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“... If modernism is our antiquity, as T.J. Clark has claimed, then Barbara Guest was a devout classicist. No American poet – with the exception of John Ashbery – so reverently extended early modernist aesthetics into the second half of the 20th century. As Guest put it in her essay ‘Radical Poetics and Conservative Poetry’, ‘everything we loved, emulated, was attached to the lyric modernism of Baudelaire and Mallarmé’s later writing ...”

“... his Army service, which certainly involved episodes of action, but he ventures the remark that ‘Barbara Guest is not entirely unfair when she says that it is only necessary to compare Death of a Hero with Graves’s Goodbye to all that “to realise that Aldington’s experiences were not so desperate or tragic as he would have us ...”

“... set of questions. Carcanet’s increasingly impressive list of American poetry also includes Barbara Guest’s Selected Poems. Like Ashbery, whose work she admires. Guest frequently uses the vocabulary and tone of art criticism ‘hard edges’, ‘colour ...”

“... confidence, sometimes shading into condescension. He imitates Olson’s magisterial mode, telling Barbara Guest: ‘There is not enough. I have gone over them three times after receiving them & now again – different … I want more. Maybe this cannot be. That you are not structured such.’ He advises Jimmy Schuyler ‘to develop all you can yr ...”

“... drinking with them at the Cedar Bar, Koch, Ashbery and O’Hara, together with James Schuyler and Barbara Guest, were labelled the New York School of poets. While, in truth, these writers didn’t form anything so well defined as a school, they influenced and encouraged one another and had a shared antipathy to the stuffy academic verse of the time. Koch ...”

“... he had scrawled ‘H.D. Imagiste!’ at the bottom of the page. H.D.’s biographer, the poet Barbara Guest, wrote: ‘Would that today the excised poem with its corrections might rest in the Berg Collection in New York, alongside Pound’s similar selective corrections and deletions to The Waste Land of Eliot.’ Later, no one could actually agree ...”

“... diminishing frequency, until 1969. William Burroughs, Charles Olson, Robert Creeley, Ed Dorn and Barbara Guest all appeared in its pages. Producing the Floating Bear was an ‘endless rhythm of editing, typing, proofing, printing, collating, stapling, labelling and mailing’, but di Prima understood the importance of controlling the means of ...”

“... were collaborators. It ran for four issues and included the founders’ work alongside that of Barbara Guest, Frank O’Hara, Edwin Denby and others. Locus Solus was like the intersection of New York, Paris and a Surrealist Arcady.Mathews credited Roussel with showing him that prose could be generated under similar constraints to those that apply to ...”

“... his Harvard friends and their friends – among them the poets Kenneth Koch, James Schuyler and Barbara Guest – becoming part of a social circle that was soon dominated by painters. In 1951 and again from 1955 until his death, O’Hara worked at the Museum of Modern Art, where he became a curator of exhibitions and a well known figure in the New York ...”

“... marvellous poems it contains by Anne Stevenson, Fleur Adcock, Dorothy Hewett, Elizabeth Bishop, Barbara Guest, Carolyn Forché, Miriam Waddington, and Eunice De Souza, whose ‘Marriages are made’ is about an Indian arranged marriage where the girl is first given a complete medical examination before being deemed able to do justice to Francisco ...”

“... that had at its core himself, Ashbery, Koch and Schuyler; orbiting them were their friends Barbara Guest, Harry Mathews, Fairfield and Anne Porter, and Edwin Denby. Their social circles overlapped with Abstract Expressionist and New York School painters, and tendrils extended out into the worlds of ballet (it was the Balanchine era), classical ...”

“... says, a general feeling of discomfort. Beatrice’s father, with marked discourtesy towards his guest, promptly retired to play patience, ‘utterly disgusted with the “supposed intentions” of that guest’. At dinner, ‘after some shyness’, Beatrice writes, ‘we plunged into essentials, and Chamberlain began ...”

“... criticism. Strangely, though, the subject has brought mainly defences of her reticence, such as Barbara Hardy’s eloquent discussion of the ‘hints and implications’ of George Eliot’s handling of sexual relationships in The Appropriate Form (1964), the appropriate chapter of which is now reprinted in Particularities, or, in the George Eliot Centenary ...”

“... no clear picture of the behind-the-scenes domestic arrangements. All I can say, as an occasional guest at these functions, is that the menus were impeccably conventional, and the food always good of its kind. On 17 February 1908, the Poor Law Commission published two reports both of which proposed a radical restructuring of the machinery for dealing with the ...”

“... This, say Barbara Skelton’s publishers, is the ‘second – and some people will be relieved to hear, final – volume of her riotous autobiography’. On page one of volume one there is a quotation from Harriette Wilson about the meaning of the term ‘gentleman’ – a subject not really very close to Skelton’s heart ...”