I often struggle to develop an affinity for books when I don't take a liking to the main character(s), and this particular book is no exception.

Although Milford expounds upon the fact that Millay possessed a captivating personality, she was, in fact, incredibly selfish. This trait made it impossible for me to like her, let alone understand her.

Millay was undeniably brilliant, yet one has to wonder if that brilliance ever encompassed considering the impact of her actions on others, or even basic, other-centered ethics.

I found Milford's inclination to insert herself into the narrative, especially through her interviews with Millay's sister Norma, somewhat disconcerting.

I don't recall ever reading a biography where the author did so to such an extent. Having said that, Milford did conduct thorough research.

She quotes letters and conversations extensively, and given that Millay and most of her friends were writers, everything was meticulously written down and preserved. There is just so much material!

This is a great book for anyone who is already interested in Millay and her poetry.

This is a remarkable monster biography. However, this lady lived a colossal life within her brief fifty-eight years.

She was born into poverty, yet she catapulted herself to great fame凭借 her own talent and hard work - despite not amassing a fortune. (But really, who has ever heard of a wealthy poet?)

I have a profound love for in-depth biographies. It always gives the sensation as if I am perusing a private diary - and all the personal details (such as lovers and addictions) are present here, along with the more public ones (like poetry readings and published books). I had some difficulty remembering all her male friends and lovers, but fortunately, the index is outstanding, enabling me to refer back to where anyone made an entrance into the story. (Yes, I remain an old-school fan of paper books.) I was extremely delighted to have numerous poems included, so I didn't have to search for them on my own.

Now I feel that I know Ms. Millay on an intimate level, and that is a telltale sign of an excellent biography.

Savage Beauty

does not dispel the impression that Edna St. Vincent Millay was a major life but a minor poet. This well-written biography quotes many poems in full, including "Renascence," which early won Millay warm admiration from poets and editors, and financial support for an education at Vassar. The biography occasionally grades the poems it quotes, saying of one "extraordinarily lovely" and of another "masterful." It is, however, more interested in identifying the addressee of the poems, and other details from Millay's life. A discussion of the style of "The Ballad of the Harp-Weaver" begins insightfully but ends too quickly by linking the harp with a woman's head to the lap loom on which Clara Millay, Vincent's mother, wove hair for a living. Interesting identification, but it is surely not the last word on the poem.

Matters are not helped when emphasis is placed on the astonishing attraction of Millay's low reading voice. In returning to this over and over, Nancy Milford is but tracing the strong reactions of Millay's listeners. But this obsession with her voice has the unfortunate effect of marking Millay as a performer. Not only did she reach thousands through her reading tours, she also read on radio, reaching many other thousands. Her celebrity played a part, surely, in her decision to write propagandistic poetry against Fascism and American isolationism in the run-up to War World II. She was sincere in her political beliefs, but sincerity does not by itself create poetry. In a letter from that period, she talked about the need of a lyric poet to engage the world if she is not to say the same things again and again. Her political engagement, to my mind, is insufficiently self-doubtful. Her longtime friend and a poet Arthur Ficke expressed his reservations about her war effort "The Murder of Lidice" in a way that resonates for me:

I cannot, I will not, believe that this war is an ultimate conflict between right and wrong: and though I do not doubt for a moment that we are less horrible than the philosophy and practice of Hitler, still I think we are very horrible: and I will not, I must not, accept or express the hysterical patriotic war-moods of these awful days.

Millay's poetic sympathies lie with the High and Late Victorians. Her influences, as she describes them, are Tennyson, Browning, Hardy and Housman. She seems to have little to say about Eliot, Pound and Auden, and nothing to say about her female contemporaries like Marianne Moore, Gertrude Stein and H.D.. Milford refers to a satire in verse she wrote against T.S. Eliot that targeted "The Waste Land," but does not describe its contents, let alone delineate its poetics. Late in her career, Millay became the darling of the people and of collectors who lapped up the expensive special editions of her books. She seemed divorced from the poetry debates that raged around her, in Europe as well as her native America, and so the avant-garde, which she appeared to embody in the 1920s in the form of the New Woman, left her behind.

Still, belonging to no party or school, she found the freedom, and spared the time from her work, to recommend poets whom she believed in for the Guggenheim. What she said about the sanctity of a writer's work, apart from whatever politics he or she chooses to profess, is still generous and relevant:

Of the six writers I am recommending this year, three are definitely revolutionists, one is definitely a classicist, one is probably mad and the other is doubtless trying to recover from shell-shock. What are you doing to do about them? ... I have come loudly out into the open, and am running the risk of making an utter fool of myself. I think the Guggenheim Foundation cannot properly be administered on any other terms; we may not foster the conservative at the expense of the experimental; the solid at the expense of the slippery; we must take chances; we must incur danger. Otherwise we shall eventually become an organization which gives prizes for acclaimed accomplishment, not fellowships for obscure talent, tangible promise, probable development, and possible achievement.

