430:
665:'s superiors and where there is "No raw material / Other than souls ranging in quality". Souls of the absolute highest quality belong to a select five, "immortals" who retain "through each rebirth a perfect knowledge of all their previous lives...Certain incarnations of the Five having been in one life or another:
1497:
initially took issue with the lengthy sections of doctrine as well. He wrote privately to
Merrill, saying he was "dazzled" but that the doctrine was much too prolonged and he wished for more of the poetic commentary by Merrill and less of the dialogue. Even so, after reading the final poem, Bloom
323:
Timothy
Materer has argued that Merrill's viewpoint cannot explicitly be connected to that of his character's. For instance, Merrill did not consider his mythology to be real—"except in recurrent euphoric hours when it's altogether too beautiful not the be true." For this reason, the critic
1187:
Merrill and
Jackson have a picnic before Mirabell transmits his last lesson. Maria tells Merrill and Jackson that she has peeked at Merrill's developing poem and is thrilled, but James seems frustrated with its dramatic nature, wishing it were all in his voice rather than those of
1254:, questioning the purportedly 'scientific' basis of the poem and concluding that the work is "rather silly"; or, in response to the skeptical air assumed by Merrill throughout much of the poem, they may liken Merrill's use of the Ouija board "as a kind of
29:
1154:. Importantly, he counsels that each couple have no more than two children to prevent overpopulation, lamenting man's inability to control his primal instincts. Even though Nature commands man to reproduce, God B would like these impulses checked.
934:
and his ilk to thin populations and maintain rurality. Most importantly, it seems to mean that what happens to R/Lab souls "is planned and purposeful to the minutest detail." James begins to apply this "no-accident" clause to his own life history.
929:
falls into his "no-accident clause" by keeping starved sub-populations from dropping atomic bombs to get food. Another "no-accident" is the apparition of plagues, which (in
Merrill's mythology) do not happen accidentally, but are caused by
1581:
as "perplexing", claiming that
Merrill, on first reading, seems to offer a "brilliant panorama" of human society from the ground up, but upon re-reading, finds the work pretentious and fascistic in its description of "absolute truths".
988:, has no soul left—"she's no longer human!" Radiation's interaction with the soul has already been alluded to, but Merrill and Jackson do not recognize the full extent until now: radiation slowly stripped Maria's soul, reducing her
362:...it is a rupture, we learn, that necessitates the surgery DJ must undergo...the pain of the breakage constitutes the cost, for him, of admission to the celestial seminars...JM, for his part, has been told he will have an '
315:
and his life partner, David
Jackson. There are many other characters, however, who are unseen; they exist at different stages within a cosmological hierarchy—(many are deceased friends)—ringing the red room "to insulate the
1602:
agreed, finding
Merrill's verse to be "electric with alternating currents of sympathy and scorn." For White, the book's only flaw was that the 'scorn' was occasionally so excessive as to migrate into the realm of cruelty.
558:
itself. Maria Mitsotáki and
Ephraim interrupt to speak to "JM" and "DJ" (characters are often referred to by their initials); Maria voices encouragement; Ephraim voices fear and disdain, a feeling shared by "DJ".
742:". Unfortunately, a slow and unknown process is weakening the vegetable world, so the R/Lab has begun to experimentally manufacture these plant densities via cloning. The critic Judith Moffett has clarified that
302:
argues that "the test of such a poem is not in the first reading ...but in the reading that takes place once the scheme, the family relations, and the life histories in question have become natural and familiar."
1274:
reader will go further ", finding the poem no mere "trick" by focusing on the value of the ritualistic in
Merrill's oeuvre, "the processes that prepares one to receive a vision of, and communion with, divinity."
1007:
also instruct JM and DJ on different colors (red, yellow, blue, green) and their exact symbolism within this ever-expanding mythology. Amid these never-ending lessons, DJ feels depressed and shut off from life.
1502:
seems to agree with Bloom's initial view, regretting
Merrill's "tendency to allow fewer and more modest occasions of human eloquence, while the prattle of patrons increases in both volume and ambition."
711:
in recent years: he says that the R/Lab needs five million souls each day for placement in new-born humans, but because there is only a finite number of souls, his superiors have needed to resort to "
965:; Jackson is not in Stonington with Merrill because he has just undergone surgery on his back, but "all's well." Jackson recalls the sensation of climbing a ladder; (Jacob has an identical dream in
416:
has noted that these bats "experienced adversaries and instructors whose clashing voices cast an odd light on the traditional speaker" by introducing "potentially inhuman aspects of mind and power".
339:
has called the supernaturally-occurring deceased friends "crucial" to the poem because of the "human interest they provide" which repeatedly serves as "providential relief from...pages of offbeat '
452:
mirror," their parlor is outfitted with a "7 x 10 Chinese carpet" patterned with "blue-eyed bats"; their friend ("Hubbell") designs a wallpaper for them to match the bats in the Chinese carpet.
915:
Earth"; the 'day of the scribe' is at hand. Merrill, as scribe, will create a work that will prevent destruction, though when he and Jackson ask how this can be when so few people read books,
996:
The process of these lessons will enact a similar stripping process on James and David, the 'light' of radiation being substituted with the 'light' of knowledge. Through this 'stripping,'
471:. Maria commends "DJ's old parents, now the end is near". Sure enough, Mary dies in the hospital, after which James Merrill and David Jackson make contact with the latter's parents via
586:
The section closes as Ephraim reappears to assure protection from these bats should they seek to cause harm. Among those defending is Ephraim and many of Merrill's deceased friends:
568:, a friend of Merrill's, comes to visit; at the Ouija board, the bats are silent. Instead, Kalstone is introduced to his heavenly representative, Luca Spionari, a sixteen-year-old "
2707:
1376:. One objective of this irony is to anticipate criticism and work it into the fabric of the poem, thus disarming the critic and clearing the field for the triumphant author."
1548:
conversations might be too forbidding for readers since they led to an air of cliquishness. Dana Yeaton may have been trying to voice the same argument when she discredited
746:"often seems to signify...something more like modify or program". Maria, who was heavily interested in gardening during her life, is destined to join this world of plants.
734:
introduces another type of soul, one separate from the animal and human souls already described: plant (or vegetable) souls. Whereas animal densities might add a certain "
1907:
1493:'s doctrinal lessons, would be far less generous, calling the poem as "inartistic as the content is fatuous; the structure is haphazard; the lyricism virtually mute."
