AMERICAN WRITERS, Supplement VII

SUPPLEMENT VII Julia Alvarez to Tobias Wolff

AMERICAN

WRITERS

A Collection of Literary Biographies JAY PARINI Editor in Chief

SUPPLEMENT VII Julia Alvarez to Tobias Wolff

Charles Scribner's Sons An Imprint of the Gale Group New York

Copyright © 2001 by Charles Scribner's Sons, an imprint of the Gale Group Charles Scribner's Sons 1633 Broadway New York, New York 10019 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by an information storage or retrieval system, without permission in writing from the publisher. 3

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Library of Congress Cataloging-in-Publication Data American writers; a collection of literary biographies. Leonard Unger, editor in chief, p. cm. The 4-vol. main set consists of 97 of the pamphlets originally published as the University of Minnesota pamphlets on American writers; some have been rev. and updated. The supplements cover writers not included in the original series. Supplement 2, has editor in chief, A. Walton Litz; Retrospective suppl. 1, ©1998, was edited by A. Walton Litz & Molly Weigel; Suppl. 5 has editor-in-chief, Jay Parini. Includes bibliographies and index. Contents: v. 1. Henry Adams to T. S. Eliot — v. 2. Ralph Waldo Emerson to Carson McCullers — v. 3. Archibald MacLeish to George Santayana — v. 4. Isaac Bashevis Singer to Richard Wright — Supplements]: 1, pt. 1. Jane Addams to Sidney Lanier. 1, pt. 2. Vachel Lindsay to Elinor Wylie. 2, pt.1. WH. Auden to O. Henry. 2, pt. 2. Robison Jeffers to Yvor Winters. — 4, pt. 1. Maya Angelou to Linda Hogan. 4, pt. 2. Susan Howe to Gore Vidal. 5. Russell Banks to Charles Wright. ISBN 0-684-19785-5 (set) — ISBN 0-684-13662-7 1. American literature—History and criticism. 2. American literature—Bio-bibliography. 3. Authors, American—Biography. I. Unger, Leonard. II. Litz, A. Walton. Ill Weigel, Molly. IV. University of Minnesota pamphlets on American writers. PS129 .A55 810'.9 [B]

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ISBN 0-684-80624-X Acknowledgment is gratefully made to those publishers and individuals who have permitted the use of the following material in copyright. Julia Alvarez Excerpts from "Memory is Already the Story You Made Up About the Past: An Interview with Julia Alvarez," by Catherine Wiley, in The Bloomsbury Review, March 1992, copyright © 1992 by Owaissa Communications Company, Inc., reprinted by permission of the author. Excerpts from The Other Side/El Otro Lado, by Julia Alvarez, Dutton, 1995, reprinted by permission of Button, a division of Penguin Putnam Inc. Excerpts from Homecoming: New and Collected Poems, by Julia Alvarez, Dutton, 1995, reprinted by permission of Susan Bergholz Literary Services. A. R. Ammons Excerpts from an interview with A. R. Ammons, in Michigan Quarterly Review, Winter 1989, copyright © 1989 by The University of Michigan, reprinted by permission of A. R. Ammons. Excerpts from Ommateum, by A. R. Ammons, Dorrance, 1955, reprinted by permission of A. R. Ammons. Excerpts from Corsons Inlet, by A. R. Ammons, Cornell University Press, 1965, reprinted by permission of W. W. Norton & Company, Inc. Excerpts from Collected Poems: 1951-1971, by A. R. Ammons, W. W. Norton, 1972, copyright © 1987, 1977, 1975, 1974, 1972, 1971, 1970, 1966, 1965, 1964, 1955 by A. R. Ammons, reprinted by permission of W. W. Norton & Company, Inc. Excerpts from Sphere: The Form of a Motion, by A. R. Ammons, Norton, 1974, copyright © 1974 by A. R. Ammons, reprinted by permission of W. W. Norton & Company, Inc. Excerpts from The Snow Poems, by A. R. Ammons, W. W. Norton, 1977, copyright © 1977 by A. R. Ammons, reprinted by permission of W. W. Norton & Company, Inc. Excerpts from Tape for the Turn of a Year, by A. R. Ammons, Cornell University Press, 1965, reprinted by permission of W. W Norton & Company, Inc.

Sandra Cisneros Excerpts from My Wicked Wicked Ways, by Sandra Cisneros, Random House, 1987, reprinted by permission of the author. Excerpts from Loose Woman, by Sandra Cisneros, Random House, 1994, reprinted by permission of the author. Excerpts from Woman Hollering Creek, by Sandra Cisneros, Random House, 1991, reprinted by permission of the author. Andre Dubus Excerpts from Book, March/April, 1999, reprinted by permission. Excerpts from Separate Flights, by Andre Dubus, copyright © 1975 by David R. Godine, reprinted by permission of David R. Godine, Publisher, Inc. Excerpts from , reprinted by permission. Excerpts from The New York Times Sunday Magazine, November 20,1988, copyright © 1988 by The New York Times Company, reprinted by permission. George Garrett Excerpts from Death of the Fox, by George Garrett, Doubleday, 1971, reprinted by permission of the author. Excerpts from Days of Our Lives Lie in Fragments: New and Old Poems, by George Garrett, Louisiana State University Press, 1998, copyright © 1998 by George Garrett, reprinted by permission of Louisiana State University Press. Excerpts from For A Bitter Season, by George Garrett, University of Missouri Press, 1967, reprinted by permission. Donald Justice Excerpts from New and Selected Poems, by Donald Justice, Alfred A. Knopf, 1995, copyright © 1995 by Donald Justice, reprinted by permission of Alfred A. Knopf, a Division of Random House Inc. William Kennedy Excerpts from a review of William Kennedy's works by Joel Conarroe, The New York Times, September 30, 1984, copyright © 1984 by The New York Times Company, reprinted by permission of the author. Excerpts from The Ink Truck, by William Kennedy, Penguin, 1984, copyright © 1969, renewed © 1997 by William Kennedy, reprinted by permission of Viking Penguin, a division of Penguin Putnam Inc. Excerpts from Legs, by William Kennedy, Penguin, 1983, copyright © 1975 by William Kennedy, reprinted by permission of Viking Penguin, a division of Penguin Putnam Inc. Excerpts from The Flaming Corsage, by William Kennedy, Viking, 1996, copyright © 1996 by WJK, Inc, reprinted by permission of Viking Penguin, a division of Penguin Putnam Inc. Excerpts from Billy Phelan's Greatest Game, by William Kennedy, Penguin, 1984, copyright © 1978 by William Kennedy, reprinted by permission of Viking Penguin, a division of Penguin Putnam Inc. Excerpts from Ironweed, by William Kennedy, Penguin, 1983, copyright © 1979,1981,1983 by William Kennedy, reprinted by permission of Viking Penguin, a division of Penguin Putnam Inc. Excerpts from Quinn's Book, by William Kennedy, Penguin, 1988, copyright © 1988 by WJK, Inc, reprinted by permission of Viking Penguin, a division of Penguin Putnam Inc. Excerpts from Very Old Bones, by William Kennedy, Penguin, 1992, copyright © 1992 by WJK, Inc, reprinted by permission of Viking Penguin, a division of Penguin Putnam Inc. Jane Kenyon Excerpts from From Room to Room, by Jane Kenyon, Alice James Books, 1978, reprinted by permission. Excerpts from an introduction to Twenty Poems of Anna Akhmatova, by Jane Kenyon, translated by Jane Kenyon with Vera Sandomirsky Dunham, Eighties Press and Ally Press, 1985, reprinted by permission. Excerpts from The Boat of Quiet Hours, by Jane Kenyon, Gray wolf Press, 1986, reprinted by permission. Excerpts from Constance, by Jane Kenyon, Graywolf Press, 1993, reprinted by permission. Excerpts from A Hundred White Daffodils: Essays, Interviews, Newspaper Columns, and One Poem, by Jane Kenyon, Graywolf Press, 1999, reprinted by permission. Excerpts from Let Evening Come, by Jane Kenyon, Graywolf Press, 1990, reprinted by permission. Excerpts from Otherwise, by Jane Kenyon, Graywolf Press, 1996, reprinted by permission. Jamaica Kincaid Excerpts from "A Lot of Memory: An Interview with Jamaica Kincaid," by Moira Ferguson, in The Kenyon Review 16, Winter 1994, reprinted by permission of the author. Excerpts from The Missouri Review 20, copyright © 1991 by The American Audio Prose Library, Inc., reprinted by permission of the American Audio Prose Library. Barbara Kingsolver Excerpts from Another America/Otra America, by Barbara Kingsolver, Seal Press, 1998, reprinted by permission. Excerpts from The New York Times Book Review, September 2, 1990, copyright © 1990 by The New York Times Company, reprinted by permission. Mary Oliver Excerpts from Dream Work, by Mary Oliver, Atlantic Monthly Press, 1986, copyright © 1986 by Mary Oliver, reprinted by permission. Excerpts from House of Light, Mary Oliver, Beacon Press, 1990, reprinted by permission. Excerpts from No Voyage and Other Poems, Mary Oliver, Dent, 1963, reprinted by permission. Excerpts from "The Man on the Grass," by Mary Oliver, in The Georgia Review 35, 1981, copyright © 1981 by the University of Georgia, reprinted by permission of the author. Excerpts from The River Styx Ohio, and Other Poems, by Mary Oliver, Harcourt Brace & Company, 1972, reprinted by permission of the author. Excerpts from White Pine, by Mary Oliver, Harcourt Brace & Company, 1994, reprinted by permission of Harcourt, Inc. Excerpts from West Wind: Poems and Prose Poems, by Mary Oliver, Houghton Mifflin, 1997, reprinted by permission of Houghton Mifflin Company. Excerpts from New and Selected Poems, by Mary Oliver, Beacon Press, 1992, reprinted by permission. Excerpts from "Review of House of Light," by David Baker, Kenyon Review 13,1991, copyright © 1991 by Kenyon College, reprinted by permission. Excerpts from Twelve Moons, by Mary Oliver, Little Brown, 1979, reprinted by per-

mission of Little, Brown and Company. Excerpts from American Primitive, by Mary Oliver, Little Brown, 1983, reprinted by permission of Little, Brown and Company. Excerpts from The Ohio Review 38, 1987, copyright © 1987 by the editors of The Ohio Review, reprinted by permission. Excerpts from Papers on Language and Literature 30, Fall 1994, copyright © 1994 by the Board of Trustees, Southern Illinois University at Edwardsville, reprinted by permission. Excerpts from a review of New and Selected Poems, by David Barber, in Poetry 162, 1993, copyright © 1993 by the Modern Poetry Association, reprinted by permission of the poetry editor and the author. Excerpts from a review of A Poetry Handbook and White Pine, by Thomas R. Smith, in The Bloomsbury Review 15, 1995, copyright © 1995 by Owaissa Communications Company, Inc., reprinted by permission of the author. Excerpts from "Dialogues Between History and Dream," by Lisa Steinman, Michigan Quarterly Review 36, 1987, copyright © 1987 by The University of Michigan, reprinted by permission of the author. Excerpts from "The Language of Dreams: An Interview with Mary Oliver," by Eleanor Swanson, in The Bloomsbury Review 10, 1990, copyright © 1990 by Owaissa Communications Company, Inc., reprinted by permission of the author. Excerpts from Women's Studies: An Interdisciplinary Journal 21, 1992, copyright © 1992 by Gordon and Breach Science Publishers, reprinted by permission. Annie Proulx Excerpts from "Imagination is Everything," by Katie Bolick, in Atlantic Unbound, November 12, 1997, reprinted by permission of the author. Excerpts from Publishers Weekly 243, June 3, 1996, copyright © 1996 by Reed Publishing USA, reprinted by permission of the Bowker Magazine Group of Cahners Publishing Co., a division of Reed Publishing USA. Excerpts from Heart Songs & Other Stories, by Annie Proulx, Scribners, 1988, copyright © 1988, 1995 by Annie Proulx, reprinted by permission of Scribners, a division of Simon & Schuster. Excerpts from Close Range: Wyoming Stories, by Annie Proulx, Scribners, 1999, reprinted by permission of the Gale Group. Excerpts from The New York Times Biographical Services 25, June 1994, reprinted by permission. James Purdy Excerpts from On the Rebound: A Story and Nine Poems, by James Purdy, Black Sparrow Press, 1970, reprinted by permission. Anne Rice Excerpts from New York Times Book Review, March 28, 1999, copyright © 1999 by The New York Times Company, reprinted by permission. Excerpts from New York Times Book Review, August 11, 1999, copyright © 1999 by The New York Times Company, reprinted by permission. Excerpts from New York Times Magazine, October 14, 1990, reprinted by permission. Excerpts from People Weekly, December 5, 1988, reprinted by permission. Excerpts from Rolling Stone, July 13-27, 1995, copyright © 1995 by Straight Arrow Publishers Company, L.P, reprinted by permission. Excerpts from Wall Street Journal, June 17, 1976, reprinted by permission. Carol Shields Excerpt from "Interview with Carol Shields," by Marjorie Anderson, in Prairie Fire 16, 1995, reprinted by permission. Excerpts from Coming to Canada, by Carol Shields, Carleton University Press, 1995, reprinted by permission. Excerpts from Intersect, by Carol Shields, Carleton University Press, 1995, reprinted by permission. Excerpts from "Ordinary Pleasures (and Terrors): The Plays of Carol Shields," by Chris Johnson, in Prairie Fire 16, 1995, reprinted by permission of the author. Excerpts from "Interview with Carol Shields," by Eleanor Wachtel, in Room of One's Own 13, 1989, reprinted by permission. Excerpts from "An Epistolary Interview with Carol Shields," by Joan Thomas, in Prairie Fire 16,1995, reprinted by permission of the author. Excerpts from "A Little Like Flying: An Interview with Carol Shields," by Harvey De Roo, in West Coast Review 23, 1988, reprinted by permission of the publisher and the author. Tobias Wolff Excerpts from In the Garden of the North American Martyrs, by Tobias Wolff, Ecco Press, 1981, copyright © 1981 by Tobias Wolff, reprinted by permission of HarperCollins, Inc. Excerpts from Critique: Studies in Contemporary Fiction 32, Summer 1991, copyright © 1991 by Helen Dwight Reid Educational Foundation, reprinted with permission of the Helen Dwight Reid Educational Foundation.

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List of Subjects

Introduction List of Contributors JULIA ALVAREZ Andrea Schaefer

xi

JAMAICA KINCAID Donna Seaman

179

BARBARA KINGSOLVER Dana Cairns Watson

197

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A. R. AMMONS Philip Bufithis

23

JERZY KOSINSKI Stephen Soitos

215

RICHARD BAUSCH Bert Almon

39

MARY OLIVER Jonathan N. Barron

229

SANDRA CISNEROS Mary Ellen Bertolini

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ANNIE PROULX Robert Niemi

249

ANDRE DUBUS Charles R. Baker

75

JAMES PURDY David Breithaupt

269

GEORGE GARRETT Walter Sullivan

95

ANNE RICE Laurie Champion

287

DONALD JUSTICE Wyatt Prunty

115

CAROL SHIELDS Susan L. Blake

307

WILLIAM KENNEDY Philip E. Baruth

131

TOBIAS WOLFF Pauls Toutonghi

331

JANE KENYON Laban Hill

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Cumulative Index

347

Introduction

student. These essays often rise to a high level of craft and critical vision, but they are meant to introduce a writer of some importance in the history of American literature, and to provide a sense of the scope and nature of the career under review. A certain amount of biographical and historical context for the work is also offered, so that readers can appreciate the ground that provided the texts under review with air and light, soil nutrients and water. The authors of these critical articles are primarily teachers, scholars, and writers. Most have published books and articles in their field, and several are well-known writers of poetry, fiction, or criticism. As anyone glancing through this volume will see, they are held to the highest standards of good writing and sound scholarship. Each essay concludes with a select bibliography intended to direct the reading of those who may want to pursue the subject further. Supplement VII is mostly about contemporary writers, many of whom have received little sustained attention from critics. For example, Julia Alvarez, Tobias Wolff, Sandra Cisneros, Annie Proulx, Jamaica Kincaid, Carol Shields, Richard Bausch, Andre Dubus, and Barbara Kingsolver have been written about in the review pages of newspapers and magazines, and their fiction has acquired a substantial following, but their work has yet to attract significant scholarship. That will certainly follow, but the essays included here constitute a beginning.

In an essay called "Spiritual Laws," Ralph Waldo Emerson wrote: "There is no luck in literary reputation. They who make up the final verdict upon every book are not the partial and noisy readers of the hour when it appears; but a court as of angels, a public not to be bribed, not to be entreated, and not to be overawed, decides upon every man's title to fame." This remains true, yet the work of criticism plays a role—the critic, in a sense, must act as a lawyer before this "court as of angels," making a case for various writers, new and old. This series had its origin in a unique series of brief critical monographs that appeared between 1959 and 1972. The Minnesota Pamphlets on American Writers were elegantly written and informative, treating ninety-seven American writers in a format and style that attracted a devoted following of readers. The series proved invaluable to a generation of students and teachers, who could depend on these reliable and interesting critiques of major figures. The smart idea of reprinting these essays occurred to Charles Scribner Jr. (1921-1995). The series appeared in four volumes entitled American Writers: A Collection of Literary Biographies (1974). Since then, seven supplements have appeared, covering over two hundred American writers: poets, novelists, playwrights, essayists, and autobiographers. The idea has been consistent with the original series: to provide crystalline, informative essays aimed at the general reader and intelligent XI

xii / AMERICAN WRITERS Some of the older generation of writers included here, such as George Garrett, William Kennedy, James Purdy, and Jerzy Kosinski, have already attracted a good deal of sustained attention, and their fiction has been slowly making its way onto the syllabi of college courses, but their work has not yet been discussed in American Writers. It is time they have been added to the series. The poets included here—A. R. Ammons, Jane Kenyon, Donald Justice, and Mary Oliver—are well known in the poetry world, and their work has in each case been honored with major literary prizes. (Ammons, Justice, and Oliver, for example, have won Pulitzer Prizes.) These poets have been widely anthologized as well. Nevertheless, the real work of assimilation, of discovering the true place of each poet in the larger traditions of American poetry, has only begun. In each case, these poets are written about by critics who are themselves poets, and the depth and eloquence of their essays should be obvious even to casual readers. The reader will also find Anne Rice among the subjects discussed in this collection. Like Stephen King, she has long had a vast reading public; only recently have critics begun to take a closer look at her work, finding resonances with

earlier work in the American and British traditions of Gothic writing. It is, in fact, a goal of the American Writers Series to include critiques of popular writers such as Rice and King, who tend to work in a specific genre and are often overlooked. Supplement VII is an abundant and heterogeneous collection that treats authors from a wide range of ethnic, social, and cultural backgrounds. Cisneros and Alvarez, for example, are Latina writers. Jamaica Kincaid is from the Caribbean. Kosinski was an emigrant from the world of Soviet-dominated Poland who escaped to the United States. Their work often (but not always) reflects their origins in fascinating ways. The critics who contributed to this collection represent a catholic range of backgrounds and critical approaches, although the baseline for inclusion was that each essay should be accessible to the non-specialist reader or beginning student. The work of culture involves the continuous assessment and reassessment of major texts produced by its writers, and our belief is that this supplement performs a useful service here, providing substantial introductions to American writers who matter to readers, and who will be read well into the new century. —JAYPARINI

Contributors Philip Bufithis. Professor of English at Shepherd College. Author of Norman Mailer, a critical study, and articles on modern American literature in numerous publications. Associate Fiction Editor of the literary magazine Antietam Review. A. R. AMMONS

Bert Almon. Professor of English, University of Alberta. Author of eight collections of poetry and a critical biography, William Humphrey: Destroyer of Myths. RICHARD BAUSCH Charles R. Baker. Poet, short story writer, and essayist. Author of What Miss Johnson Taught and Christmas Frost. ANDRE DUBUS

Laurie Champion. Assistant Professor of English, San Diego State University, Imperial Valley. Author of essays on American literature that have appeared in such journals as Southern Literary Journal, Southern Quarterly, Mississippi Quarterly, Studies in Short Fiction, and Journal of the Short Story in English. Editor (with Bruce A. Glasrud) of African American West: A Century of Short Stories and editor of The Critical Response to Mark Twain's Huckleberry Finn, The Critical Response to Eudora Welty's Fiction, and American Women Writers, 1900-1945: A BioBibliographical Critical Sourcebook. ANNE RICE

Jonathan N. Barren. Associate professor of English, University of Southern Mississippi. Editor (with Eric Murphy Selinger) of Jewish American Poetry: Poems, Commentary, and Reflections and forthcoming collections on the poetic movement New Formalism and on the poetry of Robert Frost. Editor in chief of The Robert Frost Review. MARY OLIVER Philip E. Baruth. Associate Professor of English, University of Vermont. Editor of Introducing Charlotte Charke: Actress, Author, Enigma, a collection of essays, and author of short stories and novels, including The Dream of the White Village: A Novel in Stories. WILLIAM KENNEDY

Laban Hill. Author of more than twenty books, including a cultural history of the Harlem Renaissance. JANE KENYON

Mary Ellen Bertolini. Lecturer, Middlebury College. SANDRA CISNEROS.

Robert Niemi. Associate Professor of English, St. Michael's College. Author of Russell Banks and (with Daniel Gillane) The Bibliography of Weldon Kees. ANNIE PROULX

Susan L. Blake. Professor of English, Lafayette College. Author of Letters from Togo and critical essays on American literature and travel writing. CAROL SHIELDS

Wyatt Prunty. Professor of English at Sewanee, where he directs the Sewanee Writers' Conference and edits the Sewanee Writers' Series. Author of "Fallen from the Symboled World": Precedents for the New Formalism, a study of contemporary poetry, and seven poetry collections, including Unarmed and Dangerous: New

David Breithaupt. Poet, short story writer, essayist, and library worker. Author of numerous pieces of poetry and short fiction that have appeared in such journals as Exquisite Corpse, Rant, and Beet. JAMES PURDY xin

jciv / AMERICAN WRITERS and Selcted Poems. Editor of Sewanee Writers on Writing, a collection of essays. DONALD JUSTICE Andrea Schaefer. Visiting Lecturer in English and Theatre, Middlebury College. JULIA ALVAREZ Donna Seaman. Editor for Booklist and author of reviews, essays, and articles in numerous publications, including the Chicago Tribune, the Los Angeles Times, the Ruminator Review (formerly the Hungry Mind Review), and the Boston Review. Editor of the anthology In Our Nature: Stories of Wildness. JAMAICA KINCAID Stephen Soitos. Author of The Blues Detective: A Study of African American Detective Fiction and other works centering on German Expressionist painting, Brazilian art, and African American art and literature. JERZY KOSINSKI

Walter Sullivan. Professor of English and Director of the Program in Creative Writing, Emeritus, at Vanderbilt University. Author of three novels, three volumes of literary criticism, a memoir of Allen Tate, a collection of excerpts from women's civil war diaries, and numerous uncollected short stories and essays on literary themes. GEORGE GARRETT Pauls Toutonghi. Poet and fiction writer who has published work in numerous journals. Recipient of a 2000 Pushcart Prize for his story "Regeneration," which appeared in the Boston Review. TOBIAS WOLFF Dana Cairns Watson. Teacher of twentieth-century American literature at the University of California, Los Angeles. BARBARA KINGSOLVER

Julia Alvarez 1950-

"L* /ANGUAEisTHEonlyhomeland."Thes

and to shed light on such issues as acculturation, alienation, class, race, and politics. In a review of In the Time of the Butterflies (1994), Ilan Stavans quoted Alvarez as saying, "I am a Dominican, hyphen, American. As a fiction writer, I find the most exciting things happen in the realm of that hyphen—the place where two worlds collide or blend together." Other issues central to Alvarez's work are family: patriarchy and the struggles of women against the circumscribed roles assigned to them within traditional Dominican culture, and relationships between men and women. Although her primary focus is on women and how all of these issues impact on their lives and her own, her later fictional work has broadened in a deliberate move to include men's voices as well. As Alvarez says in Homecoming (1984), all in all, the development of her voice as a writer reflects her maturation from a young poet "claiming [her] woman's voice" into a more versatile author who, in claiming her voice as a woman and a DominicanAmerican, deals head-on with "the further confusions of [her] bilingual, bicultural self."

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words of the poet Czeslaw Milosz serve as the epigraph to the 1995 edition of Homecoming, Julia Alvarez's first collection of poems. The phrase also appears in her third novel, /Yo! (1997), where the title character, Alvarez's alter ego, is complimented on her spoken English by her American landlady, to whom Yo responds, "Language is the only homeland . . . When there's no other ground under your feet, you learn quick, believe me." Language is a central issue in Alvarez's work, as is her experience as a Dominican-American navigating between two languages and two cultures. Although Spanish was her first language and its influence is felt throughout her work, it remains the language of her early childhood. The English language became the homeland in which Alvarez landed and where she has grown as a woman, teacher, poet, novelist, and essayist. The author has repeatedly addressed her ability to shed the sense of herself that she describes in her book of essays Something to Declare (1998) as a "foreigner with no ground to stand on" through language (writing). The difficulty of doing so by other means has left her with a sense of not fully belonging to either her native Dominican homeland or her adopted American one. Language provides the means for Alvarez to negotiate her hyphenated existence as an immigrant

CHILDHOOD AND BACKGROUND

Julia Alvarez was born to Eduardo and Julia Alvarez on March 27, 1950, in New York City. Her

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2 / AMERICAN WRITERS family lived in New York for just three weeks, however, before they returned to their native country, where Alvarez lived until she was ten years old. The family's return to the Dominican Republic was not without risk since her father had originally been forced to flee to Canada, where he lived for nine years, after his involvement in a failed student underground movement to overthrow the dictator, Rafael Leonidas Trujillo. Bloodthirsty and corrupt, Trujillo ruled over the Dominican people for more than thirty years until he was assassinated in 1961. The wealth and political connections of Alvarez's mother's family paved the way for her parents' return and, for a time, secured their safety. In contrast, Alvarez's father, a doctor, was "from a humble family" which, she has written, meant that they "had supported the wrong side of a revolution" and lost their wealth. The second oldest of four sisters, Alvarez was raised among her large extended family and their servants in a house on property owned by her maternal grandfather. Alvarez's writing often addresses the benefits and drawbacks of being raised in this communal, closely knit familial environment. As Alvarez looks back on her early childhood, she notes that the immediate world in which she was raised was run by women: In Something to Declare, she says, "Every day, when my grandfather and father and my two uncles left for work, this complex of houses became a stronghold of women, my mother, my tias, and an army of maids." Alvarez is also quick to acknowledge the privileged nature of her early childhood. Alvarez's maternal grandfather, who had attended an American university and spoke perfect English, had an appointment as cultural attache to the United Nations and her grandparents resided in New York for several months out of the year. Keeping strong American ties was politically and personally prudent given the ruthlessness of the dictator, Trujillo. As Alvarez notes in

the essay "An American Childhood in the Dominican Republic," which appeared in The American Scholar in 1987, "The one thing Trujillo still seemed to fear was losing American support of his regime." Thus, a tradition was established in her family of sending the children to boarding schools in the United States. Yet at an early age Alvarez was keenly aware of the limited set of expectations for girls' futures beyond a secondary level of education. Following graduation, the presumption was that the boys would continue on to good colleges while the girls would return home to prepare for marriage and motherhood. In Something to Declare Alvarez writes in her essay "Grandfather's Blessing" that she would leaf through her books in search of a kindred spirit, a model to "prove that I could become what I dreamed of becoming. I learned early to turn to books, movies, music, paintings, rather than to the family to find out what was possible." Alvarez first learned English while attending the Carol Morgan School. It was her mother's idea to send her daughters to an American school on Dominican soil, influenced by her own education at a boarding school in the United States. In an essay from Something to Declare entitled "My English," Alvarez says that her mother would continually urge her daughters to learn "your English," instilling in her daughters a sense of language as inheritance. She captures the difficulties of having this bilingual "inheritance" imposed on her at such a young age, remarking, "Unfortunately, my English became all mixed up with our Spanish." Feelings of insecurity about her native tongue were fostered early in Alvarez by her colonialist education and by the privileged status accorded to English at her school. Any mistaken use of Spanish words led to humiliation in front of her American classmates and the sense that her "native tongue was not quite as good as English, as if words like columpio were illegal immigrants trying to cross a border into another language."

JULIA ALVAREZ / 3 Alvarez's use of the word columpio, which means a swing, underscores her sense of oscillating between two languages and two cultures at a tender age, even before her family ever emigrated from the Dominican Republic. The Alvarezes immigrated to the United States in 1960 after her father became involved in a failed plot to overthrow Trujillo that was sponsored by the American government. When the United States withdrew its support for the plan and the SIM, the Dominican secret police, began rounding up plot participants, a well-placed American friend of Dr. Alvarez's arranged for him to receive a medical internship in the States. The family fled to New York City, settling in Jamaica Estates, Queens. As the only Latinas in a mostly German and Italian middle- to upper-middleclass neighborhood, Alvarez and her sisters encountered prejudice and general ignorance. When they were not being taunted as "spies" and "greaseballs" in the schoolyard, she writes that their "teachers and classmates at the local Catholic schools referred to us as Torto Ricans' or 'Spanish.' " Alvarez was eventually sent to a New England boarding school, after which she attended Connecticut College from 1967 to 1969. Her early promise as a poet gained her a place at the Bread Loaf School of English Writers' Conference during the summer of 1969. She transferred to nearby Middlebury College in Vermont, from which she received a Bachelor of Arts, graduating summa cum laude, in 1971. She received a master of fine arts degree from Syracuse University in 1975. From 1975 to 1978 she was a Poet-in-theSchools in Kentucky, Delaware, and North Carolina. She taught English at Phillips Andover Academy from 1979 to 1981. She also returned to the Bread Loaf School of English from 1979 to 1980. A series of college teaching stints followed at the University of Vermont (1981-1983), George Washington University (1984-1985), and the University of Illinois (1985-1988).

In 1988 Alvarez returned to Vermont to become an assistant professor of English at Middlebury College. Although she has since decided to stop teaching full-time and to relinquish her tenure in order to focus on her writing, she continues to live in Middlebury with her third husband, Bill Eichner, a doctor whom she married in 1989. Awards received by Alvarez for her work include the Robert Frost Poetry fellowship from the Bread Loaf Writers' Conference (1986); an award for younger writers from the General Electric Foundation (1986); a grant from the National Endowment for the Arts (1987-1988); a grant from the Ingram Merrill Foundation (1990); and the 1991 PEN Oakland/Josephine Miles Award for works that represent a multicultural viewpoint, and selection as a Notable Book of 1992 by the American Library Association and the New York Times, all for How the Garcia Girls Lost Their Accents. She also received a nomination for the 1995 National Book Critics Circle Award for In the Time of the Butterflies, which was also chosen as a Book-of-the-Month Club selection, and won the American Poetry Review's Jessica Nobel-Maxwell Poetry Prize in 1995.

HOMECOMING

Alvarez's first collection of poems, Homecoming, was published by Grove Press in 1984. The strongest aspect of the collection is a series of "Housekeeping" poems concerned with Alvarez's "housebound" upbringing, her relationship with her mother, and her struggle to forge her own identity apart from her "mami" and the traditional feminine role. A complete collection of the "Housekeeping" poems also came out in 1984 in a small, handmade edition, illustrated by the artists Carol MacDonald and Rene Schall, and funded by the Vermont Council on the Arts and the National Endowment for the Arts. Mounted

4 / AMERICAN WRITERS panels of the book were on exhibit throughout the state of Vermont from 1984 to 1985. The "Housekeeping" poems portray a young Alvarez engaged in household chores with her mother. In "How I Learned to Sweep," the poet implies that any dawning political awareness she may have had was nearly swept away by her mother. The television, which functions symbolically as Alvarez's window onto events outside the home such as news of the Vietnam War, is twice turned off by her mother: first when she tells her daughter to sweep the floor and then when she inspects the finished job. Like a general, her mother presides over the household inspection and like a ruthless dictator, prefers to sweep under the carpet that which she does not wish to see, including her daughter's rejection of the housewife role. In "Dusting" Alvarez's mother's domesticity threatens her daughter's identity as an independent woman and a writer with erasure. Yet even as Alvarez asserts her refusal "to be like her [mother], anonymous," she implicitly acknowledges that her mother's household work remains unrecognized in the eyes of society and her own family. The patriarchal structure of the household is reflected in the activity mother and daughter share of making up the "master bed" after her father leaves for work; the "black nose of his slipper" peaking out from under the bed and the "long pillow with the sultan's tassel" serve as reminders of her father's role as head of the family. Nonetheless, Alvarez's mother reigns over her daughters within the home in their father's absence. Even as Alvarez pays tribute to her mother, asking "Who says a woman's work isn't high art?," and acknowledges her moments of tenderness, the sense of the young poet's resentment and anger toward her mother grows in these poems. Storm windows are metaphors for their turbulent relationship and the activity of washing them is transformed into a desire to see beyond the limits of her mother's "reach, her house, her yard, her mothering." Alvarez clearly feels that

her mother demanded too high a price for her love and saddled her daughter with feelings of guilt and self-doubt. The key to transcendence for Alvarez lies in language. In one of the most effective poems, "Hanging the Wash," she mirrors the act of hanging wash on the line in the way in which she arranges words on the page. An analogy is drawn between the process of creating poetry ("She has in mind / a line in which / everything fits . . .") and the hanging of laundry on the clothesline, as she reshapes the domestic stuff of her childhood into the poetic material of her adulthood. But the sequence ends on an uncertain and somewhat bitter note in "Woman's Work." Alvarez observes that in releasing herself from being kept a "prisoner in her [mother's] housebound heart," the poet succeeded in building new walls around herself, "housekeeping paper as if it were her heart." Her search for love and selfhood is explored further in the longer sonnet sequence, "33," so named to reflect both the author's age and the intended number of sonnets. Alvarez broaches the tension between her feminist awareness, her professional aspirations, and her romantic, "feminine" desires. She also addresses the pressure she feels from her immediate and extended family concerning marriage and motherhood. Again, the sonnets mark the emergence of her woman's voice as she asks, "Tell me what is it women want the most?" Mired as she is in fear, self-doubt, and frankly, at times, self-pity, she comes to recognize that finding an answer to that question lies in finding her voice. But this awareness is only tentative in these early poems. When she writes, "What kind of woman / are you? I wish I knew, I say, I wish I knew and could just put it into words," the sense the reader gets is of a woman who does not wholly believe in her ability to do just that. This tentativeness is more qualified in a revised and expanded edition of Homecoming published in 1995. New poems include those that were added to the "33" sonnet sequence to reflect the author's age of forty-six at the edition's time of

JULIA ALVAREZ / 5 publication. Moreover, as Alvarez notes in the afterword, "These additions reflect a political awareness absent, for the most part, in the young women of thirty-three." In one sonnet she constructs the ABCs of modern atrocities: "A is for Auschwitz; B for Biafra; Chile. . . ." The personal, household dust kicked up by the thirtythree year old Alvarez is powerfully transfigured by her older self who brings her "modern primer" to a close with these lines: "An X to name the countless disappeared / when they are dust in Yemen or Zaire." Alvarez sees this heightened political consciousness as being inextricably linked to her discovery of her voice not just as a woman but as a Dominican-American woman. As such, the reader can take more heart from the last lines of the forty-sixth sonnet: "I once was in as many drafts as you. / But briefly, essentially, here I am. / Who touches this poem touches a woman." The sense of wholeness that acknowledging her "bicultural, bilingual self brings is also evident in the added sonnet sequence, "Redwing Sonnets," in which Alvarez further explores the themes of her voice taking flight and the power of language to effect personal and political change. These poems more explicitly address her Dominican roots and her "childhood in a dictatorship / when real talk was punishable by death." In the volume's final poem, "Last Night at Tia's," the poet confronts the fact that much of her connection to her Dominican relatives lies in the past and that deep divisions, political and otherwise, now exist between them. In the afterword, however, Alvarez emphasizes not what has been lost but what she has gained during the course of her life's journey: the knowledge of "where her roots really are—deep in the terra firma of language."

HOW THE GARCIA GIRLS LOST THEIR ACCENTS

The autobiographical exploration in Alvarez's poems serves as the seed, planted in verse, of the

fifteen interrelated stories that comprise her first novel, How the Garcia Girls Lost Their Accents, published in 1991. The novel's title immediately signals a concern with language and the sense of loss inherent in the Garcia family's immigrant journey and acculturation. Furthermore, as William Luis noted in 1997, the novel marks a shift in Alvarez's sense of her identity from the view of herself in "An American Childhood in the Dominican Republic." The essay contains stories that seem to have served as the basis for the novel and others that are not included in the full-length work; still other factual events recounted in the essay are rearranged in the fictionalized version. These include the events leading up to the Alvarez family's departure from the Dominican Republic. The essay also describes Alvarez's Americanized schooling; the allure of imported U.S. products in the local American-style supermarket; and Alvarez's fascination with her blond, blue-eyed American classmate, the daughter of the Chevrolet dealer. As the plane carrying her family touches down in New York City, Alvarez writes, "All my childhood I had longed for this moment of arrival. And here I was, an American girl, coming home at last." Discussing "An American Childhood in the Dominican Republic" and How The Garcia Girls Lost Their Accents, Luis notes, "In the essay, Alvarez finds her identity in her return home to the United States. In contrast, the novel begins [or ends] with Yolanda's return to the Dominican Republic." That said, Alvarez makes it clear in the essay that her Americanized upbringing in the Dominican Republic was rooted in a colonialist, repressive culture, dictated by Trujillo's racism and his desire to foster stronger economic ties with the United States in order to curry political favor for his regime. Nonetheless, it is fair to say that in the five years between the publication of the essay in 1987 and the novel in 1991, Alvarez grew into a fuller recognition and deeper acceptance of her Latina identity, with which she now identifies more closely. The measure of this, of

6 / AMERICAN WRITERS course, is in her writing. Turning to How the Garcia Girls Lost Their Accents, it becomes clear that the author writes the novel as a DominicanAmerican "girl," coming home at last to a richer, more complex sense of self that requires novellength narrative expression. Alvarez originally saw her first novel as the book that she simply hoped would get her tenure, never anticipating that it would become such a popular success and garner so much critical attention. The novel's vivid, heartfelt depiction of the lives of the four Garcia sisters and their parents struck a chord with readers. The most fully dimensional character, not surprisingly, is that of Yolanda, the author's alter ego. The novel's fifteen chapters or stories are structured in three parts reflecting the sisters' lives in adulthood, adolescence, and childhood. The work also moves backward in time and, significantly, begins and ends in the Dominican Republic. The narrative's nonlinear structure reflects Alvarez's sense of herself as a woman and her interest in perspectives from outside of mainstream Anglo America. In a 1992 interview with Catherine Wiley, Alvarez indicated that her thoughts about the plot of her novel and about the way women in general tell stories were shaped by a sense of women thinking relationally as opposed to directionally. She notes the influence of the novelist Louise Erdrich's thoughts on how Native American people experience truth on her own thinking about writing and women's issues: "It is something you get at, that's right there, but the truth is all the points around the truth, around the circle. Each little perspective somehow is what the truth is. . . ." The reader sees this approach to truth and the rendering of personal experience in Alvarez's use of multiple perspectives in all of her novels. Alvarez related the figure of a circle even more directly to her own life when she said in her interview with Wiley, A lot of what I have worked through has to do with coming to this country and losing a homeland and

a culture, as a way of making sense, and also it has to do with the sisterhood of my sisters and myself. They were the only people I really had as models. We were moving in a circle, because none of us knew any more than the other one but all we had was each other, not feeling part of this world and not really feeling part of the old world either.

This sense of being caught in between two worlds and of not really belonging to either one is embodied in Yo's character, who returns to the Dominican Republic for a visit with relatives at the beginning of How the Garcia Girls Lost Their Accents. Yo makes the visit thinking that she may return permanently to live on the island. "Let this turn out to be my home," she wishes to herself as she regards her married female cousins, secure in their positions of authority within their households. Yet even as she yearns for security and stability, she chafes at the restrictions placed on Dominican women, such as the negative response that greets her desire to travel north in search of guava groves: "A woman just doesn't travel alone in this country." Yo rejects such advice and embarks on a journey of self-discovery. The guavas Yo picks and relishes signify that her reward lies in tasting the fruits of her own independent labor. She feels threatened, though, by two workmen who come upon her as she waits alone in her car for help in fixing her flat tire. The irony is that Yo extricates herself from a potentially dangerous situation in part by pretending not to speak Spanish when the men interpret her frightened silence as evidence of her being "Americana." Yo's tourist pose is furthered when the young boy whom she sent in search of help returns and tells her that the guardia (police) would not believe his story: "No dominicana with a car would be out at this hour getting guayabas" The story's ending implies that Yolanda has not found the home she was searching for, nor is she any closer to feeling like she belongs in the United States, whose culture is typified by the print advertisement referred to in the story's final lines: "the Palmolive woman's skin gleams a rich

JULIA ALVAREZ / 7 white . . . her mouth still opened as if she is calling someone over a great distance." Alvarez looks to bridge that geographic and cultural distance with the stories she writes. But this open-mouthed image recurs, noticeably in the last story of the novel, and appears elsewhere as a gaping void also felt by Yolanda's sisters after emigrating from the island. As the family prepares to leave the Dominican Republic in the story "The Blood of the Conquistadores," Alvarez writes, "nothing quite filled the hole that was opening wide inside Sandi." And in the last story, "The Drum," Yolanda reveals that she was haunted for years by the image of a black cat, "her magenta mouth opening, wailing over some violation that lies at the center of my art." This sense of violation may be read in a number of ways. There is the irreparable sense of loss that accompanied the family's sudden departure for the United States and the resulting years of struggle as immigrants. Alvarez may also be referring on some level to her conflicting emotions over having abandoned her original tongue for English, the language of colonizers and the American government which paved the way for and supported Trujillo's dictatorship. There is also the constant threat faced by all four sisters of personal violation through the loss of their individual identities. Alvarez binds the four sisters with what their old Haitian servant predicts will be an ability to "invent what they need to survive" in the new world. In the third story, "The Four Girls," the sisters' efforts to individuate themselves are recounted. There is an emphasis throughout the story on language and on the power of words to wound and bind. Their relationships with their mother serve as the connective tissue of the story and she acts as the storyteller throughout it. The mother's selfdefense against charges that she often lumped "the four girls" together or confused their names is that she has a particular story about each daughter that she likes to tell at special family gatherings.

Interestingly, the mother's total failure to understand her second oldest daughter, Sandi, is marked by the fact that she no longer tells a favorite story about her troubled daughter. She does talk about Sandi, though, with the girl's doctor, after she is hospitalized for anorexia and a nervous breakdown. Sandi is an intriguing character who begs for further development; she seems to represent some of the author's deepest fears and the dark side of her efforts to become a writer. One of the features of Sandi's breakdown is compulsive reading. Her parents discover lists she has made of "all the great works of man," which she feels she must read before she ceases to be human and turns into a monkey. In the process of losing her sense of self, Sandi loses her fundamental connection to humanity. Her compulsive canonical reading only serves to damage her further as none of these dead, white "great men" speak directly to her own background, thoughts, and emotions. Nowhere does she find someone whose experience mirrors her own. Her feelings of isolation and rejection are compounded by the fact that she is the lightest skinned of her sisters, which only leaves her feeling further separated from those closest to her. Even after her release from the hospital, Sandi appears fragile and edgy, and is reproved by her mother for using colorful language. This rebuke, aimed as it is at Sandi's use of language, underscores her tenuous state and again points to how Alvarez shapes her as the sister most closely linked to her alter ego, Yolanda. This becomes patently clear in the section titled "Joe," where language is the central theme even as the story itself is about the breakup of Yolanda's second marriage and her own ensuing nervous breakdown. Alvarez crafts the story in pre- and postlapsarian terms: "In the beginning we were in love." Yo compares herself to Eve, creating the world anew in the wake of her divorce, healing herself through language. Reclaiming her name is one of the first steps toward renewal. The story begins

8 / AMERICAN WRITERS with a litany of Yolanda's names: "nicknamed Yo in Spanish, misunderstood Joe in English, doubled and pronounced like the toy, Yoyo—or when forced to select from a rack of personalized key chain, Joey. . . ." The names signal the ways in which she feels torn by her various identities, is manipulated by others, and lacks a cohesive sense of self. One of the first signs that her marriage is doomed is that Yo's husband, John, calls her "Joe." The gap between them widens as they play a word game where he fails to understand how her name can rhyme with "sky": " 'Yo rhymes with cielo in Spanish.' Yo's words fell into the dark, mute cavern of John's mouth . . . And Yo was running, like mad, into the safety of her first tongue, where the proudly monolingual John could not catch her, even if he tried." Her growing fears of losing her identity and being snapped up like the gingerbread man are underscored by the fact that "Yo" is not only her preferred nickname, but that it means "I" in Spanish. As the relationship deteriorates, Yo finds herself taking on John's language and using words she hates in order to communicate with him. The end of the union comes when she finds that she is no longer able to understand a word he says; it is all babble to her. This precipitates a nervous breakdown where Alvarez further develops the connection between language, self, and emotional and mental stability that she introduced in Sandi's story. Yo returns to live with her parents who worry about her incessant talking, which mirrors Sandi's compulsive reading. Yo's heartbreak, loss of identity, and anxiety about her as-yet-unfulfilled ambition to become a writer are marked by her constant yakking, consisting largely of quoting and misquoting from nursery rhymes and classic works by famous male authors. Even as she begins to recover, she develops "a random allergy to certain words" and worries about the fact that she does not know what the most important word

in her vocabulary is. Alvarez signifies that Yo is truly on the mend when she tests out saying the word "Love," develops a rash, but forges on, pairing "Love" with her name, "Yolanda." Loving herself by naming and thereby knowing herself opens the door to a flood of words. The gates have been opened and the story ends on a triumphant note that signals Yolanda's emerging discovery of her voice as a woman and a writer. The stories in sections II and III of the novel, covering the sisters' adolescent and childhood years from 1970 to 1956, also do much to further the reader's understanding of their characters. The stories in section II concern the years 1970 to 1960, a turbulent period for both the United States and the Dominican Republic. The social and political turmoil of the time serves as a backdrop for the family's difficult first years of adjusting to life in the United States and the girls' growth into adolescence. The sisters note that "It was a regular revolution" in the Garcia household during those years. Their acculturation may have eased some of their difficulties in fitting into American culture but in many respects it escalated tensions with their parents. Inasmuch as the Garcias valued education and wanted their girls to succeed and be happy in the United States, the futures they envisioned for them were along traditional lines in terms of marriage to "homeland boys" and motherhood. Thus, the girls spent their summers in the Dominican Republic. Alvarez deals with the ensuing tensions between the girls' new world sense of themselves and the old world, patriarchal island culture in "A Regular Revolution." What is striking about the story is that the coup staged against traditionalism is against their own sister or, rather, the macho Dominican that Fifi begins seeing after marijuana is discovered in her room and she is sent to live with relatives on the island. Her sisters are alarmed at Fifi's subsequent transformation into a heavily made-up, elaborately coiffed dominicana and at her submissive-

JULIA ALVAREZ / 9 ness toward her beau, Manuel. Fearing an imminent wedding, her sisters plot to have the couple's secret, unchaperoned assignations revealed to the family. Their efforts succeed and their angry parents take Fifi back to live with them in the States. Fifi accuses her sisters of being "traitors," but they are steadfast in their belief that they have in fact rescued their youngest sister from "her fear of her own life." The beginnings of Yolanda's love of language and interest in writing are explored in other stories such as "Daughter of Invention," one of the strongest in the novel. The story addresses the difficulty that Yolanda finds in developing her own voice when defining herself in American terms brings her into conflict with her family. In this case it is her mother who comes to the rescue. Moreover, it is her mother, portrayed here in a more sympathetic and multifaceted manner than elsewhere in the work, who is credited with fostering Yo's ability to invent herself through language. After the family came to the United States, Mrs. Garcia became a fledgling inventor. A correlation is made between her failed gadgets and her penchant for malapropisms when arguing with or lecturing her daughters in English: "her English was a mishmash of mixed-up idioms and sayings that showed that she was 'green behind the ears,' as she called it." Whereas her mother struggles with the new language, Yolanda finds strength and security in it. Surrounded by a foreign cultural landscape and unfriendly, even hostile schoolmates, Yo finds comfort in her writing and takes "root in the language." While her frustrated mother eventually gives up her inventive brainstorming, Yo flourishes creatively and is asked to deliver the Teacher's Day address at school. She finds inspiration in Walt Whitman's poetry and incorporates his lines, "I celebrate myself and sing myself . . . He most honors my style who learns under it to destroy the teacher," into her speech. Her proud mother

asks her to read the speech to her father, who shocks them with his infuriated response, attacking Yo for being "insubordinate" and disrespectful of her teachers. The incident illustrates the culture clash in which Yo and her sisters repeatedly find themselves caught. Here it takes the form of a conflict between American individualism and the value placed in Dominican society on gratitude and respect for one's elders. The argument also underscores Dr. Garcia's sense of being the ultimate authority in the home, for when his wife takes her daughter's side, he rips up the speech. The sense of her father as domestic tyrant is heightened by Yo's equally enraged response, which is to call him by "Trujillo's hated nickname, 'Chapita.' " In the end, the family weathers the storm. Joined by her mother, Yo constructs a dutifully polite and respectful speech that pleases her teachers. Her chastened father asks for her forgiveness by giving her a typewriter and letting her know that he only wished to protect her. Yo recalls her mother's help with writing the speech as Mrs. Garcia's last invention and a passing of the creative torch or in this case, pencil, to her daughter.

THE OTHER SIDE/EL OTRO LADO Alvarez's first novel opened the door to the more integrated sense of self reflected in her second collection of poetry, entitled The Other Side/El Otro Lado, published in 1995. The title itself embodies her bilingualism and biculturalism and furthermore, the sense of othering/opposition between these "sides." Whereas the poems originally written for her first poetry collection, Homecoming, conveyed little sense of Alvarez as a Dominican-American woman, these poems are very much concerned with the cultural and linguistic dualities that shape her life. The title also refers to the work's recognition of other divides

10 / AMERICAN WRITERS created by differences in class, race, politics, and education. The first poem, "Bilingual Sestina," signals the collection's concern with both languages that have shaped Alvarez's writing. While written in English, the poem incorporates Spanish words in each of the six stanzas and the three-line envoi; the words "Spanish" and "English" themselves are also repeated in each stanza. The poem also reflects the shifting definition of "other side" throughout this collection and, indeed, throughout Alvarez's life and work. English is the "other side" in this work as Alvarez declares, "Some things I have to say aren't getting said in this snowy, blond, blue-eyed, gum-chewing English." In a partly ironic move, she rewrites the Third World status of the Dominican Republic as she observes that there are some words "from that first world I can't translate from Spanish." In terms of language, cultural heritage, and personal history, Alvarez's first world remains the island where she spent her childhood and spoke her first words. Moreover, the teachers whom she credits for imparting a sense of wonder with those first vocabulary words are the family's maids. She repeats their names as a soothing litany, recalling the simpler days of her monolingual early childhood. The emphasis she places in her fiction on names and naming is explored throughout this poem in the repetition of the word "nombre(s)." By using the Spanish word for name(s), Alvarez again underscores her inability or unwillingness to translate certain words into English. She also connects the act of naming to the God-like status it gave to these simple country girls in her child's eyes, casting, in turn, an Edenic light on that Dominican first world: "Rosario, muse of el patio, sing in me and through me say / that world again, begin first with those first words / you put in my mouth as you pointed to the world— / not Adam, not God, but a country girl." Yet even as Alvarez laments the confusion and complexity that came with learning English, she

employs it to wondrous and beautiful effect, creating a bilingual duet out of her doubled world. For even as she writes in English, she believes that she can "almost hear my Spanish / heart beating, beating inside what I say en ingles." Again, the near tragic quality of the almost-but-not-quite nature of her connection to either culture, either tongue, is largely eclipsed by the beauty of these lines, among the finest in the collection. "The Gladys Poems" which follow continue to uncover the hearts that beat in Alvarez's memory as her first muses. Gladys, one of the household maids, is a recurring figure in the author's poetry, fiction, and essays as a major early influence in her life. In "Audition," Alvarez recounts how her mother came to find Gladys and employ her. Gladys is not among those looking for an interview. Instead, the beautiful sound of her singing brings her to the attention of Alvarez's mother. Alvarez sees in Gladys a kindred artistic spirit. Her depiction of Gladys also reflects fears expressed in her earlier "Housekeeping" poems that domestic work and the added fact of Gladys' impoverished circumstances threaten to silence the young maid's beautiful singing. That Gladys serves as a kind of alter ego for young Julia is further reflected in the fact that it is Alvarez's mother who especially threatens the maid's selfexpression. Alvarez writes that as soon as her mother left the house, Gladys would begin singing and dancing with her young charge. But on her mother's return, she says, "we fell silent, knowing the rules, / as the door opened upon / rooms sparkling like jewels / in a mummy's tomb." Here again the reader sees the deadening effect of domesticity but with an added awareness of the social structure that compounds the silencing of both servant and daughter. As the embodiment of the domestic and social order, Alvarez's mother is seen as the villain, threatening to suffocate both Alvarez and her housebound muse. Nonetheless, Gladys is able to impart some im-

JULIA ALVAREZ / 11 portant lessons, not the least of which is the power of self-expression, whether through singing, poetry, or any art, to breathe life into all things. Indeed, Alvarez credits Gladys with teaching her one of the most central themes explored in her work: that singing (art) makes everything else possible. In her essay, "Of Maids and Other Muses," from Something to Declare, Alvarez expounds further on the importance of Gladys and other real-life muses, returning the favors they did her by singing of them: When I read a page of my own writing, it's as if it were a palimpsest, and behind the more prominent, literary faces whose influence shows through the print (Scheherazade, George Eliot, Toni Morrison, Emily Dickinson, Maxine Hong Kingston), I see other faces: real-life ladies who traipsed through my imagination with broom and dusting rag, cookbook and garden scissors, Gladys (the family maid) . . . Of them I sing. The sudden disappearance of Gladys left Alvarez feeling abandoned (she depicts the circumstances of Gladys' departure differently in How the Garcia Girls Lost Their Accents, but its abrupt nature and the void it creates are the same). But the example the young maid provided of singing in the face of adversity and of believing in the power of self-expression remains with the author always. Yet a sense of loss pervades the equally autobiographical poems that follow. "Sound Bites" is a poem that directly addresses language and bilingualism. Each "bite" of the poem takes us on a journey from Alvarez's first days in America, when she turns to her parents for help in understanding her strange, new surroundings ("What is a fire escape, Mami?") to the point where, as an adolescent, she "size[s] up la situation" and realizes only she can help herself by embracing English and turning to writing. But there is a sense of bitterness here, as if turning to English is a capitulation ("Give yourself over, girl") and the

language itself seems inferior to her more vivid, native tongue ("Translate your cafe con leche into a glass of plain milk"). Yet the poem ends on a note of acceptance. A more resigned, adult Alvarez can now conclude with "E7 Round up," summing up the poem and her life's journey as "our family's grand adventure from one language to another." The collection culminates in the twenty-onecanto title poem about Alvarez's stay at a Dominican artists' colony. The colonialist associations of the luxurious, walled-in setting of her artistic residency are not lost on Alvarez who soon ventures into a nearby fishing village and becomes enmeshed in the lives of its residents. The poet finds herself at a crossroads, struggling with a two-year-long case of writer's block. Looking back on her life, she again recounts how as a young, struggling immigrant she turned to poetry and in the English language "found the portable homeland where I wanted to belong." Yet a life lived on paper comes with a price, namely a sense of cultural alienation and personal isolation. Just as her alter ego, Yolanda, does in her novels, Alvarez returns to the Dominican Republic, hoping to find her place and voice again. At first, being drawn into the lives of the people in Boca, a small, impoverished village full of hungry, begging children who follow Alvarez and her American lover through the streets, turns her attention away from her own troubles. Yet Alvarez soon realizes the emptiness of her current relationship with Mike, a pot-smoking aspiring hippie, whose function here seems primarily to illustrate the degree to which Alvarez has lost her way in life. At one point she turns to a Haitian houngan, a street-corner faith healer, for help as she asks which of his santos (statues of saints) will "help me make up my divided DominicanAmerican mind?" Despite his "cure-all body odor" and naked lust for her, she discloses her problems to him and finds herself bewitched by his healing performance, which is characterized

12 / AMERICAN WRITERS in vivid, strongly sexual terms. Ultimately, the thrust of this encounter is that Alvarez must take the reins of her life into her trembling hands. But Alvarez does not use the residents of Boca merely as projections of her own internal questioning. The villagers are drawn with great sensitivity and honestly recognized for the truths and lessons they have to offer. Yet even as Luisa, a spiritualist and wife of the bodega owner, urges Alvarez to simplify her life and return home to serve her own people, the poet realizes that this is not the path she must follow. Instead she recognizes "the santeria of the words I've chosen to serve in another tongue, another country." Alvarez arranges for a schoolhouse, a dispensary, and a new road for the village before she goes. The poem ends as she leaves "in search of a happier ending than what Boca affords, a life of choice, a life of words." Although this quest necessitates making her way back to the United States and the English language, to "the shore [she's] made up on the other side," Alvarez's deep connection to the Dominican Republic and its people is more evident than ever. It is not surprising, then, that her next novel is set there and fulfills the mission urged upon her by Luisa to serve the Dominican people and her own santo or spirit.

IN THE TIME OF THE BUTTERFLIES

In the Time of the Butterflies, published in 1994, is one of Alvarez's most ambitious and finest works. The novel is a fictionalized account of the lives of the four Mirabal sisters, three of whom became martyrs to the anti-Trujillo cause. Patria, Minerva, and Maria Teresa, whose underground code names were Las Mariposas ("The Butterflies"), were murdered by Trujillo's henchmen on November 25, 1960, a day now "observed in many Latin American countries as the International Day Against Violence Towards Women," as Alvarez notes in the afterword. The surviving

sister, Dede, to whom the novel is dedicated, continues to live in the Dominican Republic. Although the work is a fictionalization of the sisters' lives and Alvarez admits to taking certain liberties with some of the facts and events pertaining to Trujillo's dictatorship, the book is literally wrapped in historical truths, calling attention to its factual basis. The book's inside cover lists the names of people who were murdered by Trujillo. Alvarez also fosters a sense of realism in her depiction of the sisters as she gives voices to them through letters, diary entries, and firstand third-person narration. The novel is divided into three sections, each consisting of four chapters (one for each of the four sisters). The progression of the work is chronological, beginning in 1938 and ending in 1960, the year of the women's murders, with interspersed references to the present, which is 1994. The narrative concludes with an epilogue concerning their deaths and Dede's life in the present day. Lastly, there is a postscript in which Alvarez explains her longheld interest in the Mirabal sisters' story and her fictionalized approach to telling it. The author in fact inserts herself directly into the narrative in the form of a Dominican-American writer who interviews Dede about her sisters. There are correspondences between In the Time of the Butterflies and Alvarez's previous work such as her abiding concern with women finding a voice and coming into greater political and personal consciousness. The sisters struggle to free themselves from restraints placed on them by the patriarchal and politically repressive culture. An obvious parallel is created between their father, Enrique Mirabal, and Trujillo; later the reader sees shades of the dictator in Dede's macho, conservative husband, Jaimito, whom she eventually divorces after many years of marriage. After a young Minerva successfully argues with her father over the opportunity to attend boarding school, she compares herself to a rabbit in a pen and observes, "I'd just left a small cage to go into

JULIA ALVAREZ / 13 a bigger one, the size of our whole country." When their father dies and Maria Teresa (nicknamed Mate) learns of the existence of his other, illegitimate family of four daughters, her disillusionment with her father mirrors the betrayal she feels toward the father of her country. Marching past Trujillo's daughter during the opening ceremony for the World's Fair, Mate wonders if the woman "knew how bad her father is or if she still thought, like I once did about Papa, that her father is God." The growth of each sister's political consciousness is vividly depicted. A key moment for Minerva occurs after her very first encounter with Trujillo—a patriotic pageant that goes awry when one of her schoolmates, playing the part of Liberty, takes direct aim at the dictator with a crossbow. Minerva saves the day by deflecting attention away from her friend, whose father and brothers have been murdered by the regime, by leading the audience in a chant of "[Viva Trujillo!" On the drive home, while a nun berates the girls for their conduct, Minerva notes, "As the road darkened, the beams of our headlights filled with hundreds of blinded moths. Where they hit the windshield, they left blurry marks, until it seemed like I was looking at the world through a curtain of tears." This haunting image conveys the degree to which so many of the Dominican people were either blind to Trujillo's tyranny, unable to see past the lies, or looked the other way. The passage also calls the reader's attention to the sisters' metamorphoses from blinded moths into visionary butterflies caught in the headlights of a murderous regime. Minerva quickly emerges as the earliest revolutionary and leader among her sisters. Her chief characteristics are her bravery and artful intelligence, reflections of her mythological namesake. She takes Trujillo on directly in a series of encounters including a tension-filled dance that ends with her slapping him for his forwardness and a subsequent meeting where she challenges

him to a roll of the dice to determine whether she will agree to become his mistress or be granted her wish of attending law school. In the latter instance, Minerva uses loaded dice to roll a draw with the dictator. While her request is put on hold, underscoring the difficulty she encounters as a woman in achieving permission to pursue higher education, she does secure her father's release from prison. Maria Teresa is depicted at first as following her older sister Minerva rather naively into the fight against Trujillo. Her portions of the narrative, written in the form of journal entries, are perhaps the most poignant because of their personal nature and the way Alvarez captures her youthful exuberance and awakening to love alongside of much wisdom, pain, and sorrow. Mate goes from asserting, "never in a million years would I take up a gun and force people to stop being mean," to being a full-fledged revolutionary and gunrunner who is imprisoned and tortured for her actions. Alvarez received some criticism for not realistically and fully developing this transition enough. But this is an inaccurate assessment. Mate, in particular, is still quite young even at the height of her participation in the movement (she is only twenty-five when she is killed), and Alvarez succeeds in honestly capturing her youthful and often naive perspective. Her politicization differs from that of her sisters, Minerva and Patria, who are also engaged in the struggle and, on the whole, Alvarez does demonstrate that the women have evolved in their understanding of themselves and the government they are trying to overthrow. Mate is also the creative spirit in the group whose need for self-expression is essential; in this respect she mirrors Alvarez herself. When one of Minerva's revolutionary schoolgirl friends is caught by the secret police, Mate is forced to bury her diary along with all of Minerva's letters and papers. (These are eventually found by the police and used against the two sisters when they are

14 / AMERICAN WRITERS imprisoned some years later.) As she bids her journal adieu, Mate writes, "my soul has gotten deeper since I started writing in you . . . What do I do to fill up that hole?" Mate's personal sense of loss is palpable, but more pointed is the correlation that is made between the suppression of freedom of speech and the deaths of the Dominican people, in body and spirit. When Mate and Minerva are held in the infamous La Victoria prison from January to August 1960, the account the reader is given of their imprisonment is through Mate's eyes, in the form of secret journal entries kept in a notebook smuggled in by a kindly prison guard. Her writing, including an entry she secretly passes to the Organization of American States (OAS) Committee investigating Human Rights Abuses in the Dominican Republic, helps to keep her sane and to heal after she is subjected to torture and suffers a miscarriage. But Alvarez also makes it clear that Mate draws strength from the other women with whom she is imprisoned, despite their differences in class and education, and that words alone cannot comfort her in her darkest moments. Nonetheless, her written testimony is vital as Trujillo's fear of the OAS and international sanctions resulting from their findings leads to the sisters' release from prison. As striking as Mate's development is, Patria's series of personal transformations are the most remarkable in the book. A deeply religious girl, she intended to become a nun until she met her future husband. Married at age sixteen and a mother of two in short order, she seems to be the least likely candidate for becoming a political radical and revolutionary martyr. Yet that is precisely the point of her story. She initially recognizes that Trujillo is no saint but is at least capable of building churches and schools and leading the country out of debt. Alvarez links Patria's maternity to her emerging sense of self apart from her role as a dutiful wife, mother, daughter of God, and citizen. Her third pregnancy ends in a mis-

carriage; the foreboding heaviness that she feels is directly connected to her dawning political awareness and questioning of her Catholic faith. (The Church is criticized in the novel for remaining silent about the regime for so long, although, as noted in the book, it did finally take a stand against Trujillo, who retaliated harshly against it.) After Patria miscarries, she finds herself staring at the family's picture of the Good Shepherd, hung alongside the requisite portrait of Trujillo. Minerva's remark, "They're a pair, aren't they?," prompts Patria to question why God allows so much suffering and in her moment of challenging Him, she finds that His face and that of the dictator's had "merged." Patria turns away from God, the Father and toward Mary, the Holy Mother, embarking on a pilgrimage to a place where the Virgencita has been sighted. This journey culminates in a vision in which Patria realizes that the Mother of God may be found in the masses of people gathered all around her. This sense of spiritual immanence does not fully flower into revolutionary action until some thirteen years later. Whereas Patria's nascent questionings of political and divine justice were marked by her miscarriage, the next stage in her development is manifested by the unexpected conception and birth of her third child, Ernesto. Notably, the boy is conceived on the night that news of Castro's revolution in Cuba reaches the Mirabals (the events in Cuba gave false hope to many Dominicans that their own revolution would follow shortly). The true change in Patria comes after she is unexpectedly caught in a battle between guerillas, inspired by Castro, and guardias joined by campesinos (laborers). During the fight, Patria sees a young boy about the age of her own daughter and shouts at him to get down, but he is shot and killed. In that moment she cries out, "my God, he's one of mine!" She is forever changed by this recognition of belonging to a human family and from here on is no longer willing to "sit back and watch my babies die." Thus Pa-

JULIA ALVAREZ / 15 tria the traditional wife and mother becomes symbolic mother to the revolution and is venerated as such after her death. Alvarez was criticized by some reviewers for relegating the sisters' deaths to a twenty-page epilogue. The events leading up to their deaths on November 25, 1960, are recounted in detail, though, in the final chapter, and told from Minerva's perspective. The narrative ends poignantly with Minerva's observation that as she and her two sisters headed up the mountain that would be the site of their martyrdom, "it was as if we were girls again, walking through the dark part of the yard, a little afraid, a little excited by our fears ..." Her words remind the reader of the journey the novel takes, beginning with the sisters' youths, knowing all the while that it would end in death. The reality of their brutal deaths is not completely glossed over; Dede says, "I saw the marks on Minerva's throat; fingerprints as clear as day on Mate's pale neck. They also clubbed them . . . They killed them good and dead." Alvarez's decision not to dwell, however, on their deaths points to the fact that the book serves as a celebration of their lives. Her intent is to bring these very human women to life, rescuing them from disembodied untouchability as saints and martyrs. As real women who struggled through adolescence, fell in and out of love, grew into their political consciousness over time, and were filled with fears and doubts even as they bravely resisted a murderous dictatorship, they serve as more effective role models to all who suffer under oppression. Alvarez's novel is indeed a gift to the Dominican people, offering them the possibility of hope and healing. The figure who embodies the healing power of language and of storytelling is Dede, whose martyrdom, as her husband puts it, is to be alive without her sisters. (Dede was largely prevented from joining her sisters in their revolutionary activities by her husband, Jaimito, but she was also fearful of the

consequences of their actions.) Moreover, it is she who delivers the central message of the novel, that the necessity of storytelling, even when the story itself is painful and tells of terrible truths, is, as Dede says, "so that it could be human, so that we could begin to forgive it." The epilogue makes it clear that Dede's life has served a vital purpose: it is she who has lived not only to tell the story of her sisters' lives but to listen to other people's stories about las Mariposas. In the aftermath of their deaths, those who saw them on that fateful day in the hours before they were murdered traveled as if on pilgrimages to Dede's home to tell her what they had seen. Like a confessor, she listens to each visitor and although each account breaks her heart, she knows this is what she must do: "It was the least I could do, being the one who was saved." She in turn saves others in the process of transforming herself from the listener to the "oracle." When a close friend accuses her of still living in the past, thirty-four years after the deaths of her sisters, Dede asserts that she is not living in the past, but has brought it with her into the present so that it may not be repeated: "we needed a story to understand what had happened to us."

lYO!

Dede's statement of the value of telling a story so that an understanding may be achieved of oneself, one's family, one's culture or cultures, as the case may be, resonates throughout the body of Alvarez's work. It is perhaps curious that after expanding her focus in In the Time of the Butterflies, Alvarez decided to follow it up with a return to more directly autobiographical terrain in the novel jYo!, a sequel to How the Garcia Girls Lost Their Accents, published in 1997. Yet she clearly feels a need to flesh out her depiction of her fictional alter ego, Yolanda (Yo) Garcia, and to continue the journey toward self-understanding be-

16 / AMERICAN WRITERS gun in her first novel. Indeed, a good deal more is revealed about Yo's life and the bumpy path she has followed to becoming a now happily married, middle-aged writer and college professor, mirroring the author's own life. Like the author, Yo has also endured two divorces, a long period of indecision about whether to commit to her own writing, and many lean, lonely, and itinerant years. Yet with this novel Alvarez also demonstrates her ability to craft a wide range of characters, including men, representing diverse cultural and socioeconomic backgrounds. As the title indicates, the focus of the novel is on Yolanda, using the same structure employed in the prequel: three sections of five stories each. But the stories themselves are told from many different perspectives, ranging from family members, a former teacher, and her third husband to her American landlady, a Dominican night watchman, and a stalker. The novel, in a sense, represents an opportunity for the subjects of Yo's work to write back and have their say about her. The novel begins with a prologue, told from her sister Fifi's point of view, about the Garcia family's angry reaction to the publication of Yolanda's first autobiographical novel. The episode of course reflects Alvarez's own situation of having to face her family following the successful publication of her first novel; she has written that her mother did not talk to her for months afterward. Yet here Yo's sisters come to accept their sister's need to write out of her own experiences, but as the story's subtitle, "fiction," indicates, they also begin to recognize her fictionalized versions of them as such. They discover too that not all roads in Yolanda's writing lead to her family. Ultimately, the birth of Sandi's first child brings the Garcias together and points to the novel's celebration of family. The focus on family broadens to include that of extended family members, the daughter of the Garcias' maid in the United States, and Yolanda's new family, consisting of

her third husband and stepdaughter. But the novel significantly begins and ends with stories told, respectively, by Yo's mother and father; furthermore, the stories they tell attest to the power, both destructive and healing, of storytelling. The novel also celebrates language. Each story or chapter is subtitled according to a literary genre or term that comments on the events being related. This strategy underscores that in addition to Yo herself, language serves as the thread that weaves together these characters and their stories about her. Her mother reveals in the first line of the first chapter that the hardest thing about coming to America was the English language. Her story is subtitled "nonfiction," reflecting its concern with definitions of truth and the mother's sense of revealing important truths about her daughter and their relationship. Mrs. Garcia relates how she used to frighten the children into behaving properly when they were small by throwing a fur coat over her head and pretending to be a bear. It was Yo who first fully understood that it was her mother beneath the coat. Later, Yo is found to have been rummaging around in the closet where her father hid his gun, which was illegal for him to own. Under questioning, Yo does not admit that she has seen it and instead, as her mother remembers, says, " 'Mami, the bear won't be coming anymore.' It was as if she were stating her part of our bargain." A bargain made in silence and lies cannot end happily in Alvarez's world. Thus, the bear rears its ugly head again after the family immigrates to the United States. Her mother locks Yo in the closet one day as a punishment, forgetting that the fur coat is in there, and later finds the child in a nearly catatonic state of fear. A social worker shows up at their home soon afterward to investigate what lies behind the dark, unsettling stories that Yo has been writing in school. Mrs. Garcia proceeds to tell the social worker about the difficulties of life in the Dominican Republic in an effort to gain her sympathy and understanding of

JULIA ALVAREZ / 17 the real-life terrors that their family would face if they were ever sent back there. Mrs. Garcia's storytelling is more than just a ploy: it breaks her own silence, which has been poisoning her relationship with her children and her ability to adjust to life in the United States. Moreover, it marks the first instance where she is told that she should be proud of her daughter's ability to express herself through writing, although the mother herself has a way to go before understanding Yo's need to invent things. The story seems to build on the nightmarish image of the "black furred thing lurking in the corners of my life," with which How the Garcia Girls Lost Their Accents ends, further unpacking Yolanda's sense that "some violation lies at the center of [her] art." The black cat has been replaced by the bear, but the message remains the same: the importance of writing and of finding a voice in order to confront and overcome personal and political demons. The significance of the bear episode is underlined by the bookend story that Dr. Garcia tells in /Ib/'s final chapter. His story serves a number of purposes. One is to reveal the close connection that exists between father and daughter. He admits, "Of all my girls, I always felt the closest to Yo." The reason, he reveals, is that she "understands [his] secret heart," an understanding gained largely through a regular written correspondence they share, which Yolanda uses to ask her father questions about his life and their family history. Yo stops writing to him after becoming upset by a lecture she attended where the speaker argues that baby boomers who never had children had effectively committed genetic suicide. Her father helps Yo by telling her that he is proud of her for following her destiny, which has been to tell stories, and that by doing so, she has "created books for the future generations." The importance of parents telling their children that they are proud of them and giving them their blessing is threaded throughout Alvarez's work,

particularly in this novel and in her collected essays. But Dr. Garcia goes even further by uncovering the guilt he feels over a time when he punished Yo and told her never to tell stories; this event, he suspects, lies at the heart of her feelings of self-doubt. The gun episode is mentioned again in the story Dr. Garcia shares. Five-year-old Yo actually finds her father's gun in its hiding place and soon mentions it in a story she invents and unfortunately shares with the family's neighbor, General Molino, a crony of Trujillo's. Her terrified parents decide they must teach her a lesson before she gets them all killed. They take her to the bathroom and turn on the shower to drown out her cries while her father beats her with a belt; but the most terrible aspect of the punishment, the father now believes, was his repeated instruction during the beating: "You must never ever tell stories!" By giving his adult daughter his blessing, Dr. Garcia hopes to heal the wounds of fear and insecurity that cut her far deeper than the physical scars that healed with time. The story ends with the father's desire to rewrite that terrible day and provide his daughter with an alternative, uplifting ending. The magic of fiction lies in Alvarez's ability to do just that, to write a beautiful story in which destructive secrets are replaced by blessings and familial connections are fostered by sharing secrets of the heart. The father's gun is replaced by the daughter's pen, making possible a brighter future.

SOMETHING TO DECLARE It was fitting that Alvarez's next work was a collection of nonfiction essays entitled Something to Declare, published in 1998. (A number of these essays have already been referred to in this article.) Having begun her career as a poet seeking her woman's voice, she came full circle in her

18 / AMERICAN WRITERS desire to proclaim her voice, to declare herself and her experiences. There is no doubt that Alvarez has something to say to her readers. In the foreword she writes that her aim is to provide answers to her readers' questions and to flesh out the information that may be gathered from her novels and poems concerning Alvarez's "experience of immigration, about switching languages, about the writing life, the teaching life, the family life, about all of those combined." These are familiar questions to which many familiar answers are given. But she does shed some new light on them and her sense of herself, particularly in relation to language, her writing, and family. One of the strongest essays in the collection is "I Want to Be Miss America," a piece largely concerned with acculturation, told with much humor and not a little irony. Alvarez recounts her family's yearly tradition of watching the Miss America pageant. The event serves as a symbol of American cultural standards and the pressures the girls feel to adhere to them: "We would have to translate our looks into English . . . mold them into Made-in-the-USA beauty." What is ironic perhaps is that the Alvarez sisters also learned a valuable lesson from the pageant: "a girl could excel outside the home and still be a winner." The essay is also revealing in that Alvarez admits to still feeling like a stranger in the United States, as aware today as she was thirty years ago that the face of Miss America is not her own. In "La Gringuita: On Losing a Native Language," Alvarez continues to explore issues of acculturation and language. The essay is an interesting extension of How the Garcia Girls Lost Their Accents; whereas in the novel, the implication was that the girls lost their Spanish accents as they assimilated and bettered their English, here Alvarez notes that she now speaks Spanish with an American accent and has difficulty communicating in her native tongue. Once again, Alvarez wrestles with feelings of loss and guilt

while acknowledging that her sisters' and her own "growing distance from Spanish" was a means of setting themselves free from restrictive "old world," Dominican values. She remembers a failed teenaged romance during a summer spent back in the Dominican Republic as the instance which demonstrated just how "unbridgeable that gap [between English and Spanish] had become." Seventeen-year-old Alvarez spends the summer with relatives who speak only Spanish and who treat her like a child, probably, she admits, because she sounds like one when she speaks their language. She yearns to be a successful "hybrid" like her friend Dilita, who has lived in Puerto Rico and New York City and, unlike Alvarez, is not insecure or "tortured" by her hyphenated existence. Through Dilita, Alvarez meets her first boyfriend, Mangu. Alvarez wonders why she is not falling in love with her young beau and eventually realizes that the fault lies in the silences that exist between them. Intimacy is predicated on self-expression and, as Alvarez writes, "as English became my dominant tongue, too many parts of me were left out in Spanish" to achieve such intimacy with Mangii or any nonEnglish speaker, although she often wonders what a life lived in Spanish would have been like. A chance encounter with Mangii in the Dominican Republic years later, while accompanied by her current husband, revives old memories and yearnings but ultimately affirms Alvarez's sense of herself as the "person I had become in English." Nonetheless, she decides to join her husband in taking Spanish lessons to close the gap between her two languages and countries. Alvarez discusses her marriage in a number of essays and also deals with coming to terms with not being a mother. Self-affirmation is a thread that binds many of these writings as is seen, for instance, in Alvarez's ultimate acceptance of the fact that as a writer she gives herself to "a much larger familia than my own blood." This aware-

JULIA ALVAREZ / 19 ness also helps her in times of conflict with her family, particularly her mother. In "Genetics of Justice," she examines her relationship with her mother and her fears regarding her mother's reaction to her second novel, In the Time of the Butterflies. Alvarez imagines what life under Trujillo must have been like and considers the reasons for her mother's near-obsession with the man responsible for the disappearances of so many family friends and for atrocities such as the massacre of some eighteen thousand Haitian laborers in 1937. The essay reveals an important, adult understanding of her parents and the "habits of repression, censorship and terror" that were instilled in them by years of living under Trujillo's regime; these contributed to their difficulty in adjusting to life in America and believing in the reality of freedom of speech. Alvarez's parents in fact tried to keep from their daughters the news about the murder of the three Mirabal sisters in November 1960, four months after the family's arrival in the States. This "mandate of silence," as seen throughout Alvarez's work, is often at the heart of clashes that occur between the author and her parents. As the publication of her novel neared, Alvarez was fearful of her mother's anger at the risk taken by her daughter in exposing herself and her family to retribution by former associates of Trujillo. Instead, her sobbing mother called to tell her daughter how proud she was of her for writing her book. A stunned Alvarez is for once at a loss for words, finding in this precious moment a kind of "genetic justice." That Alvarez continues to see herself primarily in terms of her childhood family, despite the intervening years marked by conflict between la familia and her acculturated, strongly individuated self, is a subject considered in the essay titled "Family Matters." This essay offers some interesting insights into the author's writing, especially her awareness of the influence of Domini-

can culture, with its strong oral tradition. She also considers the "fictive cast of mind" among Dominicans, reflecting their years of living with lies perpetuated by their government. Alvarez recognizes how Spanish flavors her English prose, including her tendency to write longer sentences and what one editor characterized as her overuse of the word "little," reflecting the rhythms of Spanish and the habit of diminutizing names. Although she declares that her first allegiance is to her work and not her family, she admits to her need for their acceptance. It is a difficult balancing act—to stay true to herself and la familia— but one that leads to many rich and engaging contributions to the English language and the greater human family of Alvarez's readers, who now extend beyond the borders of the United States and the Dominican Republic.

CONCLUSION In 1997 Alvarez and her husband purchased property located in the Dominican mountains, establishing an organic coffee farm/educational center called Alta Gracia (after the national Virgencita). According to their mission statement, one of their goals in establishing the farm is to maintain a "safe, healthy, and fair environment for workers"; the educational center is intended as a resource for students from the Dominican Republic and abroad who may come to learn about sustainable agriculture and the arts, and who will, in turn, teach the people living and working in the community. This valuable enterprise, rooted as it is in the soil of her native homeland, seems to be the perfect outgrowth of Alvarez's continuing efforts to more than just negotiate her hyphenated existence as a Dominican-American but to flourish as a successful "hybrid." Having landed in the "terra firma of language," Alvarez continues her fertile exploration of it, finding new ways to

20 / AMERICAN WRITERS bridge the two languages and two cultures that have shaped her voice as a woman and as a vital force in contemporary literature.

Selected Bibliography WORKS OF JULIA ALVAREZ NOVELS

How the Garcia Girls Lost Their Accents. Chapel Hill, N.C.: Algonquin Books of Chapel Hill, 1991. In the Time of the Butterflies. Chapel Hill, N.C.: Algonquin Books of Chapel Hill, 1994. /Yo! Chapel Hill, N.C.: Algonquin Books of Chapel Hill, 1997.

Exile and Other Concerns. New York: Ediciones Alcance, 1988. Lehman, David. The Best American Poetry 1991. New York: Scribners, 1991. Pack, Robert, and Jay Parini, eds. Poems for a Small Planet: Contemporary American Nature Poetry. Middletown, Conn.: Middlebury College Press, 1993. Finch, Annie, ed. A Formal Feeling Comes: Poems in Form by Contemporary Women. Brownsville, Oreg.: Story Line Press, 1994. Espada, Martin, ed. El Cow: A Chorus of Latino and Latina Poetry. Amherst, Mass.: University of Massachusetts Press, 1997. COLLECTED ESSAYS

Something to Declare. Chapel Hill, N.C.: Algonquin Books of Chapel Hill, 1998. OTHER WORKS

SHORT FICTION

"Customs." In Iguana Dreams: New Latino Fiction. Edited by Delia Poey and Virgil Suarez. New York: Harper Collins, 1992. Pp. 1-16. "Amor divino." Ms. January/February 1998, pp. 8894. POETRY

(Editor) Old Age Ain't for Sissies. N.p.: Crane Creek Press, 1979. Homecoming. New York: Grove Press, 1984. The Housekeeping Book. Illustrations by Carol MacDonald and Rene Schall. Burlington, Vt: n.p., 1984. The Other Side/El Otro Lado. New York: Dutton, 1995. Homecoming: New and Collected Poems. New York: Dutton, 1995. Seven Trees. Lithographs by Sara Eichner. North Andover, Mass.: Kat Ran Press, 1998. (Published in green cloth box, special edition limited to 50 books numbered 1-50.) POEMS REPRESENTED IN ANTHOLOGIES

Cocco de Fillipis, Daisy, and Emma Jane Robinett, eds. Poemas del exilio y otros inquietudes/Poems of

"An American Childhood in the Dominican Republic." The American Scholar, Winter 1987, pp. 7185. "Hold the Mayonnaise." New York Times Magazine, January 12, 1992, p. 14. (Later published in New Worlds of Literature: Writings from America's Many Cultures. Edited by Jerome Beaty and J. Paul Hunter. 2nd ed. New York: W.W. Norton & Co., 1994.) "Black Behind the Ears." Essence, February 1993. "An Unlikely Beginning for a Writer." Mascaras. Edited by Lucha Corpi. Berkeley: Third Woman Press, 1997.

CRITICAL AND BIOGRAPHICAL STUDIES Barak, Julie. " Turning and Turning in the Widening Gyre': A Second Coming Into Language in Julia Alvarez's How the Garcia Girls Lost Their Accents." MELUS 23, no. 1: 59-76 (Spring 1998). Christian, Karen. "Invention of the Ethnic Self in Latina Immigrant Fiction: The Line of Sun and How the Garcia Girls Lost Their Accents." In her Show and Tell: Identity as Performance in U.S. Latino/o Fiction. Albuquerque: University of New Mexico Press, 1997. Pp. 89-119.

JULIA ALVAREZ / 21 Echevarria, Roberto Gonzalez. "Sisters in Death." New York Times Book Review, December 18, 1994, p.18. (Review of In the Time of the Butterflies.) Frucht, Abby. "That Garcia Girl." New York Times Book Review, February 9, 1997, p. 19. (Review of iYo!) Gambone, Philip. "The Other Side/El Otro Lado." New York Times Book Review, July 16, 1995, p. 42. Garner, Dwight. "A Writer's Revolution." Hungry Mind Review 32:23 (Winter 1994-1995). (Review of In the Time of the Butterflies.) Hoffman, Joan M. " 'She Wants to Be Called Yolanda Now': Identity, Language and the Third Sister in How the Garcia Girls Lost Their Accents." Bilingual Review/La Revista Bilingue 23, no. 1: 21-27 (January-April 1998). Luis, William. "A Search for Identity in Julia Alvarez's How the Garcia Girls Lost Their Accents." In Dance Between Two Cultures: Latino Caribbean Literature Written in the United States. Nashville, Tenn.: Vanderbilt University Press, 1997. Pp. 266277. Messud, Claire. "Conjured by Her Characters." Book World—The Washington Post, January 19, 1997, p. 9. (Review of /Yo!) Miller, Susan. "Caught Between Two Cultures." Newsweek, April 20, 1992, pp. 78-79. (Profiles Alvarez and other members of a new generation of Latino writers.) . "Family Spats, Urgent Prayers." Newsweek, October 17, 1994, pp. 77-78.

Muratori, Fred. "Homecoming." New England Review and Bread Loaf Quarterly IX, no. 2: 231-232 (Winter 1986). Puleo, Gus. "Remembering and Reconstructing the Mirabal Sisters in Julia Alvarez's In the Time of the Butterflies." Bilingual Review/La Revista Bilingue 23, no. 1: 11-20 (January-April 1998). Rifkind, Donna. "How the Garcia Girls Lost Their Accents." New York Times Book Review, October 6, 1991, p. 14. Stavans, Han. "How the Garcia Girls Lost Their Accents." Commonweal, April 10, 1992, pp. 23-25. . "Las Mariposas." In Art and Anger: Essays on Politics and the Imagination. Albuquerque: University of New Mexico Press, 1996. Pp. 35^-0. INTERVIEWS Bing, Jonathan. "Julia Alvarez: Books That Cross Borders." Publishers Weekly, December 16, 1996, pp. 38-39. Morales, Ed. "Madam Butterfly: How Julia Alvarez Found Her Accent." Village Voice Literary Supplement, November 1994, p. 13. Wiley, Catherine. "Memory Is Already the Story You Made Up About the Past: An Interview with Julia Alvarez." The Bloomsbury Review, March 1992, pp. 9-10. —ANDREA SCHAEFER

A. R. Ammons 1926-

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ARCHIE RANDOLPH AMMONS was born February 18, 1926, the child of Willie M. and Lucy Delia McKee Ammons, in a house built by his grandfather, on the Ammons family's small tobacco farm near Whiteville, North Carolina. Two sisters preceded him; of his two younger brothers, one died at birth and the other died at eighteen months. Growing up in the country during the Great Depression put Ammons in intimate contact with nature and the hardships that come with a life of economic stress. He fed the hogs and chickens, cut kindling, built the fire, called in the cow, plowed the rich black Carolina ground with his mule Silver, and he loved his favorite pig Sparkle to her dying day at the hog kill. He went racoon hunting with baying hounds and took pleasure in his aunt's stories of his ancestors from Green Sea County. School let out in early spring so children could plow. During a phone interview I conducted with Ammons on February 22, 2000, he said, "I was raised a farmer so I have no other reason than to feel down to earth, to see how things operate—so my native ground became conceptual." As for literature in his boyhood, the only book in the Ammons' house was the Bible.

teachers. "Mabel Powell in seventh grade and in eighth grade Ruth Baldwin, who taught me how to parse sentences. I learned how a sentence worked. It's terribly inhibiting for a writer not to have that ability." He graduated in 1939 and gave the valedictory address. After graduation from Whiteville High School in 1943, Ammons worked for a shipyard in Wilmington, North Carolina, installing fuel pumps in freighters; in less than a year he joined the U.S. Navy. While he was aboard a destroyer escort in the South Pacific, he began to write poetry during the long periods of idle quietness every seaman knows. According to Ammons, "It wasn't serious poetry, mostly rimes, jabs, gibes about my shipmates." In 1946 Ammons attended Wake Forest College (now Wake Forest University) in WinstonSalem, North Carolina, on the G. I. Bill. "I was passionate about biology, chemistry, and comparative anatomy," he said. Ammons' interest in science stemmed directly from his farming background. In an interview with Michigan Quarterly Review (Winter 1989), he said: I had wanted to stay a farmer, but my father sold the farm. So, that option was eliminated. I love the land and the terrible dependency on the weather and the rain and the wind. It betrays many a farmer, but makes the interests of the farmer's life tie in very immediately with everything that's going wrong

A LIFE FROM SOUTH TO NORTH Ammons attended New Hope Elementary School, an old wooden schoolhouse, and had excellent

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24 / AMERICAN WRITERS meteorologically. I miss that. That's where I got my closeness and attention to the soil, weeds, plants, insects, and trees. While at Wake Forest College, Ammons met and fell in love with Phyllis Plumbo, a Latin American specialist who had come down from Northfield, New Jersey, to teach for a semester. They married in 1949, the same year Ammons took a job as a principal and seventh- and eighthgrade teacher at a small elementary school in the island village of Cape Hatteras. There were only two other teachers. After two years Ammons entered the graduate English program at The University of California at Berkeley, where he studied with the poet Josephine Miles and completed the work for a Master of Arts degree except for his orals. Ammons explained, "My father became ill, so I left. It was a good thing I didn't get the Ph.D." which, he agreed, is not an attainment that fuels the poetic imagination. For the next twelve years Ammons worked mainly in southern New Jersey as a sales executive for his father-in-law's company, which manufactured glass for laboratory equipment. He also did some magazine editing (The Nation, Chelsea) and worked in real estate: "I didn't sell one house. I hated it." During this period he published his first book of poems, Ommateum, with Doxology (1955). A vanity press publication, the volume sold sixteen copies in the first five years. It has since become a collector's item. Eight years after Ommateum, Ammons published another book of poems, Expressions of Sea Level (1963), which received strongly favorable reviews. Largely on the strength of this book, he was invited to Cornell University in Ithaca, New York, to give a poetry reading, and afterward members of the English Department offered him a faculty position to teach freshman English. Ammons' appointment at Cornell rescued him from the time-consuming demands of the business world and provided him with a secure en-

vironment in which to write. In 1974, the year after he received the National Book Award for Collected Poems: 1951-1971 (1972), he became the Goldwin Smith Professor of English at Cornell. The wide critical praise Collected Poems received began for Ammons a spate of successes that include virtually every major poetry prize in the United States: the Bolligen Prize in 1975 for his book-length poem Sphere: The Form of a Motion (1974), the National Book Critics Circle Award in 1981 for A Coast of Trees (1981), and the National Book Award again in 1994 for Garbage (1993). Other honors he has received are the Ruth Lilly Poetry Prize, a Lannan Foundation Award, a Guggenheim Fellowship, a MacArthur Prize Fellowship Award, the Levinson Prize, an American Academy of Arts and Letters Travelling Fellowship, the Frost Medal for Distinguished Achievement in Poetry over a Lifetime, given by the Poetry Society of America, and in 1998 the Tanning Prize, a $100,000 award for "outstanding and proven mastery in the art of poetry." Over a span of forty-two years Ammons has produced twenty-five books of poetry. A professor emeritus, Archie Ammons lives in a retirement village near Cornell. He and Phyllis have been married for over fifty years; their son John lives in California with his wife and two children. Once or twice a week Ammons goes to campus and talks with students and friends. Despite failing health, he continues to write poetry. "Yesterday," he said during our interview, "I did a rewrite on my typewriter of a poem I've been working on. It was a good rewrite. I'm a little proud of it."

THE SELF AND NATURE Ammons' first book of poems, Ommateum ("compound eye"), presents a poet—at once visionary, oracular, bardic, and Adamic—who matches his rhapsodic openness to nature with an open free

A. R. AMMONS / 25 verse form. "In the Wind My Rescue Is," for example, is an utterance of expansive imagining: In the wind my rescue is in whorls of it like winged tufts of dreams bearing through the forms of nothingness the gyres and hurricane eyes the seed safety of multiple origins I set my task to mount upon the highest stone a cardinal chilled in the attitude of song But the wind has sown loose dreams in my eyes and telling unknown tongues drawn me out beyond the land's end and rising in long parabolas of drift borne me safely

As these lines show, nature infuses the self. However, just as often in Ammons' world, the reverse occurs. In "Having Been Interstellar" the poet melds with the firmament, then from "the earthless air" goes "out into the growths of rains." Nature/Self interfusion is the essential dynamic in Ammons' poetry from Ommateum and afterward. This dynamic is usually expressed with no periods and no question marks. Reality in Ammons' poetry is infinite process; there cannot be closure. And there cannot be question marks because a question is the mind's desire to determine or to fix on. Any resultant answer is the illusion of control. An Ammons poem is the enactment of the mind unlocking itself from common consciousness and attaining a state of acute attentiveness to the processes of nature—its expansions, diminishments, disintegrations, and amplifications. These phenomena are reflexive—that is, they are

the mind's processes. Informing Ammons' poetry, then, is "the doctrine of correspondences" propounded in the eighteenth century by the Swedish mystic and religious thinker Emanuel Swedenborg, who influenced Ralph Waldo Emerson, Ammons' direct literary forebear. The Creation is divine—it is the origin, the source, of value. Emerson wrote in his first major work, Nature, that the "sea-beaten rock" teaches firmness, the "azure sky" tranquility, and the "brutes" industry and affection. Exemplars of beauty, power, and peace are everywhere in the natural world. Nature is moral text. Ammons' thought, however, is always speculative; to regard nature as what Emerson called "moral law" is a simplism. Correspondence is not truth; it is the avenue to truth. The truth is that the self is not in nature; it is not even as nature; it is of nature. Any thinking that supposes a true difference between self and nature is, Ammons contends, delusional, merely empirical. Perceiver/perceived, subject/object are false dichotomies. To operate on the basis of these dichotomies is the essence of alienation. Detachment from nature, not people, is alienation (the social sphere counts for very little in Ammons' poetry). In "Street Song," from Ammons' 1965 collection Corsons Inlet, the poet stands "Like an / eddying willow leaf," people "both ways coming / and going." He is "no stiller" than they, but he is "detached." The poem ends in revelation as he becomes the leaf: "gold is / coming into my veins." Detachment disappears. This is mysticism, not morality. Nature here is not Emerson's ethical expositor. Recalling William Wordsworth, Ammons writes excursive poetry—walking poems. His lyric meditations are quests within the natural realm for the transempirical; and as the surroundings change, so does the poet. The poem "Corsons Inlet" is representative. The poet sets out across the dunes to the sea. The poem's structure—varied lineation and indentions—reflects the poet's fluctuant

2(5 / AMERICAN thought which, in turn, reflects the continuously shifting shoreline. To walk is to be unmoored. the walk liberating, I was released from forms, from the perpendiculars, straight lines, blocks, boxes, binds of thought into the hues, shadings, rises, flowing bends and blends of sight: I allow myself eddies of meaning: yield to a direction of significance running like a stream through the geography of my work: you can find in my sayings swerves of action like the inlet's cutting edge: Always in search of the ultimate, of the one reality under which all other realities are subsumed, the poet says, "but Overall is beyond me." He knows that everything perceptible cannot be totaled. This is the philosophical cul-de-sac Ammons' reasoning imagination usually comes to. Particularities are everywhere—observed with the acumen of a gifted naturalist—but they are, as Ammons says, "eddies of meaning." By the poem's end—which for Ammons can never be a conclusion—reality is paradoxical and cannot be known. It can only be lived and embodied. The movements of nature are timeless, yet forever new. Orders collapse into larger orders, and the only constant is change. Of course these recognitions are as old as Hindu scripture. The freshness of Ammons' expression is the form it takes. "Corsons Inlet" moves—loosens, branches, expands, contracts, and loosens again—to become itself the organic energy the poet experiences.

COLLECTED POEMS With the publication of Collected Poems: 19511971 (1972), Ammons solidly establishes himself

WRITERS as a major American poet of his generation. The fusion he effects between science and poetry is especially remarkable. Without losing its power as fact, science—biology, botany, chemistry, geology, meteorology, astronomy, physics—becomes poetry. Ammons is a Romantic philosopher who uses empiricism to experience divine transcendence—the opposite of empiricism. A case in point is "Hibernaculum," which appears near the end of Collected Poems, a 27-page poem of 112 sections, each with three tercets that look hexametric but are actually free verse. The title means any natural cover for protecting an organism during the winter: for example, a bud or bulb for protecting a plant embryo, specifically a bud of a freshwater polyzoan that can develop into a colony in the spring. The protected organism is the poet; the colony in the spring is the poet's metaphor for the large, complex poem he is making. The poet reads nature reading him, and the polyzoan is a muse. In a style that is, by turns, discursive, conversational, and veined with imagery, Ammons in "Hibernaculum" examines nature and the mind, those cognate realities. In Section 1, he speculates first on his favorite phenomenon—motion: A cud's a locus in time, a staying change, moving but holding through motions timeless relations, as of center to periphery, core-thought to consideration, not especially, I'd say, goal directed, more a slime- and sublime-filled coasting, a repeating of gently repeating motions, blissful slobber-spun webs: today's paper says that rain falls on the desert and makes it fertile: semen slips, jets, swims into wombs and makes them bulge: . . . Motion is Ammons' philosophical topos throughout his career. Moving fluids such as cud, rain,

A. R. AMMONS / 27 and semen fructify. Every motion reflects every other motion. Such is the constancy and the timelessness of being. All motion repeats or transforms into other motion. There is no goal. Rather, a goal is merely a human idea and has nothing to do with the universe, which is not homocentric. As motion yields to other motion, in a like manner people must give up what they have; nothing can be kept. Everything goes, including love, hate, and beauty. Even aging, for it too is but for a little while. Everything is a going out, a centrifugal force. Matter spending itself is Ammons' symbol for love. "I am not to be saved," says the poet in Section 12. "Fleshbody" translating itself to "wordbody" is how a poem, which is an act of love, is made. In Section 20 a poem is a soup with its "clarity of quintessential / consomme," which is its idea. Its imagery, which concretizes its idea, is "carrot cube, pea, rice grain." Ammons' thought moves, as we see, from sublime meditation to eccentric, even facile, metaphorizing. "Hibernaculum" is a going along, his words stringing out where his speculation takes him; and one thing, however disparate from another, is only seemingly disparate. Ammons carries Aristotle's famous definition—"A poet is a man who has an eye for the resemblance of things"—to its outbound conclusion. Everything resembles or points to everything else, thus Ammons' continual use of the colon throughout his poetry. Every part of the universe—from the microscopic to the cosmic—is an effusion or, to use a favorite word of Ammons, a "suasion," that compares to every other part. Only from the unimaginative, unmetaphorizing perspective is the world composed of differences, of the many. Many is One, "so / that the universe seems available in the / gravity of a lady bug tipped down a blade of grass," as Ammons says in Section 70. Such is his integrative vision. Ammons' thinking, however, is nothing if not shifting and deliberately working its own decon-

struction. His monistic vision, his apprehension of a unified whole, breaks down—as the universe in its divisions, devolvements, evolvements does—and in Section 87 Ammons absolutizes the particular: "gloriously every object in and on the earth becomes just / itself. . ." Mind/body, mind/ nature, reality/appearance, fact/dream—whether they are equations or polarities—are illusions. The only reality is the thing: "the hollyhock, / what a marvel, complete in itself: the bee, / how particular, . . ." In Section 96 Ammons itemizes the bill on the repair of his car—parts and labor— starting with "1 push rod ($1.25)." An apt word for Ammons' long meditative poems like "Hibernaculum" is his own—"scopy." He excludes nothing. Absorptive as his vision is, however, he is always sifting through experience and panning for gold. He is speculative but bent on determination. And finally—or as finally as the perpetual motion of his mind allows—Ammons agrees with the English biologist J. B. S. Haldane, who said: "My own suspicion is that the universe is not only queerer than we suppose, but queerer than we can suppose." "Hibernaculum"—this indulgent metaphysical treatise—concludes anticlimactically with a kick in the pants to cerebration and to artistic seriousness. Ammons is reading Xenophon's Oeconomics, enjoying it, and "saying so fills this stanza nicely." End of poem. Understandably, in the more manageable form of the lyric Ammons exhibits craft, control, and clarity. The lyrics in Collected Poems show that after his debut with Ommateum he shifts his voice, starting with his second book of poems, Expressions of Sea Level. The voice of the Ommateum poems is hieratic, spiritual, and innocent, showing the poet unbounded by time and space and affined to all things in the natural world. Ammons' lyrics from Ommateum through his later poetry are often grounded in observable daily realities; experience becomes more natural than supernatural: though a religious impulse still pro-

28 / AMERICAN WRITERS pels the poet, he sanctifies the here and now: Jersey cedars, bay grass, a rock wall. The title itself, Expressions of Sea Level, signals a descent in altitude; sublimity will now be found in objects directly before the poet. Landscapes and seascapes as habitable places become his context, and vision gives way to cognition. There is a concentration, a luminosity, in the post-Ommateum lyrics that surpasses the best parts of Ammons' long meditative poems, for all their intelligence and flexibility. In Expressions of Sea Level's poem "River," "the forsythia is out, / sprawling like / yellow amoebae, the long / uneven branches—pseudo / podia— / angling on the bottom / of air's spring-clear pool." In the grip of such rapt attention philosophy is not needed. The exultant poet goes down "to the moonwaters, / where the silver / willows are and the bay blossoms. . . ." The poem becomes a paean to the river, to "the great wooded silence / of flowing / forever . . . ," and to the water "silvered at the moon-singing of hidden birds." The titles of Collected Poems indicate, however, that Ammons' perspective is as often rationalistic as Romantic. A few examples are: "Configurations," "The Unifying Principle," "Countering," "Convergence," "Locus," "Devising," "Mechanism," "Periphery," "Increment," and "Definition." These titles are abstract and academic. Ammons is, after all, a professor, albeit a professor of poetry writing. "Countering" serves as a case in point. The poet likens crystal to reason, which "grows / down / into my loves and / terrors, halts / or muddles / flow, / casting me to /shine or break." Ammons opposes the Romantic dislike of reason here. The Romantic poets' antirationalism is renown, with examples such as William Blake's dark "Satanic Mills," Wordsworth's "We murder to dissect," Edgar Allan Poe's "To Science" who, he says, "alterest all things with thy peering eyes. / Why preyest thou upon the poet's heart, / Vulture whose wings are dull realities?" In fact,

Ammons' "Countering" counters the myth of the noble savage, a conceptual mainstay of Romanticism. Far from noble, the savage "peoples / wood slopes, shore rocks" with dream figures, born of superstition, who have the power to save or destroy human life. Ammons disassociates himself from the natural man the Romantics revered and says it is reason that preserves life. Reason forms a "sphere" that hides the poet's "contours" and "contains the war / of shape and loss / at rest." His reason holding contraries in abeyance, the poet of "Countering" becomes a man of Platonic aplomb. When Ammons applies his intellectual imagination to the particularities of the natural world, as in "Countering," he creates the kind of lyric poem on which his critical reputation rests. But he writes, too, another kind of lyric, which is not typical of his oeuvre. "Visit," for example, is quiet and unperformative, an amalgam of Thoreau, Chinese pastoral poetry, and Robert Frost (the poem echoes Frost's invitational poem "The Pasture"). "Visit" appears on the first page of Corsons Inlet and beckons the reader into the volume. It is not far to my place: you can come smallboat, pausing under the shade in the eddies or going ashore to rest, regard the leaves or talk with birds and shore weeds: hire a full grown man not late in years to oar you and choose a canoe-like thin ship: (a dumb man is better and no costlier; he will attract the reflections and silences under leaves:)

Absent here is the toneless rationality typical of Ammons' poetry. Warmly humane, "Visit" talks to the reader. The poet will be at the landing and greet the reader "with some made / wine and a

A. R. AMMONS / 29 special verse." Wise and sequestered in nature, the poet has learned to value silence, which ties people to one another deeper than talk. He tells the reader to "keep still a dense reserve of silence" to "poise against / conversation." The welcoming poet is Thoreauvian, unworldly, and gathering nature's news, which is forever new: "I found last month a root with shape and / have heard a new sound among / the insects: come."

