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By Elmer Borklund

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Editor, with Marianne Moore and Karl Shapiro, Riverside Poetry /953: Poems by Students in Colleges and Universities in New York City. New York, Association Press, 1953. Editor, with Chester Kallman and Noah Greenberg, An Elizabethan Song Book: Lute Songs, Madrigals and Rounds. New York, Doubleday, 1955; London, Faber, 1957. Editor, The Faber Book of Modern American Verse. London, Faber. 1956; as The Criterion Book of Modern American Verse, New York, Criterion Books, 1956. Editor, Selected Writings of Sydney Smith.

And again, "a writer's problem does not change. " The reader's sense of direct experience is not, of course, an end in itself. Finding out what is true involves judgment. not merely sensation, and this leads directly to Hemingway's code of behavior - stoicism, bravery and grace under pressure. Baker is a trustworthy guide here, if more diffuse and considerably less stylish than Philip Young in Ernest Hemingway: A Reconsideration. Hemingway admired The Writer as Artist although (as Baker dutifully reports) he also said it was "a hard book and makes too much, as many critics do, of the symbolism .

Die Bassariden (The Bassarids), with Chester Kallman, music by Hans Werner Henze (produced Salzburg, 1966; Santa Fe, New Mexico. 1968; London, 1974). Mainz, B. Schotts Söhne. 1966. Moralities: Three Scenic Plays from Fables by Aesop, music by Hans Werner Henze. Mainz. B. Schotts Söhne, 1969. The Ballad of Barnaby, music by Wykeham Rise School Students realized by Charles Turner (produced New York. 1970). Love 's Labour 's Lost. with Chester Kallman. music by Nicholas Nabokov. adaptation of the play by Shakespeare (produced Brussels.

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