May Sarton – författare

"I am here alone for the first time in weeks," May Sarton begins this book, "to take up my 'real' life again at last. That is what is strange—that friends, even passionate love,are not my real life, unless there is time alone in which to explore what is happening or what has happened." In this journal, she says, "I hope to break through into the rough, rocky depths,to the matrix itself. There is violence there and anger never resolved. My need to be alone is balanced against my fear of what will happen when suddenly I enter the huge empty silence if I cannot find support there."In this book, we are closer to the marrow than ever before in May Sarton's writing.

May Sarton's sixty-sixth year, 1978-79, was a difficult time: a cherished relationship came to an end, she had a mastectomy, she fought against depression. But, she writes, "When there is personal darkness, when there is a pain to be overcome, when we are forced to renew ourselves against all the odds, the psychic energy required simply to survive has tremendous force." This journal tells how she drew on that force, and how her friendships, her love of the natural world, and her growing audience of devoted readers brought light to the shadows."

How the central characters—students and teachers—react to the crisis and what effect the scandal has on their personal and professional lives are the central motifs of May Sarton's sensitive, probing novel.

When they do, the must be treasured as gifts from the White Goddess, "sister of the mirage and echo." To May Sarton, poetry was life's deepest creative passion. It reflected the preoccupations of her mind and emotions as she progressed through more than five decades of experiencing the natural world, love and friendship, and the crises of the times. But for a long while she felt the lyric mood was past. Then, abruptly, her life took a new turn, and a marvelously musical flow of short poems came from her pen. They are collected here, in this small volume.

May Sarton: Among the Usual Days is a treasure trove of her unpublished writing, carefully selected by longtime friend Susan Sherman from almost seventy years of correspondence and journals stored in the New York Public Library's Berg Collection, in May Sarton's own files, and in other archives. Thematically arranged, these passages reflect the seasons of her flowering as writer, teacher, daughter, lover, friend, and fiercely independent thinker. Lavishly illustrated with previously unpublished photos of Sarton and her closest companions from her infancy to the present, in May Sarton: Among the Usual Days all of the great abiding themes of her craft recur and expand: her respect for poetic form, hunger for love, appreciation for the centrality of solitude, commitment to enduring friendship, unabashed relish for the natural world in all its aspects, and zeal in pursuit of honesty above all, no matter what the cost. Her canny eye and ear bring alive her encounters with such luminaries as Virginia Woolf, Eva Le Gallienne, Edna St. Vincent Millay, Elizabeth Bowen, Andre Malraux, Rebecca West, and Julian and Juliette Huxley. May Sarton: Among the Usual Days is finally a celebration, a cornucopia of earned wisdom and ardent candor that reveals over and again, in Sherman's words, the distinguishedwriter May Sarton's own "sacramentalization of the ordinary."

Lucid, ardent, and contemplative, May Sarton is one of America's best-loved writers. This comprehensive collection - the first in twenty years - celebrates six decades of bold imagination and fifteen books of poetry, the creative output of a lifetime. Arranged chronologically, these poems reveal the full breadth of Sarton's creative vision. Themes include the search for an inward order, her passions, the natural world, self-knowledge, and, in her latest poems, the trials of old age. Moving through Sarton's work, we see her at ease in both traditional forms and free verse, finding inspiration in snow over a dark sea, a cat's footfall on the stairs, an unexpected love affair. Here is the creative process itself, its sources, demands, and joys - a handbook of the modern poetic psyche.

All her life, May Sarton carried on a voluminous private correspondence—with family, friends, and lovers. From the beginning, as these remarkable letters show, the essence of an extraordinary human being was present, her gifts ready to unfurl and mature.Fittingly, an early letter thanks parents for books. Later we enter the world of the theater, then years rich with study, travel, teaching, and the discipline of craft. Sarton's deep anguish as World War II approaches pervades many letters, but readers will also encounter the things that gave Sarton joy: her love of flowers, her affection for animals, her celebration of beauty in all its guises.As Sarton divides her time between America and Europe, in an era when ocean voyages were the norm, illustrious acquaintances and intimates are introduced, among them Eva Le Gallienne, Elizabeth Bowen, Virginia Woolf, Muriel Rukeyser, Julian and Juliette Huxley, and Louise Bogan. Always, Sarton's voice is clear and courageous, startlingly candid about her passions, her moods, and her vulnerabilities. Her words, seeming as fresh as when they were written, stand against the backdrop of the crucial events of the century as she invites old and new readers into her personal world.

Compilation of intense, spirited verse which explores the realms of religion, politics, nature, violence, and old age.

The poems in this first selection from her whole work were written over a period of forty years. They convey a wonderfully energetic alternation of mood, idea, and experience that are part of her unique creative process.

