Parrots single work   poetry   "Loquats are cold as winter suns."
Issue Details: First known date: 1960... 1960 Parrots
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Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon Australian Bird Poems Judith Wright , Adelaide : Australian Letters , 1960 Z565805 1960 selected work poetry Adelaide : Australian Letters , 1960
  • Appears in:
    y separately published work icon Australian Letters vol. 3 no. 2 October 1960 Z591771 1960 periodical issue 1960 pg. 14
  • Appears in:
    y separately published work icon The Bulletin vol. 81 no. 4195 6 July 1960 Z594145 1960 periodical issue 1960 pg. 2 Section: The Red Page
  • Appears in:
    y separately published work icon Verse in Australia vol. [4] Robert Clark (editor), Geoffrey Dutton (editor), Max Harris (editor), Ian Mudie (editor), 1961 Z565767 1961 periodical issue 1961
  • Appears in:
    y separately published work icon Birds : Poems Judith Wright , Sydney : Angus and Robertson , 1962 Z565163 1962 selected work poetry (taught in 3 units)

    'The poems in Judith Wright's Birds volume have long been recognised as among the best-loved poems written in Australia. Many people have grown up with the beguiling rhythms of 'Black Cockatoos', or the jauntiness of 'The Wagtail'. Now, in this new edition, commemorating 25 years since the poems were last published as a single collection, these works appear with six additional poems and a personal introduction by the poet's daughter Meredith McKinney, for whom many of the poems were written. The poems are complemented by full-colour illustrations drawn from the National Library's Pictures Collection, featuring the work of artists such as John Lewin, Lionel Lindsay, Lilian Medland, William T. Cooper and Betty Temple Watts. 'Birds' is both a celebration of Judith Wright (1915-2000) as writer and passionate environmentalist, and of the centrality of birds in the poet's imagination. ' (Publication summary)

    Sydney : Angus and Robertson , 1962
  • Appears in:
    y separately published work icon Judith Wright : Selected Poems Judith Wright , Sydney : Angus and Robertson , 1963 Z565587 1963 selected work poetry (taught in 1 units) Sydney : Angus and Robertson , 1963 pg. 65
  • Appears in:
    y separately published work icon Birds : Poems Judith Wright , Sydney : Angus and Robertson , 1962 Z565163 1962 selected work poetry (taught in 3 units)

    'The poems in Judith Wright's Birds volume have long been recognised as among the best-loved poems written in Australia. Many people have grown up with the beguiling rhythms of 'Black Cockatoos', or the jauntiness of 'The Wagtail'. Now, in this new edition, commemorating 25 years since the poems were last published as a single collection, these works appear with six additional poems and a personal introduction by the poet's daughter Meredith McKinney, for whom many of the poems were written. The poems are complemented by full-colour illustrations drawn from the National Library's Pictures Collection, featuring the work of artists such as John Lewin, Lionel Lindsay, Lilian Medland, William T. Cooper and Betty Temple Watts. 'Birds' is both a celebration of Judith Wright (1915-2000) as writer and passionate environmentalist, and of the centrality of birds in the poet's imagination. ' (Publication summary)

    Sydney : Angus and Robertson , 1967
  • Appears in:
    y separately published work icon Judith Wright : Collected Poems, 1942-1970 Judith Wright , Cremorne : Angus and Robertson , 1971 Z563360 1971 selected work poetry Cremorne : Angus and Robertson , 1971 pg. 171
  • Appears in:
    y separately published work icon This World : An Anthology of Poetry for Young People M. M. Flynn (editor), J. Groom (editor), Rushcutters Bay : Pergamon Press , 1976 Z816539 1976 anthology poetry children's Rushcutters Bay : Pergamon Press , 1976 pg. 84
  • Appears in:
    y separately published work icon Collected Poems 1942-1985 Judith Wright , Pymble : Angus and Robertson , 1994 Z501989 1994 selected work poetry war literature satire (taught in 8 units) Pymble : Angus and Robertson , 1994 pg. 168-169
  • Appears in:
    y separately published work icon Birds : Poems Judith Wright , Sydney : Angus and Robertson , 1962 Z565163 1962 selected work poetry (taught in 3 units)

    'The poems in Judith Wright's Birds volume have long been recognised as among the best-loved poems written in Australia. Many people have grown up with the beguiling rhythms of 'Black Cockatoos', or the jauntiness of 'The Wagtail'. Now, in this new edition, commemorating 25 years since the poems were last published as a single collection, these works appear with six additional poems and a personal introduction by the poet's daughter Meredith McKinney, for whom many of the poems were written. The poems are complemented by full-colour illustrations drawn from the National Library's Pictures Collection, featuring the work of artists such as John Lewin, Lionel Lindsay, Lilian Medland, William T. Cooper and Betty Temple Watts. 'Birds' is both a celebration of Judith Wright (1915-2000) as writer and passionate environmentalist, and of the centrality of birds in the poet's imagination. ' (Publication summary)

    Canberra : National Library of Australia , 2003
    pg. 32
  • Appears in:
    y separately published work icon The ABC Book of Australian Poetry : A Treasury of Poems for Young Children Libby Hathorn , Pymble : ABC Books , 2010 Z1703020 2010 anthology poetry

    ''I am the river, gently flowing, as I wind my way to the sea.' (Mary Duroux)

    'Follow the river of poetry through country, town, the bush, the four seasons, night and day and explore the Australian landscape through the eyes of our best Australian poets.

