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“... working fairly happily as a doctor in New Jersey, was to be Pound’s second escapee. Marianne Moore might be his third. At one stage, he envisaged annual liberations – assuming, of course, that a sufficient supply of stifled talent was available. The authors for whom these fervent plans were being laid would, Pound was convinced, be deeply grateful. In ...”

“... of her matrilineal inheritance – the legacy of her Dahomey ancestors. When Sam married Thelma Moore, ‘the blood became Magic’. Thelma was an avid reader who wrote ‘traditional iambic verse’. But her imagination was a liability. Clifton wrote that ‘my mama moved among the days/like a dreamwalker in a field.’ Although ‘she got us almost ...”

“... other letters at the time and her dramatisation of a similar event in Villette, where Lucy Snowe explains her actions by saying ‘I had a pressure of affliction on my mind.’ Harman goes on to speculate about the nature of her confession, presuming that (and she doesn’t tell us so much as lead us up to the conclusion) it concerned ‘the ...”

“... beaches? Who would? Yet she pulls it off, and we are slack-jawed and mildly horrified. Marianne Moore would say that she is ‘too unrelenting’ in The Colossus, her first book of poems; Robert Lowell would put the same thought another way by saying that in Ariel she was playing ‘Russian Roulette with six cartridges in the cylinder’. I also remember ...”