The engrossing drama begun in May Sarton: Selected Letters 1916–1954 culminates in this gathering of 200 quintessential letters, culled from thousands. Copiously annotated, they propel the reader with passionate immediacy through the rich years of this beloved author's maturity and world-wide fame, to her death. "Sarton is one of the great letter writers of our time," Library Journal affirmed of the first volume. And here once again we see her in every aspect: the hard-pressed writer, the tormented lover, at her fiercest and most fond; the friend, confidante and passionate traveler, intensely engaged by public issues, ceaselessly searching for the elusive muse which made poetry and the creative transformation of life possible. In addition to longtime friends and intimates familiar from Volume One—Louise Bogan, Eva Le Gallienne, Bill Brown, Muriel Rukeyser and the Huxleys—the more than 150 recipients in this volume include Robert Frost and Elizabeth Bowen, Carolyn Heilbrun and Doris Grumbach, Madeleine L'Engle, Pat Carroll, and Marianne Moore."No topic escapes her," Susan Kenney wrote of the first volume, and in the breadth and amplitude of these vibrant missives to friends and strangers, poets and scientists, actors and scholars, teachers and editors from every corner of the States and throughout Europe, the reader will partake of her joys, and learn well her griefs; it is no coincidence she always capitalized Hell. Particularly rich are her letters to members of the religious community who were drawn to the spiritual center in her work; her magnificent letters of condolence; her fiery replies to critics; her trenchant, generous responses to the many young writers who touched her; and her life-enhancing responses to hordes of admirers. Here, too, we are privy to several intense love relationships, and live beside her through the landmark publications of Mrs. Stevens Hears the Mermaids Singing and her revolutionary Journal of a Solitude. We accompany her as she writes the celebrated lyric poems which, with missionary fervor, she brought alive in dynamic readings to standing-room-only audiences across America, as long as she could do so. And finally we are witness to the gradual diminishments of age as, with characteristic courage, she charges into her ninth decade, "ardent and alone." Selected Letters 1955–1995 offers new insights and throws fascinating sidelights on Sarton's multi-faceted character, presenting an awesome self-portrait—more revealing than anything yet published—of this truly singular woman who, faithful to her "vision of life"—and like the legendary phoenix which marks her grave —never ceased to be reborn over and over again. As critic William Drake put it, "May Sarton always seems to be speaking to each one of us personally, as if we were a friend." In this richly moving and nourishing collection—the capstone of her literary legacy—this unforgettable woman speaks to each of us, as to each correspondent, once again in her timeless voice."Readers will find this volume a valuable companion to Sarton's other work; reading it put me back in touch with her keen intelligence, her restless but rich spirit, and I enjoyed it tremendously." —Eleanor Dwight, author of Edith Wharton: An Extraordinary Life "In a century of cruel inhumanity, 'life-enhancing' poet, novelist and journal-keeper May Sarton showed us, most of all, how to be human. . . . That is why we find in her a friend, and will keep rereading these thoughtful letters and her books for clues about the journey ahead." —Father John Dear, author of Living Peace "Those who know her journals will find here a Sarton willing to examine the underside of creativity, a Sarton who refuses to stay stuck in life or work. This book passes on that courage to readers." —Alexandra Johnson, author of Leaving a Trace: On Keeping a Journal "A searingly honest self-portrait of a complex and many-sided woman. . . . What a feast!" —Dr. Claire Douglas, author of Translate This Darkness: The Life of Christiana Morgan, the Veiled Woman in Jung's Circle

Twenty-six-year-old Francis Chabrier fears his inability to love until he discovers the distinctive beauties of Paris and his first love at the same time

This novel, first published in 1946, is one of May Sarton's earliest and, some critics think, one of her best. It takes place during the years between the world wars and explores the life of a Belgian family, the Duchesnes, and their mutual devotion which intensifies under the shadow of impending disaster.Mélanie Duchesne, mother of three, is an active businesswoman, whose courage, energy, and optimism bind the family and its farm together. Paul, her husband, is a philosopher, detached, moody, continually embroiled in the spiritual conflicts of a crumbling Europe.The last years before the second war are tense ones, a time for stock-taking, for a quickening of the pace of life. But it is Mélanie who encourages her family to proceed with their plans, to continue with their way of life. And it is Mélanie who decides their future as the Germans launch their invasion of Belgium.

She had chosen the dazzling island of Santorini, remote and inaccessible as her own heart. The holiday was to be a solitary experience. But that was before Joanna met Ulysses, the mistreated little donkey.

May Sarton's celebrations in this book center around the friendships that flowered in her life from age twenty-six to age forty-five—between the end of I Knew a Phoenix and the beginning of Plant Dreaming Deep. Her subjects include her father, the noted science historian George Sarton; people in the arts—Elizabeth Bowen, Louise Brogan, Jean Dominique; and people who lived lives remote from the center—Marc, the vigneron of Satigny, in the foothills of the Jura mountains, and Quig, the painter of Nelson, New Hampshire.