THE POETRY OF POETICS

Like other poets before him—Wordsworth, Gerard Manley Hopkins, Ezra Pound, T. S. Eliot, William Carlos Williams, and Wallace Stevens— who wrote poetry that was radically new, Ammons tries to justify his poetry by propounding his own poetics. Unlike his predecessors, however, who wrote mainly essays to explain their concept of poetry, Ammons presents his poetics mainly in his poems: examples are "Prodigal" from Corsons Inlet, "Muse" from Northfield Poems (1966), "Poetics" from Briefings (1971), and "Essay on Poetics" from Collected Poems. Primarily, Ammons wants his readers to understand that, for him, poetry is a kind of falling out, an expression that, by the very process of its being said, finds its own form. Such is Ammons' antiformalist position, which he shares with his comodernist Williams. Individual lines are not the basis of a poem, nor do they explain it or even total it. Rather, the whole exceeds the sum of its parts; a poem is a gestalt; its quality cannot be derived from its elements. This is an organicist view of art; the poem unfolds as a living thing. Ammons is in complete sympathy with Walt Whitman's title for his collected poems, Leaves of Grass. "Prodigal" is an intense description, in the spirit of science, of various objects and people moving across the planet: foggy icebergs, "flotillas of ducks weathering the night," nomads set-

tling down at dusk in their tents. All and each are part of the orderings and disorderings, "dis- / continuities" and "congregations," the "molecules of meaning," that constitute the perpetual shifting that is the natural world. A poem is a tearing down and a building up or vice versa, depending on the "vectors" it takes. To compose a poetry that does not in its very form, in its lineations and thought processes, reflect such shifting is to compose poetry in a pre-established mode, thus inauthentic poetry. In "Muse" Ammons takes his cue from Theodore Roethke, the modern American poet of botanical growth and fecund darkness, and admits that if his poetry is fragmentary and indeterminate, it is to show the very brokenness which is the "anguish of becoming," the "pain of moulting." The poet and poem remake themselves into "a wider / order, structures deepening, / inching rootlike into the dark!" The poet writes subconsciously, tapping into wellsprings within himself that he is not cognizant of but which nonetheless guide him and organically structure his poem. Primordial powers and precivilized urgings innate to everyone compel the poet. In "Poetics" Ammons says, "I look for the forms / things want to come as." Poetry is galactic, centrifugal, in its formation. "I look for the way / things will turn / out spiralling from a center." Poetry emerges independently of him. Creativity is a force outside himself—many authors, painters, and composers have attested to the same—that expresses archetypal imaginings. The poet is a conduit "not so much looking for shape / as being available / to any shape that may be / summoning itself / through me / from the self not mine but ours." As contemporary as Ammons is, the meaning of his poetics is ancient and Orphic. The poet is demiurgic. Ammons' fullest statement on his poetics is "Essay on Poetics," a twenty-one-page eccentric disquisition written in long tercets and various free verse forms. The poet begins by identifying

30 / AMERICAN WRITERS poetry with vectors that cluster, "beefing up / and verging out" toward a boundary where movement stops, spreads, and takes shape: thus a poem is made. This aesthetic of kinesis is central to Ammons' theory of poetry. Like Whitman, America's pioneering practitioner of free verse, Ammons notes what he sees before him and lets what it is be its meaning; what he sees he therefore equates with thought: "the way I think is / I think what I see." The world of natural objects is a language; it is tongued. Strings of syntax reaching rightward across the page catch in their path "saliences" (a favorite Ammons' word) that the seeking mind, knowing what it wants to see, never sees. These saliences do not include, however, what Ammons calls the "center," which exists at the heart of everything: "galaxies, systems, planets, asteroids, / moons, drifts, atoms, electrons." The center, as Ammons envisions it, is a seed, a pivot point, of concentrated pressure; but it is serene and empty, similar, then, to Eliot's mystical concept of "the still point," which is inexpressible, too considerable for consideration. The matter of Ammons' poetry is what spins off this center, what it produces— its meaning. Everything is a garment over the ineffable center. Ineffable, yes, but Ammons never stops explaining it. He is like Cotton Mather, Jonathan Edwards, and other Puritan theologians of Colonial America who said, in effect, God is inconceivable, but let me tell you about Him. The ineffable still point is located too, Ammons contends, in the center of a lyric poem—but is silent and unanalyzable, a ghostly reproof to critics. Prying professors, keep away. Ammons' poetics is nothing if not epistemological. It asks questions such as: How do we know the world? How do we know? Can we know the world? With admirable lucidity Ammons tackles these questions in "Essay on Poetics." He uses a tree as representative of the world. One's knowledge of a tree is based on one's previous experience of trees, so that in perceiving a

tree one is influenced by one's idea or imagining of trees. The idea of treeness has a reality, more than does the actual tree. One responds, then, to one's idea of the tree more than to the actual tree. One's fictionalizing ability, how one has imagined trees, transforms the tree. There is no other way of perceiving. To perceive is to transform through the alembic of our imagination. Perception can only be interpretation. Therefore the mind cannot know what is actually before it. So you "can't get mixed up with / an elm tree on anything / like a permanent basis." Ammons is the epistemological kin to Stevens who said that without fiction there is nothing. Ammons' thinking leads him to refute Williams' famous dictum: "No ideas but in things." The interpreting mind relentlessly reforms the world; and that reformation becomes its own reality, the very thing the mind responds to. Ammons therefore reverses Williams' dictum and announces: "no things but in ideas." Indeed, he says, "no ideas but in ideas" would make equal sense. As for what the modern German philosopher Martin Heidegger called the Ding in Sich (the thing in itself)—yes, the thing in itself is out there, but it is not known for what it is; so there are, too, says Ammons, "no things but in things." But that is a proposition people will never know experientially. The world in Ammons' poetry is a congeries of disparate particulars, of the infinite many, of multifarious uniquenesses. The poet's mission is imaginatively to cohere the world, to draw likenesses, to move, a godly traveler, toward the One. The things of the natural world are poems, and "the greatest poetry," says Ammons, is the sea with its waves, incoming and outgoing tides. The sea, like poetry, shapes itself by tides and currents and causes tensions at peripheries. And the reader, we could suppose, is a skiff. In Ammons' view, poems are "verbal symbols" for biological and botanical forms—for the worm with its "coordinated construction" and

A. R. AMMONS / 31 "sequential arrangement," for plants with their "molecular components" and "structured cells." There is no telling where Ammons metaphorizing impulses might go, though at least we know they will almost always go to something in the natural world. At the conclusion of "Essay on Poetics" Ammons likens the risks and possibilities he ventures in composing a poem to the variable conditions—winds, floods, tidal currents, and temperature changes—in an estuary. Clearly, Ammons in his poetics regards making poetry as a preconscious and vitalistic process. His poetics, in other words, privileges his Romantic self while using his philosopher self to explain his Romantic self. Romantic Poet/Scientific Philosopher: this is the basic psychic split in Ammons poetry. Since at least the time of Samuel Taylor Coleridge, poets who propound a poetics may think they are describing their poetry when, in fact, they usually are describing what they imagine their poetry is. T. S. Eliot, for example, advanced in his poetics a poetry detached from the emotions and subjectivities of the poet's personality. Eliot's actual poems, however, hardly correspond to what he recommends poetry should be. So too with Ammons' poetics, which describes more of a poetry imagined than the poetry Ammons actually delivers, which contains bardic rapture melded with strong intellection.

TAPE, SPHERE, SNOW

In November 1963 Ammons went to the House & Garden Store, bought a roll of adding machine tape, stuck one end in his typewriter, and composed "a long thin poem." Tape for the Turn of the Year (1965) is an interestingly odd daybook that runs from December 6, 1963, to January 9, 1965. It is witty, imaginative, and banal: a poem of "The man with bills to pay / [who] dreams with a Muse!" Ammons' perspective in this book is reflexive and therefore quite modernist, for he

takes as his subject the poem itself, continually commenting on what it is and how it is going. Consequently, Tape is somewhat airless. To give Ammons his due, however, his avowed purpose is to avoid the high tones and themes of Romanticism. Indeed, he rejects a premise that undergirds much of his poetry before and after Tape: "the doctrine of correspondences." Early in the poem we have this annunciatory complaint: this is that & that is this & on and on: why can't every thing be just itself? what's the use of the vast mental burden of correspondence? doesn't contribute to the things resembled: except in the mind:

These lines reject not only the Romantic perspective but religion too, the root meaning of which is "to bind together." The drive of religious visionaries like Swedenborg and Emerson to harmonize the world, to make connections, and to create overarching meanings devalues the integrity of the particular. Tape contends that the mind's need for order is egocentric. Order is the result of myopia and exists only in the mind, which denies the disparities of reality. Organization, scheme, system, thesis—all cognitive models—should be avoided. Typically in Ammons' long poems, this contention conflicts with an equally strong Romantic impulse, but in Tape Romanticism is trounced. No Coleridgean enchantment here, "no moonlight to loosen / shrubs into shapes that / never were:" No lending mystery to the familiar, only the familiar laid out flat: "lunch: / hot dogs and baked / beans again: swell:" The Muse Ammons recurringly addresses keeps her distance from this "poem." The result is an original book, but originality—that iconic value of Modernism—does

32 / AMERICAN WRITERS not suffice to keep the reader engaged in Tape. Ammons declares that he hopes to achieve "clarity & simplicity!" and avoid "density" and the "talk of a posing man who / must talk / but who has nothing to / say." Ammons does avoid density and the talk of a posing man, but too often in Tape for the Turn of the Year he has nothing to say. Sphere: The Form of a Motion (1974) is a book-length meditative poem of 155 sections, each with four long tercets. With characteristic wit and inventive imagery, Ammons explores the dualities that have become his ingrained themes—the tension between the one and the many, the universal and the particular, unity and diversity, and center and circumference. The immediate inspiration for Sphere is Ammons' vision of the earth in space, spinning, orbiting, maintaining its lands and waters in sublime equilibrium. The miraculous planet Earth, surrounded by black space, is solitary and magnificent—like the self. Ammons' tone is often prayerful. He is beholden to his Maker. For people to save themselves they must ". . . come to know / the works of the Most High ..." Like Essay on Man (17331734), Alexander Pope's philosophic meditation in heroic couplets on the human's place in the universe, the purpose of Sphere is to justify the ways of God to man. Both poets affirm that blessedness and harmony lie in the recognition that people are finite, and if they "bend to cherish the greatness that rolls through / our sharp days," they will know "joy's surviving radiance." Transnational, Ammons goes beyond Whitman's epic embrace of America while retaining the great transcendentalisms loving spirit. With exhilarant sweep Sphere carries the reader from the western shore of Africa to Walvis Bay, Cape Palmas, Brest, Siberia, the Bering Strait, North America, the South Atlantic, Upper Volta, and Oran. The reader also travels outward from the atmosphere into the expanding universe and moves among blossoming nebulae.

Sphere keeps shifting from cosmic magnificence to the small and marvelously fictionalized; Ammons' readers can always expect in his poetry this strophe and antistrophe. He finds an inexplicable misprint in a newspaper—"repodepo"— and defines it for himself to make a new reality that will satisfy his hungry imagination: "let / [the word] stand for a made nothing, a pointer with no point: or / for anything about which the meaning is insecure:" Unlike Pope's formidable poem and Eliot's Four Quartets, Sphere has little philosophic coherence and structurally no compelling design. Yet it is a richly conceived work and genuinely spiritual. Also, for sheer play of mind, here—and throughout his oeuvre—Ammons has no equal among American poets living or dead. The big aesthetic departure in Ammons' career is The Snow Poems, published in 1977. After the critical praise accorded Collected Poems, Ammons became such a prominent presence on the literary landscape that he could afford to produce a book of radical poetry five years later. The Snow Poems is Ammons' only book of new poems that is not slim. The volume is 292 pages and contains 121 poems. Its reception was mixed. The negative critics were disdainful; the positive critics were merely warm. Seldom has a major contemporary American poet had to face such a strong front of critical attack. The Snow Poems were deemed undisciplined, garrulous, boringly confessional, tired, and diffuse. The critical disdain was not so much a measure of the book's weakness as it was a demonstration of what can happen in the literary critical community when it applies criteria to a work which the work was never conceived to satisfy. The Snow Poems is anti-poetry in the same sense as Williams declared his poetry to be sixty years before—except more so. Ammons has engorged the antiformalist, antiliterary credo of High Modernism—the legacy, that is, of Pound, Eliot, and Williams—and presented poetry that is not only

A. R. AMMONS / 33 antipoetic in subject and theme but notational and seemingly unwrought in form. Of course, The Snow Poems did not appear to be new and fullfledged in 1977; poems like them had appeared in Collected Poems, but they are only preliminary in comparison. Although Ammons says The Snow Poems can be read as one long poem, each is a set piece, a mode of being given articulation. Being that, like the reader's at any particular moment, may be intelligently aware or uninspiringly attentive to the mundane or intellectually overcurious or absorbed in puerility. What most people would call a poem, Ammons in The Snow Poems would say is a wrought, premeditated thing: a calcification. "Beauty," Williams said, "at its best seems truth incompletely realized." The actual setting of The Snow Poems is late September 1975 to May 1976: a period of snow, threat of snow, rain, sleet, gray skies, intermittent sun, and more snow. In short: Ithaca, New York. Ammons is in his fiftieth year, a bourgeoise householder, husband, father, professor, intellectual woolgatherer, and watcher of inner and outer weather. The Snow Poems, then, is an extravagant eight-month daybook, the daybook that Tape for the Turn of the Year, thin in imagination, is not. Regarded this way, The Snow Poems can be appreciated on its own merits. "Ivy Winding," though not the book's first poem, should be because it describes, better than any critic has, what the book is. imagine! writing something that never forms a complete thought, drags you after it, spills you down, no barrier describing you or dock lifting you up: imagine writing something the CIA would not read through, the FBI not record or report, a mishmash for the fun-loving, one's fine-fannied friends!

imagine, a list, a puzzler, sleeper, a tiresome business, conglomeration, aggregation, etc. nobody can make any sense of: a long poem, shindig, fracas, uproar, high shimmy uncompletable, hence like paradise, hellish paradise, not the one paradise where the points & fringes of perception sway in and out at once in the free interlockings of permanence:

"[F]ine-fannied friends!" is Ammons' inclusive phrase for people at Cornell, reviewers, and critics: these are the Arbiters of Taste every artist has had to deal with since art was first called "art." Ammons rebuts "art" with provisionary structures. Instead of the studied, adagio quality expected from poetry, the reader gets the poet, seemingly without preconception, way wardly taking in the world with such a variety of moods that Sphere, for all its richess of imagery, appears almost monochromatic. The image of winding ivy relates to academe, for centuries a bastion of formalist aesthetics. Ammons poses academe's own emblem against it: ivy is organic, its form is its growth, its growth is winding and sprawling. The principal structural innovation Ammons produces in The Snow Poems is a diptych effect. A poem runs alongside his main poem to form a commentary on it or to supplement it. if you caught a duck-glimpse as a first seeing of the thin-tapering hemlocks (a row of raving beauties) you'd think they'd waggled and whipped, worn off in the wind that way

ringneck & redwing (redneck & ringwing)

34 / AMERICAN WRITERS Ammons is showing that thoughts and things vie; meanings tie into each other and then disunite as birds fly out of a tree. Vertical letters border some poems; or a fragmentary poem, at first merely accompanying the main poem, will gain in amplitude and meaning or sometimes recede. When a poem is made, Ammons suggests, another poem is also produced which may be a revision, afterthought, or gloss—anything leftover. Whatever it is, he will get it on the page too. There is the poem and the poem's ghost. Ammons presents poetry as ready-made deconstruction. As much as they are poems, The Snow Poems are the making of poems. Years after their publication, they remain new and fascinating.

MASTER OF THE LYRIC

After the critically controversial Snow Poems, Ammons produced in the next ten years four volumes of poetry that arguably established him as the foremost practitioner of the antiformalist lyric among American poets of his generation: A Coast of Trees (1981), Worldly Hopes (1982), Lake Effect Country (1983), and Sumerian Vistas (1987). The most accomplished poem in A Coast of Trees is the meditative lyric "Easter Morning," which is autobiographical and elegiac. The poet has returned to his ancestral homeland and visited his family graveyard, the hallowed ground of his brother, who died in early childhood, his mother, father, aunts, and uncles. He internalizes their burials. They are all "close, / close as burrowing / under skin." The dead brother is forever with the poet, and so a part of the poet will always be incomplete, scotched, a stump, in fact the very stump he stands on: his brother's grave that "will not heal." "Easter Morning" is about incompletion: the incompletion of a life that ended early and of life—the reader's and the poet's—that, because of early losses, can never truly know com-

pletion. The last third of this 105-line poem describes the flight of "two great birds, / maybe eagles ..." They break from their pattern, seeking (as do poets) new patterns, and then return to their pattern. People break from the whole; and that breaking is life, a "dance sacred" and "fresh as the particular / flood of breaking across us now / from the sun." Life returns, as does the flight of the two great birds, to its original pattern, Ammons' symbol for the equilibrium of the universe. "Easter Morning" is Ammons' intimations of immortality prompted by recollections of early childhood. "The Role of Society in the Artist" from Worldly Hopes is as penetrating a poem as any written in English—whether by William Butler Yeats, Eliot, or Stevens—on the problematic artist/public relationship. Because society does not understand the artist, it sends him an "invitation to go to / hell." Such rejection encourages the artist to care even less for societal approval and to forge an art even more original than before. Consequently, he creates art of greater fire and more radiance. Society likes this "bedazzlement," judges the art worthy, and, deeming itself perceptive and generous, bestows prizes. The artist, thankful for the appreciation, retreats again into the privacy of his fire-spewing, this time "blazon[ing] tree trunks" and setting "stumps afire ..." Society warms itself with his flames and says it likes his "unconventional / verse best." Now the artist says, "& I invited society to go to hell." But surely, the reader must conclude, only in the privacy of his own mind. In public the artist's acceptance of society's gifts enables him to keep society at bay and to ply his trade, its subversion unacknowledged. "Singing & Doubling Together" in Lake Effect Country, perhaps Ammons' greatest love poem, is addressed to a "you" which can be understood as nature or woman. The poet begins, "My nature in me is your nature singing." What nature or woman undergoes—her light and dark, her vital-

A. R. AMMONS / 35 ity and loss—the poet undergoes too. He shares with her "plunders down into the darkness" and tender risings. The theme of Ammons' poem recalls the spiritual sympathy Wordsworth felt for his beloved sister Dorothy and for wild nature— the realm in which she, even more than Wordsworth, found a true home. "Singing & Doubling Together" ends in dissolution, the poet becoming the song of the one he loves and therefore never again needing to sing himself. In "The Hubbub" in Sumerian Vistas, Ammons takes the pagan concern with the conflict between sublunary life and the higher gods and opts for sublunary life: ". . . the lesser gods, local / imbalanced into activity" are clearer examples of how people should behave than people who sit immobilized in mystical apprehension of the One. The superior gods—Zeus, Jehovah—"can worsen / one" in the sense that when people transcend the world and obtain divine serenity, they exclude "empty stances, / paradisal with indolence," which "sweeten / to a sweetness savorless on high." Here Ammons, the Yankee transcendentalist—like Thoreau and Frost—implies that belief in heaven necessarily second-rates mortality and makes of human living merely a dress rehearsal for the life that supposedly really counts: eternal life with God in heaven. In "Birches" Frost said, ". . . Earth's the right place for love: / I don't know where it's likely to go better." Certainly not in bodiless heaven. Ammons brings us to the paradox that is transcendentalism: spirit is physical and heaven is on earth. The very style of "The Hubbub"—Ammons' typical colloquializing of the metaphysical—affirms his theme.

GARBAGE AND GLARE Like A Tape for the Turn of the Year, Garbage (1993) and Glare (1997) are book-length medi-

tative poems typed on a strip of continuous paper. Both poems are written in two line units that are, like all Ammons' meditative poems, heavily enjambed. In Garbage Ammons carries the modernist doctrine of the anti-poetic to its absurd conclusion, for the book's inspiration is a garbage dump off 1-95 in Florida. Ammons dedicates his ruminative rummage to the great artists, animal and human: to the bacteria, tumblebugs, scavengers, / wordsmiths—the transfigurers, restorers. Actually, a titanic garbage dump quite appropriately suits what has always been thematically characteristic of Ammons' vision: the multifarious many that constitute the One. A dump is the exemplum of nature itself. Everything—from microscopic to macroscopic—is in the process of change. Yes, Ammons implies, change to the mundane mind, but transformation to the poetic mind—indeed transfiguration to the religious mind, the transfiguration that follows sin. For the dump is also a symbol of fallen man, his perishability and the disintegration of whatever passes through his hands. The world we make is "false matter" whose destiny is oblivion. Fallen man, as Buddha and Augustine aver, is always burning; the dump is an image of hell. But on another level its "eternal flame" is a "principle of the universe." The very stuff of the creating cosmos itself— "faraway / galactic slurs even, luminescences, plasmas"—burn in the same way as the dump. Mounds of decay, hell, Armageddon, the cosmos—the dump is at once foul, terrifying, apocalyptic, eternal. Taking another tack, Ammons contends that humans have so polluted the environment that the earth itself is fast becoming garbage. Trash the size of mountains, leachments forming creeks, "meadows with oilslick": poetry has stopped none of it. However, when this world is choked to death by waste, all humans will have left is their language, their metaphorizing ability to make for themselves a new world.

36 / AMERICAN WRITERS we'll get off: we'll take it with us: our equations will make any world we wish anywhere we go: we'll take nothing away from here but the equations, cool, lofty, eternal, that were nowhere here to be found when we came: we are a quite special species, as it were: . . .

The conclusion of Garbage is sacramental. After all, says the poet, garbage, in the long view, is disintegrative and therefore "the cleansing of decay." Everything is in the process of destruction on its way to a new form. A monument to that proposition is the dump off 1-95 in Florida, its "digestive fire" a ritualistic radiance and its smoke incense. Garbage, like all things decomposing so they may become something beyond themselves, is holy. Glare delivers everything Ammons' readers have now come to expect from his book-length poems: an ever-shifting, ever-probing perspective; philosophical wit; marvelously inventive imagery; and diaristic descriptions of a conventional American life. A valedictory mood, however, prevails. A book of wisdom and humility, of speculation on the fragility and finitude of human life and "the downward / slide of everything toward entropy . . . ," Glare is a wry symphony on the end of unnoticed things: for example, the collapse of a dust cloud, "smegma flakes . . . off the chilled penis," the cessation of birds' assertive dawn song. At seventy-one Ammons candidly discloses what happens to a man in old age, his body and spirit wavering, edging toward peril. Ammons' tone is mellow, accepting, his wit leisurely; he is less self-protective now; the reader experiences more of him. And his mind is as exploratory as ever. In fact, Glare, compared to Sphere, a book he wrote at age forty-seven and celebrated for its breadth of vision, is even more "scopy."

AN APPRAISAL: THE POETRY OF NATURAL DESIGN

Ammons tries to make his poems idealities, "moments," he says in his article "Surfaces" for American Poetry Review, "of such consonance between the body, the will, the wish, the intellect that we lose consciousness of any elements of disharmony and feel that our own expressiveness is inseparable from all expressiveness" (July/August 1974). Ammons here accords his poetry a Dionysiac ideal that no poetry can attain. His greatest poems, however, approximate this ideal. Each is like a natural force melded of sublime imagination, scientism, and penetrating play of mind. Ammons' long meditative poems sacrifice direction and shape for range and depth; also they are rhythmless. But his meditative lyrics, what Ammons calls his walking poems (especially those in Ommateum, Expressions of Sea Level, and Corsons Inlet), constitute a unique poetic structure that captures life in its vitalistic immediacy. In his address, "A Poem Is a Walk," delivered to the International Poetry Forum in Pittsburgh (April 1967), Ammons describes with illuminating accuracy the motion of his meditative lyrics: "The motion may be lumbering, clipped, wavering, tripping, mechanical, dance-like, awkward, staggering, slow, etc. But the motion occurs only in the body of the walker or in the body of the words." Ammons describes here a poem that is variously kinetic, yes, but also a poem that reifies the environment it depicts. "There is only one way to know [the poem]," says Ammons in his address, "and that is to enter into it." The meaning of the poem cannot really be determined; rather, A. R. Ammons creates a poetry of living context.

Note: From "A Life From South to North" in this essay, unattributed quotations are from my phone interview with A. R. Ammons on February 22, 2000.

A. R. AMMONS / 37

Selected Bibliography

"Surfaces." American Poetry Review. 3:53 (July/August 1974).

WORKS OF A. R. AMMONS

BIBLIOGRAPY

POETRY

Wright, Stuart. A. R. Ammons: A Bibliography, 19541979. Winston-Salem, N.C.: Wake Forest University, 1980.

Ommateum, with Doxology. Philadelphia: Dorrance, 1955. Expressions of Sea Level Columbus: Ohio State University Press, 1963. Cor sons Inlet Ithaca, N.Y.: Cornell University Press, 1965. Tape for the Turn of the Year. Ithaca, N.Y.: Cornell University Press, 1965. Northfield Poems. Ithaca, N.Y.: Cornell University Press, 1966. Selected Poems. Ithaca, N.Y.: Cornell University Press, 1968. Uplands. New York: Norton, 1970. Briefings: Poems Small and Easy. New York: Norton, 1971. Collected Poems: 1951-1971. New York: Norton, 1972. Sphere: The Form of a Motion. New York: Norton, 1974. Diversifications. New York: Norton, 1975. The Snow Poems. New York: Norton, 1977. Highgate Road. Ithaca, N.Y.: Inkling Press, 1977. The Selected Poems: 1951-1977. New York: Norton, 1977. Selected Longer Poems. New York: Norton, 1980. A Coast of Trees. New York: Norton, 1981. Worldly Hopes. New York: Norton, 1982. Lake Effect Country. New York: Norton, 1983. The Selected Poems: Expanded Edition. New York: Norton, 1986. Sumerian Vistas. New York: Norton, 1987. The Really Short Poems. New York: Norton, 1991. Garbage. New York: Norton, 1993. The North Carolina Poems. Rocky Mount: North Carolina Wesley an College Press, 1994. Brink Road. New York: Norton, 1996. Glare. New York: Norton, 1997. PROSE Set in Motion: Essays, Interviews, and Dialogues. Edited by Zofia Burr. Ann Arbor, Mich.: University of Michigan Press, 1996.

CRITICAL STUDIES Bloom, Harold, ed. The Ringers in the Tower: Studies in Romantic Tradition. Chicago: University of Chicago Press, 1971. . Figures of Capable Imagination. New York: Seabury Press, 1976. . A. R. Ammons. New York: Chelsea, 1986. Buell, Frederick. " 'To Be Quiet in the Hands of the Marvelous': The Poetry of A. R. Ammons." Iowa Review 8:67-85 (1977). Bullis, Jerald. "In the Open: A. R. Ammons' Longer Poems." Pembroke Magazine 18:25-53 (1986). Elder, John. Imagining the Earth: Poetry and the Vision of Nature. Chicago: University of Illinois Press, 1985. Fink, Thomas. "The Problem of Freedom and Restriction in the Poetry of A. R. Ammons." Modern Poetry Studies 1-2:138^8 (1982). Fishman, Charles. "A. R. Ammons: The One Place to Dwell." The Rollins Critic 19:2-11 (December 1982). Gilbert, Roger. Walks in the World: Representation and Experience in Modern American Poetry. Princeton, N.J.: Princeton University Press, 1991. Hans, James. The Value(s) of Literature. Albany, N.Y.: State University of New York Press, 1990. Holder, Alan. A. R. Ammons. Boston, Twayne, 1978. Kirschten, Robert, ed. Critical Essays on A. R. Ammons. New York: G. K. Hall, 1997. Kober, Nancy. "Ammons: Poetry Is a Matter of Survival." Cornell Daily Sun 27:12-13 (March 1973). Miles, Josephine. "Light, Wind, Motion." Diacritics 3:21-24 (Winter 1973). Morgan, Robert. Good Measure: Essays, Interview, Notes on Poetry. Baton Rouge, La.: Louisiana State University Press, 1993.

38 / AMERICAN WRITERS Parker, Patricia A. "Configurations of Shape and Flow." Diacritics 3:25-33 (Winter 1973). Schneider, Stephen P. A. R. Ammons and the Poetry of Widening Scope. Rutherford, N.J.: Fairleigh Dickinson University Press, 1994. , ed. Complexities of Motion: New Essays on A. R. Ammons's Long Poems. Rutherford, N.J.: Fairleigh Dickinson University Press, 1999. Scigaj, Leonard M. Sustainable Poetry: Four Ameri-

can Ecopoets. Lexington: University Press of Kentucky, 1999. Special Issue: The Work of A. R. Ammons. Pembroke Magazine 18:9-236 (1986). Wolf, Thomas J. "A R. Ammons and William Carlos Williams: A Study in Style and Meaning." Contemporary Poetry 3:1-16 (1977).

—PHILIP

BUFITHIS

Richard Bausch 1945-

R

ward all three of those subjects, expressing scorn for "the cutsey southern writer, some of the young folks whose habit seems to be to pile on the quirks and the cornpone and the biscuits and gravy and the daddy drunk and have at it." He is not particularly interested in place because, he says "my terrain is interior, the landscapes are psychological, and the subject is shades of emotion as they give forth character and the nature of humans in terms of struggle. . . ." He points out that he uses landscape, as writers often do, to indicate states of mind. He also says he avoids race, "mostly because I hate the subject." He regards racism as "a disease, which is presently reaching plague proportions in the world." He goes on to observe wryly, "And having said this, I have of course begun to write about it lately." He says that "a wonderful professor" told him once that his interest in family made him a southerner, but nowhere do his characters show a genealogical obsession or trace their ancestry back to antebellum times. The reader of William Faulkner requires ancestral charts to keep relationships clear, but nothing like this is needed for Bausch. Indeed, antebellum times, the Civil War, and Reconstruction are not subjects of his work. Bausch feels great pride in being elected to the Fellowship of Southern Writers, but because he is honored to be in the company of writers like Shelby Foote, George Garrett (a close friend), Eudora

ICHARD CARL BAUSCH was born in Fort Benning, Georgia, on April 18, 1945, to Robert Carl and Helen Simmons Bausch. He has a twin, Robert Bausch, who is also a novelist, an extraordinary circumstance. The Bausch family moved to Washington, D.C., when the brothers were three. Richard Baush has lived most of his life in Washington or in communities close to it: the family moved to Silver Spring, Maryland, in 1950, to Wheaton, Maryland, in 1954, and finally to Vienna, Virginia, in 1963. There were interruptions for service in the air force and graduate school at the University of Iowa, but he received his bachelor of arts from George Mason University, which considers itself part of Washington, in 1974 and has been a professor there since 1980. Bausch came of age during the Kennedy Administration, and he is haunted by the idealism of John F. Kennedy's presidency and by the sordid realities of it which became known later. Although he belongs to the Fellowship of Southern Writers and much of his work is set in the imaginary northern Virginia town of Point Royal, Virginia, proximity to Washington is a bigger factor than the South in his writing. Bausch is not a southern writer in any strict regional sense. Reynolds Price said in a radio interview once that southerners are obsessed with place, race, and family. In an e-mail he sent me, Bausch by coincidence discussed his attitudes to39

40 / AMERICAN WRITERS Welty, Elizabeth Spencer, and others. "Why, that is a list of the best writers in America." Bausch observed in the same e-mail that he is often compared to Flannery O'Connor, usually to his disadvantage, and says he did read her once when he was twenty. But his real models, he says, are Anton Chekhov, Leo Tolstoy, Charles Dickens, and Shakespeare. He reads them repeatedly, and also Guy de Maupassant "for his meanness; and is he mean. He provides a balance." Chekhov's sense of the sadness in life and his ability to write short stories without plot contrivances have certainly influenced Bausch's stories, which generally convey their effects with restraint.

THE CHARMS OF AUTOBIOGRAPHY

Bausch wrote a long but reluctant account of his life for the Contemporary Authors Autobiography series (1991). His brother Robert has a substantial essay in the same volume and between the two a reader learns a great deal about the Bausch family. Richard Bausch's essay is a document remarkable for its distrust of autobiography. He declares that he reads biographies but not autobiographies: indeed, he says he has never been able to finish one. How can anyone claim to know what his first memory is, he asks, and he recounts one of his earliest in order to point out how inaccurate it turned out to be when he checked the facts later. Bausch does not provide the tales of family dysfunction and trauma that the recent participants in the "memoir boom" have dwelt on. He portrays his large family (there were six children, all with red hair) as close, sincerely Catholic but not fanatical, with a mother whose excellence as an amateur artist gave him an example of creativity. Family life is one of his basic themes, and the fictional families are usually unhappy. In "Truth and Trouble: A Conversation with Richard Bausch," an internet interview in Atlantic Unbound, Leslie Cauldwell asked Bausch about the

apparent inconsistency of his concern with suffering and violence in spite of his happy childhood and marriage. Bausch replies very reasonably that novels are about war, "interior or exterior, psychological or physical." He rejects "the fairly recent idea that fiction writers are always trying to exorcise inner ghosts by writing." Twinship is an important biographical factor for Richard and Robert Bausch. In a lengthy profile for The Washington Post, "Twin Visions, Twin Lives," published in 1982, Curt Suplee recorded their strong admiration for each other's work and mentioned that occasionally they find that their imagery coincides. They resisted being classified as replicas of one another in a childhood that both declare was very happy. Richard wanted to become a priest, while Robert was always interested in politics. Richard's ambition to become a priest was thwarted by his poor marks in Wheaton High School. The Washington Post revisited Richard Bausch in a 1998 article on "Nature and Nurture; When It Comes to Twins, Sometimes It's Hard to Tell the Two Apart." On that occasion, he suggested that they have important differences and "have been profiled too often to really enjoy being a novelty act anymore." He also suggested that he was the more religious of the two and that Robert was more intellectual. For all his distrust of autobiography, Bausch's 1991 essay provides ample detail for an outline of his life until that time. He and Robert entered the air force in 1965 under the buddy system. They became survival school instructors, preparing airmen for duty in Vietnam. Most of their time in the air force was spent at the Chanute Base in Illinois, where Richard met another serviceman, David Marmorstein, a guitarist and singer. They formed a group called The City Sounds. After Marmorstein went to Vietnam, Bausch became road manager for a band called The Luv'd Ones and had a brief romance with the lead singer/guitarist. He toured with the band on periods of leave

RICHARD BAUSCH / 41 from the air force, spending his time playing "the young depressed poet" and "reading William Carlos Williams' Paterson and Ernest Hemingway's For Whom the Bell Tolls at the same tim&" He used this period as background for Gordon Brinhart, the insurance salesman in Take Me Back: A Novel (1981). Bausch has also worked as a standup comedian and in an interview with Elizabeth Kastor, "The Author, Giving Rise to 'Violence,' " he mentions that his odd jobs have included driving a cab and writing and acting in "historical dramas produced by the National Parks Service." Bausch married Karen Miller, a photographer, in 1969, and they have five children. After graduating from George Mason University in 1974, he attended the celebrated Writers' Workshop at the University of Iowa and received a master of fine arts in 1975. His classmates included Jane Smiley and Mark Jarman, and he studied with Vance Bourjaily and John Irving. Following graduate school, he began teaching English at George Mason University, where he is now a Heritage Professor. He knows an extraordinary number of American authors, and lists so many in the autobiography that the influence hunter would be discouraged rather than helped. George Garrett has a special position as a very close friend and mentor. Perhaps his clearest influence is F. Scott Fitzgerald. Bausch rereads The Great Gatsby every year. He shares a clear and precise style with Fitzgerald, but perhaps the most important similarity is the elegiac feeling about America that Bausch expresses in Rebel Powers (1993), and Good Evening Mr. & Mrs. America, and All the Ships at Sea (1996). Bausch's autobiographical essay has much more information about when novels were written and the circumstances of their publication— career matters—than about his views of writing, but there are some important details. He is clearly an intuitive rather than theoretical writer: he says "you have to go with your subconscious." He

likes using terms such as "felt life" and "lived experience" to describe his fiction. In an entry for a 1981 volume of Contemporary Authors, Bausch says, "My vital subjects are family, fear, love, and anything that is irrecoverable and missed; but I'll dispense with all of that for a good story." Later in the same article, he states, "I have no literary creed and belong to no literary school; my only criterion is that fiction make feeling, that it deepen feeling," and he speaks slightingly of "elaborate crossword puzzles posing as fiction." He is essentially a realist in an age increasingly permeated with literary theory: he is not a generator of texts but a writer of stories. He is sometimes linked to the so-called "Dirty Realists" among his contemporaries, who include Raymond Carver, Jayne Anne Phillips, Ann Beattie, and Richard Ford, who often deal with life among the working poor. Like them, he has a fine sense of the American vernacular, which he employs in terse dialogue. His style is not "grungy," the term applied to the Dirty Realists, and he writes about the middle class more often than the working class. At the end of his autobiographical essay, Bausch admits that it is basically a long "chronology of publications and arrivals of children, jobs, and friends," and he says that "the charms of autobiography elude me." But in 1999, he overcame some of his reservations about autobiography and contributed a powerful essay, "So Long Ago," to Charles Baxter's collection, The Business of Memory: The Art of Remembering in an Age of Forgetting. The essay ends with a pair of childhood scenes as compelling as anything in his fiction. Both incidents took place during the funeral of Bausch's great-grandmother. He experienced two moments of intense perception, one of a blue mark on the face of the corpse, the other of the mortician pushing his great-grandmother's head down into the coffin before shutting it. These memories, he says, are present and vivid. He suggests that such imagery seems to

42 / AMERICAN WRITERS "drift toward the surface when I dream, or daydream or write." Remembered life offers raw material to shape into the invented structures of fiction. He uses images he has experienced but does not describe his own life. Bausch's essay is a way of formulating his understanding of the almost instinctive basis of his work. Bausch's work has won prizes and recognition. He was twice a finalist for the PEN/Faulkner Award, was a Guggenheim Fellow in 1984, and won the Lila Wallace-Reader's Digest Award (1992) and the Award in Literature from the American Academy of Arts and Letters (1993). His short stories have been included in Prize Stories: The O. Henry Awards, The Best American Short Stories, and The Pushcart Prize Stories, and he won the National Magazine Award for Fiction twice. A selection of his short fiction has been published in England as Aren't You Happy for Me? (1995) and The Modern Library has published The Selected Stories of Richard Bausch. In 1991, at the end of his autobiographical essay for Contemporary Authors, he suggested that his ambition at the start of his career was to write twenty books. Not counting the two retrospective volumes of stories, by the end of the twentieth century he had published twelve books.

THE EARLY WORK: PEOPLE TRYING TO GET USED TO THEIR PAIN

Bausch's first novel, Real Presence: A Novel, published in 1980, is a remarkably mature work. It was highly successful, gaining two particularly important signs of success for the period: it was a Book-of-the-Month Club Alternate Selection and it received a favorable review in Time magazine. This was not the traditional autobiographical first novel: Bausch chose as his protagonist an aging Catholic priest. Monsignor Vincent Shepherd, an ailing man who wants to withdraw from the world, takes a church in Demera, Vir-

ginia, three hours away from his childhood home in Point Royal. Demera, like Point Royal, is an invented town, close to the North Carolina border. Father Shepherd has become a rather poor shepherd to his flock, but he is forced out of his detachment when a homeless family moves into the social hall of the church. The family, which consists of Duck Bexley, his pregnant wife Elizabeth, and their five children, reminded more than one reviewer of Flannery O'Connor's characters, and the comparison seems in this case to be fair. Certainly the situation has some similarities to O'Connor's story "The Displaced Person," in which an elderly priest takes in an impoverished family from Poland. And a reader of southern fiction might be reminded as well of Abner Snopes and his family in "Barn Burning." Indeed, Duck Bexley's arrogance and bad temper, along with an act of arson before his coming to Demera, all give him a kinship with Abner Snopes. But Bausch does not traffic in southern "poor white trash" cliches. The novel brings Father Shepherd (and the reader) into an awareness of the humanity of the Bexleys. If they are rootless, it is because their roots have been cut by poverty and exclusion. Duck Bexley's anger comes from despair, and his moral collapse comes after the death of his father destabilizes his world. He also suffers from ambivalence about his war record, being aware that shooting North Korean soldiers in a ditch is not unequivocally heroic, and he has a serious physical ailment, lupus. Bexley, frantic for money, kills an old woman while attempting to rob her, but the death is not deliberate: he does not understand that his threats and rough treatment have been fatal. Even the Bexley children, who appear to be a crowd of little savages, are gradually individualized, and the mute child, Harvey, who takes and hides the priest's heirloom chalice, becomes an agent of the priest's redemption. Monsignor Shepherd feels love for the child, and the cup—which in the Mass would hold the blood of Christ—be-

RICHARD BAUSCH / 43 comes insignificant, a physical object that the priest decides to give to the child. The novel has more Catholic atmosphere than any work by Bausch. Although many of his later characters are Catholics, the religion is part of their background rather than a subject of the work. In "Body of Christ," a review of the Real Presence in Time, Mayo Mohs observes that the novel shows that redemption is to be found "in the world beyond the sanctuary, where the Real Presence must be sought among the lowliest of people and the darkest of hearts." The death of Duck Bexley, who provokes a policeman into shooting him, and the birth of his son in midwinter, are events with Christian overtones. But the power of the novel does not lie in its rather obvious symbolism, which includes the chalice and a series of bird images. Bausch's insight into character and his ability to shape a narrative are his strengths. He is not a daring stylist, but he has an eye for revealing detail. The novel shows that he has mastered such devices of modern fiction as multiple points of view, which is one of his favorite techniques. He also shifts into present tense narrative to give a sense of drama. More traditional is his use of dreams in the novel, a device found throughout his career as a means of revealing character and creating anticipation. Bausch's second novel, Take Me Back, which was nominated for a PEN/Faulkner Award, is another exploration of ordinary lives. With it, he became an important novelist, not merely a good one, and he showed his ability to probe at the irredeemable losses in American life in a deeply moving way. The losses include any sense of history or nature. The novel is set in Point Royal and has three particular locales: an apartment complex, a trailer court adjoining it, and a shopping mall. The neon lights of the mall are visible in distorted form through the trees near the apartment complex where the chief characters, the Brinhart family, live. Their apartment is in the wing of the Winston Gardens complex nearest to

the adjacent trailer court, and they pay lower rent because of the proximity to "an aggregate of railroad cars with a wild growth of TV antennas growing out of the metal." When Take Me Back first appeared, the term "trailer trash" (a national equivalent of the southern "poor white trash") had not been coined, but the attitudes involved in the term already existed. Bausch does not withhold his sympathy from characters because they live in mobile homes. When Gordon Brinhart attempts to express a kindly attitude toward the comfort of trailers, Red, the one southern good old boy in all of Bausch's fiction, replies, "That's all they are, cowboy, is trailers." Red laments the loss of the old south, noting that the town of Culpeper has become one big shopping mall. He has to switch his pronunciation of "Culpeppuh" to the American standard form, "Culpeper," before Brinhart, a southerner himself, can understand him. Red points out that he used to hunt in the very spot where the trailer park is built. He says of Virginia, "This ain't the South anymore— probably never was," which is a harsh comment on the Old Dominion, with its pride in being the first southern colony. Gordon is an insurance salesman who once wanted to write poetry. He married a rock guitarist, Katherine, and adopted the child she had by a nihilistic drummer in the band. Bausch draws on his own experience for the background of the Brinharts, the days when he was associated with The Luv'd Ones and enamored of a guitarist. The Brinharts, like so many families in Bausch's stories, are deeply dysfunctional, another term not in general use when the novel was published, though we now seem to find it essential. Brinhart has. become an alcoholic; Katherine, who has a history of mental illness, is on the edge of a mental collapse; and her eleven-year-old son, Alex, has no friends and takes refuge in being a baseball fan as a means of escaping his claustrophobic setting. Katherine's malaise seems tied up with her repudiation of her music: she tells a neighbor that

44 / AMERICAN WRITERS she wanted to put away childish things, unconsciously echoing the Bible's I Corinthians 13:11: "When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things." The next verse says "For now we see through a glass darkly," and {Catherine has not cleared her vision. Her marriage was meant to create a normal life, but she has achieved that American specialty defined by Henry David Thoreau in Walden, a life of quiet desperation. The occupants of two trailers force the Brinhart family into crisis and change. Gordon becomes smitten with Shirley, a single mother just short of eighteen who lives in an ambiguous relationship with a much older man, Red. The infatuation progresses eventually into an affair. More important is the arrival of Blanche and Stan and their thirteen-year-old daughter, Amy. Perhaps in the work of another novelist, the parents' very ordinary names and the mother's extraordinary obesity would type them as poor white trash, or anachronistically, trailer trash. Bausch's characters are deeply devoted to their daughter and live in a mobile home for easier access to the National Medical Center in nearby Washington. The possibility that the remission of Amy's leukemia will end hangs over the novel. Just as Shirley, the sexy single mother, unsettles Gordon, his stepson, Alex, is forced into awareness by Amy, who is sexually precocious, claiming that she has already "done the deed." Her acting-out of sexual behavior (she undresses in front of Alex almost immediately) strains credibility, and her intellectual and emotional precocity are also a little unlikely, though her illness seems to have forced her into looking more deeply into life than Alex—or the adults in the novel. Trailer parks and cheap apartments suggest transience, and the characters in the novel live precarious lives. The Brinhart marriage barely functions. Stan's bad joke early in the book, turn-

ing the name "Brinhart" into "Burn Heart," is appropriate: the Brinharts do in fact have burnedout hearts. The character Shirley, whose mental limitations are not clear to Gordon but should be, is an orphan from Iowa, raised by an uncle who failed to tell her where her parents were buried. As if to redress that ignorance symbolically, she tends five nineteenth-century graves which she has discovered on an embankment by the service road behind the shopping mall. In a powerful scene she takes Gordon to see them, and he can simultaneously see the dumpsters behind the mall, which reflect its lights, and the mottled tombstones. One stone commemorates a daughter who died of a fever in 1859, a foreshadowing of Amy's fate. After the visit to the graves, Gordon and Shirley walk by a 7-Eleven store, where they see the "inevitable group of adolescents" in front. Bausch has a fine sense of the quotidian realities of American life, without attempting the exhaustive documentation of them that Don DeLillo uses in White Noise. In Take Me Back, Bausch gives his fullest description of Point Royal. He seems to have no desire to create a rich history for it in the way that Faulkner turned his Yoknapatawpha County and Jefferson into a fictional universe. It has little left to distinguish it from other towns with a mall along the highway, and only a few historical buildings remain in the center of town. In a wry touch, Katherine's abortive suicide attempt takes place in the one historical hotel, a run-down place called The Andrew Johnson, after a remarkably unsuccessful and unpopular American president. The new is represented by the Kmart store in the mall. When Katherine decides to kill herself, she goes to Kmart to buy sleeping pills. The huckster atmosphere of a discount store is superbly created, and Bausch creates a fine comic scene when Katherine becomes so exasperated with the check-cashing procedures that she seizes the microphone used to announce the blue light

RICHARD BAUSCH / 45 specials and loudly denounces the store. Later, in her distraught state, she drives along the highway and sees the marks of freeway culture: Before her there was a boundless landscape of asphalt lots and stores and motel signs and restaurants; a profusion of clashing color and insane cartoon figures vying for her eye—McDonald's, Burger King, Bob's Big Boy, the Exxon Tiger, the Michelin Tire doll. Everything smiled, everything. Lunatic faces. Faces that seemed to be straining to say there was no death.

In a passage like this one, Bausch has created a contemporary version of the Valley of Ashes in his beloved The Great Gatsby. The cartoon figures may smile, but death is real. Katherine almost dies, and Gordon nearly destroys himself with alcohol. Amy suffers the fatal relapse of her leukemia and the reader is not surprised by this event. Mobile homes are indeed mobile: Blanche and Stan depart, as do Red and Shirley. Alex must cope with his mother's illness and his adoptive father's betrayal of the family. Gordon and Alex have a confrontation and make a kind of peace. The muted ending is typical of Bausch's novels: damaged people attempt to win a measure of peace and healing. This will be the resolution for some of the major characters in Baush's other novels. Such endings are perhaps very natural in an age of therapy and grief counseling. Bausch has inhaled the atmosphere of his era; he has also described his times with compassion and insight. In Take Me Back, he presents personal relationships and social change with equal clarity. The comparable achievement in his later work is Rebel Powers. Bausch's third novel, The Last Good Time (1984), is set in an unnamed Ohio city that seems to be modeled on Cleveland. The most important characters are two elderly widowers, Edward Cakes, aged seventy-five, a retired symphony violinist, and Arthur Hagood, his eighty-nine-yearold friend who now lives in a nursing home

called, ironically, The Homestead. The friendship of the two men is intricately worked out. Arthur has been a sensuous, impulsive man and believes that men achieve intimacy by discussing their sexual experiences. He constantly asks Edward to describe his great moment of passion, the weekend in Vermont in 1928, the moment when he became involved with—was seduced by—Ellen, who would become his wife. Edward, a prudish and compulsively orderly man, is often offended by Arthur's Rabelaisian attitudes. He cherishes memories of Ellen, whose picture (always referred to as The Flapper) is the only striking feature of Cakes' drab apartment. He is willing to talk about her, but within boundaries of propriety. Arthur, on the other hand, is happy to talk about his "last good time," when he was almost seventy and spent a night with a woman named Maxine, who was a little older than himself. Cakes also has a last good time when a pregnant young woman, Mary Virginia Bellini, comes to look for a despicable man who once lived in the upstairs apartment after Arthur entered the nursing home. She winds up staying with Edward. The situation, a homeless young woman taken in by a benefactor who gives up his bed for her, is hackneyed, but the relative ages of the characters is a real twist. They have a brief affair, and Edward becomes preoccupied with her welfare. The young woman is a chronic liar (like Penny Holt in a later Bausch novel, Rebel Powers), and her life is a tangle of drug trafficking and casual prostitution. Her name, Mary Virginia, is clearly ironic, as is Arthur's name, Hagood: he has "had good" and is also "half good," a man who can be both kind and callous. In her review, "Redeemed by Love at 75," Nancy Forbes complains about the name symbolism, finding it contrived. The contrivance is there, and no doubt "Cakes" is meant to be symbolic as well, Edward being a somewhat stale delicacy for Mary Virginia (oral sex is a comic motif running through

46 / AMERICAN WRITERS the novel). The dying kitten that Mary and Edward care for is clearly meant to be symbolic as well. It has little hope of survival and suggests Mary's precarious place in life. The success of the novel proceeds not from its forced symbolism (the kitten is an unfortunate touch) but from the careful examination of the emotions of the characters. Mary is convincingly unstable and ambivalent toward both her elderly lover and the father of her child. But most admirable is the skill with which Bausch draws Edward and Arthur, creating their friendship in the present and exploring their memories of the past. Edward is forced by his experiences to admit to himself that his idyllic tryst in Vermont was not entirely successful, and he has to relive the loss of his wife and the death of his son, who had turned out very badly before his death in the Korean War. The complications of the marriage are handled with economy and power. Ellen gave up her faltering career as a dancer to marry Edward: like Katherine in Take Me Back, she renounced her art and never recovered from the decision. Bausch's damaged people make compromises to save themselves, but the compromises can create further damage. Arthur's marriage was not bad, but his attempt to transform his life after his wife's death by giving up teaching school in Point Royal and starting a home repair business ended disastrously, and his "last good time" with Maxine was in part an attempt to get money to save his truck from repossession. Bausch does a fine job describing Arthur's complicated relationship with his daughter, who is now an old woman herself. In "The Way Things Are: Richard Bausch's Unadorned World," Paul Elie complains that the story of Edward is put aside in favor of his friend, but Arthur should be seen as a protagonist too. He opens up the novel and his enthusiasm for life balances the claustrophobic timidity of Edward. Edward is remarkably like Mr. Duffy in James Joyce's great story "A Painful Case." He is not

as inhibited as Duffy but he lives a similar life of loneliness and sterile order, eating in the same restaurant again and again, cutting himself off from the kind of human energy represented by the rowdy nurses across the hall, whose parties upset him. He has an overwhelming epiphany, recognizing the dismal condition of his life, standing outside himself and seeing "this wintry soul on a thousand afternoons at a window in a barren room, watching the progression of people on the street." At the end of the novel, after a last conversation with Mary Virginia, who plans to abort her baby (there is no glib happy ending for her), he goes to see the newest occupant of Arthur's old room, Ida Warren, an elderly woman who has been trying to offer herself to him. The conclusion is a little forced, but Bausch suggests that Cakes is going to choose life in the little time that he has left. The actor and director Bob Balaban made The Last Good Time into a distinguished film in 1995. The setting was moved to Brooklyn and some plot complications were added, but the movie was faithful to the spirit and themes of the novel.

UNHAPPY FAMILIES

Bausch is one of America's finest living short story writers. His first collection, Spirits, and Other Stories (1987), was his second work nominated for a PEN/Faulkner Award, and one story, "What Feels Like the World," was an O. Henry Prize winner. In most of the stories he deals with the ordinary characters who so often appear in his novels. There are two notable exceptions. "The Man Who Knew Belle Star" deals with an ex-convict who picks up a hippie woman who turns out to be a serial killer. The story arouses suspense but lacks Bausch's usual psychological subtlety. The other story with unusual characters, "Spirits," is one of his best. Uniquely for Bausch's work, it treats a writer and academic

RICHARD BAUSCH / 47 life. The narrator, a novelist newly hired by a Virginia university, borrows the apartment of William Brooker, a one-time Kennedy Administration intellectual employed at the same university. The narrator finds and reads the letters of Helen, Brooker's beautiful wife, and this voyeurism is counterpointed brilliantly with the gradual revelation of a serial killer's crimes in the same town. The intertwined plots create a toxic atmosphere of duplicity and bad faith. Brooker's womanizing drives one of his lovers to suicide, putting him on a moral level similar to the killer's. Bausch's fascination with the Kennedy years would reach its height in Good Evening Mr. & Mrs. America, and All the Ships at Sea, but the Kennedy mystique already seems tarnished. The rest of Spirits is more typical of Bausch's fiction and deals mostly with marriages and families. Tolstoy's claim at the opening of Anna Karenina comes to mind: "All happy families resemble one another, but each unhappy family is unhappy in its own way." But the reader of Bausch's stories can trace a number of causes for unhappiness: alcoholism, memories of childhood abuse, failures of parenting, or cumulative boredom in a relationship. One of the best stories is "All the Way in Flagstaff, Arizona," in which Walter sinks into alcoholism and loses his family because, ironically, he cannot escape the fear that he will batter his children as he was battered by his father. And "Police Dreams" uses one of Bausch's favorite devices, the symbolic dream, to trace the breakdown of a marriage. Casey's dreams of intruders in the house embody his fear that his wife will leave him, but he is powerless to intervene in the process. Bausch can deal with family relationships other than marriage, such as mother-son relationships, the conflict of an elderly man and his daughter-in-law, a grandfather's love for a granddaughter; the range is impressive. Unlike the novels, his stories rarely depict people putting their lives back together. There is no space for such

developments in a brief narrative. He typically catches his characters at moments of crisis or collapse and leaves them there. In Bausch's fourth novel, Mr. Field's Daughter (1989), the estrangement of father and daughter forms the theme. James Field is a widower who has raised his daughter alone in Duluth, Minnesota. Bausch's novel is set in the Midwest, but Field and his sister Ellen are both natives of Point Royal: Bausch seems compelled to touch his mythical earth to keep his strength. At nineteen, Field's daughter, Annie, elopes with the morally suspect Cole Gilbertson and goes with him to Savoy, Illinois, just south of Urbana-Champaign. When Field pursues them and shows up drunk and hostile, he alienates his daughter for years. But she eventually leaves Gilbertson, an increasingly dangerous cocaine addict, and returns with her child, Linda, to her father's house. The complex plot of the novel deals with the damaged but mended family life created in the Field household. Enormous suspense is created when Gilbertson's mother dies and he decides, in a drugmuddled state of mind, to go to Duluth, where he thinks he can recover his daughter and get revenge on Field for interfering in his life. A further element in the plot is the relationship of Annie and a considerably older man, Louis Wolfe, who has retired from the air force. He runs a failing store, Star Dust Records, which specializes in nostalgia recordings. Louis' ne'er-do-well son, Roger, works in the store: his only real role in the novel seems to be to provide a victim for the deranged Gilbertson. While the relations of James and his daughter and granddaughter are rendered with great sensitivity, the romance of Louis and Annie is less compelling. She clearly settles for security and kindness, having learned the dangers of reckless passion: she is one of Bausch's compromisers. The reader is not likely to find this relationship convincing. Sometimes Bausch seems to run a twelve-step recovery program for his characters: they learn to change what

48 / AMERICAN WRITERS they can and to accept what they cannot. One of the most interesting comments on Bausch's fiction comes from his wife, Karen, quoted in his autobiographical essay of 1991. At a time when he was trying to get the theme of a novel right, she said: "But don't you see, that's not what you do as a writer, all that intellectual stuff. You're like Tennessee Williams—you write about people trying to get used to their pain." Bausch explores the relationship of father and daughter in meditative sections entitled "Certain Testimony," which show them mulling over their experiences and conflicts, explaining feelings that they would be uncomfortable expressing aloud. On the level of plot the deus ex machina is violence by Gilbertson, who murders Roger (intending to kill Louis) and shoots James before killing himself. James is left maimed for life, but the emotional upheaval of the events heals the alienation of James and Annie. The resolution is melodramatic, but Gilbertson's shooting spree is described brilliantly. In his next book, The Fireman's Wife and Other Stories (1990), Bausch established himself as an outstanding contemporary short story writer. The one story that seems out of character for him is "Old West," an extravagant sequel to the famous Western novel, Shane. It is Bausch's only venture into deconstructive parody so far, and it sags under the weight of its own contrivances. Nearly all of the ten stories are about failed marriages or unhappy parent-child relationships. They are written in a lucid, understated style, and are emotionally powerful. Two have been particularly admired, the title story, and its sequel, "Consolation." They pack a great deal into a short space: marital discord, death, grief, and consolation. Comparable in quality is "The Brace," the story of a successful writer's visit to his son and daughter, who dislike him because he has exploited his marriage with their mother in his work. A fine story almost without plot ends the collection, "Letter to the Lady of the House," an

epistle written by the husband in a long-married couple, who muses on the failures in their relationship and affirms his desire to remain with his "dear adversary." It succeeds without plot or interaction among characters.

STRESSES IN THE AMERICAN PSYCHE

Bausch's next novel, Violence (1992), probes into one of the deepest American anxieties, the fear of being attacked or even murdered. In an important Washington Post interview, "The Author, Giving Rise to 'Violence,' " Elizabeth Kastor talked with Bausch about this anxiety. Bausch was surprised when his bookstore readings from the book brought out people who behaved with verbal aggression toward the novelist, "as if he were somehow to blame for the blood and death filling the streets of this country, and would then storm from the store." Bausch found that others would talk to him at the readings about their own experiences with violence: how they had been "shot or attacked or frightened." He was troubled also by the assumption that he could give sociological explanations of violence in America. In a credo typical of his attitude toward writing, he told Kastor that "the book is about love and the obdurate force of love. That's what everything I write is about. I don't write my opinions, I tell stories." He does not diagnose endemic fear of violence; he conveys what it is like. Love has to be obdurate in Violence to overcome the spiritual affliction that sets in after the central character, Charles Connally, is almost killed in a convenience store in Chicago. Charles and his pregnant wife, Carol, have come from Point Royal to visit his mother. Charles goes into a convenience store just as two men high on drugs enter to rob it. They kill three people in cold blood. The other survivor, a Chinese woman, thinks that Charles saved her life, though when he seized her hands during the rush of events he

RICHARD BAUSCH / 49 was momentarily thinking of using her body as a shield. He is acclaimed as a hero, and his disintegration through much of the novel is aggravated by the constant praise he receives, especially from reporters. The novel presents a highly negative view of television and newspaper reporters and their exploitative reports on violence. Although the novel is not a sociological tract, it does capture the malaise of a violence-plagued society. During the ordeal in the convenience store, a black policeman (a genuine hero, who shoots one of the gunmen) says to Charles, "This is America, boy. This is what we got ourselves into now. At this time of the morning." In 1996, Bausch published "The Massacre and the Mastermind," an appreciative review of Philip Caputo's Equation for Evil, a novel about a massacre of school children. Bausch could be speaking of his own novel when he says that the massacre "provides Caputo with the opportunity to paint a very clear and lucid picture of the horrors we have come to in this country." Charles' breakdown after his ordeal eventually forces him to confront his own scarred past. Here perhaps Bausch relies too much on one of our contemporary preoccupations: repressed memories and the kind of childhood abuse dealt with in "All the Way in Flagstaff, Arizona." In Violence, Charles was strangely disturbed by his wife's pregnancy even before the shootings, and afterward his repressed childhood memories cause the same anxiety about harming his family that destroyed Walter in the earlier work. Charles finally understands that he has been marked by abuse from his father, and that he resents his mother for not having intervened. This plot development seems to come out of the literature of the Recovery movement: by 1992, stories of childhood abuse and repressed memories had already become very familiar. To be fair to Bausch, the subject was not so familiar at the time of "All the Way in Flagstaff, Arizona." The resolution of Violence may seem too marked by the spirit of

the times: Charles begins to cope with his illness by a series of actions that bring him close to suicide but deal symbolically with his past. The pattern is rather tidy. His love for his wife is reaffirmed at the end of the novel and he decides to seek professional help. It appears that the persistent force of love will eventually lead Charles out of his emotional sickness. Bausch's next novel, Rebel Powers (1993), is one of his finest, ranking with Take Me Back. It explores the American agony over the Vietnam War. Robert Bausch had published a novel about the war in 1982, On the Way Home, the story of a soldier who returns from Vietnam mentally shattered. In that novel, flashbacks provide scenes of the war. Richard Bausch deals with the war more obliquely in the later novel. In fact, his subject is not just the war but the social turmoil in the United States in the period. The title of the novel, from Shakespeare's Sonnet CXLVI, evokes a society on the brink of anarchy, though the epigraph has a particular meaning for the Boudreaux family: Poor Soul, the center of my sinful earth, Fool'd by these rebel powers that thee array, Why dost thou pine within, and suffer dearth, Painting thy outward walls so costly gay? Why so large cost, having so short a lease, Do thou upon thy fading mansion spend? The novel's action is initiated by a crime: in 1967 Daniel Boudreaux, a noncommissioned officer in the air force and a war hero, is sent to prison for stealing a typewriter. His act proceeds from desperation over debts and bad checks that have accumulated as he attempts to keep his faltering marriage going by lavish spending. The sickness in the marriage results from the changes in his personality after his prisoner of war experiences. Daniel is pining within but he is painting the outward walls "so costly gay." The Boudreaux family functions as a microcosm of America in the

50 / AMERICAN WRITERS Vietnam War period, an era of unreal prosperity brought on by war spending. This novel shows more geographical and artistic scope than any previous work by Bausch. Parts of Rebel Powers are set in Maryland, Virginia, North Dakota, and Wyoming. The novel has a leisurely pace: it begins with home movies of the narrator's first birthday in Alaska, and it eventually moves the characters to a brilliantly depicted town, Wilson's Creek, Wyoming, the site of a military prison. The narrator of the novel, Thomas Boudreaux, is writing from his idyllic refuge, Asquahawk Island, just beyond the mouth of Chesapeake Bay, where he runs a bookstore. In middle age he has become that quintessential sixties type, a dropout, and he is trying to understand the family conflicts that have left him at the margins of life. There are occasional reports on the life of his sister, Lisa, whose longing for stability leads her to marry a Mormon. Her memories do not always coincide with Thomas', which adds perspective to the novel, though his views are naturally privileged: he was older, he kept journals, and he tells the story. The work of memory is aided in the novel by the home movies the narrator analyzes, and by the journals. In Rebel Powers, Bausch's storytelling apparatus is unusually complex, but not for the sake of virtuosity. He has troubled times as well as a troubled family to depict. Thomas Boudreaux's love for his father is clear, though he has some ambivalence. The generation gap so typical of the sixties gets attention early in the novel: Thomas, aged seventeen, lets his hair grow long and starts playing rock and roll. His father, a career airman, reacts by throwing his son's records into the yard, although he does in fact replace them: father and son are not bitter enemies. But Daniel has let the family down by his act of petty theft and fraud, leaving them penniless and fatherless. The theft and trial take place at Andrews Air Force Base near Washington—Bausch country. The mother, Connie, finds a job in Demera, the setting for Real Pres-

ence, but she soon decides to move with the children to Wyoming to be close to Daniel. They go to visit her father first, a North Dakota judge who has not approved of her marriage to an airman. The North Dakota scenes are precisely imagined and the characterization of the grandfather is a small triumph in the novel. The journey enables Bausch to comment on the Vietnam War indirectly, as the train passes through Washington, D.C., during a turbulent demonstration in 1967. The pervasive war news on television colors the novel, and the climactic scene takes place on the night that Robert Kennedy was assassinated. Bausch may have been influenced by The Man Who Knew Kennedy, a novel published in 1967 by Vance Bourjaily, his teacher at the University of Iowa Writers' Workshop. Bourjaily counterpoints the domestic actions in his novel with the assassination and funeral of John F. Kennedy. Talk of the war is everywhere in Rebel Powers. On the train the family meets a Mr. Terpin, who is traveling to a different prison, Fort Leavenworth, where his brother Buddy is incarcerated, supposedly as a draft resister. An irony that emerges late in the novel is that Terpin's brother turns out to be a criminal himself, but he lacks the good qualities of Daniel. The system of military justice has put them on the same level. One of the masterful ironies of the novel is the assumption made by characters like Terpin that Daniel Boudreaux, a genuine war hero, is in prison for rejecting the war. Although he is a hero and has been a prisoner of war—a category of veteran particularly revered in America—Boudreaux's occupation has been the benign one of teaching survival techniques to airmen, and only chance put him into the control of the enemy, who subjected him to terrible treatment. His two-year prison sentence for a minor crime not only shames the family, it outrages them and engenders their own dislike for the war. Terpin is accompanied by his brother's fiancee, the uncannily beautiful Penny Holt, one of Bausch's finest achievements in characterization.

RICHARD BAUSCH / 51 Like Mary Bellini in The Last Good Time, she is a pathological liar. Her dishonesty is symbolized by her glass eye. She turns up in Wyoming and moves into the same boardinghouse as the Boudreax family. Thomas naturally falls in love with her, and his mother's increasing closeness to her is highly ambiguous, complicating family relationships. After Daniel's early release from prison in 1968, his wife refuses to let him sleep in her room, which reveals the discord in the marriage. Daniel eventually reasserts his authority as head of the family in a powerful and disturbing set of events the night of the Robert Kennedy assassination: it appears that the macrocosm of America and the microcosm of the family are both deeply shaken. The landlady says of the assassination: "What are we coming to—oh my Lord, what're we coming to, what're we coming to. . . ." In his rage at being excluded from his wife's bedroom, Daniel actually shoves Penny Holt down and tears open her pajama top, a kind of symbolic rape, and he strikes his own son for trying to intervene. Years later the son learns that his father had regained his place in the family by threatening to take custody of the children by accusing his wife of a lesbian relationship. But the father is a tragic figure, not a villain, and he soon abandons his patriarchal victory out of remorse for his behavior. He begins a downward spiral that ends years later in a car accident that may have been suicide. The family and social themes are handled tactfully. Bausch does not pass easy judgments on the Vietnam War but rather reveals the strong feelings on both sides. The relationships of Connie and Daniel, Connie and Thomas, and of Connie and Penny are handled with subtlety and compassion. Bausch also looks carefully at the thematically less-important conflict between Thomas and his little sister, whom he lets down by reacting to her immaturity and failing to understand her grief over her father's absence. A number of minor characters are delineated briefly but indelibly, like the landlady, Mrs. Wilson, and

the sleazy boarder, Mr. Egan. Rebel Powers was Bausch's most elaborate work to date, and remarkably well-integrated for all its abundance.

SHADOWS ON THE AMERICAN DREAM

Bausch's productivity has been prodigious since the publication of Mr. Field's Daughter in 1989. A major grant from the Lila Wallace-Reader's Digest fund in 1992 probably helped. In 1994 he published Rare & Endangered Species: A Novella & Short Stories, a collection of stories and a novella. The stories are accomplished but not surprising, dealing as they do with marriage breakup or unemployment. In one of them, "Aren't You Happy for Me?" he provides more comedy than usual, as a couple tries to cope with their daughter's marriage to a professor who is older than they are. The novella is a complex work, a novel condensed into a long story, one that keeps several interrelated plots going: Bausch seems to want to braid rather than knot the stories together, which gives a spaciousness and open feeling to the work. The common element is the suicide of Andrea Brewer, who kills herself because she cannot endure leaving her beautiful house in the Point Royal area. She leaves no explanation, and the novella deals with the different ways that her husband, Harry, and her children, James and Maizie, react in the months after. He keeps a number of other plot strands going with other people whose lives impinged on Harry and Andrea's, as the novella form does not demand the relentless unity of the traditional short story. The story culminates, perhaps too predictably, with the birth of a daughter to Maizie and her husband Leo: it appears that the rift in the fabric of life will be mended. We are part of a rare and endangered species, but so far it has survived, even though individuals sometimes destroy themselves. The Bausch twins were admirers of John F. Kennedy in their youth, as they make clear in their 1991 autobiographies. Kennedy's idealism,

52 / AMERICAN WRITERS expressed in noble speeches, impressed Richard deeply, and after the assassination he drew a number of portraits of the president, one of which he brought to Robert Kennedy in McLean, Virginia. The younger Kennedy invited him for a conversation, and Bausch says in the autobiography that "I went on my way, feeling that I had stepped back out of history and into my life again." He also sent a portrait to Jacqueline Kennedy. But the years have brought disillusioning facts to light about John F. Kennedy, and Bausch's 1996 novel Good Evening Mr. & Mrs. America, and All the Ships at Sea turns the facts to fictional use. Bausch's hapless hero, Walter Marshall, is comparable to Nathanael West's Lemuel Pitkin in A Cool Million, another idealist who gets taken in by a corrupt society. Walter has the same given name as the cynical gossip columnist Walter Winchell, whose famous opening line on his radio broadcasts provides the novel with its cumbersome title. The advantage of the title is that it identifies the work as a treatment of America. And it seems that poor Walter is symbolically at sea throughout the novel. Walter attends the D'Allessandro School for Broadcasting in the fall of 1964. The school is a dubious operation run by Lawrence D'Allessandro and his English wife, Esther, who have a night school in the same building. The schools draw in victims of the American dream, who spend their limited money trying to better themselves. D'Allessandro gambles and is threatened by thugs employed by his bookie. Esther provides a corrupt version of the American Dream when she says, "The thing about my husband is his unlimited capacity for hope," an echo of the novel Bausch loves so much, The Great Gatsby, the definitive novel about the failure of the American Dream. D'Allessandro's hope involves both the exploitation of his naive students and a misguided confidence in his abilities to pick winners at the track. The students at his school represent a variety of ethnic backgrounds and social attitudes—

they're a microcosm of America—but none of them is likely to be a winner. The novel is Bausch's first comic work, dark as it occasionally seems. Walter is so naive that he assumes he can be president of the United States by 1988, when he will be forty-three, as Kennedy was when elected, although he has no real plans for his life until then. He takes part in a sit-in demonstration (one of Bausch's few treatments of racism) out of a desire to help create Lyndon Johnson's Great Society. Ironically, his best friend at the school, Albert, is engaged to a woman who was blind from birth but turns out to be an embarrassing racist: the problem of racism will not be solved by singing "Ain't gonna let nobody turn me round"—not if someone who cannot perceive skin color dislikes black people. Mr. D'Allessandro integrates the broadcast school, but not out of idealism. He needs the money. The new student, Wilbur Soames, has a sardonic view of the politically naive integrationist sentiments he encounters in the class. Walter is so eager to please that he winds up engaged to two somewhat older women: Alice Kane, whom he does not love, and the German student from the night school, Natalie Bowman, whom he can imagine as his First Lady. The scene in which he tries to explain his double engagement to his astounded priest is a superb piece of comic dialogue. At the end, Walter learns the truth about John F. Kennedy's morals from Natalie, who has in fact been a paid guest in the presidential bedroom. He solves his somewhat bigamous engagement situation by enlisting in the army: "He would ask to be sent to that place, Saigon, where the war was being fought for freedom, and where the conflict was definite, the enemy clear." The novel is often extremely funny for all its bitter undercurrents. It also seems overlong, and the historical ironies are sometimes too obvious. Bausch's next novel, In the Night Season: A Novel (1998) received mixed reviews. It is a

RICHARD BAUSCH / 53 thriller with brilliantly executed action scenes. Andy Solomon's review in The Boston Globe, "Behind the Crime Mystery, the Mysteries of Marriage," suggests that the balance of literary and popular elements is a good one. A. O. Scott's review in The New York Times is entitled "The Desperate Hours," alluding to the 1955 Humphrey Bogart film as a way of pointing to the hackneyed situation of a family held hostage. In this case the family consists of Nora Michaelson and her eleven-year-old son, Jason, who live in Steel Run Creek, near Point Royal. The criminals, led by Reuther, a German mastermind, seek more than two million dollars' worth of stolen computer chips. They were double-crossed by Nora's husband, Jack, who kept the chips for himself. Jack has died in a traffic accident. Bausch has provided a high-tech updating of familiar plots in which criminals seek money or drugs kept by a double-crosser. Reuther sends his henchmen, two brothers named Travis and Bags, to search the Michaelson house. The thugs are stereotypes: Travis is the clever one, capable of quoting Heart of Darkness, while his brother is fat, stupid, and uncontrollably violent. The physical action in the novel is abundant and brilliantly described. One problem is that the mother and son are improbably resourceful in their struggle with the criminals, and the improbability is compounded when Nora's parents in Seattle, who are rather unnecessarily being held hostage also, prove just as resourceful in coping with their captor. Evil destroys itself rather neatly in the novel: the death struggle of Reuther and Bags after a falling-out is so intricately described that it becomes comic. Scott suggests that the novel reads like a film treatment. It does have elements of genuine characterization when the grief of Nora and Jason for their husband and father is dealt with, and there is a moving subplot about the detective in the novel, Chief Investigator Shaw, who is divorced and worried about losing the affections of his daughter. Unfortu-

nately, the most sympathetic and original character, a black VCR repairman named Edward Bishop, is killed off very early in the novel. Bausch's skill in depicting action reaches a peak in this work, but the book reads like a thriller with serious overtones rather than as a serious novel with elements of a thriller. The balance is not quite right. In 1999 Bausch had another collection of stories, Someone to Watch Over Me: Stories, published. This one has few surprises: most of the characters are damaged people, and the marriages have failed or appear to be wounded. In a long and perceptive review, "At the Edge of the Ordinary," the novelist Joan Silber says that "the sense of ineffectiveness is a secret and constant component of one kind of American life," and she points out that "Bausch's understanding of it is thorough and unerring. . . ." One story, "Glass Meadows," has an interesting twist. The narrator remembers life with his happy and irresponsible parents. Their pranks and carelessness have left him and his brother cautious and insecure in adulthood, but he is aware that his parents were very happy. In Bausch's fiction parents are often brutal or at least unhappy. Here the children were blighted by the loving but unstable ways of parents who would not take life seriously enough. The title story is more typical, a snapshot of a failing marriage at its moment of collapse. The couple, Ted and Marlee, go to a pretentious restaurant to celebrate their first anniversary. She becomes increasingly uncomfortable with the world she has entered through her husband, a distinguished professor much older than herself, and she shows her distress by buying several doubles of a Napoleon brandy selling for $145 a glass. She becomes drunk and disorderly, and it is clear that the marriage is doomed. She realizes that she may, as the cloying George and Ira Gershwin song says, have someone to watch over her, but he has been attracted to her youth, not to any of her other qualities.

54 / AMERICAN WRITERS The number of failed marriages in the book is high. In "Riches," a man's enormous lottery win brings out greed in his wife and all his relatives and he drifts into despair. "Nobody in Hollywood," which was a Best American Short Stories 1997 selection, takes a character into and out of a grotesque marriage in a few pages. A daughter's marriage in "Fatality" is so brutal that the father kills the abusing husband. The protagonist of "Valor" becomes a hero by rescuing the passengers in a school bus, but his act does not save his collapsing marriage. In "Par," Bausch presents the comic courtship of a couple who have both had failed relationships. The story ends with the man in bed after injuring his groin with a golf ball as he tried to demonstrate his prowess in the game to the woman. Symbolically, at least, the new relationship is not off to a good start, although the narrator assures the reader that "in spite of everything, this is a happy story." The experienced reader of Bausch may be skeptical. Richard Bausch has made himself the laureate of unhappy families. He is at the height of his powers in narrating such stories, but at the same time he is in danger of becoming predictable. The extraordinary rate of marriage breakup in the United States certainly sustains his view of the family as a beleaguered and disappointing institution. His task is to convince his readers that he can show each unhappy family as unhappy in its own way, or at least in an interesting way.

CRITICAL RECEPTION

Considering his publishing record and awards, Richard Bausch has had very few critics aside from reviewers in newspapers and magazines. The reviews have often been perceptive, but their scope is limited. The best article was an early one in Commonweal, Paul Elie's "The Way Things Are: Richard Bausch's Unadorned World," which links him with the Dirty Realists and considers

his moral vision. In his introduction to Aren yt You Happy for Me? Richard Ford also praises Bausch's works "as morally vivid inquiries." Paul Lilly's article, "Richard Bausch," in American Short Story Writers Since World War II, in the Dictionary of Literary Biography offers commentary on almost every story in Spirits and The Fireman's Wife. Michael L. Gillespie's "Drugs and Thugs: The Aesthetic Roots of Violence," uses Bausch's Violence and works by two other writers to illustrate Joseph F. Kupfer's theory that acts of violence are committed by people who have no feeling of agency: violence becomes an aesthetic pleasure. Bausch's novel seems subordinated to this thesis in an article that misspells the name of his protagonist. If there is a postmodern divide in American literature, a gulf between writers who write traditional novels and writers who create innovative texts, Bausch is definitely on the traditionalist side of the split, which may account for the lack of academic attention to his work. He talks of writing stories and creating characters rather than producing texts, and he assumes that fiction can represent life. The author's note to Rare & Endangered Species takes an aggressive and humorous stance on such matters. He declares that "there has been a tendency on the part of certain so-called schools of critical theory to make sociological constructs out of fictional characters." He humorously states that the resemblance of his characters to such constructs is entirely coincidental, but all "resemblances to actual persons— that is to recognizable, complicated human beings caught in their time and place—are exactly, wholly, and lovingly intended, even though I imagined them all." As a dedicated storyteller and creator of human character, Bausch is not likely to catch the attention of critical theorists. His inquiry into the ways that people live today is not even as radical as Donald Barthelme, Don DeLillo, or Thomas Pynchon. His style is eloquent when it needs to be

RICHARD BAUSCH / 55 without calling attention to itself. His books are carefully structured and meticulously written but not innovative. The fact that he has been praised for his moral insight by Paul Elie and Richard Ford is significant. He is not didactic, but he looks with compassion and precision at how people treat each other and evokes how they feel. He gives a strong image of American life in the late twentieth century, with its anxieties, failures, and occasional moments of joy and reconciliation. These are the achievements of a realist; not a Dirty Realist, but a faithful one. Note: I interviewed Richard Bausch via e-mail on February 28,2000.1 have cited excerpts from this e-mail in this essay.

Selected Bibliography WORKS OF RICHARD

The Fireman's Wife and Other Stories. New York: W. W. Norton, 1990. Rare & Endangered Species: A Novella & Stories. Boston: Houghton Mifflin/Seymour Lawrence, 1994. Aren't You Happy for Me? and Other Stories. Introduction by Richard Ford. London: Macmillan, 1995. (Includes stories from Spirits, The Fireman's Wife, and Rare and Endangered Species.) The Selected Stories. New York: The Modern Library, 1996. (Includes stories from Spirits, The Fireman's Wife, and Rare & Endangered Species.) Someone to Watch Over Me. New York: HarperFlamingo/HarperCollins, 1999. AUTOBIOGRAPHICAL WRITINGS

"Richard Bausch." In Contemporary Authors: A BioBibliographical Guide. Vol. 101. Edited by Frances C. Locher. Detroit: Gale Research, 1981. Pp. 4243. "Richard Bausch." In Contemporary Authors: Autobiography Series. Vol. 14. Edited by Joyce Nakamura. Detroit: Gale Research, 1991. Pp. 1-16. "So Long Ago." In The Business of Memory: The Art of Remembering in an Age of Forgetting. Edited by Charles Baxter. St. Paul, Minn.: Graywolf, 1999. Pp. 3-10.

BAUSCH ESSAYS AND REVIEWS

NOVELS

Real Presence. New York: The Dial Press, 1980; Baton Rouge: Louisiana State University Press, 1999. Take Me Back. New York: The Dial Press, 1981; Baton Rouge: Louisiana State University Press, 1998. The Last Good Time. Garden City, N.Y: The Dial Press/Doubleday, 1984. Mr. Field's Daughter. New York: Linden Press/Simon & Schuster, 1989. Violence. Boston: Houghton Mifflin/Seymour Lawrence, 1992. Rebel Powers. Boston: Houghton Mifflin/Seymour Lawrence, 1993. Good Evening Mr. & Mrs. America, and All the Ships at Sea. New York: HarperCollins, 1996. In the Night Season. New York: HarperCollins, 1998.

"So Much Like a Lost Boy." New York Times Book Review, September 12, 1993, p. 15. "Oh! Lucy Such a Loss." New York Times Book Review, June 12, 1994, p. 30. "The Low Road to Gettysburg." Civilization, March/ April 1995, p. 78. "The Massacre and the Mastermind." Washington Post, March 17, 1996, p. OX3 "Representative Government: A Correspondence." Harper's, May 1999, pp. 19-21. "Traveling North." Meridian 3:106-111 (Spring 1999). "Charm." In Eudora Welty: Writers' Reflections on First Reading Welty. Edited by Pearl Amelia McHaney. Athens, Georgia: Hill Street Press, 1999. Pp. 1-3. MANUSCRIPTS AND PAPERS

SHORT STORIES

Spirits, and Other Stories. New York: Linden Press/ Simon & Schuster, 1987.

The papers of Richard Bausch are in the Special Collections Library of Duke University. The holdings include early published stories and four unpublished

56 / AMERICAN WRITERS novels, manuscripts of published works, and all correspondence.

CRITICAL AND BIOGRAPHICAL STUDIES Allen, Arthur. "Nature and Nurture: When It Comes to Twins, Sometimes It's Hard to Tell the Two Apart." The Washington Post Magazine, January 11, 1998, pp. 6-11, 21-25. Bausch, Robert. "Life Thus Far." In Contemporary Authors: Autobiography Series. Vol. 14. Edited by Joyce Nakamura. Detroit: Gale Research, 1991. Pp. 17-31. (Memoir by Richard Bausch's twin brother.) Bawer, Bruce. "Family Values." The Hudson Review 46, no. 3:593-599 (Autumn 1993). Brickner, Richard P. "Troubled Lives." The New York Times Book Review, April 26, 1981, p. 14. Budy, Andrea Hollander. Review of Rare and Endangered Species. Georgia Review 49, no. 3:751-752 (Fall 1995). Busch, Frederick. "Contemporary American Short Fiction." Southern Review 27, no. 2:465^72 (Spring 1991). Cahill, Thomas. "Fireworks Hidden and Deep." Commonweal 114, no. 17:568-569 (October 9, 1987). Davenport, Gary. "The Novel of Despair." Southern Review 105, no. 3:440-446 (Summer 1997). Desmond, John. F. "Catholicism in Contemporary American Fiction." America 170, no. 17:7-12 (May 14, 1994). Elie, Paul. "The Way Things Are: Richard Bausch's Unadorned World." Commonweal 111, no. 19:642646 (November 9, 1990). Forbes, Nancy. "Redeemed by Love at 75." New York Times Book Review, December 23, 1984, p. 14. Ford, Richard. Introduction to Aren 't You Happy for Me? and Other Stories, by Richard Bausch. London: Macmillan, 1995. Pp. ix-xiv. Gillespie, Michael L. "Drugs and Thugs: The Aesthetic Roots of Violence." In The Image of Violence in Literature, the Media, and Society. Pueblo: Society for the Interdisciplinary Study of Social Imagery, University of Southern Colorado, 1995. Pp. 363-370.

Lilly, Paul R., Jr. "Richard Bausch." In Dictionary of Literary Biography. Vol. 130, American Short Story Writers Since World War II. Edited by Patrick Meanor. Detroit: Gale Research, 1993. Mohs, Mayo. "Body of Christ." Time, September 22, 1980, p. 81. Scott, A. O. "The Desperate Hours." New York Times Book Review, June 7, 1998, p. 16. Shields, Carol. "The Life You Lead May Be Your Own." New York Times Book Review, August 14, 1994, p. 6. Silber, Joan. "At the Edge of the Ordinary." The World and I, 1410:282-285. Solomon, Andy. "Behind the Crime Mystery, the Mysteries of Marriage." Boston Globe, May 31, 1998, p. N2. Suplee, Curt. "Twin Visions, Twin Lives." The Washington Post, March 26, 1982, pp. Cl, C6. Tallent, Elizabeth. "So Easy to Fail at Love." New York Times Book Review, May 16, 1993, pp. 9-10. Zeidner, Lisa. "Somebody I'm Longing to See." New York Times Book Review, August 29, 1999, pp. 1112.

INTERVIEWS Brainard, Dulcy. "Richard Bausch." Publishers Weekly 237:425-426 (August 10, 1990). Cowgill, Michael. "An Inteview with Richard Bausch." Meridian 3:97-105 (Spring 1999). Cauldwell, Leslie. "Truth and Trouble: A Conversation with Richard Bausch." Atlantic Unbound, www .theatlantic.com/unbound/factfict/ff9808.htm. (August 20, 1998). Kastor, Elizabeth. "The Author, Giving Rise to 'Violence.' " Washington Post, March 2, 1992, pp. Bl, B4.

FILM BASED ON THE WORK OF RICHARD BAUSCH The Last Good Time. Screenplay by Bob Balaban and John C. McLaughlin. Directed by Bob Balaban. Samuel Goldwyn, 1995.

—BERTALMON

Sandra Cisneros 1954-

J

JST AS SANDRA Cisneros, the woman, is not bound by the conventional assumptions of culture, nation, or gender, so too Sandra Cisneros, the writer, breaks the traditional bounds of genre. Her prose spills over into poetry, and her poetry breaks freely into prose, while both teem with palpable images and rich narratives that cut across barriers of nation, culture, genre, and gender. Cisneros grew up traveling frequently between the United States and Mexico, and she has used the varied cultural influences of both countries in her work. Not only did Cisneros grow up with two cultures—Mexican and American—but even the backgrounds of her Mexican grandparents varied vastly. While her mother's parents came from humble circumstances in rural Guanajuato, Mexico, Cisneros' father was born into a privileged, military family in Mexico City. Cisneros vacationed in Mexico with her father's family in their comfortable home in Oaxaca. This contrasted greatly with the series of Chicago apartments in neighborhoods with "empty lots and burned-out buildings" where the Cisneros family lived. She says in the Desert News web site, "I'm in a nice vantage point of being neither Mexican nor completely American. From the middle, I can see the places where the two don't fit. These interstices are always a rich place to write."

CISNEROS' BACKGROUND

Sandra Cisneros was born December 20,1954, in Chicago to a Mexican-American mother and a Mexican father. As the only daughter in a family with six sons, Cisneros grew up feeling as if she had seven fathers—all telling her what to do. "I am the only daughter in a family of six sons," she says in a Glamour article, and according to her, "That explains everything." Her six brothers divided themselves into pairs of three, leaving her lonely in an apartment full of people. Forced to develop her own resources, she turned to books. In particular, Virginia Lee Burton's children's book, The Little House, planted in Cisneros the desire to have the perfect house. Although moving back and forth between the United States and Mexico and from school to school and neighborhood to neighborhood in Chicago left Cisneros shy, introverted, and selfconscious, Cisneros' mother encouraged her independence by raising her in a nontraditional way and encouraging her to study at school and to pursue writing. Educated in both public and parochial schools in Chicago, Cisneros graduated from Loyola University in 1976 and enrolled in a University of Iowa Writers' Workshop Master of Fine Arts program in creative writing. While in this program, Cisneros began writing sketches 57

58 / AMERICAN WRITERS for her novel in vignettes, The House on Mango Street (1984), and finished her master's thesis, "My Wicked Wicked Ways." She received her master of fine arts degree from the University of Iowa in 1978. After receiving her degree, Cisneros returned to Chicago, where from 1978 to 1980 she taught and counseled students at the Latino Youth Alternative High School. During this time, she continued writing and began reading her poetry in coffeehouses in Chicago. The exposure she received from these readings soon led to a wide and diverse audience for her work in an unusual venue. The Poetry Society of America, sponsoring a project with the Chicago Transit Authority, chose the poetry of Cisneros as well as that of other poets to display in space on public transport usually devoted to advertisements. Soon thousands of commuters were reading and admiring the poetry of Sandra Cisneros. When the Mexican-American writer Gary Soto became aware of Cisneros' work, he encouraged the publication of her chapbook Bad Boys by Mango Press in 1980. The poems from the chapbook have all been included in Cisneros' volume of poetry My Wicked Wicked Ways (1987). While her writing career continued to develop, she worked as an administrative assistant, recruiting and counseling minority students at Loyola University from 1981 to 1982. Although her work with high school and college students diminished her writing time, the stories of the young Latina students she worked with provided compelling material for her own work. Receiving her first grant from the National Endowment for the Arts in 1982, Cisneros finally had the money and the time to devote to her own work, and she moved to Massachusetts to complete The House on Mango Street. In 1982-1983, the opportunity to travel came through arts residencies in France and Italy. Cisneros, gathering new material for her poetry, also traveled in Greece and spent a summer in Yugoslavia, where

she developed a deep friendship with Jasna, a woman from Sarajevo. The year 1984 changed Cisneros' life in two ways: The House on Mango Street was published to critical acclaim, and a job as the literary director of Guadalupe Cultural Arts Center San Antonio brought her to the geographic area she would claim as her own. After the positive reception of The House on Mango Street, awards and increased recognition followed. In 1985, she received the Before Columbus American Book Award and a Paisano Dobie Fellowship, and in 1987, Third Woman Press published My Wicked Wicked Ways. In the same year, she sold Woman Hollering Creek and Other Stories (1991) and The House on Mango Street to Random House and Vintage, received a second NBA grant, and taught as a visiting professor at California State University. In the next few years, she had other visiting professorships, at the University of California at Berkeley in 1988, and in 1990 at both the University of California at Irvine and the University of Michigan at Ann Arbor. In 1991 Random House published Woman Hollering Creek, and Vintage reprinted The House on Mango Street. During this year Cisneros received the Lannan Literary Award and taught as guest professor at the University of New Mexico at Albuquerque. In 1992 Turtle Bay reissued My Wicked Wicked Ways, and Random House provided her with an advance for Loose Woman: Poems, a poetry collection, and for a novel, Carmelito. She completed Loose Woman, which Knopf published in 1994; the same year Knopf published Hairs/Pelitos, a children's book from one of her vignettes in The House on Mango Street in English and Spanish. The Mac Arthur Foundation presented Cisneros with a $255,000 "genius" grant in 1995, the year that Random House published La Casa en Mango Street, a version of The House on Mango Street translated into Spanish by Elena Poniatowska. Cisneros, who lives in San Antonio, Texas, con-

SANDRA CISNEROS / 59 tinues to write and to spend time encouraging young people, particularly Latinas, through frequent appearances at schools and community centers.

THE HOUSE ON MANGO STREET

The House on Mango Street, Cisneros' first work to receive critical acclaim, traces the coming of age of a young girl becoming a writer in a city barrio. Through poetic devices such as striking images, deliberate repetition, alliteration, metaphor, and simile, Cisneros' prose vignettes—told first through the voice of a child, later through the voice of a gradually maturing young woman— resonate with adult sensibility and wisdom. In these brief stories, the child, Esperanza, whose "name means hope" in English and "too many letters" in Spanish, struggles to cope with her feelings of displacement and the challenges of reconciling the twin tensions of emerging sexuality and increasing imagination. In doing so, she seeks to find herself, her identity, her place, and her home, but even the first and title story of this volume hints at the difficulty of Esperanza's finding any permanence. In the story "The House on Mango Street," the narrator describes the house itself in terms of negatives. The story, not surprisingly, begins with the negative statement, "We didn't always live on Mango Street." Even what is positive about the house is described negatively: "we don't have to pay rent . . . or share the yard . . . or be careful not to make too much noise...." This house with "no front yard" and a "small garage for the car we don't own yet" and "only four small elms" is not the house of Esperanza's dreams or what "Papa talked about" or "what Mama dreamed up." Instead, the repeated negatives describing what the house is not and what it does not have remind the reader of the threat to Esperanza's self-discovery and of her awareness of that threat.

The story concludes: "I knew then I had to have a house. A real house. One I could point to. But this isn't it. The house on Mango Street isn't it. . . . Temporary, says Papa. But I know how these things go." The story "Cathy Queen of Cats" hints at the negative opinion some people hold of the neighborhood around Mango Street and perhaps of Esperanza's family for moving there, for Cathy offers to be her friend "only till next Tuesday . . . when we move away." Esperanza realizes that people like Cathy and her family feel they have to move "a little further north from Mango Street, a little further away every time people like us keep moving in." In contrast to the negative view of the house and the neighborhood, the second story in the volume, "Hairs," later published as children's book in Spanish and English, celebrates a warm view of the differences within the narrator's family. Family members have hair that is straight or slippery or described in similes, "like a broom" or "like fur" or "like little rosettes." The narrator dwells most lovingly on the description of her mother's hair, and repeats phrases such as "my mother's hair, my mother's hair" and "holding you, holding you" almost as in a lullaby or a prayer. Tucked up in bed with her mother, smelling her mother's hair, which smells like "the warm smell of bread before you bake it ... sweet to put your nose into," Esperanza may seem to have found contentment and her place, but her own hair belies this sweetsmelling harmony. It shows signs of rebellion because it is lazy, and "never obeys barrettes or bands." The images within these stories show the tension within Esperanza. In "Boys and Girls," the tension results from her female gender and the expectations her culture places on her because of that gender. Forced to be responsible for her sister Nenny, rather than able to play with her brothers, Esperanza feels like "a red balloon, a balloon tied to an anchor." To represent Esperanza's plight,

60 / AMERICAN WRITERS Cisneros creates emphasis by deliberate repetition of the word "balloon," a word that itself repeats two letters. In "My Name," tension results from the narrator's conflicting emotions about the mix of her gender and her heritage. She likes the sound of her name, Esperanza, better in Spanish where it seems "made out of a softer something, like silver" rather than the way it is said in school "as if the syllables were made out of tin and hurt the roof of your mouth," but she fears that "Mexicans don't like their women strong." She does not want the fate of her great-grandmother and namesake who "looked out the window her whole life." Rather than "inherit her place by the window" or be one of the women who "sit their sadness on an elbow," Esperanza decides to "baptize herself under a new name, a name more like the real me, the one nobody sees." In "Our Good Day" though, Esperanza's new friends, the sisters Rachel and Lucy who wear clothes that are "crooked and old," do not laugh when they hear her name. Instead, they urge Esperanza to find five dollars to help them buy a joint bike, and soon she is laughing and pedaling down Mango Street, beginning to find her own place within herself and her neighborhood. "Those Who Don't" finds Esperanza feeling solidarity in her neighborhood: "All brown all around, we are safe." Aware that those outsiders who stray into her neighborhood "think we're dangerous," she knows also that those on Mango Street fear a "neighborhood of another color." In the accepting voice of a child, though, the narrator does see and relate the danger that can exist within the neighborhood, danger that comes from risky choices, neglect—and for young women—developing sexuality. In "Meme Ortiz," Meme, who moves into Cathy's old house, wins the "first annual Tarzan Jumping Contest" by jumping from a tree in his backyard and breaking both of his arms. The story centers on descriptions of the house, Meme's dog, the backyard, and the tree. Meme's fall would almost seem

added as an afterthought but for the clipped final ironic sentences that emphasize the danger: "Meme won. And broke both arms." Another episode revealing the dangers of the neighborhood takes place when Louie's cousin, who takes the children of Mango Street driving in his yellow Cadillac, ends up handcuffed in the back of a police car in "Louie, His Cousin & His Other Cousin." Esperanza's tone at the end of the story as she comments ". . . and we all waved as they drove away . . ." reveals the ordinariness with which the children view this event. When Angel, one of Rosa Vargas' too many children in "There Was an Old Woman She Had So Many Children She Didn't Know What to Do," falls "from the sky like a sugar donut, just like a falling star..." no one seems surprised that Mrs. Vargas, preoccupied with "buttoning and bottling and babysitting," cannot control or protect her children, or that Angel Vargas "exploded down to earth without even an 'Oh.' " The danger lurking in the alliteration, "buttoning and bottling and babysitting," develops, of course, from the latent sexuality and possible maternity that threatens to derail Esperanza and the other young woman in the neighborhood. In "Alicia Who Sees Mice," motherless Alicia, who studies at the university, "must rise with the tortilla star" to make lunch for her family. Although she wants more from life, her responsibilities leave her sleepy and threaten her education. On the other hand, in "Marin," the young woman, Marin, sees her sexuality as the means to escape. She wants to get a job downtown, so she can "look beautiful. . . wear nice clothes . . . meet someone in the subway" to marry and take her "to live in a big house far away." She smokes cigarettes, wears short skirts, and flirts, unafraid, with passing boys. In a later story in this volume, "Geraldo No Last Name," we see a brief portrait of one of the men Marin actually does meet while dancing uptown, a man killed in a car accident, a man without a last name, "just another brazer who didn't speak English. Just another wetback."

SANDRA CISNEROS / 61 Still Marin waits hours in the emergency room for him, although she "can't explain why it mattered." At the end of "Marin," the narrator pictures her somewhere "under the street light, dancing by herself . . . waiting for a car to stop, a star to fall, someone to change her life." Marin waits for her sexual fulfillment as if it were a star, but since Cisneros has used the image of the star in the "tortilla star" that threatens Alicia's education as well as for the doomed Angel, "the falling star" child of Rosa Vargas, the reader can assume Marin's star probably will not fulfill her in the way she seeks or imagines. "The Family of Little Feet" thrusts Esperanza and her friends feet-first into the danger of their own sexuality. When the girls are given a paper bag full of women's dress shoes, they think ". . . we are Cinderella because our feet fit exactly." As they try on shoes of lemon and red and pale blue, they particularly "laugh at Rachel's one foot with a girl's grey sock and a lady's high heel." The combination of the sock and the high heel symbolizes the transition between the worlds of innocent girlhood and mature female sexuality. Like an infant first discovering its fist, the girls soon discover their legs ". . . all our own, good to look at, and long." Later in "Hips" Esperanza and her friends will discover that part of their anatomy, "ready and waiting like a new Buick with the keys in the ignition." Ironically, Rachel, whose grey sock and high heeled foot the girls first laughed at, "learns to walk the best all strutted in these magic high heels," and, of course, Rachel is first at risk, and not Cinderella-like from Prince Charming but from the corner bum who offers her a dollar for a kiss. When her sister Lucy sees Rachel is "thinking about that dollar," she takes her hand and hustles her home. The narrator comments, "We are tired of being beautiful." Lucy hides the shoes, and no one complains when her mother throws them out. For the moment, the sexual threat has passed. Shoes play a very different role in "Chanclas," however. Except for new dress shoes, Esper-

anza's mother has completely outfitted her in new clothes for her cousin's baptism party, so she must wear brown and white saddle shoes, practical school shoes, with her new party clothes. She cannot enjoy her new pink and white striped dress or her new slip with its little rose "with feet scuffed and round, and the heels all crooked that look dumb." When a boy asks her to dance, she says, "I shake my head no. My feet growing bigger and bigger." Finally, her uncle takes her to the dance floor where her "feet swell big and heavy like plungers," but he tells her she is "the prettiest girl here," spins her across the dance floor, and together they dance "like in the movies" while everyone watches, and she forgets her "ordinary shoes, brown and white, the kind my mother buys each year for school." What she does remember is her mother's pride in her, the "clapping when the music stops," and that "the man who is a boy" watched her dance. Here, art in the form of Esperanza's ability to dance overcomes her feelings of inferiority, and the very "scuffed and round" feet that brought her shame bring her glory. Finding the transforming power of art in an unusual, unexpected place occurs also in the story "Gil's Furniture Bought & Sold" in which Esperanza discovers a special music box in a dark junk store. Just as she undervalues her feet in her school shoes, she at first thinks nothing of the music box because it is not "pretty with flowers painted on it, with a ballerina inside." Instead, it just looks like "a wood box that's old," but when the owner starts it up: . . . all sorts of things start happening. It's like . . . he let go a million moths all over the dusty furniture and swan-neck shadows and in our bones. It's like drops of water. Or like marimbas only with a funny little plucked sound to it like if you were running your fingers across the teeth of a metal comb. The narrator conveys the effect of the sound of the music box, or the power of art, through im-

62 / AMERICAN WRITERS ages not only of sound, but also of sight and touch. Nenny, Esperanza's sister, responds conventionally and wants to buy the box, but the old man tells her it is not for sale. Esperanza, on the other hand, turns away and pretends not to care "so Nenny won't see how stupid I am," as if the box contained a meaning, a secret that Esperanza should have known. In "Hips," as Esperanza wonders where her new hips will take her, the power of imagination and the power of sexual awareness separate Esperanza from Nenny. While Esperanza and her friends discover their hips and learn to create their own jump rope songs about having hips, they move farther away from Nenny who stays behind in girlhood "too many light years away . . . in a world we don't belong to anymore." Soon, in "Bums in the Attic," Esperanza does not want to accompany her family to see the beautiful houses on hills where her father works in the gardens. No longer content with riding past "staring out the window like the hungry," she vows that when she owns her own home, she "won't forget who I am or where I come from," but will, instead, invite passing bums in to live in her attic because she knows "how it is to be without a house." As Esperanza's imagination begins to fuel her aspirations for a life beyond Mango Street, the stories begin to reveal the power of imagination to heal, to hurt, and to free. In "Papa Who Wakes Up Tired in the Dark," her father wakes her with the news of the death of her abuelito (grandfather), and she sees him "crumple . . . like a coat" and cry. Her imagination allows her to visualize in her own mind the scene that will follow: her father's trip to Mexico, the mourning aunts and uncles, the photo in front of the tomb "with flowers shaped like spears in a white vase." Imagining this scene makes her understand her own father's mortality: "And I think if my own Papa died what would I do," and so she reaches out to him, and her imagination kindles her love for him and pos-

sibly helps her father to heal. She concludes: "I hold my Papa in my arms. I hold and hold and hold him." In the following story, "Born Bad," however, Esperanza's imagination leads her to feel shame. Every afternoon, Esperanza and her friends play a game in which they imitate someone, first famous people, then people in the neighborhood, and then, finally, Esperanza imitates the characteristic movements and voice of her blind Aunt Lupe who "had been dying such a long time, we forgot." Esperanza and her friends take turns playing Aunt Lupe and laughing at each other, but then feel ashamed when she dies the day they play the game. For Esperanza, her aunt's death, which seems a result of her imaginative play, particularly frightens her because Aunt Lupe had always listened to Esperanza's poems and encouraged her to keep writing because it would keep her free. Lupe's encouragement and the game Esperanza plays suggest both the power and the danger of her imaginative life. Esperanza's aspirations and ambition open her also to the increased threat of sexuality. The vignette "The First Job" catapults Esperanza uncomfortably into the workplace to offset the expense of attending Catholic school. Ill at ease in the photo-finishing shop where she works, Esperanza feels grateful to an older "Oriental" man who befriends her, but when he asks for a birthday kiss and she tries to kiss him on the cheek, he grabs her face and kisses her "hard on the mouth and doesn't let go." For Esperanza, the threat of sexuality soon begins to come from within as well as from outside of herself, and the vignette "Sire" demonstrates Esperanza's growing sexual curiosity and rising desire. When Sire, pitching pennies with his friends, repeatedly stares at her, Esperanza will not let him see that she is afraid, will not "cross the street like the other girls." Rather, to prove her bravery, she stares "back hard, just once, like he was glass." She attempts to control rather than be con-

SANDRA CISNEROS / 63 trolled, but like Cinderella who stays too long at the ball, she looks too long into the "dusty cat fur of his eyes," and finds herself transformed: Everything is holding its breath inside me. Everything is waiting to explode like Christmas. I want to be all new and shiny. I want to sit out bad at night, a boy around my neck . . . the wind under my skirt. Not . . . talking to the trees, leaning out my window, imagining what I can't see.