433:
The 'red room' from the James Merrill House in Stonington, CT, where James Merrill and David Jackson conducted most of the scéances which would make up the plot of
753:, heretofore known to be unfeeling like the rest of his vampiric acquaintances, admits that he has come to love Merrill and Jackson—admits that he is filled with "
393:(Auden)." In this way, the book can be seen as a long farewell to parental figures, especially since the death of David Jackson's parents kicks off the narrative.
2235:
1752:
381:
for their childlessness, thus substituting virtues of the mind and heart for the "civic and familial and marital values usually espoused by the epic." The critic
856:
is temporarily demoted because his listeners doubted him, but prophesies laurels for Merrill's poem, saying that he will write another long poem after this one.
579:
The next day, the bats return to tell of fourteen anchor sites that they left when they abandoned Earth (Avebury is one of these sites). They also describe the
1179:
Judith Moffett has noticed that the lessons which begin towards the close of Book 8 and continuing throughout Book 9 become "increasingly lyrical and clear".
1124:
Mirabell describes the development of culture, starting with an early hominid scribbling a square into the mud and ending with language and the appearance of
1570:, Spender would describe Merrill's work as a "complex and elaborate fantasy which yields beautiful insights, wonderful lines of poetry, sustained flights of
719:". Such change is concerning, but equally concerning is the knowledge that the R/Lab technicians used to see 100 years ahead, but lately, increasing human
1556:
concurs more lengthily on the subject of camp cliquishness but notes that such a style has "strategic advantages" since it can cleverly transform into the
583:
as exact prisms of light reproduced in stone; the poem which James Merrill is creating will be a similar prism of light, but textual instead of physical.
1485:— a sheer willingness to bore" but frames this as a way in which to enlarge the stylistic scope of the poem in rejection of the "exclusively beautiful."
888:
1594:
be read for its "Truth" but for the quality of its poetry, which she suggests is greater in scope and technical virtuosity than most (if not all) of
1207:) was his pupil. Mirabell offers his last lesson two days before the angel arrives; he recapitulates the instructions for purification from Book 8.
841:
from tormenting the weak. The bats left, rarely returning to make vital repairs to their anchor sites. This neglect leads God B to erase traces of
1574:, shining witticisms, examples of great technical virtuosity, but not a unifying vision, the result of some obsessive act of the imagination."
852:
W.H. Auden and Maria Mitsotáki encourage James Merrill and David Jackson to make contact with 40076 (mentioned at the beginning of Section 2);
2211:
1780:
1736:
1157:
The next 'mooncycle', an angel will appear in their scéance, but a representative tells Merrill and Jackson that they will not be allowed to
2712:
1313:
locates literary influences in the works specifically name-checked by Merrill as "works written by men to whom the angels speak outright:
1595:
1628:(With essay Megan Snyder-Camp from the Awards 60-year anniversary blog —one "Appreciation" covering both of Merrill's poetry awards.)
2466:
2297:
1883:
1825:
1649:
125:
1210:
Merrill takes stock of the day leading up to the angelic visitation, hour by hour. At 5:00 PM, the angel seems to arrive, defining
2702:
784:". The five elite souls (mentioned in section 2.5) are symbolically connected to the five protagonists, the five vertices on a
1549:
1203:
hierarchy than he did at the start of this narrative and tells Merrill and Jackson that Ephraim (who dictated the lessons in
476:
329:
203:
192:
68:
2518:
1418:
or certain long poems in its use of the "autobiographical quest" intermixed with notions of the supreme. Bromwich mentions
2722:
1093:(henceforth referred to as Mirabell) says that he likes his name and that there will be ten more lessons until the end of
1567:
864:
was the first of "the 5" to be cloned for repurposing in future generations; he also describes the commencement of a "
2490:
2717:
1849:
772:) are now pictured as a unified group—equal in number to the holy '5' discussed earlier. With this, the notion of "
626:" and is not always the creature with whom Merrill and Jackson converse. For instance, they had earlier spoken to
1533:-like poetic commentary only helps to make it more special, more jarringly beautiful. Robert Shaw, reviewing for
1977:
2362:
Stitt, Peter (1979). Finkel, Donald; Dunn, Stephen; Bursk, Christopher; Wagoner, David; Merrill, James (eds.).
1623:
602:. W.H. Auden and Maria Mitsotáki will provide Merrill with routine commentary on lessons given by the bat-like
972:
Book 6 also shows Merrill and Jackson coming to the horrifying conclusion that Maria Mitsotáki (who underwent
163:
1504:
1350:
429:
325:
252:
1000:
is either changing man into his agent or preparing a new species, though which one is not exactly clear.
562:
James complains about the bats' use of veiled and nonspecific language, causing them to fly off in anger.
150:
1541:
contained "a good many beauties and perplexities", while also finding the phantasmal doctrine tiresome.
1255:
1104:" is crafted by drawing on the energy sources previously mentioned as 'densities' and stemming from the
658:
1619:
1498:
seems to have foregone his former conclusions, stating that the work was "a coherence and a splendor".
467:, have died in "the previous year", James Merrill and David Jackson return to the Ouija board used in
2458:
1251:
1085:
1051:, and the R/Lab was created to clone their soul densities. Towards the end of their lives, Akhnaton "
358:
of fragmentation, noting that "the word 'break,' in conjugated or participle form, recurs throughout
2303:
1441:
claiming that all use a "trial-and-error cosmogony and important messages from important friends".
1223:
678:
441:
2582:
1226:. The book ends as Michael commands Merrill and Jackson to look towards the setting sun, to look "
2678:
2639:
2563:
2433:
2383:
2341:
2278:
2229:
2033:
1958:
1950:
1901:
1843:
1746:
1534:
1474:
1287:
1162:
464:
370:
233:
on its corresponding number. For example, section 5 begins with the word "Go" which matches the
1165:, or consume meat for a full twenty-four hours before so that the angel can be accorded their "
2670:
2631:
2586:
2555:
2472:
2462:
2425:
2375:
2333:
2270:
2217:
2207:
2025:
1981:
1942:
1889:
1879:
1831:
1821:
1786:
1776:
1732:
1655:
1645:
1364:
David Wagoner locates Merrill's stylistic behavior within a larger poetic tradition including
1016:
973:
966:
876:
789:
580:
355:
234:
132:
120:
2623:
2417:
2262:
1934:
1396:
1176:' or 'source-of-light'. Robert Morse, a friend, also comes to visit but dies shortly after.