    'In this beautiful collection of poems for children, award-winning author and poet, Libby Hathorn, has brought together favourites such as those by A.B. 'Banjo' Paterson, Dorothea Mackellar and C.J. Dennis, as well as more contemporary poems by Steven Herrick, Eva Johnson, Les A. Murray and others.'

    Source: Publisher's blurb.
     

    Pymble : ABC Books , 2010
    pg. 63 Section: Part 2. All Along the River : Mountains, Forests and Plains

Works about this Work

‘Silence is My Habitat’ : Judith Wright, Writing, and Deafness Jessica White , 2020 single work criticism
— Appears in: The Routledge Companion to Australian Literature 2020; (p. 243-253)
'Judith Wright, one of Australia’s most loved and popular poets, developed otosclerosis in her 20s and became increasingly deaf over the following decades of her life. Despite the long span of time which she lived with her disability, little critical attention has been paid to its impact on her craft. This chapter redresses this gap in scholarship on Wright. It illuminates how deafness influenced her decision to become a writer, contributed to her prolific correspondence, and shaped some of the content and themes of her work such as her attentiveness to the non-human world, her pleasure in and use of the trope of vision, and her awareness of the limits of language. The chapter concludes with a plea to readers to actively listen to and contemplate the voices of deaf writers.

‘I don’t remember any interviews in which [my deafness has] been regarded as something that people … wanted to know more about,’ Judith Wright observed in conversation with Heather Rusden in 1990 (‘On Being Deaf’ 27). Thirty years later, little has shifted in this regard in literary scholarship on one of Australia’s most famous poets, even though the loss of her hearing affected her for 63 of her 85 years and, as Wright acknowledged in the same interview, deafness has ‘really reached into all the interstices of my life, it’s been part of the conditions I live under’ (21). Notably, it also reached into Wright’s writing, guiding her towards her vocation and shaping her style and themes. Silence, for example, is prevalent in her oeuvre, as is her awareness of the limits of language. As someone who needed to strain constantly to hear, Wright also knew that meaning could easily break (one would need only to hide one’s lips), and that there were always conversations happening, whether between humans or other-than-humans, beyond her hearing which she could not access. In addition, having lost one sense, Wright’s perception of the world through her other senses was heightened, as becomes evident through the sensory detail in her poetry. She was also an inveterate writer of letters, as this was an easier mode of communication for her than listening on the telephone.'

Source: Abstract

‘Silence is My Habitat’ : Judith Wright, Writing, and Deafness Jessica White , 2020 single work criticism
— Appears in: The Routledge Companion to Australian Literature 2020; (p. 243-253)
'Judith Wright, one of Australia’s most loved and popular poets, developed otosclerosis in her 20s and became increasingly deaf over the following decades of her life. Despite the long span of time which she lived with her disability, little critical attention has been paid to its impact on her craft. This chapter redresses this gap in scholarship on Wright. It illuminates how deafness influenced her decision to become a writer, contributed to her prolific correspondence, and shaped some of the content and themes of her work such as her attentiveness to the non-human world, her pleasure in and use of the trope of vision, and her awareness of the limits of language. The chapter concludes with a plea to readers to actively listen to and contemplate the voices of deaf writers.

‘I don’t remember any interviews in which [my deafness has] been regarded as something that people … wanted to know more about,’ Judith Wright observed in conversation with Heather Rusden in 1990 (‘On Being Deaf’ 27). Thirty years later, little has shifted in this regard in literary scholarship on one of Australia’s most famous poets, even though the loss of her hearing affected her for 63 of her 85 years and, as Wright acknowledged in the same interview, deafness has ‘really reached into all the interstices of my life, it’s been part of the conditions I live under’ (21). Notably, it also reached into Wright’s writing, guiding her towards her vocation and shaping her style and themes. Silence, for example, is prevalent in her oeuvre, as is her awareness of the limits of language. As someone who needed to strain constantly to hear, Wright also knew that meaning could easily break (one would need only to hide one’s lips), and that there were always conversations happening, whether between humans or other-than-humans, beyond her hearing which she could not access. In addition, having lost one sense, Wright’s perception of the world through her other senses was heightened, as becomes evident through the sensory detail in her poetry. She was also an inveterate writer of letters, as this was an easier mode of communication for her than listening on the telephone.'

Source: Abstract

Last amended 26 Mar 2001 13:30:19
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