Ironically, the words repeated here "Everything . . . everything . . . I w a n t . . . I want. . ." which emphasize longing, return the reader to the voice of the younger Esperanza. The phrase "leaning out my window" alludes to her great-grandmother, an Esperanza clearly controlled rather than controlling her own life, who "looked out the window her whole life . . ." after Esperanza's greatgrandfather "threw a sack over her head and carried her o f f . . . as if she were a fancy chandelier." While the sexually curious but still innocent Esperanza imagines "a boy around my neck" as a cure for "leaning out my window, imagining what I can't see," many women in her neighborhood that she can see are like Rafaela in "Rafaela Who Drinks Coconut & Papaya Juice on Tuesdays," who find themselves confined by marriage and sexual knowledge. Rafaela, "who is still young but getting old from leaning out the window so much," finds herself literally locked within her house on the nights her husband plays dominoes. Not surprisingly, Esperanza's description of the sexually active women in the neighborhood suggests they have been infantilized by their sexuality. Sire's girlfriend has "barefoot baby toenails all painted pale pale pink, like pink seashells, and she smells pink like babies do," and cannot tie her own shoes. Although Mamacita, in "No Speak English," weighs so much the taxi man must push as her husband pulls to squeeze her from the cab, she emerges still wearing "a tiny pink shoe" on "a foot soft as a rabbit's ear" with "little rosebuds of ... toes."

The models of confined young woman who succumb to cultural and sexual pressures steer Esperanza to find other paths for herself, to discover and accept on her own terms her own sexuality, her own future, her own home, her own destiny, and her own self. First intrigued by Sally "with eyes like Egypt and nylons the color of smoke," Esperanza ultimately rejects the life of Sally who in the stories "Sally," "What Sally Said," "The Monkey Garden," and "Linoleum Roses" uses and is abused for her overt sexuality first by her father who beats her or forgets he is her father "between the buckle and the belt," then by the boys she teases and is used by in "The Monkey Garden," and finally by her husband, who breaks "the door down where his foot went through." Unlike the other confined women in these vignettes, Sally's husband "doesn't let her look out the window," so she can only look inside at "the linoleum roses on the floor, the ceiling smooth as a wedding cake." In "Red Clowns," Esperanza is sexually attacked by young men as she waits by the red clowns for Sally, and decides for herself that Sally lied and that "all the books and magazines" that write about love and sex are wrong. From this sexual attack, Esperanza knows only "his dirty fingernails against my skin, only his sour smell again." Esperanza, warned by this encounter, rejects Sally's way, and in "Beautiful & Cruel" she sets out her own credo of sexual power. She will become like the one of the great women in the movies with "red red lips . . . who drives the men crazy and laughs them all away. Her power is her own. She will not give it her way." To gain this power, Esperanza rejects domesticity and the role of women in her culture by leaving "the table like a man" and not "putting back the chair or picking up the plate." Nor will she follow the path of Minerva in "Minerva Writes Poems" with whom she shares poems. Slightly older than Esperanza, but already with two children and a husband who comes and goes

64 / AMERICAN WRITERS and "sends a big rock through the window," Minerva can only write when her children sleep. If some women discourage Esperanza by their example, encouragement for the life of the imagination and the mind comes to Esperanza in the form of other women and in her own strength. Although one form the desire for sexuality takes for Esperanza in "Sire" is "imagining what I can't see," ironically Esperanza's blind Aunt Lupe first sees and tells her that it is writing that will keep her free. Just as Cisneros' own mother encouraged her, so Esperanza's mother in "A Smart Cookie" sparks her ambition and challenges her to make something of her life. Esperanza's mother can sing an opera "with velvety lungs powerful as morning glories." She seems as magical and as hidden as the wooden music box in "Gil's Furniture Bought & Sold," and she confesses to Esperanza that she "could've been somebody," but that shame over not having nice clothes influenced her to quit school. She warns Esperanza not to let shame keep her down. In "Four Skinny Trees," Esperanza finds her own source of strength in the trees "who grew despite concrete" and "send ferocious roots beneath the ground." Like herself and her ambition, the trees "reach and do not forget to reach." One of Lucy and Rachel's aunts in the story "The Three Sisters" encourages Esperanza to look to a wider destiny for herself by urging her to "come back for the others . . . for the others who cannot leave as easily as you," reminding her that "you can't erase what you know. You can't forget who you are." Alicia of the tortilla star also tells her this when Esperanza laments about not having a house in "Alicia and I Talking on Edna's Steps." Alicia tells her, "Like it or not you are Mango Street, and one day you'll come back too." Esperanza has yet to see that the house she will have—her own home—already has been predicted for her by Elenita in "Elenita, Cards, Palm, Water," who lays Esperanza's "whole life on that kitchen table." As she reads her cards,

Elenita asks Esperanza if she has lost "an anchor of arms" and promises her "a home in the heart." If earlier in the book Esperanza was a balloon tied to an anchor of family, she is moving free of the anchor. Still, to find her destiny she must learn to find the home she dreams of in her heart. In "A House of My Own," Esperanza begins to find the house in her heart. Because she rejects domesticity and patriarchy, it will not be "a man's house. Not a daddy's" with "nobody's garbage to pick up after." Because she has imagination and aspirations, it will have "my books and my stories." Because she is a poet, it will be "clean as paper before the poem." Finally, in "Mango Says Goodbye Sometimes," her own destiny becomes clear to her as she realizes the paradox about the house on Mango Street, which is where she belongs but feels she does "not belong to." As she becomes a writer and writes her story "down on paper," she finds that "the ghost does not ache so much." She realizes that she has to go away, but vows to return for those who cannot leave. Through her imagination and the power of art, she will build them all houses in her heart and invite all, even the bums, into the attic.

MY WICKED WICKED WAYS

Divided into four sections, My Wicked Wicked Ways covers life in the barrio, memories of childhood, life abroad, and a series of poems about a lover. To create narratives and still-life snapshots of characters in the poems, Cisneros plays with unexpected placement of parts of speech, deliberate manipulation of sound to convey meaning, internal rhyme, alliteration, and striking images. The title for this volume of poetry comes from the name of Errol Flynn's autobiography, and Cisneros specifically refers to Flynn in two of the poems in her book, first in her Preface poem and later in the title poem, "My Wicked Wicked Ways." The allusions to Flynn set the tone for

SANDRA CISNEROS / 65 this volume in which Cisneros turns on its head the traditional pattern of male writers describing their encounters with women. The poems in this volume fulfill the promise of the narrator of The House on Mango Street by celebrating the power the speaker has attained by wresting control of her life. Power of this sort comes at no small cost; still, as the Preface poem indicates, it is a cost the speaker has paid willingly. In its first verse, the Preface calls attention to itself as a performance by directly addressing its audience, a theatrical audience that has to be interrupted: "Gentlemen, ladies. If you please— these / are my wicked poems from when. / The girl grief decade. My wicked nun / years, so to speak. I sinned." By beginning conventionally as if asking pardon of her audience, then surprising the reader by ending the second line and sentence with the adverb "when" and using it unexpectedly as the object of the preposition "from," the speaker warns her readers that she will shatter their expectations and challenge their conventions. The speaker claims, at first, not to have been wicked in the same way as Flynn: not wicked like the captain of the bad boy blood, that Hollywood hoodlum who boozed and floozed it up, hell-bent on self-destruction. Not me

Then she undercuts her denial with, "Well. Not much . . ." Although she will describe her sexual encounters with a variety of men on various continents, her sexual adventures are not her real wickedness. Her most important crime, her "first felony," her sin, the reader learns, is writing poetry, a sin that challenges the cultural expectations her family has for her. "My first felony—I took up with poetry. / For this penalty, the rice burned. / Mother warned I'd never wife." By using "wife" as a verb, Cisneros again plays with syntax, and this inventive use of "wife" gives the

word a stronger connotation of choice; instead of choosing to wife, she "took up with poetry," and here, she refers to poetry in terms one would use to describe a sexual encounter. The climax of the poem, the stanza that describes her leaving home, resonates with hard consonant sounds like ch and ck, contractions of hard 'd, and verbs predominantly ending with the letters d or t: I chucked the life my father'd plucked for me. Leapt into the Salamander fire. A girl who'd never roamed beyond her father's rooster eye. Winched the door with poetry and fled. For good. And grieved I'd gone when I was so alone.

Not until she has left, "Winched the door with poetry and fled . . ." do we have softer sounds, "when I was so alone" that suggest some regret. The verb "Winched," which implies the use of a hand tool, is particularly apt as earlier in the poem the speaker describes herself as the daughter of a working man, "Daughter of / a daddy with a hammer and blistered feet..." Just as her father uses a hammer to do his work, so for the speaker "poetry" (as well as being her lover, "I took up with poetry . . .") is the tool that frees her. But after she is free, she plays out her own version of Errol Flynn's "boozed and floozed it up" and wonders what she should really do with that freedom: "I took the crooked route and liked my badness. / Played at mistress. / Tattooed an ass. / Lapped up my happiness from a glass. / It was something, at least. / I hadn't a clue." Living alone, the speaker finds, has two faces: "Sometimes the silence frightened me. / Sometimes the silence blessed me," but still it enables her to write. As she nears the end of her poem, she reveals what her work has cost her: "No six brothers with their Fellini racket. / No mother, father, / with their wise I told you."

66 / AMERICAN WRITERS She introduces her poems again, describing them with metaphors both of value ("pearls" and "jewels") and of annoyance ("itch," "colicky," "fussed"): I tell you, these are the pearls from that ten-year itch, my jewels, my colicky kids who fussed and kept me up the wicked nights when all I wanted was . . . With nothing in the texts to tell me.

Finally, the speaker concludes her Preface with a return to the first verse's inventive use of "when." "But that was then, / the who-I-was who would become the who-I-am. / These poems are from that hobbled when." The word "when" assumes a greater emphasis here as it not only end-rhymes with "then," but its w sound is repeated from the alliteration of the previous line, "the who-I-was who would become the who-I-am." Here, the addition of the words "that hobbled" before "when" suggests that the poems that follow in this volume come not only from a difficult time, but from a person in transition, "the who-I-was who would become the who-I-am," a person, perhaps, with the "wicked wicked" sin of writing poetry. The first section of the volume, 1200 SOUTH / 2100 WEST, revisits several characters and situations from The House on Mango Street. In "Velorio," Lucy and Rachel, Esperanza's friends play outside in their backyard while inside their family mourns their baby sister. When their mother calls them inside, the juxtaposition of the playful outside world and the dark inside world is acute: "You laughing Lucy / and she calls us in / your mother / Rachel me you I remember / and the living room dark / for our eyes to get used to ..." The vital, scruffy children seem, to the speaker, not quite fit before the beautified package of death: "The baby in a box like a valentine / and I thinking it is wrong / us in our raw red

ankles / And mosquito legs / Rachel wanting to go back out again / you sticking one dirty finger in . . ." "South Sangamon" recalls the plight of Minerva in "Minerva Writes Poems" whose comeagain-leave-again husband also throws a rock through her window: And just when we get those kids quiet, and me, I shut my eyes again, she laughing, her cigarette lit, just then the big rock comes in.

Here, unlike in The House on Mango Street, the speaker is joined in camaraderie with another woman, "we get those kids quiet. . ." However, the "just when" that precedes the "we" returns in the "just then" rhyme before "the big rock comes in." The "linoleum roses" in "Curtains" allude to the Cisneros story "Linoleum Roses" in which Sally, who has married young, is even denied the pleasure of looking out the window by her possessive husband. In the poem "Curtains," however, curtains prevent others from seeing what is inside: "the dinette set that isn't paid for, / floorboards the landlord needs to fix / raw wood, linoleum roses . . ." The poem ends with the paradox that sums up the inadequate domesticity confronting poor women, who never receive "the what you wanted but didn't get." In section II, MY WICKED WICKED WAYS, the title poem returns to the Errol Flynn allusion, but now a photo of the speaker's father, rather than the speaker, is compared to Flynn: "He looks like Errol Flynn. / He is wearing a hat / that tips over one eye." Not only is the father physically compared to Flynn, but verses that come later in the poem suggest his comparison to Flynn's escapades with women. "The woman, / the one my father knows, / is not here. / She does not come

SANDRA CISNEROS / 67 till later." The Flynn connection between the speaker and her father suggests a familial connection to wickedness that will surface in other poems in this section. When the speaker describes her mother, she says, "That is me she is carrying, / I am a baby. / She does not know / I will turn out bad." In "Six Brothers," which alludes to the Grimm's fairy tale "The Six Swans" and plays on the author's name Cisneros (which means "swan"), the theme of bad blood will recur. The speaker will be the "wicked" one, but she will not be completely alone in her wickedness. "Brothers, it is so hard to keep up with you. / I've got the bad blood in me I think, / the mad uncle, the bit of the bullet." Even among the brothers, perhaps, there is one, like her, who is not quite perfect, the ". . . little one-winged, / finding it as difficult as me / to keep the good name clean." In "His Story," the speaker continues the themes of bad blood, "A family trait we trace back / to a great aunt no one mentions," and of leaving her family, but considers these themes from her father's point of view: "I was born under a crooked star. / So, says my father. / And this perhaps explains his sorrow." Recasting the main event of the Preface poem, the speaker's leaving home, from the father's point of view better enables the reader to appreciate the challenges the speaker has overcome, "An unlucky fate is mine / to be born woman in a family of men." It also better enables the reader to understand what the speaker's leaving has cost her and her father emotionally, "Six sons, my father groans, / all home. / And one female, / gone." The poems in section III, OTHER COUNTRIES, recount the nomadic wanderings of the speaker after she leaves her family and country to write, love, and travel through France, Italy, Yugoslavia, and Greece. Among these, the poem "For a Southern Man," while rejecting domesticity, fulfills the independent female sexual credo Esperanza proposed in "Beautiful & Cruel" in

The House on Mango Street. "I've learned two things. / To let go / clean as a kite string. / And to never wash a man's clothes." The poem, "Peaches—Six in a Tin Box, Sarajevo," on the other hand, emphasizes the peace and warmth fulfilled sexuality and love can bring: "And if peaches could / they would sleep / with their dimpled head /on the other's / each to each. / Like you and me. / And sleep and sleep." Still for the speaker, human lovers cannot compete with art as a lover. The poem "Ass" humorously plays with the idea of art as a lover, although this time rather than poetry, Michelangelo's David holds the speaker "victim," a role she rejects in her relationships with men: "Then / am I victim / of your spell, / bound since mine eyes / did first espy / that paradise of symmetry." In this poem, the speaker, wishing to play the Pygmalion rather than the Galatea part, embraces for herself the traditional roles of male artists. And like Pygmalion transfixed, who sincere believed desire could unfix that alabaster chastity, grieved the enchantment of those small cruel hips— those hard twin bones— that house such enormous happiness.

The poems in section IV, THE RODRIGO POEMS, which make clever use of imagery, contain a cycle of poems devoted to several phases of a relationship with a married lover for whom she describes herself in "For All Tuesday Travelers" as "the middle-of-the-week wife." The cycle begins with the poem "A woman cutting celery" in which domestic images acknowledge the perspective of the lover's wife: "And she is cutting / celery and more celery . . ." The wife performs a domestic act "cutting celery," but one in which the knife in her hand indicates danger.

68 / AMERICAN WRITERS The line break between "cutting" and "celery" falls like the chop of a knife. The "more celery" she cuts indicates both her frustration and the passage of time. What she waits for " . . . no familiar stumble / of the key. Nor / crooked tug and coy / apology. No blurred kiss / to comfort this cruel / hour and quit those / sometimes fears to sleep . . ." hardly indicates a happy marriage. This seems a familiar scene to her, not unexpected, but still, unwelcome: "Surely / love has strayed before." In "Sensuality Plunging Barefoot into Thorns," the speaker is drawn into the relationship with Rodrigo by the image of a red handkerchief: "you sneeze / and pull like a magician / from your sleeve— / a handkerchief. / Red." The effect of the red handkerchief on the speaker is as immediate as a red matador's cape to a bull. "Extraordinary. / Loud as timbales," but the effect is longterm. "Already it begins, / all the way home— / a slow smoke without warning." Cisneros emphasizes the importance of the color "Red." by isolating it on one line and by punctuating it as a complete sentence. The image of the red handkerchief unites harm or danger, symbolized by the color red, with domesticity, symbolized by the handkerchief, just as being a "middle-of-theweek wife" combines danger with domesticity: In a few weeks all you'll have to do is phone. By then the handkerchief will have done its harm.

Visual images, particularly domestic ones, continue in this cycle. In "The world without Rodrigo," the speaker, "does not mind to hesitate / undoes one button," and in "Rodrigo Returns to the Land and Linen Celebrates," bed sheets "puffed with air / the muslin and satin / the fitted and flat / the dizzy percale / and spun cotton," which can symbolize both domestic and sexual

spheres, herald Rodrigo's return: "billowing and snapping / sun-plumped and flapping / everywhere! everywhere!" Since the color red initiates the relationship, not surprisingly, in "Ame. Amo, Amare," the speaker wears a "green green dress" when the relationship ends. In doing so, Cisneros, of course, depends on the idea that green represents jealousy, but she also plays with the traditional meaning of red-for-stop, green-for-go, and she subtly returns the reader to the green color of celery, the image that begins the cycle.

WOMAN HOLLERING CREEK

Although retaining much of the poetic language and imagery Cisneros used in The House on Mango Street, her second collection of fiction, covering a wider geographic area and time period, consists of bold, more fully conceived stories. In this collection, which draws on myths, legends, and history of Mexico and the American Southwest, she gives voice to the stories of many women and expands her point of view to include third-person narrative, the male point of view, and interview-structured fiction. In the first section of this collection, "My Lucy Friend Who Smells Like Corn," the narrator reexplores the world of childhood, this time centering not on an urban barrio as in The House on Mango Street, but instead on both sides of the Texas-Mexico border. The title story contains poetic images . . . when we are squatting over marbles trading this pretty crystal that leaves a blue star on your hand for that giant cat-eye with a grasshopper green spiral in the center like the juice of bugs on the windshield when you drive to the border, like the yellow blood of butterflies.

and images that reveal the narrator and her friend Lucy jubilant in the messy beauty of girlhood:

SANDRA CISNEROS / 69 "We're going to run home backwards and we're going to run home forwards, look twice under the house where the rats hide and I'll stick one foot in there because you dared me." Shared cultural identity enhances the narrator's relationship with her friend: Lucy Anguiano, Texas girl who smells like corn, like Frito Bandito chips, like tortillas, something like that warm smell of nixtamal or bread the way her head smells when she's leaning close to you.

Rejecting Anglo patterns of beauty, the narrator wants to look more like Lucy. She sits in the sun even "if it's a million trillion degrees outside, so my skin can get so dark it's blue where it bends like Lucy's." "Eleven," the next story in this section, deals with feelings of shame rather than jubilation. On the day that Rachel, the narrator, celebrates her eleventh birthday, her teacher thinks she is the owner of "an ugly sweater with red plastic buttons and a collar and sleeves all stretched out you could use for a jump rope," and forces her to wear the sweater in class. The shame of wearing an ugly sweater that is not even hers ruins her birthday and makes her want to be "far away like a runaway balloon, like a tiny o in the sky." Cisneros repeats here the "balloon as freedom" metaphor she used for Esperanza in "Boys and Girls." Other stories in this section deal with finding a Mexican-American identity. In "Mericans," Mexican-American children in Mexico play outside a church while inside, "Like La Virgen de Guadalupe, the awful grandmother intercedes" on behalf of family members who have sinned. When American tourists speak to the children in Spanish, they answer in Spanish. Later, when they overhear the children speaking to each other in English, one of the surprised tourists remarks, "But you speak English!" " 'Yeah,' my brother says, 'we're Mericans.' " The children seem to be neither American nor

Mexican, yet at the same time, they are both. The fact that the tourists cannot culturally identify the bilingual children, whose identity expressed in the word "Mericans" so closely resembles the sound of the word "Mexicans," suggests the children's own ambivalence about their cultural identity. A Mexican-American child in Mexico is also the narrator of "Tepeyac," this time as the voice of memory. The child visits grandparents in Tepeyac where, in twilight, the sky "opens its first thin stars and the dark comes down in an ink of Japanese blue above the bell towers." In the opening of the story, the narrator strings together a succession of visual images such as this one to describe the square where the child "who will leave soon for the borrowed country" goes to meet the grandfather to walk him back to "the house on La Fortuna, number 12" where "the Green iron gates . . . arabesque and scroll like the initials of my name." The story ends by relating the consequences of time. The house is sold. Businesses change. People die or move away. One particular memory the child recounts of the square is of "souvenir photographers and their Recuerdo de Tepeyac backdrops." Now, like a photograph, the adult child recalls the visual memory of Tepeyac and wonders, "Who would've guessed after all this time, it is me who will remember when everything else is forgotten." "One Holy Night," the second section of this volume, contains two stories, the title story and "My Tocaya," both of which deal with adolescent Latinas exploring love and facing the consequences of their sexuality. The title of the story "One Holy Night" refers to the Virgin birth, and Cisneros plays with this idea in the story. The narrator becomes pregnant after sleeping only one night with a man who claims to come from "an ancient line of Mayan kings." She describes her sexual encounter with him. "So I was initiated beneath an ancient sky by a great and mighty heir—Chaq Uuxmal Palouin. I, Ixchel, his queen."

70 / AMERICAN WRITERS Later she discovers he has no Mayan blood, "was born on a street with no name," and may be a mass murderer, and she is just one of many girls who have taken "the crooked walk." In the third section, "There Was a Man, There Was a Woman," Cisneros includes, as well as shorter stories, several longer, more complex stories: "Woman Hollering Creek," "Never Marry a Mexican," "Eyes of Zapata," and "Bien Pretty." The longer stories, in particular, give voice to adult women who must learn to sort out the difference between myth and reality in love, who must—in some way—come to terms with their men and who, often, must learn to stand on their own and live without them. In "Woman Hollering Creek," Cleofilas, a Mexican woman who thinks love resembles the telenovelas (soap operas), marries a MexicanAmerican and crosses the border to live with him. As she crosses the border, she travels over Woman Hollering Creek. She soon discovers that marriage does not resemble the telenovelas and that her husband "farts and belches and snores as well as laughs and kisses and holds her." After she becomes a mother and her husband begins to abuse her, she remembers her father's words: "I am your father, I will never abandon you," but shame and fear, at first, prevent her from returning home to Mexico. Finally, pregnant with a second child, she persuades her husband to let her visit a doctor who discovers her bruises and helps her to orchestrate an escape with her son. The instrument of that escape, Felice, who drives Cleofilas to the bus station in San Antonio, is "like no woman she has ever met." She challenges Cleofilas' assumptions in two ways. First, she drives her own pickup that she is paying for herself, and second, as she drives over Woman Hollering Creek, she "opened her mouth and let out a yell as loud as any mariachi." She tells Cleofilas, "Every time I cross that bridge I do that. Because of the name you know. Woman Hollering ... Makes you want to holler like Tarzan."

In this story, Felice gives a new voice to women like Cleofilas, a new way to "holler"—not just in "pain or rage," but freely in "a long ribbon of laughter, like water." Cisneros uses a third-person narrator for "Woman Hollering Creek." This is unusual for her, but it enables the reader to hear the doctor's conversation with Felice and to see Cleofilas' reaction to Felice's hollering. Throughout the story, we know Cleofilas' thoughts, but we hardly hear her speak until she returns to Mexico and narrates the story of crossing the arroyo with Felice to her father and brothers. It is as if while crossing Woman Hollering Creek, Felice has given Cleofilas a voice. The narrator of "Bien Pretty," a female professional artist painting in Texas, struggles to put a beautiful cockroach exterminator who poses for her as a model out of her thoughts. She remembers him with "skin sweet as burnt-milk candy, smooth as river water . . . Men pretty," and that he made love to her in Spanish: That language. That sweep of palm leaves and fringed shawls. That startled fluttering like the heart of a goldfinch or a fan ... How could I think of making love in English again?

Finally, though, to free herself she burns "his letters and poems and photos and cards and all the sketches I'd ever done of him. . . ." In place of these, she starts watching the telenovelas. Unlike Cleofilas, however, she wants to "slap . . . the heroine to her senses because she wants the heroines "to be women who make things happen" rather than victims. She wants women to be, "Above all, fierce." The women whose stories are told in the last section of Woman Hollering Creek are often scarred by their dealings with both Anglo and Mexican men, but they are survivors, on their way to becoming "fierce," and Cisneros has given them a voice.

SANDRA CISNEROS / 71 LOOSE WOMAN

If the poetry in My Wicked Wicked Ways casts one eye tentatively back to the speaker's past, the poetry in Loose Woman roars with the full frontal assault on life of a mature writer and woman who celebrates both her Mexican heritage and her American right to live life by her own rules. Consequently in this volume, many of Cisneros' poems expand with longer lines and longer length than her earlier poems. In the first section of the volume, "Little Clown, My Heart," the speaker is self-assured and seems in control of her life. The strong rhythms in "You Bring Out the Mexican in Me" hurry the reader through a litany of pulsing appositives loaded with images that mix myths, politics, culture, history, Hollywood, anatomy, natural disasters, and sex. You bring out the Mexican in me, The hunkered thick dark spiral. The core of a heart howl. The bitter bile.

The rapid juxtaposition of such disparate images as "the Dolores del Rio in me," " The Aztec love of war in me," "The Mexico City '85 earthquake in me," and "the switchblade in the boot in me" conveys the full-throttled but mercurial nature of passion as well as the speaker's acceptance of her Mexican roots. In this tide of rhythm and images, the speaker seems to hold nothing back, yet at the end of most stanzas, she places a subtle qualifier, such as "Maybe. Maybe" or "Yes, you do. Yes, you do" or "Oh." Although the poem "I Let Him Take Me" seems, at first, about male domination, in its last lines, "Husband, love, my life— / poems," it continues the theme of poetry as lover from My Wicked Wicked Ways. The language Cisneros uses in reference to her lover, poetry, reveals many aspects of her relationship with her art. As his

bride, she lets him submissively take her "over the threshold and over the knee," even though the phrase "over / the knee" implies submission to the violence of a husband or father. Phrases with religious connotations such as "pilgrimed with him" and "vigiled that solitude" suggest her role as devout believer in his religion. The language in the sentence, "I labored love / fierce stitched / and fed him . . ." implies maternal care and solicitude, while "bedded and wifed him" conveys sexual love, and "He never disappointed, / hurt, abandoned" displays his fidelity. Most significantly, the language of the first and title line, "I Let Him Take Me" reminds the reader that the speaker's roles as bride, wife, lover, mother, child, and true believer are all her choice. She lets him take her. In the second section, "The Heart Rounds Up the Usual Suspects," the speaker acknowledges that although some things may be beyond her control, she knows she can survive. In "I Want to Be a Father Like the Men," the speaker explores what it means to engender "like the men / I've loved" rather than as a woman. Such men have a "bold Arctic flag" like an explorer to claim what is theirs, and they have a power she seeks: "I'd like to give / without disgrace / my name." "Full Moon and You're Not Here" laments the absence of a married lover under a "Useless moon / too beautiful to waste." The images here that mix fairy tale and religion with domestic business suggest that the speaker doubts the seriousness of her lover: But you, my Cinderella, have the midnight curfew, a son waiting to be picked up from his den meeting, and the fractured marriage weighing on your head like a crown of thorns.

Though she complains that she will go to bed alone, "Full moon and you're not here. / I take

72 / AMERICAN off the silk slip, / The silver bangles," first, she will, "smoke a cigar, / play a tango, / gulp my gin and tonic." She may suffer a setback in the absence of her lover, but she is not undone by him. In the third and final section of the volume, "Heart, My Lovely Hobo," the speaker in "A Man in My Bed Like Cracker Crumbs" reasserts writing as the premier focus of her life. At the beginning of the poem, she strips the bed, shakes the sheets, and "slumped / those fat pillows like tired tongues / out the window for air and sun," to shake what is left of the man from her bed. She uses a string of quick-sounding past participles "punched . . . fluffed . . . billowed . . . snapped" to rid herself of male intrusiveness, so she can "sit down / to my typewriter and cup." In the last stanza, the image, "dust motes somersault and spin," suggests both a sunny place and space to work as well as the creative movement of the writer's mind. With a place to write and solitude to write in, the speaker ends the poem like a prayer: "Coffee's good. / Dust motes somersault and spin. / House clean. / I'm alone again. / Amen." At the end of this poem, Cisneros comes full circle by creating the space Esperanza wished for in "A House of My Own" in The House on Mango Street: "Only a house quiet as snow, a space for myself to go, clean as a paper before the poem."

Selected Bibliography WORKS OF SANDRA CISNEROS FICTION

The House on Mango Street. New York: Random House, 1991. Originally published by Arte Publico, Houston, Tex., 1984. Published in Spanish as La Casa en Mango Street. Translated by Elena Poniatowska. New York: Vintage Books, 1994.

WRITERS Woman Hollering Creek. New York: Random House, 1991. Hairs/Pelitos. Translated by Liliana Valenzuela. Illustrated by Terry Ybanez. New York: Knopf, 1994. POETRY My Wicked Wicked Ways. New York: Random House, 1987. Loose Woman. New York: Random House, 1994. ESSAYS "Do You Know Me?: I Wrote the House on Mango Street." The American Review 15, no. 1:77-79 (Spring 1987). "Ghosts and Voices: Writing from Obsession." The American Review 15, no. 1:69-73 (Spring 1987). "Notes to a Young(er) Writer. The American Review 15, no. 1:74-76 (Spring 1987). "Only Daughter." Glamour, November, 1990, pp. 256-258. "Poem as Preface." New York Times Book Review, September 6, 1992, p. 1. "Who Wants Stories Now." New York Times Book Review, March 14, 1993, pp. 4-17. CRITICAL AND BIOGRAPHICAL

STUDIES

Carbonell, Ana Maria. "From Llorona to Gritona: Coatlicue in feminist tales by Viramontes and Cisneros." MELUS 24:53-74 (Summer 1999). Colby, Vineta, ed. "Sandra Cisneros." In World Authors 1985-1990. Bronx, N.Y.: H.W. Wilson, 1995. Desert News Press Release, www.desertnews.com (January 23, 2000). Doyle, Jacqueline. "More Room of Her Own: Sandra Cisneros's The House on Mango Street." MELUS 19, no. 4:5-35 (Winter 1994). Elias, Eduardo F. "Sandra Cisneros." In Dictionary of Literary Biography. Vol. 122. Edited by Karen Rood. Detroit: Gale Research, 1992. Pp. 77-81. Fuentes, Carlos. "The Blending and Clashing of Cultures." Christian Science Monitor, June 1, 1992, p. 6. Gonzalaz-Berry, Erlinda, and Tey Diana Rebolledo. "Growing Up Chicano: Tomas Rivera and Sandra Cisneros. Revistas Chicano-Riquena 13, nos. 3-4: 109-119 (Fall-Winter 1985).

SANDRA CISNEROS / 73 Ganz, Robin. "Sandra Cisneros: Border Crossings and Beyond." MELUS 19, no. 1:19 (Spring 1994). Hoffert, Barbara. "Sandra Cisneros: Giving Back to Libraries." Library Journal 111, no. 1:55 (January 1992). Kanoza, Theresa. "Esperanza's Mango Street: Home for Keeps." Notes on Contemporary Literature 25, no. 3:9 (May 1995). Kingsolver, Barbara. "Poetic Fiction with a Tex-Mex Tilt." Los Angeles Times Book Review, April 28, 1991, p. 312. Klein, Dianne. "Coming of Age in Novels by Rudolfo Anaya and Sandra Cisneros." English Journal 81, no. 5:21-26 (September 1992). Lewis, L. M. "Ethnic and Gender Identity: Parallel Growth in Sandra Cisneros' Woman Hollering Creek." Short Story 2, no. 2:69-78 (Fall 1994). Olivares, Julian. "Sandra Cisneros' The House on Mango Street and the Poetics of Space." In Chicana Creativity and Criticism: Charting New Frontiers in American Literature. Edited by Helena Maria Viramontes. Arte Publico Press, 1988. Pp. 160-170. Magill, Frank, ed. "Sandra Cisneros." In Great Women Writers. New York: Henry Holt, 1994. Pp. 102-105. McCracken, Ellen. "Sandra Cisneros' The House on Mango Street: Community-Oriented Introspection and the Demystification of Patriarchal Violence." In Breaking Boundaries: Latina Writing and Critical Readings. Edited by Asuncion Horno-Delgado et. al. Amherst: University of Massachusetts Press, 1989. Pp. 62-71. Mirriam-Goldberg, Caryn. Sandra Cisneros: Latina Writer and Activist. Springfield, N.J.: Enslow Publishers, 1998. Moore Campbell, Bebe. "Crossing Borders." New York Times Book Review, May 26, 1991, p. 6. Prescott, Peter, and Karen Springten. "Seven for Summer." Time, June 3, 1991, p. 60.

Scalise Sugiyama, Michelle. "Of Woman Bondage: The Eroticism of Feet on Mango Street." The Midwest Quarterly 41:9-20 (Autumn 1999). Soto, Gary. "Voices of Sadness & Science." The Bloomsbury Review 8, no. 4:21 (July-August 1988). Tabor, Mary B. W. "A Solo Traveler in Two Words." The New York Times Literary Review, January 7, 1993, pp. 6-8. Thompkins, Cynthia. "Sandra Cisneros." In Dictionary of Literary Biography. Vol. 152. Edited by James R. Giles and Wanda Giles. Detroit: Gale Research, 1995. Valdes, Maria Elenade. "The Critical Receptions of Sandra Cisneros's The House on Mango Street." In Gender, Self, and Society. Vol. 13. Edited by Renate von Bardelben. Frankfurt: Peter Lang, 1993. Pp. 287-300. Yarbo-Bejarano, Yvonne. "Chicana Literature from a Chicana Feminist Perspective." In Chicana Creativity and Criticism: Charting New Frontiers in American Literature. Houston, Tex.: Arte Publico, 1988. Pp. 139-145.

INTERVIEWS Bray, Rosemary. "A Deluge of Voices: Interview with Sandra Cisneros, author of Woman Hollering Creek and Other Stories." New York Times Book Review, May 26, 1991, p. 6. Rodriquez Aranda, Pilar E. "On the Solitary Fate of Being Mexican, Female and Wicked and Thirtythree: An Interview with Writer Sandra Cisneros." The American Review 18, no. 1:64-80 (Spring 1990). Sagel, Jim. "Sandra Cisneros." Publishers Weekly, March 29, 1991, pp. 74-75.

—MARY ELLEN BERTOLINI

Andre Dubus 1936-1999

0,NE OF THE many gifts Ernest Hemingway

hot, damp, and seemingly endless. Most of the population takes pride in its Cajun heritage and most are lower-middle class. This was certainly true of Dubus' parents. He was the youngest child and only son of Andre Jules Dubus, a civil engineer and district manager for the Gulf States Utilities Company, and Katherine (Burke) Dubus. They had two other children, Kathryn Claire Dubus, born in 1930, and Elizabeth Nell Dubus, born in 1933. In 1944 the family moved to Lafayette and Dubus was enrolled in the Christian Brothers' School. Although his father was an Episcopalian, his mother was a Roman Catholic, and Dubus was raised in her faith and remained a devout Roman Catholic to the end of his life. Indeed, Roman Catholicism forms the foundation of all of Dubus' work. Throughout his life, he identified himself as a Catholic writer who addressed the ethical questions of ordinary life. He said in an interview with Patrick J. Samway, "I've seen the whole of my fictive world through the eyes of someone who believes the main problem in the United States is that we have lost all spiritual values and not replaced them with anything comparable." In 1954, Dubus graduated from the Christian Brothers' Cathedral High School and entered McNeese State College, a small liberal arts school in Lafayette. He graduated with a bachelor of arts degree in English in 1958. In February

gave to the world in general and to writers in particular was his image. Though often ridiculed, lampooned, and dismissed, the Hemingway persona has survived. Indeed, in his centennial year, 1999, the commercialization of the man himself and to a lesser extent, his works, was seen everywhere. Aside from a major furniture company's splendid attempt to capture the spirit of the man in bedroom sets, writing desks, and objets d'art, it is the man himself who still captures the imagination long after his death in 1961. His example has spawned generations of two-fisted tough guys who can drink and fight and make loveless love until dawn and then, in solitude with pencil and paper, craft prose as delicately as medieval monks once applied gold decorations to illuminated manuscripts. In his life and works, Andre Dubus proved himself to be a full beneficiary of the Hemingway legacy.

YOUTH, COLLEGE, AND THE MARINE CORPS

Andre Jules Dubus (Dub-YOOSE) Jr. was born on August 11, 1936, in Lake Charles, Louisiana. Lake Charles is located in the southwestern part of Louisiana, between the capital, Baton Rouge, and the little town of Lafayette. This is the heart of bayou country where the summers are very 75

76 / AMERICAN WRITERS of that year he had married Patricia Lowe and, after graduation and with few prospects, he elected to join the United States Marine Corps. He entered with a commission as a second lieutenant. Younger readers of Dubus who may be reluctant to approach the works of men who served in the military, writers such as Dubus, James Salter, J. D. Salinger and countless others, should understand that such service was not looked down upon in the era preceding America's involvement in Vietnam. Indeed, it was a respectable way for young men with limited prospects to provide for themselves and, in Dubus' case, a growing family. Four of Dubus' six children were born during his five and one-half years in the marines: Suzanne, born August 16,1958; Andre III, born September 11, 1959; Jeb, born November 29, 1960; and Nicole, born February 3, 1963. Dubus was often asked if he ever regretted taking on so much responsibility so young. In response to such a question that was asked during an e-mail interview hosted by Barnes and Noble (June 12, 1998), Dubus said, "That is a good question. Friends of mine in their 30s have expressed astonishment that my first wife and I had four children before we were 25.1 have never regretted it. ... The responsibility was nothing. My generation of boys wanted that. That was manhood, to have a job and a home and support a family." However, there is some curiosity regarding why Dubus chose the marines. After all, not every young man with a degree in English saw service in the armed forces as his only choice. Some clues to answering this question can be found in Dubus' short stories. Most of his marine stories feature characters who signed up with the hope, either their own or their father's, that the armed services would make men out of them. In Dubus' story "Over the Hill," Gale Castete's father says to his son, "So you joined the Army. Well, maybe they can make something out of you. I shore couldn't do no good." Perhaps this

was the case with Dubus since his service in the marines, onboard an aircraft carrier in the Pacific and on bases along the West Coast, lasted only until his father's death. When cancer claimed the life of his father at the age of fifty-nine in 1963, Dubus resigned his commission as a captain in the marines. As in the case of the writer Reynolds Price, whose father died of cancer at the age of fifty-four, this loss may have been what finally allowed Dubus to cross the threshold from prolonged adolescence into his own life as a writer and teacher.

FIRST PUBLISHED WORK, IOWA WRITERS' WORKSHOP, AND TEACHING

Another possible reason for Dubus' dramatic change in his life's direction could be his emergence as a published short story writer. The Sewanee Review, the literary journal of The University of the South and one of the oldest continuously published reviews of its kind in the United States, published his short story "The Intruder" in its April-June 1963 issue. Dubus long maintained that publication in such a prestigious journal did not influence his decision to leave the marines and pursue a career in letters. Clearly, however, such an early affirmation of his creative talent encouraged him to move in that direction. "The Intruder," like most early short stories by American writers, is a coming-of-age story in which the blinders of a childhood fantasy life are abruptly removed by very real, very adult events. The story contains most of the basic ingredients found in all of Dubus' work: family, sex, violence, Catholic ritual, denial, and paternal protection. Kenneth Girard is spending the summer at his family's vacation cabin in Louisiana with his mother, father, and sixteen-year-old sister, Connie. They have been there six weeks; the father leaves for his job on Monday mornings, and returns the following Friday evenings. Kenneth, who is thirteen, gives free rein to his vivid imag-

ANDRE DUBUS / 77 ination in the pastoral setting. Wandering the countryside with his twenty-two caliber rifle, he pretends to rescue villagers from Nazis, rid a town of outlaws in the Wild West, and, putting his rifle aside, pull a drowning girl from a raging river and then hit the game-winning home run. He also has a strong but guilt-ridden interest in a picture of a bikini-clad young girl he has found in a magazine. On the day the events of this story take place, the parents have plans to go out for the evening and Connie is looking forward to entertaining her boyfriend, the high school football player Douglas Bakewell, in their absence and without their knowledge. Kenneth, who adores Connie, is clearly uncomfortable with her plan. He liked being alone, but, even more, he liked being alone with his sister. She was nearly seventeen; her skin was fair, her cheeks colored, and she had long black hair that came down to her shoulders; on the right side of her face, a wave of it reached the corner of her eye. She was the most beautiful girl he knew. She was also the only person with whom, for his entire life, he had been nearly perfectly at ease.

Kenneth resents Douglas' intrusion into what he had hoped would be a night of making fudge and watching television alone with Connie and makes a show of cleaning his rifle when the young man arrives. Kenneth, who does not perform well academically or athletically, wants to impress Douglas with the one talent he has—shooting. Later, after Douglas leaves and Connie goes to bed, Kenneth is once again drawn to the girl in the magazine. However, guilt overcomes him. He puts the magazine away and seeks relief from his anxiety by reciting Hail Marys and doing pushups. Hearing a sound outside the cabin, he carefully peeks through a corner of his window. He sees the figure of a man approaching his sister's window. His fantasy role of rescuer takes over and he fires his rifle, hitting the man in the head. In the chaos that ensues, Kenneth is sure the man

he has killed is Douglas, whom he believes was returning to the cabin for a late-night assignation with Connie. His mother sits at his bedside and strokes his forehead and his father gives him a pill to help him sleep. They try to assure him that the man who was killed was a prowler, an intruder, and that he had done the right thing. Kenneth is not so sure and as he falls asleep, a vision comes to him. "He saw himself standing on the hill and throwing his rifle into the creek; then the creek became an ocean, and he stood on a high cliff and for a moment he was a mighty angel, throwing all guns and cruelty and sex and tears into the sea." After the publication of "The Intruder," Dubus moved his young family to Iowa City, Iowa, and entered the University of Iowa's Writers' Workshop in 1964. An assistantship in this program paid Dubus $2,400 a year. To supplement this, Dubus stood in line every month for government surplus food, sold his blood for $25 a pint every three months, and earned $100 dollars a month teaching the Britannica Schools Correspondence Course. His assistantship was raised to $3,600 during his final year at Iowa. That was certainly welcome, but the increase made him ineligible for the surplus food program. Dubus earned his master of fine arts degree from the Iowa Writers' Workshop in 1965. While there, he was fortunate enough to be taught and influenced by R. V. Cassill and Richard Yates. In an interview published in Southwest Texas State University's on-line journal, Excerpt, Dubus said of Cassill, "He pushed me and said to me once in a bar, 'You know, you are very good at describing people and writing down what they say, look like, and do. But you don't have the killer instinct of most Catholic novelists—you don't go down deep and find out why they do it.' I was pretty innocent and dumb. That was the first time I knew you were supposed to." Richard Yates, whose first novel, Revolutionary Road (1961), was a finalist for the National Book Award, came to teach at the University of

78 / AMERICAN WRITERS Iowa in 1963, after the assassination of President Kennedy. Yates had been a speechwriter for the president's brother, Attorney General Robert Kennedy. Yates' fiction displays a lean, clear style and he has been compared to Anton Chekhov and F. Scott Fitzgerald. He found a kindred spirit in Dubus and they remained lifelong friends. Upon completion of his master of fine arts degree, Dubus returned with his family to Louisiana. From 1965 until 1966, he taught English at Nichols State College in the small Louisiana town of Thibodaux. One summer of the searing heat and thick humidity of the bayou country was enough for Dubus, and in 1966 he moved his family to New England where he accepted a position teaching modern fiction and creative writing at Bradford College in Haverhill, Massachusetts—a school for women. These frequent changes of residence were remembered by Dubus' oldest son, Andre III, in an article by Jerome V. Kramer in an issue of the magazine Book: "I have always been a small guy," the younger Dubus says. "I am only a 165-pound man now. But in school I was very small. Went to a lot of schools, always the new kid. At age 15,1 had such self-loathing that I would rather get stabbed to death than ever endure humiliation again, and I became a real brawler" (March/April 1999). In 1966, however, the regular uprooting of his family ceased and Dubus lived in Massachusetts for the rest of his life. Bradford College, founded in 1803, was one of New England's first coeducational institutions. In 1836 it became exclusively a school for women. In 1971 Bradford, which had become a junior college in 1932, was authorized to grant bachelor's degrees and men were once again admitted to the school. The small liberal arts college, located an hour north of Boston, near the New Hampshire border, had a student body of 600 during the eighteen years Dubus taught there. It was in this idyllic setting near the Merrimack

River that Dubus settled into a life of writing and teaching. In 1967, Dial Press published Dubus' first novel, The Lieutenant. It was written while he was in Iowa and is drawn from his Marine Corps experiences. The novel tells the story of Lieutenant Dan Tierney, a commander of marines aboard an aircraft carrier, and his struggle to protect a young serviceman from harassment. Burt Lancaster bought the movie rights to the book, but it was never produced. The novel has long been out of print and Dubus maintained it ought to be. Its interest lies in what it shows of Dubus' earliest themes and abilities. In 1970, Dubus' marriage to Pat Lowe ended in divorce. Although Dubus said that the divorce was somewhat friendly, the impact on his young children and the adjustments to a new way of being a family troubled Dubus enough that it became the focus of most of his stories. The harrowing effects of divorce on children, and the question of how to survive as a husband and father when those roles are drastically changed, are major themes in all of his later work.

SEPARATE FLIGHTS

Dubus' stories continued to be published in university literary journals such as the University of Northern Iowa's North American Review and the University of Oregon's Northwest Review through the early 1970s. In 1975 the Boston publishing house David R. Godine published Dubus' first collection, Separate Flights. The slim book contained seven short stories and one novella. "We Don't Live Here Anymore" is the first of three novellas that chronicle the lives of two couples, the Linharts and the Allisons. Thirty-yearold Jack Linhart tells the story of his marriage to Terry and his affair with Edith, the wife of his friend and colleague Hank Allison. The setting is New England academia and the story closely re-

ANDRE DUBUS / 79 sembles the marital and professional life led by Dubus. Jack is a teacher and Hank is a writer at a small university. They enjoy good beer, long runs, each other's company and, eventually, each other's wives. Hank has had an affair with an exchange student, whom Edith calls "that phony French bitch," and Edith, in search of comfort, reassurance, and revenge, seeks the solace that is eagerly offered by Jack. Jack feels trapped in his marriage to Terry and longs for the romantic and carefree love to which he feels entitled. Life with Terry is sheer tedium and his desire for her has been dulled by the everyday routine of housework and raising their two children. Jack's vision of paradise and escape is cold imported beer and outdoor sex. Edith supplies both. Hank is aware of his wife's unfaithfulness with his friend but displays a cold cynicism. He views marriage as a comfort zone, a place of rest and recuperation after adulterous dalliances. Indeed, he even thanks Jack for keeping Edith happy while he was putting the finishing touches on a novel, saying, "You even helped get it done. It's so much easier to live with a woman who feels loved." Unaware of her husband's infidelity but feeling unloved, Terry begins her own affair with Hank. This proves unsatisfactory and she confesses to Jack. He in turn confesses his involvement with Edith. They are now faced with the question of how to continue their lives. No one in this story is strong enough to make a radical change; everyone stays put at this point. It is clear, however, that the code of marital conduct that is acceptable to Hank and Edith (Hank has taken up with a nineteen-year-old and Edith has a "new man") is unacceptable to Jack and Terry. Jack remains in his marriage not because of any love he feels for Terry but out of pity for her. Terry makes the commitment to regain her husband's love even if it means she must become a more conscientious housekeeper. The future looks grim for all of the characters. Their story continues in Dubus' next collection.

"Over The Hill" is Dubus' first short story that shows the influence of his Marine Corps experiences. Gale Castete, a twenty-four-year-old marine, is blowing his entire savings, $150, on Old Crow whiskey and a Japanese woman in a Yokosuka bar. He received a letter from his mother back home in Louisiana the day before and a telephone conversation with her to confirm its contents has sent him in search of physical and emotional numbness. Six months earlier, in June, Castete had met a nineteen-year-old girl, Dana. Two months later they were married and Dana is now reluctantly living with Castete's parents while he is away at sea. His mother's letter reaches him in December and relates the problems she and his father are having with Dana. Castete knew when he met Dana that he was not her first, or even fourth or fifth. But most disturbing of all was her casual worldliness: giving herself that first time as easily as, years before, high school girls had given a kiss, and her apparent assumption that he did not expect a lengthy seduction any more than he expected to find that she was a virgin. It was an infectious quality, sweeping him up, making him feel older and smarter, as if he had reached the end of a prolonged childhood. But at the same time he sensed his destruction and, for moments, he looked fearfully into her eyes. Certainly Castete hoped that life under his parents' roof and watchful eyes would control his bride's possible waywardness and provide an example of proper spousal behavior. This clearly has not happened. Dana is unfaithful and the knowledge of that is driving Castete "over the hill." He does not return to his ship at the appointed time and, instead, stays with the Japanese woman, Betty-san, thereby compounding his anxiety and despair. Mental pictures of Dana's betrayal torment him. Then he thought of her face tilted back, the roots of her hair brown near the forehead when it was

80 / AMERICAN WRITERS time for the Clairol again, the rest of it spreading pale blonde around her head, the eyes shut, the mouth half open, teeth visible, and the one who saw this now was not him—. Drinking dark rum in Betty-san's apartment, Castete sees only one way to release the agonizing pain growing within him. He returns to his ship and is court-martialed and sentenced to three months' confinement, most of it to be served in the Yokosuko brig. Afterward, he will serve out his tour of duty at the marine barracks there in Yokosuko. The fact that he will not be returning to the United States for nearly a year deepens his hopelessness and strengthens his resolve to end his life. When he hands over his personal belongings prior to confinement, he hides a razor blade between his belt and waistband. His utter helplessness is highlighted by his inability to write a letter home to Dana or even properly make up the bed in his cell. He slashes his left wrist with the razor blade but immediately regrets it and calls for the officer in charge. Once he is patched up, the doctor asks him, "You didn't do a very good job, did you, son?" "No, sir." "Do you ever do a good job at anything?" "No, sir." As he returns to his cell, Castete sees his life will be as long, empty, and dark as the passageway he walks. He is "conscious of the bandage on his wrist as though it were an emblem of his uncertainty and his inability to change his life." In his final acceptance of this, he walks away from the nothingness of death. One is reminded of the ending of Hemingway's A Farewell to Arms, which contains a brilliant scene of disillusionment and loss. In the final paragraph of that novel, Lieutenant Henry leaves the hospital where his stillborn child and dead wife lie and walks to his hotel, in the dark, in the rain. Castete, like Henry, has lost everything that gave his life meaning and purpose. Another story in Separate Flights, "The Doctor," is a very short and haunting story. Art Cas-

tagnetto, an obstetrician, is out for a run on an idyllic Sunday morning and suddenly feels that something is terribly wrong. He runs back to a bridge where he had seen some boys playing. The guard walls of the bridge are made of large, rectangular concrete slabs and somehow one of these slabs has fallen, trapping a boy beneath it in the brook. The doctor tries desperately to lift the slab, but it is too heavy. He runs to a nearby home and tells the woman who lives there to call for help and returns to the brook. It seems impossible to him that this young boy could be drowning right before his eyes and there is nothing he can do about it. He continues to struggle with the slab and feels the boy's hands trying to push it off of his chest. Ten minutes later, four volunteer firemen arrive. It is too late. All afternoon Art is haunted by fears for the safety of his own children and the crushing knowledge of his own helplessness. His wife keeps his glass filled with gin and tonic and finally the tears come. The next morning something draws him back to the bridge, some memory of something he thinks he may have seen. He walks from the bridge toward the house where the emergency phone call was made and sees it— a bright green garden hose. Back at his own home, he disconnects a garden hose that has lain in his yard all winter. With a pocketknife, he cuts off a length of it, puts it to his mouth, pinches his nostrils and breathes through the tube. "He looked up through a bare maple tree at the sky. Then he walked around the house to the Buick and opened the trunk. His fingers were trembling as he lowered the piece of hose and placed it beside his first-aid kit, in front of a bucket of sand and a small snow shovel he had carried all through the winter." Readers are left to draw their own conclusions regarding the doctor's act. The cut hose could be merely a reminder of his helplessness and inability to think fast during a crisis. However, since he placed it alongside other emergency equipment, he may truly believe that he

ANDRE DUBUS / 81 might be involved in a similar accident someday and is determined to be prepared. Dubus examines race relations and rape in the pre-segregation South in "In My Life." A black man, Willard "Sonny" Broussard had raped Jill, a young white woman, sixteen months earlier. The day of his execution has arrived and Jill, in this first-person narrative, recounts the event and tries to come to terms with her conflicting emotions. Though she initially wanted him dead, time and her ability to get on with her life in a fairly satisfying way have diminished her desire for revenge. At the time of his death, Jill feels something close to compassion for Broussard. This deceptively simple story contains a subtle condemnation of the justice system and capital punishment. "If They Knew Yvonne" was chosen by Martha Foley for inclusion in The Best American Short Stories 1970. This story of a young man's adolescent angst is dedicated to Dubus' two sons, Andre III and Jeb. As the story opens, Harry is experiencing the warfare of his body against his spirit. He is a student in a Catholic boy's school run by the Christian Brothers in Louisiana. Brother Thomas admonishes the boys that selfabuse is a mortal sin and must be resisted. He recommends that the boys avoid being alone, find some exhausting activity to do, pray to the Virgin Mary, and receive the Holy Eucharist often. Harry, though he tries valiantly, is unable to maintain his purity and slips into a pattern of sin, confession, and absolution. This repetitious cycle torments Harry to the point of considering selfmutilation. Just as quickly as that possible remedy occurs to him, he rejects it—unlike Hemingway's similarly tormented character in "God Rest You Merry, Gentlemen." In college, Harry finds what he feels is a less sinful release, a willing coed, Yvonne Millet. For a few months they satisfy each other's needs but eventually Harry realizes that he has merely traded self-abuse for other-abuse; he does not

love Yvonne. Confession, however, has become much easier. "I only had to confess sexual intercourse, and there was nothing shameful about that, nothing unnatural. It was a man's sin." After breaking with Yvonne, Harry soon returns to his old habit, but his definition of sin has changed. In the confessional, he confronts Father Broussard, "I mean no, Father, I'm not really sorry. I don't even think it's a sin." Father Broussard refuses to give Harry absolution. In a conversation with his sister, Janet, whose husband has left her with five-year-old twin boys, Harry's enlightenment begins. She tells him, "I know this much: too many of those celibates teach sex the way it is for them. They make it introverted, so you come out of their schools believing sex is something between you and yourself or between you and God. Instead of between you and other people. Like my affair. It wasn't wrong because I was married. Hell, Bob didn't care, in fact he was glad because it gave him more freedom. It was wrong because I hurt the guy." Harry, however, still desires absolution and meets with Father Grassi, who leads him to a clearer understanding of what his true sin has been. Father Grassi repeats to Harry a line from the Gospel according to Saint John in which Jesus prays for the well-being and care of his disciples after He is gone, saying, "I do not pray that You take them out of the world, but that You keep them from evil." The meaning is clear to Harry; his self-abuse is "of the world" but his loveless lovemaking with Yvonne was evil. What God loves is the goodness of our hearts. Harry is absolved, his only penance being to say a triumphant "Alleluia" three times. "Miranda Over the Valley" is the story of an eighteen-year-old girl who lives with her indulgent, protective parents. The story opens on her last day at home before leaving southern California to attend her first year at Boston University. All day she has been daydreaming about her boy-

82 / AMERICAN WRITERS friend, Michaelis, a twenty-two-year-old law student. She imagines in great detail what will be their last evening together before she leaves for school: where they will eat, what she will order, but beyond that her mind is too frightened to venture. Michaelis picks her up at her parents' home in his old, dented Plymouth (Miranda drives a new Corvette) and, after dinner, drives her to Mulholland Drive. Parked there, overlooking the San Fernando Valley, Miranda passionately overcomes her fears and is soon no longer a virgin. Two months later, in Boston, a new fear arises. She confides to her roommate Holly that she may be pregnant. A visit to a gynecologist confirms this. Back at her apartment, she calls Michaelis and an oddly passive-aggressive conversation ensues that is reminiscent of a similar conversation in Hemingway's "Hills Like White Elephants." Michaelis asks, "It's about two months, is that right?" "It was September second." "I know. Do you want to get married?" "Do you?" "Of course I do. If that is what you are thinking about." "I'm not thinking about anything. I saw the doctor this afternoon and I haven't thought about anything." "Look: do you want to do it at Thanksgiving? That'll give me time to arrange things, I have to find out about blood tests and stuff, and your folks'11 need some time—you want me to talk to them?" "No, I will." "Okay, and then after Thanksgiving you can go back and finish the semester. At least you'll have that done. I can be looking for another apartment. This is all right for me, maybe all right for two, but with a—" He stopped. "Are you sure you want to?" "Of course I am. It just sounded so strange, saying it." "You didn't say it." "Oh. Anyway, we'll need more room."

Her parents, while not overjoyed by Miranda's news, understand her situation. Her father says, "You're not the first good kids to get into a little trouble." She flies home the next day. On the flight, she is too distracted to read the magazines and play she has brought with her. Time and Holiday are certainly symbolic of two things she wishes for. Antigone seems an odd choice until one remembers that the play is about a young girl's refusal to accept what is "practical." Miranda is clearly preparing for the battle she knows will take place. Both sides present their arguments strongly. Miranda's romantic notion of being a good mother and supportive wife is met head on by her parents' harsh worldview. They foresee nothing but hardships and unhappiness for Miranda and Michaelis if they marry and have the baby. The best course, they feel, is for Miranda and her mother to go to New York, secure the services of an abortionist, get Miranda on the pill, and then continue on with their lives as if this minor bump in the road had never happened. Miranda feels as if she has been sentenced to death. As an additional inducement to see things their way, the parents offer a post-Christmas trip to Acapulco. Miranda stands firm in her belief that marriage and birth, no matter what the cost to her, is what she wants. In the end, she is defeated. Not by her parents, but by Michaelis, whom she has observed silently nodding in agreement with her parents' arguments. She looked at Michaelis. He looked at her, guilty, ashamed; then he looked at her parents as though to draw from them some rational poise; but it didn't work, and he lowered his eyes to his beer can. 'Michaelis? Do you want to go to Acapulco?' Still he looked down. He had won and lost, and his unhappy face struggled to endure both. He shrugged his shoulders, but only slightly, little more than a twitch, as if in mid-shrug he had realized what a cowardly gesture the night had brought him to.

Dubus gives a good clue to the man's character by giving him the name "Michaelis." Readers of

ANDRE DUBUS / 83 D. H. Lawrence's masterpiece, Lady Chatterley's Lover, will remember her Ladyship's early lover, the Irish playwright Michaelis. Lawrence's Michaelis was a cad and a bounder whose worst social sin, of many, was his determination to climb higher. Dubus touches very lightly on the social and economic differences between Miranda and her lover by describing the car each drives. Perhaps Miranda's parents see Michaelis as an opportunistic young man and, in front of their daughter, make him an offer he can't refuse. When she sees Michaelis for what they think he is, Miranda will hate him, and they will have rescued her from harm just as surely as her father had when he shot a snake that threatened her when she was a little girl. Whatever her parents' intention, Miranda has the abortion, returns to Boston where she seduces her roommate's boyfriend, and in one final romantic encounter with Michaelis, ends their relationship. The Miranda who existed at the beginning of this story has been destroyed. Dubus said in a 1987 interview with Thomas Kennedy, "That ending surprised me more than most of my endings do. I wrote it over two times, hoping she would do something different, but she didn't. I saw her as defeated. As a friend and poet, Kenneth Rosen, said, 'She was defeated by reason over instinct.' " Miranda appears in another story in Separate Flights, "Going Under." She is three years older and sexually involved with Peter Jackman, a recently divorced, older man. The hardening effects of the events told in "Miranda Over the Valley" are still in control of her heart and she is unable or unwilling to give Jackman more than her body. He takes her to bed like a child who is lonely and frightened and takes comfort with a favorite teddy bear. Jackman, whose downward spiral will continue in "At St. Croix" and "The Winter Father," uses Miranda to fill the spaces left empty by his divorce, but Miranda is too insubstantial. "He looks at her green eyes: they are glazed and she is smiling, but it is a smile someone else hung there; Miranda is someplace else." His wife,

Norma, and his children, David and Kathi, have moved across the country, and though all are damaged by this to some extent, Dubus focuses on the agony of Jackman's isolation and lack of a clear purpose in his new circumstances. "Separate Flights" is another story of isolation and spiraling descent. Beth Harrison, a fortynine-year-old grandmother, is suffering from impending "empty nest syndrome." Her youngest daughter, Peggy, is leaving their Iowa home to attend college in New England. Beth dreads life alone with a husband she despises; a man who insists on separate flights when he and Beth travel to ensure that, in case of an airline accident, Peggy will have one parent left to care for her. On one such flight, Beth imagines the possibility of a brief affair with a fellow passenger, Robert Carini, but lacks the nerve to follow through. For weeks after, she dwells on the lost opportunity and slides deeper into alcoholic despair. Dubus uses an effective narrative technique of blending past and present events to tell Beth's story. One of Dubus' earliest admirers, Joyce Carol Gates, reviewed his first collection in the Ontario Review. She wrote, "Dubus' attentiveness of his craft and his deep commitment to his characters make the experience of reading these tales— which are almost without exception about lonely, pitiful people—a highly rewarding pleasure." Other reviewers and the reading public were quick to echo Gates's estimation. In addition, Separate Flights was selected to receive The Boston Globe's first Laurence L. Winship Award for the best book of New England origin.

ADULTERY AND OTHER CHOICES

In 1975, Dubus married Tommie Gail Cotter. Writing in The New York Times Sunday Magazine, Bruce Weber reported, "After four children, his first marriage collapsed, more or less amicably, in 1970. 'We had a very good divorce,' he says. 'We just stayed in the same town.' The sec-

84 / AMERICAN WRITERS ond, to an old college flame, was begun after a one-day reunion and ended shortly thereafter. 'I think the sexual revolution has been damaging to a lot of people,' he says. 'I took part, but finally I just said the next time I make love to a woman I'm going to know her middle name and her hometown.' " Dubus received his first Guggenheim Award in 1976. In this same year his short story "Cadence" was selected for inclusion in Best American Short Stories 1976 and he began a series of monthly columns for Boston Magazine. Godine published Dubus' next short-story collection, Adultery and Other Choices, in 1977. Once again, critics and readers welcomed his new work. Even though these stories replayed all the basic themes of his previous collection, Dubus' craftsmanship drew favorable responses from Frances Taliaferro in Harper's and Edith Milton in The New Republic. A poignant story of father and son, "An Afternoon With the Old Man" introduces young Paul Clement. Like Hemingway's Nick Adams, a character who appears in several of Hemingway's short stories, and whose fictional life closely resembles his creator's experiences, Paul is clearly an autobiographical representation of Dubus' childhood. This story presents a young son's anguish at being unable to express his love for his father after spending an afternoon together at the golf course. In "Contrition" Paul and his best friend, Eddie Kirkpatrick, decide to take music lessons at their school. They want to play the trumpet but the band needs French horns. As with most ten-year-olds, the interest soon fades. Paul's father, who has borrowed a hundred dollars to buy the instrument, explodes in a torrent of verbal abuse when he learns that his son wants to quit. Another story, "The Bully," is a dark tale of Paul's torment at the hands of Larry Guidry, an older boy who has been held back in school. Paul's betrayal of his friend and his pitiful imitation of Larry's cruelty are troubling. One wonders what self-betrayals Paul will commit on his journey to manhood.

The next two stories are told from the point of view of young women. "Graduation" is the story of Bobbie, who lost her virginity at the age of fifteen and proceeded to maintain a reputation as "one of those girls." After a vicious cycle of meaningless sex and morning-after regrets, Bobbie comes up with a brilliant idea—she will recreate herself. Her parents agree with her wish to enroll in Louisiana State University immediately after graduating from high school in Port Arthur, Texas. No one knows her or her reputation at the university, and she presents herself as, and remains, "untouched." When the moment of truth comes, with a young man she is determined to marry, she concocts a story of childhood rape by a visiting uncle. Her intended accepts her story and she accepts his proposal of marriage. She is twenty-one and lives in San Diego, California, far from anyone who may know the facts about her first eighteen years in Port Arthur. Although she strongly desires to tell her husband the truth, she understands that her future happiness depends on her ability to keep the truth of the past separate from the truth of the present. Like Bobbie, Louise in "The Fat Girl" is determined to create her own identity. Louise, the daughter of slim, wellmeaning parents, must fight the battle of the bulge to find acceptance and love in a world that insists that how one looks is who one is. After enduring humiliation and hurt from family, friends, and an abusive husband (who is enraged that she is gaining weight and obliterating the gorgeous "trophy wife" he thought he had married), she gives up the struggle of maintaining mannequin perfection. She has found that severe dieting has dulled her appetite for life itself. If love comes her way, Louise knows it can see through any number of layers of fat and find her true heart and soul. "Cadence," "Corporal of Artillery," "The Shooting," and "Andromache," are all drawn from Dubus' life in the Marine Corps. "Cadence" brings back Paul Clement as an officer candidate at the marine training camp in Quantico, Virginia. His need to prove his manhood to his father and

ANDRE DUBUS / 85 to himself is still unresolved. A few months earlier, his girlfriend, Tommie, had broken up with him over the requirements of his church. He finds some comfort in the isolation and mind-numbing enforced conformity of the Corps. His friend, Hugh Munson, however, finds life in the Corps unbearable. Munson, who does not have a father to impress but who does have a girlfriend he longs for, soon leaves the officer training camp. Paul stays on, but one does not sense that this is out of dedication and loyalty. Rather, he stays because he has nowhere else to go except home to face his father. Like Clement, Fitzgerald, the corporal in "Corporal of Artillery," stays on in the service. Unlike Clement, Fitzgerald stays for all the right reasons. Married, a father of three children, and up to his ears in debt, he accepts and even embraces his fate and reenlists for six years to collect the much-needed bonus money. His responsible behavior stands in marked contrast to Paul's lack of character. Another story, "The Shooting" presents a much darker side of military life, that of adultery, madness, and violence. The archetypal military wife has her literary origins in Homer's story of Andromache told in The Iliad. As the wife of the Greek military hero, Hector, Andromache followed her husband to Troy where he met his brutal death and she was left to find a life for herself and their son. Dubus' modern Andromache, Ellen, has followed her Hector, Ed, from wartime Korea to peacetime in the Pacific Northwest. Ed is killed in a plane crash and Ellen reflects on their life together. She hopes to provide a different life for her children, especially Posy, her nine-year-old daughter, who is beginning to show the self-denying characteristics demanded by the Corps—stoicism, repression, and silence. "Adultery" is the second part of the trilogy that chronicles the lives of the two couples first presented in "We Don't Live Here Anymore." Edith has grown even more cynical; she endures her husband's affairs and pursues her own. She falls in love with a former priest, Joe Ritchie. Ritchie

has left the priesthood to seek the love of a woman before his cancer consumes him. What he brings to Edith is the reality that all people are terminally ill from the moment of birth; that everything matters and there is no time for meaningless behavior. Edith finally develops the strength of character to leave her false and adulterated marriage. On several occasions, Dubus named "Adultery" as one of his favorite stories. In an interview for Glimmer Train, he was asked which of his stories gave him the greatest sense of accomplishment. He replied, "They are mostly gone when I finish them. I remember the ones that were hardest to write. 'Adultery' was hard, and I almost quit writing it a few times." The story went through seven drafts, nearly four hundred pages compressed into sixty, before it was published in the Winter 1977 issue of the Sewanee Review. Adultery and Other Choices was well received by critics and widened Dubus' audience. In 1978 his marriage to Tommie Gail Cotter ended in divorce. They had no children. Also in that year Dubus received his first National Endowment for the Arts grant and "The Fat Girl" was included in the Pushcart anthology.

FINDING A GIRL IN AMERICA

The following year, 1979, Dubus met the writer Peggy Rambach (When the Animals Leave), who was working for his publisher, David R. Godine. Dubus and Rambach, who was twenty-one years his junior, were married soon after they first met. In 1980, Dubus' mother died at the age of seventyeight and, in 1982, Cadence Dubus, his first child with Rambach was born. The dedication page of Dubus' next collection, Finding a Girl in America (1980), reads "To Peggy." In the story "Killings," Dubus investigates the intensity of marital and paternal love and the violence that is often committed because of it. Matt and Ruth Fowler's son, Frank, is in-

86 / AMERICAN WRITERS volved with a young woman, Mary Ann Strout. Mary Ann, who has two children, is in the first month of her separation from her husband, Richard. Unable to accept that his marriage is over and another man has taken his place with his wife and children, Richard beats up Frank. Frank is undeterred and continues to see Mary Ann until the day Richard kills him with two shots to the chest and one to the face. Richard, out on bail and awaiting trial, seems to be everywhere Frank's devastated parents go. They see him enjoying a life he stole from their son. The certainty that Richard will eventually be convicted and serve a long prison term is not enough for Matt. He enlists the aid of his friend, Willis, and abducts Richard, takes him to a wooded area outside of town, and shoots him to death. Matt and Willis bury the body and it seems unlikely it will ever be discovered. Richard will be considered a bail jumper and eventually forgotten. The questions Dubus leaves unanswered are: does this second murder alleviate the pain and sorrow of Matt and Ruth or increase it, and what purpose does revenge ultimately serve? In another story, "The Dark Men" of the title are Foster and Todd. They are from the Office of Naval Intelligence and wear dark, civilian clothes. They have come aboard Captain Ray Devereaux's ship in search of Commander Joe Saldi. Devereaux stalls the men until Saldi is ashore. He later meets Saldi at the Officer's Club and tells him of the men's quest. They have evidence of some unnamed crime committed by Saldi. Someone gave them a confession in San Francisco and mentioned Saldi's name. They have come to present Saldi with their evidence and give him the opportunity to resign from the service. Devereaux assures Saldi, who has been his friend for thirteen years, that whatever it is the "dark men" have on him, it doesn't matter. "They brought paperwork and it was sealed and it still is and it'll stay that way. I don't give a good Goddamn and I never did. You hear me, Joe?" Devereaux leaves

Saldi with an unstated option—the equivalent of leaving him alone in a room with a pistol and one bullet. Saldi knows what the dark men know. He knows that his military life, the only life he has ever known, is over. He takes a plane from the airfield and crashes it into the sea. Dubus has said that the story is based on an incident he heard of while serving aboard the USS Ranger in the Pacific and that the unnamed crime was homosexuality. "His Lover" and "Townies" are stories about the sometimes violent battles the "have-nots" wage against the "haves." Leo Moissant, a blind man living in a trailer, allows two girls and a boy from New Mexico to park their van nearby. They claim that they are traveling the country and want to see the Atlantic Ocean. One of the girls, Linda, begins to cook for Leo then quickly works her way into his bed and becomes his lover. During the nights she spends with him, however, she leaves the trailer for a period of time and drives off with the others in the van. One night, the group does not return and Moissant learns from the police that these nightly forays involved burglaries and vicious murders. In his memories of his time with Linda, Moissant's physical blindness is matched by his moral blindness. He forgets Linda's psychotic behavior and remembers only the pleasure she brought to him. "Townies" is the story of a college girl, a "have," and two "have-nots," one who ends her life and the other who discovers her dead body but does not report it right away. In the 1987 interview with Thomas Kennedy, Dubus said that Richard Yates once told him that "The Misogamist" was the ugliest story he had ever read. In this story, Roy Hodges, a young marine in 1944, is loved by chaste Sheila Russell. Hodges, however, loves the Corps and is unable to imagine Sheila having any part in it. As a postsex afterthought, he had proposed to her eight years before and has kept her waiting ever since. The ugliness Yates found presents itself in the

ANDRE DUBUS / 87 form of a burly first sergeant who gives Hodges a misogynistic speech about women and marriage. His long-winded advice is perhaps the most obscene rejection of women as human beings in all of literature. "At St. Croix" follows immediately after "The Misogamist" in the collection and suffers because of that placement. After such vitriolic misogyny, Peter Jackman's sorrow over the loss of his wife and children through divorce seems ludicrous. However, Dubus may have placed this story where it is to evoke that very reaction in the reader. "The Pitcher" is the story of a young couple that slowly becomes aware of their inability to recognize or understand each other's needs. Billy Wells is minor league pitcher in southern Louisiana, but he could just as easily have been portrayed as a landscape painter in northern Italy or a poet living on the moors of Scotland. The demands on each are similar. Dedication and discipline to each art form leaves little time and energy for anything else. Billy's wife, Leslie, knows this all too well and explains to him the reason she is leaving him for a dentist, "It wasn't the road trips. It was when you were home. You weren't here, for me." Dubus, an avid Boston Red Sox fan, displays a remarkable ability to re-create the smallest details of a baseball game, the players, and their followers. Juanita Creehan is a thirty-eight-year-old cocktail waitress in "Waiting." Her husband was killed in the Korean War and she has been a widow for twelve years. Although she keeps her sex life alive with occasional one-night stands with servicemen, she remains faithful to her husband's memory by not remarrying or forming lengthy liaisons. Her cleansing visits to the beach perhaps imply that she is waiting for the courage to allow the sea to tenderly carry her away on its dark waves. In "Delivering" and "The Winter Father," Dubus presents the devastation wrought by the breakup of families from two perspectives. In the

first story, two young brothers come to terms with the reality that their mother is gone for good after her one last drunken fight with their father. Dubus had always written brilliantly about children but "Delivering" is truly a triumph of insight into what these boys feel, fear, and need. In "The Winter Father," Peter Jackman appears to finally be aware of the feelings and fears and needs of his own children and there is hope that he will turn the focus away from himself and help them endure their new life of separation and scheduled visitation. The final installment in the Linhart/Allison trilogy, "Finding a Girl in America," finds Hank suffering from the very freedom he craved in the two previous stories. Jack and Terry have settled into a marriage of friendship if not passion and Edith appears to be happy in her new life as a divorcee. Hank, on the other hand, has only moved through one sexual encounter after another with his young female students. This suits him just fine until he learns from his current coed, Lori, that his previous playmate, Monica, has aborted what would have been his child. In his rage at her action he realizes that the sexual revolution, birth control, abortion on demand, and loveless sex have exacted an enormous price. He vows to cease his irresponsible behavior and adopts what can only be called an "old-fashioned" attitude toward love and marriage. Fortunately, Lori agrees and their future together looks bright. The stories in Dubus' next two collections, The Times Are Never So Bad (1983), and The Last Worthless Evening (1986), have all the same ingredients found in his previous work. They reveal his continued dedication to his craft and his profound sympathy for and understanding of the human condition. A quotation from Saint Thomas More provides the title of the 1983 collection, "The times are never so bad but that a good man can live in them." Two stories are of special interest, "The Pretty Girl" for its experimentation in the use of many voices and points of view, and

88 / AMERICAN WRITERS "A Father's Story" for its stunning dialogue with God. The Last Worthless Evening contains the remarkable "Rose." The narrator, a fifty-one-yearold former marine and observer of human nature, begins his story of Rose with a memory from his service days. He begins by recalling a slight young man who was constantly harassed and pushed to his limit by his sergeants. The young man cannot chin himself or manage more than a couple of pushups and is hated by those who will be under his command if they cannot drive him out of officer training. One night during a sleepwalking episode, the young man performs an impossible feat of strength—lifting a fully packed locker six inches off the floor from a squatting position. Awake, he is unaware of his ability to endure the physical demands of training, fails miserably at every test of endurance, believes himself to be a failure, and quits the program. Like the young marine's, Rose's story is one of abuse and untapped strengths. Her husband's physical and verbal abuse of their three children has slowly intensified over the years. Rose feels helpless since she is completely dependent on Jim and his paycheck. She is frightened to discover a growing lack of patience with the children herself. Jim finally goes too far. He hurls their boy against a wall, breaking his arm. He then fights Rose's attempts to come to the boy's rescue. Rose finally quits thinking about what she can or cannot do and acts on a mother's natural instinct to protect her young. In an amazing scene of determined violence, she gets her boy into her car, overcomes Jim, rushes through the apartment fire he has set, and brings her two daughters to safety. Jim attempts to block the path of her car. Rose not only runs him down but also, very calmly, backs over his body again and again until the police and fire department arrive. At the trial, the jury finds Rose's actions to be justifiable homicide but her years of inaction cost her the custody of her children. They are placed in a foster home. She does not challenge this nor

does she try to regain custody later. Indeed, at the story's opening, many years have passed and the last time she ever saw her children was in the car as she crushed their father's body beneath the tires. Isolated in a lifelong image of herself as weak and undeserving of any happiness, she is as unaware of her true strengths, a mere thirty minutes of which saved the lives of her children, as the marine sleepwalker was of his.

VOICES FROM THE MOON

In between these two collections of short stories and novellas, there was a curiosity published in 1984: an Andre Dubus novel. Although Dubus had always preferred to call his longer stories "novellas," Godine insisted on marketing Voices from the Moon as a novel. Interestingly enough, Godine included it in their edition of Dubus' Selected Stories two years later. In this novel, Dubus shows himself to be an accomplished juggler; managing to keep six perspectives in the air for the narrative's twenty-four-hour period. The central perspective belongs to twelve-year-old Richie, a decent boy, mature beyond his years, who aspires to the priesthood. The straight path he imagines his future will take makes two sharp curves. One is his first kiss and the other is the news that his adored divorced father, Greg, has plans to marry Richie's brother's former wife, Brenda. Greg and his first wife, Joan, Richie's mother, had been married for twenty-seven years when Joan left to live alone in town and work as a waitress. It was not a loss of love for Greg that drove her away, but a feeling that she had outlived love for anyone. Richie, in his anger and confusion, turns to the structure and comfort of the Catholic Church, as represented by Father Oberti. He learns that forgiveness must precede love and love, which is God's freely given grace, is essential to an understanding and acceptance of life's mysteries. This brilliant little novel re-

ANDRE DUBUS / 89 ceived glowing reviews from John Updike in The New Yorker and Richard Eder in The Los Angeles Times Book Review. After eighteen years of teaching four courses every semester, five days a week, exhaustion forced Dubus to retire from Bradford College in 1984 at the age of forty-eight. He devoted himself to his writing but kept in touch with students by making occasional visits to colleges as a lecturer and reader. His feelings about teaching were expressed in the Weber article. "I loved it," he says. "I never would have retired if my body hadn't quit."

THE ACCIDENT Between midnight and one in the morning on July 23, 1986, Dubus was driving back to Haverhill from Boston, where he had been doing some research for a short story he was writing about a prostitute. Nearing his home, he saw ahead of him a stalled car in the third lane of 1-93 North. His first thought was to go around and continue home, but he saw a woman standing beside the car, crying and bleeding. Dubus pulled his car over near the center guardrail and went to see what aid he could give. The woman's name was Luz Santiago and she and her brother, Luis, were from Puerto Rico and spoke little English. They had hit a motorcycle and thought the rider was trapped beneath their car. Dubus saw a dark liquid pooling at their feet and was sure it was blood. Another car, a silver Honda Prelude, was approaching and Dubus attempted to flag it down. Before the car slammed into them, Dubus was able to push Luz out of the way. She escaped with relatively minor injuries but her brother was killed and Dubus' legs were crushed and three vertebrae were broken. Two women had arrived at the accident scene before Dubus and had used a roadside call box to request assistance. Dubus met one of the women ten years later, a meeting he wrote about in his essay "Witness." He ex-

pressed his gratitude for her unselfish action. Had a trooper not already been en route before Dubus was hit, he very likely would have bled to death on that quiet stretch of highway. Dubus was rushed to a nearby hospital in Wilmington where Dr. Wayne Sharaf performed emergency surgery to stop the bleeding. Afterward, he was sent to Massachusetts General Hospital in Boston. Dubus found out later that the motorcycle the Santiagos' car had hit had been abandoned in the road. Its rider was drunk and had fallen off and was found later by the highway patrol confused and wandering farther up the highway. In the Weber article, Dubus recalled the man: He never tried to deny it. He made a videotape for the police, and he never changed his story. He was a stand-up guy. His wife had fallen in love with another guy and left him, left his kids. He got drunk. I met him. I said, "Your kids think you're some kind of outlaw or something?" He said, "No." He said, "I explained it to them." At the trial, Dubus spoke on the motorcyclist's behalf and asked that the court be lenient. The woman who hit Dubus and Santiago was not under the influence of alcohol or drugs and avoided prosecution. The motorcyclist was sentenced to one year in jail. Dubus was hospitalized for nearly two months. The injury to his back was easily repaired but his left leg had to be amputated just above the knee by surgeon Dr. Fulton Kornack. His right leg was saved but the damage to its nerves and muscles was severe and rendered the leg useless. He learned how to maneuver a wheelchair and received physical therapy at home until he could transfer himself from the chair to the passenger seat of a car. Judith Tranberg provided further therapy at Hale Hospital in Haverhill. Tranberg, who had worked at Walter Reed Hospital caring for amputees from the Korean War, helped Dubus in another way as well. During a particularly difficult session, Dubus broke down in tears. In his essay

90 / AMERICAN WRITERS "Broken Vessels," he wrote that Tranberg then reminded him of a passage in the Old Testament. "It's in Jeremiah," she said. "The potter is making a pot and it cracks. So he smashes it, and makes a new vessel. You can't make a new vessel out of a broken one. It's time to find the real you." Peggy visited the hospital daily and cared for Dubus' needs when he was released. Although friends and Dubus' grown children helped during the ordeal, the stress of caring for Cadence, who was then four years old, and the newborn, Madeleine, in addition to her husband, who was severely depressed, proved to be more than Peggy could bear. She left the house on November 8, 1987, and returned five days later with a police officer and a court order allowing her to take custody of the two children. Faced with loneliness, depression, and enormous medical bills Dubus slid deeper into despair and was unable to write. Friends and fellow writers were quick to come to his aid. Jack Herlihy, manager of a local bookshop, the Phoenix Bookstore, moved into Dubus' basement in December 1987. Herlihy's rent certainly helped Dubus with the mortgage payment but his companionship and help in the day-to-day running of a household proved even more important in Dubus' recovery. Friends built ramps and work surfaces that made maneuvering his wheelchair throughout the house less troublesome. As a gesture of love and respect, the writers E. L. Doctorow, John Irving, John Updike, Stephen King, Gail Godwin, Kurt Vonnegut, Ann Beattie, Tim O'Brien, Jayne Ann Phillips, and Richard Yates held a series of readings from their own works in the ballroom of the Charles Hotel in Cambridge, Massachusetts, in the winter of 1987. The readings not only created a wider audience for Dubus' work but also raised close to $100,000 to help him and his family through a very difficult time. Dubus was astonished by this and by the number of checks that were mailed to him by people he had never met. His financial worries were further alleviated when he won the Jean

Stein Award from the American Academy and Institute of Arts and Letters in May of 1988, followed by a MacArthur Foundation "genius" award of $310,000. In addition, he had been awarded a second Guggenheim Fellowship in 1986. As for helping himself, Dubus knew instinctively that the best thing he could do would be to help others. On Monday nights, he counseled troubled and abused teens who came to him from a neighborhood group home and, on Thursday nights, he held writing seminars in his living room. In return for the kindness and generosity that had been given to him, he did not charge fees for his counseling or seminars, even when he was in need of money. Perhaps the most important and effective action he took to aid in his recovery was to begin to write again. Dubus struggled to write fiction but found it impossible. Confined to the enforced stillness of his wheelchair, he took a deep look inside himself and began to produce essays. Dubus said in an online interview hosted by Barnes and Noble that he received some good advice from his daughter Nicole, who called him from her home in Santa Cruz, California. Knowing of his difficulty she said, "You have been through so much, I don't think you can imagine an imaginary world yet. Keep writing nonfiction about people in wheelchairs, and someday someone will show up in a story in a wheelchair, and then show up in bipeds." Dubus preferred to call himself a cripple, referring to all others as bipeds. In recalling the accident and its aftermath, Dubus consistently maintained that it deepened and made palpable the nature of his Catholic belief in the transforming power of suffering, forgiveness, and love.

THE ESSAYS AND ANOTHER COLLECTION OF STORIES

The essay collection Broken Vessels (1991) was welcomed by readers and critics alike who had

ANDRE DUBUS / 91 not seen anything new from Dubus for nearly five years. The essays present a wide range of subject matter. "Out Like a Lamb" recalls a remarkable insight into the nature of Jesus Christ that was gained while Dubus and his family house-sat for a man who raised sheep. There is a memoir of his old mentor and friend Richard Yates; a disturbing encounter with the injustice often found in the American justice system and several concerning the accident, his hospitalization, and his recovery. Tobias Wolff wrote in his introduction to the collection, "Andre has made of his wheelchair a place to see the world more clearly than ever. I was struck again and again by the range of his vision, by its depth and compassion, and by the music in which he gives it voice." Broken Vessels was a runner-up for the Pulitzer Prize in nonfiction. Meditations from a Movable Chair (1998) contains twenty-five essays that continue Dubus' explorations into the human condition. "About Kathryn" tells of his oldest sister's rape and her eventual ability to forgive and pray for her attacker. "A Hemingway Story" recounts Dubus' discovery of new meanings in a favorite story he thought he knew. Other favorite authors are presented: a sighting of Norman Mailer at the Algonquin Hotel; a poignant farewell to Richard Yates, who died in 1992. Several reveal Dubus' devotion to the Catholic Church: "Grace," "Sacraments," "Communion," and "Love in the Morning." Essays describe a meeting with the actress Liv Ullmann, and an Opening Day outing to a Red Sox baseball game with his agent and friends. All reveal Dubus' profound and broad love of life and all its components. Dancing After Hours (1996) won the $30,000 Rea Award for Excellence in Short Fiction and was runner-up for the National Book Critics Circle Award. The fourteen stories in this collection include his first published effort in that form, "The Intruder." In addition, Dubus presents a variety of situations that revolve around his central

themes of love, fear, and determination to survive. In three of the stories, the reader follows the love story of LuAnn Arceneaux and Ted Briggs. "All the Time in the World" tells of LuAnn's rejection of the pointless promiscuity made possible by the sexual revolution. Despite her lifestyle, LuAnn remains in the Catholic Church. Believing that passion is an essential element of the soul, she receives communion with a clear conscience. One Sunday, after Mass, the heel of her left shoe breaks off and she stumbles. Ted Briggs has seen her plight and offers his assistance. Over brunch she discovers that Briggs is a man she thought no longer existed. A man who holds doors open for her, believes in the slow development of relationships and longs for love, marriage, and children, in that order. LuAnn is happier than she ever believed possible and attributes it to a clear gift from God. "In her apartment she went to her closet and picked up the white shoe with the broken heel. She did not believe in fate, but she believed in gifts that came; they moved with angels and spirits in the air, were perhaps delivered by them." LuAnn and Ted are married and have three children in "The Timing of Sin" and "Out of the Snow." In both stories LuAnn faces threats to her marriage. In both, she is rescued by God's grace and the strength to survive that He gives her.

A SWIFT AND UNTIMELY DEPARTURE

On Wednesday, February 24, 1999, Dubus planned to have a friend over to watch the Bruce Willis video Die Hard on his new, state-of-theart stereo television. According to an article in Salon by a member of his weekly writing seminars, Richard Ravin, Dubus was like a kid with a new toy. "Now we got Sensurroouund," he had been saying all day. The friend, identified by Ravin as "Bob," found Dubus slumped over in his shower chair, the showerhead spraying cold

92 / AMERICAN WRITERS water over his lifeless body. The cause of death was listed as a heart attack. A wake was held at the H. L. Farmer and Sons Funeral Home in Haverhill on Sunday, February 28. The funeral was held there the next day, March 1, at 10:00 a.m., and a funeral Mass was said in St. John the Baptist Church, where Dubus was privately buried. At the funeral, Dubus' oldest son, Andre III, remembered his father's enormous appetite for life, his enormous ability to create fiction, and his enormous love of God, in four words he shouted from the pulpit: "My Daddy was big!"

Selected Bibliography WORKS OF ANDRE DUBUS NOVELS

The Lieutenant. New York: Dial Press, 1967. Voices from the Moon. Boston: David R. Godine, 1984.

Father," "Goodbye," "Leslie in California," "The New Boy," "The Captain," "Sorrowful Mysteries," "Anna," and "A Father's Story.") We Don't Live Here Anymore: The Novellas of Andre Dubus. New York: Crown Publishers, 1984. (Contains "The Pretty Girl," "We Don't Live Here Anymore," "Adultery," and "Finding a Girl in America.") The Last Worthless Evening. Boston: David R. Godine, 1986. (Contains "Deaths at Sea," "After the Game," "Dressed Like Summer Leaves," "Land Where My Fathers Died," "Molly," and "Rose.") Selected Stories. Boston: David R. Godine, 1988. (Contains "Miranda over the Valley," "The Winter Father," "Waiting," "Killings," "The Pretty Girl," "Graduation," "The Pitcher," "After the Game," "Cadence," "If They Knew Yvonne," "Rose," "The Fat Girl," "The Captain," "Anna," "They Now Live in Texas," "Voices from the Moon," "Townies," "Leslie in California," "The Curse," "Sorrowful Mysteries," "Delivering," "Adultery," and "A Father's Story.") Dancing After Hours. New York: Knopf, 1996. (Contains "The Intruder," "A Love Song," "Falling in Love," "Blessings," "Sunday Morning," "All the Time in the World," "Woman on a Plane," "The Colonel's Wife," "The Lover," "The Last Moon," "The Timing of Sin," "At Night," "Out of the Snow," and "Dancing After Hours.") "Sisters." Book, May-June 1999, pp. 53-60.

SHORT STORIES

Separate Flights. Boston: David R. Godine, 1975. (Contains "We Don't Live Here Anymore," "Over the Hill," "The Doctor," "In My Life," "If They Knew Yvonne," "Going Under," "Miranda over the Valley," and "Separate Flights.") Adultery and Other Choices. Boston: David R. Godine, 1977. (Contains "An Afternoon with the Old Man," "Contrition," "The Bully," "Graduation," "The Fat Girl," "Cadence," "Corporal of Artillery," "The Shooting," "Andromache," and "Adultery.") Finding a Girl in America. Boston: David R. Godine, 1980. (Contains "Killings," "The Dark Men," "His Lover," "Townies," "The Misogamist," "At St. Croix," "The Pitcher," "Waiting," "Delivering," "The Winter Father," and "Finding a Girl in America.") The Times Are Never So Bad. Boston: David R. Godine, 1983. (Contains "The Pretty Girl," "Bless Me,

ESSAYS Broken Vessels. Boston: David R. Godine, 1991. (Contains "Out Like a Lamb," "Running," "Under the Lights," "The End of a Season," "Railroad Sketches," "Of Robin Hood and Womanhood," "The Judge and Other Snakes," "On Charon's Wharf," "After Twenty Years," "Into the Silence," "A Salute to Mister Yates," "Selling Stories," "Marketing," "Two Ghosts," "Intensive Care," "Lights of the Long Night," "Sketches at Home," "A Woman in April," "Bastille Day," "Husbands," "Breathing," and "Broken Vessels.") Meditations from a Movable Chair. New York: Knopf, 1998. (Contains "About Kathryn," "Letter to a Writer's Workshop," "Digging," "Imperiled Men," "A Hemingway Story," "Grace," "Mailer at the Algonquin," "Brothers," "Good-bye to Richard Yates," "Sacraments," "Bodily Mysteries," "A Coun-

ANDRE DUBUS / 93 try Road Song," "Carrying," "Girls," "Liv Ullmann in Spring," "Love in the Morning," "Song of Pity," "Communion," "First Books," "Letter to Amtrak," "Autumn Legs," "Giving Up the Gun," "Messages," and "Witness.")

BIBLIOGRAPHY Kennedy, Thomas E. Andre Dubus: A Study of the Short Fiction. Boston: Twayne, 1988. (The bibliography at the back of this book is the best available for literary critical purposes at this time.)

CRITICAL AND BIOGRAPHICAL STUDIES Breslin, John B. "Playing Out the Patterns of Sin and Grace: The Catholic Imagination of Andre Dubus." Commonweal 115:652-656 (December 2, 1988). Eder, Richard. "Stories from Scratch at Triple Strength." Los Angeles Times Book Review, November 20, 1988, p. 3. Feeney, Joseph J. "Poised for Fame: Andre Dubus at Fifty." America, November 15, 1986, pp. 296-299. Kennedy, Thomas E. "The Existential Christian Vision in the Fiction of Andre Dubus." Delta 24:91-102 (February 1987). . "A Fiction of People and Events." Sewanee Review 95, no. 2:xxxix-xli (Spring 1987). -. Andre Dubus: A Study of the Short Fiction. Boston: Twayne, 1988. Kramer, Jerome V. "Double Dubus." Book, MarchApril 1999, pp. 43-46. Milton, Edith. "Adultery and Other Choices." New Republic, February 4, 1978, pp. 33-35. Oates, Joyce Carol. "People to Whom Things Happen." New York Times Book Review, June 26, 1983, pp. 12, 18.

. "Separate Flights." Ontario Review (FallWinter 1976-1977). Reprinted in Kennedy's Andre Dubus: A Study of the Short Fiction, p. 134. Pritchard, William H. "Some August Fiction." The Hudson Review 36, no. 4:742-754 (Winter 19831984). Ravin, Richard. "Remembering Andre Dubus." Salon Magazine, http://www.salon.com/books/feature/ 1999/03/18feature.html (March 3, 1999). Taliaferro, Frances. "Adultery and Other Choices." Harper's, January 1978, p. 87. Tyler, Anne. "Master of Moments." New Republic, February 6, 1989, pp. 41^2. Updike, John. "Ungreat Lives." The New Yorker, February 4, 1985, pp. 94, 97-98. Weber, Bruce. "Andres Dubus' Hard-Luck Stories." The New York Times Magazine, November 20, 1988, pp. 48-56. Wolff, Tobias. Introduction to Dubus' Broken Vessels. Boston: David R. Godine, 1991.

INTERVIEWS Barnes and Noble Author Chats, http://www.bn.com/ community/archive/transcript.asp?userid = 3m5L4W7FHF(&srefer=X&eventId =)1270 (July 12, 1998). Dahlin, Robert. "Interview with Andre Dubus." Publishers Weekly, October 12, 1984, pp. 56-57. "Interview with Andre Dubus." Excerpt, the online journal of Southwest Texas State University, http:// www.english.swt.edu/excerptl .dir/ dubus.htm. Kennedy, Thomas E. "Interview, 1987." In his Andre Dubus: A Study of the Short Fiction. Boston: Twayne, 1988. Pp. 89-123. Levassuer, Jennifer, and Kevin Rabalias. Glimmer Train 31:39-59 (Summer 1999). Samway, Patrick J. "An Interview with Andre Dubus." America, November 15, 1987, pp. 300-301.

—CHARLES R. BAKER

George Garrett 1929"I,

lived by moral imperatives that helped shape the world of Garrett's youth. There were Garrett's father and mother, his grandparents and aunts and uncles, his sisters and his cousins, and even, as time went on, the spirit of his dead brother whom he never saw. There was an aunt, Helen Garrett, who wrote children's books, and an uncle, Oliver H. P. Garrett, who wrote film scripts, including the shooting script for Gone With the Wind. There were among his mother's brothers a dancer, a musician and a pair of athletes, but none of these engaged Garrett's imagination as fully as his father and his grandfather who were lawyers. The grandfather had, before George's time, been sufficiently rich to own trotting horses and a ninety-foot ocean-worthy yacht, but he conducted business with the spirit of a gambler, and his luck did not last. He had, family tradition held, "made two fortunes and spent three," Garrett said in Whistling in the Dark, and toward the end of his life he lived in a single room behind the post office and slept on an army cot. He did so, insofar as Garrett ever knew, without complaint or dejection. Garrett's father, son-in-law of the quondam millionaire, had dropped out of the Massachusetts Institute of Technology, and had gone west to mine copper and lead and to help found the mine workers union. He might have remained there except for being moderately crippled in an accident.

"/MYSELF, AM the books I've written," George Garrett declares in Whistling in the Dark: True Stories and Other Fables (1992), "the work, large or small, into which I have poured my life, my self, as carefully and awkwardly as pouring from one bottle to another. In that sense, I am to be found, the life of me, in my work." "This is true of all writers," Garrett goes on to say. But the equation varies from book to book as well as from writer to writer. The life of a writer usually enters the work first, as it does in Garrett's fiction and poetry, as fragments of autobiography, recollections of people and places, incidents, sequences of action remembered, and concrete details of sight and sound and feeling. All of these are refined in the act of writing, and reformed to fit the job at hand. For Garrett, in his first novels and early poems in the late 1950s and early 1960s, the places are towns of Central Florida, which was then a part of the American South as it no longer is. The people are, first of all, his own inventions, and are endowed, as all created characters are, by shards of reality, faces and voices, and gestures and habits randomly observed. These may come from anywhere and doubtless did in Garrett's case: the face of a neighbor, the sound of a politician's or a preacher's voice, the delineations of a house or a landscape finding their way into his work. But more important to his life and to his canon are his relatives who

95

96 / AMERICAN WRITERS He too became a lawyer and could have been rich as well had he done less work pro bono and chosen his clients more carefully. Those whom he represented were often unable to pay and those against whom he contended were well endowed; his victories were many, but frequently, his rewards were scant. His example as a seeker after justice and as a political activist informs Garrett's early work; his spirit, and that of Garrett's grandfather, became increasingly present in Garrett's poetry and fiction as his career advanced. As Garrett, onetime acolyte and continuing believer, makes clear in a moving essay about his father's funeral, his work, though never tendentious, is predicated on his Episcopalian faith, a religion that is at once relaxed and incredibly serious.

for the Arts, and the Guggenheim Foundation. Among prizes Garrett has won are the Contempora writing award, the American Academy and Institute of Arts and Letters award in literature, the New York Public Library Literary Lion award, the T. S. Eliot award for creative writing from the Ingersoll foundation, the PEN/Malamud award for short fiction, the Hollins College Medal, the Aiken-Taylor award for poetry, and a Doctor of Letters degree from the University of the South. From 1993 to 1997, he served as chancellor of the Fellowship of Southern Writers of which he is a founding member. He married Susan Parrish Jackson in 1952. They are the parents of William Palmer, George Gorham, and Alice.

BACKGROUND

EARLY WORKS

George Palmer Garrett was born June 11, 1929, in Orlando, Florida, the son of George Palmer and Rosalie (Toomer) Garrett. After graduating from the Sewanee Military Academy (1946) and the Hill School (1947), he spent a year at Columbia University, then graduated magna cum laude from Princeton University in 1952. He served two years on active duty with the field artillery corps of the United States Army in Europe, and returned to Princeton where he earned a master of arts in English in 1956 and a Ph.D. in 1985. He taught at Wesley an University from 1957 to 1960; at the University of Virginia, from 1962 to 1967; at Hollins College, from 1967 to 1971; at the University of South Carolina, from 1971 to 1974; at Princeton University, from 1974 to 1977; and once more at the University of Virginia, where he has been Hoyns Professor of Creative Writing since 1984. Garrett has received fellowships from the Sewanee Review, the Ford Foundation, the American Academy in Rome, the National Endowment

Garrett's first three books were, fittingly for a writer whose future work would include almost every literary genre, a volume of poetry, The Sleeping Gypsy and Other Poems (1958); a collection of short stories, King of the Mountain (1958); and a novel, The Finished Man (1959). It would be easy to dismiss these as the first fruits of Garrett's apprenticeship, which they are in the sense that they exhibit neither the technical skill nor the thematic complexity that inhere in his later verse and fiction. But although they are early efforts, they engage subjects and themes that Garrett later pursued in his major phase as a writer, and they are worth considering for their own literary virtues. Garrett's interest in classical literature and in the Bible, which he has maintained throughout his career, begins in The Sleeping Gypsy with poems such as "Caedmon," "Tiresias," and "Old Saws" in which the rock of Sisyphus gathers no moss. There are also poems about King David and Suzanna and about Eve and Adam in the Garden of Eden.

