“... awestruck by the philosopher Owen Barfield, and had a quite saintly manner of carefulness with John Berryman, but, these things apart, the volume is quite fogged over with Bellow’s notion that replying to letters was nothing if not a complete and utter waste of time. To Ralph Ellison: ‘I’ve never enjoyed writing letters. Vasiliki says that ...”

“... type of lordly self-belief, nor with the obsessive thirst for fame that motivated a poet like John Berryman. His literary career is often compared pityingly with their astute professionalism, as if, authentic poète maudit though he was, he never quite got the marketing right. Certainly he never managed to create out of his sufferings the suspense of ...”

“... took him on their list (induced in the first place – let credit be given where it’s due – by John Press). He insists, and he has the right to insist, that he is as authentic a voice of modern Britain as Philip Larkin is. As some pages of Poetry and Metamorphosis make clear, the Britain that Tomlinson speaks for is one that most of us, gratefully or ...”

“... It is John Ashbery who takes the cake – in this case, the triple-decker cake with the solitary little sugar bride on top – for his description of Elizabeth Bishop: she is ‘the poets’ poets’ poet’. It sounds farcical, but it’s strictly true, and there’s as little getting round it as there is improving on it ...”

“... Dwight Macdonald recalled. He was simply, bathetically, Delmore. Schwartz once conceded to John Berryman that ‘Delmorean’ would be the word used should his ‘verse prove attractive to posterity’. Posterity has not proved kind, something Ben Mazer’s edition of Schwartz’s Collected Poems sets out to redress. But this sprawling volume is ...”

“... as anything else about him. (The idea was already becoming familiar in the performing world, where John Barrymore, notably, had played out the end of his career surrounded by idiot-boards as an openly bog-eyed parody of his younger self.) It was in the Fifties, then, that America’s taste-makers finally stopped resisting the attractions of dissolution and ...”

“... artless: they unite poetry and epistemology more deeply and functionally than does, for instance, John Ashbery. When Carver in ‘Summer Fog’ imagines grieving for his wife, instead of vice versa, he instals poetry as the agent of knowing. ‘The Painter and the Fish’, a rich and witty version of Carver’s aesthetic, associates art with the need and lust ...”

“... too early. A full-of-himself student in Nashville in the 1930s, he was taken up by Allen Tate and John Crowe Ransom, and most of his later academic appointments could be traced back to this connection. Not that Jarrell ever felt inclined to gratitude: another of his famous, and most joyous, thrusts as a reviewer was aimed at the vitals of his early Agrarian ...”

“... the most written about poet of our time – over three thousand items, Pierre Joris reckons. John Felstiner’s book is of inestimable value to anyone wanting to read Celan with understanding. It provides a sort of triple deal, giving a rudimentary narrative of the life, and combining this with translations and brilliant readings of maybe four or five ...”

“... the tense problem of the modern muse and the sexual prompt of modern art’, or that John Updike is largely concerned with ‘the revelation of form, the moment of aesthetic revelation in the contingencies of life’. Bradbury is just going through the motions, hastening from name to name, reciting worn-out academic phrases, too bored even to ...”

“... that expresses itself in the twisting and hammering of poetic form. Among recent poets, John Berryman comes to mind as the ideally mischievous, ideally anguished translator of Corbière. But Pilling has done the great service of putting back into general circulation a number of long-lost pieces. This volume represents the whole of Les Amours ...”

“... imperialistic or infectious irony can be. Two notable warnings are not accommodated by Enright. John Crowe Ransom’s: ‘We should be so much in favour of tragedy and irony as not to think it good policy to require them in all our poems, for fear we might bring them into bad fame.’ And T.S. Eliot’s: ‘What we rebel against is neither the use of irony ...”

“... victim, tethered, and ready for slaughter. In Where Did It All Go Right? Alvarez’s former friend John Wain receives the same treatment – punished for being feeble of mind and feeble of body – and there are numerous other little tussles and boasts. Alvarez is a writer who is certainly not oblivious of the extent of his own charms and perhaps he rather ...”

“... it still Connecticut, the dear deer, the steady lay, the unprivate walls?’ His correspondent, John Hohnsbeen, an art-dealer friend, was having an affair with the architect Philip Johnson, and the ‘unprivate walls’ are those of Johnson’s famous Glass House. Schuyler was 28 and this was his first serious mental breakdown. He had only recently arrived ...”

“... relevant to Lowell’s ‘living name’, or to the seriousness with which it must be established. Berryman as a poet was not so different, but it is extremely relevant that Berryman, like other self-creating poets, had to invent a persona – that of ‘Anne Bradstreet’, or ‘Henry Pussycat’ – in order to become his ...”