..., if not so spectacular, decade for Robert Lowell. A new wave of critical interest in his poetry has followed the publication of a monumental Collected Poems (2003); a 425-page Selected Poems spinoff; a reprint of the original Notebook 1967– 68; an edition of The Letters of Robert Lowell; and Words...

... of the Beagle and The Autobiography of Charles Darwin’’ (pp. 239–50 in Jarrell, Bishop, Lowell, & Co., ed. Suzanne Ferguson [Tennessee]) complements Dickey’s essay by making a strong case that Darwin became for Bishop ‘‘the example of a certain discipline of life and art Examples of his...

... Poems, Prose, and Let- ters, and, after Robert Lowell receives separate attention, another splen- did edition, Words in Air: The Complete Correspondence between Elizabeth Bishop and Robert Lowell. Bishop also figures as one poet among others in books by Bethany Hicok, Bonnie Costello, and Marit J...

... of twentieth-century poets who remember because she never forgets to lose herself in the poem.” How unlike Lowell, how different from Plath. Ellis distributes his six chapters under two main headings that encom- pass “the places that Bishop liked to imagine and the things she liked to do...

...,” and it singles out books by Charles Bernstein, Robert Creeley, Rita Dove, Louise Glück, Randall Jarrell, Denise Levertov, Robert Lowell, Robert Pinsky, Charles Wright, and David St. John. A list of “valuable studies of the period and of particular poets” includes numerous books written...

... of experimental and mainstream traditions. i Poets at Midcentury A good example of the flexible approach, Thomas Travisano’s Midcen- tury Quartet: Bishop, Lowell, Jarrell, Berryman, and the Making of a Postmodern Aesthetic (Virginia) links members of a largely ‘‘private, uno≈cial circle...

... of Petrarchan sonnet form in the initial fourteen lines of “The Weed.” ii  Robert Lowell The publication of Robert Lowell’sCollected Poems (2003) has prompted numerous critics and poets to have their say about Lowell (see AmLS 2003, pp. 435–37, and AmLS 2004, pp. 411–12). Two essays this year...

... assimilation of the aesthetics of the specific visual artists whom Samuels focuses on, but Deep Skin is clearly on to a good thing. Its intricate close readings repeatedly enhance one’s responsiveness to Bishop’s artfulness. Frank J. Kearful 403 ii  Robert Lowell and Anthony Hecht Christopher...

... imagined how others, including Jewish adults and children, experienced the war. Robert Lowell was not a pacifist with long-held antiwar convictions, which has led some critics to interpret his declaration of conscientious objection in 1943 as a combined by-product of mental illness, his recent...

... poem as one that addresses poetry, poetics, or the poet within 366 Poetry: The 1940s to the Present its mimetic framework and includes essays on self-reflexive poetics in the work of Karl Shapiro, Robert Lowell, Denise Levertov, Wendell Berry, and Gary Snyder. The Ghost of Tradition: Expansive...

... sincerity is a suspect commodity. He shows how Robert Lowell, Elizabeth Bishop, Frank Bidart, Frank O’Hara, and Louise Glück get away with it, and even Language School poets have a go at it. Reena Sastri’s James Merrill: Knowing Innocence demonstrates that when it comes to innocence—sincerity’s...

... of the underground Metro station and the wet, black bough set against the whiteness of the faces and petals. k. Biography Massimo Bacigalupo s Robert Lowell and Ezra Pound in Washington and Rapallo, pp. in omas Austenfeld, ed., Pound and Eliot Robert Lowell in a New Century: European and American Perspectives...

... us and ‘‘discovers the common source of the elegy and the blues v Amy Lowell, H.D. Three long articles challenge or enlarge on established feminist narratives and interpretations of aspects of the lives and works of Amy Lowell and H.D., thereby making signiŽcant contributions to the Želd...

... in poems that depict an abandoned farmhouse. v  Amy Lowell A turn to issues involving gender has long been an important tactic in the continuing effort to alter received versions of high modernism. Scholars were quick to see how the work of H.D. could be approached in this way, but it took...

... H.D., Amy Lowell, Gertrude Stein, Mina Loy, and Djuna Barnes In H.D. and Sapphic Modernism (Cambridge) Diana Collecott extends previous work on H.D.’s relationship to a lesbian poetic that has its roots in the Hellenic Sappho. The text is a close reading not only of H.D.’s individual poems...

... who is mock- ingly inward with her own society’s myths of gender,” while in “Double Image,” addressed to her three-year-old daughter, she confesses to hav- ing transgressed motherhood. “I made you to find me,” she tells her daughter. Hedley also points to Robert Lowell’s uses of apostrophe...

...’’ these influences; her animal poems, for instance, exhibit a ‘‘tension between moralizing asceticism and the aesthetic of abundance iii Gertrude Stein, Mina Loy, Amy Lowell, May Sarton The ramifications of Gertrude Stein’s penchant for collecting are consid- ered in another of the chapters in Paul’s Poetry...

..., and the bibliography includes an impressive array of works, from Amy Lowell’s 1917 Tendencies in American Poetry to Karen Kilcup’s recent Robert Frost and Feminine Literary Tradition (1999). In particular, Newman acknowl- edges a substantial debt to Lawrence Thompson’s biography, Je√rey Cramer’s Robert Frost among...

... of cultural and racial hierarchy. Todd N. Thompson’s “From Brahmin to Biglow (and Back Again): James Russell Lowell as Temporary Satirist” (ESQ 58: 155–84) discusses Lowell’s temporary transformation from a romantic poet to a popu- lar satirist writing dialect poetry for newspaper readers. In his role...

... “The U.S.-Mexican War in James Russell Lowell’s The Biglow Papers” (ArQ 63, iii: 1–33) calls these verses “Lowell’s most daring vision, a work that questions national coherence with the U.S.- Mexican War’s shifting spectral reflections.” In spite of this praise, at times Rodríguez seems to accuse...