GEORGE GARRETT / 97 The Sleeping Gypsy's "The Magi," one of Garrett's best early poems, begins with images of personal remembrance: the poet as a boy, recalling figures in a creche—wooden men bowing in reverence over the Christ child. Later, he remembers his own indifferent performance as a Wise Man in a church nativity play, successfully delivering the gold, but muffing his lines. The poet knows, in his maturity, that the glittering costume he wore on that long ago evening was not quite right. Given their time and place, the original wise men were surely dirty, their bodies unbathed and stinking, and their clothes soiled. The gifts they brought were "shabby." They were more superstitious than wise. "Still," the poet says, "I would dream them back." This longing to revisit these gilded details of the Christmas story is at once a recognition of reality and an act of faith. Let the original Magi be what they were, in some respects more imperfect in their roles than the clumsy and forgetful poet was in his youth. But the imperfection of the actors is not in itself a refutation. Soiled and uncertain though they were, their journey continues to resonate in the mind of the poet and in the world. Although both books are flawed, Garrett's early stories in King of the Mountain and his first novel The Finished Man contain kernels of the technical skill that Garrett went on to develop in his mature work. Paul Engle, then director of the prestigious writers workshop at the University of Iowa, warmly praised the stories in King of the Mountain when it first appeared, discovering in them the techniques that he was attempting to instill in his own students. Engle rightly admired Garrett's talent for structure, his ability, first of all, to put a story together and to give it conflict and development and resolution. Other reviewers admired Garrett's ability to capture the boredom and brutality of army life, and to probe the inevitable separations that plague the relationships of one generation with another. He was praised

for his sensitive portrayal of his female characters, but no one was able then to discern the extent to which Garrett would develop these conventional values into the stunning virtues of his later work. The source of A Finished Man, the Jamesian "germ" of the story, is the 1950 Florida senatorial campaign. During that campaign Claude Pepper, the liberal—for his time perhaps ultra-liberal— incumbent, was opposed by George Smathers who once had been Pepper's protege. In 1938, Smathers, then president of the student body at the University of Florida, volunteered to manage Pepper's campus campaign. Later, at Smathers' request, Pepper arranged for Smathers to be discharged from the Marine Corps to take a job, also secured by Pepper, as a United States attorney for the southern district of Florida. Five years later, Smathers ran for Pepper's senate seat. Backed by major business interests in Florida, he conducted a well-financed and vicious campaign, and Pepper lost. Here, for an author, was a classic case of good against evil, waiting to be reshaped into a modern fable. As is necessary in any work of fiction, Garrett significantly alters the facts of Pepper's campaign as he works it into the larger delineations of A Finished Man. In his novel, the character based on Claude Pepper is called Senator Allan Parker, and George Smathers' counterpart is John Batten. However, the main character is neither Senator Parker, the liberal, nor Parker's one-time friend and assistant, John Batten, who has betrayed his liberal principles to gain conservative support. The central figure of the novel is Mike Royle, who becomes active in Senator Parker's campaign. The major thrust of the story is Mike's growing disillusionment, not with the political process, but with the way that those who are involved in it seem, sooner or later, to subvert it for their own private ends. At the conclusion of the novel, Mike decides to defend a black man who

98 / AMERICAN WRITERS has tried to kill Senator Parker because Parker has betrayed his own values by posing for a photograph with the leader of the Ku Klux Klan. Clearly there is movement here, within the story and within the character of Mike Royle. But for most reviewers, Garrett failed to integrate the philosophical elements of the story into the dramatic action. The result is a diminution of narrative intensity and a quality of tendentiousness, both of which damage the work.

DEVELOPMENT AS A NOVELIST

Based partially on Garrett's experience as a field artilleryman with United States Army in Trieste, Italy, and in Linz, Austria, during the middle 1950s, the central characters of his second novel, Which Ones Are the Enemy? (1961), are John Riche, an American private stationed in Italy, and Angela, a nightclub entertainer. Because both Riche and Angela are characters without moral focus, their relationship, based originally on lust and a search for material fulfillment, is doomed. But the sad ending is somewhat ameliorated by the affection that, before Angela's death, they begin to feel for each other. Which Ones Are the Enemy? was widely praised for its narrative voice—Riche tells the story—and for its authentic rendering of army life. But despite its favorable reviews, it failed to gain the critical acclaim that was given to Do, Lord, Remember Me, Garrett's third novel, which appeared in 1965. Do, Lord, Remember Me has a curious publishing history. The novel as seen by the reader is significantly different from the manuscript that the editors at Scribners, publisher of Garrett's first two novels, declined to publish. It was brought out in England by Chapman and Hall in a version considerably shorter than the original, and a few months later, it was published in the United States by Doubleday with even further cuts. The British version was made available in

the United States by the Louisiana State University Press. Garrett has said that the long title story in his Cold Ground Was My Bed Last Night (1964), his third collection of short fiction, was originally the first segment of Do, Lord, Remember Me. However the book may originally have read, the version now in print is, in the judgment of most critics, sufficiently complete to be considered Garrett's first major novel. The protagonist of Do, Lord, Remember Me is Big Red Smalley, an evangelist, faith healer, hard-drinking womanizer, and an organizer of the sort of itinerant tent meetings that were common in the South when Garrett was growing up. Like all traveling showmen, Smalley is preceded into the small Florida town by his advance men, E. J. Cartwright, whose two concerns in life are sex and money, and Moses, who is burdened with metaphysical longings. Their job is to post signs advertising the meeting, to give tickets to influential citizens, to bribe the sheriff, and to do whatever else is necessary to try to pique public interest and to raise a crowd. Smalley is accompanied by Miami, his mistress who loves him and whom he loves, but without fidelity. Judith, whom Smalley has healed earlier of an unnamed debility, has apparently been following Smalley and she appears on the afternoon of the meeting driving a sports car and wearing nothing but a raincoat. All of this looks like, and in the hands of a novelist less gifted than Garrett would be, the raw material for an ordinary satirical narrative of dishonest preachers. Smalley is a sinner, and like most evangelists, he is an eager and effective raiser of money. But he is also blessed or cursed—even he does not know which—with a faith in God that he cannot escape and with a genuine gift for healing. He made me a preacher when I didn't want to be one and when I knew better. He even took all the joy out of it. Because I knew, I always knew I was

GEORGE GARRETT / 99 just as good and just as successful . . . when I was faking i t . . . being the pure con man pure and simple, as when He grabbed hold to me . . . and shook and rattled my ribs and timbers until I thought every bone would snap like a match-stick and all my innards would pop out. . . . And I never could enjoy even the relief of being free of Him. . . . He would be back to claim me again and use me again. And nothing I could do would ever set me free of Him.

The ambiguity of Smalley's spiritual life is reflected in the lives of those around him. The concupiscent Cartwright is without conscience, but he lacks the strength to contend successfully with Smalley or even to rob him. Judith has been healed, but not in spirit. Miami is saved from the amorality of Cartwright because she recognizes the holiness in Smalley. Nothing about Do, Lord, Remember Me lends itself to clear and uncomplicated interpretation. At the end of the story, Smalley, who has spent his professional life collecting money from his congregations, gives handfuls of silver and currency to those who have come to hear him preach. In a simpler book, this gesture would be symbolic of Smalley's complete conversion and of the doubts that plague his divided soul, but neither conversion nor deliverance is complete. He makes love to Judith. Then, apparently unable longer to endure the vocation that God has imposed upon him, he kills himself. The thematic strength of this novel resides in its dualities. Good and evil exist not merely in opposition to each other, but as forces that are organically related, joined within individuals such as Smalley and Miami, and in the fabric of life as it is represented by the roles that characters such as Cartwright and Moses play. The form of Do, Lord, Remember Me is both complicated and enhanced by Garrett's including among the narrators—who take turns telling the story—even the most minor characters, the sheriff, for example, and the proprietor of the local department store. Although at the time of the

publication of Do, Lord, Remember Me some critics suggested that Garrett's method had been borrowed from William Faulkner's As I Lay Dying, this technique was not new to either author. In using this technique, the author risks sacrificing precision and even unity because no two observers see the events of the story from the same psychological point of view. The advantages of the method accrue for the same reason. The variety of attitudes toward the events of the narrative and their significance enrich the story by attaching different meanings to the different sequences of the action. In the case of Do, Lord, Remember Me, the integrity of the narrative is maintained by Smalley, who is the central and controlling image of the story. He is one of Garrett's best creations at this stage of his career. The contradictions, moral and physical, of Smalley's temperament are the foundations for the theme of the novel—the dislocations and dilemmas of the modern world, both sacred and profane.

A QUIETER PERIOD

Between the appearance of Do, Lord, Remember Me and the publication of his novel Death of the Fox (1971), Garrett released two books: a collection of poems and a collection of stories, For a Bitter Season: New and Selected Poems (1967) and A Wreath for Garibaldi and Other Stories (1969). That Garrett, one of the most prolific writers of his age, published only two books in seven years, each of which contained some work that had been written earlier, is indicative of the energy and effort that he was then spending on his novel about Sir Walter Ralegh, Death of the Fox. But the two books, coming after Do, Lord, Remember Me, contain material that is important both for its own sake and for its foreshadowing of work that is to come: they show Garrett's concern with love and death and with the ironies of

100 / AMERICAN WRITERS individual life juxtaposed with the ironies of humanity's shared history. In "Excursion," a poem in For A Bitter Season, the narrator and his companions explore an Italian tomb where, alongside the chambers that house the ancient dead, there is a room filled with erotic drawings. This is an old poetic device, the coupling of death with love and lovemaking, but Garrett makes it new by the brilliance of his language and by the great separation in time between the ancient artists and their models and the modern tourists who are both embarrassed and aroused. The descent of Garrett's tourists into the underworld is both necessary and sadly flawed. Does it seem strange to go to the dead for the facts of life? Orpheus, Virgil, Dante, Christ descended in the dark and stirred the troubled bones. And we, with all hell in our heads, must follow or go mad.

In this same volume, there are poems about the biblical Salome, whose dream of purity recapitulates and enhances the division of good and evil. There is a long and moving tribute to the poet Hyam Plutzik, "Rugby Road," that is not only an elegy for another poet, but a meditation on art, on history, and on life and death. These are serious verses, written, often, in serious language, but Garrett's touch can be light. There are poems written to celebrities such as Ann-Margret and Twiggy, and poems about cheerleaders and country girls, about girls who read books, and about a girl who wears a black raincoat. In both conception and execution, these poems display the development of Garrett's skill. A Wreath for Garibaldi was published only in England by Rupert Hart-Davis, although some of the work therein—most significantly "Cold Ground Was My Bed Last Night"—had been published earlier in the United States. "Cold Ground" is a complicated story that brings together several disparate themes. It begins with the

death of a criminal at the hands of a deputy sheriff who is quick on the draw and apparently indifferent to the life he has taken. The callousness of the deputy is played against the humane instincts of the sheriff who presides with relative kindness over his office and the jail, and is the first administrator of local justice. He releases the town drunk to go home to take care of his goats, and he comes close to releasing the boy who was riding with the man who was shot by the sheriff. The boy is the mysterious center of the story. By his own admission, he is a drifter who has been in trouble with the law, but he denies having participated in the crimes of which the dead man is guilty. That the boy is a musician compounds the mystery in a way that the sheriff cannot fathom. He is a balladeer, a roving artist whose only concern is his art. His presence, disgraceful though it is in many ways, is nonetheless a rebuke to the callous deputy and to the ordinary concerns of the sheriff's world. At the end, the sheriff destroys the boy's guitar and has him incarcerated. "The Old Army Game," which also appears in A Wreath for Garibaldi, is an early manifestation of Garrett's translating his army experience into fiction and memoir. The broad delineations of this story will resonate with anyone who has served in the military: there are the rigid rules, the abusive sergeant, the senselessness of much of what is called training. Up to a point, the story line is equally familiar. Helpless recruits suffer pain and indignities at the hands of a seemingly sadistic sergeant. But when they are asked to give money to help send the sergeant to the bedside of his injured wife, the soldiers have their revenge by contributing ten cents each to the sergeant's expenses. Garrett writes, "That is where it ought to end. It would be a swell place to end, with the picture of [Sergeant] Quince furioso throwing fountains of dimes in the air." But the ironic turn that gives weight to the story comes later. In the final scene, the narrator and his friend Sachs, both now sergeants themselves, come upon Quince who, for reasons that are not disclosed, has been

GEORGE GARRETT / 101 reduced in rank to corporal. Sachs tells Quince that the army is "a stupid . . . simple minded game," and delights in calling the former sergeant "corporal." But, as Sachs confesses later, Quince and the army have won; they have elicited from Sachs the sort of behavior that he finds most reprehensible. People are, the story tells the reader, more profoundly affected by experience than they know. In a way, they become what is visited on them.

DEATH OF THE FOX: THE ELIZABETHAN TRILOGY BEGINS

The subject of Garrett's novel Death of the Fox is Sir Walter Ralegh—courtier and statesman, sailor and explorer, writer of prose and poetry, and a man who was famous, in legend if not in provable fact, for having put down his cloak for Queen Elizabeth I to walk on. Ralegh was born in Devonshire, probably in 1552. A favorite of Elizabeth until he impregnated and then married Elizabeth (Bess) Throgmorton, one of the Queen's ladies-in-waiting, Ralegh colonized Virginia, fought against the Spanish and the Irish, made an expedition to Guiana in 1595, and published an account of this journey in 1596. His loyalty to Queen Elizabeth, particularly in her declining years, earned him the enmity of King James I who, shortly after his ascent to the throne, falsely charged Ralegh with treason. He was convicted and sentenced to death. Ralegh was confined in the Tower of London, but James delayed Ralegh's execution for fourteen years. During his imprisonment, Ralegh continued his career as a poet and wrote his longest prose work, The History of the World. He was released to make another excursion to South America but the adventure failed and, at the end of it, Ralegh was once more imprisoned in the Tower. He was executed by decapitation in 1618. Garrett became interested in Ralegh, on whom he planned to write his Ph.D. dissertation, while

he was a graduate student at Princeton University. He compiled a file on Ralegh's life and career but in 1957 he accepted a teaching job at Wesleyan University, and left Princeton without taking his degree. Although his work on the subject was temporarily abandoned, Garrett's interest in Ralegh continued undiminished, and in the mid1960s, at the suggestion of an editor, he began to write Death of the Fox. Garrett's stunning portrait of Ralegh as complicated—at once arrogant and humble, courageous and tender of heart, and, above all, mysterious—is enhanced and, in some ways, made possible by the time and place that Garrett has reproduced and by the other actors in the drama. The story begins with Ralegh's trial and ends with Ralegh at the scaffold, waiting for the ax to fall. The more than seven hundred pages between the beginning of the narrative and its conclusion tell Ralegh's story, to be sure, but they also relate, in less detail, the stories of Elizabeth and James, of courtiers and politicians. They are the history of England and the social history of London. They recreate not merely a world but the only world in which the Ralegh whom Garrett brings to life could have lived. Early in the novel, Ralegh remembers his first visit to London, crossing the bridge near dusk, and finding lodging from which he listens to the sounds of the city, such as church bells, the call of the watch, singing and laughter, and "one wretch puking in the night." Guided by his cousin, Ralegh goes sightseeing, visiting monuments that remain dear to tourists: Westminster Abbey, St. Paul's Cathedral, the Temple Inns. But Ralegh's London is the London of more than four hundred years ago from which much has been lost. Most of the taverns, the playhouses, and even the bridge over which Ralegh crosses the Thames to reach the city for the first time, are gone. To recreate the city as it was in Ralegh's time, Garrett works carefully with small details, such as clothes and weapons, and food and drink. His London is filled with energy engendered by gamblers and prostitutes, cutpurses and cloth

702 / AMERICAN WRITERS merchants, felons brought forth for execution, and prisoners shouting from their windows at passers-by. The city generates a sense of freedom and adventure, of constant danger from thieves, cutthroats, and bearers of fatal diseases, and of lives lived at the queen's pleasure that, at any moment, can be brought suddenly to an end. In a basic way, Garrett's London, with its vagabonds and heroes, its filthy streets, and its crime and its churches, is an image of life in England during Ralegh's life. Later in the novel, a mature Ralegh travels the Thames and sees buildings that are not obvious from the shore, many of which are ancient because of their proximity to the water. He sees Oxford, where Ralegh studied and "swam when the river was all thinly frozen," Dorchester where "the first West Saxon Christian king was baptized," Wallingford "where the cock crows and the hens lay eggs in the ruins of the abbey. . . ." and Greenwich where "it pleased the late Queen to permit her godson, Sir John Harrington, to build and install his wondrous new invention, the Ajax, a machine designed to replace the privy and the Jordan pot of the chamber." There are Windsor Castle and Hampton Court, Richmond and Whitehall Palaces, the "[IJargest of palaces in Christendom," where during his days at court, Ralegh celebrated the Christmas season, feasting and watching plays in the company of the Queen. Both in the boisterous streets of London and in the more formal precincts of the court, the characters speak, not the speech that in Ralegh's time was actually spoken, but dialogue that is better, tighter, stripped of meaningless social platitudes. It is made convincing, not by the archaisms that were employed by Elizabethans, but by an elevated diction, and a formality of vocabulary and tone. In the fullness of his personality, Ralegh, more than most men of his or any other age, was a combination of public image and private temperament, of the character he created for the world

to see and of his loves and animosities, and his victories and disappointments. When, in the novel, he appears before judge and jury to answer the charge of treason, he wears the colorful, but outmoded, costume that was fashionable in Queen Elizabeth's time, and his quiet speech makes the bombast of his adversaries appear to be "somehow foolish." As Garrett describes him, Ralegh's great height and his features complement his demeanor. He enters the courtroom with his high smooth forehead, his hair neatly combed; a wonderfully pointed beard which turned up naturally, to the envy of those who had to use hot curling irons on theirs; above all the eyes, small bright cold eyes, heavy-lidded, now veiled with sleepy languor, now opening as if from a sudden excess of light and fire. A countenance easy to hate, but still easier to remember. Most of what Ralegh does and says in these proceedings seems calculated to offend not only members of the court but also the king who alone has the power to save Ralegh's life or to end it. Ralegh is, as the reader sees him in his public moments, almost always the Fox of the book's title. Whether he is careless of his own fate or arrogant even on the brink of death, or simply playing the role that he thinks proper to his circumstances, he remains aloof and mysterious. Ralegh's private life is less inscrutable. Awaiting his own death near the end of the story, he remembers his son, Wat (short for Walter), whom he had meant to be his heir and his successor. In his wildness and his overblown courage and tendency to mischief, Wat failed to understand the rules by which his father lived, either those that governed the court or those that governed Ralegh's personal behavior. Wat enjoyed pomp and circumstance, but Ralegh could never instruct him in the responsibilities that rank required. Posing with his father for a joint portrait, Wat mimicked Ralegh's posture, but he also made tasteless jokes about his father. Wat died, either a fool or

GEORGE GARRETT / 103 a hero or a combination of both, fighting as a member of one of his father's expeditions to Guiana. Ralegh felt himself, on the eve of his death, to be a stranger not only to Wat while he lived, but to Carew, the child of his old age with whom he had never become fully acquainted, as well. Waiting for the moment of his execution, Ralegh writes his younger son a letter. He speaks to Carew of his own youth, of the England of more than half a century before, of old customs, of people he has known, and of his own education. And, as is proper to such a case as his, Ralegh waxes metaphysical. We have been given beauty, and the power to make beautiful things from what we have been given, not that we should love these things alone, but that we should love them as the signs and figures of imperishable Beauty. God has given us the sensual music of this world, not to enchant us, but that we may imagine the celestial harmony which is beyond the limits of mortal hearing. He has given us dancing that we may feel in our flesh a likeness to the dancing in heaven.

What Ralegh writes here is not a denial of the early part of his life, nor a condemnation of his career, but an extension of it. He comprehends more fully now than he did previously the motives behind his explorations, the good purposes that survived the frivolity of courtly life, and the self-serving machinations of those who lived it. The same humane impulses inform Ralegh's last meeting with his wife, Bess. "A dying man," Ralegh thinks, "should leave no one saddled with his memory," a difficult—in Ralegh's case, an impossible—rubric to keep, but insofar as she can, Bess helps him. She comes accompanied by her cousin who, unlike a servant, cannot be sent away. The cousin's presence in the tower room where Ralegh waits the hour of his death does not ease the pain of parting, but allows it to transpire with some dignity. Ralegh and Bess talk

hopefully of a future that they know does not lie in front of them, and of a pardon that they know will never come. A supper is laid, but they hardly touch it. The time comes for Bess to leave, and now the almost unutterable words must be spoken. "There is something that I did not tell you, Wat. I have received a note from Council saying I have permission to bury your body." The smile does not waver as he bends down close to kiss her. "It is well, dear Bess, that you may dispose of it dead," he says. "You did not always have the disposing of it alive." She starts as if to answer something, but as always, there is no answer to his irony, even when it is gentle and loving. So she smiles and shakes her head. Then turns away quickly so that he will not see her eyes fill up with tears.

But the end is not yet. With Bess gone, Ralegh is left with Thomas Hariot, who was his one-time servant, but has also been his teacher, his companion in adventures past, and his friend. Hariot receives the letter Ralegh has written that he will give to Carew. Then he is gone, having said his own goodbyes, but the novel continues for another hundred pages. This last segment of the story shows Garrett at his technical and philosophical best. Without relinquishing his focus on Ralegh, he takes his readers into the larger world of workers and merchants, and of aristocracy and royalty. The life of the world goes on, even though Ralegh is doomed soon to leave it. One of the appeals of this novel to its contemporary audience is that, like much of the literature of the twentieth century, it is, in part at least, existential. For the Fox, particularly in the final sequence of the narrative, his concern is not with his fate but with the form of his life, not with what his end will be but with how he will meet it. He prays that the fever which has recently possessed him will not return to make him tremble on the scaffold or appear to be hesitant when he mounts it.

104 / AMERICAN WRITERS This sense of himself, of his deportment in a dangerous world, is one of the keys to understanding Ralegh as Garrett presents him. But he differs from, say, the typical Ernest Hemingway hero because he is a Christian. For him the end of his present life is not the end of his existence; and although the manner in which he lives and dies is of great importance, life also has purpose for him and for those he loves. In one of the final ironies of the novel, Ralegh is questioned by the Dean of Westminster concerning his faith. For the dean, this interview is of the utmost importance. He longs to become Bishop of Salisbury, and his appointment hinges on how he is judged to have dealt with the Fox. Now, as the moment of his death approaches, Ralegh, who has lived a life composed of both form and substance, has no need to dissemble. He confesses his faith, receives communion, eats heartily, but then, in a gesture that he knows will not please the tobaccohating King, he lights his pipe and stands by the window smoking.

THE SUCCESSION: THE ELIZABETHAN TRILOGY CONTINUES

Even to a greater extent than Death of the Fox, The Succession: A Novel of Elizabeth and James (1983), the second volume of Garrett's trilogy, depends for its success on Garrett's vast knowledge of the Elizabethan world and his ability to recreate that world convincingly. This is true because in one sense, The Succession has no main character. There is Queen Elizabeth, childless, growing old, and seeing in her reflection in her bathroom mirrors harbingers of her own death. And there is James, King of Scotland, who wants to be Elizabeth's successor and King of England. Because Elizabeth must concur for James's ambition to be fulfilled, the plot of the novel, as the title suggests, is built on this royal relationship. Garrett shows James in his rough Scottish castle

and Elizabeth in her more refined court. The reader sees letters that pass between them. In scattered passages and, particularly, in the last chapter, Garrett writes of what the two monarchs think. But because they are who they are, because to maintain their royal presence requires that the author keep them at a distance from the reader, and because in literature as well as in life, familiarity breeds contempt, they are never shown with the intimacy that characterizes Garrett's portrayal of Ralegh. In The Succession, much of the narrative is conveyed by characters who play limited roles in the action. There is an old courtier who appears in the novel once to recount for a young man the story of Elizabeth and Robert Dudley, first Earl of Leicester. There is a player who becomes a spy in the household of Robert Devereux, the second Earl of Essex in the weeks before Essex mounts a futile revolt against the Queen. There is a Catholic priest, an Englishman by birth, whose story conveys the depth and violence of religious animosities during Elizabeth's reign. The courtier is a baron and an earl, a cousin to the Queen and to the less fortunate Lady Jane Grey and Mary, Queen of Scots, both of whom were executed. The story that he tells is not as much about the people involved as it is a description of the pomp and extravagance which accompanied the Queen's visit, in 1575, to Leicester at Kenilworth castle where the old courtier of this chapter of the book lived then and still does. The courtier's story contains a few anecdotes: of Elizabeth feigning anger when she was offered as a gift a lake that she claimed already to own; and of the Queen's kindness in making a pleasant joke about the name of a singer who had forgotten his lines. But mostly this passage is remarkable for its description of newly created waterways, of fanfares and fireworks, and of noble men and women dressed as divinities from the time of King Arthur and that of the ancient Greeks. The courtier, and the society in which he lived, are as

GEORGE GARRETT / 105 strange to the young man who listens to him as stories he has heard about the New World. "I find myself imagining," he writes to a college friend, "that time of Queen Elizabeth . . . as another country, a place on the far edge of some ragged map. Inhabited by people as different from us as Blackamoors and Chinamen." Whereas the courtier sets the Elizabethan scene in its sometimes frivolous grandeur the player shows the darker side of Elizabethan life. At the beginning of the player's section which is conveyed in a dialogue between the actor, who has himself been a spy, and a visitor who is an unnamed spymaster, the action takes place in a theater where the company is finishing Troilus and Cressida, one of Shakespeare's most enigmatic and least successful plays. Whether or not the play, in its depiction of the fecklessness of both Greeks and Trojans, is meant to suggest the ineptness of the Earl of Essex's attempt to revolt against the Queen, it provides the proper atmosphere for the introduction of the player. The player was born in the country, raised in poverty, and forced, partially by his own character, partially by his profession, to live by his wits. He is, as he tells his visitor, always an actor. He practices his art in the conduct of his life, playing roles, counterfeiting emotions, and dissembling when necessary. One of the roles he has played in the past is as hanger-on at the palace of the Earl of Essex. In pursuit of a recurring theme in Garrett's work, one that is central to Entered From the Sun (1990), the third volume of the Elizabethan trilogy, the visiting spymaster seeks to discover what the player knows concerning others, besides the now-dead Essex, who might have been involved in the Earl's plot against the Queen. The player and his visitor move from pub to pub while the player tells of his past trials and triumphs, of reciting, when he was a boy, for a drunken old knight, and of being whipped at the tail of a cart through the streets of Bristol. In the

case of Essex, the player's luck holds. In perusing the player's papers, the visitor finds nothing to incriminate his own masters in Essex's aborted plot; thus the player escapes death as he had on the day of Essex's rebellion. On that day, dressed in the finery that his employers had provided for him, well mounted from the same source, and well armed, the player rode out with Essex's company, but not far. He deserted, exchanged clothes with a ragged drunk, and made his way home without being detained by the Queen's men or even suspected. The reader learns that Essex was also an actor, one whose motives were never fully known, and one who was so skillful at the actor's craft that, like the player, he may never have fully understood himself. Even as he went to the scaffold, he appeared not quite to believe that he was really going to die. But as an image of his time, a man beloved of the Queen who later ordered his execution, and as the Queen's good servant who moved too soon to ingratiate himself with her successor, Essex, like the player, is an image of the moral and political uncertainty of the time and of the general anxiety that increased as the Queen approached death. The extravagance of Essex's life has a surreal quality, a sense of exaggeration and unreality, which Garrett exploits by using the player, a man of many roles, to tell his story. The confluence of art and reality, as disclosed in the life of Essex, the impingement of one on the other, extends the image of the Elizabethan age as a time alien to those who, like the young man in the courtier's chapter, did not experience it. But the religious animosities which inform the priest's story are, in their basic details, all too real. They are rooted in politics, in King Henry VIII's desire for a divorce from his first wife, in Elizabeth's desire for the throne, and in her relations with Catholic Spain and the Roman Pontiff. In the ensuing struggle, both sides committed atrocities. Elizabeth's half-sister, the Catholic Queen Mary, in her

106 / AMERICAN WRITERS brief reign had Protestant heretics burnt at the stake—among them, Thomas Cranmer, who was the Archbishop of Caterbury and the architect of the Anglican Book of Common Prayer. Although Elizabeth tried to treat both Protestants and Catholics fairly when she came to the throne, she was excommunicated by Pope Pius V. in 1570, thus putting his imprimatur on a breach that had long been beyond healing. The situation was only made worse when Elizabeth's cousin, the Catholic Mary Queen of Scots, who had abdicated her throne and fled to England, was convicted for treason against Elizabeth and beheaded in 1587. But along with the political turmoil, for many of the English on both sides, there remained the question of faith. The story of the unnamed priest is told in his diary entries and in his letters which have been taken from him at the time of his arrest. He is in England, secretly, he thinks, but like his fellow priests, he is under the observation of Elizabeth's chief spy Sir Francis Walsingham's intelligencers. His vocation requires that he make a progress through town and country, hearing confessions and saying mass for recusant Catholics. He is always on the move, hoping to escape arrest, and putting at risk the lives of those he visits. He is frightened. He is afraid of death, afraid of torture, afraid most of all of his own weakness, and of his inability during the suffering that will follow his capture to avoid disclosing information that will condemn his friends. Garrett's intention as a novelist here is not to take sides, but to reveal the human dimension of this sad interval of English history. In a letter to his mother which is never sent, the priest tells of coming near to the home where he was raised, where his family still lives, of the pain his memories cause him, and of his desire to see those he loves once again. He is aware that, in a mundane sense at least, he has betrayed them. They live under suspicion. Opportunities for education and advancement that

normally would have been available to his brother have been revoked. Still, the priest longs, "to turn off the road. To come home, perhaps for good, after all this time. To stand with my back to the fire in the Hall. With a cup of wine in my hands. To see how waves of firelight fall like a lazy surf across the cool, polished silver." The imagery of the writing here is sharp, yet understated so that it does not call attention to itself. The short and grammatically incomplete sentences that reflect the priest's state of mind are typical of Garrett's prose throughout the trilogy. With its sharp detail, the rhythm of its sentences, its authenticity of thought and dialogue, the prose could make convincing weaker and less dramatic stories than those Garrett tells. It brings the priest to life in time for the reader to learn of his capture and his death. He dies at the beginning of his interrogation and therefore has been delivered from revealing information about his friends. This turn in the story invites the reader, and must have invited the author, to wonder whether the end of the priest is a fortuitous accident or the answer to a prayer. Wisely, Garrett does not turn aside from his story, in which he has created a sympathetic and wholly believable character who pays with his life. The final chapter of The Succession unifies what may otherwise appear to some readers to be a story constructed of disparate sequences. It begins in November, 1602, with Queen Elizabeth's return from her palace at Richmond to that at Whitehall where she will arrive in time for Advent and where she will spend the Christmas season. The focus of this segment is on the Queen, on her laws, and on her people who live by them, which is to say on England. Times are hard, but this will not dampen the spirits of the celebrations of the Queen and her courtiers. There will be plays, games, pageants, and gift giving. Cords of firewood, which has become so dear that honest workmen can no longer afford to burn it, will be

GEORGE GARRETT / 107 consumed. Hundreds of candles will burn. Courtiers will dress in clothes for which they have paid—or owe—fortunes. But neither gaiety nor extravagance can hide the impending end of the era. This land of England now in the new century becoming as old and as tired and as frail as [the Queen] is. These shows being contrived in the (foolish) hope of denying that the Queen's natural lifetime. . . . Her time, therefore also their brief sweet time for power and vainglory; I mean her silly and vicious courtiers, the apes of her Privy Council, her goatish bishops and arrogant, ignorant priests, and her wily and subtle Archbishop Whitgift, cruel as a serpent. . . has almost ended.

A year previously, in 1601, the Queen made her farewell to Parliament, assured the members of her love, and, significantly, relinquished to them some of her monopolies and patents. Now, at Whitehall, in her private chamber with her ladies-in-waiting, she asks that lists of presents given to her on Christmases past be read. They are, in kind at least, what she has always received: scarves, doublets, gloves, and girdles, most of which are trimmed with gold and jewels. There was jewelry also— precious stones cleverly mounted, pins, and pendants made of gold. The history of her reign is in her recollection of the givers. At other Christmases, her gifts had come from Essex, once her favorite, whom she had sent to the scaffold. Other gifts came from Leicester whom she had loved, from Sir Christopher Hatton who had loved her, from William Cecil who had served her well, and from Walsingham, "whose knowledge proved to be of more value than armies and armadas." There are gifts from Sir Francis Drake, from Philip Sidney, from the cook, the laundress, and the servant of the cellar. The list of those who gave to the Queen is a list of the dead, and their names serve as mementoes of her own mortality. For her there is only mod-

erate comfort in the knowledge that she had been able to appoint her own successor. All parts of this book that have gone before, the stories that perhaps seemed to have scant connection with each other, combine in the Queen's memories to make a tapestry of a time and the life thereof that will die when she dies and never come again. She knows that her successor is not worthy of the throne from which she ruled, and this knowledge is an important element of the story. Important, also, is her sense of her own increasing inability, if not impotence. Those around her endure her fractiousness, her harsh words and often harsher actions, in the certainty that they will not have to endure them long. The Queen is soon to die. The succession will not be as much a new beginning as it will be an end to an age. Garrett's skill is such that he makes the meaning of this royal transition not only clear, but deeply moving.

ENTERED FROM THE SUN: THE ELIZABETHAN TRILOGY CONCLUDES

Christopher Marlowe, a contemporary of Shakespeare, playwright—he wrote Tamburlaine the Great, The Tragical History of Dr. Faustus, and The Jew of Malta—was reputed variously to be an atheist or a Catholic, thought to be a homosexual, and known to have a quick and violent temper. He died under mysterious circumstances at Deptford, near London, in 1593. That he was stabbed in the eye by Ingram Frizer while drinking in a private room at an inn was not doubted. But the question of whether Frizer had struck in self-defense, as he claimed, or whether Frizer, with two companions, had gone to Deptford for the purpose of killing Marlowe, was compounded by the irregularities of Marlowe's life, his strained relations with fellow playwright Thomas Kyd, and his long absences from England that

108 / AMERICAN WRITERS seemed to confirm rumors that Marlowe was a spy in the service of Sir Francis Walsingham. In brief, this was the material Garrett had on which to build Entered From the Sun, the third volume of his Elizabethan trilogy. Garrett met a new challenge in Entered From the Sun. The prime motivation of the narrative is Marlowe's death, not his life. Consequently, Marlowe can function neither as the point of view of the novel, as Ralegh does in Death of the Fox, nor as the presence, removed by rank but made more important thereby, as Elizabeth is in The Succession. Garrett's solution is to employ two investigators who, independently, will seek to discover the truth concerning Marlowe's death. These are Joseph Hunnyman, a player who is employed as a spy as was the actor in The Succession, and Captain Barfoot—pronounced "barefoot" by Garrett—the scarred veteran of many campaigns, a Papist, and a loyal servant of the Protestant Queen Elizabeth. The reader sees Hunnyman first. He is detained on the street by two bearlike ruffians whose recurring presence in the shadowy precincts of London becomes a grim leitmotif of the novel. They escort Hunnyman to the room of a young gentleman who offers the player both stick and carrot: if he faithfully investigates Marlowe's death, he will be well paid; should he betray the secrecy of his mission, he will suffer. Barfoot is induced to search for the facts of Marlowe's death by a man who claims to be another old soldier but who is clearly some kind of spy. Unlike Hunnyman, who, although poor and ill paid, would likely abandon his investigation of Marlowe's death except for fear, Barfoot undertakes his mission partly out of interest, not so much in Marlowe, but in the motives of those who want to know the circumstances of Marlowe's death. For Barfoot, as his scarred face and battered body testify, suffering and the threat of death are no strangers. His battles have left him with an appearance so fierce that "a frown on his

face has been known to silence a whole tavern." It is soon apparent, more from Hunnyman's nervous demeanor than from Barf oof s initial investigations, that the employers of Hunnyman and of Barfoot are not friendly competitors. The conflict between them is augmented by the uneasy relationship between Hunnyman and his employers and between Barfoot and his. The opposing principals in the novel are Thomas Walsingham, who has succeeded his nowdead father, Francis Walsingham, as spymaster and who is Hunnyman's patron; and Garrett's old favorite, Sir Walter Ralegh, who has hired Barfoot and who makes an affectionately drawn cameo appearance in the novel. Barfoot tells Ralegh that he is not suspected of being implicated in the death of Marlowe—the murder was arranged by Walsingham for reasons that Barfoot has not fully uncovered. At the time of his death, Marlowe was under indictment for suspicion of atheism. Whether Walsingham wanted Marlowe to remain in England until the charges against him were settled or to leave England before his case could be tried, Barfoot does not know. In either case, Marlowe was killed because he refused to accede to Walsingham's wishes. Walsingham feared Marlowe, Barfoot believes, because Marlowe knew too much about the activities of both Walsinghams, father and son. But neither Ralegh, Walsingham, Marlowe, nor Frizer, the murderer, occupies much space in the story. The dramatic force of the novel is generated, as it is in the other volumes of the trilogy, by Garrett's writing, his genius for building scenes, and his ability to make his fictional characters bear the weight of the narrative. Hunnyman, whose wife and children died from the plague, is having an affair with Alysoun, a beautiful widow and astute proprietess of a printing business. Hunnyman wants to marry her, but Alysoun, who has used her beauty to become prosperous and who is acutely aware of the difference between being poor and being comfortably fixed,

GEORGE GARRETT / 109 replies, "Not now. And perhaps not ever." Like Barfoot, whose child she later bears, she is one of Garrett's most complex and compelling characters. In the same way that Garrett makes Barfoot's very ugliness attractive, he renders Alysoun's self-centeredness as a kind of virtue. In her bedroom conversations with Hunnyman, who is likable but like most of Garrett's players feckless, her honest dialogue endows even her most self-serving assertions with a kind of generosity. She is at once totally open and profoundly shrewd. Garrett makes her coupling with Barfoot seem inevitable. They are both adventurers. She has come to affluence out of deep poverty, her only weapons are her good looks and her wits. Barfoot's scars testify to more than the wounds he has suffered. He has inflicted similar scars; he has raped and pillaged; he has contended with death not only on the field but in bed. In a brilliant sequence that includes a crone endowed with supernatural powers, Barfoot survives the plague. Taken together, these two show, better than any others of Garrett's universally well-drawn characters, the dimensions of Elizabethan life as it was lived away from the court. Barfoot's dual loyalties to Queen and Pope are individual manifestations of one of the most profound of Elizabethan ambiguities: the competing claims, legitimate and sometimes deadly, of faith and the crown. That he is able fully to maintain his allegiance to both helps to authenticate Garrett's rendition of the Elizabethan world. Alysoun's freedom as a woman to use her talents for business, that talent, itself, and her superstitious nature—she seeks magic potions and the interpretation of dreams from "the notorious Dr. Simon Forman"—augment Garrett's created world. "Well, now," Garrett writes in the final chapter of Entered From the Sun, "We are at the end of it." He has, he says, enjoyed living with the Elizabethans for the experience itself and as a respite from our tawdry modern time. The 1726 pages

of the trilogy allow Garrett's readers the same privilege. Judged individually, the separate volumes of the trilogy are the best of Garrett's novels. Viewed together, they are a major literary achievement: the characters are fully realized; the story lines are tight; the prose is clean and often poetic; and the setting, which novelist Andrew Lytle called the "enveloping action" of the story, is utterly convincing. Perhaps most important of all, the trilogy is fiction on a heroic scale: the people, the plots, and the supporting details are all bigger than life, larger than anything available to writers caught in what Garrett calls our "bitter shiny century." These books are destined to endure.

POEMS In the nineteen years between the publication of Death of the Fox and the appearance of Entered From the Sun, Garrett published, in addition to the trilogy, ten books. Many of these, Collected Poems of George Garrett (1984); and An Evening Performance: New and Selected Short Stories (1985), for example, contained work that had previously been published; two were on fellow writers James Jones and Mary Lee Settle; and four, again consisting of old material, were limited editions from Stuart Wright's Palaemon Press. Even so, for Garrett to publish ten books while his attention was focused on the trilogy was indicative of the force of his creative energy. During this time, he sharpened and developed his skill as a poet as the verses in Days of Our Lives Lie in Fragments: New and Old Poems 1957-1997 (1998) demonstrate. Garrett's major poetic themes remained constant even as his talent matured. Days of Our Lives Lie in Fragments includes religious poems: "Judith," "Ash Wednesday," "Jacob," and "David"; poems inspired by the work of previous writers, such as Shakespeare, Thomas More, and Salvatore Quasimodo; and elegiac po-

110 / AMERICAN WRITERS ems that are particularly memorable. In the title poem of the collection, written in memory of the poet and scholar O. B. Hardison Jr., Garrett recalls sailing with Hardison on the York River on which, on the morning of the poem's present, he has sailed alone. "There is no plot here, no narrative to follow," he writes, but this is itself the plot: death is our universal human fate, but when and how, who dies young and who endures, form no pattern. Still, the imagery here—a gull, some geese, the clarity of light, and the river itself— argues against a universe that is random and meaningless. And I think I can see you there among the dancers And I suddenly guess the music is the laughter Of angels, citizens of incredible ever after. Something wakes me, makes me step to the window: Tide running out, the river on fire with the sunset And gulls overhead, white wings riding the wind. Part of the splendor of this and much of Garrett's other poetry resides in the metaphysical dimensions of his work. It would be wrong to understand his poems—particularly those written in the 1900s—simply as acts of faith. His verse begins with and is firmly anchored in what he sees, in what he hears and feels and knows, and in the here and now of language and observation. But in his poems earthly images become transcendent and the reality of the mundane is enhanced.

THE KING OF BABYLON SHALL NOT COME AGAINST YOU

In some ways, The King of Babylon Shall Not Come Against You (1996) is a new version of Do, Lord, Remember Me. Both novels are set in small towns in central Florida, and some of the characters are similar. Dan Lee Smithers, known professionally as "Little David," is not a copy of Red Smalley, but both are traveling evangelists who

are not totally without faith. Both have mistresses, both are good at collecting money from their congregations, and both are murdered as their stories end. But The King of Babylon is a more complicated and profound book than Do, Lord, Remember Me. In The King of Babylon, Garrett juxtaposes the shooting murder of Little David and of Alpha Weatherby, who dies with him, and the dubious suicide of Father Claxton, an Episcopalian priest, to the assassination of Martin Luther King Jr., all of which occur on the same day in 1968. Twenty-five years later, journalist Billy Tone returns to Paradise Springs where he lived as a boy to gather material for a book that will augment what is known about the Paradise Springs murders and relate them to the climate of violence that marred the late 1960s and to the death of King. By including King and the aberrations of his time—the riots that followed his death, the brutality of the war in Vietnam— Garrett endows The King of Babylon with a public dimension that Do, Lord, Remember Me does not achieve. The King of Babylon is constructed around Billy Tone, whose interviews of townspeople establish the local ambiance in the same way—but on a reduced model—that the different chapters in Garrett's trilogy convey the Elizabethan world. Separately, the citizens of Paradise Springs embrace every philosophy. There are, among others, a newspaper editor, a retired professor, a land developer, a lawyer, and a crusty veteran who lost his leg in the Korean War. Another character, a lady of loose morals in 1968, has become a medium who delivers messages of love from the dead that help make more gentle the tone of this violent, bawdy, and very funny novel that never loses its focus on its serious theme.

LITERARY CRITICISM In addition to The King of Babylon and Days of Our Lives, Garrett published, in the last decade

GEORGE GARRETT / 111 of the twentieth century, two collections of literary criticism, The Sorrows of Fat City: A Selection of Literary Essays and Reviews (1992) and My Silk Purse and Yours: The Publishing Scene and American Literary Art (1992) and a volume of personal essays, Whistling in the Dark. Bad Man Blues: A Portable George Garrett (1998), introduced by Allen Weir and Richard Bausch, is a selection of Garrett's criticism, academic anecdotes, and short stories, most of which appeared in earlier books. The pieces in My Silk Purse and Yours are lectures, essays, and book reviews that were originally printed in such publications as the New York Times, The Michigan Quarterly Review, The Sewanee Review, and other literary magazines. In some of the essays, Garrett, who has himself been the victim of the vagaries of publishers, describes and deplores what he considers to be the sins of editors and the boards of directors who control them, what he calls "The Literary Star System": the selection of a few writers by a few influential critics whose work receives critical attention beyond its desserts. He defends his novel, Poison Pen, or Live Now and Pay Later (1986), which was published in a limited edition by Stuart Wright, and condemned by some critics for the vulgarity of its language and the severity of its attacks on other writers. My Silk Purse and Yours also contains some splendid reviews of books by Shelby Foote, Madison Smartt Bell, and others. The title of The Sorrows of Fat City comes from Garrett's misreading of "The Sorrows of Facticity," a lecture given at the University of Michigan by Harold Bloom. Besides Garrett's discussion of modern literary theory, this book also contains reviews and essays previously available in magazines. Whistling in the Dark, a collection of family stories and reminiscences, is deeply personal and deeply touching. Much serious material appears here: Garrett's father's work for social justice, the careers of his uncles and aunt, the adventures of his grandfather, and even a story about his great-great grandfather

who fought in the Civil War. Too young to be in World War II, Garrett served in the army in Europe during two of the most threatening years of the Cold War that followed. In family stories and in his accounts of his tenure as a sergeant on the boundary of the Russian sector of Austria, his gift for discerning the humor and irony that overlie the serious purposes of life is always present. Present also are the gentleness, the wisdom, the skill, and the charity that inform all his writing, early and late.

Selected Bibliography WORKS OF GEORGE GARRETT NOVELS AND SHORT STORIES

King of the Mountain. New York: Scribners, 1958. (Short stories.) The Finished Man. New York: Scribners, 1959. In the Briar Patch. Austin: University of Texas Press, 1961. (Short stories.) Which Ones Are the Enemy? Boston: Little Brown, 1961. Cold Ground Was My Bed Last Night. Columbia: University of Missouri Press, 1964. (Short stories.) Do, Lord, Remember Me. New York: Doubleday, 1965. A Wreath for Garibaldi and Other Stories. London: Rupert Hart-Davis, 1969. (Short stories.) Death of the Fox. New York: Doubleday, 1971. The Magic Striptease. New York: Doubleday, 1973. (Short stories.) The Succession: A Novel of Elizabeth and James. New York: Doubleday, 1983. An Evening Performance. New York: Doubleday, 1985. (Short stories.) Poison Pen. Winston-Salem, N.C.: Stuart Wright, 1986. Entered From the Sun. New York: Doubleday, 1990. The King of Babylon Shall Not Come Against You. New York: Harcourt Brace, 1996.

112 / AMERICAN WRITERS POETRY

WORKS EDITED BY GEORGE GARRETT

The Reverend Ghost. In Poets of Today IV Edited by John Hall Wheelock. New York: Scribners, 1957. Abraham's Knife and Other Poems. Chapel Hill: University of North Carolina Press, 1961. For a Bitter Season: New and Selected Poems. Columbia: University of Missouri Press, 1967. Welcome to the Medicine Show. Winston-Salem, N.C.: Palaemon Press, 1978. Luck's Shining Child. Winston-Salem, N.C.: Palaemon Press, 1981. The Collected Poems of George Garrett. Fayetteville: University of Arkansas Press, 1984. Days of Our Lives Lie in Fragments: New and Old Poems 1957-1997. Baton Rouge: Louisiana State University Press, 1998.

New Writing From Virginia. Charlottesville, Va.: New Writing Associates, 1963. The Girl in the Black Raincoat. New York: Duel, Sloan and Pearce, 1966. Man and the Movies. With W. R. Robinson. Baton Rouge: Louisiana State University Press, 1967. New Writing in South Carolina. With William Peden. Columbia, S.C.: University of South Carolina Press, 1971. Film Scripts One. With Jane Gelfman and O. B. Hardison, Jr. New York: Appleton-Century-Crofts, 1972. Film Scripts Two. With Jane Gelfman and O. B. Hardison, Jr. New York: Appleton-Century-Crofts, 1972. Craft So Hard To Learn: Conversations with Poets and Novelists About the Teaching of Writing. With John Graham. New York: William Morrow, 1973. The Writer's Voice: Conversations with Contemporary Writers. With John Graham. New York: William Morrow, 1973. Boetteghe Oscure Reader. With Katherine Garrison Biddle. Middletown, Conn.: Wesley an University Press, 1974. Film Scripts Three. With Jane Gelfman and O. B. Hardison, Jr. New York: Appleton-Century-Crofts, 1974. Film Scripts Four. With Jane Gelfman and O. B. Hardison, Jr. New York: Appleton-Century-Crofts, 1974. Intro 5. With Walton Beacham. Charlottesville: University Press of Virginia, 1974. Intro 6: Life as We Know It. New York: Doubleday, 1974. Intro 7: All of Us and None of You. With James Whitehead and Miller Williams. New York: Doubleday, 1975. Intro 8: Close to Home. With Michael Mewshaw. Austin: Hendel & Reinke, 1978. Eric Clapton's Lover and Other Stories from the Virginia Quarterly Review. With Sheila McMillen. Charlottesville: University Press of Virginia, 1990. Contemporary Southern Short Fiction: A Sampler. With Paul Ruffin. Huntsville: Texas Review Press, 1991. The Wedding Cake in the Middle of the Road. With Susan Stamberg. New York: Norton, 1992. Elvis and Oz: New Stories & Poems from the Hollins Creative Writing Program. With Mary Flinn. Charlottesville: University Press of Virginia, 1992.

PLAYS Garden Spot. Produced by Alley Theater. Houston, 1961. Sir Slob and the Princess: A Play for Children. New York: French, 1962. Enchanted Ground. York, Maine: Old Gaol Museum Press, 1981. SCREEN PLAYS

The Young Lovers. Metro-Goldwyn-Mayer, 1964. The Playground. Jerand Film Distributors, Inc., 1965. Frankenstein Meets the Space Monster. With R. H. W. Dillard and John Rodenbeck. Allied Artists, 1966. Suspense. 1958. (Television series.) CRITICISM

My Silk Purse and Yours. Columbia, Mo.: University of Missouri Press, 1992. The Sorrows of Fat City. Columbia, S.C.: University of South Carolina Press, 1992. Understanding Mary Lee Settle. Columbia, S.C.: University of South Carolina Press, 1992. OTHER BOOKS

James Jones. San Diego: Harcourt Brace, 1984. (Biography.) Whistling In the Dark. New York: Harcourt Brace Jovanovich, 1992. (Personal essays.) Bad Man Blues: A Portable George Garrett. Dallas: Southern Methodist University Press, 1998.

GEORGE GARRETT / 113 That's What I Like (About the South): And Other New Southern Stories for the 90's. With Paul Ruffin. Columbia, S.C.: University of South Carolina Press, 1992-1993. Dictionary of Literary Biography Yearbook: 1997. With Matthew J. Bruccoli. Detroit: Gale, 1998. Dictionary of Literary Biography Yearbook: 1998. With Matthew J. Bruccoli. Detroit: Gale, 1999. The Yellow Shoe Poets. Baton Rouge: Louisiana State University Press, 1999.

BIBLIOGRAPHIES Dillard, R. H. W. "George Garrett: A Checklist of His Writings." Mill Mountain Review 1:221-234 (1971). Meriwether, James B. "George Palmer Garrett." In Seven Princeton Poets. Edited by Sherman Hawkes. Princeton: Princeton University Library, 1963. Pp. 26-39. . "George Garrett." In First Printings of American Authors. Detroit: Gale, 1976. Pp. 167-173. Stuart Wright, "George Garrett: A Bibliographical Chronicle." In Bulletin of Bibliography 38:6-19, 25 (1980). . George Garrett: A Bibliography. Huntsville: Texas Review, 1989.

CRITICAL STUDIES Betts, Richard A. " To Dream of Kings': George Garrett's The Succession." Mississipi Quarterly 45:5367 (Winter 1991-1992). Broughton, Irv, and R. H. W. Dillard, eds. Mill Mountain Review 1 (1971). (Special issue on Garrett.)

Chappell, Fred. "Fictional Characterization as Infinite Regressive Series: George Garrett's 'Strangers in the Mirror.' " In Southern Literature and Literary Theory. Edited by Jefferson Humphries. Athens: University of Georgia Press, 1990. Pp 66-74. Dillard, R. H. W. Understanding George Garrett. Columbia: University of South Carolina Press, 1988. Peden, William. "The Short Fiction of George Garrett." Ploughshares 4:83-90 (1978). . " 'Swift Had Marbles in His Head': Some Rambling Comments about George Garrett's More Recent Work." Southern Literary Journal 17:101106 (Fall 1984). Robinson, W. R. "The Ficion of George Garrett." Red Clay Reader 2:15-16 (1965). . "Imagining the Individual: George Garrett's Death of the Fox." Rollins Critic 8:1-12 (August 1971). Ruffin, Paul, and Stuart Wright, eds. To Come Up Grinning: A Tribute to George Garrett. Huntsville: The Texas Review, 1989. Slavitt, David R. "George Garrett, Professional." Michigan Quarterly Review 25:771-778 (Fall 1986). Spears, Monroe K. "George Garrett and the Historical Novel." In American Ambitions: Selected Essays on Literary and Cultural Things. Baltimore: Johns Hopkins University Press, 1987. Pp. 200-210. Taylor, Henry. "George Garrett: The Brutal Rush of Grace." In Compulsory Figures: Essays on Recent American Poets. Baton Rouge: Louisiana State University Press, 1992. Pp. 152-170. Tillinghast, Richard. "The Fox, Gloriana, Kit Marlowe, and Sundry." South Carolina Review 25:9196 (Fall 1992).

—WALTER SULLIVAN

Donald Justice 1925Wwr r iiINNER OF the Pulitzer Prize for his Se-

tone and rhythmical balance of his poems, many critics of his work have favored this very comparison. Melody has the power to stand on the ground of immediate conviction, and Justice's poems enjoy the same strength, deriving from the way the impersonal restraint of meter balances the emotional charge created by tone. Donald Justice was born the son of Vascoe J. and Mary Ethel Cook Justice on August 12,1925, and grew up in Miami, Florida, where he later studied composition with Carl Ruggles at the University of Miami. From Miami, Justice moved to the University of North Carolina, turning his talent to literature and receiving an Master's degree before he moved to the University of Iowa to do his doctoral work. Along with a brief stint at Stanford University in Palo Alto, California, where he encountered Winters, these universities not only provided Justice places to develop as an artist, but also served as his introduction to the world in which he would live until his retirement from the University of Florida in 1992. During the post-World War II educational boom, no poet teaching in master of fine arts programs has been more influential than Justice. Throughout his many years teaching at Syracuse University (1965-1969), the University of Iowa (1952-1953,1957-1965) and (1970-1982), and at the University of Florida (1982-1992), Justice advised a long list of younger poets

lected Poems (1979) in 1980 when he was fiftyfive years old, Donald Justice has supported a steadily growing reputation since his The Summer Anniversaries (1960) was the Lamont Poetry Selection. Compared to the work of slightly older poets—Robert Lowell and John Berryman, for example, who taught Justice in the Iowa Writers' Workshop—Justice's body of poetry appears somewhat slim, but unlike that of many others, Justice's work contains nothing to omit. A title to one of his critical works is Platonic Scripts (1984), and it is with a Platonist's eye for what is essential that Justice has proceeded. Over time the unadorned completeness of his poetry has become a benchmark for poets, especially younger ones on whom Justice has exercised a substantial influence.

BACKGROUND AND WRITING STYLE

In its spareness and precision, Justice's writing resembles that of John Crowe Ransom and Yvor Winters, his seniors by several decades. With Ransom, early Justice shares an affinity of tone, whereas with Winters the affinity is found, early and late, in the meters. Justice has clearly identified the limitations of using analogies made between poetry and music, yet given the emotional 775

116 / AMERICAN WRITERS whose talents sometimes led to free verse and other times to form. Moving with equal grace under both free and formal poetic arrangements, Justice has been a resourceful guide for developing writers, whichever route their abilities have favored. The fact that poets on both sides of the freeformal divide in American poetry have benefited from Justice's example matches Justice's own avoidance of the arbitrary either/or of form versus free verse. Justice has drawn the best traits from both sides in ways that reveal the influence not only of the formalists Ransom and Winters, but of freer elders as well, especially Wallace Stevens and William Carlos Williams. Among poets writing since 1950, few have balanced their work between formal and free rules of play as well as Justice has. But Justice has not been alone. Lowell, Berryman, and others have enjoyed similar successes pitting free verse immediacy against rhythmical control, and the amount of success in this vein suggests that the strongest contemporary American poetry may occupy a middle ground where immediacy of voice joins rhythm's elevation of utterance. Certainly this is true of Justice. Responding to the double stance by which he joins the two main strains of twentieth-century American poetry, critics have noted the way, on the one hand, Justice's poems are intimate and, on the other, they are impersonal. Of this, in an article by Philip L. Gerber and Robert J. Gemmet, Justice has said his use of form "is connected . .. with the desire . . . to displace the self from the poem." This characteristic of Justice's poetry results from the way he assembles personal details into objectified structures. "Psalm and Lament," from The Sunset Maker: Poems, Stories, a Memoir (1987), for example, recounts the death of Justice's mother but then ends more generally with the "black oblivion of a neighborhood and a world / Without billboards or yesterdays." Or

there are Justice's poems about learning to play the piano, which move from the particulars of childhood experience to a more general picture of social and economic ambitions and constraints during the 1930s. In the same sentence a critic can praise Justice for his treatment of "nostalgia" and his "purity of style." Justice is a master at objectifying a subjective experience without losing the original sense of urgency. The poet and critic Baron Wormser has described Justice's poetry as "a model of non-ideological decorum." Wormser says Justice, "a master of plain English," is too honest to confuse art and epiphany, even as he fixes on "the pain and beauty of memory and loss," which in his hands may sometimes feel like epiphany. As Douglas Dunn has put it, Justice is "tunefully elegiac." Another critic, David Hartnett, says Justice's poetry "shows the act of memory turning into an act of composition." This is what David St. John calls "memory as melody" and Ben Howard terms "lyricism chastened by realism." Stephen Yenser characterizes Justice's images as "crisply visual, seemingly static, and accompanied by a minimum of interpretation." Yenser adds, "If the object itself says more than anything we can say about it, then Justice has most of his contemporaries beaten." Justice's work is "scrupulously executed and subtly shaded." But Justice operates equally effectively auditorially. Handling syntax and diction with utmost skill, by the structure of the one and the particularity of the other, Justice achieves a level of understatement that sustains itself like a long note held at the end of a song. Of this characteristic one critic has said, "The emotion is so closely tied to the movement of the poem that its formal intentions are invisible." Frequently movement, the development of some central action, is at the quiet center of a Justice poem, but that movement is not so much linear as periodic. The situation described does not resolve through narrative so

DONALD JUSTICE / 111 much as it curves and repeats, shaping time the way melody does. Memory is authority in Justice's poetry, and related to this is his plain style, which in its selfcontrol achieves another kind of authority. The plain style, in fact, defines Justice's poetry as much as memory and nostalgia. And the plain style has provided fertile ground for Justice's many students, whether writing free or formal poetry. Not the bulk of his output but the centrality of Donald Justice's aesthetic has made his work influential on younger poets. And this aesthetic is the plain style. Reviewers have consistently noted the quietness of Justice's poetry. Michael Sheridan sees Justice as descending more from "the elegant hush of Emily Dickinson than the 'barbaric yawp' of Walt Whitman." Thomas Swiss argues that for Justice "poetry is the discovery of what is necessary," and along the way this entails the "conscious effacement of self." Paul Ramsey describes a poem like The Summer Anniversaries' "Counting the Mad" as "plainspoken." Alan Young spots "a hard-won new simplicity of diction in [Justice's] improvisations." Charles Molesworth identifies "an indomitable trust that is earned both through and with a clear-eyed humility," while David McClatchy finds Justice a "rarity—an artist at once deeply traditional and resolutely newfashioned." Doug Lang says Justice "is as American as Edward Hopper," and this notion is repeated by Ben Howard's likening Justice's "Manhattan Dawn" (1945) to Hopper. Hopper's and Justice's versions of the plain style are also evident elsewhere, in some of Justice's own paintings, Black Street, Boston, Georgia, for example, which was exhibited in the Yager Museum at Hartwick College in Oneonta, New York in the late 1990s. Calvin Bedient finds Justice "plain and poignant" and compares his early poetry to "Auden's portentous flatness" and Ransom's "painful verve," while Michael Rewa notes the

way Justice's "In Bertram's Garden" from The Summer Anniversaries echoes the conventions of plain-style master Ben Jonson's poem "Queen and Huntress."

THE PLAIN STYLE

Donald Justice's use of the plain style fits his perennial concerns with memory and loss. "But the years are gone. There are no more years," Justice says at the end of "Psalm and Lament," acknowledging that eventually the exchange rate comes down to zero. The frequent appearance of a word like "perhaps" in his poetry reveals the guardedness with which Justice qualifies almost any assertion, but this is done not so much out of skepticism as out of honesty, a reluctance to be the "epiphany mongerer" Baron Wormser warns against. But the sense of memory and loss in Justice is not passive either. There is a stubbornness in his revisiting the past that refuses to accept the very loss he describes. For Justice, it seems, memory is the place where loss itself loses. Memory is not only the basis of authority, it is the means for repetition. Memory-as-repetition-and-authority works well with the plain style. The argument Justice makes in the title piece of his 1998 collection of essays, Oblivion, is consistent with Justice's use of the plain style in his poetry. Early in the essay Justice says, "There is a mysterious and hidden consciousness within the artist of being other; there is an awareness of some reality-beyond-the-reality that lures and charges the spirit." It is unclear whether Justice considers this "reality beyond" the source of or the resolution to an artist's "oblivion." It seems he may find both there. Still, no epiphany occurs in this, merely the sober assessment of just how little lasts, while even that recognition can be understood only through memory. On the other hand, in Justice's poetry

118 / AMERICAN WRITERS there is the "love that masquerades as pure technique," as Justice tells his audience in The Sunset Maker's "Nostalgia of the Lakefronts." And in this the reader catches a glimpse of another source for Donald Justice's art. The various ways Justice has devised for torsioning old facts into new perspectives grows out of the struggle he feels between what he remembers so fondly and what he understands to be so permanently missing. This is the subjective watershed that no amount of objectivity has removed from Justice's poetry. For him the past "rains on the other side of the heart," and this is nostalgia, but the causes for nostalgia—the people and places one has loved—remain stubbornly lodged in memory's figurative (that is, objectified) landscape. In Justice the "reality-beyondthe-reality" and his sense of nostalgia (or homesickness) share not only in their physical remoteness but in their longing, even as Justice is someone who will not be ruled by longing, or at least will not admit to being ruled by it. Better to focus on "technique," his example tells his audience. And while one is at it, better to employ the plain style. Reading Justice's poetry and his commentary on poetry, Oblivion in particular, reminds the reader of the plain style's economies, its brevity of statement and reliance on reason to convey muted but sometimes implosive realizations. For Justice the plain style seems to be a way of retaining some part of the "reality-beyond-reality," or to quote from "Nostalgia of the Lakefronts" again, it is a way to retain "the world we run to from the world." For Justice, nostos (home) is distanced by time if not by thought. The virtues of home and the "love that masquerades as pure technique" are never far apart, and each, it seems, calls for the plain style. Highly crafted, Justice's poetry applies technique to the formative past, clarifying and transforming the ordinary into permanent fixtures for the imagination. But if the style is plain, the figurative thought is not. Here

are the first two stanzas of "Nostalgia of the Lakefronts": Cities burn behind us; the lake glitters. A tall loudspeaker is announcing prizes; Another, by the lake, the times of cruises. Childhood, once vast with terrors and surprises, Is fading to a landscape deep with distance— And always the sad piano in the distance, Faintly in the distance, a ghostly tinkling (O indecipherable blurred harmonies) Or some far horn repeating over water Its high lost note, cut loose from all harmonies. At such times, wakeful, a child will dream the world, And this is the world we run to from the world.

"Nostalgia of the Lakefronts" exemplifies especially well the visual crispness Stephen Yenser praises, but it also models Justice's artfulness with rhetorical patterning, syntax, and diction. In this poem Justice uses apostrophe, anaphora, anacoluthon, homoeoteleuton, and chiasmus to explore the boundaries between the things people experience and what these boundaries mean as they try to locate themselves. He has considered Sherwood Anderson's use of contiguity, and found the above devices resources for contiguity's simile-like play. The repetition of "distance" in the last two lines of the first stanza, for example, gives the reader first spatial then temporal "distance" as a scene described becomes a situation lived. Childhood's "landscape deep with distance" shadows adulthood's backward glance grown deeper with age. The same word is repeated with two different meanings the way the same life is viewed from two different perspectives. And for Justice, it is this double sightedness that counts most. NOSTALGIA

The nostalgia Justice explores is not just the longing for the past that is commonly associated with

DONALD JUSTICE / 119 that word; it is the double view of someone caught between then and now, which argues that the self doing this is somehow groundless. Thus the last two lines of the second stanza introduce the reader to "the world we run to from the world," finding that like the "child," the one who does not control, people are at once in two worlds and thus never fully in either. What one thinks is boundary; where one stands is edge. The "indecipherable blurred harmonies" of line two, stanza two, are like the two kinds of "distance" named in stanza one, the mutually qualifying and mutually exclusive discoveries of someone who is homesick not just for the past but for that once orderly and harmonic spot called home. Justice renders this person something like the passenger who sits facing backward on a train, finding, as Justice says in The Sunset Maker's "Villanelle at Sundown," that "One can like anything diminishment has sharpened." The passing of time obscures the rough-edged and awkward details of a former situation, and as one locates oneself in relation to what is being left behind, longing declines into the cool tones of long vistas or, in Justice's case, perhaps long notes, the little reclamations available as much to memory through art as to art through memory. The cool tones the reader finds in "Nostalgia of the Lakefronts" also derive from diction. "A mad wet dash to the local movie palace," for example, recaptures the innocence of a time before television and videocassette players when a movie theater really could seem like a palace and when going there was important enough to turn simply running through the rain into "a mad wet dash."

A POET APART

Attending Stanford University, Justice had the opportunity (probably the duty) to absorb the aesthetic principles of Yvor Winters, which included the plain style. However, Justice proceeded rather

quickly to separate himself from the more rigid elements Winters represented, and it seems that freedom for the imagination necessitated this, Winters being such a fixed and resolute critical presence. But distant or close to the then-prevailing aesthetic at Stanford, Justice—either by affinity or influence—has retained, indeed perfected, a version of the plain style that Winters championed with such intensity, though Justice has adapted his style to today's idiom in a way Winters would not. And in his generation Justice has not been completely alone in this. Edgar Bowers also perfected a version of the plain style, and the lean virtue of the unadorned is powerfully represented elsewhere by the poetry of Elizabeth Bishop, Howard Nemerov, Mark Strand, Mona Van Duyn, and Richard Wilbur, as well as that of younger poets such as Charles Martin and Timothy Steele. But no one has done more for the cool distances and balanced closures of this mode than Justice, least of all contemporary critics. The disappearance of practical criticism has been one reason Justice has so importantly influenced younger poets. Justice the practitioner has taught people how to write poetry rather than comment on it, though he is a fine critic when he wishes to be. In contrast to Justice's practical view, many academic theorists seem to have diced their readings into convoluted responses with limited half-lives. But theorists are not the only ones who have missed the boat where the plain style is concerned. Searching the Princeton Encyclopedia of Poetry and Poetics, A Handbook to Literature, and The Longman Dictionary of Literary Terms turns up little to nothing about the plain style. The Princeton Encyclopedia has no entry; Holman and Harmon's Handbook makes passing reference to the three classical styles (high, middle, and plain) along with the plain prose that Puritan preachers employed for sermons; and The Longman Dictionary makes the leaping statement that

720 / AMERICAN WRITERS Gerard Manley Hopkins' and Wallace Stevens' poetry do not equal the plain style while that of Larry Levis does.

No, but the sheets were drenched and twisted. They were the very handkerchiefs of grief.) Let summer come now with its schoolboy trumpets and fountains. But the years are gone, the years are finally over.

"PSALM AND LAMENT"

Donald Justice's poetry being a prime example, today's plain style is succinct, clear, and direct and represents one important way that many poets writing after World War II have proceeded. In the Norton Anthology of Modern Poetry, the plain style floats just fine without footnotes. Allusion is not necessary for structural integrity. Absent are the appeals of Ezra Pound and T. S. Eliot to the hierarchies of received tradition; absent the pontoon-like bulk of fine-print footnotes floating the cultural baggage piled above. What is at work is the dramatic core of a situation or event rendered in a way that clarifies rather than obscures. Justice's "Psalm and Lament" provides an example of this: The clocks are sorry, the clocks are very sad. One stops, one goes on striking the wrong hours. And the grass burns terribly in the sun, The grass turns yellow secretly at the roots. Now suddenly the yard chairs look empty, the sky looks empty, The sky looks vast and empty. Out on Red Road the traffic continues; everything continues. Nor does memory sleep; it goes on. Out spring the butterflies of recollection, And I think that for the first time I understand The beautiful ordinary light of this patio And even perhaps the dark rich earth of a heart. (The bedclothes, they say, had been pulled down. I will not describe it. I do not want to describe it.

And there is only This long desolation of flower-bordered sidewalks That runs to the corner, turns, and goes on, That disappears and goes on Into the black oblivion of a neighborhood and a world Without billboards or yesterdays. Sometimes a sad moon comes and waters the roof tiles. But the years are gone. There are no more years.

The poem opens with loss embodied in two "clocks," one keeping the wrong time and the other stopping as a life has stopped. Death is both the wrong time and absolute time. As with the "sidewalks" mentioned in the tenth stanza, the "clocks" are not part of nature, which John Ruskin's notion of the pathetic fallacy requires, but are manmade objects through which there is less chance for extended emotion. The clocks tick temporally as the sidewalks extend spatially, much as distance operates two ways in "Nostalgia of the Lakefronts" where "the sad piano in the distance" winds up being more then than there. Even when Justice's objects are from nature and not manmade, the "empty sky," for example, torsion is still applied. The sky is not desolate, but the sidewalks are; and the sidewalks are not empty, but the sky is. Conventional description would mention "empty sidewalks" and a "desolate sky." Not Justice. He creates his tone by transposing and muting the emotional qualities of what he describes, subtracting the expected: the sky is merely empty, and it is the sidewalks that are desolate, "desolation" being more believable

DONALD JUSTICE / 121 when it is brought down from the potentially valorized sky to the pedestrian rounds of "sidewalks." Transposing his modifiers this way, Justice creates an understated yet resonant tone. Just what are the larger boundaries of the speaker's world now that the parent is dead? They are the minimums of a vacant sky and sidewalks that lead to nowhere other than what Justice calls "a black oblivion." The transposed chord, or perhaps muted note, that Justice strikes is found again in the "sad moon" that "waters the roof tiles." The verb "waters" retrieves the "moon" from the tears that "sad" makes the reader expect, and this leaves the scene balanced between the emotional and the mechanical—the sadness of tears and the geared cycles of a sprinkler. Again here is Justice's impersonal personalism. The sprinkler that does the watering not only avoids the excess of tears that one associates with too much emotion, it suggests the character of a world beyond individual loss, perhaps even the "reality-beyond-the-reality" Justice mentions in "Oblivion." Meteorological conditions, one gathers, occasionally result in wet roof tiles, but they are no more personal than a mechanical sprinkler. There is no pathos in the wet tiles, other than that of the speaker who by stating this bald fact dramatizes the absence of human meaning in the surrounding world. "Psalm and Lament" also demonstrates two other virtues. First, the poem's imagery well befits its logic: "Out spring the butterflies of recollection," for example. The entire poem is an elegist's recollection and lament, and in this particular line the project is represented by butterflies, which vividly stalling and gliding appear suspended over the landscape like the many small, acute memories triggered by that landscape. Second, the increased pace of information delivery that starts with stanza nine's "Let summer come now" simultaneously lists and dramatizes the predicament the poem unfolds. After the

reader has encountered the preceding figure of the "sheets . . . drenched and twisted" until they "were the very handkerchiefs of grief," a race begins for the absolute end. The fourteen-syllable line that lists "summer," "schoolboy trumpets," and "fountains" stretches only to tip the reader into what at the end will become the poem's refrain, "But the years are gone." Immediately the pace accelerates with the short line, "And there is only," which causes the reader to speed ahead through a "desolation of . . . sidewalks" that run on, "turn," and "disappear" without "billboards or yesterdays"—that is, without expectation of a future or a memory of the past, two conditions that are necessary for any release from grief. This world is what in another line Justice calls "oblivion." Again, the stark word he chose for the title and title piece of his second collection of prose. But the accelerated pace that follows stanza nine's "Let summer come now" also needs to be considered simply in terms of the poem's timing and its release of information. Suggestive of a speaker about to lose control, the faster delivery of information dramatizes its own emotional heft; thus Justice finds a subtle response to what has happened and, doing so, creates a response in the reader. In "Psalm and Lament" the plain style allows an understated fusion of abstract and dramatic meaning to be put to the task of objectifying that which nevertheless remains a subjective experience. A principle of reserve controls the entire poem. "I will not describe it," Justice says. But this restraint vies with the headlong movement that begins in stanza nine, only to be reigned in by the poem's last two lines. Dramatically, this change in the rate of delivery equals the speaker's beginning to lose emotional control. This continues until the poem's last two lines where, regained again, control leaves the described death implosively stuck and threatening somewhere in the back of the reader's memory.

722 / AMERICAN WRITERS "VILLANELLE AT SUNDOWN"

Abjuring the high modernists' allusions to tradition (and comparison to the tradition), "Psalm and Lament" stands on its own objective feet. It is the core experience the poem records that makes it quietly and overwhelmingly compelling. The success of Justice's aesthetic here provides a good example of how at its best the plain style in late modern poetry, following a century of unprecedented violence, has dealt with our increased skepticism about history, language, the intelligibility of experience, and human reason. The hierarchies of tradition championed by the modernists of the first half of the century have been deemed much less reliable by poets writing in the aftermath of World War IPs Holocaust and nuclear bombing of civilian targets, to name only two failures of human reason. But this does not mean that allusion to the tradition is totally absent in Justice's poetry, only that the dramatic core of a poem comes before outside evidence that corroborates and contextualizes. Before anything else, the truth-claims for Justice's work are grounded in firsthand rather than secondhand understanding, though understanding of course comes from both sources. Here is "Villanelle at Sundown": Turn your head. Look. The light is turning yellow. The river seems enriched thereby, not to say deepened. Why this is, I'll never be able to tell you. Or are Americans half in love with failure? One used to say so, reading Fitzgerald, as it happened. (That Viking Portable, all water-spotted and yellow— Remember?) Or does mere distance lend a value To things?—false it may be, but the view is hardly cheapened. Why this is, I'll never be able to tell you.

The smoke, those tiny cars, the whole urban milieu— One can like anything diminishment has sharpened. Our painter friend, Lang, might show the whole thing yellow And not be much off. It's nuance that counts, not color— As in some late James novel, saved up for the long weekend And vivid with all the Master simply won't tell you. How frail our generation has got, how sallow And pinched with just surviving! We all go off the deep end Finally, gold beaten thinly out to yellow. And why this is, I'll never be able to tell you.

Traditional material abounds from the fact that the poem is a villanelle to the allusions it makes to F. Scott Fitzgerald, Malcolm Cowley's Viking Portables, the painter Lang, Henry James, and finally John Donne. What nineteen-line poem needs to be more allusion packed? But the drama of the poem rests in the cryptic first and third lines of the first stanza, which tell readers to "Look. The light is turning yellow" and "Why this is," the poet will "never be able to tell" them. Justice has stated in prose that yellow is suggestive of decay. He demonstrated this in the second stanza of "Psalm and Lament." At the heart of what the reader is told is that the poet's world refuses to lend itself to the way the metaphysical poets understood it (long with the modernists who championed the work of the seventeenth-century metaphysical poets). The separation of two souls is not "gold to airy thinness beat," as Donne would have it, but merely "gold beaten thinly out to yellow." Appearance, yellow, has replaced essence, gold. This is the restricted assertion of the skeptic who hastens to add, "And why this is, I'll never be able to tell you." What that skeptic does know is what has happened since the late 1940s when Viking Portables

DONALD JUSTICE / 123 made masters like James and Faulkner readily accessible. A generation has grown "frail," "sallow," and "pinched with just surviving!" "We all," the audience is told, "go off the deep end / Finally." And here the deep end is a loss of composure owing to a fall of not more than six feet. Surviving has been at a premium following the Holocaust of World War II, and skepticism has been a key part of the rational response to that fact. Donne's metaphysical view of existence diametrically opposes the truth of existence as the speaker sees it. But one thing is even worse. Not only does the speaker find no spiritual world preexisting and essential to the order of the physical one, neither can he explain the loss he describes. That is, the doubt here goes beyond religious skepticism to the point of challenging language, reason, and the very history people customarily consult to explain why things have happened. The events described in the poem move from an understanding supported by religious faith to a seemingly undifferentiated catalog of plain facts. And for the speaker they lose the tradition's ability to categorize and explain them by matching them with foregoing events. So while "Villanelle at Sundown" uses allusion in a way similar to how the early modernists used it, the results are mostly opposite to what occurred before: the match between today and yesterday does not edify but doubly frustrates, as the speaker remains unable to tell the reader why "We all go off the deep end / Finally," since for him no evidence indicates that anything exists beyond that point. Here "deep" is the physical and the metaphysical abyss of death that no "gold to airy thinness beat" can span.

"THE SUNSET MAKER"

In "The Sunset Maker," the title poem to Justice's 1987 volume, The Sunset Maker: Poems, Stories, a Memoir, the speaker describes "The Bestor papers," which he has received on his friend Eugene

Bestor's death. The entire poem is a meditation on the efficacy of art, which boils down to art's ability to liken, not equate, one thing to another. Symbols no longer work; they create false equations. Here again Justice is at odds with a key part of high modernism, the aspiration for symbolic meaning. What does work for Justice is the mind's ability to compare one thing to another. Similes are reliable; symbols are not. Thus the speaker says, "As if ... but everything there is is that." Meaning comes from likening one thing to another. Here one loss is like another; the loss of a friend, a great talent, a body of work—all this dramatized by the survival of "just this fragment, this tone-row / A hundred people halfway heard one Sunday. . . ." With Justice this kind of reserve seems to go hand in hand with the plain style. Claiming more would be false. By meter Justice most clearly charts his independent way between the dictates of free verse and formal verse. Nowhere is this independence clearer than in "Thinking about the Past" from Selected Poems (1979): Certain moments will never change nor stop being— My mother's face all smiles, all wrinkles soon; The rock wall building, built, collapsed then, fallen; Our upright loosening downward slowly out of tune— All fixed into place now, all rhyming with each other. That red-haired girl with wide mouth—Eleanor— Forgotten thirty years—her freckled shoulders, hands. The breast of Mary Something, freed from a white swimsuit, Damp, sandy, warm; or Margery's, a small, caught bird— Darkness they rise from, darkness they sink back toward. O marvellous early cigarettes! O bitter smoke, Benton. And Kenny in wartime whites, crisp, cocky, Time a bow bent with his certain failure. Dusks, dawns; waves; the ends of songs . . .

124 / AMERICAN WRITERS An unrhymed fourteen-line poem of varied line length and substantial metrical substitution, is this a sonnet or something else? The majority of the feet are iambic, and at least half the lines have five stresses, the rest running to six stresses except one that has seven. Much of the poem plays back and forth between iambic pentameter and iambic hexameter, but the first six lines qualify as pentameter, with the first line full of substitutions. This is enough to establish in the reader's mind that the norm is iambic pentameter. All of the above leads to the question of whether or not this is a sonnet. That is as far as Justice needs the reader to go. The rest of the work is carried out by balancing the poem between being an unrhymed sonnet and something that has broken entirely free of sonnet form. The last line is the poem's ultimate moment in this balancing strategy. It is iambic pentameter with three-fifths substitution, punctuation taking the place of unstressed syllables in terms of duration. The varied timing found throughout the entire poem is recapitulated by the use of three trochaic substitutions opening the line, then two iambic feet closing it. The comma after "Dusks" and the semicolons following "dawns" and "waves" consume the amount of time an unstressed syllable would require; thus in terms of duration the line works as iambic pentameter. Justice, a master of the musical rest, knows that sometimes silence takes up time more effectively than syllables can manage. There are various places where Justice speeds or slows the movement by cataloging items, by caesura, or anacoluthon; this makes the reader's experience of the poem's progress a matter of contingency. In this way "Thinking about the Past" relies on what in "Psalm and Lament" Justice has called "the butterflies of recollection," the authority of memory dramatized by a poem's rhythmical movement. As Justice says in the penultimate line, people are confronted with "Time a bow bent," time curving back, as in the redundancy of bow and

bend. To bow is "to bend," as the noun bow used here goes back to the Old English bugan, "to bend." Bow's first definition is something bent into a curve. Justice's verb "to bend" means to constrain to tension (as is done when a bow is made) or to turn, press, or force something so it is curved. In effect, therefore, when Justice says "Time a bow bent" he is saying, "Time a curve curved," and this is much the way "the ends of songs" curve back to their beginnings, or the way "thinking about the past" causes people's thinking now to round back to their thinking before. The effect of all this rounding is reclamation.

THE THEME OF OBLIVION

"The Telephone Number of the Muse" from Departures (1973) provides a good example of Justice's quiet yet shadowy wit, itself another means for reclamation: I call her up sometimes, long distance now. And she still knows my voice, but I can hear, Beyond the music of her phonograph, The laughter of the young men with their keys. I have the number written down somewhere.

There is the growing sense of oblivion felt on the part of the speaker, who, prior to the above, has recounted in boudoir-joke fashion the details that go with no longer being able to arouse the muse, she now wishing only to be "friends." The speaker says of himself when he learned of the muse's cooled passion, "I smiled, darkly. And that was how I came / To sleep beside, not with her; without dreams." Something as small as the semicolon that precedes "without dreams" reveals the understated way Justice goes about the business of dramatizing what is missing now, with the muse no longer interested in this poet. But there are other tannic details woven into the situation.

DONALD JUSTICE / 125 The poet's relationship with the muse has devolved into "long distance," though his "voice" is still recognized by her. More disturbing than "long distance," however, is replacement, "the young men with their keys." The implication is that while the younger poets who have replaced the speaker have access to the muse, how long will that last? They may enter by keys, but the locks can be changed. Or if the keys are for the quick rush of automobiles, how sustainable is that? The muse enjoys the passions of younger men, but youth is never anything more than a temporary advantage, as the older poet's dislodged situation demonstrates. "The Telephone Number of the Muse" depicts a scaled-down vision of what inspiration is to begin with, the muse being the girl whose number men request. But a number is highly reductive: it is not a name, not an address, certainly not someone present; instead it is the abbreviated access afforded by the seven digits one dials. Having someone's number suggests the impermanence and anonymity of the self, a great theme with Justice, who repeatedly tells his readers that most of what they do, think, feel, and say really is impersonal because it is unimportant finally. The muse is indifferent to the speaker, and now, late in the game, the speaker has become indifferent to himself: carelessly, he has "the number written down somewhere." The poem plays its theme of oblivion in the quiet tones of a minor key by which the speaker articulates his lost standing now and that of everyone over time. Oblivion takes a humorous turn and reaches the reader in Departures' "Poem." This time it is the audience rather than the poet who is anonymous, the ultimate point to Justice's mordant wit being the impersonal standards of art as it goes about getting things right. Who prevails in this regard? No one, Justice assures the audience. But here is the poem: This poem is not addressed to you. You may come into it briefly,

But no one will find you here, no one. You will have changed before the poem will. Even while you sit there, unmovable, You have begun to vanish. And it does not matter. The poem will go on without you. It has the spurious glamor of certain voids. It is not sad, really, only empty. Once perhaps it was sad, no one knows why. It prefers to remember nothing. Nostalgias were peeled from it long ago. Your type of beauty has no place here. Night is the sky over this poem. It is too black for stars. And do not look for any illumination. You neither can nor should understand what it means. Listen, it comes without guitar, Neither in rags nor any purple fashion. And there is nothing in it to comfort you. Close your eyes, yawn. It will be over soon. You will forget the poem, but not before It has forgotten you. And it does not matter. It has been most beautiful in its erasures. O bleached mirrors! Oceans of the drowned! Nor is one silence equal to another. And it does not matter what you think. This poem is not addressed to you.

Here Justice dramatizes the impersonal for its comic potential: everyone feels that their lives are dear but knows otherwise. The incongruity between how people feel about themselves and what they know about themselves is the stuff of Justice's quiet laughter. The high regard for objectivity and impersonalism that dominated the poetics of the first half of the century has been taken to its ultimate conclusion: "This poem is not addressed to you." The trust formerly placed in reason and the tradition has been replaced with an aesthetic that "has the spurious glamor of certain voids," where the mirrors are "bleached" and

726 / AMERICAN WRITERS "Oceans" are full "of the drowned!" This is the playfulness of Stevens and the hopefulness of Eliot treated to a later set of "beautiful erasures." What might be called Justice's attitude of oblivion, in the sense that Departures' existentialism is considered more an attitude than a systematic philosophy, is perhaps best seen in the poem "Homage to the Memory of Wallace Stevens," which begins, Hartford is cold today but no colder for your absence. The rain is green over Avon and, since your death, the sky Has been blue many times with a blue you did not imagine. The judges of Key West sit soberly in black But only because it is their accustomed garb, And the sea sings with the same voice still, neither serious nor sorry.

Justice appears at the end of the first section, as "The poet practicing his scales" who "Thinks" of Stevens "as his thumbs slip clumsily under and under, / Avoiding the darker notes." Here suddenly the reader is close to the blackbirds and peacocks that populated Stevens' world. By the end of Justice's poem the reader has moved through concerns registered by Stevens' "The Comedian as the Letter C," "The Idea of Order at Key West," and "Final Soliloquy of the Interior Paramour," as the sad actuary of Hartford Stevens has been treated to "new flutterings, new adieux." This is the late lost faith of Stevens in "Sunday Morning," the pigeons descending ambiguously to darkness, or in Justice's treatment somewhat less importunately, "the singers" who join "the picnic . . . minus their golden costumes." Justice is not the fabulist that Stevens is, but he uses the embroidery of a Stevens poem to capture the isolation both he and Stevens recognize, what in "Final Soliloquy" Stevens summarizes by saying, "How high that highest candle lights the dark." Justice, in fact, seems to find the inventiveness in

Stevens a dramatization of just how little material there is to spread over the void. Where Stevens appears almost giddy with invention, Justice is, by comparison, tersely plainspoken. And it is here, in the plain style, that Justice's rewrite of the modernists' objectivity and impersonalism reads most naturally. He sometimes pulls the brocade of a Stevens poem out of the drawer and shows it around, but he always puts it back, and usually does so with some sobering concluding observation. "What has been good? What has been beautiful?" Justice asks. It has been that which in conclusion Justice calls "this almost human cry." A bit less invention on Stevens' part, Justice suggests, would result in a bit more humanity. Nothing is plainer than the "cry," and it is perhaps most human and convincing when lowered or even silenced. In "Men at Forty," from Night Light (1967) one of Justice's best known earlier poems, isolation and loss are depicted in a deceptively muted way: Men at forty Learn to close softly The doors to rooms they will not be Coming back to. At rest on a stair landing, They feel it moving Beneath them now like the deck of a ship, Though the swell is gentle.

These men "are more fathers than sons . .. now," as at "twilight" the sound of "crickets" grows immense, "Filling the woods at the foot of the slope / Behind their mortgaged houses." The scale of the world both indoors and out has grown huge in inverse proportion to the diminishment of the middle-aged men Justice describes. Part of the predicament here is dramatized by the details Justice chooses—stair landings one reaches out of breath, boys practicing tying ties discovered suddenly in the faces of fathers, and the peaceful but enveloping immensity of an uneventful twilight surrounding a neighborhood that is not paid

DONALD JUSTICE / 127 for so much as merely mortgaged, the pun here suggesting that ownership and mortality are never separated. Rather than raising his voice or dazzling his reader with bright flourishes, Justice restricts what he has to say to the muted tones of understatement. The effect of understatement in Justice's plain style, with its rhythmical control and economical precision of imagery, is to increase the duration of the poem in the reader's mind. The poet's restraint makes the reader's participation such that he completes some of the poem's business. The effect of this is the reader's strong conviction that the poem is true. Truth is the most durable aesthetic of all. The guiding principle behind the plain style and the musical balance of Justice's poetry is, finally, honesty found in a clarity of mind that refuses to make anything more or less of our lives than what they are. Precise with every detail, Justice sees things in both their fullest and plainest implications, holding them up to the unadorned light of imagination and technique. Time curves as Justice's poems consistently return to what matters most—those places where the past and present meet as we live our daily lives. In its directness the plain style is open to a variety of talents, and this has made Donald Justice's poetry a safe haven for many younger poets. In its subtleties, however, its modulations of tone and rhythmical movement as well as its nuanced meanings, Justice's poetry offers a wide expanse for anyone to navigate.

Selected Bibliography WORKS OF DONALD JUSTICE

The Summer Anniversaries. Middletown, Conn.: Wesleyan University Press, 1960. A Local Storm. Iowa City: The Stone Wall Press and The Finial Press, 1963. Three Poems. Iowa City: Virginia Piersol, 1966. Night Light. Middletown, Conn.: Wesleyan University Press, 1967. Sixteen Poems. Iowa City: The Stone Wall Press, 1970. The Seven Last Days: for SATB Chorus, Percussion, 2 Stereo Tape Playback Systems, and 16mm Silent Film. Lyrics for music by Edward Miller. E. C. S. Mixed Media Series, no. 2906. Boston: E. C. Schirmer, 1971. From a Notebook. Iowa City: The Seamark Press, 1972. Departures. New York: Atheneum, 1973. L'Homme qui seferme: A Poem by Guillevic: A Translation and an Improvisation by Donald Justice. Iowa City: The Stone Wall Press, 1973. Selected Poems. New York: Atheneum, 1979. In the Attic. West Branch, Iowa: Toothpaste Press, 1980. Tremayne: Four Poems. Iowa City: Windhover Press, 1984. Men at Forty. Colorado Springs: The Press at Colorado College, 1985. The Death of Lincoln. Libretto for an opera by Edwin London. Austin: W. Thomas Taylor, 1988. Young Girls Growing Up. Minneapolis: Minnesota Center for the Book Arts, 1988. Banjo Dog: Poems and Linocut Illustrations. Riverside, Calif.: Thaumatrope Press, 1995. New and Selected Poems. New York: Alfred A. Knopf, 1995. The Ballad of Charles Starkweather. With Robert Mezey. West Chester, Pa.: Aralia Press, 1997. Orpheus Hesitated beside the Black River: Poems 1952-1997. London: Anvil Press, 1998.

PROSE

Platonic Scripts. Poets on Poetry. Ann Arbor: University of Michigan Press, 1984. Oblivion: On Writers and Writing. Ashland, Oreg.: Story Line Press, 1998.

POETRY

INTERVIEWS

The Old Bachelor and Other Poems. Miami: Pandanus Press, 1951.

Walsh, William. "An Interview with Donald Justice." Chattahoochee Review 9:77-96 (Summer 1989).

128 / AMERICAN WRITERS OTHER WORKS

The Sunset Maker: Poems, Stories, a Memoir. New York: Atheneum, 1987. A Donald Justice Reader: Selected Poetry and Prose. The Breadloaf Series of Contemporary Writers. Middlebury, Vt.: Middlebury College Press, 1991. BOOKS EDITED BY DONALD JUSTICE

Kees, Weldon. The Collected Poems of Weldon Kees. Iowa City: The Stone Wall Press, 1960. Contemporary French Poetry: Fourteen Witnesses of Man's Fate. With Alexander Aspel. Ann Arbor: University of Michigan Press, 1965. Syracuse Poems, 1968. Syracuse, N.Y.: Department of English, Syracuse University, 1968. Coulette, Henri. The Collected Poems of Henri Coulette. With Robert Mezey. Fayetteville: University of Arkansas Press, 1990. Miller, Raeburn. The Comma after Love: Selected Poems ofRaeburn Miller. Akron: University of Akron Press, 1994. Bolton, Joe. The Last Nostalgia: Poems, 1982-1990. Fayetteville: University of Arkansas Press, 1999. MANUSCRIPT PAPERS

University of Delaware Library. Dover, Delaware. BIBLIOGRAPHY Peich, Michael, and Jeffrey Cobb. "Donald Justice: A Bibliographical Checklist." In Certain Solitudes: On the Poetry of Donald Justice. Edited by Dana Gioia and William Logan. Fayetteville: University of Arkansas Press, 1997.

CRITICAL AND BIOGRAPHICAL STUDIES Baro, Gene. Review of The Summer Anniversaries. New York Herald Tribune Books, September 4, 1960, p. 6. Bawer, Bruce. "The Poetry of Things Past and Passing." Washington Post Book World, January 3,1988, pp. 4, 6. (Includes a review of The Sunset Maker: Poems, Stories, a Memoir.) Bedient, Calvin. "New Confessions." Sewanee Review 88:474-488 (Summer 1980). (Includes a review of Selected Poems.)

Brainard, Dulcy. Review of New and Selected Poems. Publishers Weekly, August 28, 1995, p. 108. Bruns, Gerald. "Duration Is Destination—Verse in the Eighties." Southwest Review 65:218-220 (Spring 1980). (Includes a review of Selected Poems.) . "Anapostrophe: Rhetorical Meditations upon Donald Justice's 'Poem.' " Missouri Review 4:7076 (Fall 1980). Burke, Herbert C. "Leaps and Plunges." Times Literary Supplement, May 18, 1967, p. 420. (Includes a review of Night Light.) . Review of Night Light. Library Journal, February 1, 1967, pp. 586-587. Collier, Michael. Review of The Sunset Maker: Poems, Stories, a Memoir. Partisan Review 55:490-492 (Summer 1988). Conarroe, Joel O. "Five Poets." Shenandoah 18:84-91 (Summer 1967). (Includes a review of Night Light.) Cook, Eleanor. "He That of Repetition Is Most Master." Partisan Review 64:671-673 (Fall 1997). (Includes a review of New and Selected Poems.) De Jong, Mary Gosselink. " 'Musical Possibilities': Music, Memory, and Composition in the Poetry of Donald Justice." Concerning Poetry 18:57-67 (1985). Dunn, Douglas. "Paging the Oracle: Douglas Dunn Reviews Recent Poetry." Punch, January 15, 1988, pp. 44-^5. (Includes a review of The Sunset Maker: Poems, Stories, a Memoir.) Ehrenpreis, Irvin. "Boysenberry Sherbet." New York Review of Books, October 16, 1975, pp. 3-4. (Includes a review of Departures.) Elliott, George P. "Donald Justice." Perspective 12: 173-179 (Spring 1962). Fitts, Dudley. "Separate Voices." New York Times Book Review, February 19, 1961, p. 36. (Includes a review of The Summer Anniversaries.) Foy, John. "The Marriage of Logic and Desire: Some Reflections on Form." Parnassus: Poetry in Review 23:287-308 (1998). (Includes a review of New and Selected Poems.) Gioia, Dana. "Three Poets in Mid-Career." Southern Review 17:667-674 (July 1981). (Includes a review of Selected Poems.) Gioia, Dana, and William Logan, eds. Certain Solitudes: On the Poetry of Donald Justice. Fayetteville: University of Arkansas Press, 1997. Gunn, Thorn. "Voices of Their Own." The Yale Review 49:589-598 (Summer 1960). (Includes a review of The Summer Anniversaries.)

DONALD JUSTICE / 129 Haines, John. "Poetry Chronicle." The Hudson Review 50:317-324 (Summer 1997). (Includes a review of New and Selected Poems.) Hartnett, David. "Mythical Childhoods." Times Literary Supplement, April 15-21,1988, p. 420. (Review of The Sunset Maker: Poems, Stories, a Memoir.) Hirsch, Edward. Review of The Sunset Maker: Poems, Stories, a Memoir. New York Times Book Review, August 23, 1987, p. 20. Hofmann, Michael. "Gestures of Intricate Refusal." New York Times Book Review, December 10 1995, pp. 13-14. (Review of New and Selected Poems.) Hollinghurst, Alan. "Good for Nothing?" New Statesman, August 23, 1980, pp. 17-18. (Includes a review of Selected Poems.) Howard, Ben. "Places and Losses." Poetry 154:340351 (September 1989). (Includes a review of The Sunset Maker: Poems, Stories, a Memoir.) Howard, Richard. "As the Butterfly Longs for the Cocoon or Looping Net." In Alone with America: Essays on the Art of Poetry in the United States Since 1950. New York: Atheneum, 1969. Pp. 247257. . "Poetry by the Yard?" Times Literary Supplement, March 29, 1974, p. 340. (Includes a review of Departures.) . "New Work from Three Poets." North American Review 259:78-80 (Spring 1974). (Includes a review of Departures.) Irving, John. Review of The Sunset Maker: Poems, Stories, a Memoir. In "Summer Reading," edited by Dianne Donovan. Chicago Tribune Books, June 21, 1987, p. 3. Jarman, Mark. "Ironic Elegies: The Poetry of Donald Justice." Pequod: A Journal of Contemporary Literature and Contemporary Criticism 16-17:104109 (1984). Kirby, David. "Refined Craftsman." American Book Review 15:26 (April-May 1993). (Review of A Donald Justice Reader: Selected Poetry and Prose.) Kitchen, Judith. "The Ladybug and the Universe." The Georgia Review 50:386-403 (Summer 1996). (Review of New and Selected Poems.) Kniffel, Leonard. Review of The Sunset Maker: Poems, Stories, a Memoir. Library Journal 112:71 (May 1987). Lang, Doug. "The Pleasures of Poetic Justice." Washington Post Book World, February 10, 1980, p. 11. (Includes a review of Selected Poems.)

Leithauser, Brad. "Getting Things Right." New York Review of Books, September 19, 1996, pp. 49-52. (Includes a review of New and Selected Poems.) Lynch, Doris. Review of A Donald Justice Reader: Selected Poetry and Prose. Library Journal 116: 144, 146 (December 1991). McClatchy, David. "Summaries and Evidence." Partisan Review 47:639-644 (Fall 1980). (Includes a review of Selected Poems.) McConnel, Frances Ruhlen. "Poetic Justice in Haunting Elegies of America's Past." Los Angeles Times Books, August 12, 1987, p. 10. (Review of The Sunset Maker: Poems, Stories, a Memoir.) McCorkle, James. "Donald Justice: The Artist Orpheus." The Kenyon Review 19:180-188 (SummerFall 1997). (Review of New and Selected Poems.) McCoy, James A. " 'Black Flowers, Black Flowers': Meta-Criticism of Donald Justice's 'Bus Stop.' " Notes on Contemporary Literature 26:9-10 (November 1996). McGann, Jerome J. "The Importance of Being Ordinary." Poetry 125:44-52 (October 1974). (Includes a review of Departures.) Miller, Jane. "Working Time." American Poetry Review 17:9-21 (May 1988). (Includes a review of The Sunset Maker: Poems, Stories, a Memoir.) Moles worth, Charles. "Anniversary Portraits." New York Times Book Review, March 9, 1980, pp. 8, 16. (Includes a review of Selected Poems.) Monaghan, Pat. Review of A Donald Justice Reader: Selected Poetry and Prose. Booklist, January 1, 1992, p. 805. Morris, John N. "Making More Sense Than Omaha." The Hudson Review 27:106-118 (Spring 1974). (Includes a review si Departures.) Murphy, Bruce. Review of New and Selected Poems. Poetry 168:168-171 (June 1996). Ostroff, Anthony. "A Gathering of Poets: The Jamesian Midwest." Western Humanities Review 29: 292-307 (Summer 1974). (Review of Departures.) Peters, Robert. "A Child in the House." American Book Review 4:15 (January-February 1982). (Review of Selected Poems.) Peterson, M. Review of Platonic Scripts. Choice 22: 815 (February 1985). Ramsey, Paul. "American Poetry in 1973." Sewanee Review, 82:393-406 (Spring 1974). (Includes a review of Departures.)

130 / AMERICAN WRITERS . "In Praise of Makers: American Poetry in 1979." Sewanee Review 88:665-671 (Fall 1980). (Includes a review of Selected Poems.) Rewa, Michael. " 'Rich Echoes Reverberating': The Power of Poetic Convention." Modern Language Studies 9:25-32 (Winter 1978-1979). Richman, Robert. "Intimations of Inadequacy." Poetry 162:160-166 (June 1993). (Review of A Donald Justice Reader: Selected Poetry and Prose.) Ryan, Michael. "Flaubert in Florida." New England Review and Bread Loaf Quarterly 7:218-232 (Winter 1984). Schulman, Grace. Review of The Sunset Maker: Poems, Stories, a Memoir. Nation, December 26, 1987-January 2, 1988, p. 803. Sheridan, Michael. "The Poetry of Donald Justice, Gentleman." New Letters 48:114-116 (Fall 1981). (Review of Selected Poems.) Simon, Greg. " 'My Still to be Escaped From': The Intentions of Invisible Forms." American Poetry Review, March-April 1976, pp. 30-31. (Review of Departures.) Spiegelman, Willard. "Inflections and Inuendos." The Yale Review 84:160-183 (Spring 1996). (Includes a review of New and Selected Poems.) St. John, David. "Memory as Melody." The Antioch Review 46:102-109 (Winter 1988). (Review of The Sunset Maker: Poems, Stories, a Memoir.) . "Scripts and Water, Rules and Riches." The Antioch Review 43:309-319 (1985). (Includes a review of Platonic Scripts.) Stefanile, Felix. Review of A Donald Justice Reader: Selected Poetry and Prose. The Christian Science Monitor, April 20, 1992, p. 13.

