Kate Killey
Photo by John Tranter
Kate Lilley Contents page
Kate Lilley (b.1960) grew up in Perth and Sydney. After completing her PhD on Masculine Elegy at the University of London she spent four years as a Junior Research Fellow at Oxford University. Since 1990 she has taught feminist literary history and theory at the University of Sydney and has published widely on early modern women’s writing and contemporary poetry. She is the editor of Margaret Cavendish, The Blazing World and other writings (Penguin Classics). Her one poetry volume, Versary, was published by Salt Publications in Cambridge England.
Material available on this site:
Eighteen poems (from Jacket magazine): Discovery / Finally / In the Sun / Lady-in-Waiting / Quality Control / As Is / Georgic / (say) when / say so / Anamorphosis / Starry Messanger / Spruce / Lady in the Dark / It follows / Sequel / Cento — Around Vienna / Miltonic / My Bad [8pp]
Kate Lilley: This L=A=N=G=U=A=G=E (from Jacket 2) [8pp]
Kate Lilley: Tranter’s Plots. First published in Australian Literary Studies, volume 14 number 1, May 1989. [14pp]
Pam Brown reviews Versary, by Kate Lilley [3pp]
John Wilkinson reviews Versary, by Kate Lilley, Salt Publishing 2002 (from Jacket 18) [3pp]
Material available off-site:
Gig Ryan reviews Versary, by Kate Lilley in Australian Feminist Review. Abstract: Kate Lilley’s long-awaited first book Versary is a most sophisticated and varied work with many turnings involved in its dynamic Janus-faced construction, looking both backwards and forwards in time, and brimming with imagination and many droll summaries of contemporary life — ‘The shoes match the situation’ — and in particular the constructs of gender and sexuality. Versary’s complicated revolving symmetry begins with ‘Nicky’s World’, partly inspired by The Young and the Restless, and ends with the appropriately disjointed ‘Sapphics’; that is, Versary moves backwards historically through artistic representations of love/ sexuality and gender while the ‘story’ moves forward into self-realisation. Divided into five sections, the first and longest section ‘Lady in the Dark’ sets a racy tone. [The full article is only avilable to subscribers to Australian Feminist Review.]
Further poems and reviews and other texts by and about this author, or that mention this author’s name, can be found in Jacket magazine on the Internet: follow this link and type the author’s name into the Jacket Search engine.
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