Bronwyn Lea

Review Short: Judith Beveridge’s Hook and Eye

Last year I heard Judith Beveridge interviewed by Bronwyn Lea at the 2014 Queensland Poetry Festival. Aside from being left with the enduring impression that Lea should have her own TV show, I was also struck by a number of Beveridge’s revelations regarding her praxis. Beveridge confessed, for instance, that she does not like listening to music. Nevertheless, she described the process of writing poetry in a way that resonated with the classical foundations of lyric verse in music. Beveridge revealed that she begins writing by mobilising rhythm, rhyme, feeling and alliteration to bring forth the words and images of her poetry. She begins, in other words, from an embodied experience of language – as the philosopher Maurice Merleau-Ponty describes it in The Phenomenology of Language – that is essential to us all.

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Maria Takolander Reviews Bronwyn Lea

It is a tribute to the quality and readability of Bronwyn Lea’s poetry that a selection of her work forms the second volume in the new George Braziller series (edited by Paul Kane), which aims to introduce contemporary Australian poets to American readers. True to lyric poetry, Lea’s poems are musical in their composition, and they can be intimate in their subject matter. However, Lea’s work is never just about crafting agreeable verse, and it is never just about her personal experience.

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Ali Alizadeh Reviews Bronwyn Lea and Kevin Hart

One of the most prominent features of these two recent titles – by two of Australia's most successful poets, published by one of the country's most exciting literary publishers – is their emphasis on the erotic. By engaging with unambiguously sexual themes and imagery, Bronwyn Lea and Kevin Hart have produced texts that beguile and entertain their reader through the evocation of, or a yearning for, romance and sensuality, whilst also running the risk of reducing allusion and openness in meaning by describing a definite, rather familiar, concept.

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