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![]() ![]() In The Bat-Poet, Jarrell's poetic investigations specifically center on navigating the schism evident in the so-called anthology wars, the opening skirmish of which was the publication of Donald Hall, Robert Pack, and Louis Simpson's anthology The New Poets of England and America (1957). Kennedy primarily use their children's books as venues for intensified language play, Jarrell uses his children's books-specifically The Bat-Poet (1964)-to work through his theoretical notions of poetry, exploring the postmodern tendencies of contradiction and opposition that are apparent also in his adult work. ![]() ![]() He attended closely to the contemporary scene and in no small part helped write the canon of American poetry.1 While several adult poets were beginning to write for children in this period-notably John Ciardi, whose first book for children, The Reason for the Pelican, was published in 1959-Jarrell's forays into children's poetry are considerably different from most.2 Whereas Ciardi, Theodore Roethke, and, later, X.J. During this time, Randall Jarrell was one of the preeminent critics of American poetry and was certainly well established as a poet. The late 1950s and early 1960s were marked by a profound schism in the world of adult poetry. The raw, huge, blood-dripping gobbets of unseasoned experiences dished up for midnight listeners. The cooked, marvelously expert, often seems laboriously concocted to be tasted and digested by a graduate seminar. Two poetries are now competing, a cooked and a raw. ![]() ![]() A bee who’s trapped inside the building until the florist opens a window turns up again as the star of his own comics, the closest thing to comedic relief here. In another sequence, we see the landlady age 80 years in 18 panels, with paper-doll tabs extending from her body. Ware has an extraordinary command of time and pacing: one bravura page depicts the florist and her husband dealing with her father’s decline over several months, every panel a perfectly composed little square, the thought balloons doubling as after-the-fact narration, and the whole thing a tribute to the look of Frank King’s old “Gasoline Alley” Sunday pages. ![]() The individual elements of the box show us the building and its residents at fraught moments in their lives, or chart aspects of their existence over time. Instead, Ware lets his readers follow the gnarled paths memory takes as it builds and rebuilds stories. ![]() ![]() Soon, what begins as a sham engagement transforms into something deeper, and more passionate, than Ellie could have imagined. But is she willing to sacrifice her own happiness for her sister’s reputation? To Ellie’s surprise, it becomes clear that Cam doesn’t need her money, nor is he interested in her status. If Ellie marries him, Cam promises to keep mum. Cam knows that Ellie’s sister, Charlotte, harbors a scandalous secret-one that could bring ruin to the Sutherland name. But what will it take to melt the heart of the so-called Lady Frost? Camden West is determined to find out for himself . . . There have been six suitors so far, all vying for the attention-and generous dowry-of the beautiful, elusive Eleanor Sutherland. To protect her sister, a lady determined to marry for love must accept a devious suitor’s dubious proposal in this Regency romance series debut. ![]() |