Lowell is of the vanguard of American twentieth century poets, a man who created many brilliant works other than the two joined in this volume. In such poems in Life Studies as Beyond the Alps and A Mad Negro Soldier Confined in Munich, as well as his portraits of various friends and family, we discover a man capable of both acid humor and outright sadness. However, in Life Studies, these excellent poems are overshadowed by the towering biographical essay 91 Revere Street. In this touching memoir, Lowell describes distant, illustrious relatives, Amy Lowell being a famous but ostracized example, friendships wrecked in childhood, disquietude over a girlfriend who soils herself in class (in his embarrassment, Lowell sits in it), his formative years on the periphery of polite, conservative Bostonian society, and his fathers coarse, difficult superiors and buddies that cropped up in the father's job with the Navy. Though his poems here are outstanding, an uncomfortable question arises when one considers this essay: Would Lowell have been better off to employ his time as a prose stylist, not a poet?

For the Union Dead validates Lowell's decision to declare poetry his mode of expression. Poems such as the dolorous My Last Evening with Uncle Devereaux Winslow and Terminal Days at Beverly Farm expose a man groping for hope after the deaths of close relatives; Waking in the Blue and Myopia: A night explore, respectively, Lowell's mental illness and attendant three month hospitalization, and a night of insomnia that becomes a maelstrom of tortured reflections and half-hewn thoughts; The Drinker explores alcoholism as a product of foiled love, with a question as to whether pathology or sheer carelessness and love of idleness is the underlying shibboleth. Water, the poem that stoked my love for Lowell, uses a maritime theme to express sorrow over a lost love. Beyond the Alps, from Life Studies, is reprised here with an elided stanza reinserted at the behest of coeval John Berryman.

Lowell is one of those poets so gifted, so erudite, so steeped in classical literature, it's hard to grasp that, as he explains it, he was "less rather than more bookish than most children." Much of the isolation evinced in Lowell's poetry, as well as the restlessness of his life, both as youth and adult, are radiantly eviscerated in these two collections.

Most of us probably first read Robert Lowell in high school, and I remember being both repulsed and fascinated by Life Studies when I was a teenager. I am no longer repulsed, but simply fascinated by Lowell's writing. Life Studies' haunting biographies of Lowell's relatives frame the poet's autobiographical memoir of growing up with "no girls or undesirables in [his] set"; his attention to detail constantly mesmerizes the reader as we tour a New England catalogue of memorabilia, illness, and affect. Lowell's resolutely melancholy, nostalgic, and idiosycratic tone reminds the reader that poetry may speak most generally when it is most particular in its subject. I've spent twenty years thinking about these poems, and the thoughts are never stale, even if the lives they chronicle are preternaturally decayed.

For a long time, one of my favorite poems has been Robert Lowell's "Skunk Hour", but I have never read the book which was the context around it. Lowell is one of those writers who are often pushed down your throat as being "The Most Important Poet Ever!" by college professors and I have to admit that this attitude lead me to resist reading further.

I want to say that this was a mistake, because of how much I enjoyed this book, but I'm not sure how well I could have appreciated these poetry books had I been younger. They are not simple about anything they touch-- not histories (public or private), not love, not death, not depression. They are complicated words that are painted in detailed layers, so the richness gets deeper the longer you look. The setting is so subtle that when Lowell does say something overt, it comes as a distinct shock.

I didn't want to stop reading the book when it was over, and went back and started reading the poems again-- it was that compelling.

This is probably the most important collection published in America since Wallace Stevens's 1954 Collected Poems. Although after the publication of Elizabeth Bishop and James Merrill's collected poems Lowell's position no longer seems as pre-eminent as it once did, no poet of his era more intimately captured the uneasy spirit of the Fifties and Sixties. Ginsberg spoke more directly for the disaffected, but Lowell captured the larger unease of America and made his own, dominating his age as few poets ever have. His voice is unmistakable. His best poems retain their original vitality, and even his weakest poems remain unique in their flaws. Everyone with the slightest interest in poetry will want to own this book.

Robert Lowell, one of the latter 20th century's most popular poets, seems to have recently dropped off the radar. This is probably partially due to a critical point of view which has emerged, stating basically that Lowell was a product of his time and has now beem outmoded.

This book should dispel that feeling.

One need only look back on a poem like 'Memories Of West Street And Lepke' from Life Studies to realize that even if, in a hundred years, someone reads this having no idea who Lepke was, the poem could still be enjoyed. It is the poem itself, as Helen Vendler said in a round-about way, which makes the mark.

