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Judith Beveridge

Wolf Notes by Judith Beveridge

by
March 2004, no. 259

Admirer’s of Judith Beveridge’s distinctive talent have had a long wait between collections (it’s eight years since Accidental Grace), although she has been published consistently in anthologies and journals, and poems from the central sequence of this collection, ‘Between the Palace and the Bodhi Tree’, won the 2003 Josephine Ulrick National Poetry Prize. Patience is rewarded: this is a collection of impressive poetic maturity.

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Grennan sucks in air along his gums and yells
again to Davey who is filling the trough
of the gunwhale with scrabbling crabs. Far off
lightning slips down the sky like a forkful ...

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It’ll be dawn before the sawing’s done; all night
cutting it up, yet by dark’s end, a pine,
or cypress moon, fragrant, awaiting finish. I watch

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What can I ask of your lips
that they haven’t already given
my colourless signature; of your
hands other than to shade
your eyes as the sun burnishes
the windows, then carries on
to the grey porticos of the square.
I see pigeons on the gold-lit roof
of the Cathedral of St Christopher,
and as I stir my brush about
my palette – scarlet is what
I pray for; scarlet that flows under
a vanquished bridge; that lives
with finches in the tops of trees
because, desire, you said,
should always live on the wing.
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Stephen Edgar’s fifth volume, Lost in the Foreground, is a book of marvels, both technically and in the elegant, magisterial reach of its content. He is wonderfully inventive, and his complex rhyme schemes and forms are achieved with such precision and finesse that one can only conjecture as to how long each piece must have taken to become so lovingly and artfully realised.

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It’s the silence. Even by the river, my ears are straining. It’s the silence. At this moment it’s a warmish humid silence with the grass outside lushly mesmerising the eye.

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