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Alternative title: Australian Poets in Profile 3 : Gwen Harwood Lamplit Presences
Is part of Australian Poets in Profile 1979 series - publisher autobiography
Issue Details: First known date: 1980... 1980 Australian Poets in Profile 3 : Gwen Harwood : Lamplit Presences
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Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon Southerly vol. 40 no. 3 September 1980 Z592117 1980 periodical issue 1980 pg. 247-254
    Note: Australian Poets in Profile 3
  • Appears in:
    y separately published work icon The Poetry of Gwen Harwood : An Introduction Patricia Makeham , Ashfield : English Teachers Association of New South Wales English Teachers Association of New South Wales , 1983 Z444049 1983 single work criticism Includes seven poems by Harwood and an autobiographical article. Ashfield : English Teachers Association of New South Wales English Teachers Association of New South Wales , 1983 pg. 39-48

Works about this Work

Harwood's Monster: "Walter Lehmann" and the Embodied Subject Colin Dray , 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)

Harwood's Monster: "Walter Lehmann" and the Embodied Subject Colin Dray , 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)

Last amended 28 Apr 2010 17:52:25
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Subjects:
  • Brisbane, Queensland,
  • Hobart, Southeast Tasmania, Tasmania,
  • 1920s
  • 1930s
  • 1940s
  • 1950s
  • 1960s
  • 1970s
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