"One of the most promising young poet-critics in America" ( Los Angeles Times ) examines a revolutionary generation of poets. Robert Lowell, Elizabeth Bishop, Sylvia Plath, John Berryman, Randall Jarrell, and Delmore Schwartz formed one of the great constellations of talent in American literature. In the decades after World War II, they changed American poetry forever by putting themselves at risk in their poems in a new and provocative way. Their daring work helped to inspire the popular style of poetry now known as "confessional." But partly as a result of their openness, they have become better known for their tumultuous lives—afflicted by mental illness, alcoholism, and suicide—than for their work. This book reclaims their achievement by offering critical "biographies of the poetry"—tracing the development of each poet's work, exploring their major themes and techniques, and examining how they transformed life into art. An ideal introduction for readers coming to these major American poets for the first time, it will also help veteran readers to appreciate their work in a new light.

The distinguished poet and critic argues for the abiding relevance of a great literary mind of the twentieth century Lionel Trilling, regarded at the time of his death in 1975 as America's preeminent literary critic, is today often seen as a relic of a vanished era. His was an age when literary criticism and ideas seemed to matter profoundly in the intellectual life of the country. In this eloquent book, Adam Kirsch shows that Trilling, far from being obsolete, is essential to understanding our current crisis of literary confidence--and to overcoming it. By reading Trilling primarily as a writer and thinker, Kirsch demonstrates how Trilling's original and moving work continues to provide an inspiring example of a mind creating itself through its encounters with texts. Why Trilling Matters introduces all of Trilling's major writings and situates him in the intellectual landscape of his century, from Communism in the 1930s to neoconservatism in the 1970s. But Kirsch goes deeper, addressing today's concerns about the decline of literature, reading, and even the book itself, and finds that Trilling has more to teach us now than ever before. As Kirsch writes, "Trilling's essays are not exactly literary criticism" but, like all literature, "ends in themselves."