Was she thinking of her own history when she wrote the last sentence? She emerged from the abysmal poverty of a small-town Maine childhood, after her mother sent her good-for-nothing father packing and undertook to bring up the three daughters, Vincent, Norma and Katherine, by herself. Clara Buzzell Millay took up the job of a home-nurse and had to be away from her family most of the time. Besides suffering the absence of a beloved mother, Vincent at a young age was responsible for the two younger sisters. Milford is very good at conveying the power of this family romance for all the women involved, and scrupulous in detecting the darker undertones of abandonment, jealousy and anger.

Also detailed and interesting is her depiction of Millay's unusual marriage with Eugen Jan Boissevain, a Dutch American importer. He believed completely in her poetic gift and strove to provide an environment for its flourishing. Unwilling to play the part of the possessive husband, he gave Vincent the freedom to pursue her romantic obsessions, in particular, her love affair with the younger George Dillon, the future editor of Poetry magazine. It is true, however, that the balance of power in the marriage shifted when Millay's writing began to bring home the bacon. Boissevain became the manager of the household at Steepletop, the estate they bought, releasing his wife to focus entirely on writing. I am reminded here of Leonard Woolf, who spared Virginia of the many distractions against writing too. Leonard, however, had Hogarth Press. Eugen had nothing, but the protection of Vincent, whom he guarded with perhaps overbearing vigilance. Like many partnered writers, Millay could dedicate herself to writing because she could bank on others' dedication to her.

I've come to the conclusion that I have a greater liking for Edna St. Vincent Millay as a person rather than just as a poet. To some extent, I feel a bit bad about this. After all, how would I have known about her if it weren't first through her poetry? She achieved popularity because of her writing, and her personal life was somewhat secondary.

Nancy Milford has done an excellent job in researching Vincent's life. She did this primarily by talking with Vincent's sister, Norma, who passed away in 1986. However, there is one seriously annoying point. Nowhere in the Acknowledgements does Milford thank Norma, or even make any reference to her. I'm rather disgusted by this. Milford likely wouldn't have obtained nearly as much personal information without Norma's help.

There were two large segments of black and white photos from Vincent's life. Some were from her years at Vassar, some with her sisters, later with one or two or three lovers, and still later with her husband, outside their home, Steepletop. Even later, she looked rather sickly. These photos really help bring Milford's writing to life, and I enjoyed flipping through them as they appeared in the biography.

Vincent's life was clearly lived to the fullest. She had no hesitation in falling in love, lust, or into bed with whomever showed her the slightest bit of attention. These experiences are detailed not only in Daniel Epstein's "What Lips My Lips Have Kissed: The Loves and Love Poems of Edna St. Vincent Millay" but also in great detail in Milford's biography.

The main thing I've learned about Vincent is that she was a dependent and co-dependent person. She was never actually alone. From the time her father left and she had to take care of her mother and two younger sisters, to her studies at Vassar where she had her first experiences with the affection of another woman, and through her later years with her husband and a series of various men. I think she actually lived and thrived because of the attention lavished on her by just about everyone. Normally, I would hate this about her, but while I'm not exactly thrilled, it does contribute to what I find so interesting about her.

She's often compared to a modern Lord Byron, with that whole "mad, bad, and dangerous to know" thing. She wasn't heartless, though. She genuinely loved everyone she was with, but often made poor choices. She was entirely too self-centered and only concerned with making herself happy. Millay was a train wreck, a freaking train wreck, and I love every minute of learning about her life.

I'm not quite sure what this says about me. But maybe someone can write a biography of me and explore that issue.

She was a lovely woman, and for most of her years, she was a hard worker, something I will always appreciate and respect. She wrote more than just poetry, so she wasn't just a one-trick pony. But I think her life got in her way in more ways than one, and she probably could have achieved even more. We'll never know, but that's my impression.

For your ears. You can thank me later.

Absolutely wonderful portrait of the poet! It is truly compelling from start to finish. Mitford's writing style, along with her exhaustive research and reporting, draws you in completely. Millay was an original, and her life story reads like a captivating novel.