Despite the hefty price tag on this volume, if you're interested in Lowell, you should own this book. There's things here which simply cannot be found elsewhere: his first, and never again published Land Of Unlikeness, magazine versions of poems later revised in their book forms, poems in manuscript which Lowell never finished. Aside from the poems (which a dogged individual could track down in their book forms with Amazon and Alibris), it's these bonuses which make the volume special, and change that price tag from wow-that's-a-lot to it's-not-such-a-big-deal.

To say that 'if you're a Lowell fan' you should by this book is wrong. I should say, 'if you're a poetry fan'. This was a man who changed poetry forever. And aside from this historical aspect, they are some of the finest poems ever written.

As a graduate student studying biochemistry/molecular biology, this book (on the PI's shelf) was a frequent read. Not only does it explain "old-school" genetic experiments with aplomb, it provides clear and concise examples. A fine reference for reviewing papers, and a must have for any PI (if only for your students to use as a reference!)

In this juicy, lively memoir of the Boston poetry scene in the 1950's, Davison dishes the dirt not only on himself but also on such luminaries as Robert Lowell, Sylvia Plath, Anne Sexton and Robert Frost. The decade of the 1950's was a time of delirious creativity for these poets perched on the threshold of fame and notoriety, and at the center of the vortex sat Robert Lowell, brilliant teacher, mentor and model of the wounded artist. Davison's group portrait shows men dominating these mythologized poetic years with the women cajoling, wheedling and flirting to be noticed, and then, once they had the men's attention, stepping forward with fierce work to be taken seriously. As readers will see, Plath and Sexton were up to any challenge and left behind for posterity both their great works and tales of their wild vamping exploits. Although Davison makes no secret that everybody in the group drank like fish and acted out with impunity, he ultimately celebrates those years as the apex of his social and creative life, a time populated by people of immense charisma and talent. The book is simply a love letter to the difficult geniuses of one of the great moments in 20th century American literary history.

This collection of Sasse's essay written between 1927-1939 are thus particularly fascinating and enlightening as the context of the Nazi regime and intro to American Christianity way heavy on the author.

Here one will discover what it truly means to confess one's faith in light of pressure and temptation. Thus, the lonely way.

Confessional words from this studied church historian and exegete and ecumenist pour forth on observation of his own ecclesiastical scene as well as ours here in the States.

The opening essay is fascinating, since it entails Sasse's initial visit to America. His comments are penetrating and analytical, e.g. "This churchliness of life has a down side to be sure: the secularization of the church. ... Tkhey have opened their doors in part to modern civilization, which has endangered the purity and depth of the faith. Here is the reason for that superficiality of American church life which repulses us Germans." "The consequence of this, along with the concurrent leveling effect of American life, is an elimination of confessional anthitheses. .... All this has created a common religious atmosphere, in which the confessional lines are blurred. Thus fighting has been replaced by cooperation, one of the great American catchwords."

Delivered in 1928, an essay on the church as body of Christ is yet another of Sasse's confessional themes, strongly confessing the Lutheran substance of sacramental presence of Christ: "The church is the body of Christ, is identical with the body of Christ, which is really present in the Lord's Supper. The participation in the body and blood of Christ present in the Lord's Supper is synonymous with membership in his body."

Instructive thoughts and admonitions which provide more than ample reflective thought of their adaptation and input to current theological issues and ponderings.

A valuable resource for the church of the Reformation and those interested in listening in on this timeless saint of the Lord's literary output.

Robert Lowell has always seemed to me to be just out of reach. I was too young to witness his poetry readings to the Washington crowds protesting the war in Vietnam. By the time I was set "Skunk Hour" in my final year of secondary schooling, Lowell had been dead for a half dozen years. Based on Lowell's letters, poetry and critism and of those who knew him; this work is an exhaustive and comprehensive account of the poet's priveliged and frequently turbulent life. His three marriages are discussed, as are his spell in jail,( as a Conscientious Objector)and his numerous admissions to psychiatric hospital due to manic depression. From his aristocratic but dysfunctional childhood to his last years, the reader is made aware of Lowell's progression and prowess as a poet. Of fascination too is his interactions with other great poets, most notably Frost, Pound and Eliot; the latter described as 'The Master', a mantle passed to Lowell on Eliot's death. "Lost Puritan" is illuminating and revealing, it will bring Lowell into reach for anyone who is an afficianado of his poetry. A scholarly salute to the greatest poet of the second half of the twentieth century.

I first read this journal in its original format: a handwritten, early-19th-century document now kept in the archives at the Massachusetts Historical Society. I loved it on the first reading--Lowell is an articulate, insightful writer who recorded this journey for her friends and family back home in Boston. (Just as we take snapshots of a trip, 19th-century travelers wrote journals.) Now we can all read it without making a trip to the research library in Boston.

