as literary editor of Isis, as editor of New Poems, and as poetry editor of The Paris Review. At the end of his first Oxford year, Hall also won the university's Newdigate Prize, awarded for his long poem, 'Exile'. In September 1952, he married his first wife, Kirby Thompson, with whom he had his son and daughter. On returning to the United States, Hall went to Stanford University, where he spent one year as a Creative Writing Fellow, studying under the poet-critic, Yvor Winters. Following his year at Stanford, Hall went back to Harvard, where he spent three years in the Society of Fellows. During that time, he put together his first book, Exiles and Marriages. In 1957, with Robert Pack and Louis Simpson, he edited an anthology which was to make a significant impression on both sides of the Atlantic, New Poets of England and America. It was later juxtaposed with Donald Allen's The New American Poetry 1945–1960. In 1968, he signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse tax payments in protest against the Vietnam War. While teaching at the University of Michigan in Ann Arbor, Michigan, he met the poet Jane Kenyon, whom he married in 1972. Three years later, the couple moved to Eagle Pond Farm, his grandparents' former home in Wilmot, New Hampshire. Hall and Kenyon were profiled at their home in a 1993 PBS documentary, "A Life Together," which aired as an episode of Bill Moyers Journal. In 1989, when Hall was in his early sixties, it was discovered that he had colon cancer. Surgery followed, but by 1992 the cancer had metastasized to his liver. After another operation, and chemotherapy, he went into remission, though he was told that he only had a one-in-three chance of surviving the next five years. Then, early in 1994, it was discovered that Kenyon had leukemia. Her illness, her death fifteen months later, and Hall's struggle to come to terms with these things, were the subject of his 1998 book, Without. Another book of poems dedicated to Kenyon, Painted Bed, is cited by Publishers Weekly as "more controlled, more varied and more powerful, this taut follow-up volume reexamines Hall's grief while exploring the life he has made since. The book's first poem, 'Kill the Day,' stands among the best Hall has ever written. It examines mourning in 16 long-lined stanzas, alternating catalogue with