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Contents
* Contents derived from the
Mundelstrup,
c
Denmark,c
Scandinavia,
Western Europe,
Europe,:Dangaroo Press
, 1984 version. Please note that other versions/publications may contain different contents. See the Publication Details.- Atlantisi"When the volcano bursts, erupting blood,", single work poetry (p. 9-22)
- Cotzia Squarei"Outside the Georgian bank", single work poetry (p. 23)
- Eginai"The island's white-washed villas", single work poetry (p. 24-25)
- Touristsi"The embarrassments", single work poetry (p. 26)
- Easter in Athensi"Good Friday night", single work poetry (p. 27-30)
- 3 Patrou Street, Plakai"Listen, my window, listen", single work poetry (p. 31-32)
- Couple in a Tavernai"On the paper tablecloth", single work poetry (p. 33-35)
- And Agamemnon Deadi"Athens. Athens from Lycabettus Hill", single work poetry (p. 36-39)
- Elephanta : an Indian Viewpointi"If ever human arm", single work poetry (p. 40)
- Australians in Singaporei"The sea of Singapore", single work poetry (p. 41)
- The Envelope of Circumstancei"In the breast pocket", single work poetry (p. 42-43)
- From Album Daysi"From green in the tree", single work poetry (p. 44-45)
- A Boat Seen Seven Waysi"Believe in Jonah at least, his progress", single work poetry (p. 46-47)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
'Past Shapes of Things Present' in the Poetry of Syd Harrex (1935 – )
2012
single work
criticism
— Appears in: The Shadow of the Precursor 2012; (p. 48-61) ‘Syd Harrex was born in Smithton, Tasmania, in 1935 and completed his education in Hobart in the 1950s and 60s. He left Tasmania in 1966 to become a Foundation staff member at Flinders University from where he retired in 2001 as Reader in English and Director of the Centre for Research in the New Literatures in English. Harrex began writing and publishing poetry while a student at the University of Tasmania and his poetry retains something of the “silent croon” of his island home. This chapter considers Harrex’s kinship with the poetry of some of his contemporaries and predecessors. It shows how Harrex’s relationship with these writers is a creative dialogue that shapes and enhances his thematic concerns, rather than displaying any sense of Harold Bloom’s “anxiety of influence.” The chapter also charts Harex’s poetic journey through different Australian landscapes and from immediate and personal concerns to an exploration of some of the poetry’s universal themes.’ (48) -
Dead Europe
1985
single work
review
— Appears in: The Adelaide Review , October no. 18 1985; (p. 22)
— Review of Atlantis and Other Islands 1984 selected work poetry -
Slow Tennis : A Poets' Eleven
1985
single work
review
— Appears in: Quadrant , April vol. 29 no. 4 1985; (p. 71-75)
— Review of Breakfasts in Shanghai 1984 selected work poetry ; India Ink : A Collection of Prose Poems Written in India 1984 selected work poetry short story ; The Three Fates and Other Poems 1984 selected work poetry ; Poetry Australia no. 97 1984 periodical issue poetry ; A Flag for the Wind 1982 selected work poetry ; Your Shadow : (Poems 1980-83) 1984 selected work poetry ; Listening at Night 1984 selected work poetry ; The Skylight 1984 selected work poetry ; Canterbury Folk 1984 selected work poetry ; Slow Tennis : Poems: 1980-1983 1984 selected work poetry ; Atlantis and Other Islands 1984 selected work poetry -
Commerce of Past and Present
1984
single work
review
— Appears in: The CRNLE Reviews Journal , December no. 2 1984; (p. 29-30)
— Review of Atlantis and Other Islands 1984 selected work poetry -
Untitled
1984
single work
review
— Appears in: World Literature Written in English , Autumn vol. 24 no. 2 1984; (p. 295-299)
— Review of Atlantis and Other Islands 1984 selected work poetry
-
Dead Europe
1985
single work
review
— Appears in: The Adelaide Review , October no. 18 1985; (p. 22)
— Review of Atlantis and Other Islands 1984 selected work poetry -
Commerce of Past and Present
1984
single work
review
— Appears in: The CRNLE Reviews Journal , December no. 2 1984; (p. 29-30)
— Review of Atlantis and Other Islands 1984 selected work poetry -
Slow Tennis : A Poets' Eleven
1985
single work
review
— Appears in: Quadrant , April vol. 29 no. 4 1985; (p. 71-75)
— Review of Breakfasts in Shanghai 1984 selected work poetry ; India Ink : A Collection of Prose Poems Written in India 1984 selected work poetry short story ; The Three Fates and Other Poems 1984 selected work poetry ; Poetry Australia no. 97 1984 periodical issue poetry ; A Flag for the Wind 1982 selected work poetry ; Your Shadow : (Poems 1980-83) 1984 selected work poetry ; Listening at Night 1984 selected work poetry ; The Skylight 1984 selected work poetry ; Canterbury Folk 1984 selected work poetry ; Slow Tennis : Poems: 1980-1983 1984 selected work poetry ; Atlantis and Other Islands 1984 selected work poetry -
[Review] Various
1984
single work
review
— Appears in: Kunapipi , vol. 6 no. 3 1984; (p. 107-122)
— Review of The People's Otherworld : Poems 1983 selected work poetry ; Left at the Post 1984 selected work poetry ; Selected Poems (1944-1982) 1983 selected work poetry ; This River Is In The South 1984 selected work poetry ; Atlantis and Other Islands 1984 selected work poetry ; Steps for Astaire 1983 selected work poetry ; The Projectionist : A Sequence 1983 selected work sequence poetry -
Untitled
1984
single work
review
— Appears in: World Literature Written in English , Autumn vol. 24 no. 2 1984; (p. 295-299)
— Review of Atlantis and Other Islands 1984 selected work poetry -
'Past Shapes of Things Present' in the Poetry of Syd Harrex (1935 – )
2012
single work
criticism
— Appears in: The Shadow of the Precursor 2012; (p. 48-61) ‘Syd Harrex was born in Smithton, Tasmania, in 1935 and completed his education in Hobart in the 1950s and 60s. He left Tasmania in 1966 to become a Foundation staff member at Flinders University from where he retired in 2001 as Reader in English and Director of the Centre for Research in the New Literatures in English. Harrex began writing and publishing poetry while a student at the University of Tasmania and his poetry retains something of the “silent croon” of his island home. This chapter considers Harrex’s kinship with the poetry of some of his contemporaries and predecessors. It shows how Harrex’s relationship with these writers is a creative dialogue that shapes and enhances his thematic concerns, rather than displaying any sense of Harold Bloom’s “anxiety of influence.” The chapter also charts Harex’s poetic journey through different Australian landscapes and from immediate and personal concerns to an exploration of some of the poetry’s universal themes.’ (48)
Last amended 12 Jun 2003 12:54:50
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