A well-educated, well-read woman, Lowell drew on a wealth of knowledge and considerable skill as a writer, but she was also somewhat more irreverent than she should have been, according to the conventions of the time. She took note of the local gossip, the scandalous histories of some of her hosts, and the harsh treatment of slaves on the sugar plantations. It makes for an engrossing read.

Professor Robert's introduction provides the historical context for the journal, covering the Boston background as well as the Cuban information.

...of this brilliant volume persists in mind. After all these months spent buried in other books, it's incredible that such lines as "off ering our leathery love/ we're fifty, and free!" stick with me. Lowell's descriptions of souls in Hell is unsettling, while he wears one vital influence (Fugitive John Crowe Ransom), while also tackling world unrest.

I will certainly be rereading this book. If there was ever a doubt as to Lowell's genius, it's cut apart by this and other staggering works. A must read.

This one is great. I bought it for the Nora Roberts, but ended up tracking down the sequels for Heather Graham's Dark Stranger as well. They are all complete novels not short stories. If you are a Nora Roberts fan, this is the same story that came out in paperback a while back. It was first published here (McGreggor story of Ian). I started reading Elizabeth Lowel after reading this as well. I normally don't go for historical, but these were nice.

"Eight American Poets," edited by Joel Conarroe, is a fine anthology. The introduction notes that this book was "designed as a companion volume to 'Six American Poets,'" also edited by Conarroe. "Eight" follows the same plan as "Six": rather than anthologize a huge company of poets who are represented by only a few pieces each, each of Conarroe's books focuses on a relatively small group of poets, each of whom is represented by a substantial selection. Conarroe's approach allows the reader to get a fuller feel of each poet in the anthology format.

The poets of "Eight" are Theodore Roethke, Elizabeth Bishop, Robert Lowell, John Berryman, Anne Sexton, Sylvia Plath, Allen Ginsburg, and James Merrill. Each poet's work is prefaced by a substantial individual introduction.

There are many masterpieces in this book. Curiously, I found the most compelling poems to be those that focus on nature: Roethke's "The Meadow Mouse," Bishop's "The Fish," Plath's "Mushrooms," and Merrill's "The Octopus." Poems like these combine skillfully used language with keen insight, and reveal these poets to be true heirs of Walt Whitman and Emily Dickinson (two of the featured artists in "Six American Poets").

Overall, I felt that "Eight" was not as strong as its sister volume, "Six." Although there are many poetic masterpieces in "Eight," there is also much material which, in my opinion, hasn't aged well. The so-called "confessional poetry" of some of these writers strikes me as overwrought. Some of the longer poems failed to resonate with me. I was particularly disappointed by Berryman's "Homage to Mistress Bradstreet," especially since I am an admirer of Anne Bradtreet's own work. Admittedly, this criticism may merely reflect my own personal tastes, but I submit it for the reader's consideration.

The fact that so many of these poets either wrote about each other, or pop up in the editor's introductions to each others' work, sometimes gives the book as a whole a creepy, incestuous feel. And the fact that so many of these poets committed suicide, had long-term mental health problems, and/or suffered from addictions further gives the book as a whole a rather morbid feel. On second thought, maybe this group of eight is a bit problematic!

Still, editor Conarroe has assembled an impressive anthology that I would recommend for students and teachers, as well as to a general readership. Although a mixed bag, "Eight American Poets" contains some truly enduring work by an octet whose legacy is secure.

.........the best known and loved poetry of eight well-known twentieth century American poets. Includes well known poems such as Bishop's "The Fish", Roethke's "My Papa's Waltz", Berryman's "Dream Songs", Merrill's "Lost in Translation", Sexton's "Ringing the Bells", and many others.

Like Conarroe's "Six American Poets", the anthology introduces us to each poet with a short biography that is presented before the poet's work. We learn about their lives and come to understand some of the primary forces that have shaped their poetry. I have found that this greatly enriches the experience of reading poetry because I better see the struggles that lead to each individual creation. After each collection, Conarroe offers a list of books and anthologies where each poet has been published so that we, should we wish, can come to know the work of a given poet much better.

This anthology is a wonderful starting place for someone who, like me, desires an introduction to some of the greatest American poetry ever produced. Personally, I feel, after reading this anthology that I have come to truly appreciate the work of Elizabeth Bishop and Theodore Roethke, in particular. I had never known their work well, but suddenly each jumped off the page at me, Bishop for her wonderfully vivid descriptions and Roethke for his intensely moving subjects. Plath and Sexton also really spoke to me, their work so reflecting their lives. Overall, this anthology is superbly worthwhile reading!

Ah, a fine comparison and contrast in studies on the eight best American confessional poets ever. Kudos to the editor on a fine choice of poems, and candid biographies on each poet. Sylvia Plath, Anne Sexton, Allen Ginsberg, John Berryman, Theodore Roethke, Elizabeth Bishop and the other guy, here's to you.