1081:
1108:.The second of ten 'last lessons' is on the subject of the body, which is pictured as the "
1558:
1553:
1523:"). In this analogy, the phantasmal doctrine, though tiresome, is as equally necessary as
1479:
1430:
1424:
1419:
1384:
1299:
599:
549:
487:
460:
237:
218:
1674:
1583:
1499:
1449:
1415:
1400:
1217:
1020:
1012:
884:
834:
824:
their word above the trees: signals...hovering over clear land areas where they cd feed
708:
690:
565:
445:
413:
336:
284:
226:
187:
183:
89:
792:(with "nature" serving as a fifth). Five will later be symbolically connected to the "
2696:
1962:
1486:
1461:
1373:
1358:
1334:
1310:
1133:
1105:
1036:
1011:
The section closes as Merrill and Jackson are told that major literary works such as
977:
880:
872:
591:
449:
382:
312:
299:
268:
179:
42:
2203:
The changing light at Sandover : with the stage adaptation Voices from Sandover
320:
with their affection from the lethal power of fifteen other 'beings' also present."
1599:
1545:
1494:
1412:
1365:
1346:
1303:
1283:
1267:
1243:
1200:
950:
666:
541:
256:
1513:
1408:
1342:
1338:
1330:
1279:
1259:
595:
264:
78:
385:
sees Auden and Maria as parental figures: "They are people who call JM and DJ "
377:(deceased)—are chosen for inclusion in the spiritual education which comprises
328:
draws a distinction between James Merrill the person and "JM" as he appears in
1524:
1436:
1369:
1291:
1189:
1158:
845:'s kin and to destroy the last centaurs (who, by this point, had evolved into
587:
555:
545:
510:
374:
317:
260:
221:(starting with '0' and ending with '9') and corresponding to the numbers on a
190:. It is the second of three books which together form the epic 560-page poem,
28:
2674:
2635:
2590:
2559:
2429:
2379:
2337:
2274:
2221:
2029:
1985:
1946:
1893:
1790:
455:
Then David Jackson's parents, "Matt and Mary" visit Merrill and their son in
2476:
1835:
1469:
1129:
1125:
1048:
904:
861:
838:
650:
1659:
981:
899:
Book 5 clarifies many previously touched-upon topics: Human soul densities
717:
a concerted use of atomic / weaponry now falling into hands of animal souls
641:
is described as a "density in man par excellence" (not to be confused with
618:
The section opens as the bat who has been speaking reveals he has a number—
244:
206:. It was the fourth time Merrill was nominated and the second time he won.
2201:
1938:
1770:
657:(or R/Lab) is a "precinct of intense / Activity" and contains an array of
502:". Merrill reads several scientific texts for inspiration but none comes.
139:
2452:
1815:
1571:
1482:
1392:
1326:
1318:
1263:
1172:
Meanwhile, Mirabell defines man's imaginative power as belonging to the '
926:
846:
682:
634:
344:
295:
280:
2682:
2658:
2643:
2611:
2567:
2543:
2387:
2363:
2345:
2321:
2037:
2013:
1639:
1147:
Mirabell also says that atomic testing must cease so that the atom can "
1073:
endorses suicide so as to get their souls recycled as soon as possible.
2437:
2405:
2282:
2250:
1954:
1922:
1444:
Finally, David Kalstone suggests a connection between the chiropteran "
1137:
815:
785:
762:
670:
506:
351:
340:
919:
returns with a customary reply about the unimportance of the masses.
2627:
1873:
1563:
1552:
for containing very little content to which the reader could relate.
1529:
for the advancement of plot and narrative. The scarcity of Merrill's
1388:
1322:
1027:
and his legion of bats. These literary masterpieces are part of the "
962:
794:
674:
456:
440:
The narrative opens with a description of "Household decoration" for
2421:
2266:
1399:" and both involve a moral quest with many surprising vicissitudes.
1258:
trick" to find creative insights within the self. Lehman notes that
1372:
since he "writes in the ironic mode identified twenty years ago by
1031:" mentioned in Book 3. Merrill's poem will be a completion of the "
871:
The section closes as Maria Mitsotáki and James Merrill learn that
633:
Merrill uses part of this section to define important words in the
1519:
1314:
573:
472:
428:
350:
The interruption provided by these friends, along with the use of
276:
248:
222:
2491:"Literary Fanmail: The Letters of Harold Bloom and James Merrill"
1530:
1295:
720:
642:
532:
1775:. Annotated by Stephen Yenser (1st ed.). New York: Knopf.
723:
has limited their visibility to thirty years into the future.
459:. Matt and Mary are days away from death. Since their friends,
2206:. J. D. McClatchy, Stephen Yenser. New York. pp. 93–276.
1302:
pilots who spelled out dire predictions of nuclear disaster."
1211:
537:
505:
The section closes as Merrill and Jackson make plans to visit
272:
230:
814:". Though these creatures were hairless, they resembled the
133:
1298:
conversed by means of a tapping table with a group of slain
1246:
suggested they might connect the large undead population of
1097:. The first of these lessons is on the subject of the soul.
1507:
reconciles the excessive 'prattle of patrons' by comparing
875:
have affected their soul densities; Maria's because of the
448:. David Jackson (Merrill's life partner) hauls an "immense
1306:, for example, would write a "Dialog Over a Ouija Board".
768:
The five of them (Mitsotáki, Auden, Merrill, Jackson, and
757:?" This emotional development is matched by a formal one:
475:. According to the theology outlined in the first part of
1194:
think what a minor / part the self plays in a work of art
961:
The section opens with Merrill visiting David Jackson in
637:
which these fallen angels are slowly sketching for him:
2251:"James Merrill, Sylvia Plath, and the Poetics of Ouija"
525:" (mentioned in Section 0 of Mirabell and Section U of
369:
The four main characters—James Merrill, David Jackson,
255:" during the summer of 1976 All messages received from
1222:", and informing Merrill and Jackson that his name is
217:
is divided into ten sections, each represented by an
1978:"James Merrill's Myth: An Interview | Helen Vendler"
1047:
Akhnaton, first of 'the 5' was a "double soul" with
1023:
were all written with the invisible guiding hand of
713:
the souls of domestic animals most recently the rat
2299:
Dialogue over a ouija board : a verse dialogue
1407:'s verse, saying that Merrill has the "buoyancy of
938:
The section closes on the hopeful suggestion that "
630:, but he abandoned them because of their rudeness.
