Of Just After Midnight
(2004), RV Bailey: "Adventurous, challenging, surrealist,
magical, ... the work of an alert and committed writer".
Of The Odysseus Poems:
Fictions on the Odyssey of Homer (1999), Ruth Fainlight writes
"She
gives further evidence of an ability to imagine herself into many roles...
This tender, ironical portrait of a hero who has fascinated the European
imagination for more than two millennia makes a fascinating development in
the work of this justifiably ambitious poet." Marina Warner writes:
"Judith Kazantzis' sequence of interwoven voices casts the many struggles
with monsters, the seductions and loneliness of love, and the long
wanderings of heroes into a vivid meditation for our turbulent
times."
On Swimming Through The Grand Hotel
(1997):
The Times Literary Supplement: "Judith Kazantzis writes a
poetry of sensuous immediacy couched in an agile, conversational
style." Stand: "the world made strange, surreal,
subterranean fantasia ... an unusual voice in contemporary poetry in
Britain."
Of the Selected Poems
(1995),
The Sunday Telegraph (Vernon Scannell): "Considerable variety
of technical skill, mood and subject-matter." and Poetry Review
(Helen Dunmore): "assured, flexible and rich with
experience".
Of The Rabbit
Magician Plate (1992), distinguished American Laureate poet
Richard Wilbur wrote: "though there are many things one might praise
about Judith Kazantzis' poems, what strikes me everywhere is the
unexpectedness of her word choice; re-encountered, her words surprise
again through their unusual accuracy and their nice governance of tone, not
derailing the reader (as tawdry surprises do) but putting him precisely on
the track".
Of her poem cycle A Poem for
Guatemala (1988) Harold Pinter said that it was "A rare
event: A major political poem...beautiful wrought, concrete, and
passionate."
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