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y separately published work icon Gwen Harwood : Collected Poems 1943-1995 collected work   poetry  
Issue Details: First known date: 2003... 2003 Gwen Harwood : Collected Poems 1943-1995
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AbstractHistoryArchive Description

'This collection represents the full body of Gwen Harwood's poetry: all six published volumes, as well as most of her uncollected poems ... with an editorial introduction, and extensive notes providing background to particular poems or obscure references ... The poet's own biographical notes on the pseudonymous selves she adopted in her poems of the 1960s and 1970s add further value.' (Cover)

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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

  • Dedication: To Thomas Riddell
  • 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.
  • Content indexing in process.

Contents

* Contents derived from the St Lucia, Indooroopilly - St Lucia area, Brisbane - North West, Brisbane, Queensland,:University of Queensland Press , 2003 version. Please note that other versions/publications may contain different contents. See the Publication Details.
The Rite of Springi"The Jew Stravinsky bidden to the feast", Gwendoline Foster , 1944 single work poetry (p. 77)
The Dead Gumsi"Gigantic pillars bear the arching weight:", Gwen Harwood , 1949 single work poetry (p. 78)
The Fire-Scarred Hillsidei"Rocks are held in the air", Gwen Harwood , 1949 single work poetry (p. 79)
Water-Musici"Gently on the slipping stones", Gwen Harwood , 1949 single work poetry (p. 80)
Windy Night, Fern Tree, Gwen Harwood , 1955 single work poetry (p. 81)
Last Meetingi"Shadows gazing eastward melt", Gwen Harwood , 1957 single work poetry (p. 82-83)
In Articulo Mortisi"May Christ the Falcon bear me up", Gwen Harwood , 1958 single work poetry (p. 84)
Frontier Guardsi"Another tongue, another race", Gwen Harwood , 1959 single work poetry (p. 85)
My Tongue is My Owni"When my life whether sound or rotten", Gwen Harwood , 1960 single work poetry (p. 90)
The Double Image : To Rex Hobcrofti"We rest here, where no hours", Gwen Harwood , 2001 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", Walter Lehmann , 1960 single work poetry (p. 108)
Eloisa to Abelardi"Solace and hope depart. God's finger traces", Walter Lehmann , 1961 single work poetry (p. 110)
Abelard to Eloisai"Far above memory's landscape let the fears", Walter Lehmann , 1961 single work poetry (p. 111)
The Supplicanti"I remember you as warmth in that freezing island", Francis Geyer , 1960 single work poetry (p. 113)
Sundayi"Pluck no crow-notes from blank air,", Francis Geyer , 1961 single work poetry (p. 114-115)
On My Mother's Deathi"Clear light, loved landscape stretch to meet", Francis Geyer , 1961 single work poetry (p. 116-117)
Octoberi"Companion, come at last", Francis Geyer , 1961 single work poetry (p. 119-120)
Soireei"Measureless sorrow: Krote thinks", Francis Geyer , 1962 single work poetry (p. 122)
The Last Eveningi"Never again will your hand press", Francis Geyer , 1964 single work poetry (p. 125-126)
Soldier, Soldieri"Soldier, soldier, will you marry me", T. F. Kline , 1968 single work poetry (p. 201-202)

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • St Lucia, Indooroopilly - St Lucia area, Brisbane - North West, Brisbane, Queensland,: University of Queensland Press , 2003 .
      image of person or book cover 4940743819703867228.jpg
      This image has been sourced from Reading Australia
      Extent: xxvi, 619p.p.
      Note/s:
      • Includes editorial introduction, pp.xix-xxvi, notes, pp.573-605 and an index of titles and first lines.
      • Introduced by Alison Hoddinott and Gregory Kratzmann.
      ISBN: 0702233528

Works about this Work

In Her Father's House : Gwen Harwood as a Sacramental Poet Sarah Golsby-Smith , 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 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)

[Essay] : Harwood : Collected Poems 1943–1995 Bonny Cassidy , 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 Alison Hoddinott , 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 Richard King , 2004 single work review
— Appears in: Meanjin , vol. 63 no. 1 2004; (p. 185-190)

— Review of Gwen Harwood : Collected Poems 1943-1995 Gwen Harwood , 2003 collected work poetry
Immortal Harwood Christopher Bantick , 2003 single work review
— Appears in: The Courier-Mail , 8 March 2003; (p. 8)

— Review of Gwen Harwood : Collected Poems 1943-1995 Gwen Harwood , 2003 collected work poetry
Harwood's Many Faces David McCooey , 2003 single work review
— Appears in: The Age , 22 March 2003; (p. 4)

— Review of Gwen Harwood : Collected Poems 1943-1995 Gwen Harwood , 2003 collected work poetry
Tendering the Cup Peter Steele , 2003 single work review
— Appears in: Australian Book Review , April no. 250 2003; (p. 44-45)

— Review of Gwen Harwood : Collected Poems 1943-1995 Gwen Harwood , 2003 collected work poetry
Satires in C Major Peter Porter , 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 Gwen Harwood , 2003 collected work poetry
'To Show with Love Much that Cannot be Spoken of' : Reflections on Gwen Harwood: Collected Poems 1943-1995 Shari Kocher , 2003 single work review
— Appears in: New England Review , no. 18 2003; (p. 18-19)

— Review of Gwen Harwood : Collected Poems 1943-1995 Gwen Harwood , 2003 collected work poetry
Editing Gwen Harwood Alison Hoddinott , 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 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)

In Her Father's House : Gwen Harwood as a Sacramental Poet Sarah Golsby-Smith , 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 Bonny Cassidy , 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)

Last amended 23 May 2017 08:53:59
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