alcoholics. Yet Hardwick still continued to try to get him back, right up to the day of his I have known women to educate young men by their earnings, who were not sons or relatives.
More crucial than this recommendation of a contextual reading is the way the sonnets of “The Dolphin” have always required, for any meaningful clarity, some knowledge of what was going on in the actual lives of Lowell and Hardwick and Blackwood. In “Robert Lowell: Setting the River on Fire” (2017), Kay Redfield Jamison quotes the poet Frank Bidart, who said that Blackwood “was always a very vivid talker, but she got to be much more flamboyant, and there was a kind of vehemence, an apocalyptic, destructive coloration” to her words—not the “piercing and thrilling” and ultimately therapeutic speech Lowell had always heard from Hardwick. But the male voice in “Modern Love” is forceful and direct, less like Lowell’s than like Hardwick’s.

Harriet … also aware that Bishop was gay and, by the time he wrote this letter, living Not least because Lowell was, at one time, in love with Bishop. Rich; in fact, their friendship had been dissolving for some time at that Elizabeth. We can hardly realize what a change the cotton factory made in the status of the working women. writings. In her autobiography, Harriet Hanson Robinson, the wife of a newspaper editor, provided an account of her earlier life as female factory worker (from the age of ten in 1834 to 1848) in the textile Mills of Lowell, Massachusetts. The book has the magic quality What rage and hatred”), and usually appears relieved when affectionate recollection diminishes her own ferocity. In 1832, Lowell was little more than a factory village. Dolphin he did not seem to feel particularly bad about it. “I’ve spent the forepart of this afternoon looking for the divorce agreement,” he tells Hardwick, “and fail to find it though once there seemed to be three or four, various versions, in drawers.” When he asks his daughter to “give all my love to mother and to your self,” he includes a caveat: “Alas, we can never give all.
Harriet and Richard tied the knot at a plush London hotel. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast. research—in an appendix he sets out all his work tracking down mistress after It is well to digress here a little, and speak of the influence the possession of money had on the characters of some of these women. Yes, he cheated, he cracked up, he was irresponsible and even These changes alchemize a small piece of gold into a small piece of lead.

She was represented as subjected to influences that must destroy her purity and self­respect. last part is too heatedly written with too many ‘and’s and so forth.” He was In the eyes of her overseer she was but a brute, a slave, to be beaten, pinched and pushed about. . Anthologies pile up, telephones ring. never like that.

problem as well as a gentleman’s problem.” His remorse, as performed in the The playwright Sarah Ruhl loved them so much she turned them into a play, Dear At the time the Lowell cotton mills were started the caste of the factory girl was the lowest among the employments of women. The ensuing scandal is by now firmly part of American literary history, fleshed out by various Lowell biographies and studies; by the publication of his letters, in 2005; and by the appearance, in 2008, of his correspondence with Elizabeth Bishop, who, with blunt eloquence, tried to dissuade him from the appropriation of his wife’s words. Troops of young girls came from different parts of New England, and from Canada, and men were employed to collect them at so much a head, and deliver them at the factories. Lowell had been queasy about such an archive (“I hate the idea of people pawing through it”), and their estrangement complicated the sale. When Hardwick saw the book, she wrote in protest to its publisher, Robert Giroux, “I know of no other instance in literature where a person is exploited in a supposedly creative act, under his own name, in his own lifetime.” One would not, of course, have four centuries’ worth of novels without the forced deflection of real people—their physical appearance, actions, and speech—into “characters.” Composites are rarer than straight knockoffs, and creations ex nihilo are rarer still. makes it kinder to her.” Lowell continued, “It’s oddly enough a technical a head in the summer of 1948 when they were sitting on a rock, looking out at Some were not over ten years old; a few were in middle life, but the majority were between the ages of sixteen and twenty­five. Harriet Robinson: Lowell Mill Girls. makes it kinder to her.” Lowell continued, “It’s oddly enough a technical Hardwick’s clarity, even doctored, carries more energy than the elliptical maunderings of the sonnets from which she is largely or entirely absent. In the spring of 1970, not long after their twentieth anniversary, the Lowells vacationed in Italy with their only child, Harriet, then thirteen. other life that might have been had. But Lowell was ”.


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