In letters to friends and in interviews later in life, Elizabeth Bishop repeatedly made clear her low opinion of critical writing. At the same time, much of her own criticism and review work is audacious, original and witty, particularly the long essays she completed as an undergraduate student at Vassar. She also admired the work of contemporary poet-critics like William Empson and Randall Jarrell and once pitched for the job as poetry reviewer of The New Yorker. Close analysis of her own prose and poetry demonstrates the extent to which her own writing was itself a form of informal criticism. She engaged with and incorporated the ideas and words of literary critics into her poetry throughout her career, rebuffing reductive assessments of her writing as “calm” and “modest.”

The suburbs, which now contain the majority of the US population, have also become increasingly diverse, with more immigrants and people in poverty living there than in cities. Against this backdrop, the privileged, all-white enclaves conjured by New Yorker writers such as Cheever and Updike are outdated. This chapter focuses instead on New Yorker suburban fiction written by women contributors to demonstrate the magazine’s ongoing role in shaping the class consciousness and political sensibilities of its white female readers, who by 1954 accounted for 55 percent of its subscribers. Postwar, it became a symbol of its women readers’ education and refinement. Further, the liberal ideals advanced in the magazine’s essays consistently offered means for enhancing readers’ standing in their communities by championing social causes that would conveniently not raise taxes, lower property values, or compromise their children’s education. The female-authored New Yorker fiction discussed here offers a composite portrait and subtle critique of the white suburban woman voter whose current clout at the polls could be redirected to serve a larger purpose than self-aggrandizement.

In his expert analysis of Plath’s correspondence with the editors to whom she submitted her poems at The New Yorker, Peter K. Steinberg provides a unique and critical new context for understanding Plath’s compositional practices. Steinberg makes clear just how responsive those practices were to her professional aspirations for publishing her work, with The New Yorker being the pinnacle for those aspirations.