at the age of 81. The Julia Randall papers (1930–2001) can be found in the Special Collections of the Hollins University Library. Poetry Three themes recur in the many reviews of Julia Randall's work: the exceptional musicality of her lyric poetry, the anti-Romantic and more intimate way in which she approaches nature than her forebears, and the wit and intellect with which she combines the personal and the perennial, putting the Western literary tradition to her own anti-traditional uses. Of her lyricism, Mary Kinzie has said that Randall writes “ a free verse as exact and rhythmic as fugue,” and poet Eleanor Wilner writes: “…Julia Randall's free verse has a long training of the ear behind it, and her cadenced, contrapuntal music is all the livelier for being free to play without fixed constraints—an aural music accompanied by another: the deep referential music of recurring emblematic figures whose names send resonant echoes down the otherwise silent corridors of time.” (Mezzo Cammin, 2005). R.H.W. Dillard describes this imaginative reach across time and scale when he calls her poems “highly charged entities in which the arcane and the archaic are alloyed with metaphysical passion into an active communion with the colloquial and the immediate.” (“Randall, Julia,” Encyclopedia.com). Of the originality and intellectual challenge of Randall's poetry, the way it changes the deep sources it draws from, Meg Schoerke (Mezzo Cammin, 2005) writes: “…Randall succeeds in being both traditional and radically anti-traditional in her poetry…[her] work often probes the Tradition upon which it rests…by engaging the Tradition from a female point-of view, Randall both creates a space for herself and also exposes the male poets’ limitations or blind sides…Setting herself against Wordsworth's ‘egotistical sublime,’ Randall strives to achieve humility before Nature…” Of Julia Randall's rejection of the tradition's separation from (and assumed superiority over) nature, Marilyn Hacker writes: “I have read few contemporary poets whose love and attention for the natural world so clearly integrated and included the thinking human creature, and human artifact, especially language, with that world (“The Trees Win Every Time,” Unauthorized Voices, 2010). In the clarifying words of Randall herself, “the poet's job, strangely enough, is to ‘unwrite’ by going back to the beginning; to make such speech as we have faithful to ‘things as they are’ rather than to our arrangements of them; to make language live by confronting things with the ‘innocent’ mind of an Adam, by