267:poetic commentary. Deceased humans always speak in
158:
145:
131:
119:
111:
103:
95:
84:
74:
64:
56:
48:
38:
738:", these plant densities endow its bearer with a "
311:The only recurring characters who are visible are
1136:. He also teaches Merrill and Jackson about the
400:are Merrill's bats, alternately referred to as "
290:Many have noted the difficulty of understanding
2195:
2193:
2191:
2189:
2187:
2185:
2183:
2181:
2179:
2177:
2175:
2173:
2171:
2169:
2167:
2165:
2163:
2161:
2159:
2157:
2155:
2153:
2151:
2149:
2147:
2145:
2143:
2141:
2139:
2137:
2135:
2133:
2131:
2129:
2127:
2125:
2123:
2121:
2119:
2117:
2115:
2113:
2111:
2109:
2107:
2105:
2103:
2101:
2099:
2097:
2095:
2093:
2091:
2089:
2087:
2085:
2083:
2081:
2079:
2077:
2075:
2073:
2071:
2069:
2067:
1820:. Harold Bloom. New York: Chelsea House. 1985.
1387:, pointing out that both rely on a mixture of "
1192:or Mirabell's. Auden, however, exhorts him to "
833:and his race decided to kill the immortals via
2657:Moffett, Judith (1979). Merrill, James (ed.).
2404:Bromwich, David (1979). Merrill, James (ed.).
2065:
2063:
2061:
2059:
2057:
2055:
2053:
2051:
2049:
2047:
1722:
1720:
1718:
1716:
1714:
1712:
687:pursue their leadership / under various guises
2012:Parisi, Joseph (1979). Merrill, James (ed.).
1710:
1708:
1706:
1704:
1702:
1700:
1698:
1696:
1694:
1692:
1262:did a similar thing when he took note of his
490:, alerts Merrill that he has been chosen by "
8:
2708:National Book Award for Poetry winning works
2320:White, Edmund (1979). Merrill, James (ed.).
1906:: CS1 maint: multiple names: authors list (
1867:
1865:
1863:
1861:
1859:
1729:James Merrill, An Introduction to the Poetry
1238:When imagining how readers might respond to
812:wingless creatures...crawling and serpentine
699:to help speed the acceptance of the 5's work
19:
1810:
1808:
1806:
1804:
1802:
1800:
810:says that the first animals on Earth were "
2234:: CS1 maint: location missing publisher (
1751:: CS1 maint: location missing publisher (
229:has noted that each section begins with a
196:, which was published as a whole in 1982.
27:
18:
1220:since the death of the first distant cell
868:" clause which will be elucidated later.
1875:James Merrill : Essays in Criticism
1612:
1060:"drew / the knife over their 4 wrists."
949:assures that Biology will win out over
16:1978 poetry collection by James Merrill
2513:
2511:
2399:
2397:
2357:
2355:
2315:
2313:
2227:
2007:
2005:
2003:
2001:
1899:
1841:
1744:
1286:within a greater literary tradition: "
1167:unclouded reason and...total reverence
1076:James Merrill decides on Mirabell for
1062:God B allowed them to die since they "
765:within the "realm of no appearances".
536:" and have the physical appearance of
509:("both a holy and a homely site") and
2612:"Review of Mirabell: Books of Number"
2583:"Heaven Can't Wait | Stephen Spender"
1764:
1762:
782:work guided by a higher collaboration
259:characters via Ouija board appear in
7:
2302:(1st ed.). Cambridge, England:
1250:with the "mock-heroic machinery" of
479:, Matt will be reborn on Earth for "
2519:"James Merrill and the Ouija Board"
2457:(1st ed.). Orlando, Florida:
2406:"Answer, Heavenly Muse, Yes or No"
2364:"Knowledge, Belief, and Bubblegum"
1035:" started by his deceased friend,
740:benign lack of destructive rivalry
243:The book takes place over several
14:
1923:"James Merrill's Polyphonic Muse"
1199:Mirabell now ranks higher in the
749:But something stranger is afoot.
2544:"Review of Beyond All Criticism"
1976:Merrill, James; Vendler, Helen.
1673:Yesner, Stephen (October 1981).
1216:the accumulated intelligence in
649:is the 12% of man which is not "
486:After some time, Ephraim, their
251:in a "domed, round, red room in
925:tells Merrill and Jackson that
540:. Paradoxically, they are also
389:" (Maria, known as 'Maman') or
2548:New England Review (1978-1982)
1872:D., Berger, C. Lehman (1983).
1468:"shares with all systems—from
1425:Notes Toward a Supreme Fiction
1290:experimented briefly with the
776:" is cryptically inaugurated;
653:, Environment, / Et al."; the
624:a figuratively numberless host
498:"; his task will be to write "
477:The Changing Light at Sandover
354:has allowed critics to find a
330:The Changing Light at Sandover
204:National Book Award for Poetry
193:The Changing Light at Sandover
69:The Changing Light at Sandover
1:
1620:"National Book Awards – 1979"
1282:locates Merrill's use of the
1228:into the red eye of your god!
1142:any imbalance is...man's work
544:who caused the appearance of
1878:. Cornell University Press.
1568:The New York Review of Books
1544:Shaw also believed that the
396:The strangest characters in
2713:American poetry collections
1675:"Recent Poetry: Five Poets"
1152:& the uses of paradise"
1069:". Under these conditions,
715:". The lab worries about "
529:) reveal themselves to be "
2739:
2663:The American Poetry Review
2454:Collected poems, 1943-2004
2326:The American Poetry Review
1403:agrees about the style of
1114:the house calld man/psyche
550:negative electrical charge
1921:Materer, Timothy (2006).
1641:Mirabell, books of number
1562:, used by Merrill with a
1240:Mirabell: Books of Number
1095:Mirabell: Books of Number
442:James Merrill's residency
408:", "fallen angels", and "
182:(1926–1995) published by
178:is a volume of poetry by
175:Mirabell: Books of Number
26:
21:Mirabell: Books of Number
2451:Wilbur, Richard (2004).