During the process of writing the book, Mitford interviewed Millay's sister Norma. She periodically refers to her conversations with Norma throughout the narrative. Some critics of the book didn't appreciate this approach. However, I thought it was truly great and it made this biography stand out from so many others.

I found that it made all of the characters more real. It added an extra layer of authenticity and depth to the story. Thanks to Mitford's efforts, we are able to get a more intimate and detailed look at the life of the poet Millay.

Exhaustively Researched

Research is an essential part of many fields, as it helps us to gain a deeper understanding of the world around us. When research is done exhaustively, it means that every possible aspect of a topic has been explored and analyzed. This requires a great deal of time, effort, and attention to detail.

Exhaustive research often involves gathering large amounts of data from a variety of sources, such as books, journals, websites, and interviews. This data must then be carefully examined and evaluated to determine its relevance and reliability.

The benefits of exhaustive research are numerous. It can lead to new discoveries, innovative solutions to problems, and a more comprehensive understanding of complex issues. It can also help to establish credibility and authority in a particular field.

However, exhaustive research is not without its challenges. It can be time-consuming and expensive, and may require specialized skills and knowledge. Additionally, the sheer volume of data that needs to be processed can be overwhelming.

Despite these challenges, exhaustive research remains an important and valuable pursuit. It is through this type of research that we are able to make progress and advance our understanding of the world.

This book is extremely long and rather exhausting, yet there is a very good reason for it. The author has done an amazing job of encapsulating the intricate details of Millay's life. This is achieved through the use of interviews, poetry, and most importantly, letters or correspondence. The length of the book is indeed intimidating at first glance. However, it is broken down into sections, which makes it very readable.

As for the content, it is quite obvious that Millay led a super interesting life beyond her immaculate poetry. The book successfully fleshes out each and every part of her life and the various influences that shaped her. I simply cannot imagine that there is another Millay biography that comes anywhere near this level of detail. Even though at times it can feel like a textbook study into the life of a genius, it scarcely gets boring. I would definitely recommend this book to anyone who loves Millay's work and desires to know more about the life of a rebellious, strong-willed, poetic genius.

It offers a unique and in-depth perspective on a remarkable individual, and is well worth the time and effort it takes to read.

Thomas Hardy said of her that she was, next to the skyscrapers, the second great attraction that America had to offer.

Edna St. Vincent Millay, born on February 22, 1892 in Rockland, Maine and died on October 19, 1950 in Austerlitz, New York, was in 1923 the third woman to receive the Pulitzer Prize for Poetry.

After her parents' divorce, the mother often moved with Edna and her two sisters, constantly in search of a better place and a better life for her daughters. The mother never traveled without a suitcase full of books and passed on this passion not only to Vincent (Edna was more commonly known by this name) but also to all her daughters. Vincent began writing her first poems at an early age, regularly participated in competitions, and managed to have her first poems published at the age of fifteen. Her breakthrough came in 1912 with "Renascence", which earned her a scholarship to Vassar College. After her graduation, her success was unstoppable.

Nancy Milford's biography was written under the strict gaze of her younger sister Norma. Norma provided her with a lot of personal material, but at the same time always took care that her older sister was presented in a good light. More than once, Nancy suspected that Norma might be withholding something from her that would damage Vincent's reputation.

Nevertheless, an extraordinary biography has been achieved. She not only writes about Vincent but also gives her, her family, and friends a voice in numerous letters and transcripts of conversations. As a result, I got a good impression of what her life was like before her breakthrough. Later, I had the feeling that the more famous she became, the more she paid attention to her image in public.

In her work, however, she did not do this. Here she was honest. She presented things as they really were and spoke more honestly to the people who were important to her than she did face-to-face. Together with the letters and excerpts from her works, Nancy Milford has painted a multi-faceted picture of Edna St. Vincent Millay.

All I knew about Edna St. Vincent Millay was her famous line "candle burns at both ends." I had this perception that she was a quiet, shy New England poet. But boy, was I wrong!

She was actually a sassy, spirited, and political woman. She was extremely demanding when it came to her art, yet still maintained an informal and humorous nature. She had a diverse range of works, including plays and an opera. Her speaking engagements were so popular that they filled houses.

This book was an excellent way to learn about her poetry as it connected her works with her life, the world around her, and her artistic development. I have to admit that the first third of the book was a bit too filled with "I love you, dearest" letters, considering she was quite promiscuous. And the years when she was ill were truly sad.

However, I didn't like several asides by the author. The author seemed to always be on the lookout for dark undercurrents in the lives of the Millay sisters and mother. For example, in the Prologue, it said, "Bargains were struck between mother and daughter, and acts were committed with no knowledge of the consequences that would befall them." It was too ominous and unnecessary.

