These essays from a distinguished, international group of scholars trace the process of thinking and creation in one of the great literary minds of the twentieth century. Archival and newly available materials reveal this canonical author's composition process and artistic virtuosity.

The Plural of Us is the first book to focus on the poet's use of the first-person plural voice-poetry's "we." Closely exploring the work of W. H. Auden, Bonnie Costello uncovers the trove of thought and feeling carried in this small word. While lyric has long been associated with inwardness and a voice saying "I," "we" has hardly been noticed, even though it has appeared throughout the history of poetry. Reading for this pronoun in its variety and ambiguity, Costello explores the communal function of poetry-the reasons, risks, and rewards of the first-person plural. Costello adopts a taxonomic approach to her subject, considering "we" from its most constricted to its fully unbounded forms. She also takes a historical perspective, following Auden's interest in the full range of "the human pluralities" in a time of particular pressure for and against the collective. Costello offers new readings as she tracks his changing approach to voice in democracy. Examples from many other poets-including Walt Whitman, T. S. Eliot, Elizabeth Bishop, and Wallace Stevens-arise throughout the book, and the final chapter offers a consideration of how contemporary writers find form for what George Oppen called "the meaning of being numerous." Connecting insights to philosophy of language and to recent work in concepts of community, The Plural of Us shows how poetry raises vital questions-literary and social-about how we speak of our togetherness.

The Plural of Us is the first book to focus on the poet's use of the first-person plural voice--poetry's "we." Closely exploring the work of W. H. Auden, Bonnie Costello uncovers the trove of thought and feeling carried in this small word. While lyric has long been associated with inwardness and a voice saying "I," "we" has hardly been noticed, even though it has appeared throughout the history of poetry. Reading for this pronoun in its variety and ambiguity, Costello explores the communal function of poetry--the reasons, risks, and rewards of the first-person plural. Costello adopts a taxonomic approach to her subject, considering "we" from its most constricted to its fully unbounded forms. She also takes a historical perspective, following Auden's interest in the full range of "the human pluralities" in a time of particular pressure for and against the collective. Costello offers new readings as she tracks his changing approach to voice in democracy. Examples from many other poets--including Walt Whitman, T. S. Eliot, Elizabeth Bishop, and Wallace Stevens--arise throughout the book, and the final chapter offers a consideration of how contemporary writers find form for what George Oppen called "the meaning of being numerous." Connecting insights to philosophy of language and to recent work in concepts of community, The Plural of Us shows how poetry raises vital questions--literary and social--about how we speak of our togetherness.

Poets have long been drawn to the images and techniques of still life. Artists and poets alike present intimate worlds where time is suspended in the play of form and color and where history disappears amid everyday things. The genre of still life with its focus on the domestic sphere seemed to some a retreat from the political and economic pressures of the last century. Yet many American artists and writers found in the arrangement of local objects a way to connect the individual to larger public concerns. Indeed, the debates over still life reveal just what is at stake in the long-standing quarrel over poetry's meaning and usefulness. By exploring literary works of still life by Wallace Stevens, William Carlos Williams, Elizabeth Bishop, and Richard Wilbur as well as the art of Joseph Cornell the eminent critic Bonnie Costello considers how exchanges between the arts help to establish vital thresholds between the personal and public realms. In her view, Stevens and Williams bring the turmoil of history into their struggle for local aesthetic order; Bishop "studies history" in the intimate objects and arrangements she finds in her travels; Cornell, an artist inspired by poetry and loved by poets, links his dream boxes to contemporary events; and Richard Wilbur seeks to mend a broken postwar world within the hospitable spheres of art and home. In Planets on Tables, Costello describes a period when some of America's greatest poets and artists found in still life a way to "contemplate the good in the midst of confusion," to bring the distant near, and to resist rather than escape the pressures of their times."

Including correspondence with Eliot, Pound, and Elizabeth Bishop, this collection shows the gradual development of an authoritative woman of letters while documenting the first two-thirds of our century.

This book interweaves more than 120 interviews with relatives, friends, colleagues, and students of Elizabeth Bishop (1911-1979), one of America's finest poets. Among the interviewees are numerous intellectual and artistic figures, including John Ashbery, Robert Fitzgerald, Robert Giroux, Clement Greenberg, Thom Gunn, John Hollander, Mary McCarthy, James Merrill, Katha Pollitt, Ned Rorem, Lloyd Schwartz, Anne Stevenson, Rosalyn Tureck, Helen Vendler and Richard Wilbur. The chronology which governs this work is as follows: childhood, 1911-1927; Walnut Hill, 1927-1930; Vassar, 1930-1934; New York, Europe and Key West, 1934-1940; Key West and New York, 1941-1948; Washington, D.C. and Yaddo, 1948-1951; Brazil, 1951-1957; Brazil, 1958-1965; Seattle, 1966; Brazil, 1966-1967; San Francisco, 1967-1969; Ouro Preto, 1969-1973; Cambridge and Boston, 1973-1977; and Boston, 1977-1979.

A profoundly visual poet, Elizabeth Bishop is said to have a prismatic way of seeing. In this companion to Bishop's poetry, making connections between modern art and modern poetry, Bonnie Costello aims to give a sense of the poet and her ways of seeing and writing. Costello also makes use of quotations from Bishop's letters, drafts, journals and occasional prose sketches.

Just as the look of the American landscape has changed since the nineteenth century, so has our idea of landscape. Here Bonnie Costello reads six twentieth-century American poets who have reflected and shaped this transformation and in the process renovated landscape by drawing new images from the natural world and creating new forms for imagining the earth and our relation to it.