Word: poetes
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Dates: during 1960-1969
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...difficult for painters in this ' day to do heroic portraits," says Artist Sidney Nolan. "But it is easier to do them of poets and artists than of statesmen." He attempted to make his cover portrait of Poet Robert Lowell heroic by crowning the sorrowful head with a triumphant wreath of laurels. Nolan is a close friend of Lowell's, but he says that his picture is of the poet, not the friend. "I could do another aspect of him for the back cover of the magazine, like the other side of a coin. It would be just...
...been known to use layers of paint burnished with one of his wife's nylons). Nolan also did a series of paintings inspired by Lowell's new play, Prometheus Bound, four of which appear with the story. His startling, highly imaginative visions bring to mind what Poet Stephen Spender once said of his work: "Conscious though he is of mystery, Nolan is not a mystifier. On the contrary, he is an explainer, and his figures, however bizarre, are self-explanatory...
Robert Lowell, too, is an explainer-and a celebrator-of mystery. A poet's work is best and finally explained in his own verse, but to help capture Lowell's world, TIME'S Boston bureau chief, Chris Cory, interviewed him, spoke to his friends and visited the Maine village where Lowell spends his summers. "He is a nice fellow," said one elderly man there, "but I don't understand anything about his poetry except that he is unhappy...
...treatment Daniel suffers the nightmare extremes of the homosexual experience-castration and disembowelment-before dying. And Amos, who has become a male whore but who has still remained faithful to Daniel in his aberrational fashion, also comes to an early and bloody demise. Meanwhile, Eustace Chisholm, a self-styled poet, observes the whole story from an ascetic pederast pedestal and is somehow cleansed and purified-or so the author insists...
...issue's cover proudly announces the publication of six early poems by Sylvia Plath; they indicate she was not always a good poet. While the early poems anticipate her later bleak preoccupation with madness and death, they fall far short of the technical virtuosity and the intensity of her later work. More intriguing than the poems are the essays which accompany them. Elizabeth Aldrich's analysis of "The Eye-Mote" (which appeared in Miss Plath's first volume, The Collossus) takes the poem apart and puts it back together in the finest style of New Criticism and, incidentally, gives...