The chapter argues that Robert Lowell erred morally, and thereby aesthetically – since art must be held to account – in his literary experiment of appropriating the epistolary voice of Elizabeth Hardwick, the esteemed literary critic, novelist, and co-founder of and regular contributor to the New York Review of Books, into The Dolphin (1973). Hardwick was Lowell’s second wife, then ex-wife at the time Lowell composed his sequence. Saltmarsh argues for a need to see her as a subject, and not an objectified "Lizzie" character. In quoting from many of Hardwick’s essays, letters, and writings, she hopes to restory what we think we know about the literary history of Lowell and Hardwick. Broadly, this chapter offers a reappraisal of both Lowell and Hardwick, and sheds light on the limits of confessional poetry, particularly when a writer is purporting to speak as an intimate other.

This chapter concerns Lowell’s years in England and Ireland, his divorce from Elizabeth Hardwick, and third marriage to Lady Caroline Blackwood. It focuses on the controversy around the publication of The Dolphin (1973), which deals with these matters and damaged his reputation. It also concerns Lowell’s state of mind, his health, and his interaction with British university life and British poetry, although these were of less pressing concern to him than his relationships and his fierce commitment to his own poetry. The chapter begins with Lowell as a temporarily jaded public figure leaving America to take creative respite in England. During his time here, he reworks his Notebook to produce History and For Lizzie and Harriet, while newer sonnets appear in The Dolphin. Despite the more warmly received Day by Day (1977), the chaos in his marriage leads him to return to America and Hardwick, where he dies at age sixty.