Strand, Mark. "Poetic Justice: Poems of Rapture and Restraint." New Yorker, November 13, 1995, pp. 124-126. (Review of New and Selected Poems.) Swiss, Thomas. "The Principle of Apprenticeship: Donald Justice's Poetry." Modern Poetry Studies 10:44-58 (Spring 1980). Turco, Lewis. "Of Laureates and Lovers." Saturday Review, October 14, 1967, pp. 31-33, 99. (Includes a review of Night Light.) . "The Progress of Donald Justice." The Hollins Critic 29:1-7 (1992). Watkins, Clive. "Some Reflections on Donald Justice's Poem 'After a Phrase Abandoned by Wallace Stevens.' " The Wallace Stevens Journal: A Publication of the Wallace Stevens Society 17:236-244 (Fall 1993). Wertime, Richard. "Poets Prose." The Yale Review 74:602-609 (Summer 1985). (Includes a review of Platonic Scripts.) Wormser, Baron. Review of The Sunset Maker: Poems, Stories, a Memoir. Boston Review, June 1987, p. 27. Wright, Charles. "Homage to the Thin Man." Southern Review 30:741-744 (Autumn 1994). Yenser, Stephen. "Bright Sources." The Yale Review 77:115-147 (Autumn 1987). (Includes a review of The Sunset Maker: Poems, Stories, a Memoir.) Young, Alan. "Identifying Marks." Times Literary Supplement, May 30, 1980, p. 620. (Includes a review of Selected Poems.) Young, Vernon. "Two Hedgehogs and a Fox." Parnassus: Poetry in Review 8:227-237 (Fall-Winter 1979). (Includes a review of Selected Poems.) —WYATTPRUNTY

William Kennedy 1928—

I

bility, a signature Creole of street argot and highflown eloquence. When Martin Daugherty, a luckless 1930s column writer in Billy Phelan's Greatest Game (1978), approaches Albany's political boss Patsy McCall to find out if a younger McCall has been kidnapped, Martin speaks in the accent of Kennedy's mythical Albany: " 'It's what's right,' Martin said, standing up, thinking: I've still got the gift of tongues. For it was as true as love that by talking a bit of gibberish he had verified, beyond doubt, that Charlie Boy McCall had, indeed, been grabbed." William Kennedy was born in North Albany on January 16, 1928, to William Joseph Sr. and Mary Elizabeth McDonald Kennedy. He received his bachelor's degree from Siena College in Loudonville, New York, in 1949. In 1950 he was drafted into the military where he worked as an editor on the Fourth Division's newspaper. In 1956, he moved to Puerto Rico and worked as a columnist and editor for various publications. He continued his newspaper career after moving back to Albany in 1963, when he also began to write fiction. William Kennedy is where he has always wanted to be, headquartered both in Albany, New York, and in the forefront of American novelists. The story of his rise to success and the birth story

N THE YEAR 2000, William Kennedy turned seventy-two years of age. Although an obscure writer into his fifties, Kennedy more than came into his own in the 1980s and 1990s. The exjournalist's minimal vision, to which he admitted in an interview with Penny Maldonado in 1969— "All my life I've wanted to live as a writer, where you give your own assignments"—has become maximal reality. He is undeniably one of the elder statesmen of American letters, but he is a rarity even among literary notables: his life's work—a cycle of historical novels grounded with dogged idiosyncrasy in the history and neighborhoods of Albany, New York—continues to expand and knit together like nerve tissue, character by character, dynastic sub-sub-plot by sub-sub-plot, dendrite by dendrite, and word by word. It would hardly be exaggerating to say that each new novel Kennedy publishes raises the already high IQ of those that preceded it. For this productive focus, this clarity of purpose and literary vision, Kennedy is universally regarded as a Serious writer, a man of intellectual heft and imaginative candlepower. Yet it is his verbal razzmatazz, the rakish play of the sentences, that make up his often comedic Serious fiction, for which he is most admired. It is the medium by which Kennedy's gangsters and pimps and low-life bums achieve momentary no-

131

132 / AMERICAN WRITERS of the Albany Cycle itself have a great deal to tell his audience not only about Kennedy the writer but also about the popular and literary cultures that validated and influenced him. And yet, if one sets the novels of William Kennedy beside the career-story of the novelist William Kennedy, one can't help but notice something strange and seemingly unaccountable: as the Albany Cycle itself has grown larger, more ambitious, and less susceptible to casual analysis, Kennedy's own career-story has been methodically simplified, truncated, and converted into digestible myth. The one seems to have expanded exponentially at the expense of the other. Nearly all of the interviews and articles on Kennedy published after 1983—and there have been more than a few—begin with some thumbnail variation on what one critic has called the Parable of the Good American Novelist. The story, as it is usually told, is that Kennedy, a working journalist laboring in obscurity over highly literary books about highly uncommercial topics, burst into fame and fortune in 1983, winning a $264,000 MacArthur Foundation Fellowship (also known as the "genius" award), as well as the National Book Critics Circle Award in 1983 and the Pulitzer Prize in 1984 for his fourth novel, Ironweed (1983). These events are sometimes cast in explicitly moralistic terms: Kennedy's diligence and refusal to sell out commercially were justly rewarded, as if by magic, with instant recognition of his genius, as well as matching wealth, popular fame, and connections in Hollywood. While there is, in fact, much truth to this popular sketch, clearly much has been elided in the tale of Kennedy's rise to prominence and the slow evolution of his work. No one has thought more about this phenomenon than Kennedy himself, and he has suggested several crucial reasons for his apparent windfall: a "sudden concentration of books about a single place with interconnected characters," Viking's decision to package

Ironweed with Billy Phelan 's Greatest Game and Legs (1975) and market it as a cycle, and the fact that by 1983, William Kennedy was no longer an apprentice but, as he told Kay Bonetti, "a journeyman now," who knew how to write and structure an excellent novel. What I will suggest throughout the course of this overview of Kennedy's work is that part of what has made Kennedy a writer of the first note is his penchant not only for writing, but for listening, for acting in dialogue with the writing culture around him. Much of this dialogue has been explicitly, energetically, and evidently joyously conducted: early in his career, Kennedy made a specialty of interviewing writers of note, including among many others Gabriel Garcia Marquez, Saul Bellow, and Norman Mailer, and since coming to prominence himself he has been unstintingly generous in providing interviews to others. Two facets of this ongoing dialogue bear mentioning here. First, I'll address a running critical disagreement over the size, scope, and what might be called the narrative physics of Kennedy's books of fiction, neatly labeled the Albany Cycle—a classification that can be applied only confusingly to Kennedy's first and most aggressively experimental novel, The Ink Truck (1969). In this instance, Kennedy has both profited by—and been the ongoing victim of—preconceptions about the shape of the story he tells. While the MacArthur Foundation recognized the rare genius in Kennedy's first tentative attempts to tell outsized stories with the sprawl and the occasional cul-de-sac feel of history itself, later critics have found fault (particularly with the later novels) for what they see as their disjointed or uneven quality. It will be my contention that Kennedy's novels' relationships are simply too complex to be contained by the generic term; each winds up becoming something more and different than a linear, selfcontained narrative. Second, I will drop in and out of a debate— some of it fascinating, some of it arguably over-

WILLIAM KENNEDY / 133 blown—concerning the nature and the role of women in the Albany Cycle. Criticism on this score has not been pervasive by any means, but it has been persistent, and it is perhaps the one area where Kennedy has proven maladroit in the many cultural conversations I'll reference. A writer who associated himself early and often with progressive and liberatory political movements, from the Civil Rights movement of the 1960s to the early Puerto Rican Social Democrats, he has clearly been stung by the insinuation that his own work might be seen as unconsciously complicit in oppression of any sort, patriarchal or otherwise. Although, as he told the interviewer Neila C. Seshachari, Kennedy often makes a point of maintaining "I've never answered a critic in my life that I can remember," he has answered his feminist critics on a number of occasions, usually in language less than good-humored. He has occasionally counterattacked in somewhat personal terms, as in a 1996 interview with Kay Bonetti when he maintained that "not all critics are serious. Some are not even critics. . . . The idea that I either make them [women] Madonnas or prostitutes, or projections of the male protagonists is literary slander. It often comes from male critics who wish they were feminists." More frequently Kennedy has answered this critical line with the argument that his historical subject is a sexist society, thus necessitating a central place for male institutions and male objectification of women, but he has made the argument both dismissively and repetitively. In 1984, he suggested to Kay Bonetti that "That's a ridiculous criticism because that was a book about men, about a society of males. You didn't see women in that society. . . . You can't satisfy partisan critics, advocacy critics, in every book and I think generally it's unfair to attack a writer on these grounds until you look at the body of the work and see if he's truly what you say he is." To the careful student of Kennedy's work and thought, these responses can have an uncharac-

teristically touchy, even illogical feel. The counterattack on "advocacy critics," to take one instance, seems at odds with the Kennedy otherwise so dedicated to politically potent fiction, and to critiquing the work of other writers in explicitly political terms. The paradox is a small one in the wealth of Kennedy's literary contribution, but it is worth examining as a window onto Kennedy's growth as an author. For while his interview responses on the subject have been occasionally defensive and arguably static, Kennedy's novels have deepened and gained complexity on this score. His point above is well taken: a writer should be judged on the qualities of more than one piece of work, in particular where that judgment has direct political ramifications, and indirect ramifications for the author's literary character. That is what I intend to do as part of an overall examination of his novels and their changing character over time.

THE EARLY NOVELS: THE INK TRUCK AND LEGS

I've suggested only half jokingly above that each Kennedy novel, operating within an expansive and interconnective framework, manages to raise the already high IQ of those that preceded it. By that I mean that Billy Phelan's Greatest Game, Ironweed, Quinn's Book, Very Old Bones, and The Flaming Corsage draw provocatively on fragments of backstory from earlier books in the sequence. Seemingly throwaway bits of character history in one book bloom into entire novels— complex, only seemingly self-contained works which drop their own narrative seeds for later novels. The eponymous hero of Legs, for example, makes a cameo appearance in Billy Phelan; Francis Phelan, Billy's absent father, moves from the background of Kennedy's third novel to the foreground of Ironweed, his fourth, and so on.

134 / AMERICAN WRITERS In a roundabout way, then, the earlier novels— when reconsidered after a reading of the later novels—seem to resonate with added meaning, drama, and historical import. It is an effect that Kennedy and his publishers have attempted to extend to the earliest novels over the years, with mixed success. But the Albany Cycle, as malleable a construct as it may be, is not infinitely flexible. Kennedy's first novel, a brash and strange book called The Ink Truck, remains an orphaned work in this regard, in spite of Kennedy's attempt in a 1984 author's note to insist that the nameless, somewhat featureless city in his first novel was and is Albany, an implicit argument that his first effort belongs in the Cycle as well. Many critics, in fact, simply pass over The Ink Truck in their reckoning of Kennedy's novels, mistakenly referring to Legs as his first, and so on. To be frank, Kennedy's first novel is in many ways forgettable. Kennedy invariably describes it as a story "six inches off the ground"—a reference to the various unreal and surreal elements, but the phrase inadvertently captures the book's alienating qualities as well. Still, there are moments of imagistic brilliance, and its structure and themes are not far removed from those of Billy Phelan or Ironweed, for instance. Moreover, in its disregard for much of the factual world of the sixties, Kennedy's first novel was an early indication that given the choice between a carefully revivified past and an unpredictably unfolding present, Kennedy would almost always instinctively choose the former.

THE INFLUENCE OF DAMON RUNYON

A strange effect dominates the first half of The Ink Truck. In spite of the occasional mention of a late 1960s detail—acoustical-tile, polyunsaturated margarine—the novel immediately develops a dated feel, the sense that it is taking place

not amid moon shots and the flowering of hippie culture, but instead in the 1930s world of Damon Runyon, Raymond Chandler, and true labor militancy. While Kennedy himself prefers to see the work developing out of the Civil Rights movement, that connection is much harder to trace than his "residual affection for the Wobblies and the other labor organizations of the thirties and forties." Before long, The Ink Truck shrugs off even the superficial connections to the writer's contemporary scene and becomes, for all practical purposes, a novel set in the 1930s. In part, the effect stems from Kennedy's diction, inflected as it always is with outdated argot, slang that sounds ironically fresh because it is clearly from a bygone era. The tone gently verges, now and again, on the archaic: "Bailey, never bored with this condition, always mystified by it, took comfort from the emptiness, the fixed quality, preferred it to that formless clot of old." The connection to Runyon, mentioned above, is not incidental—Kennedy invokes Runyon's popular 1930s fiction and journalism faithfully in nearly every interview he gives. Runyon's Broadway and Kennedy's, though cutting through ostensibly different New York cities, share a great deal in terms of character and linguistic style. The similarities occasionally extend to plot as well, though Kennedy's acknowledgment of the debt is not only clear, but typically rendered in the form of homage. Damon Runyon's fictional world, composed as it is of lovable tough guys and gold-digging dolls, provides an especially crucial context for Kennedy's first three novels. The Ink Truck, Legs, and Billy Phelan draw heavily from a Runyonesque vision of life on the margins of society, and if that vision is essentially sentimental beneath its grit, it is also an avowedly and raucously male environment. "Dolls," in Runyon's lexicon, are exotic dancers and B-girls, with the addition of the occasional society woman slumming with the

WILLIAM KENNEDY / 135 better-looking gangsters on Broadway. In Runyon's hands the men and women of Broadway maintain the sort of rough parity suggested by the title of his most famous work, Guys and Dolls: if the guys come first, they are more or less in balance with the dolls, neither better nor braver, usually equally quickly drawn, two comic stereotypes tripped up again and again by the unexpected presence of Love. Kennedy's early work not only bypasses Runyon's trademark farce for the semiserious (Billy Phelan), even the authentically tragic (Ironweed), it passes more completely into the all-male realm, and in so doing Kennedy accomplishes what Runyon never could: probing, often searing portraits of lone Broadway characters, and powerful denunciations of the herd mentality that underlies the seeming individualism of Albany's night world. But in so doing, early Kennedy also occasionally grades into a jarringly simplistic approach to the female characters. These two poles—serious, soul-searching prose offset by clumsy or whimsically sexualized interludes— particularly define both The Ink Truck and its central character, Bailey.

THE INK TRUCK: A FIRST NOVEL "SIX INCHES OFF THE GROUND"

Bailey, the striking Guildsman hero of The Ink Truck, moves in and out of consciousness on a regular basis throughout the novel. His dreams, visions, prolonged bouts of semiconsciousness, and hunger-induced (mis)perceptions all contribute to a cumulative sense of uncertainty as to the essential facts of the novel—Bailey often does not know, for instance, exactly where he is, a rarity in a Kennedy novel. And Bailey, while a newspaperman, is a writer of columns without reference points for his readers, absurd parodies of the columnist's art. One of these reads, in part, like the pleasantly inscru-

table flights associated with Richard Brautigan: "Thank you for your pooka. . . . If you ever get out this way stop in for a pooka. Yours truly, Joe the dog." Like "Trout Fishing in America," Brautigan's seemingly simple but finally impenetrable metaphor for 1960s America, the word "pooka" becomes Bailey's own neologistic refuge from a world he no longer trusts. Bailey has embraced the lack of relevance, the lack of meaning, of the absurdist world that confronts him; in his case a world in which his newspapermen's Guild has been striking against their employers unsuccessfully for one full year, over issues not much grander than seating in the lunchroom and a minimal pay increase. Of the four Guild members remaining, only Bailey, his friend Rosenthal, and their female counterpart Irma have remained true to the principles of the strike. Quickly Bailey learns that Irma, too, is quitting the Guild to marry a respectable undertaker, and that the Guild's official leader, a buffoon named Jarvis, has ordered them to stage a one-car motorcade in front of the newspaper building. Bailey's perception that he's hit bottom is suddenly exposed as a fantasy; he learns that, outside the protective dictatorship of the Company (the newspaper), there is always farther to fall. A chance barroom meeting with a truck driver offers Bailey the opportunity to strike back in an unexpected and highly symbolic way. The driver confides to Bailey that he used to drive an ink truck, and that he knows how to pull the pin beneath the main tank. It is an image that immediately entrances Bailey, but the reader gets ample warning that the rules of Bailey's world will not allow a perfectly straightforward counterattack. His meeting with the truck driver dives quickly into absurdity. Kennedy's dialogue, meticulously crafted and second to no other writer's, is as sharp in his first book as in any that follow: "You drove an ink truck," Bailey said. "I heard you talkin' about one."

136 / AMERICAN WRITERS "You heard us talking." "This is too deep for me," Rosenthal said. "See you at lunch," and he went out. "Now," Bailey said to the driver. "No. Not now. I used to." "I'm afraid I don't understand." "I say I used to drive an ink truck." "An ink truck," Bailey said.

The words "ink truck" become a senseless mantra, like Bailey's use of "pooka," suggesting that the meaninglessness of language, and the things it describes, is spreading progressively throughout the world of the novel. And when he meets the driver later to learn precisely how to pull the truck's pin, Bailey's tutorial grows absurdly complex until Bailey's sense of understanding is extinguished. Yet at the end of it, he nods. Still, flushed with new confidence, Bailey's dreams of the ink spill provide the novel's spiritual and symbolic center. In the black void of ink, forced onto white snow, Bailey finds an image that matches his desire for sustenance and salvation outside the confines of social institutions. The vision unfolds completely only when he has crawled under the truck, his friends' diversion holding the guards' attention for a fleeting moment, only to discover that there is no pin visible at all. A square of padlocked sheet metal covers all. From an unseen source inside the steel sheet, ink dripped, only one drip since this instant began, but it caught his eye. It had soaked outward into the snow in concentric circles, black into gray into white. At the center, where it fell, where it had fallen for all the time that the ink truck was parked, the ebony blackness shone up like the eye of the devil. Transfixed by the spot, he stared into the timelessness and the futility of his deeds. Why did he rely on others? Why did he yield to the seduction of impossible dreams? He knew he was better than his failures, but in the center of himself a seed burst and a black flower bloomed. Did only the seeds of new abomination lurk beneath the crust? Another drop.

Kennedy's symbolic play—coupled with the almost effortless distension of time here—suddenly takes the examination of Bailey's character to a bracing new level. It is a trademark Kennedy moment: a deep, almost meditative focus on a seemingly pedestrian object, a focus that suddenly and mystically touches the soul of a character. And the novel surges forward once Kennedy has found access, through image, to the depths of his character. It becomes, qualitatively, an entirely different work. It is in this mode that Bailey, and Kennedy, punch through to something strange and wonderful, something that would later become the Albany Cycle itself. After having been temporarily beaten by the Company, Bailey goes to work in the subterranean levels of the city library. It is a narrative move that both Kennedy and a number of critics have linked to the epic model, in which the classical hero visits the underworld and reemerges with a renewed sense of purpose. While there he becomes literally immersed in ancient newspapers and this, in conjunction with his growing alienation and physical weakness, leads to a narrative leap into historical surrealism: He moved toward it, touched the wall, then a door, pushed it and stepped into what he took, because of the overcast, to be the waning light of day. But he had lost track of time and could not be sure. The overcast was almost a fog, and the air had an acrid smell when he swallowed it. He had left his coat in the library, but he did not need it ... he walked down a slight hill, and when he looked back he could no longer see the library, so shrouded in the pall of fog was the hill. He walked on a planked sidewalk and was swept backward by a stream of people coming at him from the city gate.

Again, as with the vision of spilling ink, this passage shows Kennedy at his surest, his most visionary, even in the midst of his earliest and arguably his worst novel. He manages to move Bailey and the reader out of the nominal 1960s

WILLIAM KENNEDY / 137 framework of the book and directly into a stunning re-creation of an actual nineteenth-century Albany cholera outbreak. It is the high moment of the novel, without doubt, one that shows Bailey as a serious character, one with uncharted depths. But throughout the book, this deeper Bailey— as well as the central narrative line that seeks to illuminate him—competes with a ribald, undeniably juvenile Bailey, and in various ways the novel proves unable to isolate itself from this Bailey's failings. Here Kennedy seems to be working with a fictional strain closer to Chandler or Ian Fleming, creating an effortless sexual hero, a man perfectly constructed to expose the weakness of women. Typically, and oddly, a childish verbal play characterizes Bailey's sexual thoughts, and the same holds true for his best friend Rosenthal, a fact that seems to point more to the omniscient narrator than anything else. This fact has led even some of Kennedy's most sympathetic critics to balance their defenses of The Ink Truck with puzzled attempts to explain the novel's fetishistic attention to breasts (one critic has gone so far as to portray Bailey's desperate attempts to milk the ink truck itself as a crude exaggeration of this tendency). Kennedy has made clear his distaste for critics who act as "literary cops," as he called them in an interview with Neila Seshachari, and I should clarify that my point here is neither that breasts in novels are taboo, nor that portraying a sexist character or society is taboo. What seems worthy of note, rather, is that the sexual vulgarity of The Ink Truck often seems to exceed any individual character or indeed any particle of the society at issue. Instead, the narrative itself occasionally assumes the unenlightened status assigned within it to Bailey. When Bailey and Rosenthal meet and discuss Irma's defection, they immediately reduce her to a set of erogenous zones, and they do so again with a narrative wink. When Bailey criticizes Ro-

senthal's attempts to sexualize Irma, he does so only in such a way as to make a mockery of such criticism: "I hate to see her go. She's our last contact with sex." "You circumcised pig. Just because Irma has mountains like the Alps, a valley like the Rhine and the lips of a queen bee, you forget she has a mind. Curb your Semitic dangle, Rosenthal. Remember there's more to life than humpybumps."

The warning from Bailey couldn't be more undercut, not that the reader could take it seriously coming from him in the first place. He has, after all, bedded and dropped Irma somewhere in the not too distant past. Even as he's making a pose of treating Irma with some respect, Bailey is engaging in more lascivious play with her image, finishing as per usual with another naughty nursery rhyme-like reference to her breasts. And this is the direction that the novel as a whole pursues: even as it occasionally offers a (mock) admonition against blatant sexism, it seems unable or unwilling to prevent itself from more or less blithely pursuing blatantly sexist exposition throughout. Almost any woman in The Ink Truck provides a case in point. The worst of these caricatures is Miss Blue, the big-chested, nymphomaniacal secretary to the head of the Company. Miss Blue exists only to service her boss sexually; in the narrative, she is clearly meant to provide comic relief, but the passages featuring her have an inadvertently painful feel to them. At one point, Bailey has been beaten and handcuffed and dropped off at her apartment. She agrees to free him if he will participate in an incredibly elaborate sexual ritual, in which, with the help of a gear-driven framework and two cow hides, she will play a demure cow to Bailey's bull. What began with the intriguing character of Irma reduced again and again to her breasts ends here with a two-dimensional character literally

138 / AMERICAN WRITERS nothing more than a set of udders: "Bailey . . . ran his fingers tenderly over her hair. She smiled, bovine eyes blinking, magnificent milk pods trembling like new Jell-o. . . . 'Don't move,' he told her. While she held the pose he fled into the morning." Bailey's tenderness strikes a false note; the truer note is his flight from the female. The re-publication of The Ink Truck in 1984 (following Kennedy's surge to prominence) prompted a good deal of criticism on these related scores, some of the harshest criticism ever directed at Kennedy. Joel Conarroe, writing in the New York Times, noted that: The sexual attitudes expressed by the voluble Bailey are mostly of the locker-room variety, with women seen as either nurturing goddesses or insatiable shrews. What is especially disturbing is not just that the female characters lack credibility but that they are consistently linked with decay and bestiality . . . the book leaves an unpleasant impression and raises questions about the level of the author's social consciousness at this early stage of his career.

It is worth noting that Kennedy chose to republish his first novel intact, as opposed to either rewriting it or leaving it in out-of-print obscurity, and as I've noted earlier, none of Kennedy's numerous interviews suggest that he sees The Ink Truck as anything other than an early, if small, success. It is one of the few points on which his critics have not eventually joined him.

LEGS: MYTHS, LEGENDS, AND STEREOTYPES

There is a nice irony in Kennedy's current status as literary myth as simplified literary commodity: Kennedy's second novel, Legs, while ostensibly a gangster/bootlegger story full of smoking guns and fast Packard roadsters, provides an insightful and extended meditation on the compulsive myth-making aspects of American culture.

It is with this particular theme, and with the overtly historical template of Legs Diamond's life and times, that Kennedy managed to clarify and focus his talents, producing a second novel infinitely superior to his first. The mainstream and literary recognition Kennedy had craved for most of his life came his way, in other words, only once he had set himself the task of examining the craving itself. "I have a favorite quote from Kafka," Kennedy said on this score, " 'You are the problem, no solution far and wide.' You have to figure yourself out. . . . I figured myself out reasonably early, and stayed with it." And too, the earlier, more tentative identification with Runyon's 1930s world of gangsters and B-girls becomes in Legs a wholehearted embrace. Kennedy's novel begins, like a Runyon short story, in a wash of beautifully evocative nicknames and ethnic handles. Names are as much a currency as booze, as cash, and making a name is as crucial as making a fortune: "Sit down, Jack, don't mind him. Have a drink. Meet Teddy Carson from Philly. We been tellin' him about you, how you come a long way from Philly." "How you makin' out, Jack?" Teddy Carson said, another big fist. He shook Jack's hand, cracking knuckles. "Some boys I know in Philly talk about you a lot. Duke Gleason, Wiggles Mason. Wiggles said he knew you as a kid."

Jack, known as Legs Diamond, is a two-bit hood with the capacity to reach the greatness of true infamy. To Marcus Gorman, the unassuming lawyer who narrates Jack's story, there is something Gargantuan in Diamond that is missing in Gorman's own sedate life and practice. Legs traces the slow growth and the fast decline of Legs Diamond's power, and along the way it showcases many of Kennedy's burgeoning talents and trademark effects. As with Bailey's sudden emergence into historical time, Jack's occasional brush with the uncanny and the mystical

WILLIAM KENNEDY / 139 lends the novel an unexpected imagistic lushness. At one point, Jack returns on an ocean liner from an unsuccessful attempt to buy heroin abroad. The ship's cargo is forty-five hundred canaries, an authentic historical detail that Kennedy expands into an impromptu vision of great impact: "The Hartz Mountain birds, yellow and green, stopped singing when Jack entered their prison, and he thought: They've smelled me." A few scenes later Kennedy returns Jack to the canaries' hold, only to take the vision to an even higher level. This higher flight is revealed, as is much of Kennedy's sharpest material, in the play of dialogue: "How's all the birdies," Jack asked the sailor. "Very sad," said the sailor. "They sing to overcome their sadness." "That's not why birds sing," Jack said. "Sure it is." "Are you positive?" "I live with birds. I'm part bird myself. You should see my skin up close. Just like feathers." "That's very unusual," Jack said. The sailor rolled up his sleeve to show Jack his biceps, which were covered with brown feathers. It is the best of Kennedy—crisp dialogue, set in an impromptu narrative detour into intriguing historical detail, and all of this suddenly rendered unforgettable by the single stroke of the surreal, or what would in the mid-1980s come to be known as the magically real. And all of these elements lend themselves directly to the concerns of this strand of the narrative, tracing the rise of the legend of Legs Diamond, and the corresponding distance between that legend and the sad bird of a man caged inside it. Like Bailey and many of Kennedy's male heroes, Jack has a super sex appeal that women find impossible to resist, but in the case of the mythical Jack Diamond this quality is taken to mythically extreme lengths. Women write begging him to "dominate me thrice . . . on my husband's

side of the bed"; men write to him requesting that he "shoot several small-caliber bullets into my anus at no quicker than thirty-second intervals until I am dead"; a librarian he beds during an ocean crossing tells him, "You turn women into swine," and Jack thinks about it, then nods. Jack's world is not merely controlled by men and male institutions and alliances, but infused with an extremely aggressive male sexuality, a sexuality almost constantly at play, metaphorically, allusively, and literally. The civilized Marcus Gorman's first introduction to Jack's world involves the firing of a machine gun, which, he admits excitedly, "even jogged my scrotum," and that introduction finally takes Marcus to a point, later in the narrative, where he will attempt to emulate Jack during their ocean crossing by having painfully aggressive sex with a woman he picks up at the ship's bar, "ripping her and myself . . . so that we both bled." He does so, he tells us, "because I was now addicted to entering the world of Jack Diamond as fully as possible . . . I was condoning the worst sort of behavior. Absolute worst. I know, I know." It is a world where men go to prison and invite certain death so other men will think they have "big balls," an arguably homoerotic and violent world not far removed from the picture of the Mafia offered only a few years earlier in Mario Puzo's The Godfather, a runaway best-seller that may have paved the way for Kennedy's own mob boss. Legs, for all its insightful ruminations on the American soul, was then and remains today Kennedy's most commercial production, and its treatment of sex, which is to say its treatment of women, was a distinct element of that appeal. The Warner Books paperback of Legs, released in 1976, demonstrates the straightforward marketing of the sexual aspects of the novel by a mass-market publisher. The cover shows an androgynously beautiful young man, dressed in the three-piece suit associated with mid-1970s disco,

140 / AMERICAN WRITERS holding a huge tommy gun erect and flanked by a lanky blonde in a short pink negligee, twirling a long white string of pearls. The jacket copy promises "a thief, a murderer, a man subject to insane rages, the darling of the ladies. . . ." The disco feel to the cover is strengthened by a stylized glint of light—standing in for the inevitable mirror-ball—over Diamond's head. Kennedy no doubt cringed when he saw the way his book was packaged, but Warner's lurid view of the text was not entirely the product of a commercial artist's imagination. As with The Ink Truck, the intellectual energy, the imaginative power, and the verbal artistry of Legs are dulled by an often highly conventional approach to women. The text itself, like the biddable Marcus, seems almost against its own better judgment to savor Jack's attempts to control and dominate the women in his life. Like most of Kennedy's novels, Legs makes use of an elongated, meandering, and branching historical narrative, and in this way any discussion of plot as such has to be carefully qualified. But it is fair to say that the novel has a generally twofold plot structure, and it is pure Runyon: guys and dolls. On the one hand, there are Jack Diamond's rise to celebrity status, and his transformation into "Legs," a creature spawned by the media as much as by his own deeds and misdeeds; on the other hand are Jack's efforts to "balance" the two women in his life, his loyal gangster wife, Alice, and his mistress, Kiki. I expected him to emphasize one or the other woman when he arrived, depending on his mood: horny or homey. But he balanced them neatly, emphasizing neither, impatient to see them both, moving neither away from one nor toward the other but rather toting one on each shoulder into some imagined triad of love, a sweet roundelay which would obviate any choice of either/or and would offer instead the more bountiful alternative of both. More power to you, old boy.

The criticism of his work that Kennedy labeled "literary slander" in 1996—"that I either make them [women] Madonnas or prostitutes"—would seem to have its roots in the bipolar portraits of Alice and Kiki. "Horny or homey," as Marcus puts it, and this is a synopsis offered by a man with intimate knowledge of Legs. Admittedly, Kennedy is acutely aware throughout that he is working with matched stereotypes. And clearly, he means not merely to invoke the stereotypes but to analyze and complicate them, in much the same way he complicates Jack. Kiki, the reader is told, personified her calling in her walk, in her breathing, in the toss of her head . . . in her willingness to conform to the hallowed twentieth-century chorusgirl stereotype that Ziegfeld, George White . . . and so many more men, whose business was flesh, had incarnated, and which Walter Winchell, Ed Sullivan, Odd Mclntyre, Damon Runyon, Louis Sobol, and so many others, whose business was to muse and gossip on the ways of this incarnated flesh, had mythicized.

The debt to Runyon is explicitly acknowledged here, as in so many other instances, but there is an odd disconnection between Kennedy's sociological analysis of the business of flesh and his inability to move beyond his own character's flesh and face. Like Grace Bailey and Miss Blue in The Ink Truck, Kiki's impoverished intellect is matched only by the insatiability of her sexual desire. She is capable of asking Jack in all earnestness, "Am I your real lay?" The thoughts attributed to her have none of the searching quality of Kennedy's other characters, but instead smack of authorial condescension: "She knew she wasn't smart enough to understand the reasons behind that sort of thing." Kiki's internal monologues are mostly extended remembrances of sexual marathons with Jack, or pathetic attempts

WILLIAM KENNEDY / 141 to convince herself that another sexual marathon with Jack can't be far away. Alice, on the other hand, is an early demonstration that Kennedy could, and would, create more complex and multifaceted women beneath the stereotypes suggested by his 1930s setting. While skilled in playing the role of the faithful wife, Alice demonstrates throughout her understanding of and control over that role. Kennedy puts it best when he introduces her as a "modified spitfire." She is a spitfire in her ability to fire a machine gun, strangle a pet bird in a fit of rage, and occasionally lay down the law to her Gargantuan gangster husband; she is modified by the disturbing streak of subservience that more generally surfaces in her relations with Jack. Alice, while presented as a thinking woman of strong religious convictions, finally betrays the same masochistic impulses demonstrated by all of Jack's other women, a state of affairs that allows him finally to accomplish his goal of "balancing" the two women in his life. In a late section titled "Jack Among the Maids," Jack recuperates very publicly at the Kenmore, an Albany hotel in the grand old tradition. He has been riddled with bullets and left for dead, but Jack refuses to die, instead slowly gaining strength and putative insight into the essential dilemmas of his life. This time his foremost desire is to think his way out of an age-old paradox: he loves his wife, in his way, but he wants his mistress as well, wants her not only occasionally but placed somewhere in his daily life. Finally, he moves Kiki into the six-room suite he shares with his wife, Alice. It is admittedly a startling and original turn in the narrative—none of the story's stereotypical templates prepare us for a man who will insist on both stereotypes at once. And Kennedy builds with undeniable skill upon this turn. "Jack Among the Maids," after solving the first, develops a higher order of unsolvable dilemma. Having

moved his mistress into his apartment, having forced his wife to accept this arrangement, Jack takes his lawyer and his "twin receptacles," as Marcus unflinchingly calls them, to the Kenmore's ballroom for dinner and dancing. But there, of course, he must choose one of them as his partner for the first dance. He must prefer one to the other. The scene is stretched skillfully, with the main narrative intercut by newspaper interviews with Jack and meditations on the rise of "Legs," Jack's media image. But the entire foundation of this section of Legs is Jack's need to demonstrate, sadistically, publicly, his power over the two women in his life. Jack turns women into animals, and the Kenmore scene in which he ponders the problem of the first dance seems designed to drive the point home. As Jack is deciding who to hurt and how much, a random "doll" from the crowd takes the situation to a by now almost predictable extreme: A voluptuous woman in a silver sheath with shoulder straps of silver cord paused at the table with her escort.... She looked at Alice and Kiki, then rolled down the right strap of her gown and revealed a firm, substantial, well-rounded unsupported breast. "How do you like it?" she said to Jack. "It seems adequate, but I'm not interested" . . . . "I can also get milk out of it if you ever feel the need," she said, squeezing her nipple forward between two fingers and squirting a fine stream into Jack's empty coffee cup. "I'll save that till later," Jack said. As with The Ink Truck, in which Miss Blue becomes finally and almost literally a pathetic bovine creature pining after Bailey, here the anonymous woman literalizes the role that women are increasingly assigned in Jack's world, the only world of the narrative: she is not merely an animal, a beautified cow, but desperate to be treated as a cow.

142 / AMERICAN WRITERS Kiki and Alice never offer their real thoughts or emotions about their enforced domestic arrangement, other than the isolated line here or there. Instead, they become improbably docile, exchanging domestic details about the dry-cleaning and the cooking, welcoming Marcus as dual hostesses. And as Jack moves forward to decision, they recede further, each into her own narrow stereotype. The loss is more pronounced for Alice, of course, in that Kiki has no complexity, really, to lose. Jack's legend is built both implicitly and explicitly on the killing of men and the desperate domination of women. These things are associated with gangsters and outlaws, of course. But there is no denying that Kennedy's second novel aspires to more than a journalistic depiction of brutality. It seeks, as does the best of Kennedy's writing, to illuminate the deep reaches of the unconscious, if not the soul itself. In the case of Legs Diamond, Kennedy succeeds, and often fabulously. Legs's memory of his first killing compresses more character revelation than the entire cumulative space devoted to Kiki, the Ziegfeld beauty. It is with the female characters that Legs stumbles, not only in its portrayal of them but in its heavy-handed use of them to establish and define the central male hero. Each of Kennedy's post-1984 paperbacks carries a quote from Ward Just, hailing the Albany Cycle as "one of the few imperishable products of American literature since the Second World War." I think Just is absolutely correct—there are few comparable bodies of work in the last fifty years—but I would amend his praise to predict that if any of Kennedy's work fades over the decades, it will be the two early novels, fading almost certainly in order of their appearance and in proportion to their lack of attention to the lives and minds of the women who inhabit them. This is not a function of "advocacy" politics, as Kennedy has suggested, but a marked distinction in quality. It is no accident that Kennedy's major

successes came after he had evolved well beyond the sexual supermen and the painfully limited Bgirls of his first efforts.

THE ALBANY CYCLE PROPER: BILLY PHELAN'S GREATEST GAME AND IRONWEED

If the Albany Cycle began anywhere, it began with Billy Phelan's Greatest Game, first published in 1978. Legs, while partially set in Albany, bore no relation to Kennedy's first book, and it suggested no relation to books to come. It was in the writing of the third novel that Kennedy began the twofold self-referential process that would make his fortune: that of tying his current book to his last, both through actual history and created narrative, and of generating in the current book an outsized subplot that would become the central storyline of the next. The beautifully stylized death scene from Legs surfaces early in Billy Phelan, connecting Martin Daugherty, newspaperman, to the media legend of the previous Albany generation. Billy Phelan also looks forward, of course, to Ironweed, and it does so by introducing a wealth of history for a minor character, Francis Phelan, an amount of backstory that might seem puzzlingly complete if one looked at Billy Phelan in isolation. But none of the books in the Albany Cycle can be read properly in and of themselves. To do so is like watching a 3-D movie with no special glasses, possible but impossibly limiting.

BILLY PHELAN'S GREATEST GAME: UNDERRATED, OVERLOOKED

Billy Phelan's Greatest Game, as I've asserted earlier, seems the product of a writer at the apex of his own game, a writer who, in Kennedy's own terms, has inarguably "figured himself out." Ken-

WILLIAM KENNEDY / 143 nedy here manages to isolate and enhance the elements that drove the successful sections of his earlier fiction. In addition to establishing connections to previous and future books, Kennedy's third novel is set entirely in Albany, and it is populated almost entirely by Irish families struggling for survival and respectability in their corners of the city, families of Kennedy's own creation. It is Billy Phelan that truly signaled Kennedy's desire to excavate, revivify, and preserve the history and the legacy of the Irish in America. Martin Daugherty, the moderately successful newspaper columnist who observes Billy in the novel's opening line, remains throughout a more thoughtful observer of the action than Billy, the hero at the center of it. It is a narrative pairing that worked well enough in Legs, but Martin Daugherty is a much more compelling and principled character than Marcus Gorman, and as a result his perceptions lend the small-timer Billy Phelan a unique glamour, as well as a peculiar sort of honor. Martin, as a habitue of Albany's nighttown himself, makes superbly clear the quality of Billy's seemingly insignificant triumphs. Billy's native arrogance might well have been a gift of miffed genes, then come to splendid definition through the tests to which a street like Broadway puts a young man on the make: tests designed to refine a breed, enforce a code, exclude all simps and gumps, and deliver into the city's life a man worthy of functioning in this age of nocturnal supremacy.

Martin's philosophizing, at once profound and half-serious, strikes the tone for the novel as a whole. Billy Phelan is mere verbal play, on one hand, a pulp-fiction story of kidnapping and small-time political intrigues, but on another it presents very serious meditations on the place and the worth of the individual, what he or she is capable of alone, and what must be accomplished by and within the community.

These latter issues come almost immediately into focus when Charlie Boy McCall, the only heir to the city's political bosses, Patsy and Bindy McCall, is kidnapped. Through a chance connection, Billy Phelan is tied to another man, Morrie Berman, who is suspected of being one of the kidnappers. Martin is asked to sound Billy out, to find out what he may know—or what he can find out—about Berman. Martin, the student of character and particularly of Billy, senses the problem immediately: to Billy this will be no different from informing. "I'm not one of the McCalls' political whores," Billy tells Martin. As Billy moves through his nighttime world, trying to get a firmer grip on the rumors that have suddenly come to dominate his life, Kennedy takes the reader smoothly through all of the homes away from home that the fatherless Billy has acquired over the years—the card games, the diners, the bowling alleys, and the brothels. Each locale is specific and magical in its own right: "When Billy walked into Louie's pool room on Broadway across from Union Station, Daddy Big, wearing his change apron and eyeshade, was leaning on a cue watching Doc Fay, the band leader, run a rack." This extended narrative tour shows in detail the world that Billy has stripped from him by the McCalls when they later decide that he has not been quick or complete enough in his help with Morrie Berman. Matched against Billy's dilemma with the McCalls is Martin's own struggle to come to terms with a fitful gift for prophecy. For shadowy reasons, Martin's precognitive ability is tied to his father, a renowned playwright, and to Martin's inability to escape his father's reputation. Martin understands this connection only after a tryst some years earlier with Melissa, his father's lover, caused the gift of prophecy to vanish. In a triumph of associative thematics, Kennedy links Billy's troubles with his own absent father, and the kidnapping of the McCall's only son, to Martin's returning second sight. And Martin's sec-

144 / AMERICAN WRITERS ond sight, to complete the mystic circle, leads him back to greater understanding and greater peace in his relations with his own father. Martin Daugherty's second sight represents Kennedy's first full-scale movement into magic realism. Visions begin to rise in Martin's consciousness—some biblical, some more overtly Freudian—as well as hunches directing him to particular places and people on the map of the city. The intuitions are Martin's answer to his more politically radical father's "concrete visions of the Irish in the New World, struggling to throw off the filth of poverty, oppression, and degradation." Martin grows up a passive receiver, tuned magically into the tragedies and troubles of the actual Irish-Americans around him. It is in this way that Martin runs across Francis Phelan sitting in a bar, gnarled and seemingly near death. This meeting eventually leads to a reunion between Francis and his son Billy: Martin's gift throughout the novel remains attuned to healing breaches and separations between fathers and sons, a motif that will be reprised in Ironweed, when the ghost of the infant Gerald commands Francis to expiate his sins against his family. Billy, on the other hand, remains something of a prisoner of the codes that earlier represented his salvation. In deciding not to "rat," he breaks ties with the Broadway world as he knows it. He does a potentially destructive thing for very honorable reasons, and Martin remonstrates with him to no avail. Yet the novel allows the moral ambivalence of the dilemma to persist, never finally resolving it. Billy returns to the nighttime world he's known all his life to find it subtly changed. Not only has Broadway seen that Billy will prefer his own moral code to the needs of Broadway, but Billy has seen that Broadway will follow the word of the McCalls whether the word is just or unjust. In contradiction to his own remark, quoted earlier, that Billy's was a world where you "didn't see women," this Kennedy novel does manage to

examine the narrow but complicated roles occupied by 1930s women. In so doing, it creates not stereotypes but originals who rise from seeming stereotypes. It shows the lengths to which women in particular were sometimes driven. In one of the novel's finest scenes, Billy meets his on-again off-again lover Angie in a hotel. Just as he has placed her in his own mind—"Too goddamn smart. A college dame. Thinks like a man"— Billy is brought up short by Angie's news that she's just had an abortion. Billy quickly grows angry: "Goddamn it, I had a right to know." "You had a right?" "You bet your ass. What the hell, I don't have a say in my own son?" "Of course it was a boy. You're really classic, Billy."

After another moment, Angie tells Billy that she hasn't had an abortion—in fact, she's pregnant right now with his child, and she pretended to have an abortion to see if he really wanted to be a father to it. Billy, in blind response, does an about-face: "Hell no, I don't want no baby." After Angie runs through their options—marriage, running away together, abortion—Billy sits stunned, the picture of immaturity. The reader has a chance to understand that the process of evolution that has rendered Billy "worthy of functioning" in Broadway's world of "nocturnal supremacy" has also rendered him unfit for the variety of life, an impressive boy at thirty-one but well shy of actual manhood. "Then you want me to get rid of it?" "No, I don't want that. I think you oughta have it." "But you don't want anything to do with it?" "I'll do something." "What?" "I'll go see it." "Like a cocker spaniel? Why shouldn't I get rid of it?"

WILLIAM KENNEDY / 145 Once again, it is Kennedy's dialogue, its careful rhythms and pacing, that perfect the scene. It turns out, of course, that Angie is not really pregnant after all—she's made up even the pregnancy as a way to force Billy to confront the realities of their relationship. The journeyman gambler is stunned. "You conned me right out of my jock," he says in wonder. Angie is a character who begins in stereotype— Runyon's well-educated and wealthy woman slumming with gangsters—but immediately resolves on the page into a thinking, complicated character, one capable of taking the novel in surprising directions. In this way, too, Billy Phelan anticipates Ironweed. There Kennedy would pair an even more substantially flawed hero, Francis Phelan, with the even more indomitable Helen, and in so doing he would find literary success almost exactly in line with his wildest imaginings.

IRONWEED: EVERYTHING COMING TOGETHER

In many ways Billy Phelan's Greatest Game and Ironweed are matched halves of the same novel. The action of Ironweed begins roughly at the moment Billy Phelan ends. Martin's assistance in Billy Phelan keeps Francis alive, and among other things provides Francis with a lawyer to keep him out of jail for voting fraud. After Marcus has gotten Franny's case thrown out on a technicality, he finds that Franny has no money to pay him, and sets up a day job for Franny digging graves as a way to pay off the debt. Also, in his short Billy Phelan reunion with his son, Francis has promised offhandedly to visit the family he abandoned years before after dropping and killing his son, Gerald, while drinking. The two novels' connections, then, involve narrative lines, familial lines, and historical lines, as well as the peculiar lines of magical force that precipitated Martin's healing visions and which now, in Ironweed, lay hold of the aimless Francis Phelan.

"Riding up the winding road of Saint Agnes Cemetery in the back of the rattling old truck, Francis Phelan became aware that the dead, even more than the living, settled down in neighborhoods." The truck passes the splendid monuments of the rich, the captains of industry and the privileged, before entering the simpler ward occupied by dead Phelans. We enter Francis Phelan's consciousness, and the novel begins, at the precise moment that Francis becomes aware of the historical lot of his people, the Irish; the reader has the sense that this history of tragedy and hard times has infused the cemetery with both a shapeless bitterness and a very focused sense of morality, a morality driven by justice if not vengeance. In a direct manifestation of this watchful justice, the dead observe Franny from their strange homes beneath the earth. Here Kennedy's earlier play with magic realism reaches full bloom, and this startling segment of the novel reads much like something out of Marquez or Isabel Allende. Francis's dead father, for example, packs his pipe with dried, pulverized grass roots; his dead mother "wove crosses from the dead dandelions and other deep-rooted weeds." The grass and dandelion roots provide the dead with a physical connection to the living, a symbolic inversion of the rootedness of the living in the ancestors laid out in graves. Every single part of the world is rooted in or bound together with every single other part, the opening of the novel argues, setting Francis on the road to far greater awareness than that reached by his son in Billy Phelan. Half-consciously, Francis moves to the grave of his infant son, Gerald. The moment is perhaps the high point of Kennedy's art. In his grave, a cruciformed circle, Gerald watched the advent of his father and considered what action might be appropriate to their meeting. . . . His web was woven of strands of vivid silver, an enveloping hammock of intricate, near-transparent weave. His body had not only been absolved of the need to decay, but in some respects—a full head of hair, for

146 / AMERICAN WRITERS instance—it had grown to a completeness that was both natural and miraculous. . . . Swaddled in his grave, he was beyond capture by visual or verbal artistry.

The moment stretches out much longer than can be conveyed properly here, and in so doing, Kennedy allows himself to stretch in a different artistic direction than the tragic-comic, half-serious musings of Billy Phelan. Here he reaches for, and attains, the eloquence of high tragedy. The unspeakable horror of accidentally killing an infant is translated into a speaking presence, which has evolved spiritually from that tiny corpse into a force powerful enough to drive the narrative as a whole: Gerald, through an act of silent will, imposed on his father the pressing obligation to perform his final acts of expiation for abandoning the family. You will not know, the child silently said, what these acts are until you have performed them all. And after you have performed them you will not understand that they were expiatory any more than you have understood all the other expiation that has kept you in such prolonged humiliation. Then, when these final acts are complete, you will stop trying to die because of me.

It is as close as Kennedy comes, in the Albany Cycle as a whole, to describing God or the influence of God—Gerald functions as an unabashedly divine force, acting from divine wisdom, exacting just punishment and expiation even as he puts a period to Francis's long years of suffering. More than a Catholic mythos, from which Kennedy continues to distance himself, the scene seems to draw on preceding traditions, Greek myth in particular. A number of recent articles have linked Ironweed with various Greek storylines, pointing out, for instance, similarities between the acts required of Francis and the twelve labors of Heracles, not to mention the central presence of Helen as the woman who spurs Francis to live and to fight.

Francis's suffering serves a larger purpose than merely reinforcing his own failings. The narrative's focus on a "lowlife bum," as Kennedy has called him, disturbs classic rules of storytelling in order to question the health of society itself. If Francis Phelan is to blame for dropping Gerald, then Francis's uprootedness, his alcoholism, and his tortured family history do not occur in a vacuum. The captains of industry who occupy the best parts of the cemetery share in Francis's guilt, as do his parents. Everyone in the novel is beset by, yet judged and perhaps protected by, forces beyond their own immediate control. Francis's personal torments come in the form of hauntings by the walking dead. Men Francis killed and men Francis helped but not enough follow him silently as he unknowingly sets about his acts of expiation. These acts take Francis and his friend Rudy all over Albany, creating a haunted geography, a cursed map from which Francis uncertainly works. His only sense of actual rootedness comes from the presence of Helen Archer, one of the most memorable characters in all of Kennedy's work. Helen is, to use Kennedy's word, a bum, as Francis is a bum, and as Rudy is a bum. Like Francis, she has seen better days, and in fact she comes from a social class above the Phelans, although how far above is never made clear. But she is no Runyon society doll, slumming with the guys from Broadway. Nor is she one of the "balanced" halves of Legs Diamond's imagined domestic tranquility. Helen demonstrates that the tramp's world occupied by Francis is not one necessarily sectioned according to sex or gender; in her desperation, she achieves a strange and painful equality. When Francis finds Helen at the Methodist shelter and brags that he has worked all day without taking a drink or a smoke, Helen clucks over him: "Oh that's so lovely. I'm very proud of my good boy." Yet Helen has no more control over the domestic world than Francis; she too is in

WILLIAM KENNEDY / 147 panicked, lifelong flight from responsibility and obligation, from home, in a word. She is as streetwise as Francis, if not more so—she holds their only property, a suitcase with their few worn possessions. Helen and Francis share an intimacy that has ceased to include sex, and there are hints that Francis's sexual potency, like his tremendous baseball skills, has withered. In this, Francis is much the opposite of Legs, or of Bailey. Far from being a sexual superman, he has been effectively neutered by alcohol. Francis watches with real loathing as other men act the role of sexual aggressor: Rosskam the ragman, servicing lonely housewives, and Finny the bum who charges sexual favors for the privilege of sleeping in his derelict automobile. With Francis and Helen, Kennedy manages to create a minimal world in which man and woman are rendered equal through possessing nothing, not even sexual desire. The final chapters of Ironweed have a pronounced elegiac feel, moving soberly between the death of Helen, seemingly from cancer, to Francis's reunion with the rest of his family, projected in the final chapters of Billy Phelan's Greatest Game. Bearing a turkey as a peace offering to his long-abandoned family, Francis does have the air of a tragic Greek hero returning from a decades-long war. But Kennedy's story does not end neatly; Francis is too deeply troubled a character to achieve peace so quickly and so completely. Although his wife Annie has made it clear that the family will accept him back, Francis ultimately hops another freight train. In a bold move, with Francis's departure Kennedy shifts into the conditional tense, creating and maintaining a palpable tension between what is happening and what may happen: "By dawn he would be on a Delaware & Hudson freight heading south toward the lemonade springs." But his thoughts are also dwelling on "setting up the cot down in Danny's room," and it is possible to read the novel's finish in several ways, some

more hopeful than others. Most critics, however, view this decidedly purposeful ambiguity as a stylistic triumph. Whatever the ultimate fate of Francis Phelan, he attains a grandeur in direct opposition to his social status. The lowest of all of Kennedy's underworld characters, he achieves the highest artistic status, that of the authentic tragic hero, whose greatness is inseparable from his deep and ineradicable flaws. The novel's finish reinforces the central theme of its opening: no one, however seemingly isolated, exists in true isolation. Martin Daugherty's cynical refrain from Billy Phelan—"We are all in conspiracy against the next man"—is stood upon its head. We are all in league with the next man, Gerald shows his father from the grave, Gerald's own grave being linked to the graves of other Phelans and other families by vast networks of flowering weeds.

THE POST-PULITZER NOVELS

By the end of 1984 Kennedy had won most of the largest honors available to American writers, as well as some of the most lucrative cash grants. And nearly all of these various ratifications of his vision had come within a single two-year period. If any single message emerged from the critical and popular wings of the literary world, it was that Kennedy's method—the linking of historically based narratives, a method compressed into the single word "cycle"—evinced sheer literary genius. When Ironweed won the Pulitzer Prize, nearly every report noted the book's cyclical connection to the other Kennedy books. In the case of the National Book Critics Circle Award, the message was driven home explicitly by the committee's ultimate elevation of Ironweed (and Kennedy's maximalist cycle) over Raymond Carver's minimalist masterpiece, Cathedral. Kennedy, the committee ultimately argued, was simply working from a "larger canvas."

148 / AMERICAN WRITERS Anyone who reads the first three novels in the Albany Cycle, and then in succession reads the fourth and fifth, Quinn's Book (1988) and Very Old Bones (1992), will almost immediately perceive a dramatic difference: rather than focused studies of single characters or isolated climactic events, the post-1984 books function as compilations of stories and histories, moving rapidly across decades, even centuries, and employing a sweep of characters loosely linked by fortune or genealogy. It is very much as though Quinn's Book and Very Old Bones were each designed as an Albany Cycle within itself.

QUINN'S BOOK: FIRST OF THE MOSAIC NOVELS

If it's true that the world had ratified Kennedy's vision of a historical cycle of interlocking novels, a cycle spanning centuries but mostly comprising the branches of three Irish-American family trees, then Quinn 's Book must be seen as a bold, sweeping effort to make good on that exceptional promise. Having spent his last two novels in the Runyonesque world of 1930s Albany, Kennedy drops back in time by two generations, nearly another century, to the Albany of the mid-nineteenth century. His central characters are full-fledged literary ancestors of his Billy Phelan/Ironweed cast: the protagonist, Daniel Quinn, is the direct ancestor of Billy Phelan's nephew, Danny Quinn, and Quinn's Book's Emmett Daugherty is the grandfather of Billy and Francis' friend, Martin Daugherty. Kennedy sets out in this fifth novel to revivify history with a vengeance. Young Daniel Quinn, a fortunate orphan in the tradition of both eighteenth- and nineteenth-century novels, moves restlessly across the landscape of upstate New York, and later the whole of America, a journeyman journalist and writer, always coincidentally provided not only with money and status but a

bird's-eye view of the most sensational events of the pre- and post-Civil War eras. In a 1969 interview with Penny Maldonado, Kennedy calmly insisted, "I have no interest in the sprawling journalistic novel incorporating everything," but twenty years later he produced precisely that, a novel narrated by a traveling rogue journalist who witnesses and records, among other things, as it says on the jacket of Quinn's Book, "the rise and fall of great dynasties in upstate New York, epochal prize fights, exotic life in the theater, visitations from spirits beyond the grave, horrific battles between Irish immigrants and the 'KnowNothings,' vicious New York draft riots, heroic passages through the Underground Railroad, and the bloody despair of the Civil War." Daniel Quinn's style as a writer, and as a narrator, makes a virtue of rhetorical excess. Kennedy has fashioned it in part from the narrative voices that power early popular British novels, novels like David Copperfield, but he has inflected Quinn's voice with the peculiar journalistic bombast associated with nineteenth-century journalism. While Quinn is capable of more straightforward narration, his first paragraph is good-sized, and all one sentence. I, Daniel Quinn, neither the first nor the last of a line of such Quinns, set eyes on Maud the wondrous on a late December day in 1849 on the banks of the river of aristocrats and paupers, just as the great courtesan, Magdalena Colon, also known as La Ultima, a woman whose presence turned men into spittling, masturbating pigs, boarded a skiff to carry her across the river's icy water from Albany to Greenbush. . . .

The sentence runs on for another full moment, allowing Daniel Quinn to introduce—as a good journalist would—his subjects, their whereabouts, the time frame, and not incidentally, his own penchant for elaborate phrasing. This is the first of the magics Kennedy brings to bear on the potentially scattered materials of Quinn's Book:

WILLIAM KENNEDY / 149 Quinn's own verbal artistry, simulating for the reader the strong pull of nineteenth-century narrative. The second magic is more actual, and it springs (as do Martin Daugherty's visions) from Quinn's complex human connections: to the fake spiritualist Magdalena Colon, and to her young charge, the actual spiritualist and Quinn's first and only love, Maud Fallon. In Billy Phelan, the visions remain unexplained, and that lack of explanation serves in part as proof of their mystical validity. In Quinn's case, his love for Maud produces what a wealthy fan of Magdalena's fittingly calls "an adventure of the heart." The visions and the touch of magic Quinn experiences at key moments in his life are all wrought up in his love for Maud, whom he rescues from an icy river in the novel's opening scene. The same boating accident that nearly kills Maud succeeds in killing Magdalena Colon, and as Quinn, his master John the Brawn, and Maud bear the corpse to the estate of Hillegond Staats, a wealthy and eccentric widow, Quinn looks into the corpse's open eye. He sees: the maroon iris, the deep-brown pupil, the soft white transparency of the conjuctival membrane striped with the faintest of frigid purple rivers and tributaries. And then in the center of the suddenly luminous pupil I saw a procession of solemn pilgrims moving through a coppice: night it was, but snowing, and as fully bright as this true night that surrounded us. And there was Maud, her hand held by an old woman.

Quinn sees several scenes that will eventually come to pass, and in this way the narrative, capricious as it often is, maintains what might be called an overall precognitive structure, the sense (a very happy sense, for the author) that wherever characters and readers find themselves in the novel's wash of history, that place is precisely where they were meant to be. It is a clever formula for encouraging reader enjoyment: a roving journalist passes on his account of a variety of

enjoyable, but seemingly disjointed events, yet the reader is periodically assured that these events are part of a larger pattern, falling unknowably but precisely into place. In this way, a variety of kinds of scenes pass before the reader's eyes. Madame Colon, it turns out, is not really dead, but locked in some sort of hypothermic near-death state. John the Brawn, Quinn's riverbank employer and a comic nineteenth-century caricature not unlike those created by Herman Melville or Mark Twain, is tending to the corpse when suddenly the narrative veers sharply and enters the mock-heroic, mock-pornographic realm of John Cleland's Fanny Hill: John the Brawn climbed aboard Magdalena Colon and began doing to her gelid blossom what I had heard him boast of doing to many dozens of other more warm-blooded specimens. The sight of his gyrations aroused Hillegond to such a degree that she began certain gyrations of her own, uttering soft, guttural noises I associate solely with rut, and which grew louder as her passion intensified. Magdalena looked vapidly toward us as John gave her the fullness of his weight, her one eye still open and staring

Like Cleland's infamous eighteenth-century fiction, Kennedy's scene partakes of various pornographic elements, ribald and overblown description, and overblown metaphor, all presented from the reluctantly voyeuristic viewpoint of Quinn, who watches from just outside the door with Maud. Like Francis Phelan watching the ragman, Quinn looks on from a distance, with a journalist's detachment. The scene is a shock to the reader, but one that leaves none of the unpleasant sensations evoked by The Ink Truck— here the effect is a momentary and thought-provoking one, as though the narrative were a train that had made a brief, allusive stop in one particular sub-genre of pre-twentieth-century discourse. The narrative pulls quickly away from this scene, leaving its style and raw qualities behind

150 / AMERICAN WRITERS and carrying forward only the aftereffects: John the Brawn's "roostering" brings Madame Colon out of her near-death state, returns her to life, and brings Maud and Daniel to consider, in higher nineteenth-century style, their own passions. The young lovers make a vow that will drive the remaining pages forward. "When I'm ready to do it," Maud tells Quinn as they work their way punctiliously through the logic of their desire, "I shall seek you out." Quinn replies politely, "I look forward to it." In the same way that Quinn spies John raising the dead, he spies other signal events of the age, and he presents them unfailingly to the reader in the language appropriate to each. When John the Brawn goes on to become a famous boxer, Quinn faithfully passes on a description of one of his fights from the Albany Telescope. The description, rather than a line or two run into the flow of the book, is set off typographically, a long paragraph or two or three devoted to each round of the fight. Such impromptu generic diversions fill the text. Rather than a plot as such, the late Kennedy novels, what I've called the "mosaic novels," tend to be reverse-engineered from a single concluding event strongly forecast in the opening pages. As these novels near their conclusions, the looming presence of these long-projected events begins to create a more orderly, tightly wound narrative. With Quinn's Book, the consummation of Quinn and Maud's love is projected almost from the moment of Maud's rescue, with the frustration and eventual satisfaction of this desire ultimately taking over the narrative from the wealth of other plotlines. When Quinn returns to Albany from the battles of the Civil War, which he has covered as a roving correspondent, he and Maud pick up where they left off, almost heedless of her engagement to another man. The novel ends with the fulfillment of the lovers' matched vows: Quinn steals Maud away, as she asked him to do in childhood, and

they consummate their love in a house on the eastern shore of Saratoga Lake. It is a delicate scene, langorously written, and the novel closes with Kennedy's final commentary on his own new style, a sprawling novel including everything and anything, but all of it somehow also rightly selected and leading up to a single intimate moment between two people: "And then Maud and Quinn were at last ready for love." Kennedy's new sort of novel garnered mixed reviews, but as I've suggested earlier, he again seems simply to have been one artistic step ahead of his critics. The interior sweep of Quinn's Book prompted some immediate doomsaying, with more than one critic suggesting that he had lost his voice. But by the time Very Old Bones was released, only four years later, critics had accustomed themselves to the new style and remarked upon it with real relish.

VERY OLD BONES: THE MAGIC OF METAFICTION

Very Old Bones begins with a Phelan-QuinnPurcell family tree entitled "The Family 18131958." It is a relatively uncomplicated genealogy, and it allows the reader of Kennedy's work to place the earlier events of the Albany Cycle mentally, before moving on to this new installment. The lower rungs of the Phelan line show the Francis-to-Billy connection laid out in Billy Phelan and Ironweed; Billy's sister Margaret's marriage to George Quinn suggests another branch of the tree stretching generations back to the protagonist of Quinn's Book. The family tree is a highly self-conscious device, a means of reinforcing for the reader the superstructures of the Albany Cycle, or at least the majority of it made up by an interlocking IrishAmerican family history. This self-consciousness swells into full-scale metafiction in the opening pages of Very Old Bones, cueing the reader that

WILLIAM KENNEDY / 151 in large part, this will be a novel about the dynastic structure of Kennedy's created families, or more simply put, a novel about Kennedy's novels. The reader learns quickly, for instance, that the narrator is Orson Purcell, listed in the family tree as the son of Peter Phelan. Yet the relationship is unexpectedly in question: Orson's mother, Claire Purcell, was an assistant to a stage magician, Manfredo the Magnificent, and may well have had an affair with him near the time of Orson's conception. Peter Phelan has steadfastly refused throughout Orson's life to acknowledge him publicly as a son. It is classic Kennedy, the suffusion of an odd legerdemain into the opening pages of his novel. It is as though a curse of opacity prevents Orson from knowing himself, and the reader from knowing the true ties between the novel's central characters. In the metafictional sense, this ambiguity directs the movements of the novel toward an explicit and in-depth examination of who in Kennedy's Cycle begets whom, an almost biblical task. Greatly enhancing this self-referential element is the fact that Peter Purcell—the only truly successful Phelan—is a renowned painter, who found success only after realizing that his own family was his key to inspiration. When his career was foundering, "Peter returned to figurative drawing, sketches of the people closest to him, and felt instant strength." As a result, the Phelan house on Albany's Colonie Street, which Orson shares with Peter at the novel's outset in 1958, has become a veritable museum of scenes from earlier Phelan life, which is to say earlier Kennedy novels. This profusion of family-based art is linked directly, from the very opening moments of Very Old Bones, to Kennedy's own ever-expanding fictional project. It is not pushing the point too far, I don't think, to read Peter's career as a self-conscious allegory for Kennedy's own. As Marcus Gorman did in Legs, Orson Purcell exists in part to comment upon the celebrity in

whose shadow he stands. Orson's intimate view of his father and his father's tortured artwork dominates much of Very Old Bones. And even when Orson is not explicitly analyzing the qualities of Peter's work and life, his own disturbed life shows the constant influence of his father and the enigma of his true parentage. Much of the early novel centers on Orson's stint in Germany while serving in the Army. There he meets Giselle, a French translator and photographer with a taste for expensive pleasures, and immediately Orson is caught up in a cycle of ecstasy and despair, depending on whether he has enough money on a given day to wine and dine Giselle. In order to take care of his financial problems, Orson begins a descent into petty crime—blackmarketing American dollars, cheating at cards— that eventually leads to a nervous breakdown in a German dive called Fritz's Garden of Eden. During his breakdown Orson gives a madman's sermon, during which he bites into his own flesh and rants about his "wonderful, lascivious mother, my saintly, incestuous father." He is eventually examined by a psychotherapist who reports that "He believes he is a bastard. . . . He is so insecure he requires a facade to reduce his anxieties to manageable size; and so every waking moment is an exercise in mendacity, including self-delusion." Orson's zombie-like breakdowns recur throughout the novel, returning the reader to the understanding that all of Peter's art springs from the real pain of his real family, and his own artful evasions of responsibility as a father are in turn productive of their own new pain. Orson is simply the latest manifestation of the Phelan's generational cycle of injury, but he is somehow aware of this cycle in motion. He is a metafictional commentator who is also alive to his own real psychological pain, like a surgeon who is himself undergoing surgery without the benefit of anesthesia. Peter also realizes the dimensions and causes of this cycle of pain, and the major thrust of the

752 / AMERICAN WRITERS novel involves his attempts to dispel the hurt by dispelling the ignorance that characterizes much of the Phelan world. With the death of Kathryn Phelan, the matriarch whose bitterness and narrow-mindedness led in part to the breakup of the family, Peter returns for the funeral bearing light—literal light. He has decided to do what his mother would never allow, electrify the Phelans' Colonie Street house. It is clear to the reader that again Kennedy has self-consciously set his characters about the task of further illuminating the Albany Cycle. Peter, squatting, his right hand still in the box's mysterious interior, suddenly lifted the chandelier into freedom (like a magician, I could say), and with his other hand pulled away the tissue paper that surrounded it, then held it aloft. Presto! . . . "We don't want it," said Sarah. "How well I know that, dear sister. But we shall have light on the corpse of our mother, light unlike any that ever found its way into this arcane cave of gloom. . . ."

The chandelier incident, made possible by the death of the mother Kathryn, prefigures Peter's reconciliation dinner in 1958, made possible by the death of his sister Sarah. The two events are matched as well in that Peter's brother, Francis Phelan, estranged from Colonie Street for years, returns for the funeral of Kathryn; Francis's son Billy finally returns to the Phelan household for Peter's dinner. There is an orderliness to these movements on Peter's part, which is to say on Kennedy's part, a sense of generational rifts being healed in order of occurrence. Of course, true healing can only take place with the understanding of the original injury, and for this reason Peter's Malachi Suite—a series of paintings telling the mythical history of Peter's own father and mother—takes center stage at the reunion. Kennedy's movement from 1958 to the Staatskill/Hudson River region of 1887 for the story of Malachi and his unfortunate wife Lizzie recalls Bailey's sudden movement backward in time in

Kennedy's first effort, The Ink Truck. Kennedy's (which is to say Peter's) story of Malachi provides a mythical point of origin for the Phelans' tragedies; at once it is clearly the stuff of legend, and historically grounded in newspaper accounts, place names, dates, and so forth. The gist of the story is that Malachi, whether insane or himself the victim of some malevolent supernatural force, becomes convinced that his wife Lizzie has been replaced by a demon who has magically stripped Malachi of his genitals, and in retaliation, Malachi and his friend Crip Devlin burn Lizzie to death in an attempt to exorcise the demon. This gruesome narrative is stretched over the panels of Peter's masterwork, an explicitly mythic insertion into the Albany Cycle. It is a creation myth to be precise, and it points up the irony of Orson's first breakdown in Fritz's Garden of Eden. After having moved from Germany to New York to Albany, from 1958 as far back as 1887 and back again, Very Old Bones finally brings off the reconciliation dinner set out in the opening scenes. The dinner is an explicitly patriarchal resolution to a number of the conflicts in the Albany Cycle. Orson, formally acknowledged as Peter's son during the dinner, notes with satisfaction that "we sat where Peter placed us ... the first formal resumption of the patriarchal seating arrangement since Michael Phelan died in 1895." And Orson quickly reiterates the theme, calling Peter "Paterfamilias," then explaining to Billy that the term "just means 'father of the family.' " The pregnant Giselle, for her part, has returned to Orson and Colonie Street for a number of reasons, but one of which is "her weariness with being a pioneer feminist in a man's world." Yet Kennedy goes equally far out of his way to argue explicitly that it is the male Phelans who have fled traditionally, leaving misery in their wake, a misery to be endured by strong Phelan women: I think of Peter's creative a c t . . . as independent of his art, a form of atonement after contemplating

WILLIAM KENNEDY / 153 what wreckage was left in the wake of the behavior of the males in the family . . . in sum, a pattern of abdication, or flight, or exile, with the women left behind to pick up the pieces of fractured life: a historic woman like Kathryn, an avant-garde virgin renegade like Molly, a working girl like Peg, and, to confirm this theory with an anomaly, there is the case of Giselle. Again, if Peter's and Kennedy's work exhibit close, almost allegorical connections, and they certainly seem to, then Orson's final analysis of Malachi Suite represents something of a meditation on the place of women in the Albany Cycle generally. Without doubt the passage reads like a piece of literary criticism, albeit a piece written by the author in question. Kennedy seems aware of the criticism generated by the Cycle's early treatment of women, and he counters it with an argument of his own: that the Albany Cycle has itself always implicitly recognized such male-induced pain, and implicitly celebrated the "historic" and "working" women who have borne up under it. Very Old Bones is metafiction pursued to the highest level, and is precisely what one might expect from a playful intellect of Kennedy's rank— it is not merely a novel that comments on itself as a novel, as well as the other fictions in the Cycle, but is a novel that also manages to comment on the criticism engendered by this and the other novels making up the Cycle. Orson may refer disparagingly to "The disease of self-contemplation," but Kennedy's unrelenting self-referential focus in Very Old Bones produces one of the sharpest and most challenging novels of his career.

THE FLAMING CORSAGE: THE FINAL, LOGICAL CONSTRAINTS OF THE CYCLE As with a number of Kennedy's novels, The Flaming Corsage (1996) originated as a bit of seemingly peripheral backstory conceived and

laid out in the course of an earlier book. The Flaming Corsage, like Ironweed, has its roots in Billy Phelan's Greatest Game. Martin Daugherty's own affair with his father's mistress, the actress Melissa, is the family scandal that affects Martin and his gift of foresight most directly, but during the course of Billy Phelan he also recalls an earlier, more explosive scandal: his father's involvement, along with the young Melissa, in a hotel shooting with strange sexual overtones, commonly known as the Love Nest shootings. More than a decade after the publication of Billy Phelan, Kennedy decided to expand this small kernel of backstory into a component novel in its own right. It's likely that this decision was based in part on a desire to explore the remaining family tree from Billy Phelan's—the Daughertys—inasmuch as Quinn's Book had already taken up the Quinn line, and the examination of the Phelans was ongoing. But in all of Kennedy's post-Pulitzer work there is an element of selfconscious expansion of the Cycle, a straightforward attempt to do so from multiple viewpoints and social situations. As Kennedy has said of his approach to each new book, "It's always different because the attack is always from a different angle." And so it seems as likely that The Flaming Corsage represented an attempt to chronicle a social stratum of Albany that none of Kennedy's earlier novels had approached: the "lofty perch in America's high culture." Yet having decided to dramatize this particle of an earlier novel, Kennedy unexpectedly hit a wall. He created books from notes, but he has spoken often since of the over-intellectualized feel of those early attempts: "You have great characters, you have this column of time, and the conflict and so on. But something is missing." Kennedy's response here is illuminating. Not only is he constrained, in a sense, by his earlier plot sketch of the Love Nest killings, but he is working within "this column of time," as well as within the actual boundaries of Albany itself. Like a veteran Scrabble player confronting an al-

154 / AMERICAN WRITERS ready packed board, Kennedy's composition process necessarily grows more complex, more daunting, as he nears the completion of the game. In the case of The Flaming Corsage, Kennedy had decided to dramatize the lives of the uppermost reaches of Albany high society, and yet none of his other books had quite prepared him to do so. Half of the ultimate solution to the problem lay in the pleasantly Dickensian character of Edward Daugherty himself. Raised by a fantastically rich Protestant robber baron-diplomat-inventor named Lyman Fitzgibbon—whom Edward's father had once rescued from a mob— Edward is a fantastic hybrid. He is the son of a laboring Irish-Catholic; he is also the handsome and favored godson of one of Albany's ruling Protestant elites, with easy access to the favored haunts of Elk Street, the Albany Country Club, the Fort Orange Club, and Columbia College. The other half of the solution Kennedy found, not unpredictably, in Shakespeare's Romeo and Juliet, and no allusive model could signal more clearly his desire to re-create and heighten the class and religious tensions at work in Albany of the early twentieth century. Katrina Taylor, the granddaughter of Edward's patron, Lyman Fitzgibbon, is young, beautiful, wealthy, and—although she and Edward move in the same social circles—off limits. Not only is Edward Irish and Catholic, he has chosen to become a writer, and his income seems uncertain at best. On Edward's side, there is the strong opposition of his father, Emmett: at some time in the past, Emmett's brother was employed by Taylor's father, and was savagely beaten and crippled for daring to initiate a strike. It is a fairly stagey setup, one that continues in matched chapters dedicated to parental meetings. Edward's meeting with the Taylors, for example, occurs in the Taylor library, stocked with books, some of these histories of the bloody Cromwellian conquest of Ireland. In the course of asking for Katrina's hand, Edward delivers what he comes to call his "Manifesto of Love," but what is actually an uncon-

cealed broadside at the Taylors, their wealth, their arrogance, and their history. For all of its artificial qualities, the scene is eloquent, and the irony on which it rests satisfying: I'm vividly aware also that your ancestors . . . in the name of God, tried to eliminate the entire population of Ireland and almost succeeded. Then I sit here and all that self-glorifying butchery leaps out at me from the pages of books in this room . . . and you, Jake, and you, Geraldine, have the strength and courage to keep—in your own library—the record of these unspeakable crimes. Hurrah, I say to this. . . . hurrah for facing the worst history has to offer, and moving forward. . . .

Katrina's visit to the poorer section of North Albany is also fraught with tension, and is moving for the reader in spite of its choreographed social problematics. Kennedy seems more than willing to acknowledge the heavy debt to Shakespeare, another sign that self-consciousness in the later novels obviates a host of problems. When Edward's mother remarks that Katrina is still quite young for a bride, the response is both prophetic and allusively to the point: "I'm almost twenty. Juliet, had she lived, would've been married six years at my age. Perhaps I'm older than I seem." Katrina, like most female characters to whom Kennedy gives his full attention, is captivating: undeniably and oddly morbid, sharply defined and carefully nuanced. She is possessed of an intuition bordering on, but not quite equal to, second-sight. In this Kennedy sets the stage for her son Martin, with his clearer visions, but Katrina's intuition is directed primarily at her own spiritual development. In the most impossible circumstances, she knows instantly which of two difficult choices is the necessary choice—that is, necessary for her to remain true to herself. When Edward's parents point out to her, for instance, that marrying in a Protestant church will lead to Edward's excommunication, she immediately solves the unsolvable by agreeing to become a

WILLIAM KENNEDY / 155 Catholic: "I do what I think I should do, so I can become what I feel I must be." Similarly, when Emmett is on his deathbed and wishes for a last glass of ale, Katrina offers to fetch it from the saloon herself, knowing it to be an all-male establishment. The all-male rule is a "silly one," Katrina announces to the stunned bartender, because "My father-in-law is dying, and the ale is for him, and for Father Loonan when he comes to perform the last rites, ten minutes from now." Katrina understands intuitively that this errand requires her doing, as a way finally to heal the rift with her father-in-law, and to seal her connection to the Church, as well as, not coincidentally, to make a stand for women in a bastion of male privilege. Yet it is a deceptively complex scene, one that carefully recasts an icon of early twentieth-century gender politics. Kennedy shows a woman forcing her way into a male pub—but not to rail against drink, nor to militate for women's rights. Instead, Katrina is primarily demonstrating fidelity to the Father. Katrina is a pioneer, but a pioneer within Kennedy's particular zone of comfort. Unfortunately for Kennedy, the heart of The Flaming Corsage is Katrina Daugherty, and when he leaves her to begin the dramatic elaboration behind the Love Nest shootings, he is forced to leave her behind. The novel suffers from that point forward. In her place, Kennedy erects a machinery of characters and motives—actresses, best friend's wives, hoods with small grudges, love, jealousy, rape, false rape, lesbianism, false lesbianism, practical jokes, and severed animal heads—to explain the shootings sketched so long before in Billy Phelan. But almost all of these narrative threads have a strained feel, and the author picks them up and puts them down so quickly that after a while they cease to have any real impact. Kennedy seems to come to them reluctantly, or haphazardly. The actress Melissa Spencer, to take one example, so captivating, raw, and quirky in Billy Phelan, is reduced in the last half of The Flaming

Corsage to a breathy ingenue not unlike Jack Diamond's mistress, Kiki. Like Kiki, Melissa is portrayed not as a woman, but as a creature of the footlights and the early movie camera, gorgeous but nearly nonexistent beneath the skindeep masterpiece of beauty. "If a headbirth by Aphrodite and The Prince were possible she could have been the progeny: born with passion's mouth and sacred swath, and wisdom from below." Like Kiki, and in a way reminiscent of the early Kennedy, she is a concept and a body, with most of her first appearance—at a dinner party thrown by Edward—devoted to Edward's sudden leering (and out-of-character) enchantment with her breasts. "Her gown became the object of silent speculation: would it offer the table, before dinner's end, an unobstructed chest-scape?" The complex father-son sexual competition for Melissa—a deft series of suggestions in Billy Phelan—here becomes a game of who-controls-thebreasts, with Edward at one minute fuming that Martin now has "an unobstructed view of the chest-scape," but then exultant a moment later when Melissa leaves his son to lean again toward Edward, "offering him her beautiful moonlit breasts." The Flaming Corsage's most resonant and moving images remain those of Katrina, sifting through the ruins of a hotel fire that killed her mother, sitting for a photograph in her own frankly exhibitionistic way, and dying in Edward's arms as a second fire finishes the work of the first. Where the novel succeeds it succeeds, in the force of the original portraits of Edward and Katrina, framed in Shakespeare's time-honored plot of warring families. And there Kennedy accomplishes the almost sociological exploration he set out to provide—the reader sees the upper and the lower classes of Albany in protracted struggle. It is when Kennedy is forced, finally, into the constraints of his own Love Nest shootings outline, done many years before, that his story falters. There is a very particular brittle quality to

156 / AMERICAN fiction written in the service of someone else's ideas and wishes. In Kennedy's case, at least once late in the composition of the vastly impressive Albany Cycle, that someone else proved to be his own younger self. Note: I interviewed William Kennedy for an article published in the New England Review in 1998. Excerpts from this interview appear in this article. All other interviews mentioned in this article appear in Neila Seshachari's Conversations with William Kennedy, which is listed in the Bibliography.

Selected Bibliography WORKS OF WILLIAM KENNEDY FICTION

The Ink Truck. New York: Dial Press, 1969. Legs. New York: Coward, McMann, 1975. Billy Phelan's Greatest Game. New York: Viking, 1978. Ironweed. New York: Viking, 1983. Quinn's Book. New York: Penguin, 1988. Very Old Bones. New York: Penguin, 1992. The Flaming Corsage. New York: Viking, 1996. NONFICTION O Albany! Improbable City of Political Wizards, Fearless Ethnics, Spectacular Aristocrats, Splendid Nobodies and Underrated Scoundrels. New York: Viking, 1983. Riding the Yellow Trolley Car: Selected Non-Fiction. New York: Penguin, 1993.

SCREENPLAYS

The Cotton Club. With Francis Ford Coppola. New York: St. Martin's Press, 1986. Ironweed. For Taft-Barish Productions, 1987.

WRITERS

CRITICAL STUDIES Adamson, W. D. "Very Old Themes: The Legacy of William Kennedy's Humanism." Classical and Modern Literature 15, no. 1:67-75 (1994). Black, David. "The Fusion of Past and Present in William Kennedy's Ironweed." Critique 7, no. 3:177184 (1986). Clarke, Brock. " 'A Hostile Decade': The 60's and Self-Criticism in William Kennedy's Early Prose." Twentieth-Century Literature 45, no. 1:1-17 (1999). Clarke, Peter P. "Classical Myth in William Kennedy's Ironweed." Critique 7, no. 3:167-176 (1986). Estess, Ted L. "Angels in the Primum Mobile: Dimensions of the Sacred in William Kennedy's Ironweed, Novel and Film." In Screening The Sacred: Religion, Myth and Ideology in Popular American Film. Edited by Joel Martin and Conrad Ostwalt. Boulder: Westview Press, 1995. Pp. 30^3. Giamo, Benedict. The Homeless of Ironweed: Blossoms on the Crag. Iowa City: University of Iowa Press, 1996. Griffin, Paul F. "Susan Sontag, Franny Phelan, and the Moral Implications of Photographs." The Midwest Quarterly 29, no. 2:194-203 (1988). . "The Moral Implications of Annie Phelan's Jell-O." San Jose Studies 14, no. 3:85-95 (1988). Kennedy, Liam. "Memory and Hearsay: Ethnic History and Identity in Billy Phelan's Greatest Game and Ironweed.9' MELUS 18, no. 1:71-82 (1993). Michener, Christian. "Martin Daugherty's Victories in Billy Phelan's Greatest Game." Papers on Language and Literature 31, no. 4:406-429 (1995). Novelli, Cornelius. "Francis Phelan and the Hands of Heracles: Hero and City in William Kennedy's Ironweed." Classical and Modern Literature 12, no. 2:119-126(1993). Reilly, Edward C. William Kennedy. Boston: Twayne, 1991. Taylor, Any a. "Ironweed, Alcohol, and Celtic Heroism." Critique: Studies in Contemporary Fiction 33, no. 2:107-120(1992). Tierce, Michael. "William Kennedy's Odyssey: The Travels of Francis Phelan." Classical and Modern Literature 8, no. 4:247-263 (1988). Van Dover, J. K. Understanding William Kennedy. Columbia: University of South Carolina Press, 1991. Whittaker, Stephen. "The Lawyer as Narrator in William Kennedy's Legs." Legal Studies Forum 9, no. 2:157-164(1985).

WILLIAM KENNEDY / 157 Yetman, Michael G. "Ironweed: The Perils and Purgatories of Male Romanticism." Papers on Language and Literature 27, no. 1:84-103 (1991).

INTERVIEWS Baruth, Philip. "Beyond Realism: William Kennedy on the Surreal and the Unconscious, the Religious,

the Sublime, and the Gonzo." New England Review 19, no. 1:116-126(1998). Seshachari, Neila. Conversations with William Kennedy. Jackson: University Press of Mississippi, 1997. (Collects twenty-four interviews, dating from 1969 to 1996.)

—PHILIP E. BARUTH

Jane Kenyan 1947-1995 A T A GRAVESITE in the cemetery in Proctor,

I am clumsy here. . . .

New Hampshire, stands a gravestone with the lines "I BELIEVE IN THE MIRACLES OF ART BUT WHAT / PRODIGY WILL KEEP YOU SAFE BESIDE ME." These lines are from Jane Kenyon's poem "Afternoon at MacDowell" and were written by Kenyon with her husband, poet Donald Hall, in mind. At the time Kenyon wrote the poem, Hall had cancer and was "supposed to die." The sad irony here is that Jane Kenyon died first of leukemia on April 22,1995. The lines now stand in testimony to Kenyon, and they look, mistakenly, like the words were written for her. Consequently, both the "I" and the "you" in the epitaph refer to Kenyon herself and provide an odd, but telling, testament to her identity as a poet. Throughout her life Kenyon's work explored the difficulty of locating herself in the world, in a sense, "inhabiting a home." Her poems and prose repeatedly articulated the region of her senses: what she saw, what she heard, what she touched, what she smelled, and what she tasted. Her evocatively descriptive language attempted to map her relationship to her surroundings. In her poem "From Room To Room" she writes:

Clitics have described Kenyon's work as exploring the inner psyche, especially in relation to her own battles with depression. Essayist Gary Roberts noted in Contemporary Women Poets that her poetry was "acutely faithful to the familiarities and mysteries of home life, and it is distinguished by intense calmness in the face of routine disappointments and tragedies." Although accurate, these characterizations only partially encompass Kenyon's work, which should be remembered as much more courageous, passionate, and unblinking in the belief that people can find comfort and understanding in their immediate world.

KENYON'S BACKGROUND

Jane Kenyon was born on May 23, 1947, in Ann Arbor, Michigan. The second of two children, her family lived in an area that is now within the city of Ann Arbor, but then was merely part of the township and was primarily populated by small farms and orchards not far from the Huron River. Her father was a musician who also taught music while her mother stayed home to raise the children. Her father suffered throughout his life from clinical depression, and her mother suffered from manic depression which made home life difficult.

I move from room to room, a little dazed, like a fly. I watch it bump against each window.

759

160 / AMERICAN WRITERS The family was staunchly Methodist and had several Methodist ministers on both sides. This doctrinal influence had a powerful effect on forming Kenyon's sense of herself in the world. Her brother Reuel and she stayed often at her fraternal grandmother's big house on State Street in Ann Arbor where her grandmother took in University of Michigan students as boarders. Her grandmother, Dora Baldwin Kenyon, had a strong influence on Kenyon as a child because of her dark obsessions with Christ's Second Coming and the end of the world as we know it. In an unfinished essay titled "Childhood, When You Are in It ...," collected with all of her prose in A Hundred White Daffodils: Essays, The Akhmatova Translations, Newspaper Columns, Notes, Interviews, and One Poem (1999), Kenyon described a defining experience: "I might have been seven or eight when my grandmother first said to me, opening her eyes wide, and then wider. The body is the temple of the Holy Ghost.' We were sitting in the dark living room, dark because the shades were kept half-drawn, and the sheer curtains were never pulled back. . . . I know that grandmother had said something solemn, and I knew that somehow my body was under discussion." It was hard for Kenyon to fall asleep at the house on State Street because there was always a lingering sense that "Jesus would come in the night to judge [her] life." Like her grandmother's favorite hymn, "Onward Christian Soldiers, Marching As To War," Dora Baldwin Kenyon instilled in Kenyon a sense that life was indeed a battle for salvation in the eyes of the Lord. These doctrinal conditions helped underscore a deep sense of discomfort in both her body and her environment. Objects contained an aura or power beyond their material manifestations. These feelings of presence in things would come to influence her belief in the evocative nature of images. By the age of nine or ten, Kenyon began to resent the dominance that her religious fear held over her. Out of this resentment grew a germ of distrust for the overwhelming responsibility of

being judged by Christ. Concurrently, she became aware of the surprising absence of moral authority in the natural world. In her 1993 interview with David Bradt, collected in A Hundred White Daffodils, Kenyon described this time: "I spent long hours playing at the stream that ran through my family's property. We lived on a dirt road near the Huron River, across from a working farm. I fell in love with the natural world." She wrote about this time years later in the poem "In the Grove: The Poet at Ten," collected in Let Evening Come (1990), describing how "She lay on her back in the timothy" and "Nothing would rouse her then / from that joy so violent." These newfound feelings of comfort led her to denounce her Methodist heritage that promoted the notion that she was sinful by nature and to embrace a belief system akin to Jean Jacques Rousseau's noble savage. In her essay "Childhood, When You Are in I t . . ." she wrote, "I announced to my parents that one could not be a Christian and an intellectual, and that I would no longer attend church. . . . Nature will be my god, and I'll be a good person simply because it is the right thing to do." Her grandmother's notions of a world threatening her salvation were transformed into a belief that it was exactly her grandmother's dangerous world that eventually would redeem her. While she nurtured this safe haven in nature, other areas of her life underscored what little affinity she experienced elsewhere. In addition to her discomfort at home and at her grandmother's, she never fit in at school. At her one-room elementary school, Foster School No. 16 Fractional, it was obvious to Kenyon that her teacher, Mrs. Irwin, did not like her, and Kenyon returned the favor. This mutual disregard made it difficult for Kenyon to enjoy school. Instead, much like her home and her grandmother's house, it became is place of dread. In her essay "Dreams of Math," collected in A Hundred White Daffodils, she writes, "I had math anxiety, as it's come to be called. Letters, reading, spelling made sense to me, but numbers had such strange proclivities.

JANE KENYON / 161 That zero times four was zero, canceling out the existence of the four, seemed dubious at best." She no longer accepted authority's interpretation. No one could ever say, "because that's the way it is." She learned that she must come to the knowledge on her own through an examination of the evidence before her. From her previous experiences she had learned to rely on her senses to lead her to truth. It was this almost doctrinaire reliance on the inductive process that seemed to open her to the power of metaphor and poetry. To support these feelings about self-reliance, nothing in her junior high and high school years that followed fostered a sense of belonging to a community. Instead, she felt even more lost among the nine hundred students. Several thematic concerns that appear in Kenyon's later work seem to have evolved from the conflict of childhood experiences. In A Hundred White Daffodils Kenyon has characterized this time as one in which she discovered that she "had neither the courage to rebel, nor an obedient heart." This skepticism and mistrust played a significant role in the poetic project of attempting to articulate a physical, emotional, and spiritual relation to the world that is uniquely authentic. In her early poems she had almost a rigid adherence to the transcendent power of the image, so that her poems were more like observations absent of a discriminating eye. In her notes for a lecture given at a literary conference in Enfield, New Hampshire, and collected in A Hundred White Daffodils, she said, "We celebrate the world by writing about it, we observe it more closely, with more love. We are more fully alive and aware because of our efforts."

YEARS AT THE UNIVERSITY OF MICHIGAN

On graduation from high school, Kenyon attended the University of Michigan at Ann Arbor where she received a bachelor's degree in 1970 and a master's degree in 1972. It was there that

she met her husband, the poet Donald Hall. In the spring of 1969 Hall led a class of more than 100 students. Jane Kenyon was among those students, but it was not until the following fall semester that they finally met when she was admitted to his poetry workshop. In an interview with Jeffrey Cramer published by The Massachusetts Review Hall describes how they met, "I remember one particular poem . . . . The Needle' . . . . I think maybe that poem got her in the class. Thank God." Along with ten or eleven other students, Kenyon met with Hall once a week for several hours in his living room. Nineteen years her senior, Hall led this workshop for two and a half years. Over this time Kenyon and Hall developed a friendship. Even though the relationship was initially a student-to-teacher one, over time there grew a deeper, more intense connection that led to marriage in April, 1972. Clearly, this relationship defined Kenyon's development as a poet. A tenured professor at the University of Michigan, recently divorced, and father of two when they met, Donald Hall was a mature poet in his forties. In contrast, Kenyon was a graduate student who was not altogether clear that poetry would be her life's work. As the two describe the development of their relationship, it was an attraction that both resisted at first, but somehow the inevitability of it was impossible to avoid. In the beginning, the imbalance of power with Hall having been her teacher was difficult. In an interview with Marian Blue, collected in A Hundred White Daffodils, Hall described the difficulty of their change in relationship from student and teacher to lovers, "When we were first married, we had to cope with that earlier relationship. I couldn't criticize her poems, because then I became her teacher. It was physically confusing: her husband suddenly turns into Professor Hall." To resolve this dilemma, Hall and Kenyon invited a third person, their friend and poet Gregory Orr, to their home. This made all the difference. "When Gregory Orr would join us, then I could say anything about Jane's poems and she

762 / AMERICAN WRITERS could say everything about mine. Greg's presence made it a workshop in which we were equals," Hall said. They adhered to this formula for the first two and a half years of their marriage. Orr then moved to Virginia and Kenyon and Hall relocated to New Hampshire. Kenyon described the differences between Hall and herself in the same interview with Marion Blue, "I think our visions are very different. Don has been writing a long time, and he has passed through many shapes and sizes, if you will, for his poems. He is writing large, ambitious, looselimbed poems these days, poems in which all his wisdom appears. I am working at one thing—the short lyric. It is all I want, at this point: to write short, intense, musical cries of the spirit. I am a miniaturist and he is painting Diego Rivera murals. I'm not being modest about trying to write short lyrics in the tradition of Sappho, Keats, and Akhmatova." Kenyon's comparison of Hall to the famous Mexican painter Diego Rivera seems an unconscious acknowledgment of Hall's towering aesthetic presence in her life. To complete this allusion by then comparing Kenyon to the artist Frida Kahlo, Rivera's wife, might be considered a stretch, but the effort does hold a grain of truth in that Kahlo's canvases were much more contained and psychically pained than Rivera's, just as Kenyon's poems map a difficult psychic landscape that is much more personal and inwardlooking than Hall's.

EAGLE POND

This towering presence did not diminish, however, when they moved in 1975 from Ann Arbor to Eagle Pond, Hall's family farm in Wilmot, New Hampshire, for Hall's year-long sabbatical from the University of Michigan. The farm had been settled by Hall's great-grandfather in 1865. In the Life at Eagle Pond: The Poetry of Jane Kenyon and Donald Hall website, Hall, who

spent his childhood summers and wrote his first poems there, described this return as both a coming home and a "coming home to the place of language." For Kenyon, the farm was an environment that was similar to the rural landscape of her childhood where she first discovered herself. This return to nature was essential to her beginning to write seriously for the first time. Within the woods and rolling hills populated with small farms, she rediscovered the subject that nurtured her own inner journey toward selfdiscovery. As Charles Simic observed on the website, "Kenyon's country is both our rural New Hampshire and her inwardness in which we all recognize ourselves." Before her arrival at Eagle Pond, Kenyon's commitment to writing was haphazard and undisciplined. In her interview with Bill Moyers, collected in A Hundred White Daffodils, she described this time, "I really didn't get going in my work until we came here (Eagle Pond). I have all the time in the world here. I had to do something to fill those hours, so I began to work more. I used to work only when the spirit moved, but when we came here I began to write every day . . . [and was] getting serious about this poetry business." The shape of her and Hall's days centered around a morning of writing in their own offices. At the end of Hall's sabbatical year, they decided that Eagle Pond was where they would make their home. Hall resigned his professorship at the University of Michigan and embarked on a career as a freelance writer. By the late 1990s he was the author of thirteen volumes of verse, and author or editor of nineteen anthologies and books of prose. Over the years, it was primarily his work that provided the income that sustained him and Kenyon on the farm. While Hall continued mining the aesthetic veins that he had been working for years, Kenyon embarked upon a twoyear immersion into the poetry of John Keats. Although she wrote very little about other poets,

JANE KENYON / 163 it is clear that Keats' sense of the lyric as meditation on one's relationship to the physical world influenced Kenyon's work. In her first book From Room to Room, published in 1978, most of the poems are anchored in observation, rather than engagement, of the world.

FROM ROOM TO ROOM

All but two of the forty-three poems, "The Needle" and another unnamed poem, from her first book From Room to Room were written at Eagle Pond. Though beautiful, the strategies of "The Needle" are not quite consistent with the rest of the poems from the collection and do not bear the stamp of Keats' influence. Instead, the poem seems more consistent with her later work. The poem begins with a comparision: "Grandmother, you are as pale / as Christ's hands on the wall above you." Kenyon's early poems are typically absent of such figures of speech, particularly in the first few lines, as well as direct Christian references. Instead her poems arrive at the connotative much more timidly. She relies on her eye to describe and allows the image to evoke its own aura. The first poem in the collection is "For the Night." It is on the surface a series of descriptions: The mare kicks In her darkening stall, knocks Over a bucket. The goose . . . The cow keeps a peaceful brain . . .

Reminiscent of early twentieth century Imagism, the inflection in the poem arises ever so quietly in line five with the adjective "peaceful." Surprisingly, the entire poem rests on this adjective while what follows describes rather neutrally the way light moves and a bat flies. Its delicacy and

spare lines appear anachronistic and somewhat derivative of William Carlos Williams' poems like "The Red Wheel Barrel" or "This Is Just To Say" in the way that Williams sometimes placed inordinate emotional weight on isolated parts of speech. The odd thing in "For the Night," however, is the speaker's absence. It is almost as if such a serene environment can only be observed from the outside, not from within. This void of presence leaves the reader wondering if the speaker's location, in contrast to this peace, is some kind of discomfort. As a first poem in a collection, "For the Night" is a strong statement of Kenyon's aesthetic and spiritual principles that nature holds the key to finding acceptance. It is ironic that From Room to Room begins with such a strong description of a safe haven because much of the book examines moving from one place to another and the difficulty of giving up one home to find another. The second poem in the book is even titled as such, "Leaving Town." It again is primarily a description except for one simile at the end. "I felt like a hand without an arm." In the poem the speaker tracks the giving away of plants, the loading of the truck, the journey out of town, and the increasingly fainter radio signal of a Tiger's game. The images play on the reader's sympathy for the painful experience of separation. "Friends handed us the cats through the half-closed windows." The last separation with the past is made through a window that is already "half-closed," not half-open, as if leaving can only be seen in the pessimistic terms of closure. This gesture of faithfulness to the past and to established relationships stands as a beacon for the difficulty she has discovering her place in her new home. The poems that follow in the book explore this conflict of making a context in a place where she had no context before and where there existed a rich context already without her. Kenyon first catalogs experiences that set her apart from her new home. There's a strange ab-

164 / AMERICAN WRITERS sence and powerlessness in these poems in which the world that surrounds her has much more weight and presence than she has herself. One poem is titled "Here," but the lines describe a place in which the speaker is struggling to find a "here" for herself. Even though there is an epigraph from The Book of Common Prayer, which is supposed to emphasize her acceptance of her new place in New Hampshire, the actual poem contradicts this quotation by underscoring a sense of frailty, impermanence, and vulnerability because the speaker compares her connection to her home to a cutting just rooting in a glass of water. I feel my life start up again, like a cutting when it grows the first pale and tentative root hair in a glass of water.

Other poems, such as "From Room to Room," "The Presence of Others," and "The Cold," seem to highlight the permanence of what is already there in contrast to her own unrootedness. On the whole these poems are in creating a vivid sensory experience of this conflict, except in a poem such as "This Morning," in which the speaker's presence is so absent that the reader has no voice or identity on which to anchor himself or herself. The pronoun "I" appears subordinated and located in the past. A nuthatch drops To the ground, feeding On sunflower seed and bits of bread I scattered on the snow.

In contrast, everything else in the poem is so present that even the noise of the plow passing on the road draws the attention of the cats and makes "the house / tremble as it passes." This attendance by the world, however, does not add up to much, and this reflects so poorly on the "I" of the poem that the speaker has no real value and, thus, is not

worth listening to. At times the humility in Kenyon's poems can devolve too dangerously into an expression of no self-worth. These tendencies seem like a foreshadowing of the clinical depression that she wrote about later on. Nevertheless, the tenuousness of the speaker's presence provides some of the most lyrical moments in the collection. In "The Thimble," her discovery of this object leads her not only to feelings of connection to the past, but also to her community and, ultimately, to God. Not surprisingly, the connection to her new home is found through objects left behind by women who once lived there—the gray hair, the thimble. She finds a kinship with these women that culminates in "Hanging Pictures in Nanny's Room," in which Kenyon imagines the mentality and daily rituals of an ancestor in a parlor photograph. This finally leads to a sequence in the second part of the book where she finds a link to her past and to her mother and grandmother. From this axis that connects her legacy to her future, Kenyon is able to construct an environment in which she belongs. In this book it becomes clear how important women are to her sense of place. As a child her grandmother and teacher were key to her dislocation within her community. Now, it is the artifacts of long-dead women who help her find a home, and later in From Room to Room, it is the poetry of the Russian poet Anna Akhmatova that informs her poetry. In the next to last section of From Room to Room, the speaker tentatively discovers happiness, but the journey is strange in that the speaker seems not to have an active role in the arrival of this emotion. Instead, she is merely a recipient. Critics have commented on Kenyon's work as being eerily calm and egoless, but this absence of self has deeper implications in its relation to how she defines herself. In "The Suitor" the speaker personifies happiness as someone who pursues her. This is further explicated in the next poem

JANE KENYON / 165 "American Triptych" where her only sense of being an active force in her happiness is as a member of a community. The store is a bandstand. All our voices sound from it, making the same motley American music Ives heard . . .

The poem's three parts feature the country store where "Cousins arrive like themes and variations;" kids playing baseball in a hayfield, beyond "deaths or separations;" and a potluck supper at the Baptist church whose wholesomeness restores a sense of personal and national innocence: On the way home we pass the white clapboard faces of the library and town hall, luminous in the moonlight, and I remember the first time I ever voted— in a township hall in Michigan. That same wonderful smell of coffee was in the air, and I found myself among people trying to live ordered lives. . . . And again I am struck with love for the Republic.

From here, Kenyon is able to arrive at the final poem of the section, "Now That We Live." This poem celebrates the natural world around her with playful descriptions of a "Fat spider" and a "Brow of hayfield." Her use of adjectives has changed from the ponderous inflections of the poems early in the volume to an expressiveness that underscores a feeling that she is at last at home: "I belong to the Queen of Heaven!"

TRANSLATING ANNA AKHMATOVA

The journey explored in From Room to Room is not limited, however, to the author's efforts at finding a place of comfort, but also is a expedition into Kenyon's identity as a poet. Kenyon in a sense moves "from room to room" trying on

styles like prose-poems and compressed imagist poems to find a poetic structure that she can inhabit. This journey concludes with translations of six early poems by Akhmatova, whose imagist techniques provide a model for the poetic sensibility that coalesces in From Room to Room and matures in Kenyon's later work. In his introductory essay to A Hundred White Daffodils, Hall described how crucial Akhmatova was to Kenyon's development: "[A]s she worked with Akhmatova's early lyrics, condensations of strong feeling into compact images both visual and aural, she practiced making the kind of poetry she admired most—an art that embodied powerful emotion by means of the luminous particular." It was poet and translator Robert Ely who first suggested Kenyon study Akhmatova, and who, along with poet Louis Simpson, directed her to Vera Sandomirsky Dunham, a professor of Russian literature at the State University of New York at Stony brook, in 1977. For the next eight years Kenyon immersed herself in Akhmatova's prerevolutionary poems. In 1985, she published Twenty Poems of Anna Akhmatova, a small book of translations that is now collected in A Hundred White Daffodils. While Kenyon was working on the translations, Dunham apparently pressed her to render the poems in meter and rhyme to reflect the formal aspects of the Russian originals. Kenyon resisted however. In her introduction, which was her only essay in literary criticism, Kenyon wrote, "Because it is impossible to translate with fidelity to form and to image, I have sacrificed form for image. Image embodies feeling, and this embodiment is perhaps the greatest treasure of lyric poetry. In translating, I mean to place the integrity of the image over all other considerations." This adherence to the primacy of image not only fit neatly into Kenyon's own poetics, but was also based in the poetics of the group of poets Akhmatova belonged to before the 1917 revolution. Kenyon wrote, "Acmeism held that a rose

766 / AMERICAN WRITERS is beautiful in itself, not because it stands for something . . . . clarity, concision, and perfection of form. They summed up their goals in two words: 'beautiful clarity.' " These words could function as Kenyon's own aesthetic principles, just as the poems she selected to translate speak directly to her own poems. In the first translation in the collection "The memory of sun weakens my heart," the lines evoke an elegance that Kenyon aspired to in From Room to Room. Readers can hear echoes of Akhmatova's lines, such as "Against the empty sky the willow opens / a transparent fan. / Maybe it's a good thing I'm not / your wife," in "Now That We Live" and other poems in Kenyon's first book. The difference, however, is that Akhmatova's voice has the confidence and power that is lacking in From Room to Room. Even though Kenyon's efforts to master the pre-revolutionary poetic concerns of Akhmatova was her way of constructing a poetics of her own, there is a troubling thought that arises when considering what she ignored: Akhmatova's later more epic and political work, including "Requiem" and "Song Without a Hero," two poems considered her greatest and most ambitious achievements. Nevertheless, this choice is typical of Kenyon who seemed to refuse to look where others have already gazed.