1727:Moffett, Judith (1984).
1626:. Retrieved 2012-04-06.
1624:National Book Foundation
1596:twentieth-century poetry
1053:slept only / druggd, nef
980:) is appearing in these
944:"green atlantan fields".
883:. James' because of the
622:—though he ranks among "
298:density, but the critic
2703:Poetry by James Merrill
2200:Merrill, James (2011).
1927:Contemporary Literature
1769:Merrill, James (2018).
1638:Merrill, James (1980).
942:," there will still be
707:goes on to discuss the
164:Scripts for the Pageant
2616:World Literature Today
2296:Plath, Sylvia (1981).
1848:: CS1 maint: others (
1644:. New York: Atheneum.
1577:Daisy Aldan describes
1329:, and, in later days,
1110:soul's dwelling place
437:
2610:Aldan, Daisy (1979).
2542:Yeaton, Dana (1981).
2249:Sword, Helen (1994).
1939:10.1353/cli.2006.0024
1566:quality. Writing for
1379:Joseph Parisi likens
1149:be returned / to the
659:mathematical formulae
496:artistic breakthrough
432:
263:and are broken up by
2723:Atheneum Books books
1489:, on the subject of
1411:", often resembling
1264:wife's sleep-talking
1252:The Rape of the Lock
1086:The Way of the World
1080:'s name, taken from
837:to prevent the more
709:population explosion
693:. Merrill's job as "
2523:archive.nytimes.com
2255:American Literature
1772:The Book of Ephraim
1353:would also compare
1234:Literary influences
1205:The Book of Ephraim
1058:". Thus, Nefertiti
940:three decades hence
570:lissome...stripling
527:The Book of Ephraim
469:The Book of Ephraim
210:Style and structure
151:The Book of Ephraim
33:First edition cover
23:
2581:Spender, Stephen.
2368:The Georgia Review
2322:"On James Merrill"
1586:, however, thinks
1535:The New York Times
1517:(despite all the "
1475:The Book of Mormon
1456:Critical reception
1288:Rainer Maria Rilke
1082:William Congreve's
984:because she, like
879:she underwent for
822:'s race to carry "
761:transforms into a
438:
364:artistic breakthru
287:fall from grace."
283:lines to enact a "
279:speak in fourteen-
202:won the 1979 U.S.
2718:1978 poetry books
2410:The Hudson Review
2213:978-0-375-71174-9
1782:978-1-5247-1134-4
1738:978-0-231-05210-8
1319:the four Apostles
1017:The Divine Comedy
974:radiation therapy
877:radiation therapy
780:describes it as "
594:, Marius Bewley,
581:Egyptian pyramids
548:and serve as the
171:
170:
107:Print (hardcover)
96:Publication place
49:Cover artist
2730:
2687:
2686:
2659:"What Is Truth?"
2654:
2648:
2647:
2628:10.2307/40133128
2607:
2601:
2600:
2598:
2597:
2578:
2572:
2571:
2539:
2533:
2532:
2530:
2529:
2515:
2506:
2505:
2503:
2502:
2487:
2481:
2480:
2448:
2442:
2441:
2401:
2392:
2391:
2359:
2350:
2349:
2317:
2308:
2307:
2293:
2287:
2286:
2246:
2240:
2239:
2233:
2225:
2197:
2042:
2041:
2009:
1996:
1995:
1993:
1992:
1973:
1967:
1966:
1918:
1912:
1911:
1905:
1897:
1869:
1854:
1853:
1847:
1839:
1812:
1795:
1794:
1766:
1757:
1756:
1750:
1742:
1724:
1687:
1686:
1670:
1664:
1663:
1635:
1629:
1617:
1450:Richard Wilbur's
1447:
1420:Wallace Stevens'
1397:high seriousness
1229:
1221:
1195:
1175:
1168:
1153:
1150:
1143:
1115:
1113:
1103:
1102:base of the soul
1068:
1067:their usefulness
1065:
1061:
1057:
1054:
1034:
1030:
999:
995:
992:and joining her
991:
945:
941:
903:be destroyed by
867:
825:
813:
798:
783:
775:
756:
741:
737:
718:
714:
700:
696:
688:
679:Dag Hammarskjöld
625:
605:
571:
535:
524:
501:
500:poems of science
497:
493:
482:
411:
407:
406:the sons of cain
403:
392:
388:
373:(deceased), and
365:
159:Followed by
146:Preceded by
135:
31:
24:
2738:
2737:
2733:
2732:
2731:
2729:
2728:
2727:
2693:
2692:
2691:
2690:
2656:
2655:
2651:
2609:
2608:
2604:
2595:
2593:
2580:
2579:
2575:
2541:
2540:
2536:
2527:
2525:
2517:
2516:
2509:
2500:
2498:
2489:
2488:
2484:
2469:
2461:. p. 314.
2450:
2449:
2445:
2422:10.2307/3850604
2403:
2402:
2395:
2361:
2360:
2353:
2319:
2318:
2311:
2295:
2294:
2290:
2267:10.2307/2927604
2248:
2247:
2243:
2226:
2214:
2199:
2198:
2045:
2011:
2010:
1999:
1990:
1988:
1975:
1974:
1970:
1920:
1919:
1915:
1898:
1886:
1871:
1870:
1857:
1840:
1828:
1814:
1813:
1798:
1783:
1768:
1767:
1760:
1743:
1739:
1726:
1725:
1690:
1672:
1671:
1667:
1652:
1637:
1636:
1632:
1627:
1618:
1614:
1609:
1559:double entendre
1554:Stephen Spender
1537:also said that
1458:
1445:
1385:The Magic Flute
1270:says that the "
1236:
1227:
1215:
1193:
1185:
1173:
1166:
1151:
1148:
1141:
1140:, saying that "
1122:
1111:
1109:
1101:
1066:
1063:
1059:
1055:
1052:
1045:
1032:
1028:
1019:, and works by
997:
993:
989:
959:
943:
939:
897:
873:atomic energies
865:
860:then says that
823:
811:
805:
793:
781:
773:
754:
739:
735:
729:
716:
712:
698:
694:
686:
685:." These Five "
623:
616:
603:
600:Chester Kallman
569:
530:
522:
519:
499:
495:
491:
488:Familiar spirit
480:
465:Maria Mitsotáki
461:Chester Kallman
427:
422:
409:
405:
401:
390:
386:
371:Maria Mitsotáki
363:
309:
294:because of its
238:transliteration
212:
104:Media type
52:Dorothea Barlow
34:
17:
12:
11:
5:
2736:
2734:
2726:
2725:
2720:
2715:
2710:
2705:
2695:
2694:
2689:
2688:
2649:
2602:
2573:
2554:(2): 330–333.