Really good biography:

The author had exclusive access to all of her personal writings, which were numerous, and also talked to her sister and a whole bunch of other people.

Reading biographies is an excellent way to gain an understanding of what history was truly like, and this is a source of great fascination for me. Perhaps my favorite aspect of this particular biography was reading all the quoted letters. When I think of "letters," I usually envision thoughtful, carefully composed essays. However, many of the letters in this book read more like text messages - silly, casual, filled with baby talk, dumb abbreviations, and strange inside jokes.

Overall, the book, and E St. V M's life, felt surprisingly modern considering she lived a century before me. For example:

- At one point, I realized "hey, she's the Taylor Swift of the 1920s." She began publishing poetry in her adolescence and quickly became widely regarded as a wunderkind. Her poetry was extremely popular, but more than just her poetry, she was an icon and a celebrity. She was known for having numerous affairs and writing confessional poetry about them, and a significant part of her appeal was the drama and salaciousness. She traveled around the country giving sold-out poetry readings in huge auditoriums.

- She is bisexual and polyamorous. This doesn't really seem to be a problem: of course, she doesn't go around wearing pride flag T-shirts or anything like that, but aside from one instance when an older woman suggests she might want to be a bit more discreet about her sapphic dalliances, no one seems to care. She and her husband are polyamorous throughout their marriage, are cool with it, and it seems to work well.

- Maybe relatedly, she just generally has a lot of... tumblr girl energy? She has a classic set of vague medical issues: digestive problems, migraines, chronic fatigue, and painful periods. She writes super dramatic letters to her flings and then the next day is like "sorry I was a bit over the top there." When she was a teenager, she had an imaginary boyfriend about whom she regularly wrote very cringe-worthy Mary Sue fanfic.

If I had one criticism of this book, it would be that sometimes it just glosses over things when I'm like "wait what?" For example:

- Near the end of her life, E St. V M was addicted to morphine. It's mentioned in just one line (and I think it was a quote, not directly from the writer) that her husband also deliberately got addicted to morphine so he could relate to what she was going through, and then one day he just quit cold turkey with no problems. Seriously? I need more details on this!

- The story of how she got her middle name is wild. When her mother was 8 months pregnant with her, her brother was loading cotton bales onto a ship while drunk and then lay down to take a nap. When he woke up, he was surrounded by cotton bales and couldn't move. He was immobile in the ship's hold for ten days until he was rescued and taken to St. Vincent's Hospital, where he recovered. Again, I need more details. Immobile without water for ten days? What kind of state was he in? How did St. Vincent Hospital save him?

Also, the end is pretty depressing. It's not recommended if you're looking for an uplifting read.

HEAVILY skimmed for a project but it deserves a place on here because skimming a 600-page book in 2 days was not easy lol.

I have to say I’m absolutely shocked that Millay’s star has faded so much based on how famous she was in her time. The 20s were so much more modern than I expected and her life was, quite frankly, crazy.

I found the biographer’s approach to be wildly confusing though. She left so much vagueness and her style of narrative bounced around so much that it didn’t really seem to have a coherent thread running through it. I was skimming just for stuff about her personality and who she was as a person, but found all of that to be completely hidden and randomly placed.

I had wished the biographer had placed a lot more of her opinion in, both for my own purposes and also because it’s really hard to know what was normal for the time and what was actually striking and different about her.

Edna really knew how to live and love and I’ll always admire her. The honesty and relatability of her poetry do really seem to reflect the person she once was. This definitely cemented my love for her that I’ve always had. And the last third of her life is so sad and just proof that the woman loved being alive, but getting old and being disabled completely stole her spark.

It’s a pity that such a remarkable woman’s story has been told in a somewhat disjointed way. But perhaps, despite the flaws in the biography, we can still catch a glimpse of the vibrant and passionate Edna Millay.

She was a very interesting woman, but unfortunately, I had to skip through some parts as it was a bit hard to read. However, the great pics more than made up for it.

Her story was filled with unique experiences and perspectives that truly captured my attention. It was as if she was living in a world of her own, yet still managed to share it with others in a way that was both engaging and thought-provoking.

The pictures, on the other hand, were like windows into her life. They showed her in different situations, with different expressions, and each one told a story of its own. I found myself lost in the images, imagining what was going on behind the lens and what emotions she was feeling at that moment.

Overall, it was a great read, despite the few challenges I faced. I would highly recommend it to anyone looking for an interesting and inspiring story.