RELIGIOUS AWAKENING

While immersed in the translations, Kenyon was clearly aware of the irony that both she and Akhmatova considered their marriages to be the beginning of their lives. For Kenyon, this was not simply because her adult life began at the same time as her marriage to Hall. The life at Eagle Pond and the surrounding community that she discovered through Hall's roots gave Kenyon a surge of power and clarity that led to the resolution of the spiritual emptiness she experienced as

a child. Her spiritual journey began as simply and prosaically as an image in one of her poems. One Sunday, Hall suggested they go to church. At first it was more of a social act than a spiritual one, but soon the experience became "luminous." She started to take comfort from prayer and the assurance of pardon for sins. The sense of relief that came from this acceptance coincided with her realization that she couldn't avoid those human qualities, like selfishness and irritability, which she had hoped she would transcend. Prayer offered her a chance to acknowledge her own failings and start over. At the suggestion of her pastor at South Danbury Church Kenyon began to read the New Testament. She started with Mark's Gospel with Barclay's commentary, and went on to read the other gospels as well as the Acts of the Apostles, the Epistles, the Prophets, and the Psalms. In her essay "Gabriel's Truth," collected in A Hundred White Daffodils, she wrote, "Mary teaches us to trust God always, to live in hope, to respond with love to whatever happens, to give and not count the cost, to be faithful in the worst circumstances. She teaches us, men and women, not to insist on ourselves, on our own comforts and satisfactions. And she shows us, finally, that her strenuous love was able to defeat death." Not surprisingly, this passage encompasses many of the concerns Kenyon had had since childhood. It also accentuated another connection of hers. Once again, Kenyon finds truth and meaning through the words, actions, and legacy of a woman. In most of her prose and interviews Kenyon refers to a turning point in her life. In 1980 she had a vision that deepened her faith and clarified her understanding of her place in the world. "It was like a waking dream. My eyes were open and I saw these rooms, this house, but in my mind's eye, or whatever language you can find to say these things, I also saw a great ribbon of light and every human life was suspended. There was no struggle. There was only this buoyant shimmer-

JANE KENYON / 167 ing, undulating stream of light. I took my place in the stream and after that my life changed fundamentally. I relaxed into existence in a way that I never had before," Kenyon described in an interview with Bill Moyers, collected in A Hundred White Daffodils. After this experience, her poetry changed profoundly. It became more assertive and more clearly spiritual, which particularly becomes clear in her last book, Otherwise: New and Selected Poems (1996). In her short essay "Thoughts on the Gifts of Art" from A Hundred White Daffodils, Kenyon described her belief that every poem is "a state-of-the-soul address" and expanded on this with the statement, "Artists report on the inner life, and the inner life distinguishes us from centipedes, although I may underestimate centipedes."

signals a definite change for Kenyon from the tentativeness of the speaker in From Room to Room. A few lines later she writes, "Red-faced skiers stamp past you; their hunger is Homeric." The hyperbolic looseness reminds the reader that the process of dying happens in the midst of living. The wrenching tenderness of the last lines of the poem are particularly Keatsian in their attempt to redeem her lingering on death with a kind of gusto for life. The lines look for comfort in the quiet reduction of self's presence through its identification with the inanimate:

THE BOAT OF QUIET HOURS

These last lines of the first poem in the book could easily be taken as a statement of her poetics: what you see will redeem you. In this vein, the collection is then arranged into four seasons as if to track how life follows the cycles of nature, but there is a difference. Kenyon subtracts autumn and inserts what all New Englanders consider the fifth season, mud season. The first section, "Walking Along in Winter," contains poems about death and loss. "At the Town Dump" echoes Theodore Roethke's poem "Root Cellar" in the belief in the value of even the most useless trash. "I offer it to oblivion / with the rest of what was mine." Not only what you see, but also what you leave behind, will redeem you. In "Killing the Plants" she takes this position a step too far by comparing her neglect of her plants to Hamlet's rehearsal of murdering Claudius. Clearly, the plants cannot be as guilty or deserving of revenge as Claudius. The extremely tenuous connection of this hyperbole to the scene described in the poem cannot sustain the exaggeration. Section Two, "Mud Season," has a kind of Frostean edge in that the poems examine transi-

Kenyon's next collection of poems, The Boat of Quiet Hours, published the year following her translations and contains sixty-two poems. In this collection, a New England stoicism arises that cannot help, with its reference to John Keats' Endymion, Book I in the title, to be perceived as a contemporary permutation of Kenyon's beloved poet Keats' concept of negative capability. In these portraits of domestic and rural life in northern New England there exists a selfless receptivity to the subject. In a review of The Boat of Quiet Hours poet and critic Carol Muske wrote in the New York Times, "These poems surprise beauty at every turn and capture truth at its familiar New England slant. Here, in Keats' terms, is a capable poet" (June 21, 1987). The book opens with "Evening at a Country Inn" where the dramatic situation is the speaker empathizing with her companion's mourning. The poem is striking for its active energy, which is expressed in lines such as that describing a red cloud as "impaled on the Town Hall weathervane." This kind of verb

I know you are thinking of the accident— of picking the slivered glass from his hair. Just now a truck loaded with hay stopped at the village store to get gas. I wish you would look at the hay— the beautiful sane and solid bales of hay.

168 / AMERICAN WRITERS tional spaces. Just as spring is a season that has the characteristics of both winter and summer, the poems in this section exhibit an occlusion that explores the difficulty of making clear distinctions in life. "The Pond at Dusk" looks at that time of day that is neither day nor night, when it is most difficult to see: ". . . what looks like smoke / floating over the neighbor's barn / is only apple blossoms." The speaker's descriptions seem contradictory because nothing can be made out in this light: "A fly wounds the water but the wound / soon heals" and "The green haze on the trees changes / into leaves." The titles of poems like "Evening Sun," "Sun and Moon," and "Frost Flowers," embody these confusions, while the poem "Photograph of a Child on a Vermont Hillside" explores how a photograph, which is a representation of someone, cannot really know that person. The photograph, like a poem, can contain an image but its meaning will always be elusive. The third section, "The Boat of Quiet Hours," takes its inspiration from the lines in Keats' poem Endymion, Book /:, "And, as the year / Grows lush in juicy stalks, I'll smoothly steer / My little boat, for many quiet hours. . . ." Consequently, the poems offer images that are finely observed. Now all the doors and windows are open, and we move so easily through the rooms. Cats roll on the sunny rugs, and a clumsy wasp climbs the pane, pausing to rub a leg over her head.

This first stanza of "Philosophy in Warm Weather" celebrates how in spring "all around physical life reconvenes." Kenyon explains her premise a few lines down: "Heat, Horatio, heat makes them / put this antic disposition on!" And again she references Shakespeare's Hamlet. This time, however, it works because she is not only taking on Hamlet's identity, but is also explaining what makes the world seem so crazy. There is no stretch in the playfulness of her reference the way

the hyperbole failed in "Killing the Plants." Her feelings about being as alive as everything is in spring are brought into focus in "Camp Evergreen." The optimistic slant of the title cues the audience even before they encounter the mischievous images of "boats like huge bright birds" and "a fish astonishes the air, falls back / into its element." All she really does in this poem is luxuriate in the sunlight, but still she knows that this ecstasy cannot be sustained. Now it is high summer: the solstice: longed-for, possessed, luxurious, and sad.

This quiet turn toward darkness resonates in this section because Kenyon can never seem to fully release herself into rapture. She tries, however, in poems such as "The Bat," which describes a moment when the speaker is suddenly confronted with a bat in her room. The poem explores how inspiration occurs without explanation and uses a startling comparison to illustrate this violence of the experience. At every turn [the bat] evaded us like the identity of the third person in the Trinity: the one who spoke through the prophets, the one who astonished Mary by suddenly coming near.

In her interview with Bill Moyers, Kenyon explained "The Bat": "What I had in mind was being broken in upon, the way Mary was broken in upon by Gabriel. You think you're alone and suddenly there's this thing coming near you, so near that you can feel the wind from the brushing of the wings." At least there is the possibility of exultation in the notion that a bat's sudden appearance can be similar to the experience of the Holy Ghost. Just this kind of contingency represents how Kenyon's poems move toward a resolution, but never quite arrive. In an interview with David Bradt, Kenyon had talked about the importance of Anton Chekhov to her work. This resistance

JANE KENYON / 169 on her part to closure, as well as her absence of moral judgment, in her poems seems directly influenced by Chekhov and stories like "Misery" and "Lady with the Pet Dog." In a letter to Aleksey S. Suvorin in Letters on the Short Story, the Drama, and Other Literary Topics by Anton Chekhov, Chekhov insisted on the importance of "objectivity. . . . The artist is not meant to be a judge . . . his only job is to be an impartial witness." Because of her own history of coming in conflict with others' truths, Kenyon would never insist on a particular way. The Boat of Quiet Hours ends on an optimistic note in the season of summer. Section Four, "Things," starts with a song that reaches past Kenyon's strict adherence to T. S. Eliot's notion of the objective correlative. Instead, the speaker of "Song" attempts to say that there are times when even an external equivalent cannot stand for the internal state of mind that she feels right now. . . . But even this is not the joy that trembles under every leaf and tongue.

The statement is remarkable for its implications of an abundance that extends beyond the limits of summer's verdant tangle. In Kenyon's attempt to map out this unmarked territory in some of the poems that follow, the reader discovers that this outer region actually is the beyond. First, "The Visit" acts like a familiar landmark by occupying that transition space of dusk between life and death, while suggesting a presence of what is beyond the known. . . . but now I am aware of the silence, and your affection, and the delicate sadness of dusk.

This anchor in the darkness leads the reader through a series of poems that follow the dying of Kenyon's father. The series begins with "Par-

ents' Weekend: Camp Kenwood," which contrasts the parents visiting across the pond to the freedom that she has in her own world. This is followed by several poems that directly address her father dying, "Reading Late of the Death of Keats," "Inpatient," "Campers Leaving: Summer 1981," "Travel: After a Death," and "Yard Sale." The pages end with the title poem of the section "Things." This is a poem of acceptance. Things: simply lasting, then failing to last: water, a blue heron's eye, and the light passing between them: into light all things must fall, glad at last to have fallen.

These last lines in the poem offer comfort by reminding the reader that things change. After summer, autumn arrives. The leaves fall. This ending is the beginning. LET EVENING COME

Like The Boat of Quiet Hours, Kenyon's third volume of poetry, Let Evening Come (1990), explores nature's cycles, but these five-dozen firstperson lyrics take "a darker turn." Published four years after her previous collection, this book picks up where The Boat left off by leaving that in-between space of dusk and entering evening, as well as by beginning with a poem that marks the end of summer. "Three Songs at the End of Summer" offers a shift in tone from one of rapture and hopefulness to sadness. The first song speaks of campers no longer having the time to learn to water ski, while the second song pushes beyond simply time running out to a sadness that is unhinged outside any seemingly causal chain. Then why did I cry today for an hour, with my whole body, the way babies cry?

The last song in the series suggests a deep change in Kenyon's countenance by discarding her faith

170 / AMERICAN WRITERS in the redeeming potential of the image with the line "A white, indifferent morning sky." The song goes on to describe a state in which she "did not / comprehend" and closes with words of deep hopelessness: "It was the only life I had." The surprise about this change in demeanor is that Let Evening Come is clearly a work of a mature poet and exhibits this maturity in the cohesiveness of the collection. Unlike those in Kenyon's earlier books, the poems here are not divided into sections. Poet and critic Alfred Corn observed this harmony in his March 24, 1991, New York Times review, "This 'sunset' collection is unified around themes of nightfall, the sense of endings, the death of family and friends and, implicitly, the maturing of a poetic talent." Kenyon locates herself in and around the countryside near her home, but in this territory she is plainly at loose ends as the last lines of "After Working Long" express. The sky won't darken in the west until ten. Where shall I turn this light and tired mind?

As in this poem, the lines turn from certainty to uncertainty. The use of questions and ellipses multiplies in relation to earlier collections. It is as if she has found the place, both emotionally and aesthetically, she so desperately searched for, and has discovered that the arrival did not supply the answer. Consequently, she wanders with her dog in a landscape that cannot console her. In "Catching Frogs" the speaker waits for the right moment to scoop up the creature that never seems to come. Instead, "It grew dark." The poem ends with a meditation about the sense of absence after her father's death. I came into the warm, bright room where father held aloft the evening paper, and there was talk, and maybe laughter, though I don't remember laughter.

For Kenyon in these times, the evening can no longer be held "aloft" or at bay. She must "let evening come" just as she says in her title poem, and have courage in the face of its darkness. Let the cricket take up chafing as a woman takes up her needles and her yarn. Let evening come.

In this poem, a series of details are presented in a declining light in order to offer a prayer at the end of day: "God does not leave us / comfortless, so let evening come." At this moment of impending darkness and desolation the speaker turns to prayer, because as Kenyon had discovered a decade earlier and had written about in "Childhood, When You Are in I t . . . ," people can take "comfort from the prayer of confession and the assurance of pardon." From this point of expectancy Kenyon makes it possible for the reader to turn to the last poem in the book, "With the Dog at Sunrise." Like the setting's time of day this poem offers rejuvenation of a kind. The drama of the lyric is situated around a meditation on what to say to a friend who is widowed at the age of thirty-one. This thematic dilemma is reflective of the struggles explored in the previous poems in the book, but suddenly there is a change in energy. Her eye notices "that the poplars / growing along the ravine / shine pink in the light of winter dawn." With the first lines the redemptive power of the image has returned. Kenyon has restored her faith in the "luminous image." Consequently, as she ranges the countryside she affirms that "Searching for God is the first thing and the last, / but in between such trouble, and such pain." This collection represents a turning toward the trouble and pain, and then finally a gazing toward God. From this anchor Kenyon was able to examine a thematic concern that has lurked in all her poems but which until Constance (1993) was not directly addressed. Kenyon's work has been compared to Sylvia Plath in this respect, but there are,

JANE KENYON / 171 however, important differences in their treatments of depression as a theme. While Plath's poems can be overwrought, self-absorbed, and self-dramatizing, Kenyon's work contains a New England reserve that makes her poems much quieter and absent of histrionics. Also, Plath was obviously consumed by her depression. In contrast, Kenyon never gives up the fight. When discussing her depression with Bill Moyers, she explained why she would never commit suicide: "My belief in God, such as it is, especially the idea that the believer is part of the body of Christ, has kept me from harming myself. . . . I've thought to myself, 'If you injure yourself you're injuring the body of Christ, and Christ has been injured enough."

CONSTANCE

No matter how emotionally exhausted Kenyon became, her faith pulled her through. This is evident in Constance, in which she dips to the depths but then finds a way to break through the melancholy. This "was lost, but now found" theme is apparent in earlier poems in The Boat of Quiet Hours. In "February: Thinking of Flowers" Kenyon writes, "A single green sprouting thing / would restore me." In Constance she has learned to call out more vigorously. The poem "Peonies at Dusk" focuses on the glory of the lifting, rather than the pale hope of a sprout. White peonies blooming along the porch send out light while the rest of the yard grows dim. I draw a blossom near, and bending close search it as a woman searches a loved one's face.

Her lover is joy, not depression. This is perhaps why Constance begins with a long portion of Psalm 139 as an epigraph. This psalm describes

the presence of God everywhere, even in darkness: "Yea, the darkness hideth not from thee: / but night shineth as day." Without this faith, it is clear Kenyon would not have been able to battle depression to a draw most times, and sometimes win. "Having It Out With Melancholy" is her longest poem and rightfully so since it is here that she illustrates that confrontation. The poem begins with an epigraph from Chekhov that sounds a note of hopelessness: "If many remedies are prescribed for an illness, you may be certain that the illness has no cure." The poem itself is divided into nine parts and covers one hundred lines. For a poet who describes herself as dedicated to the lyric, this poem extends to the outer boundaries of its possibility, but because of the divisions, the poem reads more as a series of nine lyric poems. Part One, "From the Nursery," is an indictment of melancholy's persistence. Framed in a series of second person accusations, the speaker catalogs how melancholy wronged her and concludes with an apostrophe calling the disease "the mutilator of souls." As a counterpoint, Part Two, "Bottles," describes medications used to cope with depression. Elavil, Ludiomil, Doxepin, Norpramin, Prozac, Lithium, Xanax, Wellbutrin, Parnate, Nardil, Zoloft.

Part Three, "Suggestion from a Friend," records the pain of others not understanding, while Part Four, "Often," chronicles how she copes with depression by going "to bed as soon after dinner / as seems adult." Until this point the poem is more like a report than a poem, as if the world of melancholy was prosaic, not poetic. The next section, "Once There Was Light," gives an account of the transforming vision she had in her early thirties, but this reprieve is not long lasting. Like a crow who smells hot blood you came flying to pull me out of the glowing stream.

172 / AMERICAN WRITERS The unrelenting presence of depression becomes a battle that has only small victories, such as the comfort of her dog's companionship and the sudden effectiveness of "monoamine / oxidase inhibitors." I come back to marriage and friends, to pink fringed hollyhocks; come back to my desk, books, and chair.

Surprisingly, Kenyon calls her personified depression the "Unholy ghost." This characterization seems to represent the depths that it can take her, since repeatedly in the past Kenyon has spoken about the redemptive power of the Holy Ghost. Fortunately, the poem turns optimistic in Part Nine, "Wood Thrush." This section echoes Frost's poem "Come In," in which the song of a thrush draws his attention away from the coming darkness and from thoughts of suicide. The speaker in Part Nine finds peace of mind while "waiting greedily for the first / note of the wood thrush." At this moment, her anticipation leads her to a feeling of being "overcome / by ordinary contentment." The word "overcome" emphasizes the degree of melancholy she has reached because it implies a depression so deep that achieving ordinariness is an extraordinary feat. There is an underlying sadness that reverberates in her final celebration of the thrush. How I love the small, swiftly beating heart of the bird singing in the great maples; its bright, unequivocal eye.

The superlatives in these lines feel desperate in their over-reaching descriptiveness. Melancholy, however, is not the only kind of suffering Constance records. In "The Pharaoh" the reader learns that the speaker's husband, like her father a number of years before, has been diagnosed with cancer. The poem first delves into how life changes after the news.

Things are off: Touch rankles, food Is not good. Even the kindness of friends Turns burdensome. . . .

But the last stanza reminds the reader that her husband's potential death is what the speaker really must confront. To do so, she attempts to ennoble him and his life by comparing him to an Egyptian pharaoh, saying: The things you might need in the next life surround you—your comb and glasses, water, a book and a pen.

One of the powers of this book lies in the ability of the speaker to transcend self-pity. This trait manifests itself most sharply in poems like "Coats," "Sleepers in Jaipur," and "Gettysburg: July 1, 1863" in which the speaker can separate from herself and appreciate the grief and emotional pain of others. Nevertheless, this unsparing eye can be directed at herself as well. The poem "Otherwise" deals with the troubles she had to overcome, not just her depression and her husband's cancer, but her own bout with a cancerous salivary gland in the late 1980s. The poem is structured in a kind of call-and-response arrangement where the speaker makes a rather mundane statement about the day and follows it with response of "It might have been otherwise." The poem's last lines contain what can be considered the final call-and-response. I slept in a bed in a room with paintings on the walls, and planned another day just like this day. But one day, I know, it will be otherwise.

OTHERWISE: NEW AND SELECTED POEMS

In Constance Kenyon draws on her deep belief that there is a regenerative force operating in the

JANE KENYON / 173 world. This belief was what sustained her as more tragedy entered her life. Though her husband Donald Hall survived two bouts with cancer, Kenyon contracted fatal leukemia. Her last book, Otherwise: New and Selected Poems (1996), was published posthumously and provides a remarkable document of her life's work. One hundred and fifty-five poems came from her first four books, while twenty poems were previously unpublished; the last poem in the collection, "The Sick Wife," was the last poem that she worked on. The lack of a thematic cohesiveness to the new poems gives them an unfinished feeling in comparison to the polished and considered arrangement of her poems in previous books. In this vein the lead poem seems appropriate. "Happiness" observes how the emotion arrives suddenly "like a prodigal / who comes back" and visits so randomly that, It even comes to the boulder in the perpetual shade of pine barrens, to the rain falling on the open sea, to the wineglass, weary of holding wine.

In the end, the poem appears sadly ironic because the apparent subject of happiness is undermined by an undercurrent of helplessness and lack of control. Happiness comes without reason, and by extension everything else arrives by similar means. This submerged desperation breaks out in the next poem, "Mosaic of the Nativity: Serbia, Winter 1993," where God bemoans His inability to control what He has created. On the domes ceiling God is thinking: I made them my joy. ... But see what they do!

"Mosaic" is perhaps Kenyon's most non-Kenyonian poem. Located far from her home in New Hampshire, the poem contains an explicit political message framed in religious terms.

The poems that follow exhibit a quiet withdrawal by the speaker to a stance of observation, but this position is different from earlier work in that her eye reveals a world predicated on suffering. In "Man Eating" the speaker focuses on what the food is not ("caused no animal / to suffer") and ends with an inorganic image that is clearly not life affirming ("he is eating / with a pearlwhite plastic spoon"). The speaker asks what has happened to her gardens and the countryside she has spent her life ranging. This dislocation manifests more plainly in "Cesarean," a poem in which the speaker imagines herself at birth being delivered by C-section. Aside from the unnatural violence of the procedure, the poem is equally disturbing in its improbability. The baby, the speaker of the poem, observes, "The clatter, / the white light, the vast freedom / were terrible." Kenyon is no longer simply facing the darkness; she is being consumed by it. The poem "Surprise" exhibits a similar turn. The speaker finds betrayal, rather than the delight she has expressed in so many earlier poems, when her husband throws her a surprise party, . . . . The gathering itself is not what astounds her, but the casual accomplishment with which he has lied.

Other poems journey far from home into the past, the funeral home, the doctor's office, the nursing home, the New Hampshire MacDowell artists' colony and the town of Franklin, Dutch design, and finally her father's bedside. What is striking is how displaced from the cycles of nature these poems are. The only poem really inhabiting the natural world is a spare seven-line, thirty-five-word poem called "Spring Evening." The poem is remarkable in its utter absence of a self. It is as if the speaker does not exist within this province where images of abundance are observed.

174 / AMERICAN WRITERS Again the thrush affirms both dusk and dawn. . . .

Frost's thrush returns, but its song is not special. The bird merely sings as it has seemingly done a hundred times before, the "again" underscoring the notion that the image cannot resonate. The final poem in Otherwise, perhaps unfinished, is "The Sick Wife." This poem aches with just the kind of self-pity that Kenyon was able to avoid in the face of her depression, but cannot do so when confronting her mortality. She has earned this self-indulgence, however, because she is dealing with a fatal illness. She should be bitter and angry as well, but she is not. Instead she is simply overwhelmed with a sense of sadness. The windows began to steam up. The cars on either side of her pulled away so briskly that it made her sick at heart.

The occlusion and abandonment described in these lines offers enough of a glimpse at her suffering for the reader to understand the magnitude of knowing you are about to die. This is intensified by Kenyon's understatement. She does not list all the people she loves whom she will leave behind. Instead, she merely hints at the immensity of that loss by describing the sense of separation she feels sitting alone in a car. This lack of explicitness makes these lines all the more powerful and attest to Kenyon's enormous poetic gifts.

OTHER POSTHUMOUS WORKS

Just before her death, Pulitzer Prize-winning composer William Bolcom contacted Kenyon to put a selection of her poems to music. In her last months she and Bolcom worked together to select the texts. The result was a carefully planned se-

quence called Briefly It Enters: A Cycle of Songs from Poems of Jane Kenyon: For Voice and Piano 1994-1996. This work takes a listener progressively deeper into a sense of Kenyon's life, beginning with "Who," which imagines Kenyon's poetry emerging from some source beyond herself, "The Clearing," "Otherwise," "The Sick Wife," and concluding with "Briefly It Enters, and Briefly Speaks." This delicate, nuanced composition with discreetly melodic turns flirts with sentimentality, but just as Kenyon's poems resist melodrama so does Bolcom's piece. A year after her death composer J. Mark Scearce put three of Kenyon's poems to music in a piece called American Tryptich: For Soprano, Flute, Clarinet/Bass Clarinet, Violin, Cello, Piano, and Percussion: On Three Poems by Jane Kenyon. The last book of Kenyon's work, published in 1999, was A Hundred White Daffodils. This book essentially assembles in one volume everything but her poetry. Though Kenyon did not write much prose, in the early 1990s she did write a column for her local newspaper, The Concord Monitor. These pieces celebrate in prose the world she loved so deeply—her garden, friends, and activities. Each of these columns could stand in some sense as a statement on her art. In the column "The Five-and-Dime" she writes "half the fun of real dime stores, aside from their dedicated thinginess, is that the stuff is really cheap." Kenyon appreciation for dime stores seems so appropriate since in her own way she was dedicated to thinginess. The only poem collected in A Hundred White Daffodils, "Woman, Why Are You Weeping?" is one that Kenyon did not want included in her selected poems. It is a poem she did not feel was finished and so was reluctant to publish. Hall, rightfully so, includes this powerful and ambitious work. "Woman, Why Are You Weeping?" points to a complexity and depth that Kenyon might have turned to if she had lived. Deeply and explicitly religious, it compares her loss of faith

JANE KENYON / 175 to the disappearance of Christ from his grave after his crucifixion. Dying and alone, the speaker feels forsaken by all gods. The fire cares nothing for my illness nor does Brahma, the creator, nor Shiva who sees evil with his terrible third eye; Vishnu, the protector, does not protect me. The utter despair in this poem is unrelenting. The only response for the reader is to mourn. The speaker asks " 'What shall we do about this?' " but offers no answer other than pain and indifference. . . . . The reply was scorching wind, lapping of water, pull of the black oarsmen on the oars . . . .

Otherwise: New & Selected Poems. Afterword by Donald Hall. St. Paul, Minn.: Graywolf Press, 1996.

UNCOLLECTED POEMS

"What It's Like." Ploughshares 5, no 2:58 (1979). "Indolence in Early Winter." New Letters 47, no. 1:23 (Fall 1980). Reprinted in New Letters 49, nos. 3-4: 33 (Spring-Summer 1983). "At the IGA: Franklin, New Hampshire." Ontario Review 31:87 (Fall-Winter 1989).

TRANSLATIONS

Twenty Poems of Anna Akhmatova. Translated by Jane Kenyon and Vera Sandomirsky Dunham and with an introduction by Jane Kenyon. St. Paul, Minn.: Eighties Press and Ally Press, 1985; St. Paul, Minn.: Nineties Press and Ally Press, 1994.

OTHER WORKS

The weather, trees, animals, tender companionship, home, and work where she found joy, healing, and answers to significant questions are now absent. A terrible truth about the world has descended upon her, and the tools Kenyon had spent a lifetime honing fail her. A reader cannot help but be deeply saddened by the loss of this profound talent.

Selected Bibliography WORKS OF JANE KENYON POETRY

From Room to Room. Farmington, Maine: Alice James Books, 1978. The Boat of Quiet Hours. St. Paul, Minn.: Gray wolf Press, 1986. Let Evening Come. St. Paul, Minn. Graywolf Press, 1990. Constance. St. Paul, Minn: Graywolf Press, 1993.

Green House. Coedited with Joyce Peseroff. Danbury, N.H.: Vol. 1, No. 1 (Spring 1976); Vol. 1, No. 2 (Winter 1977); Vol. 1, No. 3 (Summer 1977); Vol. 2, No. 1 (Winter 1978); Vol. 2, No. 2 (Summer 1978); Vol. 3, No. 1 (Winter 1980). "Cages," "The Circle on the Grass," "The Suitor," "At a Motel near O'Hare Airport." In The Third Coast: Contemporary Michigan Poetry. Edited by Conrad Hilberry et al. Detroit: Wayne State University Press, 1976. "From Room to Room." In Good Company: Poets at Michigan. Edited and with photographs by Jeanne Rockwell. Ann Arbor, Mich.: Noon Rock, 1977. "Three Songs at the End of Summer." In The Best American Poetry 1989. Edited by Donald Hall. New York: Scribners, 1989. "Let Evening Come." In The Best American Poetry 1991. Edited by Mark Strand. New York: Scribners, 1991. "Kicking the Eggs." In Walking Swiftly: Writings in Honor of Robert Ely. Edited by Thomas R. Smith. St. Paul, Minn.: Ally Press, 1992. "Having It Out With Melancholy." In The Best American Poetry 1993. Edited by Louise Gluck. New York: Macmillan/Collier Books, 1993. "Reading Aloud to My Father." In The Best American Poetry 1996. Edited by Adrienne Rich. New York: Scribners, 1996.

176 / AMERICAN WRITERS "Three Songs at the End of Summer." In The Best of the Best American Poetry, 1988-1997. Edited by Harold Bloom. New York: Scribners, 1998. A Hundred White Daffodils: Essays, Newspaper Columns, Notes, Interviews, and One Poem. St. Paul, Minn.: Graywolf Press, 1999. PHOTOGRAPHY

Hall, Donald, with Dock Ellis. Dock Ellis in the Country of Baseball. With thirteen photographs by Jane Kenyon. New York: Coward, McCann & Geoghegan, 1976.

versity of Michigan, Ann Arbor, on September 27, 1996. Soprano, Benita Valente; piano, Cynthia Raim. Commissioned by Benita Valente.) -. Briefly It Enters: A Cycle of Songs From Poems of Jane Kenyon: For Voice and Piano 19941996. Milwaukee, Wise.: E. B. Marks. Exclusively distributed by H. Leonard, 1997. Scearce, J. Mark. American Triptych: For Soprano, Flute, Clarinet/Bass Clarinet, Violin, Cello, Piano, and Percussion: On Three Poems by Jane Kenyon. N.p., August 1997.

ADDITIONAL WORKS BY OR ABOUT JANE KENYON VIDEO RECORDINGS

Poets Read Their Work, Donald Hall and Jane Kenyon. Stony Brook, N.Y.: Educational Communications Center, State University of New York at Stony Brook, 1977. The Poetry of Jane Kenyon, Ai, Lawrence Kearney and Kathleen Spivak. Stony Brook, N.Y.: Poetry Center Production, State University of New York at Stony Brook, 1978. A Life Together: Donald Hall and Jane Kenyon. Princeton, N.J.: Films for the Humanities, Inc., 1994. (First broadcast on PBS on December 17, 1993, as Bill Moyers' Journal.) Jane Kenyon: A Celebration of Her Life and Works. Durham, N. H.: University of New Hampshire Library, 1995 Donald Hall and Jane Kenyon: "Keeping You Safe Beside Me." Indiana, Pa.: The Indiana University of Pennsylvania, 1999. SOUND RECORDINGS

Jane Kenyon I. Kansas City, Mo: University of Missouri, 1987. Jane Kenyon II: Memorial. Kansas City, Mo.: University of Missouri, 1995. MUSICAL SCORES

Bolcom, William. Let Evening Come: A Cantata. (Text based on poems by Jane Kenyon, Emily Dickinson and Maya Angelou. Premiere, New York City in 1994. Soprano, Benita Valente; piano, Cynthia Raim.) . Briefly It Enters: A Song Cycle. (Sets nine Jane Kenyon poems to music. World premiere, Uni-

Blue, Marian. "A Conversation with Poets Donald Hall & Jane Kenyon." AWP Chronicle 27, no. 6:18 (May-Summer 1995). Bly, Robert. "The Yellow Dot." In The Morning Poems. New York: HarperCollins, 1997. Bradt, David. "Jane Kenyon Interview." The Plum Review 10:115-128 (September 1996). Corn, Alfred. "Plural Perspectives, Heightened Perceptions." The New York Times, Late Edition, section 7, March 24, 1991, p. 26. Cramer, Jeffrey. "With Jane and Without: An Interview with Donald Hall." The Massachusetts Review 39, no. 4:493-511 (Winter 1998-1999). Farrow, Anne. "Into Light All Things Must Fall." In Northeast: The Hartford Courant Sunday Magazine. August 27, 1995, p. 9. The First Jane Kenyon Conference: April 16-18,1998. Louisville, Ky.: Bellarmine College, 1998. (Sound recording.) Germain, Edward. "Jane Kenyon." In Contemporary Poets, 6th ed. Edited by Thomas Riggs. New York: St. James Press, 1996. Hall, Donald. "Life After Jane: An Essay." Northeast: The Hartford Courant Sunday Magazine. August 27, 1995, pp. 6-8. Hornback, Bert, ed. Bright Unequivocal Eye: Poems, Papers, and Remembrances from the First Jane Kenyon Conference. New York: Peter Lang Press, 2000. "Jane Kenyon Portfolio." Meridian: The Semi-Annual from the University of Virginia. 4:37-80 (Fall 1999). Life at Eagle Pond: The Poetry of Jane Kenyon and Donald Hall. Special Collections Library website, University of New Hampshire, Durham, N.H. wwwsc.library.unh.edu/specoll/exhibits/kenhall .htm (1996).

JANE KENYON / 177 Moyers, Bill. "Jane Kenyon." In The Language of Life: A Festival of Poets. New York: Doubleday, 1995. (Includes an interview with Jane Kenyon and eleven poems: "Here," "From Room to Room," "Finding a Long Gray Hair," "February: Thinking of Flowers," "Depression in Winter," "Having It Out With Melancholy," "Peonies at Dusk," "The Bat," "Pharaoh," "Otherwise," "Let Evening Come." This book is based upon the PBS television series of the same name.)

Muske, Carol. "Reading Their Signals." The New York Times, Late Edition, section 7, June 21, 1987, p. 13. "Special Section Dedicated to the Memory of Jane Kenyon." Xylem: The University of Michigan Undergraduate Literary Journal XII:54-64 (Winter 1996). "A Tribute to Jane Kenyon 1947-1995." Columbia: A Journal of Literature and Art. 26:154-181 (1996).

—LABAN HILL

Jamaica Kincaid 1949-

J

her work is enormous. But Kincaid also became highly sensitive to the racial prejudice and deeprooted chauvinism inherent in her British-oriented education, refusing, at age nine, to stand up for the refrain "God Save Our King" in "Rule, Britannia." She has written often about her intuitive opposition to colonial culture, and her recognition, which was triggered in part by the packaging for household products imported from England—drawings of pale-skinned, flaxen-haired, blue-eyed girls, spring flowers, and snowy Christmases—of just how alien the English sensibility was to her, a brown-skinned, dark-eyed, black-haired resident of a mountainous, drought-afflicted tropical island saddled with a relatively unexamined history of conquest, genocide, slavery, and five centuries of imperialism. Long-simmering anger over this legacy is integral to Kincaid's work, but it is her impassioned, not to say obsessive, scrutiny of her relationship with her mother that imbues her writings with their searing vehemence, arresting clarity, and harsh beauty.

AMAICA KlNCAID ACKNOWLEDGES that she

blurs the line between fact and fabrication in her writing. A persistently autobiographical writer whether she is writing about family, colonialism, or gardening, she finds traditional genre distinctions confining and prefers to use literary forms— the short story, novel, memoir, and essay—as though they were colors on a palette to be mixed at will within any one composition. In an interview with Moira Ferguson, she said, "I am so happy to write that I don't care what you call it," and, indeed, her self-referential fiction and nonfiction alike are charged with the same sense of urgency and the same need to come to terms with her past and with her place in the world. For Kincaid, writing is a cathartic act, and not only does she find genre categories irrelevant to her quest for understanding and clarity, she willfully embraces ambiguity and contradiction: In an interview with Kay Bonetti, she said, "Everything I say is true, and everything I say is not true." Kincaid's name, for instance, is true because she bestowed Jamaica Kincaid on herself when she became a writer, but she was born Elaine Potter Richardson on May 25, 1949, in St. John's, the capital of the small Caribbean island of Antigua. Precocious and outspoken as a schoolgirl, she loved to read and consumed British novels by the shelfful, lingering most intently over the works of Charlotte Bronte, whose influence on

KINCAID'S CHILDHOOD

Kincaid has described her childhood relationship with her mother, Annie Richardson Drew, as a "love affair," and her childhood as a paradise. An only child, Kincaid was made to feel that she was 779

180 / AMERICAN WRITERS the center of a benign universe ruled by her mother, who she revered. Drew was politically active in her youth, and is by all accounts an extremely intelligent, well-read, strict, and commanding woman. She doted on her young daughter, taught her to read well before she entered school, and fostered her love of books by bringing her to the library every week. Kincaid also adored her father, David Drew, a skilled carpenter who was much older than his wife. But her reign as the only child came to a crushing end when she was nine years old (the same year she refused to honor England's sovereignty), when her mother had the first of her three sons. Joseph was followed quickly by Dalma, and then Devon, in spite of Annie's efforts to terminate that pregnancy, an experience that Kincaid has never forgotten, and that appears repeatedly in her books with all the disquiet of a recurring nightmare. Tall like her mother, skinny, and smart, Kincaid was the best student in her grade each year in spite of her resistance to the British point of view. At first her mother was proud of her scholastic achievements, but she soon began to criticize her daughter for her bookish ways. In an interview with Selwin Cudjoe, Kincaid said that "it grew to be a bone of contention between us because I liked to do nothing but read and would neglect my household duties. She could see that it gave me ideas, and that it took me away from her influence." Sure enough, the idyll of her early years gave way to persistent, bewildering, and painful adversity. During Kincaid's thirteenth year, her father became ill and couldn't work, and she was taken out of school against her will to help her mother care for the boys, for whom she felt no affection. Furious at having her education terminated, and at the shocking realization of how little her parents valued her abilities or respected her desires, she left Antigua for the United States when she was seventeen in 1966 to work as an au pair for a family living in Scarsdale, New York; a momentous event that became the catalyst for her

writing. Kincaid has said that she never would have become a writer if she had not gone to America. In fact, she did not even know that writers still existed. Her schooling, and the public library collection she depended on to feed her unquenchable hunger for books, brought her no further than 1900, so it never occurred to her that great literature could be written in her lifetime.

LIFE IN AMERICA

Kincaid's parents expected her to study nursing in the United States and then return to Antigua to work, but Kincaid, who could not stand the sight of blood and had no interest whatsoever in either becoming a nurse or in returning home, went her own way. New York City drew her like a magnet, and she soon found a position in the Manhattan home of Michael Arlen, a writer for the New Yorker magazine, his first wife, and their four daughters. Her life with the Arlens surfaced, years later, in her second novel, Lucy (1990), an angry tale about a West Indian au pair in the employ of a family that closely resembles the Arlens. So thinly veiled and acerbic is her portrayal (which was perceived as an act of biting the hand that feeds), it sparked the first of many controversies ignited by her frank and uncompromising vision. In spite of her fictionalized critique of their world, Kincaid would be the first to admit that her time with the Arlens was a crucial interlude. She transformed herself from a proper and modest Antiguan into a fashionable, hip, and fearless American, secured a high school equivalency diploma, and took photography courses at the New School for Social Research. She won a full scholarship to Franconia College in New Hampshire, but, unhappy and uninspired, she left after less than two years. She returned to New York City, held a series of low-level jobs at art galleries and magazines, and began to write. Meeting with success as a freelance journalist, she changed her

JAMAICA KINCAID / 181 name in 1973 to keep her work secret from her family, whom she knew would disapprove. She chose Jamaica to affirm her Caribbean roots, and Kincaid just for the way it sounded.

EARLY WRITINGS

Kincaid's earliest journalistic coups included an interview series she created for Ingenue magazine in 1973 titled "When I Was Seventeen," which got off to a good start with a conversation with Gloria Steinem. Reveling in the freedom of living on her own in a city open to every form of expression (she has said that she is American in spirit), Kincaid—cash-poor, bold, creative, and resourceful—concocted a new look to go with her new name. Already conspicuous by virtue of her height (5 feet 11 inches) and extreme thinness (107 pounds), she cut off her long black hair and dyed it blond; favored three-alarm red lipstick, and dressed in an extraordinary array of eccentric vintage clothing. Kincaid's look was so provocative that she attracted the attention of Michael O'Donoghue, who worked for the National Lampoon and was one of the original writers for "Saturday Night Live." He introduced her to George W. S. Trow, a contributor to the New Yorker. Trow, suitably impressed, began writing about his flashy, outspoken, and smart black friend in "Talk of the Town" articles, and in 1974, he introduced her to the magazine's now legendary editor, William Shawn. Recognizing her unusual talent, Shawn invited Kincaid to write her own "Talk of the Town" pieces, and she wrote eighty-five pithy, unsigned essays for the magazine's front section over the course of her twenty years with the New Yorker. She became a staff writer in 1976, and much of her work appeared first in the New Yorker's venerable pages, with two notable exceptions, the first of which was her first fulllength essay, a veritable manifesto announcing her presence on the literary scene.

In October 1977, Rolling Stone devoted an entire issue to New York City. Andy Warhol's postage-stamp-like portraits of Bella Abzug graced the cover and within were articles by John Cage, Michael Herr, and Kincaid's former employer, Michael Arlen, as well as her own gutsy, selfrevealing piece, "Jamaica Kincaid's New York." The article was accompanied by a full-page photograph of, as Kincaid slyly explains, the clothes she would have worn had she agreed to give the editors a photograph of herself. Kincaid actually is present albeit in the form of a silhouette. A shadow of her hatted profile is visible, as is one long, muscular arm clad only in a wristwatch, the hand holding a pen. The clothes—a jaunty outfit of striped shorts, with a pack of Lucky Strikes in the waist band, pink blouse, ribboned ballet shoes and purple anklets—are displayed, according to the arch and unsettling caption, in the manner in which authorities in South America display the clothes of the guerrillas they've murdered. In her article, Kincaid chronicles her first impressions of New York, her surprise at the weather—"the sun is shining and you can still freeze to death"—and her "almost childish" delight at finding herself walking along Fifth Avenue. She then moves on to more piquant observations, articulating her perceptions of white and black Americans and their perception of her— whites love her fluty West Indian accent, blacks find her "ridiculous"—her ire at sophisticated people who unintentionally espouse racism at cocktail parties, and her preference for "bad" girls. Then she broaches the subject dearest to her heart, her devastating rift with her mother. In a startling admission, Kincaid confesses that in spite of how much anguish this causes her, she does not want to see a psychiatrist because she does not want to be cured of her feeling that her "mother's love is like a poison." Already she senses that her anger is the wellspring of her art. This uncollected essay stands as a strikingly candid self-portrait of the artist as a young woman. Already on her way to becoming a

182 / AMERICAN WRITERS master of narrative compression, Kincaid was working in a prose style as incantatory and multilayered as Gertrude Stein's, and as selective, concentrated, rhythmic, and repetitive as poetry, a voice that seems to have been forming inside her long before she put pen to paper. Kincaid comes across as self-possessed and tough, but there are unmistakable intimations of the little girl inside her, still longing for her mother's approval. She is cool and taunting, and she wants desperately to be loved. The story of Kincaid's life is one of disenfranchisement, transformation, and self-expression. She has felt compelled to revisit her experiences as a girl in Antigua, as a newcomer in the United States, as a reluctant au pair, and as a struggling young woman trusting to fate, her muse, and her gift for survival over and over again, so much so that her work essentially forms a series of selfportraits. Traditionally, self-portraits serve as microcosms. The close study of the self is conducted first in an effort to divine the source and nature of one's own deepest feelings. The artist then applies this hard-earned self-knowledge to the study of others, beginning with family and then moving out into the community, society, and the world at large. This extrapolation from the personal to the universal has occupied Kincaid for more than two decades. In her earliest writings, Kincaid stands close to the mirror and examines herself as her mother's darling. Then she steps back to include her mother within the frame, where she has remained. Annie Drew grew up on the island of Dominica, the daughter of one of the very few surviving Carib Indians and a part-Scot, part-African policeman, both of whom make their way into Kincaid's fiction, most prominently in her novel, The Autobiography of My Mother (1996). Kincaid's field of vision also includes her mother's husband, the man Kincaid loved as a father, and who raised her as his own. But David Drew is her stepfather. Kincaid did not meet her biological

father, Frederick Potter, an illiterate taxi driver, until she was an adult and a published writer. Her feelings about him can be divined by how often criticism of irresponsible men who sire children and never evince any interest in them appears in her writings. Father figures are important in Kincaid's literary universe, but it is her mother, an entity as awesome and mercurial as Mother Nature herself, who breathes life into her work. In speaking with Selwyn R. Cudjoe, Kincaid said, "the fertile soil of my creative life is my mother," and, indeed, it was her oft-stoked anguish over their estrangement that drove her to write "Girl," her first short story, in one epiphanic afternoon in 1978. Kincaid has said that after reading a poem by Elizabeth Bishop titled "In the Waiting Room," an unforgettable rendering of a child's sudden recognition of the self and its connection to all of humanity, she simply knew how to write, and "Girl," the first of many stories to be published in the New Yorker, became the first story in Kincaid's first book, At the Bottom of the River (1983), a short story collection which earned her instant critical success.

AT THE BOTTOM OF THE RIVER

A breathtaking, diabolically witty, and thoroughly unnerving performance, "Girl" is a threepage, one-sentence-long duet between a mother (who takes the lion's share) and a daughter (who speaks only twice), in which an entire lifetime is condensed. The mother begins by instructing her daughter in household chores, telling her methodically how to do the laundry, how to cook certain dishes, how to sweep, and then suddenly her instructions turn venomous: ". . . always eat your food in such a way that it won't turn someone else's stomach; on Sundays try to walk like a lady and not like the slut you are so bent on becoming . . ." Her ferocity and bitterness in-

JAMAICA KINCAID / 183 crease as she goes on matter-of-factly to instruct her daughter in the art of deceit and to explain how to make medicine "to throw away a child before it even becomes a child." Then she cautions her nearly speechless daughter not to "throw stones at blackbirds, because it might not be a blackbird at all." By the end of this perfectly orchestrated rant, Kincaid has touched on every aspect of womanhood and identified every dark force that shadowed her childhood. "Girl" is a spontaneous blooming, a flower of the subconscious, and it has seeded all her subsequent writings. The mother's references to medicinal plants and to animals being other than what their shape suggests, allude to the obeah beliefs held by Kincaid's mother, maternal grandmother, and so many others in the West Indies. Obeah, like voodoo, is a spiritual practice based on a recognition of and communion with the supernatural, and it involves sorcery, witchcraft, spells, charms, and healing practices. Throughout the Caribbean, European values—the Christian church, Eurocentric education, and European goods—form a facade behind which the majority of the population holds firm to the metaphysical and spiritual perceptions they inherited from their African ancestors. And so Kincaid attended government schools and the Methodist church, but at home she was given special baths at the direction of an obeah woman, and wore protective sachets beneath her clothes to ward off the evil eye. In talking about obeah in Diane Simmons' work Jamaica Kincaid, Kincaid has said she "hated the whole thing," which she describes as "a world of nervous breakdowns," but, highly attuned to the workings of the subconscious and fully aware that life is lived on many levels, she also expresses respect for the profound psychological power of obeah, and it is, in fact, an essential ingredient in her fiction's volatile chemistry. In "In the Night," one of the stories in At the Bottom of the River, the young narrator lies awake

listening to all the night sounds, which include the benign—the house creaking, a cricket, the night-soil men at work—and the terrifying: the sound of a woman's "spirit back from the dead." Then, when the narrator asks her mother about the light she sees in the mountains at night, her mother explains that it is a jablesse, "a person who can turn into anything." You can tell a jablesse by its eyes, she says, because they "shine like lamps, so bright you can't look." And its favorite shape is that of a beautiful woman, just like the narrator's all-powerful mother. Kincaid's prose itself works magic. At the Bottom of the River is her most dreamlike, enigmatic, and surreal book. Nonlinear and impressionistic, each story is a flickering montage of images and feelings, a fast-moving stream of consciousness much like those evoked by Virginia Woolf, a writer Kincaid greatly admires. Kincaid's modernist sensibility was also influenced by an avantgarde film titled La Jetee, which consists of a series of black-and-white photographs, until, as she explains in the Cudjoe interview, "somewhere in the middle of this film there is actual movement, and then it goes back to still photographs. I used to watch it over and over—I was incredibly moved by it." With their oblique mode of storytelling, abrupt turnarounds and revelations, the stories in At the Bottom of the River echo the improvisational lifestyle Kincaid was pursuing at that time she wrote them. Like her funky getups, these stories are flamboyant, puzzling, and alluring. Kincaid is trying out various modes of expression as she scrutinizes the boundary between girlhood and womanhood and seeks to understand the nature of female power. At first, her unnamed heroine basks in her mother's love, but after she goes through puberty, thus becoming a threat to her mother's dominance, they become enemies on a truly cosmic scale. Kincaid renders them as mythical, shape-shifting, and world-transforming beings, especially the larger-than-life mother,

184 / AMERICAN WRITERS who, like a jablesse, is cunning, monstrous, and cruel. Their battles are epic until, in the title story, a masterful interpretation of psychological crisis and resolution, the narrator discovers a perfect world at the bottom of the river. She falls into a basin, a hole, and her old self dissolves. She feels no fear; her mind is "conscious of nothing;" she is cleansed and liberated. Kincaid writes,

Nobel Laureate and fellow Caribbean Derek Walcott, and was awarded the Morton Dauwen Zabel Award of the American Academy and Institute of Arts and Letters. She was well on her way to literary renown.

emerging from this pit, I step into a room and I see that the lamp is lit. In the light of the lamp, I see some books, I see a chair, I see a table, I see a pen; I see a bowl of ripe fruit, a bottle of milk, a flute made of wood, the clothes that I will wear. And as I see these things in the light of the lamp, all perishable and transient, how bound up I know I am to all that is human endeavor, to all that is past and to all that shall be, to all that shall be lost and leave no trace. I claim these things then—mine—and now feel myself grow solid and complete, my name filling up my mouth.

Kincaid's first novel, Annie John (1985), a coming-of-age story rich in cultural and political undertones, is written in an entirely different narrative style than At the Bottom of the River. Direct and linear, it reflects the skills Kincaid acquired at the New Yorker: the gift for concrete and exacting yet seemingly effortless description, and the confidence and authority that exemplify the magazine's standard-setting prose. Kincaid flourished at the New Yorker, an artistic paradise, where editor William Shawn was not only a father in terms of his literary mentorship but literally so when Kincaid married his son, Allen, a composer in 1979. Their first child, Annie, was born in 1985, followed less than four years later by a son, Harold. In 1985, Allen had accepted a teaching position at Bennington College, and the family had moved to Vermont. All these auspicious events helped give Kincaid the security she needed for writing about her childhood and her homeland in a more incisive manner than before. Annie John is a classic bildungsroman, a novel about the moral and psychological growth of a young protagonist, which, as Lizabeth ParavisiniGebert writes in her book Jamaica Kincaid: A Critical Companion, "has been a favorite genre of Caribbean writers, who have used its focus on the central character's growth and formation to establish parallels between their experiences and those of the small West Indian colonies in which their characters' lives unfold." While At the Bottom of the River was almost entirely internalized, in Annie John Kincaid achieves what has become her signature style, the deft weaving of the inner

This passage resonates throughout Kincaid's entire corpus. It marks her heroine's narrow escape from her dangerous, unloving mother, and from the underground, a dark and ambiguous Hades, an obeah universe where things are not what they appear to be. Kincaid's heroine is reborn, and finds herself transported to a safe, welllighted place where she finds sustenance for the body and the soul. She knows that this realm of "human endeavor," more specifically, the realm of the artist, is fragile and fleeting, but it is the best, she suggests, that one can hope for. At the Bottom of the River elicited mixed critical response. In a review for the New York Times, critic Edith Milton described Kincaid's stories as "eccentric, visionary pieces" featuring "apocalyptic imagery" and "gospel-like seriousness, reverberating with biblical echoes." Others were harsher in their criticism, including Anne Tyler, who, writing for the New Republic, characterized the stories as "insultingly obscure." But Kincaid was enthusiastically praised by Susan Sontag and

ANNIE JOHN

JAMAICA KINCAID / 185 realm with the outer world. Hence obeah, a sphere of ambiguity separate from and in opposition to the British order imposed on Antigua, becomes aligned with Annie John's emerging sexuality and opposition to her mother's sovereignty. At the outset, Annie John adores her mother, watching everything she does with great attention, and her mother returns her love and attentiveness. "It was in such a paradise that I lived," she muses, but like all paradises, it is destined to be lost. As long as Annie John is a cute, worshipful, and obedient little girl, her mother coddles her, but as Annie John's body begins to change, her mother turns stern and judgmental. Now the mother is aligned with mother country, and the "young-lady business" her daughter so deeply resents is associated with British values. Annie John's natural state is no longer considered good enough, but rather than conform to imposed codes of behavior, Kincaid's headstrong heroine behaves like a colony ripe for revolution and independence, and defies her mother on all fronts. Confounded by her mother's sudden hostility, Annie John seeks approval not from her prissy and prejudiced teachers, standard-bearers for the British empire, but in the shining eyes of her classmates, and her relationships with these mischievous girls is frankly sexual. Kincaid has said that she "grew up with a great acceptance of female bonding," and that she was interested in dramatizing the intense passion young girls feel for one another, but these ardent attachments also function as covert forms of rebellion against the sexism implicit in the rules of ladylike subservience, which attempt to repress not only feminine sexuality, but intelligence and creativity. Annie John's resistance also takes place in the classroom. Bored and impatient, she opens her history textbook to her favorite portrait of Columbus, one in which the explorer sits in chains "quite dejected and miserable," and carefully inks in a caption, quoting a phrase she heard her

mother use in reference to her once domineering, but now ailing father: "The Great Man Can No Longer Just Get Up and Go." Caught in the act, Annie John is punished for this brazen defacement, and, as part of her penance, is made to memorize the first two books of Paradise Lost by John Milton, a punishment actually meted out to the young Kincaid, who was meant to understand that she was being compared to Satan. The punishment backfired: the epic has had a profound influence on decisively anti-colonial writings. In Kincaid's 1991 interview with Kay Bonetti, Kincaid explains, "I was brought up to understand that English traditions were right and mine were wrong . . . I was forced to memorize John Milton and that was a very painful thing. But I'm not going to make myself forget John Milton . . . I find John Milton very beautiful." Kincaid refers to the Milton episode again in her second novel, Lucy, in which her protagonist is named after Lucifer. As she enters full-blown adolescence, the once vibrant and defiant Annie John grows despondent and takes to her bed. Weeks go by and she is lost in a twilight of dreams, memories, and delusions. Feverish and confused, she scrubs a set of family photographs with soap and water, thus eradicating her past. Finally, after three and a half months, her mysterious illness recedes, and she finds herself utterly alienated from her surroundings. She has outgrown her bed and all her clothes, and she towers over her mother. Annie John has survived nothing less than a terrifying visit to the underworld, just like the heroine in At the Bottom of the River, and she, too, returns transformed, strong, and invincible. She now has the power to leave her mother, her confining little house, and her small gossipy island, and so she sets sail for England ready to start a new life. At the Bottom of the River ends with the heroine thinking, I "feel myself grow solid and complete, my name filling up my mouth." The last chapter of Annie John begins: "My name is Annie

186 / AMERICAN WRITERS John." She, too, fills her mouth with her name; she, too, affirms an identity separate from that envisioned by her mother, and declares the autonomy of the self. Kincaid then maintains this narrative continuity in her second novel, Lucy, another self-portrait, in which a young West Indian woman arrives in a strange, cold land. This scenario seems to pick up exactly where Annie John left off, but Kincaid wrote another book, her first work of sustained nonfiction, in between the composition of these two novels, and its influence on the texture and timbre of her later fiction is prodigious. Small in size but immense in impact, as are all her books, A Small Place (1988) caused a furor.

A SMALL PLACE

Kincaid had not been back to her homeland in almost twenty years when she received a Guggenheim Fellowship in 1986. Antigua had achieved full independence in 1981 and the time seemed right for a visit, but Kincaid was appalled at what she found there, and the anger that had surfaced in her earlier work now and then, like a fish rising to snatch an insect, surges across the pages of A Small Place like a tidal wave. At every turn, Kincaid contrasts the carefree attitude of tourists with the islanders' hardships, beginning with how Anglo vacationers feel blessed by the island's dependably sunny weather, oblivious to the persistent drought that plagues the lives of darkskinned Antiguans. Page by page, she exposes all that is wrong, perverse, corrupt, and brutal about island life, and then audaciously confronts her readers (many of whom, thanks to her New Yorker affiliation, are white and affluent): "An ugly thing, that is what you are when you become a tourist, an ugly, empty thing, a stupid thing, a piece of rubbish pausing here and there to gaze at this and taste that, and it will never occur to

you that the people who inhabit the place in which you have just paused cannot stand you." Kincaid wrote A Small Place for the New Yorker while William Shawn was still at the helm, but after his retirement, Robert Gottlieb, the new editor, refused to publish it, telling Kincaid that it was just too angry. Shawn encouraged Kincaid to submit it as a book manuscript and Farrar, Straus and Giroux, the house that had published all of Kincaid's other books released it in all its fury in 1988. In a conversation with Donna Perry, Kincaid agreed that A Small Place was a turning point in her writing. "I wrote with a kind of recklessness in that book. I didn't know what I would say ahead of time. Once I wrote it I felt very radicalized by it." Kincaid also came to "love anger." Citing a New York Times book review by Susan Kenney that praised Annie John for its charm, Kincaid remarked, ". . . when people say you're charming you are in deep trouble. I realized in writing that book that the first step to claiming yourself is anger." It must be stated that Antiguans are not spared the sting of Kincaid's invective in A Small Place. If anything, their failure to run a compassionate and rational society inflames Kincaid even more than the self-centeredness of tourists. Kincaid is outraged by how Antiguans continue to accept the colonialist point of view, by how mired everything is in greed, by how illiterate young people are, and how small-minded the adults are. "The people in a small place cannot see themselves in a larger picture . . . No action in the present is an action planned with a view of the future. When the future, bearing its own events, arrives,... their mouths and eyes wide with their astonishment, the people in a small place reveal themselves to be like children being shown the secrets of a magic trick." A Small Place enraged many readers. The government of Antigua attempted briefly and ineffectually to ban the book. Critics both lambasted it and sang its praises. Not surprisingly, British

JAMAICA KINCAID / 187 reviewers took particular offense. Isabel Fonseca, in the Times Literary Supplement, found it "shrill," "subjective," "dogmatic," and "shapeless." But Salman Rushdie declared it in a statement published on the jacket "a jeremiad of great clarity and a force that one might have called torrential were the language not so finely controlled." And Michiko Kakutani wrote in the New York Times, "Ms. Kincaid writes with passion and conviction, and she also writes with a musical sense of language, a poet's understanding of how politics and history, private and public events, overlap and blur." But where did her indictment of Antigua leave Kincaid? Not only had she grown apart from Antiguan society over the course of her self-imposed exile, she never felt integrated into that confining world in the first place. Indignant over the bitter ironies and injustices of colonial life since girlhood, she always felt like an outsider. As she explained to Donna Perry, "I noticed things that no one else seemed to notice. And I think only people who are outsiders do this. I must have felt very different from everybody. When I tell people there now how I felt then, they look at me with pity." Her passion for reading and the life of the mind, considered so useless for an Antiguan girl, also set her apart. Even in the United States, where she was free to pursue her calling, she could not ignore society's inequities and the myriad hypocrisies inherent in a life of privilege. And so when Kincaid sat down to continue her fictionalized autobiography in Lucy, all her feelings of ambiguity, conflict, and guilt erupted, and not even the most fawning or inaccurate critic would call the results charming.

LUCY Annie John made the passage from childhood to teenager; Lucy's tale of awakening intellectually, sexually, morally, and aesthetically tracks her

crossing the threshold into adulthood. Unlike Annie John, who was England-bound, Lucy leaves her West Indian home for America, where she works as an au pair for a wealthy New York family. Kincaid's subtle description of Lucy's entry into her new world perfectly expresses her shrewd heroine's immediate attunement to the paradoxes inherent in her new home: "I could not see anything clearly on the way in from the airport, even though there were lights everywhere." Named after the devil, she has indeed been cast out by a god, her mother, who persists in making her disapproval felt across the miles. Lucy's employers, the blond, blue-eyed, well-meaning Mariah, and her careless husband, Lewis, try to act as surrogate parents to their nineteen-year-old employee (they have four young daughters, after all), but Lucy, tough and uncompromising, and drained dry by her mother's demands and the unforeseen onslaught of homesickness, angrily resists. Lucy resents her role as servant, her mother's cautionary letters, which she soon stops reading, and Mariah's relentless cheerfulness and naivete. "How does a person get to be that way?" Lucy asks herself, a question that becomes a refrain throughout the novel as Lucy and Mariah's personal differences become emblematic of their being on different sides of the social equation. When Mariah, the employer, tells Lucy, the servant, that she'll take her to see daffodils bloom as soon as spring arrives, Lucy responds by telling her about how she was made to learn and recite "an old poem" about daffodils by William Wordsworth and how much she loathes the very idea of those flowers of evil. What Mariah sees as beauty and promise, Lucy sees as a symbol of oppression and a trope of colonialism. Although Lucy is grateful to Mariah for introducing her to art and culture, she cannot help but feel contempt. In one clarion scene, she admires Mariah's beauty, even describing her as glowing with an "almost celestial light." But Lucy notices

188 / AMERICAN WRITERS that Mariah smells pleasant, and her admiration abruptly turns to scorn. "Just that—pleasant. And I thought, but that's the trouble with Mariah—she smells pleasant. By then I already knew that I wanted to have a powerful odor and would not care if it gave offense." Kincaid herself, who deliberately embraces whatever qualities she is criticized for, is more than willing to offend her readers. She said in her interview with Donna Perry that she had come to realize that "people couldn't stand a certain sort of frankness. But I knew that what I wanted to be, more and more as a writer, was frank about what the lives I wrote about were really like . . . I wanted to be very frank and to be unlikeable within the story. To be even unpopular." Lucy consistently interprets Mariah's complacency as evidence of a form of ignorance almost as disgraceful as the obviousness of the tourists Kincaid lambasted in A Small Place. When they summer on the Great Lakes in the house in which Mariah grew up, for instance, Mariah tells Lucy, the granddaughter of a Carib Indian, that she has Indian blood. Indignant and skeptical, Lucy thinks, "To me my grandmother is my grandmother, not an Indian." Her insistence on recognizing the uniqueness of an individual as opposed to identifying someone by race is indicative of Kincaid's own resistance to being categorized as a writer of color or a feminist writer. She has said in her interview with Cudjoe that she finds the idea of belonging to a group "deeply disturbing." After all, that's what conquest and prejudice are all about, stereotyping and the denial of individuality. To drive her point home, Kincaid has Lucy sneer at her employer's pride in her alleged Indian heritage: "I could swear she says it as if she were announcing her possession of a trophy. How do you get to be the sort of victor who can claim to be the vanquished also?" Thanks to Mariah's generosity, however, Lucy embarks on a study of photography, Kincaid's own first artistic medium. She then moves out and

embarks on just the sort of bohemian life her mother feared she would choose, indulging in lust but staying resolutely closed to love. At the very end of the novel, she and Mariah meet for dinner. Still acting as a guide along the path to creativity, in spite of Lucy's hostility, Mariah gives her a prescient gift, an elegant notebook. Later that night, feeling more alone than she had ever felt before, Lucy opens it, prints out her full name, Lucy Josephine Potter (Kincaid frequently uses her family's names in her fiction), and then writes the following shattering declaration: "I wish I could love someone so much that I would die from it." Kincaid ends her third book of fiction as she ended the first and second, with her heroine asserting her identity by stating her name and taking control of her story. She closes the curtain on Lucy just as she is about to find her writer's voice and open herself to love. She has now brought her alter-ego up to the point in her real life at which she changed her name from Elaine Potter Richardson to Jamaica Kincaid and took up her pen. As an autobiographical writer, she had two choices at this conjuncture. She could either return to her past, or continue her series of selfportraits by stepping into the present, but a tempestuous visit from her mother inadvertently gave rise to a third option. The two women quarreled violently in Kincaid's Vermont home, and, after Annie Drew returned to Antigua, Kincaid suffered a nervous breakdown and a freak case of chicken pox, which she'd already had as a child.

THE AUTOBIOGRAPHY OF MY MOTHER

Just as her fictional heroines are laid low by mysterious maladies at the turning points in their lives, and then recover transformed and empowered, Kincaid emerged from her breakdown contemplating not herself but her mother. She began to imagine what Annie Drew's life might have

JAMAICA KINCAID / 189 been like if she hadn't had children, and soon found herself conjuring stories that illuminated more than familial traumas. And so, three years after the publication of Lucy, the New Yorker published the first installment of what became The Autobiography of My Mother (1990), Kincaid's most complex, virtuosic, and harrowing novel. It is a memorial to the lost tribes of the Caribbean, and a protest against the oppression of women, and the entire horrific tragedy of conquest and colonialism. In speaking with Moira Ferguson, author of Jamaica Kincaid: Where the Land Meets the Body, Kincaid said that for her, writing "was really an act of saving my life, so it had to be autobiographical. I am someone who had to make sense out of my past. It is turning out that it is much more complicated than that when I say my past, because for me I have to make sense of my ancestral past... I used to think I was writing about my mother and me. Later I began to see that I was writing about the relationship between the powerful and the powerless." The opening scene of The Autobiography of My Mother is gothic in tone. The unnamed narrator could almost be a Bronte heroine writing by candlelight, and with nineteenth-century British correctness, the story of her disinheritance, intent on leaving some trace of her lonely struggle. But this Caribbean island is a very different place than the British Isles, a small place where mysteries abound and cultural collisions spawn a confusion of legacies in the mixed blood of the survivors. The novel begins: My mother died at the moment I was born, and so for my whole life there was nothing standing between myself and eternity; at my back was always a bleak, black wind.

The very ink itself seems to turn into venom as this taut and tragic voice describes how her father brought her, a newborn, and a bundle of

his soiled clothes, to a woman he paid to take care of both, and her tone implies that the clothes were his primary concern. Ma Eunice, still nursing her sixth child when this motherless babe is added to her brood, treats the newcomer with routine indifference and frequent cruelty, and the quiet girl's childhood is stark and lonely. At least her absentee father sees to it that she attends school, an uncommon choice for girls at the time. Pleased to be taught how to write letters, she intuitively writes to her father, complaining of her misery. Unable to actually mail these pleas for help, she places them beneath a rock where, almost magically, they are discovered and eventually delivered. Having remarried, her father appears and takes her to his new home. Kincaid's narrator marvels, "I had, through the use of some words, changed my situation; I had perhaps even saved my life," potent testimony to the power of the pen. The narrator's stepmother, who is of African and French descent, is as malevolent as a figure in a fairy tale, and she attempts to vanquish her husband's daughter with obeah sorcery, but the girl possesses an innate knowledge of such dangers and is able to protect herself. She is also on guard against her father, who, as a policeman, is "part of a whole way of life on the island which perpetuated pain." Not only is he an archetypal tyrant, he is one of the conquered who eagerly takes up the cudgel of the conqueror and wields it against his own people. Kincaid also uses him as a catalyst for her most sustained inquiry into the war between the sexes. As a teenager, Kincaid's still nameless protagonist is sent by her controlling father to board with Jack LaBatte, a friend just as greedy and unscrupulous as he is. Once again, Kincaid creates a fairy tale-like ambiance, as LaBatte counts his money like a miser, and his childless wife fusses over their boarder, dressing her up and encouraging her to sleep with her husband so as to deliver them a child. It is at this exigency that

190 / AMERICAN WRITERS Kincaid's heroine assumes her full powers, declares her pride and independence in spite of her claustrophobic and potentially degrading circumstances, and, in keeping with Kincaid's penchant for ritualized self-actualization, finally reveals her name: Xuela Claudette Richardson. Xuela does have sex with LaBatte, because she wants to, and she does indeed conceive, but she drinks a potion to abort the fetus and endures days of agony. After her recovery, she states: "I was a new person then, I knew things I had not known before, I knew things that you can know only if you have been through what I had just been through. I had carried my life in my own hands." Xuela slips away in the night, walks many miles past the next village, rents a tiny house, takes a job sifting sand for a road construction project, and works ten grueling hours a day. She realizes that her refusal to bear one child is actually a refusal to mother any, and she has an electrifying vision in which she pictures herself as some terrible goddess who bears an "abundance" of children ("they would hang from me like fruit from a vine"), only to dispassionately watch them die. Her vision is cataclysmic and a horrific reversal of maternal instinct. To accentuate her unnaturalness, her rage, and her adamant refusal to nurture others, Xuela cuts off her long braids, dresses in the clothes of a dead man, and gives herself over to a penitent's life of isolation, deprivation, and contemplation. This is her descent to the underworld, a journey into profound self-reliance. "I began to worship myself," she explains. "My own face was a comfort to me, my own body was a comfort to me, and no matter how swept away I would become by anyone or anything, in the end I allowed nothing to replace my own being in my own mind." After yet another of her father's godlike interventions, Xuela ends up marrying a white doctor named Philip, a man she does not love. Their liaison prompts one of the most arresting passages in the book, a towering diatribe against slavery

and the colonialism left in its wake. Stoic and pitiless, Xuela, like a warrior infused with the strength of the righteous, throws back the covers of everyday life and reveals the tentacles of the European monster that continues to strangle island life. She declares: "I am of the vanquished, I am of the defeated. The past is a fixed point, the future is open-ended; for me the future must remain capable of casting a light on the past such that in my defeat lies the seed of my great victory, in my defeat lies the beginning of my great revenge." Over decades of marriage, she denies Philip, whom history has decreed the victor, her love, and so presides ruthlessly over his slow but inexorable diminishment and demise. Kincaid takes her reader deep into the soul of the conquered, and far beyond the comforts of romance, religion, and even simple decency. She descends to the very bedrock of the human soul, where her anger is a lamp and the language of the captor the tool with which to keep the past alive, and where a woman's absolute control over her body and mind serves as the only defense against annihilation. The Autobiography of My Mother, stunning both in its beauty and in its pain, shouts a resounding "No!" to the conqueror's version of history. But there is a theatricality to Xuela's rage, and an artificiality to the plot that subtly undermine the bleak, nihilistic vision Kincaid so brilliantly proffers, and this contradiction, almost a betrayal, of her own creation is rooted in her obsession with her mother, which is both the boon and bane of her work. Driven to castigate her mother, Kincaid inadvertently stifles her heroine's humanity by using her as a symbol for what she believes her own mother is capable of in terms of emotional withholding, cruelty, and self-love.

RECOGNITION AND CHANGES As before, Kincaid had her champions and her detractors, although no one could honestly deny

JAMAICA KINCAID / 191 the rigor, might, and fire and brimstone of her prose. Cathleen Schine, writing for the New York Times, articulated the reservations of many readers by describing The Autobiography of My Mother as "pure and overwhelming," but writing, too, that "there is also something dull and unconvincing about Xuela's anguish." Other critics expressed more positive opinions, and Kincaid's powerful novel was nominated for the National Book Critics Circle award and chosen as a finalist for the PEN/Faulkner award, ultimately garnering the Cleveland Foundation's Anisfield-Wolf Award and the Boston Book Review's Fisk Fiction Award. The writing and publication of this demanding book was bracketed by professional upheaval and family trauma for Kincaid. Just before The Autobiography of My Mother was published, Kincaid, long critical of the New Yorker's British editor, Tina Brown, left the magazine that had made her a writer and provided her with a literary home. Her departure was precipitated by her anger over Brown's decision to invite sitcom star Roseanne Barr to guest-edit a special women's issue. Kincaid publicly accused Brown of sacrificing literary quality for crass commercialism and celebrity worship. Then, in a telling remark made to Sally Jacobs of the Boston Globe over the course of an astonishingly antagonistic interview, she compared the New Yorker to Antigua: "it was beautiful, an ideal of some kind, but it had been made vulgar and ugly by the incredibly stupid people who had become attracted to it." What Kincaid did not tell Jacobs was that she was distraught about far more than her break with the New Yorker: earlier that same day she had learned that her youngest brother, Devon, had died. Because Kincaid writes to make sense of her life, Devon and his battle with AIDS became the subject of her next book, an unsparing and profoundly resonant memoir titled My Brother (1997). Devon was only three years old when Kincaid left Antigua and he remained a virtual stranger, yet when she heard that he was ill, she took immediate action, much to her own surprise,

and did everything she could to help him. As she chronicles Devon's life and death, she mulls over her relationship with her family from a new vantage point, acutely aware that what befell her brother could have happened to her, a humbling realization that instills her meticulously observed memoir with a sense of there-but-for-the-graceof-God-go-I.

MY BROTHER

Kincaid's gift for distillation is more finely honed than ever: within the first few pages of My Brother, she announces Devon's illness, remembers his birth—he was born at home in 1962 when she was thirteen (she was sent to fetch the midwife)—recalls that he almost died the next day when "an army of red ants came in through the window and attacked him," and reports on the still-active animosity between her and her mother. The crisis of Devon's illness brings them into close proximity but not into accord, and the friction between them is as much (and as inevitably) the theme of the book as is her brother's fate. Kincaid knew enough about her brother's life to know that he used drugs, was promiscuous, and would most likely not bother to use condoms. That he contracted the virus, then, is not a shock, but the state of medical care in Antigua, and the lack of understanding of the disease, is an outrage. All that she found to condemn about her homeland in A Small Place comes back into focus with a vengeance as Kincaid reports on her discovery that AIDS sufferers are essentially condemned to die in Antigua: the hospital is filthy and under-staffed, and no treatments are available. Undaunted, she finds the best doctor on the island and brings her brother the drug AZT from the United States. For the first time in their lives they say the words "I love you" to each other. In spite of all that Kincaid, her mother, and the doctor do for him, Devon does not change his ways, and that is what kills him. In her grief and

792 / AMERICAN WRITERS frustration, Kincaid composes what is essentially a koan: "I love the people I am from and I do not love the people I am from." Devon's death sends her spiraling back down into the past yet again, and she returns from her submersion with new evidence to submit in the proceedings against her mother, fresh insights about how to face the presence of death in life, and a keen awareness of her own maternal fears, especially regarding her son. Kincaid says, "If I should fail him—and I very well might, the prime example I have is not a good one—he will experience something everlastingly bitter and awful; I know this, the taste of this awfulness, this bitterness, is in my mouth every day." Kincaid's sorrow over her brother's wasted life and premature death unlock long-sealed doors to her psyche, and Kincaid suddenly reclaims the repressed memory of a day on which she was supposed to be taking care of Devon. As unflinchingly honest about her own selfishness and renegade ways as she is about the flaws of others, she writes, "I did not like my mother's other children, I did not even like my mother then; I liked books, I liked reading books." So she read that fateful day, ignoring her baby brother and neglecting to change his diaper. Her mother was livid. "In a fit of anger that I can remember so well, as if it had been a natural disaster, as if it had been a hurricane or an erupting volcano, or just simply the end of the world, my mother found my books, all the books that I had read, some of them books I had bought, though with money I had stolen, some of them books I had simply stolen . . ." Her mother not only confiscated her daughter's talismans against despair, in a scene as devastating and extreme as anything found in The Autobiography of My Mother, she piled them all on the stone heap on which she ordinarily bleached the stains out of white clothes and set them on fire. This is a scene no book lover can contemplate without some degree of horror, and Kincaid wonders if she became a writer in a

subconscious attempt to bring those lost books back to life. Kincaid makes it clear that she speculated endlessly about how Devon contracted the virus. Something bothers her, but she cannot quite put her finger on it. Then, in a strange twist of fate, she learns the truth at a bookstore in Chicago. She has traveled there as part of her tour for The Autobiography of My Mother, and after her reading, a familiar-looking woman introduces herself. It turns out that she and Kincaid had participated in the same AIDS support group in Antigua, and that she knew Devon well—well enough to know that he had relations with men as well as with women. Kincaid understands instantly not only that her brother had to keep his bisexuality secret in that small, judgmental place, but that such secrecy caused him much unhappiness. Nearly overwhelmed with despair and empathy, she sees that her brother could not be himself in Antigua, just as she never would have been able to be herself, to be a writer, had she stayed. My Brother marks a deepening and maturing of Kincaid's work. A multifaceted narrative, it addresses one of the great forces of human nature: the inescapable gravity of family. No matter how much distance, geographical or emotional, is created between family members, each remains inextricably attracted to the other, caught in the push and pull of resentment and love. Kincaid's memoir is also an unusually lucid meditation on death, and a near perfect depiction of memory itself, as Anna Quindlen observes in her New York Times review. She describes My Brother as resembling "the meandering of human memory, which ebbs and flows and runs white with the rapids of rage and loss and then sags and stalls." Kincaid's penchant for obsessive rumination over her past, her overly obvious attempts to exorcise her demons, and her undisguised vindictiveness have very nearly soured and encumbered her otherwise brilliant, lyrical, and profoundly moving novels. But in her nonfiction, where she

JAMAICA KINCAID / 193 is free of the demands of invention, her portrayals of herself in the act of unearthing the roots, studying the blooms, and tasting the bittersweet fruits of her past are compelling and clarifying for both writer and reader. The memories and experiences articulated so sharply in My Brother also explicate Kincaid's need to mythologize her life, which is key to understanding the cohesion of her corpus.

TENDING ONE'S GARDEN: WRITING ABOUT PLANTS Any close reader of Kincaid's will notice how often she writes about plants, a passion she's harbored since her school days when botany was a favorite subject, and one that has translated into a devotion to gardening, the subject of her seventh book. Gardening may sound innocuous enough, but nothing is simple or genial for Kincaid, and she cannot help but filter her interest in plants through the lens of imperialism. Plants, Kincaid declares, have, like people, been conquered, renamed, and even enslaved. She alludes to her unusual perspective on plants in The Autobiography of My Mother, when Xuela ponders Philip's obsession with "the growing of flowering plants for no other reason than the pleasure of it," a hobby that she condemns as "an act of conquest, benign though it may be." Kincaid expounds at length on this theme in what became her final essays for the New Yorker, a piquant series about colonialism, plants, and her own gardening adventures. Not only did she come to love working in the garden, she fell in love with garden literature, and she celebrates her literary horticultural ardor in a beautifully produced anthology titled My Favorite Plant: Writers and Gardeners on the Plants They Love (1998). Katherine S. White, one of the anthology's illustrious contributors, must be an inspiration to Kincaid. A renowned editor at the New Yorker for

thirty-four years, White also wrote a series of gardening essays for the magazine that were later assembled into a book titled Onward and Upward in the Garden. Kincaid, too, has also made a book out of her New Yorker gardening essays, a peppery collection titled, My Garden [Book]: (1999). A review by James Fenmore in the New York Review of Books compares it favorably to White's and accurately describes it as taking "its place in an agreeable tradition of garden literature, in which the personality and general concerns of the author are of just as much interest as what is actually being said about gardening." Like My Favorite Plant, My Garden [Book]: is lavishly designed and produced. The green border framing each page lends it the look of a notebook, and a smattering of cheerful line drawings imbues it with a cheerfulness previously absent from Kincaid's writings. Obviously, the writer who so adamantly erased any hint of the charm readers found so pleasing in Annie John in her subsequent fiction enters a new phase in her selfportraiture. After the elegiac and cathartic intensity of My Brother, Kincaid, who, in spite of her frequent harshness on the page and notoriety for abrasive behavior, seems, still, like a girl longing for approval but willing to accept mere attention, allows evidence of her more winsome side to creep in and blossom like an unexpected vine of morning glories on a chain-link fence. Not that her contrariness has abated. It has not. In fact, cheeriness serves as camouflage for the true nature of Kincaid's garden writings. Although some of Kincaid's essays, such as one about reading her favorite gardening catalogue in a hot bath on a cold day, do match the contented mood of the illustrations, others stand in jarring contrast. For Kincaid, a rose is not a rose is not a rose; it's a thorn, and a thorn is an emblem of pain and the ongoing anguish of conquest, and a thorn is a symbol of her anger, and a weapon she employs in her literary assault against the evils of tyranny. But Kincaid has

194 / AMERICAN WRITERS a credibility problem: she is writing about oppression not from her home ground in ravaged Antigua—once cordoned off into slave-worked plantations, now turned into a theme park for marauding tourists—but from her own private sanctuary, from the bounty of her position of privilege in one of North America's most pleasant communities, Bennington, Vermont. Just as her heroine did in Lucy, Kincaid both relishes the good life, and rails against the injustices that make it possible for a lucky few. But if anyone can thrive in this zone of ambiguity and contradiction, Kincaid can. At the start of My Garden [Book]:, Kincaid confides that she began her life as a gardener in Vermont when her husband gave her some seeds and a set of garden tools for her first Mother's Day. The connection between motherhood and gardening is felicitous, but she immediately curdles the tone by writing about a pair of missing earrings: "they were never seen again, by me, nor anyone else, not the lady who cleaned the house, not the women who helped me take care of my child." The only discernible point to this catty complaint, it seems, is to make it clear that the . lady of the house (once a servant herself) has servants. Kincaid then proceeds to complain nastily about her neighbors, portraying herself, however unintentionally, as a woman much like her much maligned mother—the snake in her own paradise. The next bit of personal information Kincaid shares is that while she was planning her garden, she was reading about the conquest of Mexico and the appropriation of native plants by European botanists. She then realizes that the strange shapes and seemingly arbitrary layout of her flower beds "resembled a map of the Caribbean and the sea that surrounds it," and she "marvels at the way the garden is for me an exercise in memory . . . a way of getting to a past." Kincaid has planted the flag of her epic rage over the crimes of colonialism in the stony soil of the small, feisty northern state of Vermont.

The most robust and memorable essays in My Garden [Book]: are those which examine the legacy of conquest through a gardener's eyes, such as "To Name is to Possess." Kincaid reminds readers that the First World is not the only world, and that plants indigenous to the so-called New World, such as the cocoxochitl of Mexico, were flourishing and much valued long before they were brought to Europe and renamed—in this case as the dahlia, after the Swedish botanist Andreas Dahl. The tacit assumption, she remarks, is that nothing has any value until the white man stumbles upon it and imposes his nomenclature. This acute perspective yields many more sobering and provocative insights into botanical and cultural history, but not even Kincaid can remain grim in the presence of nature's vigor. She cannot help but express a perverse but giddy delight in the inevitable vexations of the garden, and recounts skirmishes with rabbits, bugs, and woodpeckers, relishing, all the while, the frenetic energy of life and the futility of our stubborn efforts to control it. Kincaid herself sprouts and flowers in the rows of words planted on these fertile pages. She is irascible, smart, knowledgeable, sly, poetic, needy, mischievous, and proud. And she wraps things up with a wily meditation on paradise, the setting of all her works, whether lost or regained. She writes that her personal Eden is "so rich in comfort, it tempts me to cause discomfort; I am in a state of constant discomfort and I like this state so much I would like to share it."

CONCLUSION Kincaid seems proud of her contrariness as she divulges her chronic uneasiness, not in an effort to exorcise it but rather to plant it in the minds of her readers. This is classic Kincaid. In all of her work, she draws people in with her candor only to push them away with her anger, a com-

JAMAICA KINCAID / 195 bination of intimacy and distancing which feels both manipulative and inevitable given the facts of her life and the compulsive nature of her writing. A series of hard-edged self-portraits, her books closely follow the course of her experiences. But they also link her autobiography to the greater world past and present, and Kincaid's artistic singularity is rooted in her profound identification with her homeland, the conquered and colonialized Caribbean, and her irrevocable decision to exile herself from it. Kincaid is a champion of autonomy, a prose poet of individuality, yet for all the clarity of her perceptions, she writes out of frustration, sorrow, and emotional need. For her, the act of writing is nothing less than a bid for survival. She writes not out of ambition, but, as she has often claimed, to literally save her life. That is the source of her consistency of vision and subject matter, and no one is more aware of this than she. In an interview with Dwight Grarner, she said "If I had consciously designed my career, perversely enough, I might have worried about what people would say and done something different. I am not troubled, however, to be seen to be of one whole cloth—that all that I write is a further development of something." Then Kincaid says it all: "I couldn't help but write these books."

Selected Bibliography

1986. Trade edition, New York: Alfred A. Knopf, 1989. Lucy. New York: Farrar, Straus & Giroux, 1990. The Autobiography of My Mother. New York: Farrar, Straus & Giroux, 1996. NONFICTION

A Small Place. New York: Farrar, Straus & Giroux, 1988. My Brother. New York: Farrar, Straus & Giroux, 1997. My Garden [Book]:. New York: Farrar, Straus & Giroux, 1999. EDITED WORK

The Best American Essays 1995. Boston and New York: Houghton Mifflin Co., 1995. My Favorite Plant: Writers and Gardeners on the Plants They Love. New York: Farrar, Straus & Giroux, 1998. AUDIO RECORDINGS

Annie John/At the Bottom of the River/Lucy. Read by Jamaica Kincaid. Columbia, Mo.: American Audio Prose Library, 1991. The Autobiography of My Mother. Read by Jamaica Kincaid. New York: Airplay Audiobooks, 1996. My Brother. Read by Jamaica Kincaid. New York: Penguin Audiobooks, 1998. UNCOLLECTED STORIES

"Antigua Crossing." Rolling Stone, June 29, 1978, pp. 48-50. "Ovando." Conjunctions 14:75-83 (1989). UNCOLLECTED ESSAYS

WORKS OF JAMAICA KINCAID FICTION

At the Bottom of the River. New York: Farrar, Straus & Giroux, 1983. Annie John. New York: Farrar, Straus & Giroux, 1985. Annie, Gwen, Lilly, Pom and Tulip. Illustrations by Eric Fischl. Limited edition. New York: Library Fellows of the Whitney Museum of American Art,

"Jamaica Kincaid's New York." Rolling Stone, October 6, 1977, pp. 71-73. "On Seeing England for the First Time." Transition 51:32-40 (1991); Harper's Magazine, August 1991, pp. 13-17. "Biography of a Dress." Grand Street 43:93-100 (1992). "Putting Myself Together." New Yorker, February 20, 1995, pp. 93-101. Reprinted in Leaving New York: Writers Look Back. Edited by Kathleen Norris. St. Paul, Minn.: Hungry Mind Press, 1995.

196 / AMERICAN WRITERS CRITICAL AND BIOGRAPHICAL STUDIES Bloom, Harold, ed. Jamaica Kincaid: Modern Critical Views. New York: Chelsea House, 1998. Covi, Giovanna. "Jamaica Kincaid and the Resistance to Canons." In Out of the Kumbla: Caribbean Women and Literature. Edited by Carol Boyce Davis and Elaine Savory Fido. Trenton, N.J.: Africa World Press, 1990. Pp. 345-354. Donnell, Alison. "When Daughters Defy: Jamaica Kincaid's Fiction." Women: A Cultural Review 4, no. 1:18-26 (1993). Ferguson, Moira. Jamaica Kincaid: Where the Land Meets the Body. Charlottesville and London: University Press of Virginia, 1994. Mangum, Bryant. "Jamaica Kincaid." In Fifty Caribbean Writers. Edited by Daryl Cumber Dance. Westport, Conn.: Greenwood Press, 1986. Pp. 255263. Morris, Ann R., and Margaret M. Dunn. " The Bloodstream of Our Inheritance': Female Identity and the Caribbean Mothers'-Land." In Motherlands: Black Women's Writing from Africa, the Caribbean, and South Asia. Edited by Susheila Nasta. London: The Women's Press, 199.1. Pp. 219-237. Murdoch, H. Adlai. "The Novels of Jamaica Kincaid: Figures of Exile, Narratives of Dreams." Clockwatch Review 9, no. 1-2:141-154 (1994-1995). Paravisini-Gebert, Lizabeth. Jamaica Kincaid: A Critical Companion. Westport, Conn, and London: Greenwood Press, 1999. Simmons, Diana Ellis. "The Rhythm of Reality in the Work of Jamaica Kincaid." World Literature Today 63, no. 3:466-472 (1994). Simmons, Diane. Jamaica Kincaid. New York: Twayne, 1994. Timothy, Helen Pyne. "Adolescent Rebellion and Gender Relations in At the Bottom of the River and Annie John." In Caribbean Women Writers: Essays from the First International Conference. Edited by Selwyn Cudjoe. Wellesley: Calaloux Publications; distributed by the University of Massachusetts Press, 1990. Pp. 233-242.

BOOK REVIEWS Fenmore, James. Review of My Garden. January 20, 2000, pp. 31-32, 37.

Fonseca, Isabel. Review of A Small Place. Times Literary Supplement, January 16, 1988, p. 30. Kakutani, Michiko. "Portrait of Antigua, Warts and All." Review of A Small Place. New York Times, July 16, 1988, p. 19. Kenney, Susan. Review of Annie John. New York Times Book Review, April 7, 1985, p. 6. Milton, Edith. "Making a Virtue of Diversity." Review of At the Bottom of the River. New York Times, January 15, 1984, p. 22. Quindlen, Anna. "The Past is Another Country." Review of My Brother. New York Times, October 19, 1997, p.7. Schine, Cathleen. "A World as Cruel as Job's" Review of The Autobiography of My Mother. New York Times, February 4, 1996, p. 5. Tyler, Anne. Review of At the Bottom of the River. New Republic 189:32 (December 31, 1983).

INTERVIEWS Bonetti, Kay. "An Interview with Jamaica Kincaid." The Missouri Review 20, nos. 1-2:7-26 (1991). Cudjoe, Selwyn. "Jamaica Kincaid and the Modernist Project: An Interview." Callaloo 12, no. 2:396-411 (Spring 1989). Reprinted in Caribbean Women Writers: Essays from the First International Conference. Edited by Selwyn Cudjoe. Wellesley: Calaloux Publications; distributed by the University of Massachusetts Press, 1990. Ferguson, Moira. "A Lot of Memory: An Interview with Jamaica Kincaid." The Kenyan Review 16, no. 1:163-188 (Winter 1994). Garner, Dwight. "Jamaica Kincaid: The Salon Interview." Salon Magazine, www.salon.com/05/features/ kincaid.html (December 8, 1999). Jacobs, Sally. "Don't Mess with Jamaica Kincaid." Boston Globe, June 20, 1996, p 57. Perry, Donna. "An Interview with Jamaica Kincaid." In Reading Black/Reading Feminist. Edited by Henry Louis Gates. New York: Penguin, 1990. Pp. 492-509. Snell, Marilyn. "Jamaica Kincaid Hates Happy Endings." Mother Jones, September-October 1997, pp. 28-32.

—DONNA SEAMAN

Barbara Kingsolver 1955-

T

± H HE

EPIGRAPH TO Barbara Kingsolver's book Holding the Line: Women in the Great Arizona Mine Strike of 1983 (1989) is by Mother Jones: "No nation is greater than its women." This quotation succinctly points to themes prevalent in Kingsolver's work: feminism, motherhood and family, human interdependence on a local and global level, and individual empowerment—both personal and political. These multiple themes are related in their balancing of necessary selfsufficiency and the complex interdependence of everything on earth. In contrast to this intricate web of ideas, Kingsolver's literary values are fairly straightforward. In an interview with Sarah Kerr, Kingsolver stated that "complex ideas can be put across in simple language," "a good plot never hurt anybody," and novels need to be written to promote "social change." In an interview with L. Elisabeth Beattie, Kingsolver said stories should "have a beginning and an end and a moral and a theme." Kingsolver's feminism leads her to create characters who are either slaves to standard gender constructions (such as Barbie in Pigs in Heaven [1993]), refreshingly free of some of the traps of womanhood (such as Taylor in Pigs in Heaven, who loves her body to the point of kissing her own knees), or in the process of developing from a resigned woman with a circumscribed life and imagination to one who dreams and acts (such as Lou Ann in The Bean Trees [1988] and Alice in

Pigs in Heaven). Drawn on a spectrum of selfactualization, Kingsolver's characters highlight the pitfalls of conventional modern womanhood, and both the advantages in and possibility of psychological and situational makeovers. Kingsolver's characters live both within the real world and in the doorway to a better one. One way Kingsolver points to female empowerment is by celebrating motherhood and family. Critics such as Maureen Ryan may take issue with Kingsolver's "deceptive insistence that if we love our children and our mothers, and hang in there with hearth and home, the big bad world will simply go away," but Kingsolver's value of mothers involves more than sending Mother's Day cards. Holding the Line almost makes the essentialist argument of proletarian feminists such as Meridel Le Sueur that mothers are natural-born social activists; women watching out for the best interests of their children and families will naturally want the world to become a better place. Kingsolver says in her interview with Kerr, "Everything I do, from writing to raising my kids, is about preparing for the future." The "big bad world" will not automatically disappear, but thoughtful, loving mothers can make it better, especially once they understand relationships between their individual plights and those of the wider community. While Orleanna, the mother in The Poisonwood Bible (1998), cannot find the 797

795 / AMERICAN WRITERS strength to improve her personal situation for her own sake, she finally acts on behalf of her daughters. People can understand the potential of mothers only if they accept the interdependence of all living things on earth, and Kingsolver is also an environmentalist. Although Krista Comer argues that Kingsolver's beautiful descriptions of the Southwest encourage people to move there, and she calls Kingsolver "a real estate developer in the cultural realm," Kingsolver's depictions of the beauties of nature seem intended to help people value it and recognize themselves as part of it. Kingsolver's background in the biological sciences results in her using organic metaphors for the human condition. These metaphors are based in an understanding of the way organisms within ecosystems are mutually dependent. By way of these metaphors of the organic community, Kingsolver presents her most likely reader—an American who values individualism—with the importance of shared work and responsibility within the human community. This wide-ranging interdependence would be overwhelming if people felt that it were completely out of their control, but Kingsolver's novels represent the ways in which people can empower themselves, both personally and politically. Her characters can change their behavior, and this change can turn their lives around. Moving, divorcing, landing a new job, making a new friend, and changing one's mind are all effective ways to change one's life. Kingsolver's world is not deterministic. People can decide to act, and their actions make a difference. As she says in her interview with Beattie, "A lot of this stuff [such as environmental problems] can only be fixed through massive individual action."

KINGSOLVER'S BACKGROUND

Barbara Ellen Kingsolver is the daughter of a homemaker—Virginia Lee Henry Kingsolver—

and a country doctor—Wendell Roy Kingsolver. Her parents' lives affected her writing career, as her writing focuses on people building homes and communities, and making the moral decision to help others. Born in Annapolis, Maryland, on April 8, 1955, Kingsolver and her two siblings were raised in "the middle of an alfalfa field" in Nicholas County, eastern Kentucky, except for the year her family spent in the Congo when she was seven. Switching her major from instrumental music (classical piano) to zoology, Kingsolver graduated magna cum laude from DePauw University in Greencastle, Indiana, in 1977. After a couple of years of traveling and working in Europe, Kingsolver visited Tucson, Arizona, decided to stay, and began graduate work in ecology and evolutionary biology at the University of Arizona in Tucson, where she wrote a master's thesis on the social life of termites and earned her Master of Science in 1981. Kingsolver was married to Joe Hoffman, a chemist, from 1985 to 1993, and she married Steven Hopp, an ornithologist, in 1995. She has a daughter with each. As she writes in High Tide in Tucson: Essays from Now or Never (1995), "I've spent my life hiding a closetful of other lives," but in the same essay she argues for "parti-colored days and renaissance lives." She is now "a writer who does other things," including playing keyboard for "an allauthor band," The Rock Bottom Remainders. Having written all her life—she began a journal when she was eight years old, and she wrote poetry and short stories throughout high school— Kingsolver started work as a technical writer for the Office of Arid Land Studies at the University of Arizona in 1981. In 1982 she decided to become an independent writer, boldly stating her decision in her journal. She took on freelance writing assignments as well as writing her own fiction and nonfiction, some of it on behalf of causes about which she feels strongly, including human rights abuses, American influence in Latin America, environmentalism, and the madness of war—nuclear and otherwise.

BARBARA KINGSOLVER / 199 Her books repeatedly nominated by independent booksellers for the American Booksellers Book of the Year (ABBY), Kingsolver has been the recipient of many other prizes. In 1986 she received a feature-writing award from the Arizona Press Club. In 1989 she was lauded by the United Nations Council of Women. The Bean Trees, which has been published in over twelve languages in at least sixty-five countries, received an award from The American Library Association (1988), an Enoch Pratt Library Youth-toYouth Books award, and was a New York Times Notable Book in 1988. In 1990, the American Library Association cited the short story collection Homeland as a notable book. In 1991, the Edward Abbey Ecofiction Award and the PEN/ USA West Fiction Award went to Animal Dreams (1990). Animal Dreams was also the Arizona Library Association Book of the Year and a New York Times Notable Book. Pigs in Heaven won the Los Angeles Times Fiction Prize (1993), the Mountains and Plains Fiction Award (1993), and the the Cowboy Hall of Fame Western Fiction Award (1993). Pigs in Heaven was on the New York Times best-seller list for many weeks, and The Poisonwood Bible was also on the list. To encourage the writing and publication of literature that promotes social change, Kingsolver has endowed the Bellweather Prize, to be awarded every May Day.

THE BEAN TREES

In The Bean Trees, Kingsolver's main character moves from rural Kentucky through the outlying areas of the Cherokee Nation, and then farther west to Tucson, Arizona. Along the way she takes in a Cherokee child, and the novel relates the story of her first five months as a mother. In Tucson, Taylor meets and moves in with the defeatist Lou Ann, whose husband has just left her, and her newborn son. Ultimately working for a usedtire store which doubles as a sanctuary for Gua-

temalan refugees, Taylor meets a couple whose daughter has been kidnaped by members of the oppressive regime in their home country. In spite of all this pain, the novel emphasizes the positive: the way hope grows from hopeless terrain, like wisteria from dry desert dirt or a resilient person from a scarred childhood. The Bean Trees is a surprisingly uplifting story about the stubborn— even joyful—survival of the downtrodden. Kingsolver's characters are surprisingly good at making what they can from a bad situation, which can be uplifting or annoying, depending on the reader. While often praised for her ability to deliver novels rich with imagery and linguistic play as well as advice and inspiration, some critics, such as Maureen Ryan, argue that "the big subjects, the looming dangers, are always dismissed" and that Kingsolver's characters are too good to be true. Kingsolver's characters are usually good-hearted, but they are not heroes. She mainly offers encouragement for survival or amelioration. As one character says, "in a world as wrong as this one, all we can do is to make things as right as we can." Writing while pregnant with her own first child, Kingsolver has Taylor gradually realize that a mother has "no business just assuming [she can] take the responsibility for a child's life," and that "Nobody can protect a child from the world." But trying—with the help of other women—is good enough. Although it is a job that can never be done perfectly, motherhood is depicted as an empowering role. During Taylor's high school years, her mother has said, "practically every other day," "I don't know how the good Lord packed so much guts into one little person," and her praise encourages Taylor's smart-alecky confidence. Taylor explains, "There were two things about Mama. One is she always expected the best out of me. And the other is that then no matter what I did, whatever I came home with, she acted like it was the moon I had just hung up in the sky and plugged in all the stars. Like I was that good." Taylor supports her daughter in the same way.

200 / AMERICAN WRITERS When she discovers that the child, whom she calls Turtle because of her stubborn grip, has been sexually abused, Taylor puts her to bed in a T-shirt that says "DAMN I'M GOOD." Mothers can instill in their daughters self-esteem and confident self-sufficiency. Kingsolver argues for autonomy and selfdetermination, and she is perfectly willing to reconfigure the family unit in support of those goals. Taylor's mother taught her "how to handle anything that might come along," but she also taught her to let a child live its own life. Before Taylor leaves home, "Mama" makes sure she knows how to deal with two simultaneously flat tires. Later, when her car breaks down again, Taylor blames nobody but herself for her sudden financial crisis, saying, "I should have been able to fix it myself." Taylor does not expect threeyear-old Turtle to be self-sufficient, but she notices and respects the resiliency she has already demonstrated in resuming growth after a developmentally static period of abuse. And Taylor allows Turtle to develop at her own pace, in her own directions, telling one young man that Turtle "makes up her own mind about what she's into." One apt landmark on Taylor's drive across the country is the Pioneer Woman Museum. Kingsolver's recipe for female empowerment includes female community, female traditions, and female empathy. Kingsolver's women help one another, while many of her misguided (but often sympathetic) male characters strike out for themselves or strike out at their loved ones. Taylor feels "lucky" she "didn't have a daddy" when she is face-to-face with a young woman who is bleeding because her husband tried to kill her, alone because her husband has succeeded in killing himself, and scared because she will now have to live alone with her abusive father-in-law. Making a transition between violent alienation and loving community, Lou Ann's mother Ivy has transformed her husband's belt, the one that Lou Ann "had been whipped with years ago,

when her father was alive" into a suitcase strap she uses to go visiting. Lou Ann and her mother and grandmother are one female community, but they cannot speak openly—or at all—with one another. Improving on this female group, two mothers and their small children form a cooperative and supportive household, and they purposefully avoid falling into the traditional breadwinner and homemaker roles. The shape of a family is less important than the love. While rejecting or sometimes reversing traditional gender roles, Kingsolver embraces others. For example, eating and talking are "good solid female traditions," and they allow these women to reveal eccentric fears and personal experiences so that they can understand each other better. Lou Ann is drawn to Taylor because, she says, "You talk just like me." After living together, and after many evenings of raiding the kitchen and staying up late talking, Taylor realizes "that nobody else on earth could have understood what Lou Ann had just said" in a certain cryptic telephone conversation. This feminine empathy seems to be at least the local and interim solution for many of the world's ills. After meeting a man who steps on a bug for no reason, Taylor meets a woman who can not bear to: the woman says, "I can't see my way clear to squashing them. A bug's just got one life to live, after all. Like us." This same man wanted to scare Taylor; the woman invites her in to feed her later saying, "I wasn't trying to make a sale. I just thought you two needed some cheering up." At moments such as these—and there are many—Kingsolver seems to be slipping into inadvertent self-parody. The alignments are predictably earnest and left-liberal: liberated women and little children and poor immigrants and nonhuman nature are all good, and good to each other, while white men (with some exceptions) are insensitive and have little self-understanding. The women persevere amid suffering and injustice with simple truth on their side. Though she

BARBARA KINGSOLVER / 201 argues for nuance and multiplicity, Kingsolver's early fiction works from binary distinctions that resist those qualities, pairing up opposites (women/men, poor/rich, Latino/Anglo, natural/ technological) and assigning them opposite moral valences. Coming out in favor of good mothers may not be as courageous a stand as it sometimes pretends to be either, although Kingsolver is convincing when she contrasts cultural attitudes towards children and child caring. She makes American readers rethink their "nation's creed of every family for itself as she says in Tucson, but "it takes a village" is not a radical stance, either. But perhaps Kingsolver argues that it takes a village for anyone to flourish; what is good for kids may be good for grown-ups too. Kingsolver's characters flourish in one another's empathy. While Lou Ann is self-defeating when it comes to her own abilities, she has complete confidence in Taylor. Once Taylor has helped Lou Ann stop worrying about her hair and her weight, Lou Ann's job gives her a sense of accomplishment—she is quickly promoted and her feeling that she's "got responsibilities now" keeps her from relocating every time her husband suggests she join him. When Taylor becomes depressed about the evil in the world, and her feeling of powerlessness makes her less spunky than usual, Lou Ann's faith in Taylor helps her recover. Similarly, two elderly neighbors, Virgie Mae Parsons and Edna Poppy form a symbiotic relationship: Edna is Virgie Mae's "public-relations department," and Virgie Mae is so helpful to Edna that Taylor does not realize that Edna is blind until the first time she sees her alone. Birds and plants are important symbols in The Bean Trees, as they continue to be in Kingsolver's later work, and they often point to hope, symbiosis, and resiliency. The birdsong that comes from "Dead Grass Park" suggests hope, adaptation, and triumphant survival. In this same dirt lot are wisteria vines which "looked dead" but even-

tually "sprouted a fine, shivery coat of pale leaves . . . You just couldn't imagine where all this life was coming from. . . . flowers out of bare dirt. The Miracle of Dog Doo Park." Later in the summer, silent Turtle looks up at the green pods and says "Bean trees." Turtle becomes "April" later in the novel, suggesting her development from a child desperately hanging on for survival to a child who has moved past dormancy to flourish. Reading a reference book on plants in the library, Taylor and Turtle learn that "Rhizobia" are "microscopic bugs" which form the "whole invisible system for helping out the [wisteria] plant." Kingsolver makes an explicit connection: Taylor says, "It's just the same as with people . . . The wisteria vines on their own would just barely get by ... but put them together with rhizobia and they make miracles." Kingsolver connects but does not exactly equate female oppression to the political situation in Guatemala. These different forms of "ugliness" are comparable in Taylor's mind, who in a depressed state sees that "the whole way of the world is to pick on people that can't fight back." Unlike the life and death situation in Guatemala, however, which is treated with great seriousness, Kingsolver treats the female condition with humor, depicting the many silly ways women enforce their own oppression, but also pointing to the much less humorous origins of that self-immolation.