2534:
2507:
2482:
2467:
2443:
2416:(3): 455–460.
2393:
2374:(3): 699–706.
2351:
2309:
2288:
2261:(3): 553–572.
2241:
2212:
2043:
2024:(3): 161–173.
2014:"Ghostwriting"
1997:
1968:
1933:(2): 207–235.
1913:
1884:
1855:
1826:
1796:
1781:
1758:
1737:
1688:
1665:
1650:
1630:
1611:
1610:
1608:
1605:
1584:Judith Moffett
1500:David Bromwich
1457:
1454:
1452:poem, "Mind".
1446:men b4 mankind
1413:Jean Cocteau's
1401:David Bromwich
1235:
1232:
1184:
1181:
1121:
1118:
1044:
1041:
1021:Arthur Rimbaud
1013:The Waste Land
994:"to infinity".
958:
955:
896:
893:
885:mushroom cloud
816:mythic centaur
804:
801:
728:
725:
691:space research
615:
612:
566:David Kalstone
523:men b4 mankind
518:
515:
492:men b4 mankind
446:Stonington, CT
426:
423:
421:
418:
414:David Kalstone
402:men b4 mankind
337:Judith Moffett
308:
305:
261:small capitals
227:Stephen Yenser
219:Arabic numeral
211:
208:
184:Atheneum Books
169:
168:
160:
156:
155:
147:
143:
142:
137:
129:
128:
123:
117:
116:
113:
109:
108:
105:
101:
100:
97:
93:
92:
86:
82:
81:
76:
72:
71:
66:
62:
61:
58:
54:
53:
50:
46:
45:
40:
36:
35:
32:
15:
13:
10:
9:
6:
4:
3:
2:
2735:
2724:
2721:
2719:
2716:
2714:
2711:
2709:
2706:
2704:
2701:
2700:
2698:
2684:
2680:
2676:
2672:
2668:
2664:
2660:
2653:
2650:
2645:
2641:
2637:
2633:
2629:
2625:
2621:
2617:
2613:
2606:
2603:
2592:
2588:
2584:
2577:
2574:
2569:
2565:
2561:
2557:
2553:
2549:
2545:
2538:
2535:
2524:
2520:
2514:
2512:
2508:
2496:
2492:
2486:
2483:
2478:
2474:
2470:
2468:0-15-101105-2
2464:
2460:
2456:
2455:
2447:
2444:
2439:
2435:
2431:
2427:
2423:
2419:
2415:
2411:
2407:
2400:
2398:
2394:
2389:
2385:
2381:
2377:
2373:
2369:
2365:
2358:
2356:
2352:
2347:
2343:
2339:
2335:
2331:
2327:
2323:
2316:
2314:
2310:
2305:
2304:Rainbow Press
2301:
2300:
2292:
2289:
2284:
2280:
2276:
2272:
2268:
2264:
2260:
2256:
2252:
2245:
2242:
2237:
2231:
2223:
2219:
2215:
2209:
2205:
2204:
2196:
2194:
2192:
2190:
2188:
2186:
2184:
2182:
2180:
2178:
2176:
2174:
2172:
2170:
2168:
2166:
2164:
2162:
2160:
2158:
2156:
2154:
2152:
2150:
2148:
2146:
2144:
2142:
2140:
2138:
2136:
2134:
2132:
2130:
2128:
2126:
2124:
2122:
2120:
2118:
2116:
2114:
2112:
2110:
2108:
2106:
2104:
2102:
2100:
2098:
2096:
2094:
2092:
2090:
2088:
2086:
2084:
2082:
2080:
2078:
2076:
2074:
2072:
2070:
2068:
2066:
2064:
2062:
2060:
2058:
2056:
2054:
2052:
2050:
2048:
2044:
2039:
2035:
2031:
2027:
2023:
2019:
2015:
2008:
2006:
2004:
2002:
1998:
1987:
1983:
1979:
1972:
1969:
1964:
1960:
1956:
1952:
1948:
1944:
1940:
1936:
1932:
1928:
1924:
1917:
1914:
1909:
1903:
1895:
1891:
1887:
1885:0-8014-1404-0
1881:
1877:
1876:
1868:
1866:
1864:
1862:
1860:
1856:
1851:
1845:
1837:
1833:
1829:
1827:0-87754-618-5
1823:
1819:
1818:
1817:James Merrill
1811:
1809:
1807:
1805:
1803:
1801:
1797:
1792:
1788:
1784:
1778:
1774:
1773:
1765:
1763:
1759:
1754:
1748:
1740:
1734:
1730:
1723:
1721:
1719:
1717:
1715:
1713:
1711:
1709:
1707:
1705:
1703:
1701:
1699:
1697:
1695:
1693:
1689:
1684:
1680:
1676:
1669:
1666:
1661:
1657:
1653:
1651:0-689-11167-3
1647:
1643:
1642:
1634:
1631:
1625:
1621:
1616:
1613:
1606:
1604:
1601:
1597:
1593:
1589:
1585:
1580:
1575:
1573:
1569:
1565:
1561:
1560:
1555:
1551:
1547:
1542:
1540:
1536:
1532:
1528:
1527:
1522:
1521:
1516:
1515:
1510:
1506:
1505:Joseph Parisi
1501:
1496:
1492:
1488:
1487:David Wagoner
1484:
1481:
1477:
1476:
1471:
1467:
1463:
1462:Helen Vendler
1455:
1453:
1451:
1442:
1440:
1438:
1433:
1432:
1427:
1426:
1421:
1417:
1414:
1410:
1406:
1402:
1398:
1394:
1390:
1386:
1382:
1377:
1375:
1374:Northrop Frye
1371:
1367:
1362:
1360:
1359:Paradise Lost
1356:
1352:
1351:Joseph Parisi
1348:
1344:
1340:
1336:
1332:
1328:
1324:
1320:
1316:
1312:
1311:Helen Vendler
1309:Alternately,
1307:
1305:
1301:
1297:
1293:
1289:
1285:
1281:
1276:
1273:
1269:
1265:
1261:
1257:
1253:
1249:
1245:
1242:, the critic
1241:
1233:
1231:
1225:
1219:
1213:
1208:
1206:
1202:
1197:
1191:
1182:
1180:
1177:
1170:
1164:
1160:
1155:
1145:
1139:
1135:
1134:Homeric epics
1131:
1127:
1119:
1117:
1107:
1106:four elements
1098:
1096:
1092:
1088:
1087:
1083:
1079:
1074:
1072:
1050:
1042:
1040:
1038:
1037:Hans Lodeizen
1026:
1022:
1018:
1014:
1009:
1006:
1001:
990:"to essences"
987:
983:
979:
978:breast cancer
975:
970:
968:
964:
956:
954:
952:
948:
936:
933:
928:
924:
920:
918:
914:
910:
906:
902:
894:
892:
890:
886:
882:
881:breast cancer
878:
874:
869:
863:
859:
855:
850:
848:
844:
840:
836:
832:
827:
821:
818:and invented
817:
809:
802:
800:
796:
791:
790:four elements
787:
779:
771:
766:
764:
760:
755:is it manners
752:
747:
745:
736:joie de vivre
733:
726:
724:
722:
710:
706:
702:
692:
684:
680:
676:
672:
668:
664:
660:
656:
652:
648:
644:
643:the ethnicity
640:
636:
631:
629:
621:
613:
611:
609:
601:
597:
593:
592:Hans Lodeizen
589:
584:
582:
577:
575:
567:
563:
560:
557:
554:
551:
547:
543:
542:fallen angels
539:
534:
528:
516:
514:
512:
508:
503:
489:
484:
478:
474:
470:
466:
462:
458:
453:
451:
447:
443:
436:
431:
424:
419:
417:
415:
412:. The critic
399:
394:
384:
383:Helen Vendler
380:
376:
372:
367:
361:
357:
353:
348:
346:
342:
338:
333:
331:
327:
326:Joseph Parisi
321:
319:
314:
313:James Merrill
306:
304:
301:
300:Helen Vendler
297:
293:
288:
286:
282:
278:
277:fallen angels
274:
270:
269:decasyllabics
266:
262:
258:
254:
250:
246:
241:
239:
236:
232:
228:
225:. The critic
224:
220:
216:
209:
207:
205:
201:
197:
195:
194:
189:
185:
181:
180:James Merrill
177:
176:
167:
165:
161:
157:
154:
152:
148:
144:
141:
138:
136:
130:
127:
126:0-689-10901-6
124:
122:
118:
114:
110:
106:
102:
99:United States
98:
94:
91:
87:
83:
80:
77:
73:
70:
67:
63:
59:
55:
51:
47:
44:
43:James Merrill
41:
37:
30:
25:
22:
2669:(5): 12–16.
2666:
2662:
2652:
2619:
2615:
2605:
2594:. Retrieved
2576:
2551:
2547:
2537:
2526:. Retrieved
2522:
2499:. Retrieved
2497:. 2022-12-20
2495:Literary Hub
2494:
2485:
2453:
2446:
2413:
2409:
2371:
2367:
2329:
2325:
2298:
2291:
2258:
2254:
2244:
2202:
2021:
2017:
1989:. Retrieved
1971:
1930:
1926:
1916:
1874:
1816:
1771:
1731:. New York.
1728:
1682:
1678:
1668:
1640:
1633:
1615:
1600:Edmund White
1591:
1587:
1578:
1576:
1557:
1543:
1538:
1525:
1518:
1512:
1508:
1495:Harold Bloom
1490:
1473:
1465:
1459:
1443:
1435:
1429:
1423:
1404:
1380:
1378:
1366:John Ashbery
1363:
1354:
1347:Edmund White
1308:
1304:Sylvia Plath
1284:supernatural
1277:
1271:
1268:David Lehman
1247:
1244:David Lehman
1239:
1237:
1209:
1204:
1201:cosmological
1198:
1186:
1178:
1171:
1156:
1146:
1123:
1099:
1094:
1090:
1084:
1077:
1075:
1070:
1046:
1024:
1010:
1004:
1002:
985:
971:
960:
946:
937:
931:
922:
921:
916:
912:
908:
900:
898:
870:
857:
853:
851:
842:
835:atomic blast
830:
829:Eventually,
828:
819:
807:
806:
777:
769:
767:
758:
750:
748:
743:
731:
730:
704:
703:
662:
661:directed by
655:Research Lab
654:
646:
638:
632:
627:
619:
617:
610:progresses.
607:
604:sons of cain
585:
578:
564:
561:
552:
531:the sons of
526:
520:
504:
485:
481:2 more lives
468:
454:
439:
434:
397:
395:
378:
368:
359:
349:
334:
322:
310:
291:
289:
271:, while the
257:supernatural
242:
214:
213:
199:
198:
191:
174:
173:
172:
162:
149:
20:
2332:(5): 9–11.
1679:Yale Review
1550:the trilogy
1514:opera seria
1464:notes that
1460:The critic
1339:Victor Hugo
1280:Helen Sword
1278:The critic
1266:. However,
866:no accident
797:& 1 sun
697:" will be "
596:W. H. Auden
546:black holes
473:Ouija board
387:mes enfants
335:The critic
249:Ouija board
223:Ouija board
79:Epic Poetry
2697:Categories
2622:(4): 684.
2596:2023-03-14
2528:2023-03-14
2501:2023-03-14
1991:2023-03-04
1607:References
1526:recitativo
1480:Melville's
1437:The Cantos
1370:John Barth
1292:planchette
1132:, and the
1056:not at all
1003:Auden and
967:Genesis 28
905:gamma rays
788:, and the
689:"—such as
588:Maya Deren
556:antimatter
511:Stonehenge
494:" for an "
410:antimatter
375:W.H. Auden
307:Characters
253:Stonington
2675:0360-3709
2636:0196-3570
2591:0028-7504
2560:0164-3177
2430:0018-702X
2380:0016-8386
2338:0360-3709
2275:0002-9831
2230:cite book
2222:757587923
2030:0032-2032
1986:0028-7504
1963:162211473
1947:0010-7484
1902:cite book
1894:966032211
1844:cite book
1791:993642099
1747:cite book
1685:(1): 564.