This is the story of the Wyeth family, set in Cambridge, Massachusetts (and in the summer, Maine): the very old, who are looking back; Sprig and his wife Frances, who are finding their way in the midst of youthful hopes that refuse to fade away; and the young, embarking on adulthood, sometimes with anger. As Sprig struggles to reach past his reserve so that he can be there for his wife and children, and for a friend who needs him, the other characters likewise find their way to what self-fulfillment means.

The author chronicles her efforts to regain her health after having suffered a stroke at the age of seventy-three, describes her self-proclaimed life of solitude, and offers keen observations on the natural world surrounding her.

“Her complex ideas are born into verse with the easy, simple beauty that is typical of her stunning lyric style.”—Boston Globe

This is the story of two poets, one an elderly Belgian woman known to the world as Jean Latour, the other a young Englishman. When Mark Taylor finds his life and art broken up by his love for an older, married woman, he turns for help to the poems of Jean Latour and finds the help he craves in the poet herself. In this early work we see the first flowering of May Sarton’s special ability to depict sensitive people who find they must travel new pathways if they are to discover their true selves.

May Sarton's ninth novel explores a woman's struggle to reconcile the claims of life and art, to transmute passion and pain into poetry. As it opens, Hilary Stevens, a renowned poet in her seventies, is talking with Mar, an intense young man who has sought her out and whose passionate despair reminds her of herself when young. Mar has had an unhappy love affair with a man. Bewildered by both his sexuality and his writing talent, he flings his anguish against Hilary’s brusque, sympathetic intelligence.

So begins May Sarton's short, swift blow of a novel, about the powerlessness of the old and the rage it can bring. As We Are Now tells the story of Caroline Spencer, a 76-year-old retired schoolteacher, mentally strong but physically frail, who has been moved by relatives into a "home." Subjected to subtle humiliations and petty cruelties, sustained for too short a time by the love of another person, she fights back with all she has, and in a powerful climax wins a terrible victory.

When Harriet Hatfield opens a bookstore for women in a blue-collar neighborhood near Boston, she is bombarded by anonymous threats. And when the Boston Globe reports "Lesbian Bookstore Owner Threatened", her education in the narrow-mindedness of her fellow man—and woman—begins.

May Sarton—poet, novelist, and chronicler—occupies a special place in American letters. This new journal chronicles the year that began on May 3, 1982, her seventieth birthday. At her home in Maine, she savors “the experience of being alive in this beautiful place,” reflecting on nature, friends, and work. “Why is it good to be old?” she was asked at one of her lectures. “Because,” she said, “I am more myself than I have ever been.”

Christina Chapman and her husband Cornelius, both past seventy, are "summer people"—people who come to rural New England for the summer months and go home to the city when the cold weather comes. This year, however, Christina and Cornelius have decided to stay on.May Sarton's Willard is a small town in the rocky hills of New Hampshire, a place that attracts "the untameable, the wild, the gentle." As Sarton takes us into the lives of the people who live there, we encounter a rich tapestry of characters and relationships. In the center are the deep, prickly friendship between Christina, an old Bostonian, and Ellen, the daughter of a farmer, and the unfolding process by which Christina and her husband "come into their own" in their marriage and become winter people at last.

Reed and Poppy Whitelaw's conventional and apparently serene life together is shattered when Poppy tells Reed that she has decided to leave him. In a series of encounters that follow the shock of this news, which affects not only Reed but also their children and friends—in particular Philip, who must learn why he is so invested in their marriage—Reed and Poppy struggle to make sense of their lives in this alien new terrain.

Sarton's memoir begins with her roots in a Belgian childhood and describes her youth and education in Cambridge, Massachusetts, her coming-of-age years, and the people who influenced her life as a writer.

The “magnificent spinster” is Jane Reid, a teacher who became not only a revered role model but a dear friend to Cam, the narrator of this novel within a novel. After Jane’s death, the accidental discovery of poems written by Cam in her youth to Jane prompts a flood of recollections—and frees Cam to imagine in fiction Jane’s passionately vibrant life.

So begins May Sarton's evocative early novel about Violet Gordon's return, after thirty years, to her childhood home, where much had to be settled in one brief summer—fateful decisions about a marriage, a love affair, and a career. No influence was more important than the splendid old Dene's Court itself, and the memories it held.

Sarton writes perceptively of how age affects her: the way small things take longer and tire more, what it feels like to endure pain and to be afraid. Other days her energy returns, her spirits lift, and projects abound. Readers both new and old will cherish this latest dispatch from her ongoing journey.

"I had always imagined a philosophical journal of my seventy-ninth year, dealing with the joys and problems, the doors opening out from old age to unknown efforts and surprises. I looked forward to the year as a potent harvest," May Sarton writes. Assailed by debilitating illnesses, Sarton found herself instead using much of her energy battling for health. Yet, as this record shows, she did after all do what she had wanted to, as she persevered in work, friendships, and love of nature, discovering in the process new landscapes in the country of old age.