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Notes
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Epigraph: Look your last on all things lovely every hour! Farewell by Walter de la Mare.
Includes
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Beata Beatrix
i
"Out in the garden my daughter says to me,",
1977
single work
poetry
— Appears in: Overland , no. 66 1977; (p. 26-27) Greenhouse 1979; (p. 60-62) Selected Poems 1991; (p. 67-68) Collected Poems : 1940-1995 1995; (p. 182-184) Australian Poetry Library 2004-; Selected Poems of Dorothy Hewett 2010; (p. 84-87) -
Father and Daughter
i
"I can still see you reading the rain gauge",
1978
single work
poetry
— Appears in: Overland , no. 69 1978; (p. 26-28) Greenhouse 1979; (p. 69-72) Journeys : Poems 1982; (p. 55-58) Selected Poems 1991; (p. 69-71) Collected Poems : 1940-1995 1995; (p. 189-191) Wheatlands 2000; (p. 111) -
Untitled
i
"The roses fall on the balcony",
1979
single work
poetry
— Appears in: Greenhouse 1979; (p. 59) Collected Poems : 1940-1995 1995; (p. 181-182) Australian Poetry Library 2004-; -
For Sappho
i
"Last landstop on the searoad to Antarctica,",
1978
single work
poetry
— Appears in: New Poetry , vol. 26 no. 1 1978; (p. 64) Greenhouse 1979; (p. 63) Collected Poems : 1940-1995 1995; (p. 184-185) Australian Poetry Library 2004-; -
The Inheritors
i
"Beyond the setting of the sun",
1979
single work
poetry
— Appears in: Greenhouse 1979; (p. 64-66) Collected Poems : 1940-1995 1995; (p. 185-187) Australian Poetry Library 2004-; -
For the Glory of God and of Gwendoline
i
"O Gwen so long the mute the burning Sappho",
1978
single work
poetry
— Appears in: New Poetry , vol. 26 no. 4 1978; (p. 38-39) Greenhouse 1979; (p. 67-68) Collected Poems : 1940-1995 1995; (p. 187-188) The Oxford Book of Australian Women's Verse 1995; (p. 127-128) Bridgings : Readings in Australian Women's Poetry 1996; (p. 60-61) Australian Poetry Library 2004-; -
Winter Solstice
1978
sequence
poetry
— Appears in: Overland , no. 73 1978; (p. 6-8) Greenhouse 1979; (p. 73-82) Collected Poems : 1940-1995 1995; (p. 192-198) Australian Poetry Library 2004-; -
Summer Solstice
1979
sequence
poetry
— Appears in: Greenhouse 1979; (p. 83-87) Collected Poems : 1940-1995 1995; (p. 198-201) Australian Poetry Library 2004-; -
The Garden
1979
sequence
poetry
— Appears in: Greenhouse 1979; (p. 89-96) Collected Poems : 1940-1995 1995; (p. 201-205) -
Labyrinth
i
"I carry the mirror",
1979
single work
poetry
— Appears in: Greenhouse 1979; (p. 97-104) Selected Poems 1991; (p. 73-76) Collected Poems : 1940-1995 1995; (p. 205-209) Australian Poetry Library 2004-;
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
The Hedge and the Labyrinth. A Holistic Vision of Dorothy Hewett´s Poetry
2012
single work
criticism
— Appears in: Coolabah , no. 9 2012; 'Dorothy Hewett´s poetry follows a complex architecture, a structure which encompasses her personal beliefs and the guiding lights that consciously and unconsciously led her life, while it also draws and deploys core elements from the literary tradition of Western culture. The primary image that pervades her poems is the garden, which is either the place where many of her poems occur or a significant component in others. Hewett´s garden retains several of the characteristics of the primordial garden, such as innocence, abundance and placid solitude, but it also partakes of its Romantic nuances, which, after all, are the same as in Eden but enhanced by feeling and intensity. The garden as literary locus sets the pace of Hewett´s poetry in that it links myth-making with literary tradition, the pillars that sustain the body of her poetic reality. This triangle, myth, tradition and reality, incorporates the main topics that the Australian writer inscribes in her work, and, while each corner retains its thematic substance, it also reflects the other two, thus giving unity to the whole poetic process. As Bruce Bennett pointed out as early as 1995, "place, appropriately conceived, is a meeting ground of mental, emotional and physical states and as such is a suitable focus
for the literary imagination" (Bennett: 19).' (Author's introduction)
-
The Hedge and the Labyrinth. A Holistic Vision of Dorothy Hewett´s Poetry
2012
single work
criticism
— Appears in: Coolabah , no. 9 2012; 'Dorothy Hewett´s poetry follows a complex architecture, a structure which encompasses her personal beliefs and the guiding lights that consciously and unconsciously led her life, while it also draws and deploys core elements from the literary tradition of Western culture. The primary image that pervades her poems is the garden, which is either the place where many of her poems occur or a significant component in others. Hewett´s garden retains several of the characteristics of the primordial garden, such as innocence, abundance and placid solitude, but it also partakes of its Romantic nuances, which, after all, are the same as in Eden but enhanced by feeling and intensity. The garden as literary locus sets the pace of Hewett´s poetry in that it links myth-making with literary tradition, the pillars that sustain the body of her poetic reality. This triangle, myth, tradition and reality, incorporates the main topics that the Australian writer inscribes in her work, and, while each corner retains its thematic substance, it also reflects the other two, thus giving unity to the whole poetic process. As Bruce Bennett pointed out as early as 1995, "place, appropriately conceived, is a meeting ground of mental, emotional and physical states and as such is a suitable focus
for the literary imagination" (Bennett: 19).' (Author's introduction)
Last amended 19 Mar 2002 09:35:49