1470:Leviticus
1272:committed
1130:the Koran
1126:the Bible
1049:Nefertiti
907:; "God B
889:Hiroshima
847:Dinosaurs
795:4 seasons
667:Montezuma
651:Chemistry
450:Victorian
391:'my boys'
265:lowercase
140:644651034
85:Published
2683:27776264
2644:40133128
2568:40356019
2477:56982620
2459:Harcourt
2388:41399707
2346:27776263
2038:20593681
1836:11865910
1588:Mirabell
1579:Mirabell
1572:lyricism
1539:Mirabell
1509:Mirabell
1491:Mirabell
1483:cetology
1466:Mirabell
1431:Paterson
1405:Mirabell
1393:pastiche
1381:Mirabell
1355:Mirabell
1327:Mohammed
1248:Mirabell
1190:Wystan's
927:religion
911:history
862:Akhnaton
683:Einstein
635:theology
608:Mirabell
435:Mirabell
398:Mirabell
379:Mirabell
360:Mirabell
345:theology
296:allusive
292:Mirabell
285:metrical
281:syllable
235:Japanese
215:Mirabell
200:Mirabell
90:Atheneum
57:Language
2438:3850604
2283:2927604
1955:4489157
1660:7967661
1590:should
1416:Orpheus
1294:...and
1256:Jungian
1224:Michael
1138:weather
1112:
1064:outlive
982:séances
839:evolved
786:pyramid
763:peacock
744:cloning
671:Galileo
572:" from
507:Avebury
420:Summary
352:caesura
343:' and '
341:science
318:mediums
245:séances
240:for 5.
60:English
2681:
2673:
2642:
2634:
2589:
2566:
2558:
2475:
2465:
2436:
2428:
2386:
2378:
2344:
2336:
2281:
2273:
2220:
2210:
2036:
2028:
2018:Poetry
1984:
1961:
1953:
1945:
1892:
1882:
1834:
1824:
1789:
1779:
1735:
1658:
1648:
1564:rococo
1511:to an
1448:" and
1422:poem,
1395:, and
1389:parody
1341:, and
1331:Milton
1323:Buddha
1300:R.A.F.
1183:Book 9
1120:Book 8
1043:Book 7
1033:v-work
1029:v-work
963:Boston
957:Book 6
895:Book 5
803:Book 4
774:v work
727:Book 3
695:scribe
675:Mozart
614:Book 2
598:, and
517:Book 1
457:Athens
425:Book 0
275:-like
166:
153:
115:182 pp
65:Series
39:Author
2679:JSTOR
2640:JSTOR
2564:JSTOR
2434:JSTOR
2384:JSTOR
2342:JSTOR
2279:JSTOR
2034:JSTOR
1959:S2CID
1951:JSTOR
1546:campy
1520:buffa
1409:Wilde
1343:Yeats
1335:Blake
1315:Dante
1260:Yeats
1218:cells
1174:s/o/l
1163:drink
1159:smoke
1100:The "
998:god b
951:Chaos
887:from
628:40076
574:Milan
521:The "
356:motif
247:at a
112:Pages
88:1978
75:Genre
2671:ISSN
2632:ISSN
2587:ISSN
2556:ISSN
2473:OCLC
2463:ISBN
2426:ISSN
2376:ISSN
2334:ISSN
2271:ISSN
2236:link
2218:OCLC
2208:ISBN
2026:ISSN
1982:ISSN
1943:ISSN
1908:link
1890:OCLC
1880:ISBN
1850:link
1832:OCLC
1822:ISBN
1787:OCLC
1777:ISBN
1753:link
1733:ISBN
1656:OCLC
1646:ISBN
1531:aria
1478:and
1434:and
1368:and
1349:and
1296:H.D.
1214:as "
976:for
826:".
721:smog
701:".
647:soul
538:bats
533:cain
463:and
404:", "
366:.'"
347:.'"
188:1978
134:OCLC
121:ISBN
2624:doi
2418:doi
2263:doi
2022:135
1935:doi
1592:not
1472:to
1383:to
1357:to
1345:."
1212:God
1196:".
1169:".
1144:".
1116:".
1091:741
1078:741
1071:741
1025:741
1005:741
986:741
969:).
953:.
947:741
932:741
923:741
917:741
901:can
858:741
854:741
849:).
843:741
831:741
820:741
808:741
799:".
778:741
770:741
759:741
751:741
732:741
705:741
663:741
645:);
639:Jew
620:741
606:as
553:and
483:".
444:in
273:bat
231:pun
186:in
2699::
2677:.
2665:.
2661:.
2638:.
2630:.
2620:53
2618:.
2614:.
2585:.
2562:.
2550:.
2546:.
2521:.
2510:^
2493:.
2471:.
2432:.
2424:.
2414:32
2412:.
2408:.
2396:^
2382:.
2372:33
2370:.
2366:.
2354:^
2340:.
2328:.
2324:.
2312:^
2277:.
2269:.
2259:66
2257:.
2253:.
2232:}}
2228:{{
2216:.
2046:^
2032:.
2020:.
2016:.
2000:^
1980:.
1957:.
1949:.
1941:.
1931:47
1929:.
1925:.
1904:}}
1900:{{
1888:.
1858:^
1846:}}
1842:{{
1830:.
1799:^
1785:.
1761:^
1749:}}
1745:{{
1691:^
1683:71
1681:.
1677:.
1654:.
1622:.
1598:.
1428:,
1391:,
1361:.
1337:,
1333:,
1325:,
1321:,
1317:,
1230:"
1161:,
1128:,
1089:.
1039:.
1015:,
913:is
909:is
891:.
681:,
677:,
673:,
669:,
590:,
576:.
513:.
332:.
2685:.
2667:8
2646:.
2626::
2599:.
2570:.
2552:4
2531:.
2504:.
2479:.
2440:.
2420::
2390:.
2348:.
2330:8
2306:.
2285:.
2265::
2238:)
2224:.
2040:.
1994:.
1965:.
1937::
1910:)
1896:.
1852:)
1838:.
1793:.
1755:)
1741:.
1662:.
1439:,
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
