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In the late 1990s, I wrote a book from the point of view of a young black woman who has barricaded
In the late 1990s, I wrote a book from the point of view of a young black woman who has barricaded
In the late 1990s, I wrote a book from the point of view of a young black woman who has barricaded
In the late 1990s, I wrote a book from the point of view of a young black woman who has barricaded
In the late 1990s, I wrote a book from the point of view of a young black woman who has barricaded
In the late 1990s, I wrote a book from the point of view of a young black woman who has barricaded
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Susan Shreve:
As a child, I was an observer, a listener for the stories of grown-ups. I led a quiet, solitary lifSusan Shreve:
As the writer of a pseudonymous book, I gave up my own accumulated history as a novelist and becameSusan Shreve:
So much of memory comes from the beginning of our lives when we know the world for the first time wSusan Stewart:
The length and shape of the poemetto, like the greater Romantic lyric of English poetry, lends itseSusan Stewart:
Poets writing in English have long learned to mourn from classical precedents. They have drawn on aSusan Stewart:
More often writing soliloquies of suffering and consolation than collective songs like the dirge, eSusan Stewart:
As traditions of mourning wane, women's role as designated mourners has also vanished. In consequenSusan Stewart:
The power of elegy, even in the face of an unbounded grief, to provide a containing form is vividlySusan Stewart:
Umberto Poli was born in Trieste in 1883, when the city was at its zenith as the major port of theSusan Stewart:
The most important American love poet in living memory, and certainly one of the most important Ame