Written over the period of twelve months, May Sarton's Journal Of A Solitude (1973) is a meditation on life, living alone, romantic love, and the creative process. Composed in diary form, the book was produced while Sarton was living alone in a small village in rural New Hampshire. By 1973, Sarton was fifty - eight years of age and an established novelist and poet who had known and corresponded with such literary luminaries as Virginia Woolf and Hilda Doolittle. Journal Of A Solitude is a warm, touching, very human book, which, after its successful publication, became the cornerstone upon which Sarton's uneasy reputation has settled. But Journal Of A Solitude also reveals Sarton to have been something of an odd duck modestly dressed in the clothing, mores, and mannerisms of a gentile Belgian lady. Sadly, what Sarton seems determined not to come to terms with is that she was a tepid, literal - minded poet as well as a less than first- rate literary novelist; this is important, because the lack of critical attention her work received ("What I have not had is the respect due what is now a considerable opus") is a constant theme of the book and source of tension. As a result, "ornery" Sarton shifts continuously between states of creative over appraisal and damning self - recrimination. Sarton's quoted poems clearly reveal a lack of lyrical skill and an absence of any visionary power whatsoever. And though she states, "Whatever peace I know rests in the natural world," Journal Of A Solitude also reveals a tender - hearted animal lover and enthusiastic gardener who nonetheless appears to lack a higher sense of nature as a symbol, sign, or metaphor for the transcendent forces evident in human reality.

Badly advised by friend and poet Louise Bogan to "keep the Hell" out of her work, Sarton, accepting Bogan's suggestion, struggles daily with a devastating, irrational temper, depression serious enough to drive her to suicidal states, loneliness, and, at only fifty - eight, a sense of herself as "old, dull, and useless." Sarton, who appears to have surprisingly little self - knowledge for a person of her maturity, is haunted by reoccurring image of "plants, bulbs, in the cellar, trying to grow without light, putting out white shoots that will inevitably wither," but doesn't consciously relate this image directly to herself or her difficult present. When a close friend visits for several days, Sarton is incensed when the woman makes an offhand comment about the faded state of a vase of flowers (though as the photographs included clearly show, flower arranging was not among Sarton's talents). Clearly, some or most of Sarton's "Hell" should have gone into and fueled her creative work, as it does in the case of most artists. Is appears that there were many things in her life that Sarton simply didn't want to confront or acknowledge.

Sarton makes contradictory statements about God and her religious beliefs, commenting first that writing poetry is her method of communicating with God, but later states, "I am not a believer." Though she frequently writes at length about the emancipation of women and the need for the abolition of gender roles, she also makes generalized statements like "nurturing is women's work," and believes that "blacks" have the "grace and instinct and intuitive understanding" necessary for the nursing profession. Today, Sarton's expression "we have so much to learn from them ("blacks")" sounds like well - intended but unconsciously smug pandering.

Sarton was not an intellectual, but the limited perspective cumulatively elaborated in her novels and poetry found a ready audience in "nice" like - minded women for whom more challenging authors like Muriel Spark, Isak Dinesen, Virginia Woolf, Jean Rhys, Katherine Anne Porter, or Jane Bowles apparently represented an arduous uphill climb. What the book does illustrate is the danger of making an unquestioning habit of "impeccable" WASP manners and politeness over a lifetime. Sarton, her close friends, and colleagues all appear to exist in a brittle world where the blunt truth and direct, honest criticism and communication are to be strenuously avoided in the name of continued social niceties.

Sadly, the success of Journal Of A Solitude had an ultimately negative effect on Sarton's career, as she began producing journal volume after journal volume (Recovering: A Journal, At Seventy: A Journal, After The Stroke: A Journal, Endgame: A Journal Of The Seventy-ninth Year, etc.), of which only The House By The Sea, which immediately followed the present volume, had the same freshness, integrity, and lack of self - consciousness. Sarton was soon to become a cottage industry for her publishers, turning out further volumes of banal poetry - "Moose In The Morning" - and, like Edith Sitwell in old age, simply publishing too much without due editorial consideration.

Journal Of A Solitude does reflect a genuine, shadow - casting human presence as well as a state of being which many people, especially the creative, the introverted, and those moving uncertainly towards later life may respond to fully. Sarton's moments of anxiety, despair, and doubt, as well as her stoicism, fortitude, and courage, are sincerely expressed, touching, and inspiring. Sarton accurately perceived herself to be country - loving, intelligent, and serenity - seeking individual who put a high premium on the simpler aspects of life. But for an author who had over twenty books published by 1973 and who was on a first - name basis with some of literature's most notoriously critical figures, Sarton was a surprisingly unsophisticated person. As a result, it is the fallible human being, and not the creative writer, who shines most brightly in Journal Of A Solitude.

reading this book was like meditation for me. She is a wonderful writer. I keep her journals close to my bed. If I've had a particularly stressful day I will pick up her journal and start reading. Like a Matisse painting, her words are "mental rest for the weary."

