SUSAN STEWART

The voice of a person thinking, discovering, revising, is ever-present without any loss in grace or ease.

To toy with something is to manipulate it, to try it out within sets of contexts none of which is determinate.

The closure of the book is an illusion largely created by its materiality, its cover. Once the book is considered on the plane of its significance, it threatens infinity.

More often writing soliloquies of suffering and consolation than collective songs like the dirge, elegists have discovered that lyric sequences can provide a powerful means of addressing the tensions between grief's inchoate emotion and social rituals of mourning.

The power of elegy, even in the face of an unbounded grief, to provide a containing form is vividly embodied by Anne Carson's 'Nox,' a nocturne with carefully controlled visual and tactile properties.

Poets writing in English have long learned to mourn from classical precedents. They have drawn on a tradition of pastoral elegies, which incorporate the dead into the cycles of nature, that runs from Theocritus' Idylls to John Milton's 'Lycidas' and Percy Shelley's 'Adonais.'

The most important American love poet in living memory, and certainly one of the most important American poets tout court, Robert Creeley was born in 1926 and raised in eastern Massachusetts.

As traditions of mourning wane, women's role as designated mourners has also vanished. In consequence, the woman elegist must summon her own resources as an artist.

The length and shape of the poemetto, like the greater Romantic lyric of English poetry, lends itself to retrospection and commentary.

Umberto Poli was born in Trieste in 1883, when the city was at its zenith as the major port of the Habsburgs. The irredentist sympathies of Umberto's Italian-speaking parents can be detected in their giving him the first name of the Italian emperor.

More often writing soliloquies of suffering and consolation than collective songs like the dirge, elegists have discovered that lyric sequences can provide a powerful means of addressing the tensions between grief's inchoate emotion and social rituals of mourning.

The power of elegy, even in the face of an unbounded grief, to provide a containing form is vividly embodied by Anne Carson's 'Nox,' a nocturne with carefully controlled visual and tactile properties.

As traditions of mourning wane, women's role as designated mourners has also vanished. In consequence, the woman elegist must summon her own resources as an artist.

Poets writing in English have long learned to mourn from classical precedents. They have drawn on a tradition of pastoral elegies, which incorporate the dead into the cycles of nature, that runs from Theocritus' Idylls to John Milton's 'Lycidas' and Percy Shelley's 'Adonais.'

Umberto Poli was born in Trieste in 1883, when the city was at its zenith as the major port of the Habsburgs. The irredentist sympathies of Umberto's Italian-speaking parents can be detected in their giving him the first name of the Italian emperor.

The length and shape of the poemetto, like the greater Romantic lyric of English poetry, lends itself to retrospection and commentary.

The most important American love poet in living memory, and certainly one of the most important American poets tout court, Robert Creeley was born in 1926 and raised in eastern Massachusetts.

The voice of a person thinking, discovering, revising, is ever-present without any loss in grace or ease.

The closure of the book is an illusion largely created by its materiality, its cover. Once the book is considered on the plane of its significance, it threatens infinity.

To toy with something is to manipulate it, to try it out within sets of contexts none of which is determinate.