"A mouth full of suffering": Loss as Renewal in Carmen Bugan's Crossing the Carpathians    When Carmen Bugan fled Romania with her family to the United States, along with leaving behind her home, possessions, and friends, she also <continued>

The Appalachian women in Kathryn Stripling Byer's work are constrained in numerous ways: by geography, by lack of education, by abuse, by poverty. Each seeks to find her own way through the world, and while at times this means a woman is able leave <continued>

Elizabeth Bishop's emotional, erotic, and sexual life was focused on women. She had both long-term relationships with female partners and brief love affairs with women. Her sexual orientation was well known among friends and professional colleagues. <continued>

Alice Fulton's poetry stands as one of the most representative examples of intellectual exchange between contemporary experimental poetics and modern science — as represented by quantum physics, chaos theory and complexity theory.  <continued>

The Murder of Lidice—Millay's book-length poem dramatizing the destruction of a Czechoslovakian town by Nazi forces—was broadcast on national radio, printed in its entirety by Life magazine, issued by Harper in several paperback <continued>

In 1973, Florence Howe and Ellen Bass published No More Masks!: An Anthology of Poems by Women. The anthology has come to signify, in recent literary history, the coalescence of second-wave feminism and mainstream American poetry. In this respect, <continued>

Rachel Blau DuPlessis's The Pink Guitar: Writing As Feminist Practice (1990) offers a creative alternative to traditional scholarship about women's poetry. Specifically, DuPlessis wrestles with the work of H. D., Beverly Dahlen, Susan Howe, and <continued>