Jean Bowen

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Every Day I Read:...
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Swann’s Way
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How to Read a Novel
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  (page 100 of 247)
Feb 13, 2026 06:15AM

 
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“What can one do with beauty after the eye of the camera has clicked?”
Isobel English, Every Eye

Louise Glück
“In my generation, most of the poets I admire are interested in length they want to write long lines, long stanzas, long poems, poems which cover an extended sequence of events. To all this I feel an instant objection, whose sources I'm not confident I know.”
Louise Glück, Proofs & Theories: Essays on Poetry

Alice Thomas Ellis
“I read quickly, flitting and sipping, skipping the boring bits and seizing on the oddities and inconsistencies which are often ignored by the scholars since they interfere with the measured and coherent approach to the matter at hand.”
Alice Thomas Ellis, Fish, Flesh And Good Red Herring

Louise Glück
“I'm attracted to ellipsis, to the unsaid, to suggestion, to eloquent, deliberate silence. The unsaid, for me, exerts great power: often I wish an entire poem could be made in this vocabulary. It is analogous to the unseen; for example, to the power of ruins, to works of art either damaged or incomplete. Such works inevitably allude to larger contexts they haunt because they are not whole, though wholeness is implied. . .”
Louise Glück, Proofs & Theories: Essays on Poetry

Edith Wharton
“What is originality in art? Perhaps it is easier to define what it is not and this may be done by saying that it is never a willful rejection of what has been accepted as the necessary laws of various forms of art. Thus in reasoning originality relies not in discarding the necessary laws of thought, but in using them to express new intellectual conceptions. In poetry originality consists not in discarding the necessary laws of rhythm but in finding new rhythms within the limits of those laws.”
Edith Wharton, The Decoration Of Houses

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