The has been much fuss recently over Helen Vendler's comments, in The New Republic, concerning Alice Quinn's Edgar Allan Poe & The Juke-Box (uncollected poems, drafts and fragments by the American poet Elizabeth Bishop). I like Helen Vendler. I like her uncompromising, New Critical perspective and the rigour of her reading, but she is wrong to see Alice Quinn's book as a "betrayal" of Bishop. Michael Schmidt, in his editorial for PN Review no.169, says:
Readers of Bishop’s poetry are interested in the poems, in how they work, in how they came about. It is an arrogation on Vendler’s part to speak for the poet who, in leaving her papers to an archive, spoke with sufficient, quiet eloquence, herself. To limit access to Bishop’s working, to reserve the progressive spectacle of her creative process to academic scrutiny, to preserve it from the poet’s common readers, is a very high-church thing to do.