Gwen Harwood
Author(s)
Bibliographic Information
Gwen Harwood
(Australian writers)
Oxford University Press, 1994
- : series
Available at 2 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references (p. 110-119)
Description and Table of Contents
Description
In this first study of a female author to be published in Oxford's 'AW' series, Stephanie Trigg has produced a superbly readable and highly provocative account of the work of this central and much-loved Australian poet - the 'Tasmanian mum', as she was so often dismissed, who went on to write some of this country's outstanding lyrics. Aware of Harwood's increasing importance, and the current wave of critical and biographical interest in her life and works, Trigg positions her as a testing ground for feminist poetic criticism in Australia. Thus, in an interview, she asks, 'Who is the "Glenn Harwood" to whom I refer when I write about the poetry of a woman who in recent years has become increasingly public, celebrated and accessible?' Noting that much writing about Harwood has been informed, if not blinkered, by her domestic, even grandmotherly persona and modesty, she asks if this is the best critical vocabulary in which to describe or interpret her poetry. Trigg argues that this biographical model, organized around a corpus of works, signed by a known or theoretically knowable subject, has tended to produce something like heroine-worship.
Drawing on Foucault, Trigg focuses on Gwen Harwood' as a poetic signature written by the desires and interests of her readers, rather than as the living subject. She notes that such a Foucauldian project sits in some tension with a feminist insistence on women's lives.
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