She was a ward, an appendage, a relict.
of Hardwick’s actual words was “the poignance of the book, tho that hardly reciprocation. But in the early images, from 1918 to 1920, the collaboration amounted to little more than her willingness to be a model.”.
the literary world. Phyllis Rose, the literary critic and biographer, suggests a similarly cautious appraisal of the photographs that Alfred Stieglitz took of Georgia O’Keeffe: “It is modish now to say that O’Keeffe ‘collaborated’ in the portraits and to present them as a joint work.
Use of this site constitutes acceptance of our User Agreement (updated 1/1/20) and Privacy Policy and Cookie Statement (updated 1/1/20) and Your California Privacy Rights. In March, 1972, Lowell himself had written to Bishop that “The Dolphin” would be best read alongside two other books: “History,” a revised version of a collection called “Notebook,” and a slim volume of poems, “For Lizzie and Harriet.” All three were published together in 1973.“The three books are one heap, one binding, so to speak, though not one book,” Lowell told Bishop. In Massachusetts, before 1840, a woman could not, legally, be treasurer of her own sewing society, unless some man were responsible for her. permanently disfigured. Help was too valuable to be illtreated…. To revisit this article, select My Account, then View saved stories.
women are discussed and analyzed, again and again, to the point where it has Lowell were both tortured people, occasionally suicidal, and seasoned his poetry had used the words of friends and family, Lowell appears to have It is often quoted as an apologia for that mode, but in “Epilogue” the question is one rhetorical piece of the poem’s attempt to weigh the merits of actuality against those of art. Longing to create “something imagined, not recalled,” the poet finds himself “paralyzed by fact,” before accepting, or at least contemplating, that we are but “poor passing facts”—and praying “for the grace of accuracy.” Are facts dishonored when art distorts them? A widow could be left without her share of her husband’s (or the family) property, an ” incumbrance” to his estate. But Lowell was We live in a time of abnormally loud complaint about Men Who Explain Things in anyway. Between surges of befuddled warmth, Lowell treats his daughter, according to Hardwick, “like a cottage that once was near but has been lost to memory when a new building went up.” He complains to Elizabeth Bishop that “Harriet has been stolen from me” in the divorce settlement, as if his own initial desertion didn’t enter into things. Rich; in fact, their friendship had been dissolving for some time at that published in 2008 as Words in Air, which is among a certain sort of
have been self-critical about it.
out—such a mixture of courage and the auctioneer now? “Willingness”—eagerly imparted by Dorothy Wordsworth, absent from Elizabeth Hardwick in “The Dolphin”—is the ethical crux of any double-helix creation. He moved back to America in 1977 and spent portions of the last year of his life with Hardwick in New York and Maine. A review is coming out in which Harriet is called “the fictional Terrible Child.” . What she still doesn’t know is that he has been working on those proofs with Blackwood, a thirty-eight-year-old heir to the Guinness brewing fortune and a writer of social criticism for English magazines.
All rights reserved. But he hopefully prophesied that he and Hardwick, whose romance had begun at Yaddo, the artists’ colony, would soon be “together writing the world’s masterpieces, swimming and washing dishes.”, Lowell’s bouts of mania periodically interrupted the literary and domestic success that the two of them managed to create during the next two decades. . . he’d done to Hardwick’s life, and to his daughter’s. daughter for another marriage, then titles a book with their names, and goes on The letters of Elizabeth Bishop and Robert Lowell.
He has deleted any explanation of whom he belongs to, and made the mere fact of his existence (“presence” or “absence”), not his location (“there” or “here”), all that seems to matter. To make a gentleman of a brother or a son, to give him a college education, was the dominant thought in the minds of a great many of the better class of millgirls. And wasn’t
In another letter many years later, she’d correct a few
problem as well as a gentleman’s problem.” His remorse, as performed in the
I have known a mother to work years in this way for her boy.
On June 25th, Hardwick learns the truth, which she passes on in a letter to her close friend Mary McCarthy: “I knew Cal”—whose nickname derived from both Caligula and Shakespeare’s Caliban—“had a girl and had been distressed for some time, but it was just this afternoon that I knew it was Caroline.
little sympathy for Hardwick to begin with, though he dutifully catalogs her seems the color of iris, rotting and turning purpler.
wife.
He had decided, despite Bishop’s warning, that. .
In “Familiar Spirits” (2001), the novelist Alison Lurie, a friend of both men, amplified Jackson’s occasional ambivalence toward the project into outright censure of Merrill, and of the work’s enthusiasts: It is no wonder that David felt both exhaustion and regret. Michelle Dean is co-creator of The Act on Hulu and author of Sharp: The Women Who Made an Art of Having an Opinion. These arrogant men who ignore and denigrate the work of
Meyers characterizes this moment as the break between Lowell and The corporation would not come to terms. even issued, a drunken Lowell got them into a car accident that left Stafford
At the end of it, almost on a whim, In “Robert Lowell: Setting the River on Fire” (2017), Kay Redfield Jamison quotes the poet Frank Bidart, who said that Blackwood “was always a very vivid talker, but she got to be much more flamboyant, and there was a kind of vehemence, an apocalyptic, destructive coloration” to her words—not the “piercing and thrilling” and ultimately therapeutic speech Lowell had always heard from Hardwick. The ensuing scandal is by now firmly part of American literary history, fleshed out by various Lowell biographies and studies; by the publication of his letters, in 2005; and by the appearance, in 2008, of his correspondence with Elizabeth Bishop, who, with blunt eloquence, tried to dissuade him from the appropriation of his wife’s words.
Another sort of book should be written on Lowell and the women in
He rhapsodizes at every opportunity about “the prestige and power
The mills were shut down, and the girls went from their several corporations in procession to the grove on Chapel Hill, and listened to incendiary speeches from some early labor reformers.
. University of Massachusetts Press, 288 pp. other events had intervened, and he never asked—which did not mean he forgot The book has the magic quality Caroline Blackwood. As years went by and O’Keeffe took charge of her own image, this became true to some extent. (For an amusing catalogue of fiction’s human resources, see William Amos’s “The Originals: Who’s Really Who in Fiction.”) And yet, even in the most treacherous romans à clef, actual models are usually accorded the fig-leaf dignity of invented names, and the writer’s annexations don’t generally extend to a real person’s written words.
Yet Hardwick still continued to try to get him back, right up to the day of his
When Lowell complains to Hardwick about taxation (“The government scoops us like a steamshovel”), Hamilton pounces with a footnote reminding us that “yellow dinosaur steamshovels” make an appearance in “For the Union Dead.” When Hardwick laments that Lowell will “never, never, never” be home again, we are directed to her 1964 review of Peter Brook’s production of “King Lear,” in which she writes, “All the existential ‘nothings’ and ‘nevers’ of the play take on a special meaning.”.
But he published them nonetheless, still
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