HOLDING THE LINE: WOMEN IN THE GREAT ARIZONA MINE STRIKE OF 1983

Kingsolver's account of a miner's strike in Holding the Line affords her much of the material for her later fiction, as well as being at least a partial catalyst for her woman-centered themes of cooperation. The sense of community in these small mining towns contributed to their ability to survive "one of the longest strikes there has ever

202 / AMERICAN WRITERS been, anywhere," and this narrative of the strike asserts that women have always been strong, and that they become even stronger when they begin to recognize, practice, and pool their powers. The labor struggle with the mining company Phelps Dodge first showed women their powerlessness: "It gave them a new perspective on a power structure in which they were lodged like gravel in a tire." But when jobs are withheld and homes are threatened, women discover their importance: Anna O'Leary, homemaker turned strike organizer, says, "You know how when you're cooking, you put in an egg and it holds the rice and everything together. That's what we are. We're the egg of the family. Just trying to hold together all these falling-apart things." Establishing women's strength outside the home as well, Kingsolver interviews an old-timer, Mike Baray, born in 1921 and a miner since before 1939 who says: "During the war . . . there weren't hardly any men, so they brought in a bunch of Jamaicans, and a lot of women started working there too ... After, I think, about eight months, the Jamaicans left. They said the work was too hard. But the women stayed." Women became a necessary force in the strike, largely because a court injunction barred striking miners from congregating outside the mine. Kingsolver writes, " A little bit of success is a powerful thing. For the first time in their lives, the women of Clifton began to see themselves as a force to be reckoned with. Before they knew it, they were keeping the whole town running." This sense of power was a big change in the lives of these mainly Mexican-American women. Kingsolver reports that, "the strike had begun to unravel some of the deepest threads in the fabric of Hispanic family life." Anna O'Leary says, "Many of us have started seeing a connection between the company abusing authority over strikers and men abusing authority over women." In emphasizing this connection between the individual experience of patriarchy and the group experience of injustice, Kingsolver starts to build

the foundation of a relationship between individual responsibility and worldwide change. In The Bean Trees, then, Taylor and Lou Ann's development of a sense of self-empowerment is not a separate topic from the way that the Guatemalans are treated by their violent and hateful government. This sense of personal agency carries over to her later work: in The Poisonwood Bible, Leah believes she can make "something right in at least one tiny corner of the vast house of wrongs." Each of us can only do what we can, but we must doit. Anna O'Leary, who has moved from a grassroots strike organizer to a confident public speaker, makes the relationship between local and global issues more specifically when she says, "I've grown as a person, just by uniting all these issues I was only vaguely aware of before . . . We mothers are having pathetic little bake sales to buy our kids books, while the government squanders billions and billions of our money over there" in Nicaragua. Here O'Leary brings up an issue close to Kingsolver's heart: Kingsolver says in a 1990 interview with Joseph Cincotti, "I can't sit by and think about my tax dollars buying phosphorus bombs for El Salvador. . . . I have to do something—scream and yell—and write novels." Kingsolver makes the reader aware of the relationship between people's individual choices and the global environment—the political as well as physical environment. She reveals the absurd state of affairs people put up with, and the even worse situations they cause by putting up with them.

HOMELAND AND OTHER STORIES (1989)

In this collection, Kingsolver writes female-centered short stories, which augment and fortify her themes of resilience and empowerment. Because of the concentration of twelve stories in one book, a reader might get the sense that Kingsolver is repeating herself. In an interview about her work,

BARBARA KINGSOLVER / 203 Kingsolver admits to Cincotti, "I have the disturbing idea that I'm writing the same book again and again." But she adds, "I think that writers try to write the truth, as they see it, and the truth remains the same." In the title story, Kingsolver's peaceful representation of the long-term view—geologic time instead of human time—allows her to argue that human aggression will not win present or future arguments. The narrator says that her greatgrandmother's "true name was Green Leaf, although there is no earthly record of this," and Great Mam's burial returns her to the earth the way flowers die on the stem "fall where they are, and make a seed for next year." The narrator's mother disrespects most of Great Mam's beliefs, but Green Leaf wins out because she will ultimately become what is undeniably a green leaf, and her stories will be remembered by her greatgranddaughter. Great Mam says, "In the old days . . . whoever spoke the quietist would win the argument." This "long view" is a theme that repeats in other works as well, and in her essay "The Forest in the Seeds" from Tucson Kingsolver praises the patience of Charles Darwin and Henry David Thoreau who allow nature to get "around to the revelations." In "Blueprints" and "Stone Dreams" female characters recognize and then overcome their apathetic responses to their own lives. In "Blueprints" Kingsolver contrasts New Age living with real and drastic internal change. Alluding to the way animals imprint on their parents, her characters struggle with the difficulty of radically changing the nature of couplehood. In "Stone Dreams" Kingsolver contrasts truly appreciating and loving something with collecting or photographing it, and she uses the characters' love of rocks and passion for cabinetry to contrast their death-in-life and life-in-life lives. The main character recognizes herself as a petrified forest; she must destroy the forest in order to live again. "Covered Bridges" and "Quality Time" focus on the decision to have a child, and how to raise

it in the busy, modern world. "Covered Bridge" has a male narrator, an appealing botanist, who leaves the decision to have a child up to his wife at the same time that he knows that he will be expected to (and is willing to) change his own life to care for the child. Put in this somewhat feminized position, he watches how his wife determines that her bee sting allergy gives her too fragile a hold on life to commit to raising a child. She decides to love what she has. The world is dangerous enough for "normal" parents. The single mother in "Quality Time" recognizes the fragility of life (a relative dies in a car crash, she hears sirens several times, and she envisions car crashes) but also sees her five-year-old's strength: "the resilience of ... children's lives. They will barrel forward like engines, armored by their own momentum, more indestructible than love." Although she would like to have more time with her child and would like to be a better parent, she realizes that "Parenting is something that happens mostly while you're thinking of something else," that "parenting was three percent conscious effort and ninety-seven percent automatic pilot." Kingsolver's stories often show the transformation of a person who has been predatory or just self-absorbed into someone observant and empathetic. In "Bereaved Apartments" a thief observes the results of another person's thievery, and although she does not act in this instance to prevent what happens, she learns enough about pain and betrayal to move on with new understanding. In "Jump-Up Day" a motherless child whose father is sick and thousands of miles away learns that "Nothing is all good or all bad," that sometimes someone else will appear out of nowhere to protect and heal (and offer a "soft arm" and "a lap"). She realizes that she too can "jump up" and intervene for the benefit of another person or animal. In "Rose-Johnny" an eleven-yearold girl learns to identify with every sort of outcast: black children, a woman who is ostracized as a lesbian, people who have stories told about them, and even her own older (and, of course,

204 / AMERICAN WRITERS sometimes mean) sister who is molested. At the same time that she learns just how badly people can behave in this world, she learns to treat people with dignity. "Why I Am a Danger to the Public" is a conglomeration of incidents from the strike that Kingsolver describes in Holding the Line, emphasizing the trickery involved in entrapping the strikers into appearing to be on the wrong side of the law. Kingsolver, however, suggests that the company and the police have outsmarted themselves, since the union leader they have jailed— Vicki Morales—is one of the strongest voices against violent action. Although readers might rightly surmise that this impending violence will make the union look even worse in the public eye, Vicki's children "would rather have a jailbird than a scab mom" and Kingsolver asserts the persistence and strength of this individual when Vicki concludes that she's still "all in one piece."

ANIMAL DREAMS

While the points of contention in Animal Dreams are varied—the mining company versus the town it is killing with chemicals, the struggling people's revolution in Nicaragua, a man's attempt to perfect himself and his family, and a woman's search for purposeful confidence and riskless love—the novel consistently celebrates personal strength while arguing against self-sufficiency and heroics. People do what they need to do to lead a full life, and doing what they need to do often involves working hard for little or no guaranteed rewards. The novel advocates keeping one's ideals and finding one's way almost blindly towards making a useful minor contribution to the world—a suggestion at once deflating and inspiring. As Kingsolver says in her interview with Beattie, "The most important thing is what you can do for people that will make the world better in some way," and "the meaning of life is con-

tained in that old Girl Scout axiom of leaving the campsite better than you found it." Alternately narrated by Doc Homer and his eldest daughter Cosima, Animal Dreams shows how Cosima's high expectations of herself, her pursuit of perfection and avoidance of partial failure prevents her achievement and action. Kingsolver describes her in the Beattie interview as "the sort of walking wounded who has never quite found the engagement with life that her sister has." Cosima's good-hearted if sometimes misplaced or unsuccessful efforts to help others inspire her younger sister Hallie to follow her heart and act on her beliefs. Cosima's father and childhood neighbors remember Cosima trying to rescue a litter of coyotes whose den was about to be flooded by a rising river. The two sisters can carry all but one of the babies to safety, but Cosima sits crying in the den because she cannot take every one of them with her. Homer remembers, "after crouching for a half a day in the small shelter of that gravel bank, waiting for the mother coyote to come back and save her children, [the girls] had to leave them." Cosima has forgotten this incident, erasing her good intentions as well as her indecision and inaction, but Hallie sees her as a moral mentor. In their sadness, the girls ask "if the baby coyotes died" and "If animals go to heaven," and Homer "has no answers." He wonders, "why does a mortal man have children? It is senseless to love anything this much." These thoughts point to the imperfect nature of life, the lack of guarantees, and the wide chasm of unknowningness that surrounds every enterprise, even (or especially) the most important and meaningful. Homer has lost his beloved wife, and he recognizes the loss that is the inevitable result of the love his daughters have for each other: he wants to weep "For how close these two are, and how much they have to lose. How much they've already lost in their lives to come." Instead of dreamily depicting perfect, endless love, Kingsolver suggests that humans

BARBARA KINGSOLVER / 205 can only make the best of their real lives, which involves loving in spite of the fear of eventual pain. Cosima and her beau Loyd speculate about animal dreams, and decide that animals, including human animals, can dream only about what they do when they are awake. While Cosima, who is wary of love because of the pain it can cause, is disappointed at this idea of dreams, Loyd says, "If you want sweet dreams, you've got to live a sweet life." He seems to teach her to take the risk of accepting a "sweet life" instead of running away from the prospect of losing it. Kingsolver repeatedly and effectively compares humans to other living things—both plants and animals—and she thus shows both human vulnerability and empowerment. The novel opens with the two young sisters "curled together like animals whose habit is to sleep underground, in the smallest space possible." Cosima is frightened by a truck honking at her, and she "froze up, like one of those ridiculous squirrels that darts one way and then the other and is doomed to end up a road kill." At a Labor Day "fiesta," the kids "ran underfoot like rebel cockroaches." Loyd compares himself to his "mongrel" dog, and Cosima compares a tortured refugee woman from San Salvador to a "zoo animal" whose "eyes offered o u t . . . flatness" Loyd gives up cock fighting because of the similarity he suddenly sees between the death of the birds and the death of his twin brother. The dead and acidic water discovered by the students in Cosima's biology class, water empty of protozoans, signals the future of all other living things in the valley. Some of these metaphors suggest human weakness: people are as vulnerable as confused squirrels when we run from the unknown, and we are susceptible to the same physical or emotional death as the protozoa and zoo animals. On the other hand, some of the comparisons emphasize human strength. For example, we retain certain survival instincts—love, memory, empowerment through either biological or mental mongrelization, and

even powers we cannot know in ourselves (as cockroaches no doubt are unaware of their rumored singular power to live through a nuclear blast). These metaphors should give us hope; perhaps some of their animal instincts can help us out of our troubles as a species. As Cosima concludes, "We're animals. We're born like every other mammal and we live our whole lives around disguised animal thoughts." While Cosima becomes a biologist, her sister Hallie gravitates to the plant kingdom. Hallie says, "plants do everything animals do—give birth, grow, travel around . . . have sex, etc. They just do it a lot slower." Thus it is not surprising perhaps that Kingsolver compares humans to plants, too. For Dioecious carob trees, for example, "it takes two to tango" just like humans, and Cosima sympathetically pats the bark of a lone female tree. The geraniums near Cosima's front door wilt in the heat, but recover perfectly when watered, and Cosima thinks, "I could only wish for such resilience." It turns out that she is that resilient: by changing his name, speaking only English, and telling his daughters they are outsiders in Grace, Arizona, Cosima's father has purposefully attempted to uproot and destroy her family tree, but this family tree—like the trees in the valley being destroyed by acids—is maintained by the cooperative matriarchy of the town. Kingsolver alludes to a worldview in which humans not only learn about themselves through metaphors with the living natural world, but see themselves as united with even the inanimate world of dirt and rock—and comport themselves based on this perception. Loyd takes Cosima to Kinishba, "prehistoric condos" built by the Pueblo—his "mama's folks"—eight hundred years ago. Cosima exclaims, "It doesn't even look like it was built... It's too beautiful. It looks like something alive that just grew here." The "walls are thick" in this "maze" of "two hundred rooms" because they are "graveyards." Loyd explains, "When a baby died, they'd mortar its

206 / AMERICAN WRITERS bones right into the wall. Or under the floor . . . So it would still be near the family." While the architects envision and design an organic structure, the children's bones make it literally organic, and they nourish the home in the only way they can once they haveve died. Relatedly, Kingsolver alludes to the battlefields of northern France, where the "fields were blessed . . . by the bones. The soil was rich in calcium." Dead or alive, it seems, humans can do good works. Awful wars in Europe or Central America can still result in something good, if only rich soil. Instead of a world in which living people are objectified, Kingsolver depicts a world in which living people are empowered and dead people can still be useful. Cosima becomes aware of other subtle powers as well, such as the powerful matriarchy of the town in which she grew up. Motherless from toddlerhood on, it is not until she is in her thirties that she realizes how she and her sister were cared for by a close-knit but somehow invisible network of women. This realization is even more surprising to her than the way in which the women of Grace work together to save the town's water supply. While the men think lawyers can save them, the women resort to less conventional—and faster-acting—methods of resistance. Learning as they go, they succeed in drawing attention to the town's plight by selling pinatas made with peacock feathers and enclosing a onepage "written history of Grace and its heroic struggle against the Black Mountain Mining Company." The women are just oppressed enough to recognize how oppressive and unfair the system can be, and they know how to work outside of it. When the town complains that the water is acidic, the EPA decides that it is acceptable for the company to build a dam and reroute the river away from the human population—saving them from acid but leaving them with no water. Cosima "couldn't believe it" but Viola, a knowing grandmother who has seen a lot in her time, is not

surprised. To Cosima's morally enraged question, "How could they do that?" Viola responds with a physical, materialist answer: "With bulldozers." After learning her away around the "matriarchy of Grace," Cosima realizes that "The Stitch and Bitch Club wasn't banking on the good old boys." While Hallie goes to Nicaragua to aid the people's agricultural revolution, Cosima has another farmer's revolution brewing at home. While the copper company has stopped employing the town's population, it has started ruining their crops. While Hallie has driven out of North America in order "To give [her] self over to utility, with no waste," the women in Grace have always found multiple ways to make themselves useful: caring for orphaned children, feeding an increasingly senile old doctor, raising their own children, and retaining family and community traditions. Hallie writes, "it's what you do that makes you who you are" and "Wars and elections are both too big and too small to matter in the long run. The daily work—that goes on, it adds up. It goes into the ground, into crops, into children's bellies and their bright eyes. Good things don't get lost." But while Kingsolver offers an encomium to the everyday love, patience, resistance, and accomplishments of mothers, she also makes a political statement about American "amnesia" and ignorance, the budding hopes of a developing agricultural nation, and the blindness of most Americans to our own complicity in the destruction of those hopes. The news media is chastised for misrepresenting the conflicts in Nicaragua. Reminding the reader that one person can make a difference, Kingsolver also reminds the reader that one casualty of war is both as important and as unremarkable as any other of the multiple casualties: as the man on the telephone from a Managua church says in Spanish, "You understand that this occurs every day. We're a nation of bereaved families." When Cosima sips a margarita with salt on the rim, "the crystals felt like sand in [her]

BARBARA KINGSOLVER / 207 mouth, or broken glass." Instead of succumbing to the pleasant, opiatic effect of a Mexican cocktail, she thinks "of walls I'd seen in Mexico— high brick hacienda walls topped with a crest of broken bottles imbedded in cement, to keep people on their correct sides of the fence." Claiming that Americans are willfully blind to the pain of others, Kingsolver infuses hard memories into one of the favorite acts of American recreational forgetting, thus invoking the readers' memories when they least expect or desire it. She gets under her readers' skin, or at least pulls them away from the bar. What is most surprising is that Kingsolver can nonetheless succeed as a storyteller, offering works of consistent political advocacy that still reach a wide popular audience, to which they must provide a considerable burden of guilt along with the pleasure of entertainment. Reviewer Lynette Lamb writes of Animal Dreams, "Any novel that can bring multiple political themes into a love story and still remain a good read must be doing something right." But reviewer Wendy Brandmark writes of Homeland and Other Stories, "The power of these stories rests as much with their moral awareness, their righteousness, as it does with their charm and the ease of her story-telling."

ANOTHER AMERICA/OTRA AMERICA

That Kingsolver's poetry has been less warmly received than the novels, however, may reflect the loss of narrative compensation, and the fact that poetry is more easily flattened by advocacy than fiction—though a few poets such as Carolyn Forche have managed to write successfully with a political agenda similar to Kingsolver's. Lorraine Elena Roses divides Kingsolver's poems into two types: "highly political poems by a committed human rights activist who seeks to stir our consciences and enlist us in the cause of social justice

and pacifism" and more successful "poems about the female condition and our spiritual connection to animal life, either wild or free." Another America/Otra America immediately calls attention to its embrace of two languages. Written by Kingsolver in English, each left-hand page is a Spanish translation of Kingsolver's poems by the Chilean writer Rebeca Cartes. In an interview with Donna Perry, Kingsolver explains that she wanted her poems to "be accessible to the citizens of that other America. In Tucson about a third of the people speak Spanish at home." Kingsolver also explains that during a book tour in Spain, readers of The Bean Trees said they were surprised to read about poverty in the United States. She depicts a different America than that seen on "Dallas" or in Danielle Steele novels, saying in her interview with Beattie that "All of us have lives that are worthy of literature, not just here in Nicholas County [Kentucky], but everywhere that the paint on the fences is peeling, and life keeps going behind them." These people do not just offer new material for a fiction-writer, but rather Kingsolver argues that it is "imperative . . . to record . . . the voices of those who've had their voices taken away from them." The first section of this collection is titled "The House Divided/La Casa Divida," and the poems record and analyze several divisions: between Spanish and English speakers within the United States, between North and South America, a rift in female solidarity, women divided from themselves, and—less strongly—the divide between male and female. One epigraph is the last two lines of Adrienne Rich's poem "Storm Warnings": "These are the things that we have learned to do / Who live in troubled regions." Kingsolver's first poem, "Deadline," describes one of these "things": a candlelight vigil in front of a missile base. These protesters are mainly powerless—"wondering what it is—[they] can hold a candle to"—but the very fact that the female narrator has spent so much effort keeping her child

208 / AMERICAN WRITERS "undamaged to this moment" makes protest necessary. All that love and work would be useless if she did not also try save her from becoming collateral damage to a "bomb that flings gasoline in a liquid sheet." Hopeless, standing on "the carcass of hope," this narrator still hopes that "somewhere" there is "a way out." Kingsolver's poetry also depicts the way that women are divided against themselves, partly by alienating themselves from their own natural bodies, and she argues for women's powerful potential if that energy were only turned to other purposes. In "Reveille," a "bloodless" woman does "not smell like any living thing," and she is "engaged in war with her mammalian origins." Kingsolver's narrator asks, "If I should abandon this battle / ... if I were to become / the animal that I am, then / what? In Animal Dreams, Kingsolver points out the "slavish attention" girls pay to their appearance, the pain they are willing to undergo for their multiple earrings, and the surprising corollary that they "can't be bothered with prophylactics," but in "Reveille" there is the sense that this redirected energy could give birth to a new society, not just prevent conception. The second section, "The Visitors/Los Visitantes," discusses the plights of immigrants and refugees to the United States. In "Refuge," Kingsolver writes about betrayal by a person or nation who says, "Give me your hand" in assistance, and then—noticing that the hand "offers nothing"— cuts it off, only saving it to prove "the great / desirability/of my country" Kingsolver suggests a parallel between these victims and female victims of rape, and the poem is dedicated to "Juana, raped by immigration officers and deported." This section includes "For Sacco and Vanzetti" and allusions to other historical immigrants and exiles, as well as poems contrasting the experience of refugees with someone who has been born and raised in the United States. If "The Visitors" make her see her world differently, the people described in "The Lost/Los

Perdidos"—the title of Section III—have been completely transformed by their own experiences. Refugees can sometimes leave the place in which they have experienced or witnessed horrors, and in "This House I Cannot Leave" a woman can sell her house and move after it has been burglarized. But the "me" in "This House" cannot leave herself. She is "thinking / of the man who broke and entered / me. / Of the years it took to be home again / in this house I cannot leave." The narrator in "Ten Forty-Four" also describes the emotional effects of a rape, the result of which is that it "peeled off what there was / of faith" in her. As her kindness was used against her, so was her paring knife, and now she keeps all these things "in a locked drawer." The very fact that these poems exist, however, attests to human resiliency, since Kingsolver was raped at age nineteen. These are poems of betrayal ("Family Secrets"), human fragility ("For Richard After AH"), and the necessary risks we take in empathizing with others ("The Loss of My Arms and Legs"). Kingsolver simultaneously yearns for people's ease, and their pain: she writes, "I looked into the round bird eyes / of my children, and prayed they were feeling nothing, / prayed they would feel forever." Let them live happily, yes, but if not that, then at least let them live, and live with empathy. Section IV, "The Believers/Los Creyentes," annotates belief and celebrates the hope of a "way out" via "Bridges" between nations, family history, and self-invention ("Naming Myself), "everyday incarnation" in the face of daily robbery ("Apotheosis"), and dreams that might tell "some truth / that could save us" ("Watershed"). "Elections, Nicaragua, 1984" describes "the vote" that is so important: "The sun has never shone in exactly this way / on my children's hair." While in the United States "Pierre Cardin is showing / a feminine look for winter," Kingsolver's narrator writes that "in another country of my heart / I've known homelands I would die for." In "Our Fa-

BARBARA KINGSOLVER / 209 ther Who Drowns the Birds" Kingsolver describes the "season when all wars end: / when the rains come." In the rain, "every ancient anger / settles," "all of the old grudges / fall" and the airplanes have to give up the sky. Nature, faith, and the human imagination may be keys to the "way out." The first step may be believing there is one. Section V, "The Patriots/Los Patriotas," describes people who are not nationalistic but rather globally concerned for human rights and human love. One narrator is "not repentant" even when she discovers her phones have been tapped. "The Middle Daughter" would "float upstream" if she were thrown in the water, and has a "problem" with her "vision": she sees everything differently and "believes / she will make history." In the poem "In the City Ringed with Giants" Kingsolver berates the "talismans" that have allowed people to accept the uncontrollable dangers they have created and allowed to proliferate in the world; now "bereft of talismans" she says we have the responsibility to "live as if our lives belonged to us." In "The Blood Returns," Kingsolver depicts several characters who see things for themselves and make hard decisions: a soldier "who can't forgive himself," other soldiers who learn to kill but whose hearts "fill again" and they desert, and a woman who refuses to give in to torture out of love for her children. The collection ends with a poem about survival ("Remember the Moon Survives") and a poem that describes love, hope, and beauty being spawned from hatred and forgiveness ("Your Mother's Eyes"). Kingsolver makes her reader angry, but not cynical.

PIGS IN HEAVEN

Pigs in Heaven is—and is not—a sequel to The Bean Trees. A complete work in itself, and treating several additional themes, Pigs in Heaven deals with the legal and moral issue of Taylor's

illegally adopting Turtle and taking her from her Cherokee tribe. While The Bean Trees depicts lonely individuals building a supportive community, Pigs in Heaven discusses the way that the Cherokee community has been dismantled and the efforts to rebuild it. In The Bean Trees anyone can form a family; here families are a given, extended family members have commitments to each other, and Taylor comes to believe that she would like to make her own family more official (by stating her commitment to her boyfriend) so that it too is more likely to weather hard times and can offer more stable support to Turtle. Kingsolver does not believe in the romance of poverty, as shown by Taylor's awful struggles "on the lam," but she does spotlight (and idealize) how a loving community can overcome poverty. Taylor's mother Alice remembers that during the Depression people formed special bond. Although the town on the reservation is surprisingly impoverished from Taylor's mother's point of view, Kingsolver shows the way that communal poverty is so much richer and more pleasant than Taylor's when she is alone: she is robbed by someone she helped, people ridicule her child's poverty, keeping up appearances is expensive, there is little sympathy or understanding, and people do not think to share. Kingsolver writes about the Cherokee people as alive and vital, emphasizing that Native Americans are part of the present. In her essay "The Spaces Between" from High Tide in Tucson, Kingsolver expresses frustration that her daughter understands Native Americans to be "People that lived a long time ago." In Pigs in Heaven Kingsolver reminds the reader that the woman posing in the Trading Post window and doing beadwork is the mother of teenagers, and that young men go to Stomp Dances to meet girls. In spite of the presence of living, working Native Americans, one scholar, A. LaVonne Brown Ruoff (cited in an article by Sarah Kerr), asserts the position that Kingsolver's Native Americans

270 / AMERICAN WRITERS are "objects," "backdrop," and "local color," but not real people. In Pigs in Heaven Kingsolver praises women as the fortification of families and attacks television as one of the things that disintegrate human relationships. Somebody says that television "promises whatever you want, before you know what you want," thus contributing to a constant state of desire and competition. Alice leaves her husband because he spends more time with the Home Shopping Channel than with her, and because he thinks that seeing something on television is better than experiencing it in person. Alice theorizes that television encourages people to behave passively in interpersonal relationships—it does all the talking, and people forget that they have to "hold up [their] end" of the deal. Alice discovers that being there in person is the difference between being dead and being alive. At the end of the novel, her new romantic interest, Cash Stillwater, makes a public display of destroying his television in order to persuade Alice to marry him. Kingsolver does not completely idealize interpersonal relationships either, recognizing their complexity and even seeming impossibility. Her characters recognize "how entirely inside themselves they are" and how difficult it therefore is to read them and understand other people. Love is hard—hard to maintain and hard to define— but Kingsolver defines love as "stay [ing] in the same room." A readership raised on the idea of self-sufficiency may find the idea of caring for the poor and insane less than appealing, but Kingsolver even suggests that loving and caring for local lunatics can bring people together, and thus these lunatics are the truest of citizens. The biggest struggle is between the individual (Taylor) and the community (the Cherokee tribe), which, Kingsolver told Beattie, is "the thing [she] always write[s] about . . . How to balance community and autonomy." Both are valued, and Kingsolver represents a situation in which as Ly-

nette Lamb wrote in 1993 "there are no good guys or bad guys—only well-meaning people overwhelmed by history, racial issues, and love." Should a child be raised by its loved and loving individual parent or by the heretofore unknown but also loving extended family and tribe? Which is better for the individual child? And does that matter? Which is better for the tribe? In an interview with Lynn Karpen, Kingsolver says, "The media view the basic unit of good as what is best for the child; the tribe sees it as what is best for the group. These are two very different value systems with no point of intersection." The novel offers a friendly compromise, which is probably the best answer, although some readers will find the outcome disappointingly contrived. Not only do the Cherokee benefit from their knowledge of their ancestry and cultural heritage, Taylor, too, is helped along by knowing her family's history with men, and her mother finds great happiness not only in her new romance but also in joining the tribe to which she never knew she belonged.

THE POISONWOOD BIBLE

Kingsolver's novel, The Poisonwood Bible, which was on the New York Times best-seller list, expands on—and outdoes—her earlier themes and strengths as a writer. As the Price family moves from Bethlehem, Georgia to the rural village of Kilanga in the Congo, Kingsolver leaves her usual setting—the South and Southwestern United States—for Africa, where she lived for a year as a child. While in previous texts Kingsolver explored issues relating to women and Native Americans or Mexican Americans, here Kingsolver explores the similarities and differences between women's oppression and the oppression of the Africans, both victims of white Biblewielding—or otherwise self-righteously selfappointed—male messengers of what can only be called a single, limited, and uninclusive idea

BARBARA KINGSOLVER / 211 of civilization. Kingsolver's earlier novels are marked by conversational and distinctly drawn female narrators, and The Poisonwood Bible is narrated by the voices of five different females who mature thirty years between the beginning and end of the novel. Orleanna Price and her four daughters—Rachel, Leah, Adah, and Ruth May—move to the Congo because the man of the house feels called to be a Baptist missionary. From their varying perspectives, Nathan Price is both impressively terrifying and ridiculously blind to the realities around him. As Adah writes, "It is a special kind of person who will draw together a congregation, stand up before them with a proud, clear voice, and say words wrong, week after week." Her twin Leah writes, "Watching my father, I've seen how you can't learn anything when you're trying to look like the smartest person in the room." After a couple of years of missionary work—or, rather, working to survive in difficult and threatening conditions with no money and little food, responsibility for which falls on the women and girls— the family unit disintegrates. In a single day, after the death of her youngest daughter, Orleanna gives away all their possessions and walks out of town toward Leopoldville, her remaining daughters trailing behind. How they each leave the Congo, or do not, is the rest of the narrative, which lets the reader see the perspectives of these women shift over the next few decades. Kingsolver treats her reader to a brief version of the long history of the Congo, offering a historical and geographical perspective, as well as a microscopic one. For example, if one takes a longer historical view, and is open-minded enough to accept different shapes of social organization, one can appreciate the impressive civilization present in the Congo before European enslavement and imperialism. Leah writes, "The kingdom was held together by thousands of miles of footpaths crossing the forest, with suspension bridges of woven vines swinging quietly over the

rivers." If one takes into account the geography of the Congo—the extreme climate changes, the soil, and so on—one might even recognize that this previous civilization was the best ordered for this area of the world. But without "commodity agriculture—no cities, no giant plantations, and no roads necessary for transporting produce from the one to the other"—the Europeans could not recognize an advanced culture. While she may be as Aamer Hussein has claimed, "idealizing and mythologizing Africa's precolonial past," Kingsolver argues that in a place where mud makes vehicle travel impossible, where one cannot count on crops coming to fruition, where the jungle can provide food enough for a local group of people, and where anything saved up can disappear the next day because of an attack of ants or just bad luck, commodity agriculture and the large cities that are dependent on that agriculture cannot be the best system. Population density is as dangerous as trying to baptize people in a river full of crocodiles—and both of these are impositions from blind outsiders who think they know best, but do not. A unifying characteristic of these two very different cultures, though, is their dependence on women's work and disregard for women. Reverend Price has four intelligent daughters, none of whom he expects to send to college, and even his least thoughtful daughter realizes, "It's just lucky for Father he never had any sons. He might have been forced to respect them." In the Congo, women carry "the world on their heads" and "While the little boys ran around pretending to shoot each other and fall dead in the road, it appeared that little girls were running the country." Ruth May teaches her friends to play "Mother May I," and they chant this refrain as Nathan Price overlooks the ironies and baptizes them "In the name of the Father, the Son, and the Holy Ghost." While struggling to understand her own complicity in the pain of others—the Africans, her daughters—at the hands of patriarchs like her

272 / AMERICAN WRITERS husband, Orleanna Price also sees that she and the Congo were similarly occupied and had similar means of resistance. She writes, "Nathan was in full possession of the country once known as Orleanna Wharton, asks "What is the conqueror's wife, if not a conquest herself?" and adds "To resist occupation, whether you're a nation or merely a woman, you must understand the language of your enemy." White women are in the same position, and in a different position, from the blacks that their husbands enslave, conquer, instruct, or just disrespectfully depend on. The easiest point to make about The Poisonwood Bible is that it is complex. As Leah writes, "There are more words in the world than yes and no." The novel contains Kingsolver's best representation of complexity and nuance, how life comes from death, and good can come from evil. But it is not that easy: the life that comes from death will soon be dead, and the present good that comes from now-clear evil may be bad in hindsight. In short, everything is a struggle, and nothing is as simple as it looks from a single perspective. A few of Kingsolver's morals might be share whatever you have (you don't know if you'll have it tomorrow anyway), people do not need much to survive, civilizations can take more than one kind of shape, the United States government was absolutely wrong to assassinate Patrice Lumumba, the premier of the newly independent Congo from June through September 1960, closing one's eyes to problems does not make one less guilty, "democracy" is not the only fair way to make decisions, and Americans should recognize the contradictions in their nation's combination of political, economic, and religious values. Coming across more clearly than all these morals is the importance of nuance and tone, translation and context. One character—a minister who "consort[ed] with the natives too much"— not only highlights the possible translation mis-

takes of the Bible into English, but also points out that some biblical rites are probably irrelevant outside the context of Jesus' Middle Eastern culture and climate. He believes that "whole chapters" of the Bible must be "throw[n] away" because "God's word [is] brought to you by a crew of romantic idealists in a harsh desert climate eons ago, followed by a chain of translators two thousand years long." He asks, for example, if "All that foot washing" was "really for God's glory, or just to keep the sand out of the house?" Nathan Price has "never been troubled by any such difficulties with interpreting God's word," but he should be. Unable to notice the tonal differences between one Kikongo word and another, he shouts "Jesus is Poisonwood"—"the plant that bites"—instead of saying—"The word of Christ is Beloved." Nzolo means "most dearly beloved," "a type of tiny potato" and "a thick yellow grub highly prized for fish bait," and Adah asks, "And so we sing at the top of our lungs in church: 'Tata Nzolo!' To whom are we calling?" She then answers, "I think it must be the god of small potatoes." These confusions do not occur only in foreign languages: Rachel and Ruth May, the oldest and youngest Price daughters, both make telling mistakes in English. When she hears a doctor remind her father of the actual or practical enslavement of the Africans by Belgians and Americans, she thinks her father is "stuck with the job of trying to make amens"—which he certainly is, and which will not end up being an effective way of making amends. Self-involved Rachel says her chances of getting a boyfriend are "dull and void," she "prefer[s] to remain anomalous," that "it's a woman's provocative to change her mind," and that she is "determined to use [her] feminine wilds." In each case, and there are many others, the doubling or tripling of the semantic codes enrich and complicate the speakers' meanings, as Adah's allusions to Emily Dickinson ("no snikcidy lime") should remind us. Adah's hemiplegia

BARBARA KINGSOLVER / 213 and subsequent aphasia—her tendency to read things backwards and forwards—and her interest in palindromes also multiplies meaning: "star pupil" becomes "lipup rats." Adah says that Kikongo is "a language even more cynical than [her] own," but she may also mean more cyclical. For example, "syebo is a horrible, destructive rain, that just exactly does not do what it says backward." This cyclical nature of the languages intimates the cyclical nature of life itself—life that includes rather than excludes death, and there is a word for this, muntu. In redeeming himself from his guilt at living when all his company marched to their deaths on the Bataan Peninsula in the Philippines, Nathan Price eventually wanders through African jungles until he is killed. Physical injuries caused him to escape this fate in World War II, but the moral injuries from that war cause him to repeat himself by abandoning his family to the Congo. Trying to "make amens" and spread Christianity in this heathen land, Nathan Price dies in a "boss tower" and is called a "witch doctor." His personal cycle is just one part of a larger cycle: he dies in a tower "where in the old days the Belgian foreman would stand watching all the coffee pickers so he could single out which ones to whip at the end of the day." What goes around comes around. Not just a psychic or historical tendency, nature too works in cycles: "sucking life out of death[,] [t]his forest eats itself and lives forever." Instead of seeing their father in heaven, Adah and Leah use non-biblical verse (lines from William Shakespeare's The Tempest) to express his return to nature: "Full fathom five thy father lies; / Of his bones are coral made: / Those are the pearls that were his eyes: / Nothing of him that doth fade, / But doth suffer a sea-change / Into something rich and strange." Participating in a hunt, all the girls realize that "all animals kill to survive, and we are animals"; they see themselves as part of a natural cycle in which sometimes they

hunt and sometimes they are the hunted (as when an army of Congolese ants attacks the village one night). The one daughter buried in the Congo concludes the novel (from death), "Think of the vine that curls from the small square plot that was once my heart. That is the only marker you need. Move on. Walk forward into the light." The Poisonwood Bible finds ways to complicate binary polemical alignments without surrendering its moral energy and its provision of hope. The Congo provides a larger canvas, but Kingsolver is also working with more delicate strokes. Right and wrong are still important, but they are not so obvious, and the personal beliefs of the author are variously refracted by multiple narrators. Language itself has become a topic of interest, not just a supplier of pleasant and vernacular speech or a transparent means of a sociopolitical end. While many writers are drawn toward selfcaricature by great popularity—and Kingsolver is widely regarded as a likable person true to her beliefs—The Poisonwood Bible shows this writer challenging herself and her readership to rethink their complacencies without forfeiting their obligations.

Selected Bibliography WORKS OF BARBARA KINGSOLVER NOVELS

The Bean Trees. New York: Harper & Row, 1988. Animal Dreams. New York: HarperCollins, 1990. Pigs in Heaven. New York: HarperCollins, 1993. Poisonwood Bible. New York: HarperPerennial, 1998 NONFICTION AND ESSAYS

Holding the Line: Women in the Great Arizona Mine Strike of 1983. Ithaca, N.Y: Industrial & Labor Relations Press, 1989.

214 / AMERICAN WRITERS High Tide in Tucson: Essays from Now or Never. New York: HarperCollins, 1995.

OTHER WORKS

Homeland and Other Stories. New York: Harper & Row, 1989. Another America/Otra America. Seattle, Wash.: Seal Press, 1992.

CRITICAL AND BIOGRAPHICAL STUDIES

Trees and Pigs in Heaven." Southern Studies 5, nos. 1-2:155-164 (Spring-Summer 1994). Roses, Lorraine Elena. "Language and Other Barriers." The Women's Review of Books 9, nos. 10-11: 42 (July 1992). Ryan, Maureen. "Barbara Kingsolver's Lowfat Fiction." Journal of American Culture: Studies of a Civilization 18, no. 4:77-82 (Winter 1995). Smith, Ruth L. "Negotiating Homes: Morality as a Scarce Good." Cultural Critique 38:177-195 (Winter 1997-1998).

INTERVIEWS Aamer, Hussein. "Daughters of Africa." Times Literary Supplement, February 5, 1991, p. 21. Aay, Henry. "Environmental Themes in Ecofiction: In the Center of the Nation and Animal Dreams." Journal of Cultural Geography 14, no. 2:65-85 (SpringSummer 1994). Brandmark, Wendy. "Kinship with the Earth." Times Literary Supplement, January 24, 1997, p. 22. Comer, Krista. "Sidestepping Environmental Justice: 'Natural' Landscapes and the Wilderness Plot." In Breaking Boundaries: New Perspectives on Women's Regional Writing. Iowa City: University of Iowa Press, 1997. Pp. 216-236. DeMarr, Mary Jean. Barbara Kingsolver: A Critical Companion. Westport, Conn.: Greenwood Press, 1999. Lamb, Lynette. "Books Bound for Glory." Utne Reader, March-April 1991, p. 152. (Review of Animal Dreams.) . Review of Pigs in Heaven. Utne Reader, July-August 1993, p. 122. Murrey, Loretta Martin. "The Loner and the Matriarchal Community in Barbara Kingsolver's The Bean

Beattie, L. Elisabeth. "Barbara Kingsolver." Conversations with Kentucky Writers. Lexington: University of Kentucky Press, 1996. Cincotti, Joseph A. "Intimate Revelations." New York Times Book Review, September 2, 1990, p. 2. Karpen, Lynn. "The Role of Poverty." New York Times Book Review, June 27, 1993, p. 9. Kerr, Sarah. "The Novel as Endictment." New York Times Magazine, October 11, 1998, pp. 53-55. Lyall, Sarah. "Termites Are Interesting, But Books Sell Better." New York Times, September 1, 1993, pp. Cl, C8. Neill, Michael, and Michael Haederle. "La Pasionaria." People, October 11, 1993, pp. 109-110. Perry, Donna. Backtalk: Women Writers Speak Out. New Brunswick, N.J.: Rutgers University Press, 1993. Ross, Jean W. "Barbara Kingsolver: Contemporary Authors Interview." In Contemporary Authors, Vol. 134. Detroit: Gale Research, 1992. Pp. 286-289.

—DANA CAIRNS WATSON

ferzy Kosinski 1933-1991

J

French Prix du Meilleur Livre Etranger (Best Foreign Book Award) in 1966. Steps won the prestigious National Book Award. Kosinski's screenplay for his novel Being There won a British screenplay award from the British Academy of Film and Television Arts (BAFTA) in 1981. The movie, which starred Peter Sellers and Shirley MacLaine, was a huge critical success. Kosinski also wrote long selfpublished essays attempting to explain his writing methods and philosophy. Kosinski was a winner of a Ford Foundation fellowship to study at Columbia University and a Guggenheim Award for his writing. He served as president of the national writer's organization PEN for two years. He also taught at Princeton, Yale, and Wesleyan Universities. Kosinski married the widow Mary Weir in 1962. Weir was heir to a steel magnate's fortune, and when he married her, Kosinski entered into a celebrity lifestyle, traveling the world and getting to know many famous politicians and writers such as Henry Kissinger and Arthur Miller. The couple later divorced. He also appeared on television many times and in the movie Reds, which starred and was directed by Warren Beatty. He was a friend of the Polish director Roman Polanski, whose actress-wife Sharon Tate was killed by the Charles Manson "family" in 1969 and at

ERZY KOSINSKI WAS one of the most puzzling and controversial writers of the last half of the twentieth century. Kosinski was a Polish citizen who immigrated to the United States in 1957 to study sociology at Columbia University. He was the author of two nonfiction books, The Future is Ours, Comrade: Conversations "with the Russians (1960) and No Third Path (1962) which were sociological studies of life in the Soviet Union. He was also a prolific writer of fiction who won a National Book Award and wrote the screenplay for the popular movie Being There (1979).

WORKS AND AWARDS

Kosinski wrote nine novels: The Painted Bird (1965), Steps (1968), Being There (1971), The Devil Tree (1973), Cockpit: A Novel (1975), Blind Date (1977), Passion Play (1979), Pinball (1982), and The Hermit of 69th Street: The Working Papers ofNorbert Kosky (1988). He skyrocketed to fame with the phenomenal success of his first novel, The Painted Bird. The book was originally conceived as a nonfiction autobiography, but was eventually published as a novel. It generated a whirlwind of generally favorable reactions from literary critics and the public and it received the 275

216 / AMERICAN WRITERS whose house Kosinski was supposed to be on the night of the murders.

BACKGROUND Born in Lodz, Poland, in 1933 to well-to-do Jewish parents, Kosinski's youth coincided with Hitler's rise to power in Germany. Jerzy Kosinski, his parents, and younger brother were survivors of the German occupation and narrowly avoided the Holocaust. For many years after his arrival in the United States, Kosinski maintained the fiction that he had been abandoned by his parents as a six-year-old child in Eastern Poland. His personal narrative about fleeing hostile peasants and Nazi capture was eventually exposed as a fabricated story, but nonetheless it was a tale that had garnered him sympathy in many circles. After World War II, the Kosinski family was liberated by the Russians and Jerzy returned to school in Lodz under the new Soviet government. He earned two advanced degrees and traveled to the Soviet Union to study the Soviet collective system. In 1957, Kosinski left Poland for the United States. He enrolled at Columbia University, where he studied to get a Ph.D. in political sociology. Later, at the request of his wife and friends he began writing an autobiographical manuscript that he later turned into the novel The Painted Bird. Kosinski's life started in dangerous circumstances and his fondness for risk-taking was a confirmed habit by his late teens. He often tested himself through extreme challenges as an aggressive skier and polo player. In his later years he wandered the streets of New York alone at night. A barrage of negative criticism of Kosinski's work erupted in 1982. In an article entitled "Jerzy Kosinski's Tainted Words" two writers for the Village Voice questioned the truthfulness of Ko-

sinski's account of himself and his writing methods, and accused him of plagiarism in The Painted Bird and Being There. What followed was a damaging critical review of Kosinski's whole ouevre which precipitated a major crisis in his life. In fact, much of Jerzy Kosinski's life was shrouded in mystery. He denied his Jewish heritage until 1977 when he publicly acknowledged his identity at the opening ceremony of the Holocaust Memorial in New Haven, Connecticut. It is only with the publication of the excellent and exact Jerzy Kosinski: A Biography (1996) by James Park Sloan that the true facts of Kosinski's complicated life became known. During the late 1980s Kosinski wrote his last novel, Hermit on 69th Street, in a partial attempt to explain his writing methods and personal history. He also became involved in business projects in Poland, including plans to open an American bank. He created the Jewish Presence Foundation, an organization devoted to promoting the positive achievements of Jews. He married his long-time partner Katherina von Fraunhofer, known as Kiki, in 1987. He continued to travel extensively, including trips to Israel and Poland. In the early morning hours of May 3, 1991, after an apparently normal day, Jerzy Kosinski committed suicide in his New York City apartment with a combination of drugs and alcohol. He was 57 years old.

THE EARLY YEARS: FACT AND FICTION

Kosinski would draw upon his early experience as a child in Poland during the German occupation for his most famous novel, The Painted Bird. However, the stories that Kosinski told of his early life as a deserted child fleeing the Nazis are untrue. Kosinski's well-maintained fiction as-

JERZY KOSINSKI / 217 serted that he was abandoned by his parents in 1939 in rural Eastern Poland. There he was tortured and persecuted by a series of sadistic peasants because of his dark Gypsy or Jewish looks. He escaped death at the hands of the Gestapo more than once and hid in the forest on his own. Because of a trauma caused by being thrown into a pit of manure, he lost his speech. Supposedly, he was found mute and half-crazed by his parents in an orphanage in 1945. His parents took him to the mountains for therapy where he was taught to ski. At fourteen he had a serious skiing accident and regained his speech in the hospital. Much of this story was related in Kosinski's first novel, The Painted Bird. The real story is much different. Kosinski's confusion over his own identity began early. The war had destroyed the normal pattern of a child's upbringing and threw him into incredible danger. Kosinski's exaggerated tales of his personal history were ways to deal with this secretive past. Kosinski had to learn lessons about absolute secrecy at a very early age. Kosinski was born Jerzy Lewinkopf to a Jewish father and mother living in Lodz, near the German border. Kosinski's father, Moses Lewinkopf, was a successful businessman dealing in textiles, and a lover of music with an interest in chess. His mother, Elzbieta Weinrich, was a concert pianist who came from a well-to-do Jewish family. Jerzy was their only child, but they would later adopt another young Jewish boy, Henryk, who became Jerzy's brother. The family lived in comfortable circumstances in the Jewish section of Lodz. On September 1, 1939, Germany invaded Poland. Kosinski's father decided to remove his family to a rural district of Poland near the Russian border. He obtained papers that officially changed the family's name to Kosinski, a common Gentile name in Poland. For the rest of the war, they lived in precarious circumstances in a

farmer's house in the remote town of Dabrowa near the Russian border. The section of Lodz where the Lewinkopfs had lived became the second largest Jewish ghetto in Poland. Eventually all 165,000 Jewish citizens from that ghetto were sent to Auschwitz to be exterminated. In Dabrowa, Jerzy Kosinski grew up as a mystery to himself. His own name could no longer be used. His past and his heritage had to be denied. The family joined the Catholic Church and Jerzy received communion and became an altar boy. For almost six years the Kosinskis lived under these dangerous circumstances coming close to being discovered several times. In 1945, the Russians liberated Poland and the Kosinskis came out of hiding. The Kosinski family returned to Lodz and Jerzy went to the University of Lodz, receiving a master's degree in History in 1953 and a degree in Political Science in 1955. He enrolled as a Ph.D. candidate in Sociology at the Polish Academy of Sciences in Warsaw. While a student there, he visited what was then the Soviet Union several times to pursue research for his doctoral studies on the relationship between the individual and the collective. This material would eventually provide the content for his two books on the collective life in Russia. During this period, Kosinski developed a strong individualist streak that ran up against the collective socialist ideal. He was involved in minor scrapes at the university, was kicked out of a Polish communist youth organization, and was considered suspicious because of his outlandish style. Around this time, he enrolled in night school for photography, achieved some success, and was invited to join the Royal Photographic Society of Great Britain. Throughout his life he took pictures and had an affinity for the darkroom. During these years Kosinski developed an interest in the United States, listened to jazz music, and studied English assiduously.

218 / AMERICAN WRITERS IMMIGRATION TO THE UNITED STATES

The story that Kosinski told about how he got to the United States might be looked at as his first piece of creative fiction. For years afterward Kosinski wove a tale of imaginary grants and inverted academicians to write his recommendations. The fullest version of this tale can be found in his fifth novel, Cockpit. The real story is that Kosinski cleverly but legitimately manipulated the system in his favor. Using the influence of his professors in Lodz, he obtained a student visa to become a graduate student at the University of Alabama in Tuscaloosa for the term beginning January 31, 1958. At the same time, he applied and was accepted into the doctoral program in sociology at Columbia University. On December 20, 1957, the 24-year-old Jerzy Kosinski arrived in New York. He maintained that he only had $2.80 in his pocket—he neglected to mention the $500 deposited in a bank account by his uncle in New York who had immigrated to the United States before the war. He also quickly applied for a Ford Foundation fellowship for Polish exchange students and was granted financial support for his studies. Kosinski worked at a variety of menial jobs to survive during his first year in New York City. Soon he was studying for a doctorate in political sociology at Columbia's New School for Social Research. He never completed his degree program, but to pursue his work at Columbia he had to have more than a basic understanding of English. He set out to complete his English education by watching television and, according to one of his famous stories, calling telephone operators to ask them the meaning of words. In less than a year he had gained a fair proficiency in the spoken language but his written English was not as accomplished. After his second semester at Columbia, Kosinski signed a contract with Doubleday to produce

a book on life in the Soviet Union. In fact, he published two nonfiction books under the nom de plume Joseph Novak. How a foreign graduate student obtained a book contract for an as-yet unwritten book is somewhat of a mystery. James Park Sloan suggests that the CIA by way of the USIA (United States Information Agency) may have interceded in promoting the book, recognizing its value as Cold War propaganda. Furthermore, Kosinski recorded a number of broadcasts in Polish for Radio Free Europe, a CIA-supported news program. The Future is Ours, Comrade took the form of a series of interviews by an unnamed narrator, presumably the Joseph Novak of the title page. The book presents a dim view of Soviet collective society at a time when the United States needed fuel for its ideological war with the Soviet Union. The book's depiction of collective life in the Soviet Union is highly critical and suggests that there is little space for individual rights. The Future is Ours, Comrade was serialized in Reader's Digest and excerpted in The Saturday Evening Post. The book had limited success in certain circles but did not earn the author substantial money. For those who wondered how Kosinski had written such a book in English with his flawed language skills, it was later discovered that he used a translator who turned his Polish text into perfect English. In 1960, Kosinski worked on his second book about the Soviet Union and attended classes at Columbia. No Third Path was published in 1962. It contains a number of debates with a party official by the name of Gavrila. The system of Soviet justice as represented by the figure of Gavrila is all-powerful and infallible. The author increasingly finds the Soviet collective way of life distasteful and dehumanizing. The book also contains a story about a sparrow painted purple that was killed because of its difference. This story would eventually provide the central metaphor for Kosinski's most famous novel, The Painted

JERZY KOSINSKI / 219 Bird. Although the two books Kosinski published on Russian life are nonfiction they demonstrate techniques Kosinski would later use in his fiction. They were both written with an episodic structure in simple prose. Also, the anecdotes are strung together by an almost faceless narrator who manages to manipulate the people in the books to his own ends. The Novak books provided Kosinski with academic credentials and an entrance into American society. They achieved some measure of notice, particularly among conservative Cold War politicians. Soon after the publication of the second book, the Novak alias was unmasked. Kosinski saw an advantage in taking credit for the books under his own name. It also offered legitimacy to his life as the husband of the very rich widow Mary Weir, who he had married in January, 1962. After marrying Weir, Kosinski lived a life of relative luxury. There were trips to Europe and vacations in villas and on yachts. During this period he failed to finish his qualifying exams for a Ph.D. at Columbia. With the encouragement of friends and his wife, Kosinski began to write out the story of his experiences during the Nazi occupation of Poland. This book, which began as work of autobiographical sketches, soon developed into a major novel that would cement Kosinski's reputation in the literary world.

THE PAINTED BIRD

The Painted Bird enjoyed immediate success on its publication in 1965. Kosinski's novel of imaginative brilliance is based on his experiences in Poland during the war. Many reviewers at the time took the novel as thinly disguised autobiography. But the public knows now that Kosinski had creatively exaggerated his past. The Painted Bird is a written tale similar to the oral narrative of the fictionalized incidents he was so fond of

telling his friends about his experiences during World War II. In the beginning stages of writing the book, Kosinski had let it be understood that he was writing an autobiographical account of his early life in Poland hiding from the Gestapo. Yet by the time his manuscript was reviewed by the committee of editors at Houghton Mifflin, there were serious reservations voiced about both the content and style of the manuscript. While most editors found the book a harrowing tale of survival, some questioned the veracity of many of the incidents. Furthermore, the graphic violence, brutal sex, and despicable human behavior alienated at least one important editor. Kosinski entered into serious negotiations with the company and submitted to heavy editing of the manuscript. The Painted Bird was finally published as a work of fiction with a 21-page essay attached entitled "The Art of Jerzy Kosinski," in which Kosinski attempted to explain his writing methods. The essay would later be self-published by Kosinski's own imprint, Scientia-Factum. In this essay, Kosinski argues against reading The Painted Bird as pure autobiography. He talks about the artifice of an author using natural subplots paralleling human behavior and theorizes about the autobiographical quality of his book. With recent revelations about Kosinski's past it has been proven that The Painted Bird is almost completely the product of the author's imagination. However, at the time of its publication the book engendered a critical discussion about autobiographical fiction. Eight novels later, Kosinski's work still continued to puzzle readers and reviewers who strained to identify real facts in the welter of bizarre scenes Kosinski was fond of portraying. Kosinski maintained that his writing was a creative refashioning of personal stories that shared elements of autobiography enhanced by imagination and crafted to an allegorical timelessness.

220 / AMERICAN WRITERS The Painted Bird stands on its own as a great literary achievement. Written in simple but evocative prose it relates the trials and tribulations of a nameless and deserted six-year-old boy running fearfully from the Nazis. The essential core of the book is based on Kosinski's own experiences in the rural Polish village of Dabrowa. The central character manages to survive tremendous persecution by a combination of good luck and sharp wits. He is persecuted as either a Gypsy or a Jew because of his dark looks. But the story is highly stylized and exaggerated for dramatic effect, blending fairy tales and myth with harsh episodes of alienation and brutality. In some ways, it reflects a universal childhood state of wonder, mystification, and fear. But in others it depicts a pastoral world that can suddenly turn into a personal nightmare of horrible human behavior such as murder, bestiality, and incest. The style of The Painted Bird might be described as magical realism where the bizarre episodes unfold like something out of a dream. A key episode describes the boy being beaten and flung into a pit of manure for dropping a missal during Mass, resulting in the muteness of the boy. Kosinski stuck to the story of his own muteness at this early age throughout his life. Perhaps the muteness stands as a powerful analogy representing Kosinski's problems in recovering and giving coherent articulation to the terrors of his childhood experience. The main metaphor of the painted bird, which gives title to the book, is another revelatory episode. The demented peasant Lekh paints birds with bright colors for his enjoyment and then releases them to the wild where they are attacked and destroyed. In this way Kosinski shows how the alien individual, set apart by beauty or difference, can be destroyed by its own kind. The last section of the book, in which the boy is liberated by the Soviets, focuses more on the psychological change brought out in the boy. He

has journeyed through pain and suffering and he now manifests an appetite for revenge. He aspires to throw off the role of victim and become a victimizer. He even begins to envy the uniform and power of the Nazis who had hunted him. The boy is desperate to reverse his status through revenge on his enemies. The theme of revenge became a constant in Kosinski's later writings.

LIFE AFTER THE PAINTED BIRD

Later re-examination of Kosinski's first novel shows that he relied on background information about peasants from published anthropological sources such as Henryk Biegeleisen's At the Cradle, In Front of the Altar, Over the Grave (1929). Literary antecedents for the book include Wladyslaw Reymont's The Peasants (1942) and Henryk Sienkiewicz's Pan Wolodyjowski (1955) as well as the international tradition of the picaresque or episodic novel. Another problem that surfaced over The Painted Bird was Kosinski's extensive use of translators and line editors in his writing process. He was known to write many drafts of his work and often revised extensively up until the publishing deadline and sometimes even after the book had been published. The Painted Bird was a good example of this method. Initially, Kosinski wrote it in Polish and hired a number of translators to help him put it into English. The Painted Bird was translated into most languages. It became a best-seller in Europe and an instant cult classic on American college campuses. It was nominated for a National Book Award and it won the French Prix du Meilleur Livre Etranger book award. With this one book, Kosinski established himself as a major literary figure. The Painted Bird changed Kosinski's life. The book's success made him an independent person.

JERZY KOSINSKI / 221 His circle of friends and acquaintances grew to include some of the most influential people of the day. In March of 1966 Kosinski was notified that he had won a Guggenheim Award in writing. Indeed, the support came at a critical time of hesitation and doubt in his writing life. The Painted Bird was being questioned in Poland for its negative views of Polish citizens and its truthfulness. Also, Kosinski was in the process of getting divorced from his wife Mary Weir and could no longer count on her financial support. At the same time, doubts about his ability to write in English and worries that the stories he had told would be revealed as lies upset his life. The Guggenheim Award gave Kosinski legitimacy as a writer and the financial support to be one. During the next few years Kosinski worked on a new manuscript and also took temporary teaching jobs at Wesleyan, Princeton, and Yale Universities. Kosinski moved to a sparsely furnished Manhattan apartment, which he soon began sharing with Katerina Von Fraunhofer who he married in 1987 and who was his companion for the rest of his life.

STEPS Kosinski's second novel, Steps, extends his experimentation with modern fiction techniques. There is an underlying tension and an aura of alienation about the book. Steps seems in tune with the tensions of the late 1960s when Martin Luther King Jr. and Robert Kennedy were assassinated and student revolts disrupted American college campuses. The book reflects a consciousness that has no continuity. It is a series of fragments maintained by no overriding moral order. Steps is written in the first person. It is composed of thirty-five episodes or dramatic incidents separated by thirteen italicized dialogues

between a man and woman. Seventeen of the incidents are in some respects autobiographical and derive from the years just before and after Kosinski came to the United States. A few of the jobs Kosinski took on first arriving in the United States are dramatized in the book, among them parking cars, driving a truck, cleaning apartments, and scraping paint and rust from ships. Of the remaining episodes, six deal with revenge and fifteen involve sex. The nameless narrator's consciousness seems to be the only connection between the episodes. There is no plot. Kosinski maintained that plot was a falsification of reality. The narrator's relationships with others in Steps is manipulative, aggressive, and destructive. The increasing domination of the nameless male protagonist through episodes of personal power and revenge structure the narrative; no overall purpose is revealed. The vague hallucinatory tone of the book adds a chilling aspect to the narrator's noncommittal presentation. His ruthless behavior toward women makes him unattractive. The complexities of the narrator's identity are puzzling and the burden of moral decision is placed on the reader. For example, there is a scene in a sanatorium in which the protagonist makes fantasy love with a tubercular inmate as she touches his image in a mirror. The protagonist is not fully invested in his own actions while he manipulates the other characters to his own ends. The solitary nature of the narrator suggests his inability to participate in a social environment. Such a fragmented story presents an unclear picture of its characters. Life becomes a series of broken episodes that seem to have no logical connection. The separate events are related only in their having happened to a single central consciousness. This lack of continuity and plot places all emphasis on the individual incident. This existential approach to life suggests that the moment is the essence of meaning in life.

222 / AMERICAN WRITERS The dissociative behavior of the protagonist might reflect a common symptom of survivors of the Holocaust. Many survivors feel emotionally disconnected from life and are unable to justify their existence. Individuals such as this who are wounded by deep trauma feel guilt at their own survival. The ambiguous ending of the book is very puzzling. Without warning the point of view of the final episode shifts to the woman, who declares herself free of the past while mysteriously watching a leaf floating in the water. Steps was again followed by an essay that was eventually self-published. The Art of the Self: Essays apropos 'Steps' contains part of Kosinski's correspondence with his Dutch publishers. It consists mainly of a long statement of personal philosophy and aesthetics. Kosinski connects his writing style with film montage and action painting. He also likens the self to an image that undergoes constant metamorphosis. Steps won the National Book Award in 1969, only twelve years after Kosinski had moved to the United States. Some critics speculated that the award was given to Steps to make up for the far more popular The Painted Bird's rejection. The years following the National Book Award were busy ones for Kosinski. He and Kiki traveled for several months of every year throughout Europe and America skiing and playing polo. During this same period, Kosinski taught at Princeton University, where he became disillusioned with the student activists of the period. He wrote about this in the New York Times in an article entitled "Dead Souls on Campus" (Oct. 12, 1970). Some of his criticism would eventually be included in Kosinski's book The Devil Tree. The following year, he taught at Yale University, where he lived next to Svetlana Stalin, the daughter of the former dictator of the Soviet Republic. During this period, Kosinski began collecting statistics on every aspect of American television, and this research inspired the writing

of the manuscript of what was to become the novel Being There.

BEING THERE

Kosinski enjoyed a substantial literary success with the publication of Being There. This novel, written in stripped-down prose, might be read as a satire or an allegory. It is a novel with a peculiar premise that struck a nerve in America at the time. The protagonist, Chance, lives in total isolation and only knows the world outside his walled-in garden through his constant television watching. Chance bears less biographical resemblance to Kosinski than the protagonists in his first two novels, but there are some similarities. The book reworks Kosinski's own life story and at the same time it draws heavily in structure and theme upon one of Kosinski's favorite Polish books, Dolega Mostowicz's 1932 novel The Career ofN. Kodem Dyzma. Chauncey Gardiner, or Chance, is a mystery man, an idiot savant with no recognizable past and whose connection to real life is artificial and removed. Chance lives in the walled garden of the Old Man. He has no idea who his parents were or virtually anything of his past. Perhaps he has suffered brain damage. He has no education and doesn't read or write. He watches television constantly. When the Old Man dies, Chance is turned out into the street where he is struck by a chauffeured limousine. The woman in the car takes him to a mansion to recover. It is there that Chance's random comments are taken for brilliant statements by the rich and powerful people who visit the woman's immensely wealthy disabled husband. One of these visitors is the president of the United States who ends up quoting Chance in a major policy speech. Chance's ambiguous comments about gardening entertain this company but they also seem to contain a moral allegory applicable to their lives.

JERZY KOSINSKI / 223 Chance, the solitary gardener, is courted by people in powerful positions. Chance's bland statements and impenetrable personality allow for all manner of interpretation. Chance also looks good on television. He has learned everything from watching television so that he has a perfect projected style. His off-thecuff remarks amuse the television audience and seem to possess great profundity at the same time. In a great satirical moment, it is realized that Chance makes a perfect politician. No one can distinguish between his actual substance and his empty image. The lessons behind the book suggest that television is the enemy of experience and that popular culture dulls a culture's awareness of the importance of the moment. Being There is a parable of a simpleton who becomes a respected advisor to the rich and powerful. Kosinski presents his bleak view of the universe in which all meaning is suspect. In some ways, the story may reflect Kosinski's own rise over the previous ten years as an outsider into the upper levels of society. Being There cemented Kosinski's literary reputation. After the outstanding success of his first three novels, Kosinski had reached the pinnacle of literary success and parlayed that success into a more general celebrity. He appeared frequently on Johnny Carson's Tonight Show. When he acted in Reds, he received higher billing than Jack Nicholson. Although he continued to publish on a regular basis, Kosinski's later novels were not as well received as his first three. The books appeared at regular intervals but their audience was limited and critical. Kosinski's last novel, The Hermit of 69th Street, took almost a decade to write and appeared just before his death. THE DEVIL TREE The Devil Tree is saturated with the background of Kosinski's own life with Mary Weir living

among other wealthy people. The main protagonist, Whalen, is a young man modeled after Mary Weir's son David from her first marriage. Whalen is the wayward scion of an enormously wealthy family. When his father dies Whalen's inheritance includes $25,000 a month on interest alone. Yet Whalen is a wanderer who has drifted through India, Burma, and Africa. Among other bizarre episodes, Whalen kills old friends of his family who try to wean him from his hippie ways. He has used drugs and has been treated for serious addiction while confined in a clinical sanatorium. The novel takes its title from a common name for the baobab tree, which the devil punished by reversing it so the roots are the branches and the branches roots. The novel seems to reflect this upside-down world as Whalen, the rich man's son, loses contact with reality. The novel has 137 brief vignettes and dozens of these depict cruel and violent behavior. There are also numerous episodes centering on sexual relationships as Whalen pushes his behavior to extremes. Finally, Whalen beats a woman and finds himself in a clinic recovering from a mental breakdown. The book ends with him standing by a lake where forms become empty figures and he seems ready to commit suicide by drowning. Kosinski later rewrote this novel to make it more straightforward in plot and narration and to make it more autobiographical and less pessimistic. But even in its initial form the book is obviously a reworking of his complicated relationship with David, who was almost Kosinski's age.

COCKPIT: A NOVEL Cockpit is more confessional and accessible than Kosinski's earlier novels. Its episodes are longer and fewer. There are only 19 compared to the 137 in The Devil Tree. However, the book is virtually plotless. It is written from the viewpoint of Tar-

224 / AMERICAN WRITERS den, the mysterious male protagonist. It uses autobiography in a different way than Kosinski's previous books. Recognizable bits of his own biography are directly inserted into the text. Human beings are more clearly identifiable. The book starts with an open letter to a woman in which loneliness and transience are the themes. But it all seems a shadowy contrivance of Tarden's. The book goes on to depict Tarden's brutal quest for power. Tarden was formerly a secret agent in some type of unspecified "Service." He hunts down defectors from this service and kills them mercilessly. Tarden's sole pleasure derives from control over other lives. His methods are unscrupulous. He uses disguises and manipulations in his revenge dramas. He seems at war with a vague unspecified totalitarian state. But at no place does the reader learn what this state is or who the people are who pursue Tarden. Tarden is constantly on the run, escaping from one veiled plot after another. Tarden's crime, his position, and his status in the real world are a mess of contrary images. Tarden has apartments with combination locks, multiple exits, and hiding places. He is menaced by vague and unexpected dangers. For example, he is attacked by a friend who tries to cut his head off but the reader never finds out why. In his own view of things, Tarden sees himself as the self-appointed reformer of an unjust world. But his elaborate revenges are mostly personal actions directed against people who have crossed him. In his worst behavior he does things like punish a girl by raping and abusing her for not giving in to his demands. The book is about power and omnipotent wish fulfillment. A fleeting positive human contact for Tarden has produced a son with a Lebanese woman named Theodora. But then the child is given away. Tarden loses contact and is left by himself. In the end he is a lone, aging survivor trapped in an elevator endlessly going up and down in a building with no name.

BLIND DATE

Blind Date takes the now-familiar form of a series of incidents involving a central male character. In this case the protagonist is named Levanter, another lone-wolf hero who intermingles flashbacks with descriptions of his violent activities in various countries. Levanter is an older man who, as a studied adventurer, is capable of capitalizing on the chance events of the moment. At times he is the butt of comic episodes but more often he is ruthless when agitated. His heroes are Israelis who hunt down German war criminals. In one episode he kills the Internal Affairs head of an unspecified totalitarian government but never informs the reader as to why. Levanter, like other disturbing Kosinski protagonists, is a rapist who abuses what are called "blind dates" or random forced sexual encounters. Some rationalization for Levanter's behavior may be derived from Kosinski's use of the philosophy of Jacques Monod. Monod is a French biologist who won a Nobel Prize and wrote a book called Chance and Necessity. One of Monod's premises is that there is no predictable direction for life to take. If there is no preordained destiny and everything in life is based on chance or coincidence, then human beings create their own moral universe. The text is also influenced by the German philosopher Martin Heidegger and his book Being and Time. Heidegger's quest for being or selfhood depends on an existential act of making the world one's own through individual acts of will. In a world of one's own making, the individual is all-powerful. Fear and the awareness of death help push aside the daily routine so one can live and experience fully the present moment. Blind Date has many fragments of autobiography. Real people such as Svetlana Stalin and Charles Lindbergh enter the narrative as characters. Perhaps most disturbingly the night of the Manson murders is graphically re-created in the

JERZY KOSINSKI / 225 novel. This blend of reality and fiction challenges the reader's response and further supports Kosinski's experiments in plotless narratives. Like Tarden in Cockpit, Levanter swings back and forth from seeing himself as a noble righter of wrongs to a conflicted man obsessed with revenge. Levanter is constantly aware of his own mortality and he uses some of the standard ways other Kosinski protagonists have used to make his life more meaningful. These include dangerous skiing challenges and plunging himself into wayward adventures with strange people in strange places. In some ways Levanter is a more humane and more compassionate protagonist than those of Kosinski's earlier novels. He seems more sympathetic to other people's problems and personal pain but he is still a disturbing presence who struggles with his own definition of life and finds no solace in the bleak atmosphere around him. The novel concludes with Levanter's own death by choice. High on a dangerous mountain, Levanter figuratively tosses himself into the abyss. "A descent was like life: to love it was to love each moment, to rejoice in the skill and speed of every moment." Levanter eventually wanders on the mountain until he gets lost in the fog and the cold claims him.

PASSION PLAY

Passion Play, Kosinski's seventh novel, was massively rewritten after it was sent to the publishers. The novel is about Fabian, a wandering philosopher who travels around America and the Caribbean living out of his motor home. Fabian is a curious individual who makes a living from intense, one-on-one polo matches. He is also a teacher and writer who publishes books on horses and horsemanship. His book titles are sendups of Kosinski's own books including a hidden reference to Steps winning the National Book Award.

Passion Play has more plot structure and forward movement than Kosinski's other books but the overall effect of the book is once again a detached reality. The depictions of Fabian's sexual interests, including visits to sex clubs, provide a disturbing insight into a man obsessed by sexual perversions. The book includes some cleverly written pieces on the art of seduction but Fabian's overly clever manipulations suggest psychosis rather than romance. The book goes back and forth in time, moving associatively among unrelated anecdotes. The sum total suggests weakness and confusion. Fabian, the protagonist, is older, more vulnerable, and less vengeful. The tone of the book is tired and depleted. The protagonist and the author behind him seem to be struggling to find a way to rekindle hope and desire. The reader eventually learns that Fabian has been blackballed from the sport of polo for killing his millionaire friend Stanhope in a revenge match. The murder is a direct result of a betrayal by Fabian's girlfriend Alexandra with Stanhope. Personal retribution is a major theme in this work. Fabian has the characteristics of a lone warrior, a quixotic figure battling demons of his own design. But underlying this romantic conception is the revealing story of an older man who devotes most of his energy to the pursuit of teenage girls. He solicits young girls by paging through a magazine called the Saddle Bride. In Fabian's mind the girls are equated with horses and described in horselike terms. In one episode he even puts a bridle and saddle on a woman. Fabian conceives of himself as a mentor and guide to these young woman. He teaches beautiful high school girls riding and horsemanship, but his main intent is to initiate them sexually. He claims that his power frees them to their full potential as individuals. At the core of the narrative is an unrealistic romantic tale involving Vanessa, the niece of Stanhope, the man Fabian killed in a polo match. When she was young, Fabian trained her in horse-

226 / AMERICAN WRITERS manship skills and then they lost touch with each other. Years pass, and when Fabian finds Vanessa again, she is still a virgin who has been waiting for him. But by now Fabian is old, gaunt, and penniless. The rich Vanessa offers him a million dollars but Fabian refuses, choosing instead the independence and solitude of a nomadic life. The epigraphs to Passion Play are from Don Quixote and Moby Dick. Fabian is associated with doomed madmen on hopeless quests. There is some quiet comedy of language in the novel and a sentimental lush tone creeps into the text more often than in earlier novels. Kosinski has called Fabian his most perfect autobiographical character. It is interesting then to speculate on how exactly Kosinski saw himself in relation to this novel which reveals such a contorted male personality. The burden of being Jerzy Kosinski has become a difficult weight to bear. Perhaps this impression is not inadvertent. The "passion play" of the title refers to Christian religious pieces that dramatize the sufferings of Christ.

PINBALL

Pinball is a mock thriller set in the world of music. It uses many of the constructions of the suspense genre in an imaginative way. It offers some acute insights into the situation and methods of the artist. For the first time, a Kosinski novel has two protagonists. One is Domostroy, an older classical composer who has reached an impasse in his work. The other is Goddard, a young rock star whose concealed identity is the pivotal plot motif. The thriller aspect of the plot is driven by attempts to unmask Goddard that culminate in a Shootout. Pinball is at one level an artist-novel, examining the creative personality and its methods, and in particular the incorporation of personal history into works of art. Once again the book is filled with teasing allusions to Kosinski's own life. Also, Kosinski's awareness of his own work-

ing methods of constructing fiction are examined here. The novel is about divided personality and disclosure. Both sides of Kosinski's personality are represented in Pinball through the two protagonists. The rock star figure suggests the public side of Kosinski as actor, screenwriter, and celebrity. Domostroy is the inner Kosinski suffering from a sense of hollowness and inauthenticity. The inability to pull these two identities together represents the core problem of Kosinski's own life.

THE HERMIT OF 69TH STREET: THE WORKING PAPERS OF NORBERT KOSKY

The Hermit of 69th Street is Kosinski's last novel. It took more than a decade to write, and in some ways it is an attempt to rectify misunderstandings about his past. In a series of evocative episodes he describes a family much like his own. The protagonist, Norbert Kosky, looks back on his youth and redefines it with the wisdom of age. Although the book attempts to reconsider what is obviously Kosinski's own past in relation to his fabrications, the book creates new mythical scenarios. As he purports to represent his experience as fragments of memory, Norbert Kosky reflects on other great writers of the past, particularly Honore de Balzac. He tries to defend his own use of line editors and translators by paralleling them with Balzac's methods. Balzac was also an incorrigible liar, a fact from which Kosinski obviously draws some consolation. With its preoccupation in reexamining the past, Hermit in some ways seems to revolve around the year 1982 when the negative attack on Kosinski began. It is almost as if time stopped for Kosinski then and his own sense of reality was badly shaken. Some of this anguish is reflected in the book where Kosinski consistently has his character Kosky interrogate himself in a morbid fictive theater of retribution. One of the most im-

JERZY KOSINSKI / 227 portant issues Kosky examines is the historical relationship between Poles and Jews and his place in that duality. Hermit is long and rambling, and it is footnoted as if it were a research project. All of the author's life, both factual and fictional, is projected on the page for review. There is a strange interplay of the sacred and profane throughout the text. Both spirituality and sexuality are cleverly intertwined. In Kosinski's hands, the past almost seems like a living entity that can be molded, stretched, and manipulated to suit the desires of the artist.

CONCLUSION

Jerzy Kosinski achieved remarkable success with his first three novels. Later in his career controversy developed over his writing methods, suspicion of plagiarism and his public misrepresentations of his past. The public learned that translators were secretly used for drafts of his work and that Kosinski actually wrote his first three books in Polish before having them translated into English. The Painted Bird established Kosinski's literary reputation. It was a unique novel about surviving the Holocaust told from a child's point of view. The book will remain a lasting achievement. There is an undeniable connection between Kosinski's life and the stories he wrote. Yet from the very beginning both critics and admirers were puzzled by their inability to distinguish fact from fiction in Kosinski's work. The blend of current news events and real people in the novels complicated the issue. The later novels certainly reflected the secretive nature of Kosinski's life. Fame and celebrity came to Kosinski but his personal life seems to have been as manipulative and sexually bizarre as those depicted in his books. His life, as reflected in his fiction, appeared predominantly constructed around fragmented short episodes,

accentuated by extreme violence, sexual encounters, and bizarre and threatening images. Kosinski's novels are difficult testaments of a unique personality. His main theme seemed to be the fallibility of memory, which makes every life a fiction created by its own author. Memory is both a help and a hindrance to living our lives fully and richly.

Selected Bibliography WORKS OF JERZY KOSINSKI NOVELS The Painted Bird. Boston: Houghton Mifflin, 1965; New York: Pocket Books, 1966 (paperback; author's original text restored); New York: Modern Library, 1970; New York: Bantam, 1972. Steps. New York: Random House, 1968; New York: Bantam, 1969 (paperback). Being There. New York: Harcourt Brace Jovanovich, 1971; New York: Bantam, 1974. The Devil Tree. New York: Harcourt Brace Jovanovich, 1973; New York: Bantam, 1974; New York: St. Martin's Press, 1981 (revised and expanded edition); New York: Bantam, 1981. Cockpit. Boston: Houghton Mifflin, 1975; New York: Bantam, 1976. Blind Date. Boston: Houghton Mifflin, 1977; New York: Bantam, 1978. Passion Play. New York: St. Martin's Press, 1979; New York: Bantam, 1969. Pinball. New York: Bantam, 1982; New York: Bantam, 1983 (paperback). The Hermit of 69th Street. New York: Seaver, 1988; New York: Zebra, 1991 (paperback).

SELECTED NONFICTION AND PAMPHLETS

The Future is Ours, Comrade. Garden City, N.Y.: Doubleday, 1960. (Under the pseudonym Joseph Novak.) No Third Path. Garden City, N.Y: Doubleday, 1962. (Under the pseudonym Joseph Novak.)

228 / AMERICAN WRITERS Notes of the Author on "The Painted Bird." New York: Scientia-Factum, 1965. The Art of the Self: Essays a Propos "Steps." New York: Scientia-Factum, 1968. Passing By: Selected Essays, 1962-1991. New York: Random House, 1992. SELECTED OTHER WORKS

"Dead Souls on Campus." New York Times, October 12, 1970, p. 45. "The Reality Behind Words." New York Times, October 3, 1971, p. 3. "Our Tredigested, Prepackaged Popular Culture.' " U.S. News and World Report, January 8, 1979, pp. 52-53. "How I learned to Levitate on Water." Life, April 1984, pp. 129-132. "Death in Cannes." Esquire, March 1986, pp. 82-89 "Restoring a Polish-Jewish Soul," New York Times, October 22, 1988, pp. 1, 27.

SELECTED CRITICAL AND BIOGRAPHICAL STUDIES Aldridge, John W. "The Fabrication of a Culture Hero." Saturday Review 54:25-27 (April 24,1971). Anderson, Don. "The End of Humanism: A Study of Kosinski." Quadrant 113:73-77 (1976). Baker, Russ W. "Painted Words." Village Voice, March 15, 1994, pp. 58-59. Brown, Earl B., Jr. "Kosinski's Modern Proposal: The Problem of Satire in the Mid-Twentieth Century." Critque Studies in Modern Fiction 22:83-87 (1980). Corry, John. "A Case History: Seventeen Years of Ideological Attack on a Cultural Target." New York

Times, Arts and Leisure section, November 7,1982, pp. 1, 28-29. Everman, Welch D. Jerzy Kosinski: The Literature of Violation. Vol. 47, The Milford Series, Popular Writers of Today. San Bernardino, Calif.: Borgo Press, 1991. Klinkowitz, Jerome. "Betrayed by Jerzy Kosinski." The Missouri Review 6:157-171 (Summer 1983). Lavers, Norman. Jerzy Kosinski. Boston: Twayne, 1982. Lupack, Tepa, ed. Critical Essays on Jerzy Kosinski. New York: G. K. Hall & Co., 1998. Schiff, Stephen. "The Kosinski Conundrum." Vanity Fair, June 1988, pp. 114-119, 166-170. Sloan, James Park. Jerzy Kosinski: A Biography. New York: Dutton, 1996. Stokes, Geoffrey, and Eliot Fremont-Smith. "Jerzy Kosinski's Tainted Words." Village Voice, June 22, 1982, pp. 1, 41-43.

SELECTED

INTERVIEWS

Abrams, Garry. "Jerzy Kosinski Leaves 'Em Amused, Bemused, and Confused." Los Angeles Times, View section, November 14, 1984, pp. 1, 12. Gefen, Pearl Sheffy. "Jerzy Kosinski, the Last Interview." Lifestyles, Winter 1991, pp. 18-24. Grunwald, Lisa. "Jerzy Kosinski: Tapping into His Vision of Truth." Vineyard Gazette, July 29, 1977, pp. Al-2. Klinkowitz, Jerome. "Jerzy Kosinski: An Interview." Fiction International 1:30-48 (Fall 1971). Plimpton, George, and Rocco Landesman. "The Art of Fiction." Paris Review 54:183-207 (Summer 1972).

—STEPHEN SOITOS

Mary Oliver 1935-

"L

LIKE TO say that I write poems for a stranger who will be born in some distant country hundreds of years from now." So writes Mary Oliver in A Poetry Handbook (1994), addressing both poets and casual readers. It is a simple comment but also a controversial one, for it assumes that poetry is the most universal and timeless of the arts. As she says in another manual, Rules For the Dance: A Handbook for Reading and Writing Metrical Verse (1998): "[t]ime is meaningless to a poem; if it is about something that pertains to the human condition, then it is about something of interest to the most modern man, if he is a thoughtful man." Such simple, seemingly obvious definitions fly in the face of current ideas about American poetry. For such comments diminish, even disregard, the importance of a poet's biography or even of the specific social and political moment of the poem. As Oliver puts it in her A Poetry Handbook: "everything necessary must be on the page. I must make a complete poem—a river-swimming poem, a mountainclimbing poem. Not my poem, if it's well done, but a deeply breathing, bounding, self-sufficient poem. Like a traveler in an uncertain land, it needs to carry with it all that it must have to sustain its own life—and not a lot of extra weight either." If poetry is about things, particularly natural things, then its subject, she believes, must be transhistorical—true and necessary in all times.

To best understand Oliver's poems, then, one must look away from the poet, and even from the social and political context of their origin.

CHILDHOOD AND THE EARLY YEARS OF THE POET Although she has written many poems to friends, loved ones, and family Mary Oliver is, for all that, a remarkably reticent poet: she does not, in her work, record her life in minute, confessional detail. Given her views of poetry's transhistorical character, it would, one suspects, arouse her ire to speak of her biography at all. As she declares in a book of essays, Blue Pastures (1995), "I would not be a biographer for all the tea in China." And, in an interview in The Bloomsbury Review, she explained her authorial role as a literary vanishing act: "if I've done my work well, I vanish completely from the scene. . . . I am trying in my poems to vanish and have the reader be the experiencer. I do not want to be there." Whatever Oliver's own feelings may be about the importance of an author's biography, however, readers of her work will want to know that she was born on September 10, 1935, in Maple Heights, Ohio. Her father, Edward William Oliver, was a teacher in Cleveland, Ohio. Her mother, Helen M. Vlasak, came from a family 229

230 / AMERICAN WRITERS that immigrated from Bohemia to the farms of Ohio in the nineteenth century. Throughout Mary Oliver's childhood, adolescence, and early adulthood, she lived in Ohio. In Blue Pastures, she reports that she knew she wanted to be a poet by the time she was thirteen but that, in terms of her poetry, the most exciting and important experience occurred in 1953: "the morning after I graduated from the local high school—I left Ohio" in order to visit the poet Edna St. Vincent Millay's sister, Norma, in Austerlitz, New York. By then, Norma and her husband were living on the Millay estate: Steepletop. Oliver had been corresponding with Millay's sister since she was fifteen and, eventually, as Oliver says, "I moved in," becoming—in terms she admitted do not really give "substance" to her role in that home— "secretary, amanuesis, companion." The first original and decidedly eccentric literary personality Oliver had ever met, Norma would have a lasting impact. So, too, would the stories she heard about Millay and about the circle of poets and artists Millay had known, particularly in her Greenwich Village years of the late 1910s and 1920s. Throughout this period, Oliver also went to college, first at Ohio State in Columbus, and then, as if to follow in Edna St. Vincent Millay's footsteps, to Vassar College in Poughkeepsie, New York, where she stayed only one year. By 1963, three other major influential events occurred. First, continuing to follow in Millay's footsteps, she had settled in the artistic and poetic bohemia of Provincetown, Massachusetts, on the far end of Cape Cod. Second, she had traveled to England and published her first book No Voyage and Other Poems (1963). Third, and certainly, for her, most importantly, she had, as she says in Winter Hours: Prose, Prose Poems, and Poems (1999), "met someone, fallen in love." That someone, Molly Malone Cook, has since been the dedicatee of almost every book Oliver has published; she

is, however, largely absent (at least explicitly) in most of the poems. Indeed, only in the late 1990s, in Winter Hours, has Oliver spoken of this relationship, which has lasted more than forty years in duration, at all. She writes: "M. and I met in the late fifties. For myself it was all adolescence again—shivers and whistles. Certainty." She adds: "Privacy, no longer cherished in the world, is all the same still a natural and sensible attribute of paradise. We are happy, and we are lucky."

OLIVER'S APPROACH TO POETRY

Oliver's approach to poetry, manifested from her first published book, No Voyage, and Other Poems, set her on a distinctly different course than the one followed by most of her famous peers. When Oliver began to publish, nothing short of a revolution had occurred in American poetry. Not only had poets broken once and for all from meter and traditional poetic forms, but they had also turned, en masse, to a far more private, intimate subject: their own lives and families. In 1959, when Robert Lowell—perhaps the most important poet of his generation—published his collection, Life Studies, American poets everywhere began to change their style. For when Lowell, the most traditionally metrical and "difficult" poet of his generation, turned to free verse and subjects based on his family life, he, as it were, gave permission to his peers to follow suit. By 1960 W. D. Snodgrass in Heart's Needle (1959) had described his divorce and the custody battle for his daughter, while Anne Sexton, in To Bedlam and Part Way Back (1960) depicted her own breakdown, and the pyschodrama of her feelings as a mother and daughter. And, in 1965, when No Voyage, and Other Poems was published in the United States, the literary event in that year's poetry world was the posthumous publication of Sylvia Plath's Ariel. The whole poetic

MARY OLIVER / 231 universe had changed, according to the critic, M. L. Rosenthal, who had, in a famous review of Lowell, dubbed such poetry, "Confessional." Into such a soul-baring world did Mary Oliver, committed to a poetry at once personal and intensely private, local, and transhistorical, launch what would become, as of 2000, eleven collections of poetry, two collections of prose, and two poetry handbooks, among other writings. No Voyage, and Other Poems announces what will become Oliver's grand, career-long theme: the relationship between the human and natural worlds. This theme, which suggests Oliver's connection to Romantic poetry, inspires in her a set of questions that have a distinctively modern, fresh, and ever-present urgency. In her first book, she wonders if nature really does refuse to "betray the heart that loves her," as the great Romantic poet, William Wordsworth, claimed. In that first book, an alienated Oliver looks to nature for comfort and finds instead only more disconnection, more alienation. In her second book, The River Styx, Ohio and Other Poems (1972), Oliver focuses on people, her family, and the characters from her Ohio youth in equal proportion to her attention to nature. She seems to hope that if nature will not offer the kind of comfort she seeks then at least people will. But this, too, proves more difficult than comforting. Beginning with her third book, Twelve Moons (1979), Oliver decides to cast her lot with nature, insisting on its ability to soothe, relieve, and comfort. Refusing to give up on the possibility that the human and the natural can find solace in one another, that there is a deep fundamental connection between the two, Oliver's books since 1979 have returned again and again to the felt experiential union between the human and the natural worlds. Like a Cubist painting, her books approach the same site, the same image of Mary Oliver (or some person) in nature. Each time she returns to this image, this scene, she means to present, describe,

and communicate what the American poet Walt Whitman called, "the merge."

FIRST BOOKS: DISCOVERING HER THEME

In the Confessional environment of the early- and mid-1960s, Mary Oliver's first book certainly did stand out. Its poems did not depend on free verse but returned again and again to fixed patterns of meter and rhyme. Less knotted or opaque than the allusive poetry of John Berryman, Lowell, Plath, Randall Jarrell and others of that era, her poems favor the plain speech and vernacular language of Robert Frost. Also, while plenty of the poems refer to events in her life and to people she knows, they are not soul-baring revelations about her inner psychological state of being. In the title poem, "No Voyage," which won first prize from the Poetry Society of America, Oliver alludes to Frost's "Mowing" and to that poem's famous line, "the fact is the sweetest dream that labor knows." In that line, Frost—with whom Oliver was to continue to be compared—tells the reader that if labor, one's action in the world, were able to dream and imagine things, it would imagine only facts, tangible realities. But facts, here, are always more than just functional or pragmatic. There is in every fact a spiritual aura as well, a soulful utility. In "No Voyage," Oliver, after looking out of her window, thinks of the wide world and realizes that for her it is best to: [t]urn back To sort the weeping ruins of my house: Here or nowhere I will make peace with the fact.

"Facts" from this poem forward will be the very stuff of Oliver's poetry. From her first book on, one meets, again and again, the specific items of the natural world. While the reader witnesses Oliver in her encounters with such natural facts, her

232 / AMERICAN WRITERS poetry's emphasis is not on her individual self so much as any human self's relation to the natural world: as the great American essayist and poet, Ralph Waldo Emerson put it, "in speaking for myself, I speak for all." When it first hit the stores in its American edition in 1965, No Voyage received an unusual amount of attention from the literary community. It was reviewed in a number of prominent magazines of intellectual discussion (Commonweal, The Christian Science Monitor, New Statesman, and the New York Times Book Review), often by important American poets such as Philip Booth and James Dickey. Booth, in The Christian Science Monitor, wrote that "[h]er inclination toward what's 'poetic' becomes openly embarrassing." Dickey in the New York Times Book Review echoed these sentiments and added that too much was "conventional and ordinary." Referring in each case to "Miss Oliver," the reviewers of the American edition expected from American poetry a decidedly masculine aggression in both rhythm, tone, and imagery. In their reviews, each man complains of the too "feminine" quality of Oliver's book, and holds the connection to Millay—noted by almost all of the reviews—as a mark against rather than a compliment to the poet. One suspects that had Oliver been more revealing, more set on opening her own life to the scrutiny of readers such comments would not have been made. As it was, this book's attention to nature in such strict forms set the critics of what would be soon called a "naked poetry"—a poetry of personal anecdote in free verse—on edge. Whether stung by those criticisms or not, it would be seven years before Oliver published another collection, The River Styx, Ohio, and Other Poems in 1972. Dedicated both to her mother and father, "and for Molly Malone Cook," this collection maintains her interest in traditional forms. But whereas the first book returned again and again to nature hoping to find some kind of sol-

ace, this book concentrates far more on the human, social world of family, friends, and neighbors. Ultimately, this second collection is what Robert Frost called his second collection: "a book of people." In it one meets, all titles of poems, "Tom," "Hattie Bloom," "Alex," "Anne," "Aunt Mary," "Isabel Sparrow," among many others not named in the titles. While the Confessional impulse in American poetry during the late 1960s may in part explain this turn to the social and personal—the first poem "Stark Boughs on the Family Tree" is about her family—it might just as well be due to the impact of James Wright, another Ohio poet, who had, in the late 1960s, become a powerfully original poet and who, like Oliver, attempted to join the world of nature to the social world of people. In two books from the 1960s, and in such powerful poems as "A Blessing," and "Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota," Wright had, with his friend Robert Ely, brought into American poetry a new method of image-making: "The Deep Image." By invoking surreal imagery, focusing on obviously spiritual themes set in nature, and using a new, pared-down diction— what Oliver called, "a heightened vernacular"— Wright, Ely, and others hoped to turn American poetry away from what they felt were Confessional poetry's too limited concerns. Even before Wright and Ely, however, one might find in Frost's poetry a precedent for Oliver's turn to the local, social, and vernacular in her second book. In two of its poems, "The Fence," and "Mr. Frost's Chickens" Oliver even refers to Frost. In the latter, which refers to a time when Frost was a chicken farmer in the hard soil of northern New England, Oliver writes: When things go wrong, I think of Mr. Frost And his flock of chickens, And the poems that were lost, maybe While he shoveled coops, Picked eggs, Threw grain.

MARY OLIVER / 233 She thinks of these facts and, in so doing, concludes, in the poem's final lines: Thank you, Mr. Frost, for the chilly interval Of chicken farming.

Oliver, in this collection, invokes those who, like Frost, live off of the hard-scrabble land of rural America, scraping out their existence in what she refers to in the title poem as, "Farms ... bankrupt, in the wind." The poems in this collection often reveal a bleak, haunted land where even the River Styx is less myth than local fact. In the end, this second book leaves Oliver exactly where her first book had: without any felt comfort for the alltoo-real feelings of alienation she continued to record. Even the social world, in other words, had failed her.

"ENTERING THE KINGDOM": MYTHS, ARCHETYPES, AND DEEP IMAGES IN THE 1970s

Another seven years passed before Oliver published a full-length collection of poems, Twelve Moons in 1979. Just before that book was published, however, she released two limited edition books, The Night Traveler (1978) and Sleeping in the Forest (1979), both from small Ohio presses. While all three of these collections reveal Oliver's continued debt both to Millay and to Frost, one can also see in them a new willingness to invoke the rhetoric of the Deep Image. This turn to such Deep Images as "bone," "blood," "darkness," and "dreams" enables her to reconcile the human and the natural worlds using a new set of poetic techniques. Because the Deep Image demands, as its premise, faith in a fundamental spirituality coursing through the universe, its image system, by definition, ought to reconcile human experience with natural phenomena. Specifically, the Deep Image movement offered certain kinds

of metaphors—Deep Images—designed to bridge the gap between the uncontainable, unrepresentable world of the spirit and the world of natural, material facts. By 1979 such major American poets as Galway Kinnell, Louis Simpson, W. S. Merwin, Mark Strand, and William Stafford had all been inspired by Ely's and Wright's Deep Image. In her own work from this decade, Mary Oliver joins this male company not only by using the Deep Images mentioned above, but by creating her own set of resolutely sensual, female, and sexualized Deep Images. In Twelve Moons, the two Deep Images that stand out are "moon," and "bear," both of which, invoked again and again, allow Oliver to reconcile what neither of her first two books could. Twelve Moons represents the realization of Oliver's unique vision. It begins her voyage into the terrain of what Whitman had called "the merge." In this collection, "the merge" is charted by resorting not only to the rhetoric of the Deep Image but also to a fully developed mythology similar in scope to that of William Butler Yeats or to Oliver's more near contemporary, the American poet Theodore Roethke. Specifically, Twelve Moons reprinted many of the poems from Oliver's two chapbooks, setting them in what was, for her, a new, mythic, archetypal structure based on the ever-changing but never-different facts of the passing seasons: nature's cyclical calendar. The book begins in spring (April) and ends in spring (March). Its fifty-one poems follow the course of a year, each month of which is marked by one of twelve moon poems. These twelve moon poems, in turn, each present a moment of connection, an intersection between nature and the human—a moment presented in explicitly gendered terms. In the very first poem, "Sleeping in the Forest," Oliver announces her project of connecting nature and the human through the use of her imagination. Describing a night spent in the forest, she tells the reader: "By morning / I had vanished at least a

234 / AMERICAN WRITERS dozen times / into something better." Imagining herself as part and parcel of nature becomes the book's visionary purpose. In the first moon poem, "Pink Moon—The Pond," Oliver describes an evening when she immerses herself in a nightenshrouded pond. She becomes, as it were, one with the frogs: you see everything through their eyes, their joy, their necessity; you wear their webbed fingers; your throat swells.

This transformation signals Oliver's willingness to welcome her own explicitly female body into her poetry. So you relax, you don't fight it anymore, the darkness coming down called water, called spring, called the green leaf, called a woman's body in the moonlight, as it says yes.

Having given into the "darkness coming down" that is her body, beginning with "The Truro Bear," Oliver attempts to recover nature's body, introducing into her work the bear as a Deep Image for the spiritual basis of the animal world. In this poem, the "things of the wood" are, like Oliver, given a body. Having admitted to her own animal nature, her own body, and having accepted the physical presence of the things of the wood, Oliver then attempts to reconnect the two. In "Entering the Kingdom," she claims: "They know me for what I am. / No dreamer, / No eater of leaves." But in "Hunter's Moon—Eating the Bear," the seventh moon poem in the cycle, Oliver invokes the act of eating: adopting the persona of a hunter, she literally kills and eats the

things of the forest. In so doing, she enters into the sacrament of communion: "And I will put you into my mouth, yes. / And I will swallow, yes." In this way, Oliver welcomes the material, physical kingdom into her body, into her poetry, and into her psyche as well. In the last line of the last poem of Twelve Moons, "Worm Moon," she tells the reader, "everything / is possible." Despite Oliver's new mythological, archetypal direction, the seriousness of the book's structure, and the importance of the theme it explored, the most important review of the book was highly critical. Writing in the New York Times Book Review in 1979, the poet Hugh Seidman found the structure and the forms too artificial, complaining of " 'purple' adjectives and clumsy alliteration . . . inflated rhetoric" and what he felt to be a strained "heaviness" of theme. Fortunately, poets reviewing the book in the literary press had far better things to say. In an article in The Hudson Review the poet Emily Grosholz, for example, found the abundant, rich detail of the animals, woods, plants, and terrain of Oliver's Provincetown to be particularly impressive: "surely one function of a poet / naturalist is to tell the reader to go out and look."

THE WORK OF PRIMITIVE DREAMS: THE 1980s

Not long after publishing Twelve Moons, Oliver also began her long association with academia. In 1980 she became Mather Visiting Professor of Creative Writing at Case Western Reserve University in Cleveland. It was a welcome homecoming for Oliver. This return to her native state as an accomplished poet may in part explain the joy that informs her next two books, American Primitive: Poems (1983) and Dream Work(l9S6). These collections are, by far, her most popular; more than ten years later, they both remained in

MARY OLIVER / 235 print and there is no doubt that they are the books on which her reputation is built and on which it will continue to rest. In American Primitive: Poems and Dream Work, Oliver leaves the mythological structure and the reliance on archetypal Deep Images behind. Instead, each of these books attends to the material, specific, and literal fact. Description, not myth, becomes the single stylistic and thematic feature of Oliver's poetry. Insight into the fundamental poetics of these two books can be found in a small essay Oliver contributed to a symposium held by The Georgia Review (1981). The symposium, to which many poets contributed, concerned a powerful book-length attack on contemporary poetry's failure to connect with everyday life. In her response to that book, Christopher Clausen's The Place of Poetry: Two Centuries of an Art in Crisis (1981), Oliver wrote, "For the Man Cutting the Grass." When teaching some students at a poetry workshop, she was asked who she imagined her audience to be. She looked out the window and said, " 'For that man, out there on the lawn, cutting the grass.' " By that she meant to insist on the transhistorical, interpersonal, timeless character of poetry: its eternal presence and presentness. Admitting that, "At no time in history . . . has this separation between literature and life been so foolishly deep," Oliver insists on her desire to bridge that gap: There is ... discontent and fever everywhere. Under every rationale we live according to our differences rather than our sameness. Poetry, an art form boiling up from the archetypal inner world, is one of the medicines for that fever. We need it. We need those orderings of thought, those flare-ups of imagination . . . proclaiming our sameness, calling the tribal soul together. The man out there, cutting the grass, is more astute than we give him credit for.

Turning first to American Primitive, one finds fifty poems not divided into any sections. Instead,

the poems weave a cyclical tale charting Oliver's own engagement with the natural world as precisely, directly, and descriptively as possible. Ranging from the landscape of Cape Cod to that of Ohio, she also includes a number of history poems, discussing such figures as Johnny Appleseed and Tecumseh. Significantly, too, this book is dedicated not to Molly Malone Cook but rather to the poet James Wright, who had died tragically in 1980 of cancer. In his later poems from the 1970s, Wright, too, had left the rhetoric of the Deep Image behind, becoming more and more descriptive, precise, and focused on his own interactions with the natural world. In Oliver's American Primitive, she offers fifteen poems that, like Wright's later poetry, chart an easy, often ecstatic communion with nature. Here, woman and nature converse; here, Oliver celebrates nature's body: "There is this happy tongue" ("August"). She delights in its power: "how sensual / the lightning's / poured stroke!" ("Lightning"). She declares, in "Moles," that the earth is "delicious." After these first poems' opening blast of enthusiasm, however, there follow ten poems of grief, where pain, the nature of terror, and unreconcilable cruelty are described. Such poems as "Vultures," "An Old Whorehouse" (this is an allusion to James Wright's famous "In Response to a Rumor that the Oldest Whorehouse in Wheeling, West Virginia, Has Been Condemned"), "University Hospital, Boston," and "Skunk Cabbage" all point to the reality of pain and death. Instinct and the primitive here are not tempered. Of all the poems, the harshest is "A Poem for the Blue Heron." It seems to follow directly from the assertion that "everything is possible," the last words of the last poem in Twelve Moons. Now, in "A Poem for the Blue Heron," Oliver writes, in italics for emphasis: Not everything is possible; some things are impossible

236 / AMERICAN WRITERS In other words, just when the book achieves its most ecstatic communion with nature, it backs away and asserts what Oliver discovered in her very first book: nature is not just unforgiving but, even worse, it is fundamentally indifferent to the human. Sometimes, it appears, communion is impossible. Sometimes, the primitive is horrifying in its meaninglessness. This is particularly the case in "Web"—"So this is fear." It is also holds for "Skunk Cabbage"—"What blazes the trail is not necessarily pretty." But the cycle of joy and despair, as a cycle, cannot end and so, the next poems in the book offer a set of sensual, earthly delights. In these poems, a renewed sexual imagery asserts itself, particularly in "Something," "White Night," "Music," "The Gardens," and "The Fish." In the latter, Oliver again eats an animal but there is no archetypal or mythic gesture to some otherworldly system as there had been in Twelve Moons. When she eats the fish in this poem she merely means to describe a genuine organic fact: "Now the sea / is in me: I am the fish, the fish / glitters in me." The fact, however, offers her an experiential jolt of happiness. And, in "Happiness," she returns to her bear image. This time, a she-bear looking for honey becomes the very image of female, natural, embodied bliss. And, towards the end of the book, in "The Honey Tree," Oliver becomes this same bear: "And so at last I climbed / the honey tree, ate / chunks of pure light." This allows her to say, "how I love myself at last! / how I love the world!" American Primitive, then, tells a cyclical story of wild happiness and profound anxiety and alienation. It revels in the experience of communion in nature as well as laments the seemingly impossible rift between nature and people. In one collection, it foreshadows what will become the future project of each of Oliver's subsequent poetry collections. By charting the range of her emotions when in nature, she means to address, through close analysis and description,

the truth of her sense that the human and the natural are linked together; that they are far more similar than different. Each of her subsequent books, then, will examine this problem from a slightly different perspective, but, fundamentally, the cyclical structure, and descriptive style of American Primitive will become the paradigm for each of Oliver's future poetry books. The book itself was by far her most widely reviewed. Daily papers in Los Angeles, San Francisco, Louisville, and New York all praised it^as did the literary press. In 1984, American Primitive won the Pulitzer Prize for poetry. What accounts for this overdue acknowledgment of Oliver's talents was the intervening success of feminism in American literary circles. By 1983, Oliver's obviously sexual and sensual themes, her association of the feminine with the natural world, and her willingness to risk an exploration of often devalued sentimental themes met with a far more receptive audience. Feminism, by then, had made the literary community's ongoing, unchecked sexism—its disdain for so-called "women's poetry"—unacceptable. By the 1980s, one would no longer expect a woman to be condemned for writing about nature, the sentiments, or even the more traditionally "feminine" domestic themes. Quite the contrary! Bruce Bennett, in the New York Times Book Review, for example, praised the "Luscious objects and substances—blackberries, honey" that were "devoured" in Oliver's book. The poet Linda Gregorson, discussing the book in Poetry, reveals another possible reason for Oliver's success: "Oliver appears to be almost wholly uninterested in the strategies of artifice." Her decision to forgo both the Deep Image, and her predecessors' (Millay's and Frost's) commitment to metered, fixed-form poetry met with almost universal critical approval. Here was a mostly free verse poetry of stunning clarity. Oliver published her fifth major collection Dream Work when she was appointed poet-in-residence at Bucknell University in Lewisburg,

MARY OLIVER / 237 Pennsylvania. (From this point onward, she would enjoy the roving life of the contemporary American poet as academic. Eventually, she would move, in 1991 to Sweet Briar College in Sweet Briar, Virginia, and then, in 1996, to Bennington College in Bennington, Vermont.) Like American Primitive, Dream Work continues to explore the connection between the spiritual and material without any extra apparatus, without resorting to myth, archetype, literary allusions to her predecessors, and the like. But unlike American Primitive, it is divided into two sections. In the first section, the poems move from despair and profound alienation to an almost pure sense of absolute joy. Additionally, they return their focus to the human world—even concluding in a homage, "Stanley Kunitz," to her friend, Cape Cod neighbor, and poetic guide. In the book's second section, the poems follow a wave-like pattern, a riseand-fall tension between joy in the human connection to nature and doubt that such a connection is possible—doubt, in other words, that such a connection is more than a merely human dream. In the book's first section, the poem, "Wild Geese," succinctly states Oliver's newfound sense of her poetic task: You do not have to be good. You do not have to walk on your knees for a hundred miles through the desert, repenting. You only have to let the soft animal of your body

love what it loves.

