
1982
single work
review
— Appears in: Australian Book Review , June no. 41 1982; (p. 29-30)
— Review of The Lion's Bride 1981 selected work poetry -
Untitled
1982
single work
review
— Appears in: Luna , no. 15 1982; (p. 31-32)
— Review of The Lion's Bride 1981 selected work poetry -
Southern Lights
1982
single work
review
— Appears in: The Times Literary Supplement , 19 November 1982; (p. 1282)
— Review of The Lion's Bride 1981 selected work poetry - y Tasmania and Australian Poetry Hobart : University of Tasmania , 1984 Z103086 1983 single work criticism
-
Toward the Heart's True Speech : Voice-Conflict in the Poetry of Gwen Harwood
1983
single work
criticism
— Appears in: Southerly , March vol. 43 no. 1 1983; (p. 45-72) -
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)