<div><B>Little-known literary works by Truman Capote, Vladimir Nabokov, and more:</B><B> &ldquo;[An] extraordinary collection of inexplicably forgotten treasures.&rdquo; &mdash;<I>New York </I>magazine</B><BR />  <BR /><I>Radical Shadows </I>collects lost, forgotten, suppressed, rare, or unknown works by major literary writers from the late nineteenth century forward. From previously unpublished work by Djuna Barnes and Truman Capote (his earliest known story), to writing by Chekhov, Dostoevsky, Kawabata, Musil, and other world-class authors, the issue is a celebration both of the art of translation and of the breadth and depth of the many revelatory discoveries that can still be found in the historical literary archive.</div>

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Radical Shadows

<div><P><B>Robert Lowell once remarked in a letter to Elizabeth Bishop that "you ha[ve] always been my favorite poet and favorite friend." </B><br><br>The feeling was mutual. Bishop said that conversation with Lowell left her feeling "picked up again to the proper table-land of poetry," and she once begged him, "Please never stop writing me letters—they always manage to make me feel like my higher self (I've been re-reading Emerson) for several days." Neither ever stopped writing letters, from their first meeting in 1947 when both were young, newly launched poets until Lowell's death in 1977. <br><br> Presented in <I>Words in Air</I> is the complete correspondence between Bishop and Lowell. The substantial, revealing—and often very funny—interchange that they produced stands as a remarkable collective achievement, notable for its sustained conversational brilliance of style, its wealth of literary history, its incisive snapshots and portraits of people and places, and its delicious literary gossip, as well as for the window it opens into the unfolding human and artistic drama of two of America's most beloved and influential poets.</P></div>

Words in Air

<div><P>Robert Lowell once remarked, "When Elizabeth Bishop's letters are published (as they will be), she will be recognized as not only one of the best, but one of the most prolific writers of our century." <I>One Art</I> is the magificent confirmation of Lowell's prediction.<br><br>From several thousand letters, written by Bishop over fifty years—from 1928, when she was seventeen, to the day of her death, in Boston in 1979—Robert Giroux, the poet's longtime friend and editor, has selected over five hundred missives for this volume. In a way, the letters comprise Bishop's autobiography, and Giroux has greatly enhanced them with his own detailed, candid, and highly informative introduction. <I>One Art</I> takes us behind Bishop's formal sophistication and reserve, fully displaying the gift for friendship, the striving for perfection, and the passionate, questing, rigorous spirit that made her a great artist.</P></div>

One Art

<div><P>Elizabeth Bishop's prose is not nearly as well known as her poetry, but she was a dazzling and compelling prose writer too, as the publication of her letters has shown. Her stories are often on the borderline of memoir, and vice versa. From her college days, she could find the most astonishing yet thoroughly apt metaphors to illuminate her ideas. This volume—edited by the poet, Pulitzer Prize–winning critic, and Bishop scholar Lloyd Schwartz—includes virtually all her published shorter prose pieces and a number of prose works not published until after her death. Here are her famous as well as her lesser-known stories, crucial memoirs, literary and travel essays, book reviews, and—for the first time—her original draft of <I>Brazil</I>, the Time/Life volume she repudiated in its published version, and the correspondence between Bishop and the poet Anne Stevenson, the author of the first book-length volume devoted to Bishop.</P></div>

Elizabeth Bishop
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Books By Elizabeth Bishop (3 Books)

Words in Air

One Art

Prose

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