All the Rage by A.L. Kennedy
The Blue Book by A.L. Kennedy
Original Bliss by A.L. Kennedy
Day by A.L. Kennedy
On Bullfighting by A.L. Kennedy
The Pure Gold Baby by Margaret Drabble
The Needle’s Eye by Margaret Drabble
The Garrick Year by Margaret Drabble
The Red Queen by Margaret Drabble
The Pattern in the Carpet: A Personal History with Jigsaws by Margaret Drabble
The Sea Lady by Margaret Drabble
The Millstone by Margaret Drabble
The Signature of All Things by Elizabeth Gilbert
Archangel by Andrea Barrett
Metaphysical Dog by Frank Bidart
A Skeptic’s Guide to Writers’ Houses by Anne Trubek
Poems by Elizabeth Bishop
Prose by Elizabeth Bishop, edited by Lloyd Schwartz
Elizabeth Bishop and The New Yorker: The Complete Correspondence edited by Joelle Biele
One Art/ Elizabeth Bishop Letters selected and edited by Robert Giroux
Elizabeth Bishop: Poems, Prose & Letters edited by Robert Giroux and Lloyd Schwartz
Edgar Allan Poe & The Juke-Box: Uncollected Poems, Drafts, and Fragments edited by Alice Quinn
The Unusual Life of Tristan Smith by Peter Carey
Elizabeth Bishop: Life and the Memory of It by Brett C. Millier
Elizabeth Bishop: The Biography of a Poetry by Lorrie Goldensohn
Elizabeth Bishop and Marianne Moore: The Psychodynamics of Creativity by Joanne Feit Diehl
Elizabeth Bishop and Her Art edited by Lloyd Schwartz, edited by Sybil P. Estess
Becoming a Poet: Elizabeth Bishop with Marianne Moore and Robert Lowell by David Kalstone, edited by Robert Hemenway, afterword by James Merrill
The Complete Poems, 1927–1979 by Elizabeth Bishop
The Collected Prose by Elizabeth Bishop, edited and with an introduction by Robert Giroux
Nostalgia, with its admixture of warmth, loss, and dangerous sentimentality, suffuses any consideration of Laura Ingalls Wilder's Little House books. It’s the only way to make sense of the phenomenal popularity of the new scholarly tome, Pioneer Girl.
As with many classics, if Beatrix Potter’s tales have become invisibly “charming,” it is time to return to them and see them anew.
Is it possible to feel more ambivalent than I do about Orange Is the New Black?
If we consider embarrassment as an aesthetic strategy rather than as a mistake, we begin to see how funny Sylvia Plath often is.
On the subject of Writers’ Houses, that dark genius Robert Frost would have understood the paradox I find myself inhabiting: that I hate them in general, but soften to something like affection in the face of particular places. Frost enjoyed mocking his own, and others’, ambivalences, especially when personal feeling interfered with principle. Whether or not he also would have enjoyed hearing my footsteps in his old parlor and study is another matter; I would guess not.
The experience of being highly entertained by this soap opera—which is also, often, extremely funny—turns the viewer into a tourist of suffering.