Examines letter writing among poets in the last 200 years. Poets discussed include Coleridge, Wordsworth, Keats and Shelley in the nineteenth century and Eliot, Yeats, Bishop and Larkin in the twentieth century. Divided into three sections--Contexts and Issues, Romantic and Victorian Letter Writing and Twentieth-century Letter Writing--the volume demonstrates that real letters still have an allure.
Written during an important stage in Rilke's artistic development, these letters contain many of the themes that later appeared in his best works. Essential reading for scholars and poetry lovers.
Collects more than six hundred letters to and from the editors of "Poetry" that were written about and by such figures as Ezra Pound, T.S. Eliot, Robert Frost, Edna St. Vincent Millay, and Wallace Stevens.
First published in 1932, “A Letter to a Young Poet” is an essay by Virginia Woolf. Written in epistolary form, it is a response to the writer John Lehman's request for Woolf to explain her views on contemporary poetry. A fascinating insight into the mind of one of England's greatest feminist writers not to be missed by fans and collectors of her seminal work. Adeline Virginia Woolf (1882–1941) was an English writer. She is widely hailed as being among the most influential modernist authors of the 20th century and a pioneer of stream of consciousness narration. Woolf was a central figure in the feminist criticism movement of the 1970s, her works having inspired countless women to take up the cause. She suffered numerous nervous breakdowns during her life primarily as a result of the deaths of family members, and it is now believed that she may have suffered from bipolar disorder. In 1941, Woolf drowned herself in the River Ouse at Lewes, aged 59. Contents include: “Virginia Woolf”, “Craftsmanship - BBC Broadcast on April 20th, 1937”, and “A Letter to a Young Poet - First Published in the Yale Review, June 1932”. Read & Co. Great Essays is republishing this classic essay now in a brand new edition complete with Woolf's essay “Craftsmanship”.
A “lyrical, impassioned” document of the intimate relationship between the two authors that was first disclosed in Henry and June (Booklist). This exchange of letters between the two controversial writers—Anaïs Nin, renowned for her candid and personal diaries, and Henry Miller, author of Tropic of Cancer—paints a portrait of more than two decades in their complex relationship as it moves through periods of passion, friendship, estrangement, and reconciliation. “The letters may disturb some with their intimacy, but they will impress others with their fragrant expression of devotion to art.” —Booklist “A portrait of Miller and Nin more rounded than any previously provided by critics, friends, and biographers.” —Chicago Tribune Edited and with an introduction by Gunther Stuhlmann
Shedding new light on the history of the book in antiquity, Empire of Letters tells the story of writing at Rome at the pivotal moment of transition from Republic to Empire (c. 55 BCE-15 CE). By uniting close readings of the period's major authors with detailed analysis of material texts, it argues that the physical embodiments of writing were essential to the worldviews and self-fashioning of authors whose works took shape in them. Whether in wooden tablets, papyrus bookrolls, monumental writing in stone and bronze, or through the alphabet itself, Roman authors both idealized and competed with writing's textual forms. The academic study of the history of the book has arisen largely out of the textual abundance of the age of print, focusing on the Renaissance and after. But fewer than fifty fragments of classical Roman bookrolls survive, and even fewer lines of poetry. Understanding the history of the ancient Roman book requires us to think differently about this evidence, placing it into the context of other kinds of textual forms that survive in greater numbers, from the fragments of Greek papyri preserved in the garbage heaps of Egypt to the Latin graffiti still visible on the walls of the cities destroyed by Vesuvius. By attending carefully to this kind of material in conjunction with the rich literary testimony of the period, Empire of Letters exposes the importance of textuality itself to Roman authors, and puts the written word back at the center of Roman literature.
Robert Lowell once remarked in a letter to Elizabeth Bishop that "you ha[ve] always been my favorite poet and favorite friend." The feeling was mutual. Bishop said that conversation with Lowell left her feeling "picked up again to the proper table-land of poetry," and she once begged him, "Please never stop writing me letters—they always manage to make me feel like my higher self (I've been re-reading Emerson) for several days." Neither ever stopped writing letters, from their first meeting in 1947 when both were young, newly launched poets until Lowell's death in 1977. Presented in Words in Air is the complete correspondence between Bishop and Lowell. The substantial, revealing—and often very funny—interchange that they produced stands as a remarkable collective achievement, notable for its sustained conversational brilliance of style, its wealth of literary history, its incisive snapshots and portraits of people and places, and its delicious literary gossip, as well as for the window it opens into the unfolding human and artistic drama of two of America's most beloved and influential poets.
Ollie and Moritz are two teenagers who will never meet. Each of them lives with a life-affecting illness. Contact with electricity sends Ollie into debilitating seizures, while Moritz has a heart defect and is kept alive by an electronic pacemaker. If they did meet, Ollie would seize, but turning off the pacemaker would kill Moritz. Through an exchange of letters, the two boys develop a strong bond of friendship which becomes a lifeline during dark times – until Moritz reveals that he holds the key to their shared, sinister past, and has been keeping it from Ollie all along.
Bellamy's debut novel revives the central female character from Bram Stoker's Dracula and imagines her as an independent woman living in San Francisco during the 1980s. Hypocrisy's not the problem, I think, it's allegory the breeding ground of paranoia. The act of reading into--how does one know when to stop? KK says that Dodie has the advantage because she's physical and I'm "only psychic." ... The truth is: everyone is adopted. My true mother wore a turtleneck and a long braid down her back, drove a Karmann Ghia, drank Chianti in dark corners, fucked Gregroy Corso ... --Dodie Bellamy, The Letters of Mina Harker First published in 1998, Dodie Bellamy's debut novel The Letters of Mina Harker sought to resuscitate the central female character from Bram Stoker's Dracula and reimagine her as an independent woman living in San Francisco during the 1980s--a woman not unlike Dodie Bellamy. Harker confesses the most intimate details of her relationships with four different men in a series of letters. Vampirizing Mina Harker, Bellamy turns the novel into a laboratory: a series of attempted transmutations between the two women in which the real story occurs in the gaps and the slippages. Lampooning the intellectual theory-speak of that era, Bellamy's narrator fights to inhabit her own sexuality despite feelings of vulnerability and destruction. Stylish but ruthlessly unpretentious, The Letters of Mina Harker was Bellamy's first major claim to the literary space she would come to inhabit.
