'Just After Midnight' (2004):
RV Bailey wrote: "Adventurous, challenging, surrealist, magical, ... the work of an alert and committed writer".
The Frognal Papers: "her formidable range... ample evidence that she has
found a significant number of new avenues to explore".

'In Cyclops' Cave' (2003):
Robert Fagles: "...such a fine blend of the lyric and the gutsy, the punning and the deadly earnest..."

' Of Love and Terror’ (2002):
Ruth Fainlight's first novel Christmas choice for The Independent on Sunday.
"A story rare for these days, where passion and private gain struggle with a sense of right and self... immense sublety and finesse", Dorothy Schwarz, Quality Women's Fiction.
"An absorbing read.", The Tablet.
Hanan al-Shaykh said "I was smiling and sobbing at the same time."

'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."
"A sense of a poet moving up a register of inspiration... her uncommon insight into the complexities of male sexuality indicates that the classics are still rich territory for the truly original poet, all the more so for the sheer entertainment value of some of her poems." James Sunderland Smith, PN Review
"…extraordinarily seductive... the pure work of poetry, tacking and veering between vernaculars and lyrical writing" Judy Gahagan, Poetry London
"She sensualises The Odyssey, not to soften it but to plunge it further into inhuman mysteries"... "this powerful and complex work." Orbis.
"Her strategy recalls Auden's characters in The Sea and The Mirror but some of the poems evoke the more beautiful bits of The Cantos." Herbert Lomas, Ambit.

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."

Selected Poems’ (1995):
Vernon Scannell, The Sunday Telegraph : "Considerable variety of technical skill, mood and subject-matter. Nearly all these poems are informed by a sharp wit, intelligence and a courageous confrontation of the less endurable aspects of human life at the end of our troubled century."
Helen Dunmore, Poetry Review, said it was "assured, flexible and rich with experience".
The Times Literary Supplement: "an intriguing and unpredictable writer. The best of the free verse charges up like a battery".
Jon Glover, Stand, said it was "an important and wide ranging volume".

'The Rabbit Magician Plate' (1992):
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".
Poetry Review praised "her bright abundances of imagery and her musically mobile constructions."
"By far and above the best collection of this present crop, including both Harrison and Armitage. Rush out and buy it." Peter Finch, The New Welsh Review.

Of her poem cycle 'A Poem for Guatemala’ (1988) Harold Pinter said it was "A rare event: A major political poem...beautiful wrought, concrete, and passionate."
Carol Ann Duffy said "Someone should give a copy to Colonel North."

Of Flame Tree (1988) the TLS noted "this all too rare ability to fuse personal and polemical statements."

Of ‘Let’s Pretend’ (1984) Poetry Review said: "[she] discovers a further level of liberation in her cool compassion, her unangry, strenuous exploration of our social secrets."

Of ‘The Wicked Queen’(1980) Ann Stevenson noted its "tenderness and a wry insight...There are, in fact, many wicked queens and Kazantzis makes a case for them all."

Of ‘Minefield’ (1977) Michele Roberts commented: "the handling of language is totally satisfying: time and time again I exclaimed Yes, that's exactly it, you have made me see what you mean."
And DM Thomas, TLS, wrote "the book is well-named; if a minefield could write poetry, this is the poetry it would write...." and noted its "nervous energy, bitter wit, and keen eye for striking visual detail.

 

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