Ann Marie Priest
For much of her career, Gwen Harwood (1920–95) was best known for her hoaxes, pseudonyms, and literary tricks. Most notorious was the so-called Bulletin hoax in 1961, but over the years she orchestrated a number of other raids on literary targets, mainly aimed at challenging the power of poetry editors and gatekeepers. For L’Affaire Bulletin (as she sometimes called it), she submitted to that august magazine, under the pseudonym Walter Lehmann, a pair of seemingly unexceptionable sonnets on the theme of Abelard and Eloisa. Only after the poems were published did the Bulletin discover that they were acrostics; read vertically, one spelled out ‘So long Bulletin’, and the other, ‘Fuck all editors’.... (read more)
All the Lives We Ever Lived: Seeking solace in Virginia Woolf by Katharine Smyth
Awakening: Four Lives in Art by Eileen Chanin and Steven Miller
Vanessa and her sister by Priya Parmar & Adeline by Norah Vincent
The Best 100 Poems of Gwen Harwood by Gwen Harwood, edited by John Harwood
Meeting the Devil: A book of memoir from the London Review of Books edited by William Heinemann
On an early spring evening in 1919, in a nearly empty cinema in the English seaside town of Lyme Regis, a slight, dark-haired figure slipped into a seat at the farthest edge of a row. From here, she would have a clear view of the profile of the youthful pianist who, sheltered behind a screen, accompanied the silent film. In white tie and tails, with her fair hair sl ...