Saskia Hamilton – författare

WINNER OF THE PEGASUS AWARD FOR POETRY CRITICISMThe Dolphin Letters offers an unprecedented portrait of Robert Lowell and Elizabeth Hardwick during the last seven years of Lowell's life (1970 to 1977), a time of personal crisis and creative innovation for both writers. Centred on the letters they exchanged with each other and with other members of their circle - writers, intellectuals, friends and publishers, including Elizabeth Bishop, Caroline Blackwood, Mary McCarthy and Adrienne Rich - this book has the narrative sweep of a novel, telling the story of the dramatic breakup of Lowell and Hardwick's twenty-one-year marriage and their extraordinary, but late, reconciliation.Lowell's sonnet sequence The Dolphin (for which he controversially adapted Hardwick's letters as a source) and his last book, Day by Day, were written during this period, as were Hardwick's influential books Seduction and Betrayal: Women and Literature and Sleepless Nights. Lowell and Hardwick are acutely intelligent observers of marriage, children, friends and the feelings that their personal tribulations gave rise to.The Dolphin Letters, edited by Saskia Hamilton, is a debate about the limits of art - what occasions a work of art, and what moral and artistic licence artists have to make use of their lives and the lives of others as material. The crisis of Lowell's The Dolphin was profoundly affecting to everyone around him, and Bishop's warning that 'art just isn't worth that much' haunts us today.

A TLS, SPECTATOR AND TIME MAGAZINE BOOK OF THE YEAR 2023FINALIST FOR THE NBCC AWARD FOR POETRY 2023'Celebrating the incredible moral clarity, beauty, fearlessness and power of the spirit of Saskia Hamilton - and of her poetry' Jorie Graham'Full of delicate and muscular truths and graced with rare intelligence, this posthumous volume offers the gifts of a uniquely sensitive mind' Publisher's Weekly (starred review)'To read Saskia Hamilton's opening poem in her forthcoming collection, All Souls, is to move through time in acts of seeing and of noting what is seen . . . For now, the day seems to say, Let the ordinary amaze, it's the grace we hold . . . Hamilton rests her sights on what can be apprehended from a bed, sofa, chair, or window, and named in the quotidian. These small recognitions ensure a life's weightiness, wariness, worthiness' Claudia RankineWho becomes familiar with mortalillness for very long. I was a stranger, &c.Not everyone appreciates it, noone finds being the third personbecoming, it's never accurate,and then one is headed for the past tense.Futurity that was once a lark, a gamble,a chance messenger, traffic and trade, under sail.The boy touches your arm in his sleepfor ballast. It's warm in the hold. Betweenship and sky, the bounds of sightalone, sphere so bounded.-from 'All Souls'In All Souls, Saskia Hamilton transforms compassion, fear, expectation, and memory into art of the highest order. Judgment is suspended as the poems and lyric fragments make an inventory of truths that carry us through night's reckoning with mortal hope into daylight. But even daylight - with its escapements and unbreakable numbers, 'restless, / irregular light and shadow, awakened' - can't appease the crisis of survival at the heart of this collection. Marked with a new openness and freedom - a new way of saying that is itself a study of what can and can't be said-the poems give way to Hamilton's mind, and her unerring descriptions of everyday life: 'the asphalt velvety in the rain.'The central suite of poems vibrates with a ghostly radioactive attentiveness, with care unbounded by time or space. Its impossible charge is to acknowledge and ease suffering with a gaze that both widens and narrows its aperture. Lightly told, told without sentimentality, the story is devastating. A mother prepares to take leave of a young son. Impossible departure. 'A disturbance within the order of moments.' One that can't be stopped, though in these poems language does arrest and in some essential ways fix time.Tenderness, courage, refusal, and acceptance infuse this work, illuminating what Elizabeth Hardwick called 'the universal unsealed wound of existence.'