How refreshing to find a work written by a woman who, though unafraid to state exactly who she is, nevertheless does not need to stand and SHOUT IT OUT! As a fellow lesbian and poet, I would like to commend May Sarton's journal both for its discretion and lack of temerity. To think that she wrote her most meaningful work several decades ago, yet one can so easily relate to it today! Her universality speaks for itself - I am sure that very few women will be unable to resist responding to her revelations, whatever their standpoint on sexuality. I just wish so very much that I could have had the privilege of corresponding with her.

I have read practically all May Sarton's books and really appreciated the beautiful selection of poems and prose linked with photographs that made her come alive in this book. I also am a photographer and the way photos were used was especially well done. I enjoyed this book a lot, perhaps a lot more than I thought I would. Can be dipped into time and time again.

How can we discover a poet? No recipe. We just go through the readings, the reflections. We are touched. We are not. In a way, this selection of writings from May Sarton shows us the personal discoveries that photographer Edith Royce Schade made. May Sarton had a rather eventful life. The daughter of Belgian immigrants, a woman with many dalliances, a demanding lover to her lesbian loves. But she also was an American, a long time resident of New England, a no-nonsense woman. And her poetry speaks to all of us, to the travels and trials of our lives. The choices of Ms. Royce Schade are excellent. The pictures that she took and selected to accompany the anthology are delicate, artistic, feminine, intimate. Her portraits of the aging Sarton show the strong woman that she was, fighting age but accepting it. Ms. Royce Schade divided her choices in 6 sections that reflect how as a photographer she was influenced by the writings. Light for the light of the image. Solitude for the solitude of the photographer behind her lens. The Natural World that the photographer observes. The Love for its subjects. The Time to observe them. And the Creation Itself. My favorite section, the one that moved me most was Solitude, the Solitude of the individual when all is said and done. It includes the wonderful poem on aging, "Gestalt at Sixty" and powerful photographs of the harsh New England winter landscapes. Rarely you will find such a personal and telling anthology, such a tender tribute. Simply superb.

From May Sarton's Well is beyond doubt one of my most favorite books. I keep it on my coffee table at all times and I have given it as a gift many times over. It is always gratefully received and treasured. One can look at the photos and read the words over and over and always find something new in them. Thank you Ms Schade.

Sarton's turn as secretary to her feline auteur yields a fun, moving tale of purrsonal growth. Tom Jones, Cat-About-Town, decides it is time to find a home, and ends up at the Cambridge, MA house of Sarton and her companion. Over time, Jones becomes a Gentleman Cat, and eventually -- when he learns both to give and to receive love -- a Fur Person. Sarton raises the issues of what makes a person, and what makes a family -- and though her story risks cuteness, she ably avoids overdoing it. Cat lovers and kids are not the only folks who will enjoy this parable about the importance of love and the discovery of family in all shapes, sizes, and species.

A charming work full of humor and grace. The only downside is the great sadness brought about by the realization that neither the Cat nor Ms. Sarton are still with us.

This sweet little book is a charmer ! I live across the country from my mother, so I read it to her over the phone. Together, we got into the spirit of a homeless, prowling cat who decided it was time to settle down and be a house cat. Tom invites himself into several households before settling in on the humans he decides to take comfort with. The author does a delightful job , I think, of helping the reader fantasize about just WHAT is going on inside these little personalities.

May Sarton's novel "Mrs. Stevens Hears the Mermaids Singing" tells the story of Hilary Stevens, a 70-year old poet and novelist who lives in a house by the sea with her cat, Sirenica. When a two-person team comes to interview her, she reflects on her life, love affairs, and literary career.

"Mrs. Stevens" is a fascinating fictional portrait of a woman writer. It's fun to hear the characters discuss the novels and poetry books written by this invented character; the book has an almost Borgesian flavor in parts as this imaginary oeuvre is explored. In this book Sarton also explores sexual and romantic love in its various permutations: male-male, female-male, and female-female. Along the way the characters invoke a number of important female writers: Sappho, Jane Austen, Colette, etc.

