The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.
Latest Issues
Notes
-
A poem in four numbered, untitled parts.
-
In Twelve Poets the date 1963 is printed after the poem, suggesting that this is the date it was written.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Romantic Hangover in Australian Poetry
2016
single work
criticism
— Appears in: The Poetic Eye : Occasional Writings 1982-2012 2016; (p. 3-8) 'Atsuko Kouda's remarks on landscape in Australian poetry are particularly interesting because they provide us with an 'outside; view of how the land is perceived by Australian poets. Kouda uses as models Douglas Stewart and Judith Wright. In the first case, Stewart displays a correspondence between himself and the landscape , and a sense of the perfection of creation, in the light of this, the poet can at times 'escape' into a symbolic perfection away from the unpleasant aspects of social life. Kouda concludes that Stewart's poems 'take no further new meanings than we find in the traditional ballads.' (Introduction) -
Afterthought
1971
single work
autobiography
criticism
— Appears in: Twelve Poets, 1950-1970 1971; (p. 163-164)
-
Afterthought
1971
single work
autobiography
criticism
— Appears in: Twelve Poets, 1950-1970 1971; (p. 163-164) -
Romantic Hangover in Australian Poetry
2016
single work
criticism
— Appears in: The Poetic Eye : Occasional Writings 1982-2012 2016; (p. 3-8) 'Atsuko Kouda's remarks on landscape in Australian poetry are particularly interesting because they provide us with an 'outside; view of how the land is perceived by Australian poets. Kouda uses as models Douglas Stewart and Judith Wright. In the first case, Stewart displays a correspondence between himself and the landscape , and a sense of the perfection of creation, in the light of this, the poet can at times 'escape' into a symbolic perfection away from the unpleasant aspects of social life. Kouda concludes that Stewart's poems 'take no further new meanings than we find in the traditional ballads.' (Introduction)
Last amended 16 Feb 2007 08:19:50
Export this record