Sarton deals with a number of compelling issues in this book: the tension between female creativity and procreativity; women's mental health; the fickle fortunes of the literary world; and the impact of a book's reception on its author. Sarton has a satiric touch in her look at the literary/publishing establishment, a gentle touch in her look at human relations. And throughout there are some nice touches, like details about Hilary's work in her garden. Overall, a solid achievement from an impressively prolific writer.

about life, poetry...

this was an incredible book. not based as much on plot as ideas, this book uses f. hilary stevens, an accomplished poet, as a medium through which we see that life, despite its inherent pain, is amazing and beautiful once viewed in the right way. eloquently written, and hard to put down.

This book is wonderful for all readers. Detailing the experiences of a lesbian woman coming to terms with the terminus of her life and the art she has produced, this book bridges ideas and generations. There is so much there that this is a must for any person who wants to think seriously about art and life.

As a 15 year old, it seemed to me a bit curious that May Sarton's book about becoming 80 touched me so deeply. Only later did I realise that May Sarton was pushing forward a very important message--emotions transcend age. Although I deeply wish this anthology had included the poem most dear to me, "Friendship: The Storms", Sarton was able to focus on many other emotions with similar strength. Truly a narrative of emotion, rather than an anothology of poetry, I highly recommend "Coming into Eighty".

"Coming into Eighty," by May Sarton, is a wonderful collection of poems from this prolific writer. Sarton includes a preface in which she reflects on writing poems in the 79th and 80th years of her life. In the preface she also pays tribute to her cat Pierrot (who is also mentioned in some of the poems).

Sarton writes with a style that is as clear as a ringing bell, but gentle and often sensuous. The central recurring theme to the book (as indicated by the title) is growing old. But Sarton is not bitter; rather, she is observant and reflective. Other important themes in the book include violence and suffering, love and friendship, and the beauties of the natural world. Her attentive eye captures animals' footprints on newly fallen snow, the flight of a golden finch, the dance of fireflies, and other wonderful things.

Some outstanding poems: "December Moon," which is rich in nature images; "After the Long Enduring," about a friend's struggle with AIDS; "The Artist," a delightful piece about an elephant with an artistic talent; "The Scream," which captures an act of violence in the natural world; and "Getting Dressed," about the effort of getting dressed when you're old.

In a back cover blurb for the book, Gwendolyn Brooks describes May Sarton as "a woman of magnificent radiance--a Truth-teller!!" I couldn't have said it better myself. For another great collection of poetry that has growing old as a key theme, try Allen Ginsberg's "Cosmopolitan Greetings."

Ahh the classic tale: Young poor but artistically endowed girl meets and falls in love with dirty scabby little donkey. Young poor but artistically endowed girl looses dirty slightly less scabby little donkey. The happy couple are reunited to heal young poor artistcally endowed girl's broken family. It's nice, but a little on the sappy side (don't tell my Mom I said that, May Sarton is her favorite author) an interesting counterpart to her rather pensive journals and poetry.

Unhappy and tightly wound Joanna goes to the beautiful island of Santorini for a much-needed vacation. She needs to heal after the war and her mother's death and finds the seclusion and lovely vistas of Santorini just what she needs to fill part of the void she feels in her heart. Despite her father's disapproval, she has turned to painting as her only outlet. But lovely Santorini, her self-imposed seclusion and the healing stokes of her craft are not enough. . . until she meets Ulysses, a little donkey that has been mistreated by his owners and finds the perfect outlet to begin feeling again. Sad little Ulysses helps her find her way back to being human and renews her hope for a future that otherwise seemed bleak. As Ulysses heals with Joanna's love and kindness, Joanna finds her compassion a balm that works on herself; suddenly she feels alive and necessary again. Recommended to all who love the Greek Isles, admire the fierce pride of the Greeks and above all know that a love of animals can help you brook many difficulties. A lovely story told within 125 pages.

My mother introduced me to this classic; I have given it to several people as gifts over the years, people heading to Greece for a vacation or people who love animals. I first read this book as a teen-ager, and have re-read it many times since. I love the simple, sweet story of how Joanna -- badly needing a vcation -- heads to Greece, where she meets Ulysses, an abused donkey. She nurses the donkey -- and herself -- back to health as they eat tomatoes and bread under the hot Greek sun, and Ulysses watches Joanna try to capture the Greek landscape with her paintings. Now and forever, whenever I think of Greece, I think of Joanna and Ulysses.

This book was very educational

At Eighty-Two is an incredible though painful final journal from Sarton. If you are reading Sarton for the first time, read Journal of a Solitude or (my favorite) Recovering first, and then turn to this one. Sarton deals in this journal primarily with the diminishment of old age. Being quite ill at the time, she occassionally comes accross quite bitter, but perhaps this is what makes this journal so poignant and so important for a society that either forgets about or romantizes old age.