Gone is any need to invoke grand explanations, systems, religions, or myths. Instead, she demands only an absolute attention to "the soft animal of your body." Intriguingly, in this book Stanley Kunitz is the one person who seems to have found just such a home in the world, in nature, and in his body. Looking at him in his garden she tells us: "Oh, what good it does the heart / to know it isn't

magic!" The hard work of dreams—the real and earnest digging into the soil: that is what Oliver wishes for herself and admires in Kunitz. As he is a man at home in his world, so she longs to be a woman at home in hers. Oliver's newfound cyclical, wave-like method of organizing her books means that every upbeat will, inevitably, be followed by a downbeat. To her credit, Oliver pushes the questions she raises about the truth and value of the human connection to nature to their twentieth century extreme in her most moving and justly celebrated poem from Dream Work: "1945-1985: Poem for the Anniversary." There, Oliver addresses the question of evil raised by the Shoah (the Holocaust). In this poem, she juxtaposes her recollection of a stroll in the woods with meditations on images from the German war against the Jews. One section of the poem describes, for example, a beautiful garden, and a decidedly cultivated gentleman enjoying its luxuriant scent with a glass of wine only to conclude: "It is the face of Mengele." Such scenes are juxtaposed with a description of a time when she was, essentially, a hunter in the woods; when she and her dog confronted a fawn but did nothing. When the doe returns and smells Oliver's human scent: "she knew everything." Here, through this juxtaposition, Oliver meditates on her own unwillingness to kill, and, in so doing, wonders what "animal" and "human" really mean when the cultivated man is a doctor committed to torturing children, and the wild beast is a protective mother. The final section of the poem, describing the doe's return reads: The forest grew dark. She nuzzled her child wildly.

More than just ethical questions are raised here. For in this poem, Oliver's ongoing attempt to bridge the human and the natural has met, for the first time, a profound problem. What, in the end,

238 / AMERICAN WRITERS do people mean by the terms "human" and "nature"? Given their potential meanings, ought they to be brought together at all? No doubt as a result of her increasing reputation and prominence, a number of major literary critics reviewed Dream Work. The poet-critic Alicia Ostriker, whose Stealing the Language: The Emergence of Women's Poetry in America was one of the first examinations of a specifically female American poetic tradition, declared Oliver to be "as visionary as Emerson." She also praised the book for its obvious "advance on her earlier writings." She particularly admired the "meditation on the Holocaust" because it, and the other poems in the collection, put Oliver "further into the world of historical and personal suffering." Sandra M. Gilbert, poet, scholar, and future president of the Modern Language Association, writing in Poetry, also singled out the book's turn to history. Gilbert, however, noted that Oliver "finds a way to escape the rigors of human chronicles through attention to natural history." Seeing in Oliver a continuation of the work of D. H. Lawrence, Marianne Moore, and Elizabeth Bishop, Gilbert becomes the first critic to see that Oliver's poetics moralize "on the other history we can learn from natural history." Also notable is that, for the first time in Oliver's career, no critic lambasted her for her style. In the Michigan Quarterly Review, the literary critic Lisa M. Steinman declared: "One might distrust such epiphanic moments . . . Yet the poetry, in the iambs, in the careful mixture of statement and image, avoids sentimentality and is, in the final analysis, deeply moving." Following the publication of Dream Work, Oliver herself contributed an important aesthetic statement, "Some Thoughts on the Line," for a symposium on poetics published in The Ohio Review (1987). There, she implicitly revealed the impact that James Wright's poetry had on her work. Speaking of Wright's ability to use vernacular language, plain speech, and "the conversational tone" in his poetry, she writes: "What is forceful and gives pleasure is not just the use of

the vernacular but its transformation. The unassuming phrase, as familiar to us as our own name, is worked into the mechanical structure and literary body of the poem, it is resurrected; it is changed utterly." These are words one might apply just as well to American Primitive and Dream Work.

TURNING TO A NEW LIGHT: OLIVER IN THE 1990s

Beginning with House of Light (1990), Oliver's poetry moved into a decidedly spiritual realm. It is as if, once she admitted the ethical and moral problems of pain, suffering, and evil into her ongoing project of reconciling the natural and the human worlds, she had no choice but to turn to the various world religions, and to her own Christian heritage for tropes, images, and even usable myths and frames. At the same time, this invocation of Christianity, Buddhism, and even the myths and archetypes of the Deep Image movement do not mean that Oliver was returning to the poetry of Twelve Moons. Instead, she now finds herself wondering what the great philosophers, religions, and poets have had to say about the very meaning of the words "human" and "nature," words whose meaning were thrown into such serious doubt in Dream Work. In the book's very first poem, "Some Questions You Might Ask," these questions return, and, as is now standard for Oliver, they return as direct, simple, unencumbered questions. More and more, hers is a poetry of assertion, of a "heightened vernacular": Is the soul solid, like iron?

Or is it tender and breakable, like the wings of a moth in the beak of the owl? Who has it, and who doesn't?

The last question is perhaps the most serious, for if nature does not have a soul, then what would,

MARY OLIVER / 239 she wonders, be the point of joining one's self to it. And in her poem about the Nazi period, she even finds herself wondering if humans, as a species, really have a soul. In "The Buddha's Last Instruction," she describes one answer to this last question. That poem's title refers to the Buddha's last words " 'Make of yourself a light.' " After quoting this last instruction, the poem then describes a time when Oliver became a literal house of light. She went outside in the sunrise. The sun shines on her body; she begins to glow with the dawn: And then I feel the sun itself as it blazes over the hills, like a million flowers on fire— clearly I'm not needed, yet I feel myself turning into something of inexplicable value.

Here, the Buddhist view of the interconnectedness of all things releases Oliver from the human specificity of her questions. She is transformed into "something" else, joined, as it were, to nature—itself a "house of light" as well. At the same time, in "Spring," she describes her familiar animal, a black she-bear: coming down the mountain, breathing and tasting . . .

Unlike the word-loving Oliver, this bear is "wordless" and has a "perfect love." In this poem, Oliver is apparently still too alienated to join in such "breathing and tasting." In House of Light, not only is the desire to connect met with the reality of disconnection between animal and human, but also between humans themselves. In "Singapore," which David Baker, a reviewer for The Kenyan Review (1991), called, "one of her most important and powerful poems," Oliver tells the story of a woman who cleans the airport bathroom. The poem stands out in Oliver's work, both in its setting (in an airport,

far from the United States, among people), and in its use of long, breathy lines. Thinking of the cleaning woman, Oliver asks, "If the world were only pain and logic, who would want it?" This desire to transcend "pain and logic" constitutes the ethical and spiritual quest behind Oliver's poetic project. For her need to connect to nature is a need to accept, discover, and realize beauty, Being, and even kindness. Are such things of this world? Are they only human and if so, as human, are they merely artifice? Dreams? Illusions? In "Singapore," she affirms her faith: the woman represents, for her, "the light that can shine out of a life." In House of Light, the world of light, the spiritual fire shining from within, is not only Buddhist but Christian as well. In "Maybe" she describes "Sweet Jesus, talking / his melancholy madness." In "Some Questions You Might Ask," a moose is "as sad / as the face of Jesus" and an owl in "Little Owl Who Lives in the Orchard" is imagined reading the Book of Revelation. But, in the end, neither Christianity nor Buddhism provides Oliver with answers—as she admits in "The Summer Day," "I don't know exactly what a prayer is." Although many of the reviews of this book were glowing (Robert Richman, in the New York Times Book Review, praised it as "genuine, moving, and implausible as the first caressing breeze of spring"), Oliver as perceived by at least one reviewer was said to be lacking in any struggle or spiritual quest. David Baker, in The Kenyon Review, found that the poems in House of Light had "the same, perhaps too-easy solution—politically and aesthetically—merely to rise and float away from a troubling world, to erase it or to erase the self within that world." He praised "Singapore" precisely because it acknowledged Oliver's own guilt, her role in what she observed. In effect, Baker was unable to see the ethical and spiritual turn of these poems. Fortunately, Oliver herself made a case for such a reading in the first major interview of her career with Eleanor Swanson, which was published in 1990 in The Blooms-

240 / AMERICAN WRITERS bury Review. There, she reports that House of Light concludes a long poetic journey: "The books . . . beginning with Twelve Moons and concluding with House of Light, I think of as a unit." Pressed for more detail, she replied, "I won't say much about them except that they all employ the natural world in an emblematic way, and yet they are all—so was my intent!—about the human condition." She added: "What I write next will be quite different." Despite this claim, Oliver did not really change direction. Instead, her next substantial publication, New and Selected Poems (1992), spanned her entire publishing career and included poems from each of her books. Arranged in reverse chronological order, it demanded that readers account for her current work not her past work. In fact, its very first section, simply titled "New Poems," included 30 new poems. This book, then, by breaking with a chronological narrative, told readers that development and change was less important to her work than it might be to other poets. In the "New Poems" section, for example, one finds far more consistency than difference. Like House of Light, they too probe deeply into the world of nature. The only detectable thematic difference is that, in these new poems, Oliver removes herself even more completely from the poem than before. As if to emphasize and endorse her presence and importance to contemporary American poetry, the literary establishment gave this volume the National Book Award for 1992. In her acceptance speech, she paid her first public homage to her companion, "my first reader, and the light of my life, Molly Malone Cook," to whom New and Selected Poems is dedicated. The new poems included in this collection exhibit a wide variety of prosodic technique. Here are the familiar short lines of two, three, or four beats, and the progressively indented left-hand margins in three- and four-line stanzas. Here are longer, breathy, almost prose-like lines that stretch across the page, and poems printed in double col-

umns on a single page, a technique to which she will return often. Despite this prosodic variety, and despite Oliver's claims for a "new direction," one can locate in these poems—and between them and their predecessors—significant thematic continuity. Returning to the ethical and spiritual questions she had begun to raise overtly in Dream Work and House of Light the new poems manifest a willingness to accept that which is inscrutable and strange in nature. In, "This Morning Again It Was in the Dusty Pines," Oliver tells the reader "the owl / turns its face from me." She admits that even if people could talk to the animals they would nonetheless still find themselves strangers to nature; she appears to agree with the philosopher Ludwig Wittgenstein, who famously wrote: "If a lion could speak we would not be able to understand him." But Oliver's poem actually makes the problem far more severe: even if we came by some miracle upon a language which we both knew, what is it I might say there in the orange light of early morning

Whereas the earlier Mary Oliver might have found pessimism in such a conclusion, here she finds instead a new acceptance: "So. I cannot improve upon the scene." These new poems from New and Selected Poems fundamentally depend on such acceptance of nature's self-containment. The alienation that Oliver had been recording in her previous books is not, in these poems, resolved. But in the new poems it is now met with a new, even joyous acceptance. As she says in "Poppies": light is an invitation to happiness, and that happiness, when it's done right, is a kind of holiness, palpable and redemptive.

MARY OLIVER / 241 In the last stanza of the last new poem, "October," Oliver states: so this is the world. I'm not in it. It is beautiful.

That Oliver can find beauty in nature's separateness does mark a new approach, another angle of vision by which to measure her central theme: the relationship between the natural and human worlds. The new approach may explain why "When Death Comes" became the new poem most often singled out for praise. In it, Oliver writes: When it's over, I want to say: all my life I was a bride married to amazement. I was the bridegroom, taking the world into my arms.

Because New and Selected Poems spanned Oliver's career, the National Book Award testifies to an important and in some respects new recognition of Oliver's contribution to American poetry. In 1992, the poet Stephen Dobyns, in the New York Times Book Review, declared her to be the best living practitioner of the free verse line, asserting that only the late James Wright "controlled the free verse line as well as she does." Beyond the praise for her prosody, reviewers were also single-minded in their praise of her exactitude of description. Using such words as "simplicity," "clarity," "directness" over and over again in their reviews, they also noted the consistent quality of her craft from her first book to the new poems. But while Oliver had finally shed much of the criticism that had dogged her since her first book had appeared almost thirty years earlier, some reviewers continued to find Oliver's insistent epiphanies and ecstasies hard to believe. Although praising Oliver's newfound refusal to be "indifferent to a nature indifferent to her," one

reviewer, Judith Kitchen, writing in The Georgia Review, also complained that "Oliver's failure to be adequate to her own epistemological questions makes many of these poems both interesting and irritating." In fact, this had, by 1992, become a persistent criticism of Oliver's work. As the reviewer for Poetry, David Barber put it: the new poems had become "all too predictable . . . the epiphanies come thick and fast, and the exaltations are strictly routine." He added that "Oliver skates perilously close to the overweening rhetoric of the self-help aisle and the recovery seminar." By contrast, the poet Maxine Kumin, writing in the Women's Review of Books in 1993, felt that the poems were not only perfectly believable but contained a subject all too rare in contemporary American poetry: "the frail links between the human and the natural world." Similarly, Paul Oppenheimer, writing in the American Book Review in 1993, disagreed that the ecstasy and joy was false or mannered: "freshness of perception . . . together with an admirable coolness of diction . . . is totally engaging," he wrote.

CRITICS ON OLIVER

Given Oliver's ability to galvanize and spark debate among reviewers, it is all the more remarkable that, by 1992, few literary scholars had paid attention to her work. Perhaps most significantly, the few critics who did critique her work took up and debated, from the beginning, the meanings and implications of Oliver's engagement with the natural world. In 1988, Jean B. Alford, writing for Pembroke Magazine, argued that the lack of attention to Oliver resulted from her unwillingness to be like other poets of her generation. Oliver's poems, Alford claimed, "engross the reader in a fully sensual union with nature." Such positive affirmation, she added, is not acceptable to a current literary and scholarly establishment more in-

242 / AMERICAN WRITERS clined than she to find despair and hopelessness in both the human and natural worlds. Maintaining this reading of Oliver's "outsider" status, Patricia Yaeger, also in 1988, claimed that to reject such affirmation was to reject the role of women in nature. It was, in effect, to keep women in their silent place as muse or subject of the poem, but not as speaking voice. Oliver, says Yaeger, protests against such an idea and develops her own counter-tradition." While critics were beginning to draw attention to Oliver's erasure in a male-dominated tradition of nature poetry, it was not until Janet McNew's 1989 essay in Contemporary Literature that Oliver's place in a "countertradition" began to gain serious and controversial attention. In her article, the first theoretical, academic consideration of Oliver's work, McNew placed Oliver's poetry in an ongoing tradition of "visionary nature poetry." She did so by emphasizing the gender issues at stake when a woman addresses nature, or attempts to understand it. According to McNew, the "nature poetry" tradition that most critics and poets know—"the Romantic nature tradition"—assumes "a speaking male subject who explores his relation to a mute and female nature." As a result, says McNew, women poets come to nature as a terrain already figured by male poetry as female. In other words, the woman coming to nature through the established poetic tradition sees in nature another woman; from this perspective, nature is not a threatening, or mute "other." McNew argues that the epiphanies, ecstasies, and "visionary dissolutions" that occur so frequently in Oliver's poetry are possible because she can identity without "fear or loss of consciousness" with nature: "With all the strength of mythic association to body and to nature intact, Oliver and other 'bad' daughters create mythic patterns unmarred by the shame of denied origins." Simply stated, Oliver's is a female tradition where epiphany is the rule, not the exception.

For McNew, this life-affirming female alternative to the male tradition becomes nothing less than a feminist myth for Romantic nature poetry in general, and American nature poetry in particular. In creating such a myth, says McNew, Oliver is among the few contemporary poets to remain faithful to "the original romantic project" of linking the human to the natural. McNew's argument sparked a lively and ongoing debate about Oliver's poetry; the debate, once begun, initiated more and more academic attention to her work. In a 1992 article in Women's Studies, Diane Bonds argued that McNew's position had one flaw. To say that nature was itself feminine was to assume that the male tradition, which had for so long read nature in feminine terms, was correct. Bonds noted that many feminists dismissed Oliver's work precisely because the counter-myth that McNew traced smacked of a capitulation to male ideas of nature. According to Bonds, Oliver's poetry is far more complex even than McNew's countertradition and feminist mythology would suggest, for it "reshapes assumptions about language and poetry that attend [both feminist and masculine] myths." Oliver, said Bonds, insists on the literal and precise image of nature's things because she means to get beyond the very idea of mythic readings; such readings, said Bonds, inevitably imprison women in a proscribed and gendered rhetoric. Through the anti-mythic attention to the literal, Oliver claims for herself, and for women, a language of nature poetry that does not "give up the identification with nature that clearly empowers Oliver's work." Also, by refusing the language of myth, Oliver is able to make a "powerful and critical rereading of theological and ethical assertions associated with the Judeo-Christian tradition." Specifically, says Bonds, Oliver's poetry "employs the terms of patriarchal Christianity to repudiate a dualistic and sometimes otherworldly ideology which splits or separates human and

MARY OLIVER / 243 nonhuman nature, spirit and matter . . ." For Bonds, Oliver's poetry does not assume a lost unity that some myth must rebuild; it accepts no Fall, asserting that "connectivity" has always been there between nature and people. Nature, in other words, is not, for Oliver, an allegory, not mere language, and not mere symbol. The things of nature are themselves: and nothing more, and people, as humans, are part of these things too. Following up on Bonds' reading in Papers, Vicki Graham asks what it might mean to insist on the material fact of nature in the highly artificial and symbolic world of poetry. Agreeing with Bonds that Oliver is no mythmaking, allegorical, or traditionally Romantic poet, she asks a probing question that even Bonds ignored: how can one avoid mythmaking language in poetry? Is that not the very nature of poetry? Graham answers this question by asserting that, for Oliver, language is not artificial, but is a natural, bodily, and material thing. Oliver's sense of poetry is, therefore, fundamentally physical: it embodies the reader through its rhythms. Poetry expresses the physical and sensual self. As such, it is the only medium for direct apprehension of the natural world. In the actual physical space of the poem, Oliver and nature greet one another: "once mind and body stop fighting, direct, sensuous contact with the other becomes possible, allowing an exchange of energy which leads to identification and then merging." In making this argument, Graham becomes the first scholar to single out the bear poems as a particular sequence. She singles these poems out in order to prove that, "Miming and becoming another is a willed artistic act that carries her across boundaries that she nonetheless remains conscious of." In other words, Oliver, on the one hand, is not making allegories and symbols, but, on the other hand, she is writing a poem which might lead one to expect symbols, emblems, and the like. Oliver never lets her readers forget that

they are actually reading a poem, or even that she is writing one. She does not pretend that the fact of her poem is somehow transparent or not there. But Oliver's self-conscious awareness of the poem, of the very act of writing, the very act of reading, is, nonetheless, part and parcel of the natural world. If language is natural, then, so too, are poems.

EMPHASIZING THE WORDS: PROSE, PROSE POETRY, AND THE LATER POEMS

One can never be sure how poets will accept critical and theoretical responses to their work. Even when they discuss such responses they tend to hedge and hide. What is certain, however, is that in the work Oliver has published since the academic discussion outlined above began, she has been far more self-conscious about the act of poetry, the writing process itself. Not only has she written specific handbooks for poets, but she has also written two books of essays, many of which discuss her ideas about poetry, and, in two more collections of poems, White Pine: Poems and Prose Poems (1994) and West Wind: Poems and Prose Poems (1997), she has begun not only to depict the art of poetry in her poems, but to write in a genre new to her work—the prose poem. White Pine contains forty poems of which sixteen, including the title poem, are prose poems. In the very first poem, "Work," Oliver describes herself writing: "All day I work / with the linen of words." Following this work, she comes out of her house and makes sure to "walk back through the pinewoods / to Pasture Pond." Words here are compared to linen, but linen is itself a natural fabric: words, in other words, are crafted aspects of the natural universe she inhabits. In the prose poem "Yes! No!" she concludes, "To pay attention, this is our endless and proper work." This line seems to allude to the French writer,

244 / AMERICAN WRITERS Gustave Flaubert, one of the greatest craftsmen and most careful artificers in any language. In her 1990 interview with Eleanor Swanson, well before this poem was published, Oliver herself could not resist quoting from Flaubert: " Talent is long patience, and originality an effort of will and of intense observation.' I lived for years with that, trying for intense observation, believing in it. Well, I still do!" In White Pine, Oliver includes her instrument of observation—language crafted into poetry—in a far more self-conscious way than ever before. Many of the poems are exquisite observational set-pieces. Also, each poem—either because it is in prose or because of its wildly variant lineation—demands that the reader notice the poetic style, the material fact of the poem itself. One of her most deliberate and skillful poems, "At the Lake" observes a fish leap out of the water and vanish. In the final stanza, Oliver tells the reader: but the words are in place— and the fish leaps, and leaps again from the black plush of the poem, that breathless space.

Literally, the fish will always leap again and again in these words, in this description. Poetry, as observation, is a kind of "breathless space"—a space without a body, mere words, but also a place where real bodies, women, fish, and water coexist. The major poem of this collection is certainly "In Blackwater Woods." In a series of fourteen lyrics ranging across many poetic styles including the prose poem, Oliver confronts both her major theme and her main medium, poetry. In the untitled poem "9," she offers these lines: Still, listen, I swear, I have not set one word down on top of another without breathing into it!

Here, Oliver embodies her own poetry; its rhythm, she implies, is quite literally her body's rhythm,

her breath. By the end of this complex and important poetic sequence, in "14: In a Dark Wood: Wood Thrushes," she reminds the reader that nature too breathes with its own language: all creatures communicate and, make noise. Listening to sounds in the woods, she says: "This is not song, this is not singing, this is not thoughtful.. ." She does away with any anthropomorphizing. Instead, she tells her readers that what they hear is: "no idea, simply noise, call it noise . . ." To say, "call it noise," denies that even the word "noise" is an accurate indicator of the sound she hears. Asking the reader to recall nothing but unmediated sound, Oliver concludes: "Each voice shimmers; yet it is one voice: the damp and sonorous exaltation of the dead, or the not-yet-born, who still know everything." Nature consists of voice, language, be it snakes in the leaves, birds in the trees, or the poet at her desk. The last stanza of the last and title poem, "White Pine," says: And now I have finished my walk. And I am just standing, quietly, in the darkness, under the tree.

The book itself moves as if its poems, too, were taking a walk. By the time the book's walk is over, Oliver has learned to stand quietly and listen. This time, though, she explains how what she hears is itself always filtered through these natural, yet crafted poems. Despite the turn of attention in White Pine to the fact of poetry itself, reviewers continued to emphasize Oliver's status as a nature poet whose approach to nature was meant to be unmediated. In The Bloomsbury Review, the reviewer, Thomas R. Smith, declared: "As a practitioner of the 'nature' poem, she is currently without rival; no poet in recent times has honored deer, pine trees, hummingbirds, spiders, and owls with the intense sustained, and loving scrutiny she brings to even the least of her poems." In a 1996 article in Poetry the poet Richard Tillinghast praised the volume precisely because it refused to anthropomophize

MARY OLIVER / 245 nature: "its otherness is acknowledged." Finally, writing in Provincetown Arts in 1995, Mark Doty, one of the more important young poets to come to prominence in the 1990s, singled out Oliver's spirituality: "nature is viewed in light of a spiritual crisis." Oliver continued to insist, however, on the importance of the art of poetry writing not just in her poems but in general publishing, A Poetry Handbook, in 1994. There, Oliver provides a map to the inner workings and elements of poetry: "A Poetry Handbook was written with writers of poetry most vividly in my mind; their needs and problems and increase have most directly been my concerns." The fact that, off and on for close to fourteen years, Oliver had been teaching poetry writing in colleges and universities across the country certainly played a role in her decision to set forth her ideas in a specific manual. There, speaking out of more than thirty years of struggling with the very idea of poetry, Oliver announces that everything is, fundamentally, poetic, if, poetry means the recognition of a deep spirituality in things, in nature, and in ourselves: If it is all poetry, and not just one's own accomplishment, that carries one from this green and mortal world—that lifts the latch and gives a glimpse into a greater paradise—then perhaps one has the sensibility: a gratitude apart from authorship, a fervor and desire beyond the margins of the self.

In the prose poem, "December," from White Pine, Oliver had used remarkably similar language. There, she describes a deer coming out of the woods and then vanishing. She tells the reader that: "The great door opens a crack, a hint of the truth is given—so bright it is almost a death, a joy we can't bear—and then it is gone." This fleeting glimpse of what she here calls "truth" is what she believes the best poetry provides and what, in her handbook, she means to convey to the next generation of poets.

This turn to the act of poetry writing itself perhaps made it inevitable that Oliver would collect her essays and publish them in her first prose collection, Blue Pastures in 1995. There, in fifteen essays, Oliver offers her first autobiographical pieces to a general public, as well as an extended appreciation of Walt Whitman's poetry in "My Friend, Walt Whitman." Particularly interesting to those who wish to know more about her work are two essays, "Pen and Paper and a Breath of Air," and "The Poet's Voice." In the first, she explains how and where she writes: "For at least thirty years, and at almost all times, I have carried a notebook with me, in my back pocket." She says that she literally writes much of her work in its initial drafts in the woods, or on the beach, or wherever in nature she happens to be. In the second essay, she describes the poets who first affected her deeply. Then, she complains about a contemporary American poetic culture that is obsessed only with autobiography and free verse. She proceeds to defend metered poetry even though she herself had, in her most recent collections, left not only meter but also the free verse line behind, favoring instead the prose poem's unlineated blocks of text. Also in this collection one finds the beginnings of an interconnected series of prose poems called "Sand Dabs"—gnomic aphorisms in the spirit of Emerson and Thoreau. As with White Pine, the reviews of this prose collection were generally enthusiastic. But in the leading journal devoted to the review of poetry, Parnassus, Gyorgyi Voros offered what can only be called a stinging critique of Oliver's work. In so doing, he resurrected the controversy over the rapturous, epiphanic poetry that had asserted itself throughout her career. Taking her New and Selected Poems, White Pine, and Blue Pastures as his subject, Voros began his essay with the flat assertion that "Mary Oliver exhibits a peculiar lack of genuine engagement with the natural world." He reserved his harshest comment for her spirituality, labeling it an "addiction to spiritual

246 / AMERICAN WRITERS thrill-seeking" and finding in it a "complacency of thought" and a spirit of "self-congratulation." Dismayed by, if not outright disgusted with, Oliver's depiction of what he called "a transcendent vision of wholeness," Voros concluded that her entire vision is "ecologically unsound. The last thing we need to do in the current urgency of reconsidering our relationship to the natural world is to 'cast aside the weight of facts' and 'float. . . / above this difficult world.' " For Voros, Oliver "does not answer to the needs of our own historical moment, or to the particulars of the late twentieth century's conflicts with Nature." He even goes so far as to gender his attack, labeling her "schoolmarmish." Perhaps, not surprisingly, Voros reserves his enthusiasm for a very "manly" poet, Gary Snyder, two of whose books he then reviews with vigorous praise in order to point, through the contrast, to Oliver's failings. Unwittingly, Voros proves the point of such feminist scholars as McNew, Yaeger, Bonds, and Graham: there does seem to be a gendered inflection to the critical response to Oliver's work. As if to counter both Voros and his feminist predecessors, Douglas Burton-Christie, in 1996, contributed the first article to consider Oliver's "transcendence" from a specifically Christian point of view. Writing in Cross Currents, BurtonChristie argues that the command to pay attention and observe, which Oliver attributes to Flaubert, refers to a far older Christian tradition of attending to the particular. Writing in a journal for religious scholars, Burton-Christie means to make Oliver's work accessible to that community, arguing that Oliver's complexity of vision consists of both what McNew discovered—a new set of symbols, a new myth-and what Graham discovered—the refusal to read nature through mythological symbols. According to Burton-Christie, the tension between these two methods of reading nature inform Oliver's poetry. Reading this tension in Oliver's poetry, BurtonChristie sees the work as a deliberate refusal to

allegorize to "impose upon nature an alien symbolic structure of meaning." By implication, then, Burton-Christie defends her work from charges leveled against it by readers like Voros. According to Burton-Christie, if one is not reading carefully, one will inevitably think, as does Voros, that one is reading merely a poetry of flat statement: unoriginal, and banal. In fact, argues Burton-Christie, Oliver's careful, precise language and description "appears to have less an aesthetic than an ethical connotation." Such a desire, after all, is deeply respectful of all life: it says that Oliver refuses to fossilize the things she describes, to forever trap them in her own prison house of meaning. Burton-Christie, in this article, establishes a new direction for the continued scholarly study of Oliver's work, probing what he calls her "spirituality of the ordinary." In West Wind, Oliver continues to engage such spirituality. In 1997, a year after she was appointed to the Catharine Osgood Foster Chair for Distinguished Teaching at Bennington College in Vermont, she published this book, her ninth full collection of poetry. In it, Oliver continues her exploration of the connections between nature and the human by finally entering the Romantic tradition reviewers and critics have for so long said she inhabited. Divided into three sections, West Wind contains some of her longest poems. The second section, the title poem, "West Wind," is, itself, a series of thirteen poems. Deliberately echoing Shelley's famous "Ode to the West Wind," it joins with her previous long poem, "In Blackwater Woods," as a lyric in the manner of the great Romantic odes. If, in White Pine, she finally wrote about the act of writing poetry, then in West Wind she finally writes directly out of a specific literary tradition invoking through her literary allusions, and addresses to past poets— Percy Shelley, William Blake, John Clare—the world of poetry that precedes her own and in which hers will finally come to rest. As important as this literary "home" is to Oliver, West Wind also signals in a singular way Oliver's true home.

MARY OLIVER / 247 In the last stanza of the poem comprising the book's final section, Oliver writes: I climb. I backtrack. I float. I ramble my way home. After years of climbing, backtracking, and floating through nature, Mary Oliver, in this book, returns to the human world as part and parcel of the natural world. In this poem, "Have You Ever Tried to Enter the Long Black Branches," written to her companion, Molly Malone Cook, the everpersonally-reticent Oliver finds in human love her home. After West Wind, Oliver published Rules for the Dance and a mixed genre collection of prose, poems, and prose poems, Winter Hours. These books continue her ongoing goal of reconciling nature and the human by accounting for, and examining the art of poetry as the instrument used to achieve that goal. In Rules for the Dance, for example, Oliver hopes to teach the metrical tradition to a new generation of poets. As a result, it is as much a book of practical poetic history as it is a manual; she even includes an anthology of her favorite metered poems at the end of the book. Throughout the book, however, one finds that Oliver returns again and again to the spiritual urgency of poetry in order to impress that central fact of the art on the present and future poets who will be her readers. Winter Hours, meanwhile, is equally "literary," in that it contains a number of essays devoted to specific poets who have long had an impact on her: Gerard Manley Hopkins, Robert Frost, Edgar Allan Poe, and Walt Whitman. And in the lovely poem/essay, "The Boat," Oliver meditates on Shelley, reflecting on his death by drowning. The hardback edition of the book includes a cover picture of his boat, as if to underline the Romantic heritage behind Oliver's own poetic career. But it is perhaps the final section of Winter Hours, consisting of the title essay, that is, for

readers of Oliver, both the most surprising and the most welcome. In the poet Maxine Kumin's 1993 review, she lamented that "It is our misfortune that she has never shined the bright light of her introspection on human love." Having turned this bright light onto her own "human love" in West Wind, Oliver in the title essay to Winter Hours invites her readers, at last, into the home she has shared with her companion for so long. For the first time she describes publicly her life with Molly Malone Cook, her domestic routine, the daily events she has spent a career excluding from her poetry. Like Mary Oliver, her readers have rambled home with her as well. What might one expect of Oliver in the future? Only the poet can know but her recent literary turn, joined as it is to her return home, indicates that Oliver's search for connections, and for a home in the world, for what Whitman called "the merge," is far from over. In her future poetry, her readers can expect her to tell them where next to look.

Selected Bibliography WORKS OF MARY OLIVER POETRY AND PROSE

No Voyage, and Other Poems. London: Dent, 1963; Boston: Houghton Mifflin, 1965. The River Styx Ohio, and Other Poems. New York: Harcourt Brace Jovanovich, 1972. The Night Traveler. Cleveland: Bits Press, 1978. Sleeping in the Forest. Athens: Ohio Review Chapbook, 1979. Twelve Moons. Boston: Little Brown, 1979. American Primitive: Poems. Boston: Little Brown, 1983. Dream Work. Boston: Atlantic Monthly Press, 1986. Provincetown. Lewisburg, Perm.: Appletree Alley, 1987. House of Light. Boston: Beacon, 1990.

248 / AMERICAN New and Selected Poems. Boston: Beacon, 1992. A Poetry Handbook. San Diego: Harcourt Brace, 1994. White Pine. San Diego: Harcourt Brace, 1994. Blue Pastures. San Diego: Harcourt Brace, 1995. West Wind: Poems and Prose Poems. Boston: Houghton Mifflin, 1997. Rules for the Dance: A Handbook for Writing and Reading Metrical Verse. Boston: Houghton Mifflin, 1998. Winter Hours: Prose, Prose Poems, and Poems. Boston: Houghton Mifflin, 1999.

UNCOLLECTED ESSAYS

"For the Man Cutting the Grass." Georgia Review 35, no. 4:7-11 (1981). "Some Thoughts on the Line," The Ohio Review 38: 41-46 (1987). Introduction to Holyoke, by Frank Caspar. Boston: Northeastern University Press, 1988.

CRITICAL AND BIOGRAPHICAL

STUDIES

Alford, Jean B. "The Poetry of Mary Oliver: Modern Renewal Through Moral Acceptance" Pembroke Magazine 20:283-288 (1988). Baker, David. Review of House of Light. Kenyon Review 13, no. 1:192-202 (1991). Barber, David. Review of New and Selected Poems. Poetry 162, no. 4:233-242 (1993) Bennett, Bruce. Review of American Primitive. New York Times Book Review, July 17, 1983, p. 10. Booth, Philip. Review of No Voyage and Other Poems. The Christian Science Monitor, April 15, 1965, p. 9. Bonds, Diane "The Language of Nature in the Poetry of Mary Oliver." Women's Studies 21:1-15 (1992). Burton-Christie, Douglas. "Nature, Spirit, and Imagination in the Poetry of Mary Oliver." Cross Currents 46, no. 1:77-87(1996). Dickey, James. Review. The New York Times Book Review, November 21, 1965, pp. 61-62. Dobyns, Stephen. "How Does One Live?" New York Times Book Review, December 13, 1992, p. 12. Doty, Mark "Natural Science: In Praise of Mary Oliver." Provincetown Arts 11:26-27, 29 (1995).

WRITERS

Gilbert, Sandra. "Six Poets in Search of a History." Poetry 150, no. 2:113-116 (1987). Graham, Vicki. "Into the Body of Another: Mary Oliver and the Poetics of Becoming Other." Papers on Language and Literature 30, no. 4:352-372 (1994). Gregorson, Linda. Review of American Primitive. Poetry. 145:38-39 (October 1984). Grosholz, Emily. "Poetry Chronicle." Hudson Review 33, no. 2:303 (1980). Kitchen, Judith. Review of New and Selected Poems. The Georgia Review 47, no. 1:145-159 (1993). Kumin, Maxine. "Intimations of Mortality." Womens Review of Books 10, no. 7:19 (1993). McNew, Janet. "Mary Oliver and the Tradition of Romantic Nature Poetry." Contemporary Literature 30, no. 1:59-77(1989). Oppenheimer, Paul. "The Innocence of a Mirror." American Book Review 15, no. 4:11 (1993). Ostriker, Alicia. "Review of Dream Work." The Nation 243, no. 5:148-150 (1986). Richman, Robert. "Polished Surfaces and Difficult Pastorals." New York Times Book Review, November 25, 1990, p. 24. Seidman, Hugh. "Natural Universe." New York Times Book Review, October 21, 1979, p. 24. Smith, Thomas R. Review of A Poetry Handbook and White Pine. Bloomsbury Review 15, no. 4:28 (1995). Steinman, Lisa. "Dialogues Between History and Dream." Michigan Quarterly Review 36, no. 2:428438 (1987). Voros, Gyorgyi. "Exquisite Environments." Parnassus 21, nos. 1-2:231-250 (1996). Tillinghast, Richard. "Stars and Departures, Hummingbirds and Statues." Poetry 166, no. 5:288-290 (1996). Yaeger, Patricia. Honey Mad Women: Emancipatory Strategies in Women's Writing. New York: Columbia University Press, 1988. INTERVIEWS "An Interview with Poet Mary Oliver." AWP Chronicle 27:1-6,8 (1994). Swanson, Eleanor. "The Language of Dreams: In Interview with Mary Oliver." The Bloomsbury Review 10, no. 3:1, 6(1990). —JONATHAN N. BARRON

Annie Proulx 1935-

wf V nITH THE PUBLICATION of her first two

BACKGROUND

novels—Postcards (1992) and The Shipping News (1993)—Annie Proulx (Proo) emerged from obscurity to become one of America's most celebrated writers. Both books garnered glowing reviews and a number of prestigious awards. In April 1993 Postcards bested 284 other works to win the PEN/Faulkner Award for Fiction, making Proulx the first woman writer to win the $15,000 prize since it was established in 1980. The Shipping News was an even greater triumph. In August 1993 it won the Chicago Tribune's Heartland Prize for fiction; in September it won the Irish Times International Fiction Prize; in November it won the National Book Award for fiction and was nominated for a National Book Critics Circle Award. In April 1994 The Shipping News was awarded the Pulitzer Prize for fiction. After the Pulitzer was announced Proulx told an interviewer, Sybil Steinberg, that she had "run out of being stunned. Except I am stunned. Each time this happens, I can't believe it." As is true of many an "overnight sensation," Annie Proulx's phenomenal success was the culmination of a long apprenticeship in her craft and an even longer period of struggle and frustration. She began her life as a professional fiction writer in her mid-fifties, a fact that makes her achievement all the more remarkable.

Edna Annie Proulx was born on August 22,1935, in Norwich, Connecticut, the first of five girls. Her father, George Napoleon Proulx, quit school at the age of fourteen to work as a bobbin boy in a textile mill. He eventually worked his way up to vice-president of another textile firm. Annie Proulx recalls with some sorrow that, as her father rose in the world, he "deliberately cut himself off from his childhood [that is, Franco-American] culture and reinvented himself as a New England Yankee." Annie Proulx's maternal ancestors, the Gills, had lived in Connecticut since 1635 and had made their livings as farmers, inventors, artisans, or mill hands. Proulx characterizes her maternal grandmother, Sarah Geer, as "a wonderful storyteller" and a bit of an eccentric (who washed and ironed all her paper money). Proulx's mother, Lois Nellie (Gill) Proulx, was a painter and an amateur naturalist. In a 1994 interview with Sara Rimer for a New York Times profile, Proulx credited her mother with teaching her how to observe life with focused attentiveness: "From the time I was extremely small, I was told, 'Look at that.' Most often it was anthills. My mother would say, 'Look at that one carrying a stick.' All these guys had characters. She would give them voices. We'd be watching them, and

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250 / AMERICAN WRITERS pointing out the various ones. There was Charlie. There was Mr. Jones. She had an animistic universe in her mind." From an early age, Proulx learned to see "Everything—from the wale of the corduroy to the broken button to the loose thread to the disheveled mustache to the clouded eye." What Proulx got from her father's side of the family was a ferocious work ethic and a tendency to move around. Her father's ancestor, Jean Prou, came from Anjou to Montmagny (on the St. Lawrence River, just north of Quebec City) in 1666 and worked for some years as a servant in the house of the Seigneur of Montmagny. The maternal branch of Proulx's family, LaBarge, arrived in Canada around the same time and settled northwest of Montreal. Joseph LaBarge left the province of Quebec on his twenty-first birthday, paddled to St. Louis, and there joined up with General Ashley to trap beaver in the Rockies. The town of LaBarge, Wyoming is named after him. Proulx's father's more immediate ancestors came to New England in the 1860s to work in the woolen mills. During her youth, Proulx's family moved frequently as her father transferred from one mill job to another. She lived in numerous towns all over New England and North Carolina. For a while Proulx attended a one-room schoolhouse in Brookfield, Vermont. She and her family later moved to the mountainous Appalachian country of western North Carolina. There she attended Black Mountain High School, not far geographically from Black Mountain College, the legendary artists and writers' community. A couple of years later the Proulx family relocated again to the coastal city of Portland, Maine, where Proulx finished high school at Deering High School. Proulx's interest in fiction writing started early. Confined to bed with chicken pox at the age of ten, Proulx wrote her first short story (she no longer remembers what it was about). After graduating from Deering High School in 1953, Proulx enrolled at Colby College in Waterville,

Maine. She dropped out without graduating in 1955 to marry H. Ridgely Bullock, a fellow student. Bullock and Proulx moved to New York City where Bullock pursued a career as a theatrical producer. In 1958 Proulx gave birth to her first child, a daughter named Sylvia "Muffy" Marion Bullock (Clarkson). An ROTC candidate in college, Ridgely Bullock was called to active duty in the air force and subsequently stationed in Japan. The Bullock family lived outside of Tokyo for a couple of years. When Proulx's marriage to Bullock ended soon thereafter, her young daughter, Sylvia, went to live with her father. Proulx soon remarried but her second marriage was, in her words, singularly "stupid." She says "It was the thing to do in the 50s—marriage." Proulx moved to Vermont in the 1960s. She enrolled at the University of Vermont in Burlington in 1966 and graduated cum laude and Phi Beta Kappa with a degree in history in 1969. That same year Proulx married for a third time to James Hamilton Lang. Their three sons are: Jonathan Lang, Gillis Crowell Lang, and Morgan Hamilton Lang. After graduating from the University of Vermont, Proulx enrolled as a doctoral student in history at Sir George Williams University (now known as Concordia University), Montreal, some seventy miles north of her home in St. Albans, Vermont. She earned her master's degree in 1973 and passed her Ph.D. oral examinations in 1975. Her areas of concentration were in Renaissance economic history, the Canadian North, and traditional China. According to an unpublished autobiographical essay sent to me by Proulx, the "disparate subjects suited my interests as did the department's leaning toward the Annales school of history associated with [Fernand] Braudel, [Marc] Bloch, and [Lucien] Febvre; at the time the great scholar George Rude of The Crowd in History was in residence. It was invaluable training for novel writing and set my approach to fiction forever—the examination of the lives of individuals against the geography and

ANNIE PROULX / 251 longue duree of events, that is, that time and place are major determining factors in a human life" (emphasis added). As interested as she was in history, Proulx became "increasingly restless with the idea of an academic career." She abandoned her thesis "in mid-stroke" and quit the program. As she put it in a brief autobiographical piece to Contemporary Authors in 1994: "In 1975, facing the lack of teaching jobs in my field, I abandoned my doctoral thesis and jumped head-first into freelance journalism. A classic example of shifting from the frying pan into the fire. I lived, at this time, with a friend in a rural shack in Canaan, Vermont, up on the Canadian border [at the extreme northeastern corner of the state] in brutally poor circumstances. Compensations were silence and decent fishing, both vanished now." So began another distinct phase in Proulx's life that lasted the next thirteen years. In Vermont's desolate Northeast Kingdom for the first year or so, Proulx fished, canoed, hunted, chopped wood, and generally became adept at all of the arts and crafts of rural survival on a subsistence budget— all while raising three young boys alone after she and James Lang separated. As she told the journalist Katie Bolick in a 1997 interview, "What interested me at this time was the back-to-theland movement—communes, gardening, architecture, the difficulty of maintaining a long, dirtroad driveway. Not only could I solve some of those problems in real life and observe what people were doing to make things work in rural situations, I could write about them and make some money." To pay the bills she wrote what she has since described as "tedious nonfiction": articles on weather, snow removal equipment, winter clothes, gardening, wild berries, home repair, and so forth, for many different magazines. By the early 1980s Proulx was also writing magazine articles and "how to" books on similar subjects, such as landscaping, bartering, making cider, preparing dairy foods, and making insulated window

shutters. In 1983, after living in a dozen different towns all over Vermont, Proulx moved to Vershire (twenty miles southeast of Montpelier), a town of 400 residents. Once she was settled in, Proulx founded a newspaper with some friends (ironically titled the Vershire Behind the Times) and built a house.

HEART SONGS AND OTHER STORIES (1988)

All of her adult life Proulx's real passion was to write fiction but circumstances conspired against her. As she told David Streitfield for the Washington Post, "Everything was in a logjam for many years. I did magazine journalism for 19 years, keeping bread and butter on the table. I yearned to write fiction, but there wasn't any money in it. I could only write one or two stories a year. It was my pleasure, my indulgence, when I wanted to do something that wasn't fishing or canoeing." During her university stint—from the mid-sixties to the mid-seventies—Proulx published, on average, a story a year in Seventeen magazine. She wrote "Stone City" and a few other stories during her stint in the Northeast Kingdom. She placed "Stone City" with Gray's Sporting Journal in 1979. Proulx fondly remembers Gray's as "a handsome new magazine" which "concerned itself with wildlife art and the blood sports through a serious literary approach— nothing like it had been since the famous Field and Stream of the late nineteenth century." Thereafter, Proulx again averaged several stories a year in various journals throughout the 1980s. A milestone in Proulx's career as a fiction writer occurred in 1982 when she published a story in Esquire (and another in 1985). The Esquire connection also led to her big break. When Tom Jenks, assistant to Esquire's esteemed fiction editor Rust Hills, took an editorial job at Scribners in 1987, he suggested his new employer publish a collection of Proulx's short sto-

252 / AMERICAN WRITERS ties. Soon thereafter Proulx's literary agent, Liz Darhansoff, negotiated a contract for her with Scribners that called for a short story collection and a novel. Proulx selected some stories she had written over the last decade and added several more to create Heart Songs and Other Stories. Tom Jenks had already left Scribners to become fiction editor at GQ, so John Glusman, a new senior editor, edited Heart Songs. Proulx credits Glusman with turning her into a professional fiction writer. She says in her autobiographical piece, "In a very real sense I learned to write from John Glusman. He encouraged me to try a novel as one of my failings was cramming too much into a short story." Not surprisingly, all of the stories in Heart Songs are set in rural New England and focus on the lives of country people. The leadoff story, "On the Antler," introduces all the key elements that characterize Proulx's fiction. First there is the sardonic narrative voice and a detailed, taut, and exacting style that is both highly realistic and intensely lyrical. Proulx's vivid prose, full of nature imagery, compliments her thematic concerns. As she herself noted, Proulx's narrative method is based on the conviction that "time and place are the major determining factors in a human life." Accordingly, she is keen to contradict the Yankee magazine version of the New England countryside as serene, even idyllic, where a strong sense of community still prevails. Contemporary country life in Proulx's New England has a desperate tinge to it, its denizens painfully aware that the old ways are being overwhelmed by the brutal imperatives of a new and alien economic order that has little patience for nature, tradition, and independence. Proulx is equally avid to demolish smug popular stereotypes of rural folk as amiable bumpkins living lives that lack inwardness and intensity. For the nonaffluent country life is, and always has been, hard; it tends to produce people who are troubled, combative, and suspicious of outsiders.

"On the Antler" focuses on Bill Stong, a dishonest, mean-spirited loner who has made an avocation of playing nasty practical jokes on his neighbor, Leverd Hawkheel, a bibliophile and an avid hunter, who plots revenge against Stong. The feud escalates when Hawkheel cheats Stong by paying him a pittance for valuable rare books on country lore and Stong retaliates by making Hawkheel sick with spiked brandy so that he and a "flatlander" (an emigre from out-of-state) named Mr. Rose can usurp Hawkheel's private deer stand on Antler Mountain. After the two interlopers bag a record-breaking buck, an enraged and sobbing Hawkheel takes the valuable books he bought from Stong, rips out pages and breaks spines, and throws the ruined books at the deer carcass hanging from a tree near Stong's house, thus spiting Stong and himself. Proulx's depiction of Hawkheel and Stong is unflattering, even grotesque. Yet the story is also marked by a countervailing concern to show that traditional rural culture, as petty and mean as it often is, is fast disappearing due to the encroachments of moneyed outsiders. Bill Stong seems to win his private war but the reader's sympathies are set against him because he is so obviously the hateful instigator of trouble. Equally reprehensible are Stong's greed and opportunism. When the bourgeois refugees from the megalopolis start "coming into the country, buying up the old farmhouses and fields and making the sugarhouses into guest cottages," Stong sets "his tattered sails to catch this changing wind." He caters to the flatlanders' yearning for authenticity by striking the pose of a local "character" and selling them the old junk from his house as authentic Americana. Because he was never really connected to his neighbors, Stong has no compunction about breaking ranks with them in order to curry favor with the new dominant class. Ironically, but perhaps typically, the worst of the natives proves to be the most adaptable. Conversely, Hawkheel's inability to prevent Stong and Rose from invad-

ANNIE PROULX / 253 ing his turf figures for the larger failure of an impoverished and disorganized rural populace to fight the takeover of the countryside by affluent urbanites bent on transforming the boondocks into their own yuppie paradise. Stong sells off tradition but Hawkheel, in a fit of impotent rage, willfully destroys it. Implicitly, Proulx asks, who is worse? Neighbors in conflict is more centrally the subject of the collection's second offering, "Stone City." Proulx's unnamed first person narrator has moved to the fictional Chopping County, Vermont, to retreat "from other people in other places." He soon enters into an affair with Noreen, his cleaning lady, and tries to befriend a local named Bill Banger, in hopes that Banger will take him grouse hunting. With no such invitation forthcoming, the narrator goes hunting alone until he accidentally meets Banger, also hunting, in a clearing in the woods that contains a number of cellar holes. The crumbling foundations are all that is left of "Stone City," a settlement that once housed the locally infamous Stone family, a lawless, predatory clan that was eventually tarred and feathered and driven out of the area at gun point after young Floyd Stone shot a man for no reason. Apparently Banger led the angry mob against the Stones. They later exacted vengeance on him by burning his house down, thus killing his wife and son. In the story's present Banger has only his trusted hunting dog, Lady, but she too dies when she steps into an animal trap set by Raymie Pineaud Jr., Noreen's half-brother but also of Stone descent. Convinced that the long-vanished Stones are still taking revenge on him, a shaken Bill Banger sells his hardware store and moves away. Raymie also moves away, as does the narrator, who sells his house to a retired couple from New Jersey who are "innocently enthusiastic about the country." Apparently the evil that men do not only lives after them but is sometimes capable of haunting the place where it occurred like a brood-

ing and malevolent force. In the story's rather chilling denouement, the narrator asks the town clerk who owns Stone City. She consults her records and replies "William F. Banger. He bought it years ago for back taxes. He still owns it." "She was wrong," replies Proulx's narrator, "The Stones owned it and they always would." The meanness of country life is examined from a different angle in "Bedrock," a story about Perley, a 69-year-old widower who has been tricked into marriage by a devious and secretly incestuous brother-and-sister team, Maureen and Bobhot Mackey, for the sole purpose of stealing his farm. Perley begins to discover the truth about his marriage to Maureen (who is two years younger than his youngest daughter) when she savagely beats him over a trivial matter. Bobhot intrudes with increasing frequency and Perley realizes that he can no longer delude himself as to the Mackey s' real intentions. In the end, Perley strikes down a drunken Bobhot and retreats to the barn for the night. It is not clear, in the end, if Perley will be able to escape his predicament, but that is not the point of the story. Proulx's real interest is in Perley's downfall, from prosperous farmer, to a desperately lonely widower at the mercy of people he had once looked down on as country trash. Time and decay can effect extraordinary reversals of fortune. In Perley's case they have worn away the topsoil of his life to reveal the cold, hard bedrock of mortal need that lies beneath. True to her naturalist creed, Proulx also takes pains to illustrate that the desperate and conniving Mackeys are only products of the worst sort of rural poverty. "A Run of Bad Luck" can be considered something of a companion piece to "Bedrock"; it, too, is about love and marriage (and just about everything else) gone wrong. The main character, a logger named Amando, believes that he has been cursed with a run of bad luck. As he tells his mother, "All this year I had bad luck with everything I touch. My wife quits me. I got this god-

254 / AMERICAN WRITERS damn toothache keeps comin' back. The heater in the truck don't work good, and now this thing with the road on top of the rest of it." The "thing with the road" is a $1,200 invoice from the selectmen for the repair of a town highway that Amando severely damaged by dragging logs on it after a heavy rain. Amando's father, Haylett, sees what his son fails to grasp: that all of Amando's misfortunes are the result of his own neglect and impatience: "He thinks it's bad luck . . . It's his life. It's the way his life is turnin' out, and he don't know it yet." Amando is guilty of bad faith; he willfully misreads his own situation in order to evade accountability. His family is guilty of a different kind of bad faith; they try to shield Amando from the truth of his life. A hunting trip takes Haylett and his two other sons, Clover and Phil, past the house trailer Amando used to share with his soon-to-be ex-wife, Julia. Parked in the driveway is a pick-up truck belonging to Ray, the family's hired hand. It is clear from the amount of snow on the truck that it had been there all night. Haylett and his other sons try to prevent Amando from driving up the same road but he persists and his father and brothers fear that he will shoot his wife and her lover in a fit of jealous rage. True to life, though, the story ends with a whimper rather than a bang; Amando comes back down the road and tells his kin that he already knew. Amando's self-delusions pale in comparison to Snipe, the protagonist of "Heart Songs," Proulx's darkly comic title story (Webster's Dictionary defines snipe as the whole genus of limicoline birds but a second definition is more applicable here: "a contemptible person, a fool, skunk, etc.") Not unlike the first-person narrator in "Stone City," Snipe has come to Vermont to escape the city, his wife, and the bourgeois clothing shop they ran together. Indeed Snipe represents a distinct type: the affluent, aging ex-hippie with romantic fantasies about the rugged authenticity of life in the heartland. As Proulx wryly notes, Snipe "has rec-

ognized in himself a secret wish to step off into some abyss of bad taste and moral sloth, and Chopping County seemed as good a place as any to find it." Set up in a rented country house by the wealthy parents of his girlfriend, Catherine, he lets her support him while he attempts to develop an appropriately romantic career as a guitarist working in country roadhouses. Snipe soon receives an invitation to sit in with a country group at their secluded farmhouse. Much to his delight, the musicians—Eno, Nell, Shirletta, and Ruby Twilight—are superb and the tunes they play are "good, authentic rural songs" that are entirely unfamiliar to him. Though largely ignored by the Twilight family as "a foreign tourist who did not know the language," Snipe thrives on the Wednesday night music sessions. As his absorption in the music of the Twilights increases, Snipe's relationship with Catherine deteriorates. And though he has never spoken to her, Snipe becomes infatuated with Nell, the fat vocalist of the group who is, presumably, Eno's daughter. Snipe seduces Nell in the kitchen while Shirletta is in town and the men are out back cutting wood. Immediately thereafter, Eno and Ruby come in, the latter with an arm torn up by a chain saw. After Eno dresses Ruby's wound, he realizes why Snipe is there. Snipe, panicking, vows his love for Eno's daughter even though he knows he does not love her; what he loves is "the truck in the weeds," that is, the ineluctable realness of rural poverty. Ruby corrects Snipe on one vital point: Nell is Eno's wife, not his daughter. Barely escaping Eno's wrath, a shaken Snipe returns home, wins Catherine back with a feast paid for with bad checks, and plots a new daydream that involves their moving out West where Snipe will affect the dress and manners of a cowboy. "The Unclouded Day" artfully skewers another "flatlander" who rivals Snipe in his quixotic delusions about country life. Earl is a yuppie stock analyst who works at home in his "enormous Swiss chalet," drives a late model Saab, has the

ANNIE PROULX / 255 requisite perky young child and a trophy wife "as thin as a folded dollar bill." None of this is enough. In order to complete his self-image as a bona fide country squire, Earl feels the need to become proficient in the fine art of hunting partridge. Smug in his assurance that everything is a commodity that can be purchased, Earl hires Santee, a grizzled old Vermonter, to teach him how to shoot. Santee does not want the job but is too polite to say no. The two men (and Santee's dog, Noah) spend an entire season hunting but Earl, with "the reflexes of a snowman," is unable to bring down a single bird. At $100 an outing Santee becomes increasingly guilty about taking Earl's money and is finding that "all the fun is goin' out" of hunting for him. Next fall, Earl shows up at Santee's door, much to the old man's chagrin. A sudden electrical storm curtails their hunting day together but not before Earl fires at a grouse. Mistakenly thinking he has hit the bird, Earl orders Santee's dog, Noah, to retrieve it. Noah rightfully refuses since there is nothing to retrieve. When Earl yells at Noah, Santee reaches the end of his patience with the affluent dilettante who is driving him crazy. He picks up three grouse just killed by a lightning strike and convinces Earl that they were felled by his shotgun blast. He also tells Earl that he will not have his dog "called down" and that their association is at an end. Flushed with deluded triumph, Earl runs to his car with his prize grouse, foolishly thinking that Santee is only jealous of his newfound shooting prowess. Santee, of course, has the last laugh, "wondering what Earl had said when he plucked three partridges that were already cooked." Having contrasted native Vermonters with interlopers, Proulx offers something of a hybrid case with "In the Pit," a story that features Blue, a longtime exile returning to Vermont from Las Cruces, New Mexico to visit his mother. Notified that the family's vacation camp in the back woods has been broken into and vandalized, Blue decides to go up there to make repairs. Visiting

Mr. Fitzroy, a camp neighbor (who has taken to the bottle after the death of his wife), Blue sees what he thinks is the family's old toaster. The sight of the toaster touches off a painful childhood memory. Blue once started a small fire when he tried to make a cheese sandwich in the toaster: a blunder that brought his father's wrath upon him and precipitated a nasty fight between his parents. Assuming that Fitzroy's lodger, Gilbert, an ex-con, removed it from the camp after trashing the place, Blue confronts the two men and confiscates "his" toaster. He later discovers the family toaster in the trash pit behind the camp and has to deal with the fact that he has displaced his lingering anger at his father, seven years deceased, on to his hapless neighbors. The appearance of the genuine article at story's end is quite literally a return of the repressed from the pit of Blue's unconscious and an ironic emblem of the distance he has traveled from the world of his origins. "The Wer-Trout" is a character portrait of Rivers, a self-deceiving, unhappily married middleaged alcoholic who runs The March Brown, a country angler's shop that is steadily losing money. Another exile from the city and his own past, Rivers "cures himself of all suffering and worry by memorizing ancient Chinese poems and casting artificial flies in moving water." His tenuous grasp on emotional stability begins to dissolve when his wife, "who has had enough for a long time," leaves him. Coincidentally his closest neighbor, a trailer-dwelling native named Sauvage, has to have his mentally ill wife hospitalized after he discovers her eating a mouse. Normally separated by class differences, Rivers and Sauvage find themselves suddenly bonded by the fates of their wives. They seek mutual consolation by going on a fishing trip together. Or such is the plan. As it turns out, Rivers, who thinks of himself as "the Great Fisherman," catches nothing while Sauvage hauls in trout after trout. Filled with smug condescension toward Sauvage, Riv-

256 / AMERICAN WRITERS ers cannot stand being bested at his favorite pastime. Succumbing to puerile egotism, Rivers starts drinking again, insults his superstitious companion with ridiculous ravings about a "wertrout" (half-man, half-trout) that haunts the forest, accidentally breaks his prize fishing rod, but still manages to convince himself that he is untouchable, that "there is no mouse on his plate" (emphasis added). In the end, Rivers becomes the wer-trout, a creature of stupid need and no selfawareness. With "Electric Arrows" Proulx returns to one of her primary interests: that crucial historical moment when a region undergoes profound change, in this case, the disappearance of an older way of life in the New England countryside. The Moon-Azures, an affluent couple from Maryland, buy the Clew homestead in Ironworks County, New Hampshire, as a summer vacation home. They come up every June and go back to Maryland every August. Hungry for the rustic authenticity that country living seems to offer, the Moon-Azures cheerfully expropriate their rural neighbors' land, labor, time, and folk culture with a serene sense of entitlement and absolutely no hint of irony or guilt. As the laconic first-person narrator, Mason Clew notes, "The Moon-Azures are after us ... for help with things, getting their car going, clearing out the clogged spring, finding their red-haired dog. They need to know how things happened, what things happened." After Dr. Moon-Azure retires, he and his wife stay at the former Clew place from mud season to the onset of winter: a sign of the further encroachment and growing power of moneyed outsiders. Mrs. Moon-Azure is even interested in old Clew family photographs, as if she could take ownership of the family's past. Mason's aunt wisely refuses to relinquish any pictures. She knows that the Moon-Azures "will pass [them] around among their weekend guests . . . and we will someday see our grandfather's corpse in his homemade coffin resting on two sawhorses, flattened out

on the pages of some magazine and labeled with a cruel caption." The absurdity of the MoonAzures' hunger for things old and authentic is pointed up when they think they have discovered "complex [Indian] petroglyphs" carved in stone on their property. Mason laughingly notes that what they have found is a self-portrait chiseled by his father, a former stone mason turned lineman, in the 1930s.

POSTCARDS Contracted by Scribners to write a novel after her short story collection, Proulx applied for residency at the Ucross Foundation in Wyoming to work on the book there. As she later told interviewer Sybil Steinberg in Publishers Weekly, the locale proved salutary: "What an enormous help the sight lines were, and the room to walk. There's something about being able to shoot your eyes very far ahead. In Northern New England the trees got in the way." Proulx used some postcards she had from the 1930s and 1940s that featured mug shots of escaped Vermont convicts as a springboard for the story. She recalls that there "was one really handsome guy. I can't remember what he did, but he had this incredibly wavy hair, the kind you just don't see anymore." Proulx conjured a character out of the haunting photo and he became Loyal Blood, a 30-year-old dairy farmer who kills his girlfriend, Billy, at the outset of the novel and is doomed to live the rest of his life as a fugitive and an outcast. The "price of getting away" is to have "no wife, no children, no human comfort in the quotidian unfolding of his life . . . restless shifting from one town to another, the narrow fences of solitary thought, the pitiful easement of masturbation, lopsided ideas and soliloquies so easily transmuted to crazy mouthings." After Loyal disappears in the spring of 1945, his enraged father, Minkton Blood, shoots Loyal's

ANNIE PROULX / 257 two Holstein cows in revenge. Without Loyal's help, the "weight of the work" falls on aging Mink and his remaining son, one-armed Marvin ("Dub"). The Blood farm, which has no electricity, languishes in the post-war economy. By the winter of 1951 the Bloods have fallen so far behind in mortgage and tax payments that the situation has become hopeless. Yet Mink refuses to sell the farm, knowing that he will not break even after paying off the mortgage. Instead, he and Dub resort to the desperate expedient of burning the barn (and the remaining cows) for the insurance money. Hard pressed by insurance investigators, Dub confesses to first-degree arson, implicates his father, and both men are sentenced to one-to-four-year terms in the State Prison at Windsor. Minkton Blood hangs himself in his prison cell shortly after his incarceration. Mink's suicide signals the end of the farm, which, in a small way, figures for the overall decline and fall of an agricultural era in New England that lasted some three hundred years. If Loyal is exiled from home and the life he knew, the other surviving family members—his mother, Jewell Blood, his brother, Dub, and his sister, Mernelle—find themselves exiled as well. The attempts of all four Bloods to adapt to radically changed circumstances comprise the bulk of the narrative as Proulx chronicles how the exploding post-war economy buried the settled traditions of community and family forever and turned America into a lonely nation of rootless drifters, social climbers, and petty individualists. Mink's death brings challenges and opportunities for his widow, Jewell Blood. Ronnie Nipple, a longtime neighbor turned real estate agent, convinces Jewell to sell off the farm in parcels in order to retain the house and a bit of land. She follows Nipple's advice but is soon outraged to discover that she has been betrayed. Nipple never told her that one of the parcels would be turned into a 40-lot trailer park. Yet, in many ways, Jewell's life is transformed for the better by her hus-

band's death. Alone "for the first time in her adult life" and "cast free of Mink's furious anger," Jewell Blood revels in her freedom. She is able to wake when she wants, eats what she wants, and having never learned how to drive, begins to take driving lessons in the late 1960s. When Jewell drives, "her stifled youth unfurl[s] like ribbon pulled from a spool." Ironically, her newfound mobility is also the cause of her doom. In midNovember of 1969 she decides to drive her '66 Volkswagen beetle up Mount Washington in New Hampshire. After taking an ill-advised short cut on a logging road at the start of a snowstorm, Jewell gets stuck and has a fatal aneurysm while attempting to dislodge her car. Like her late husband's demise, Jewell Blood's is a lonely death in a desolate place, also the result of poor judgment. But unlike Mink, who dies in despair and defeat, Jewell at least dies free and in pursuit of adventure. Jewell's daughter, Mernelle, fares somewhat better. Though "she took what happened hard" and dropped out of school when her father was arrested, Mernelle Blood decides she wants a better life for herself and begins to seek a husband. When Robert "Ray" Mac Way, a 19-year-old lumber worker, advertises for a wife in the local paper, Mernelle answers the ad and the two marry amidst much condescending "human interest story" publicity. Ray Mac Way is a good man and the marriage is a long and happy one but ends tragically when Ray succumbs to cancer—industrialism's plague—and dies a slow and agonizing death that almost drives Mernelle to distraction. Amoral, reckless, and possessed of a piratical temperament Dub, of all the Bloods, predictably adapts best to the casino capitalism of contemporary America. Some years after his release from prison Dub drifts down to Miami, just then experiencing a massive influx of Cubans that have escaped Castro's revolution. Initially involved in petty scams, Dub works his way into the burgeoning Miami real estate market, be-

258 / AMERICAN WRITERS comes rich, marries a smart, ambitious Cuban emigre, and achieves his own version of the American Dream. Though he stays in touch with his mother and sister, he has, in classic American fashion, reinvented himself and sloughed off his past. The true price of such an irrevocable transformation becomes apparent when Dub runs into tax problems and formerly halcyon Miami degenerates into a cesspool of decadence, violence, and class warfare in the 1980s, especially after the Mariel boatlift. Writing a consolatory postcard to Mernelle after Ray's death, Dub reports that "things down here are bad. Killings, riots, drugs, bankrupts, crime, hurricanes. It used to be beautiful." In a larger sense, Dub's words form an epitaph for the American Dream and for the country as a whole. While Dub represents the new breed of postWar World II America come to an ambiguous end, Loyal Blood embodies the forsaken spirit of precorporate, working class America. Like Hamlet's father, he is a ghost "doomed for a certain time to walk the earth." After leaving the farm, Loyal crisscrosses the country in search of work and perhaps a place to start over. The ensuing decades are marked by intense isolation, constant movement, and all manner of misfortune and hardship. Loyal is robbed by hitchhikers, almost killed in a mine cave-in, injures his eye in a freak accident, is barricaded by tumbleweed, buys a farm in North Dakota but soon loses it to fire, has his trailer stolen, contracts bronchitis, and ends up destitute after a lifetime of backbreaking labor. The reader last sees a terminally ill and exhausted Loyal Blood "hoofing it" along a dusty road out West, his worldly possessions reduced to a "bedroll, a few utensils, a change of ragged clothes, wad of paper, pencil stubs, jar of instant coffee, plastic razor with dull blade." In the final analysis the tragic history of the Bloods comprises a devastating portrait of the United States in the second half of the twentieth century: a country that lost its soul by abrogating its connection to the land and to its own past.

THE SHIPPING NEWS Although she wrote most of the novel in Wyoming, Proulx considers Postcards (1993) her "road book." While researching it, she visited the places Loyal Blood lives and works in order to capture the look and feel of them. Her next novel, The Shipping News, involved the same kind of on-site research. A fishing trip first brought Proulx to Newfoundland, a remote island province in eastern Canada, in 1987. She later told John Blades of the Chicago Tribune, she "just fell quite madly in love" with the "rugged" and "immensely interesting" island and its people, whom she experienced as the "warmest, kindest, most interesting anywhere." She went back more than a dozen times. Quite naturally, Newfoundland became the principal setting and to a large extent, the subject of The Shipping News. To supplement her explorations of the island, Proulx read omnivorously on the history of the island and absorbed the Newfoundland dialect by going to bed every night with The Dictionary of Newfoundland English. Another key book for Proulx, which she obtained for a quarter at a yard sale, was Clifford W. Ashley's The Ashley Book of Knots, quotations from which supply the symbolically resonant epigraphs at the head of most chapters. The protagonist of The Shipping News is R. G. Quoyle, "a third-rate newspaperman" living in Mockingburg, a small town in upstate New York. An ineffectual bear of a man, Quoyle is possessed of "a great damp loaf of a body" on which sits a "head shaped like a Crenshaw, no neck" and "a monstrous chin, a freakish shelf jutting from the lower face." Desperately in love with his unfaithful and verbally abusive wife, Petal Bear, Quoyle suffers her humiliating infidelities with a cringing meekness bordering on outright masochism. Then, quite suddenly, Quoyle's sorry life is transformed by catastrophe. First, both his parents commit suicide after each is diagnosed with cancer. Next, Quoyle is fired from his newspaper job. Then the

ANNIE PROULX / 259 coup de grace: Quoyle's wife, Petal Bear, is killed in a car accident after having sold their two young daughters, Sunshine and Bunny, to a child pornographer. Luckily, the girls are rescued before evil befalls them. Quoyle is nonetheless griefstricken by the death of his wife and parents. With $50,000 in insurance money and no ties left to hold him in Mockingburg, Quoyle is persuaded by Agnis Hamm, his somewhat eccentric lesbian aunt, to take his daughters with him to ancestral digs at Quoyle's Point, Newfoundland, to "start a new life in a fresh place." More than one commentator has noted that The Shipping News is structured like a fairy tale. Not surprisingly the book treats the quintessential theme of all fairy tales: healing psychic wounds in order to grow up. Emotionally a stunted child, Quoyle begins his long-delayed maturation when he arrives in Newfoundland. A stark version of J. M. Barrie's Neverland—that mythical place safely bracketed from the protagonist's painful past and modernity's crushing decadence—"The Rock" is as remote, wild and close to Nature as it possibly can be. Despite its harsh climate and quirky folkways, Newfoundland proves to be Quoyle's salvation. He gets a job at a small, comically disreputable newspaper, The Gammy Bird, reporting on the arrival and departure of ships (hence the novel's title). Wise, solicitous Jack Buggit, Quoyle's boss, becomes his surrogate father, Quoyle's own father having been a heartless, abusive tyrant. Learning to "read" his world with newfound acuity, Quoyle eventually transforms The Shipping News into a respected column and, with the help of his aunt Agnis (a tough but benevolent mother figure), he also restores the "half ruined, isolated" ancestral home at Quoyle's Point. By meeting these daunting challenges, Quoyle recovers himself and also restores his connection to his familial past. Quoyle's unlikely transformation—from emotional cripple to responsible adult—allows him to become a nurturing father to his daughters, especially Bunny, who has developed a morbid fear of death in the wake

of her mother's sudden demise. The only thing missing from Quoyle's life is the love of a good woman and Proulx supplies that in the figure of Wavey Prowse, a widow who is the perfect mother to her retarded son. Both gun-shy from traumatic experiences of love and loss, the two court slowly and cautiously but eventually wed in what constitutes the novel's triumphal moment. Despite some dark elements, The Shipping News remains the most optimistic and enchanting of Proulx's books. It was both a resounding succes d'estime and a wildly popular bestseller, selling an astonishing million copies, cloth and paperback editions combined. The book's tremendous appeal is easy to explain: it is thoroughly researched and superbly written, has dashing narrative drive, interesting characters, the romance of Newfoundland, and something like a happy ending. (For Proulx "happiness" is defined "as the absence of pain.") In the final analysis, though, the novel probably struck a chord with the public because it champions the underdog and affirms the notion that even the most damaged and demoralized people have the innate potential to redeem themselves and reclaim their lives. Furthermore, the novel celebrates the virtues of genuine—as opposed to abusive—love, home, family (however constituted), and a rooted sense of community as the true underpinnings of a viable self. Commenting on the book, Proulx notes that Quoyle "is a man in the wrong place who finds the right place. This is a novel about the power of home territory on us all." In an oblique way it is Proulx's most autobiographical work.

ACCORDION CRIMES

For her third novel Accordion Crimes (1996), Annie Proulx decided to focus on the American immigrant experience, a topic that had intrigued her for some time. Proulx told interviewer Sybil Steinberg she wanted to write "about the cost of

260 / AMERICAN WRITERS coming from one culture to another. I wanted to get a sense of that looming overculture that demands of newcomers that they give up their language, their music, their food, their names. I began to wonder: where did our taste for changing identity come from? Was it the immigrant experience where the rite of passage was to redefine yourself as an American?" A topic so large calls for a James Michenerlike historical epic but Proulx did not want to write that sort of book. Instead she devised a complex narrative mosaic consisting of four interlinking parts, vaguely reminiscent of John Dos Passes' Depression-era USA Trilogy (but without Dos Passes' carefully demarcated shifts in narrative style). Proulx's primary narrative follows the travels of her protagonist, a green enamel nineteen-button accordion, as it is passed from one owner to another over a century (from 1890 to the 1990s). Within that overarching narrative are nine shorter stories, each one focusing on a different immigrant group. Within that, there is, in Proulx's words, "an increasing multiplicity of shorter stories of intersecting lives." And within that there are even smaller narrative units that Proulx calls "tiny flashforwards, fiction bites," that is, vignettes, some tragic, some amusing, that sum up marginal characters' lives in a few deft strokes. "Instead of the river of time," Proulx notes, "you get a lawn sprinkler effect, a kind of jittery, jammed, off-balanced feeling." Proulx also informs the reader in a short preface that she peppers her book with "real newspaper advertisements, radio spiels, posters, song titles, scraps of verse, labels on common objects and lists of organizations; mixed in with them are [many that are] fictional and invented." In sum, Accordion Crimes is a densely textured, polyphonic rendering of the myriad voices that comprise the immigrants' America. As critic Mark Shechner noted, the accordion at the center of the narrative is rich in symbolism, "an archetypal folk instrument... a talisman of

immigrant dynamism and desire, a condensation of all the spiritual, physical, and creative powers that post-Plymouth arrivals set loose on our shores." The instrument is brought to New Orleans by its Sicilian maker, who aspires to own a music shop, but is murdered in an anti-Italian riot (an incident inspired by March 1891 articles in the Daily Picayune that reported the lynchings of eleven Italians in New Orleans). Terrified of American xenophobia, the accordion maker's son, Silvano, changes his name to Bob Joe and sets out to discard all vestiges of his Sicilian heritage. The accordion subsequently becomes the possession of Hans Beutle, a hearty German immigrant farming in Iowa who plays it to feel connected to his homeland. After Beutle's death from, ironically, gangrene after an operation to restore virility, Abelardo Relampago Salazar, a Mexican-American living in Texas, acquires the accordion. His daughter, Felida, wants to play the instrument but when her chauvinist father forbids it she runs away and is never seen by him again. After Salazar dies of a spider bite, the accordion turns up in Maine, owned by a French-Canadian orphan named Dolor Gagnon. After Gagnon's suicide, the accordion goes to Buddy Malefoot, a Louisiana Cajun, and then on to Octave, a black zydeco musician, who takes it to Chicago. Following stints with Harry Newcomer (a.k.a. Hieronim Pryzbysz), a Polish musician, and Fay McGettigan, a ranch hand in Montana, the accordion ends up on a trash pile in Mississippi. In existence for more than one hundred years, the accordion is finally smashed to bits when some children throw it into the path of an eighteenwheeler to savor its destruction. One of the epigraphs Proulx chose for the novel was a quote from Cornel West's book, Race Matters. "Without the presence of black people in America, European-Americans would not be 'white'—they would be only Irish, Italians, Poles, Welsh, and others engaged in class, ethnic, and gender struggles over resources and identity."

ANNIE PROULX / 261 Proulx's vision of the immigrant experience is not the apologist notion of the melting pot where the various nationalities, tribes, and races assimilate without too much trouble. Though obviously in accord with Howard Zinn's brand of historical revisionism in her refusal to whitewash America's execrable treatment of its immigrant poor, Proulx does not rest her case there. Though rife with violent death and misfortune, Accordion Crimes is far too exuberant to qualify as a screed about victimization. As Mark Shechner astutely observes, the novel is "a brawling, cacophonous, inharmonious, dense, tangy, overpopulated, overwritten book that makes few concessions to the reader," a book that "does for accordions what Moby Dick did for whaling."

CLOSE RANGE: WYOMING STORIES After her mother, Lois Nellie Gill, died in 1995 Proulx was no longer tied to New England. In love with the rugged beauty of Wyoming since her first stint at the Ucross Foundation in the late 1980s, Proulx moved to a log cabin in a tiny town on the eastern edge of Medicine Bow Routt National Forest, thirty miles west of Laramie. Having demolished idyllic notions of New England country life, Proulx cast an observer's eye on the stock-raising culture of the West, a region shrouded in romantic mythology as no other. Asked by the Nature Conservancy to contribute something to a proposed collection of short fiction (Off the Beaten Path, [1998]), Proulx wrote "The Half-Skinned Steer." She says in the preface for the following book that she found "working again in the short story form so interesting and challenging . . . that the idea of a collection of short fiction set in Wyoming seized me entirely." What resulted was Close Range: Wyoming Stories (1999), a book that does for the West what Heart Songs did for the Northeast. In marked contrast to the smug cliches recycled by tourist

brochures and popular culture, Proulx offers a vast, starkly beautiful, but lonely country that breeds bluntly forceful and sometimes horrifically violent people. Indeed, the stories in Close Range are so real they frequently shade into the surreal. Proulx notes in the book's acknowledgments section that the "elements of unreality, the fantastic and improbable, color all these stories as they color real life. In Wyoming not the least fantastic situation is the determination to make a living in this tough and unforgiving place." For her opening story, "The Half-Skinned Steer," Proulx borrowed her central image from an Icelandic folk-tale called "Porgeir's Bull." She also borrowed from herself, taking her protagonist and basic plot from "In the Pit" (Heart Songs). In that story Blue returns to his childhood home after a long absence and confronts lingering demons. In "The Half-Skinned Steer" Mero Corn, "an octogenarian vegetarian widower" residing in "a colonial house in Woolfoot, Massachusetts," is called back to his family's ranch in Wyoming to attend the funeral of his brother, Rollo (killed by an emu of all things). Physically fit for his age, Mero decides to drive instead of fly. The rather ordinary story of Mero's journey West is crosscut with a lurid "tall tale" Mero heard in his youth, some sixty years before, from his father's girlfriend. It seems that a lackadaisical rancher named Tin Head bled, cut out the tongue, and began to skin a steer but left off in the middle of the operation to have dinner. When he returned Tin Head was shocked to find that the steer was not dead but had gotten up and begun to wander away, "the raw meat of the head and the shoulder muscles" exposed and the suffering animal "glaring at him" with "pure teetotal hate." Having sinned against Nature, Tin Head feels cursed ever after. On an emotional level, Mero is himself a "halfskinned steer," a soul ravaged and silenced by the routine cruelties of ranch life in his youth but one who managed to escape to the relatively civilized

262 / AMERICAN WRITERS East—and denounce meat—before he could be destroyed. And like the wounded steer, Mero is largely uncomprehending of the damage that has been done to him. His lack of self-awareness impairs his usual competence; as he journeys "home" he has a rare and uncharacteristic car accident en route. Later, when he reaches the area of the ranch, he takes the wrong road and gets his car stuck in a gathering snowstorm (much like Jewell Blood in Postcards). In the end, Mero has no choice but to try to walk to safety, eerily followed by a lone steer on the other side of the fence. Only then does Mero have an epiphany about the inexorable pull of the past he thought he had avoided when he realizes "that the halfskinned steer's red eye had been watching for him all this time." The haunting power of "The Half-Skinned Steer" can, in part, be gauged by the accolades it received. Garrison Keillor selected the story for inclusion in The Best American Short Stories, 1998 and John Updike went Keillor one better by including it in The Best American Short Stories of the Century. Diamond Felts, the protagonist of "The Mud Below," is also in unconscious flight from early emotional trauma. Small of stature, Felts "heard himself called Half-Pint, Baby Boy, Shorty, Kid, Tiny, Little Guy, Sawed-Off" all his life. Worse yet, when he was thirteen, his angry father said the cruelest thing imaginable to a son: "Don't call me [father] again. Not your father and never was." Insufficiently imposing in physique and filled with corrosive doubt about his real paternity, Diamond Felts enters the rodeo world as a bull rider—perhaps to prove his manhood. Bull riding provides Felts with an adrenaline rush and a vivid sense of being alive that he usually does not have: "In the arena everything was real because none of it was real except the chance to get dead. The charged bolt came, he thought, because he wasn't." After a particularly harrowing ride, though, Felts realizes that the "euphoric charge had never kicked in this time." Having narrowly

escaped with his life, Felts is at least temporarily unable to use bull riding as an escape from selfdoubt. He calls his mother, long distance, and asks her who his father was. Her reassurances do not satisfy him. Driving all night with a badly injured arm to his next rodeo, Felts feels "as though some bearing had seized up inside him and burned out." Stripped of his usual evasions, he begins to realize that his frantic chase after glory "was all a hard, fast ride that ended in the mud." In contrast to men governed by submerged emotions, Proulx emphasizes economic factors that determine lives in the tersely written "Job History." Leeland Lee, born in 1947, is the youngest child of a Wyoming hog fanner. Leeland impregnates his high school girlfriend, Lori, and they both drop out of school to marry and start a family. What follows for them is a succession of failed small business ventures and deadend jobs. Lee and Lori will never "make it"; the area is too barren and the Lees do not have the education or business acumen to rise above subsistence wages. For such people, jobs are not vehicles for self-expression or creative fulfillment; the dogged, unending pursuit of any sort of paid work dictates the warp and woof of their lives. Much like the Bloods of Vermont, the Lees slowly disintegrate as a family. Leeland's father dies in bankruptcy and his hog farm has to be sold to cover debts. Lori Lee eventually succumbs to cancer. The children marry and move away. There is no flourishing, only a kind of grim endurance until death and desertion make all struggles moot. To leaven the mood, Proulx presents "The Blood Bay," a comic "tall tale" that she characterizes as "a Wyoming twist on the folk-tale The Calf That Ate the Traveler,' known in many stock-raising cultures." A young Montana cowboy freezes to death "on Powder River's bitter west bank" in the "terrible" winter of 1886-1887. Three "savvy and salty" cowpunchers discover

ANNIE PROULX / 263 the corpse in the snow the next day. One of the men, Dirt Sheets, covets the dead man's boots but cannot remove them so he saws off the man's legs "just above the boot tops" with his Bowie knife and puts the booted feet in his saddlebag for thawing later. The three men stay the night at Old Man Grice's shack, which also houses his two horses. Just before dawn Sheets gets up, removes the boots and socks from the now thawed feet, puts them on, throws the feet in a corner with his old boots, and leaves. Old Man Grice soon awakens and discovers the grisly objects. He thinks that one of his horses, the blood bay, ate one of his guests and sends the "hell-bound fiend" to "sleep out with the blizzards and wolves" though he is secretly "pleased to own a horse with the sand to eat a raw cowboy." Equally grotesque but much darker in tone is "People in Hell Just Want a Drink of Water." In the late 1920s a young man named Rasmussen (Ras) Tinsley suffers severe disfigurement and brain damage in a car accident in Schenectady, New York, and is subsequently shipped back to Wyoming to recover at his parents' farm. Things go from bad to worse when demented Ras begins to expose himself to neighborhood women. His father, Horm, warns him that the Dunmires, arrogant local cattle ranchers, have threatened to "cut" Ras if "he doesn't stop pestering the girls." But it is already too late; Ras comes home ill and Horm soon discovers that he has already been castrated with "a dirty knife" and is dying of gangrene. In a brief coda to the story Proulx's narrator notes that the crime happened "sixty years ago and more . . . We are in a new millennium and such desperate things no longer happen." Just as the reader is warmed by the comforting notion of social progress, Proulx retracts the illusion with a final, chilling line: "If you believe that you'll believe anything." The somber effect of "People in Hell" is mitigated by "The Bunchgrass Edge of the World," a more diffuse, loosely focused story that chron-

icles the zany lives of the Touheys, an isolated ranching family. After introducing the family patriarch, "old Red, ninety-six years young," his marijuana-smoking son Aladdin, Aladdin's wife, Wauneta, "their boy, Tyler, object of Aladdin's hopes," and daughter Shan (who lives in Las Vegas), Proulx's narrator focuses on the youngest child, Ottaline "the family embarrassment." Lonely, corpulent, prone to "minstrel troubles," Ottaline is a hopeless young woman stuck on a ranch in the middle of nowhere, her identity "dissolving" in sexual frustration and boredom. One day she hears a derelict tractor speak to her of its neglect and isolation and decides to undertake its repair. Unless Proulx is telling a fairy tale, the voice surely emanates from Ottaline's own unconscious. Attempting to fix what her father deems "ain't fixable" (both tractor and self), Ottaline pulls out of her torpor and wins her father's respect. Consequently he delegates her to handle the family's annual cattle sale when he takes ill— a duty that allows her to meet her future husband. As Old Red notes, "The main thing in life was staying power. That was it: stand around long enough you'd get to sit down." Given enough patience, life on the range may change for the better but it is more likely to change for the worse. With "Pair a Spurs" Proulx adapts a much more fanciful version of the plot device she employed for Accordion Crimes, that is, examining lives by tracing the ownership of an enchanted object: in this case, an expensive pair of handmade spurs. Sutton Muddyman buys a $300 pair of spurs for his wife, Inez, as a birthday present. When she is killed in a riding accident, Sutton moves to Oregon and Mrs. Freeze, a ranch hand, buys them for a pittance at auction. She later gives the spurs to rancher Haul Smith as part of an employment deal. Smith loses his spurs while foolishly trying to cross the swollen Bad Girl Creek on horseback. Still, Proulx's ultimate focus is on Car Scrope, a rancher in the aftermath of a divorce gradually going insane

264 / AMERICAN WRITERS from loneliness that he misinterprets as sexual need. The enchanted spurs lock onto him and he is forced to "love" whoever wears the spurs. After unsuccessfully propositioning Inez and even his hired hand, the manly Mrs. Freeze, Scrope takes to sitting "down by the creek all day eatin tater chips," increasingly immersed in catatonic reverie as the lost spurs, rusting in water, still call to him. Loneliness misinterpreted as sexual need is also the theme of the aptly titled "A Lonely Coast." Proulx generally favors third-person omniscient narrators with distinctly masculine voices. In keeping with her focus on women's loneliness, she has a woman bartender narrate "A Lonely Coast" in the first person. The protagonist, an acquaintance of the narrator's named Josanna Skyles, is a middle-aged divorcee who spends her nights and weekends trolling for male companionship. She has two women friends, Palma Gratt and Ruth Wolfe, also divorcees, "both of them burning at a slower rate than Josanna, but in their own desperate ways also disintegrating into drifts of ash." Mistaking sexual attention for love, all three women frequent bars, drink to excess, do drugs, and compete with each other for the few eligible men they meet. Josanna, "bone tired of being alone," seals her own fate when she succumbs to the dubious charms of Elk Nelson, a handsome "restless drifter" with absolutely no respect for women. Nelson, the archetypal cowboy, cheats on Josanna and generally humiliates her. He also causes her death, and his own, by indulging in armed road rage with two other angry cowboys. Once a spirited and beautiful woman, Josanna coasts downhill toward the abyss, driven by the emotional poverty of her circumstances. As the narrator notes in closing, "Friend, it's easier than you think to yield up to the dark impulse." The dark impulse can also be expressed through politics, the ostensible subject of "The Governors

of Wyoming." The raged filled son of a slaughterhouse worker who died of a job-related infection at the age of forty-two, Wade Walls is a radical anti-meat activist dedicated to sabotaging ranching operations by poisoning cows and cutting fences. Much of Walls' economic and political analysis of the cattle industry is undoubtedly accurate but his ideological rigidity, hateful rhetoric, and violent ways brand him as a meanspirited egotist who will accomplish nothing useful. Walls's partner in crime is Shyland Hamp, a dimwitted rancher's son, who joins Walls's personal crusade as a means to assuage his own conscience for marital infidelities involving child prostitutes. When the two are caught in the act of cutting fences and fired upon by an outraged rancher, Shy Hamp is wounded by a ricochet. Wade Walls shows his true colors by running off and leaving his comrade to face the music alone. Perhaps inspired by the saga of Ed Gein, the isolated Wisconsin farmer turned serial murderer and cannibal in the 1950s, "55 Miles to the Gas Pump" rates as Proulx's most macabre story. After Rancher Croom commits suicide by jumping into a canyon, his wife cuts a hole in the roof to find out why she had been forbidden, "by padlocks and warnings," to go into the attic. She discovers what she expected to find: "the corpses of Mr. Groom's paramours . . . some desiccated as jerky and much the same color, some moldy from lying beneath roof leaks." The sardonic coda of the story: "When you live a long way out you make your own fun." Commenting on the story, Proulx notes that "55 Miles" is a quick look at how imagination flourishes in isolated circumstances. The leap off the cliff is imagined; the corpses in the attic are imagined." Close Range concludes with "Brokeback Mountain," a moving story of love denied by societal prejudice. Ennis Del Mar meets Jack Twist in 1963 when both men are hired to tend sheep on Brokeback Mountain. Del Mar and Twist have

ANNIE PROULX / 265 a lot in common: "both [are] high school drop out country boys with no prospects, brought up to hard work and privation, both rough mannered, rough-spoken, inured to the stoic life." Sleeping out together to guard the sheep against coyotes, they end up in the same bedroll on a cold night. Twist propositions Del Mar, commencing a torrid homosexual affair that lasts the entire summer. Remaining in stolid, absurd denial about their true sexual orientation, the two go their separate ways, marry and have children. After a four-year interval without any contact, Twist visits Del Mar, and the intense erotic attraction between the two men is instantly rekindled. After a night together in a motel, Twist pleads with Del Mar to leave his family and start a new life with him. Remembering a gay neighbor who was savagely murdered years before, Del Mar refuses to take the extreme risk of an openly committed relationship; homophobia in the hyper-masculine culture of the West is no laughing matter. Instead, the two lovers meet a couple of times a year for ersatz fishing trips for the next twenty years— until Jack Twist is found dead, perhaps the victim of a freak accident, perhaps murdered. Grief stricken, Del Mar visits Twist's parents and offers to take Jack's ashes to Brokeback Mountain, as their son had requested, but the offer is refused and the two men are kept apart in death as they had been in life. Part of what makes "Brokeback Mountain" so powerful and instructive is that it demolishes popular stereotypes of gay men as self-indulgent, bourgeois fops. In most ways Del Mar and Twist are typical working class men; their homosexuality contains no traces of effeminacy or narcissism and in no way compromises their essential masculinity. Nonetheless, a rigid heterosexual ideology rules their world, oppressing and sometimes destroying those who would dare to transgress normative definitions of sexuality. "Brokeback Mountain" won a 1998 O. Henry Short

Story Award, and through its publication in The New Yorker, a National Magazine Award for Fiction.

"GETTING IT RIGHT" In a 1997 interview with Katie Bolick for Atlantic Unbound, Proulx was asked what advice she would give to aspiring writers. She answered: "Spend some time living before you start writing. What I find to be very bad advice is the snappy little sentence, 'Write what you know.' It is the most tiresome and stupid advice that could possibly be given. If we write simply about what we know we never grow. We don't develop any facility with languages, or an interest in others, or a desire to travel and explore and face experience head-on. We just coil tighter and tighter into our boring little selves. What one should write about is what interests one." In another interview (with Sarah Rimer in 1994), Proulx said that the point in work is to get it right. "You get it right, or you don't do it. Everything depends on your getting it right." Note: I would like to thank Annie Proulx for her cooperation in the writing of this essay. Several of her comments and responses have been incorporated as quotes in this essay.

Selected Bibliography WORKS OF ANNIE PROULX NOVELS AND SHORT STORIES

Heart Songs & Other Stones. New York: Scribners, 1988. Postcards. New York: Scribners, 1992.

266 / AMERICAN WRITERS The Shipping News. New York: Touchstone, 1993. Accordion Crimes. New York: Scribners, 1996. Close Range: Wyoming Stories. Watercolors by William Matthews. New York: Scribners, 1999. UNCOLLECTED SHORT STORIES

"All the Pretty Little Horses." Seventeen, June 1964, pp. 142-143. "Thief." Seventeen, October 1966, pp. 128-129. "Lost Friend." Seventeen, February 1970, pp. 142143. "Treachery." Seventeen, February 1971, pp. 128-129. "Miss Loudmouth." Seventeen, February 1972, pp. 156-157. "Ugly Room." Seventeen, August 1972, pp. 242-243. "Perfect Specimen." Seventeen, August 1973, pp. 198-199. "Yellowleaves." Seventeen, April 1974, pp. 148-149. "Yellow Box." Seventeen, December 1974, pp. 102KB. EDITED WORKS

The Best American Short Stories of 1997. Edited by Annie Proulx, John Edgar Wideman, and Katrina Kension. Boston: Houghton Mifflin, 1997. OTHER WORKS

"Country Journal Guide to Snow Removal Equipment." Blair & Ketchum 's Country Journal, January 1978, pp. 88-93. "Mend Your Own Home." Blair & Ketchum's Country Journal August 1978, pp. 51-55. "How to Make Damn Good Hard Cider." Blair & Ketchum's Country Journal, September 1978, p. 24. "North Woods Provender." Gourmet, November 1979, p. 46. "Flying Mouths." Blair & Ketchum's Country Journal, June 1980, pp. 84-89. "Cedar-oil Man." Blair & Ketchum's Country Journal, October 1980, pp. 76-79. "Clothes For the Cold." Blair & Ketchum's Country Journal, December 1980, pp. 45-49. Great Grapes! Grow the Best Ever. Charlotte, Vt.: Garden Way, 1980. Making the Best Apple Cider. Charlotte, Vt.: Garden Way, 1980. "Tame Wild Apples & Berries." Mother Earth News, March/April 1981, pp. 110-111.

Make Your Own Insulated Window Shutters. Pownal, Vt.: Storey Communications, 1981. What'II You Take For It?: Back to Barter. Charlotte, Vt.: Garden Way, 1981. "The Juice of the Apple." Blair & Ketchum's Country Journal, October 1982, pp. 56-61. The Complete Dairy Foods Cookbook: How to Make Everything From Cheese to Custard in Your Own Kitchen. With Lew Nichols. Emmaus, Penn.: Rodale Press, 1982. "Poplars." National Wildlife, October/November 1983, pp. 54-59. The Gardener's Journal and Record Book. Emmaus, Penn.: Rodale Press, 1983. Plan and Make Your Own Fences and Gates, Walkways, Walls and Drives. Emmaus, Penn.: Rodale Press, 1983. "A Case for the Cloche." Organic Gardening, January 1984, p. 78. The Fine An of Salad Gardening. Emmaus, Penn.: Rodale Press, 1985. "Sharing the Bounty." Organic Gardening, August 1988, pp. 24-27. "Greens Through Winter." Organic Gardening, September 1988, pp. 52-54. "Warm Winter Coats." Organic Gardening, December 1988, pp. 23-27. "Our Vanishing Forests." Organic Gardening, March 1989, p. 60. "Dimming the Night Sky." Utne Reader, July/August 1991, pp. 120-121. "Books on Top." The Writer, November 1994, pp. 78. Cider: Making, Using & Enjoying Sweet & Hard Cider. With Lew Nichols. 2nd edition. Pownal, Vt.: Storey Communications, 1997. "House Leaning on Wind." Architectural Digest, October 1997, p. 48.

CRITICAL AND BIOGRAPHICAL STUDIES "Annie Proulx." In Contemporary Authors. Vol. 145. New York: Gale Research, 1994. "Annie Proulx." In Current Biography Yearbook. New York: H. W. Wilson, 1995. Pp. 481-^83. Baker, Suzanne. "A Very Bad Marriage." Metroactive Books, http:www.metroactive.com/papers/cruzyi 1.21 .96.Aq-crimes-9647.html (November 21, 1996).

ANNIE PROULX / 267 Bradley, D. Review of Postcards. New York Times Book Review, March 22, 1992, p. 7. Blades, John. "Out in the Cold." Chicago Tribune, March 29, 1993, section 5, p. 3. Gumming, L. Review of Heart Songs & Other Stories. Times Literary Supplement, 1990, p. 148. DeMont, John. "An Epiphany on the Rock." Maclean's, April 25, 1994, p. 57. Flavin, Louise. "Quoyle's Quest: Knots and Fragments as Tools of Narration in The Shipping News." Critique 40, no. 3:239-247 (Spring 1999). Garner, Dwight. "Northeastern Exposure." VLS 114: 29 (April 1993). Gerard, Nicci. "A Gale Force Winner." The Observer, November 14, 1993, p. 18. Graeber, Laurel. Review of Accordion Crimes. The New York Times Book Review, June 15, 1997, p. 36. Kaveney, Roz. "Local Hero." New Statesman & Society 6:39 (December 3, 1993). Kendrick, Walter. "The Shipping News" The Yale Review 81:133-135 (October 1993). McDermott, Philip. "The Shipping News." In Magill's Literary Annual 1994. Pasadena, Calif.: Salem Press, 1994. Pp. 733-737. Norman, Howard. Review of The Shipping News. The New York Times Book Review, April 4, 1993, p. 13. Pierson, Stuart. "E. Annie Proulx's The Shipping News: A Newfoundland Perspective." Newfoundland Studies 11.1 (Spring 1995). Rackstraw, L. "Heart Songs & Other Stories." North American Review 274:67-69 (1989). Reisman, Rosemary M. Canfield. "Accordion Crimes." In Magill's Literary Annual 1997. Pasadena, Calif.: Salem Press, 1997. Pp. 5-8.

Rimer, Sara. "At Midlife, A Novelist is Born." The New York Times Biographical Service, June 1994, pp. 934-935. Shechner, Mark. "Until the Music Stops: Women Novelists in a Post-Feminist Age." Salmagundi 113: 220-238 (Winter 1997). Skorupa, Susan. "Shipping News Author Lures BookFair Fans." Reno Gazette-Journal, September 25, 1999. Skow, John. "True (as in Proulx) Grit Wins." Time, November 29, 1993, p. 83. Streitfeld, David. "For the First Time, PEN Picks a Woman." Washington Post, April 21, 1993, pp. Bl, B9. Weaver, Thomas. "E. Annie Proulx '69: Extraordinary Talent, An Eye for the Ordinary." Vermont Quarterly 10:12-13 (Summer 1994).

INTERVIEWS Bolick, Katie. "Imagination is Everything: A Conversation with E. Annie Proulx." Atlantic Unbound. www. theatlantic. com/unbound/factfict/eapint. htm (November 12, 1997). Kanner, Ellen. "Interview with Annie Proulx." BookPage Fiction Review, http://www.bookpage.com/ 9606bp/fiction/accordiancrimes.html (1996). Steinberg, Sybil. "E. Annie Proulx: An American Odyssey." Publishers Weekly, June 3, 1996, pp. 57-58.

—ROBERT NIEMI

James Purdy 1923ever, recalls some bright moments. He received encouragement from his high school English teacher who encouraged him to write. Later, while attending the University of Chicago, he obtained distance from his family and began to read many of the great writers such as Miguel de Cervantes, Xenophon, Jean Genet and others that he still reads today. Transferring from the University of Chicago to the University of Puebla in Mexico, Purdy learned to write and speak Spanish, an experience that became useful to him when writing his later novels and stories such as "How I Became A Shadow," the story of Pablo Rangel and how his cousin betrayed his trust by stealing his pet cock to use in a local cock fight. In this story, Pablo's beloved animal dies in the fight and Pablo kills his cousin in vengeance before vanishing into the mountains to live out his life as a "shadow." The time Purdy spent in Mexico also helped him obtain a position teaching English at a private boys' school in Havana, Cuba. He later returned to the United States to take a few graduate courses at the University of Chicago before traveling once again, this time to the University of Madrid in Spain. When asked in a January 2000 telephone conversation why he made the traveling choices that he did, Purdy responded simply, "I was young, I wanted to go! It didn't really matter too much where I went as long as it was

"I am a man, nothing human is alien to me." —Terence

THE SMALL TOWN of Fremont, Ohio, lies along the old interstate highway, U.S. 20, not far from Lake Erie's Sandusky Bay, in the northernmost part of the state. Fremont is hometown to writer James Purdy, who was born on July 17, 1923, only two generations after the birth of another well-known Ohio writer, Sherwood Anderson, who spent his childhood in nearby Clyde, Ohio. Within the perspective of American literature, Purdy's birth was timed as if he were in a relay race, taking the baton from Anderson at the time of his (Purdy's) first published story in 1939. Anderson died shortly thereafter in 1941, just as Purdy was beginning his long and distinguished literary career that continues to captivate readers. Like Anderson, Purdy saw Ohio as a place to escape from as soon as possible. Though the people and places of his childhood left an indelible impression on him, forever marking his writing, he was not able to leave until he completed high school when he would attend the University of Chicago. Being the middle child of five boys, Purdy grew up in a family that had more children than income. Purdy spent his early years moving from school to school as his family tried to keep the bills paid and food on the table. Purdy, how269

270 / AMERICAN WRITERS interesting. The dollar was much stronger back then, you can't travel like that any more for as little cost." Still in his early 20s, Purdy used his skills as a linguist to help him find temporary jobs interpreting and teaching in Latin America, Spain, and France, experiences that would inspire his writing for years to come. It was not until 1949 when at the age of twenty-six, Purdy attempted to settle down, becoming a faculty member at Lawrence College in Wisconsin. He was able to endure "the dead air of the suburbs" for four years before he quit and finally pursued his writing full-time.

EARLY WRITINGS

The transition from faculty member to writer was not easy. Purdy had to overcome great disappointment with his early attempts at writing. Many magazines rejected his stories. As so many of Purdy's fictional characters such as Malcolm in Malcolm and Fenton Riddleway in 63: Dream Palace come from the same circumstances of broken homes and poverty, the reader can not help reading these early works as though they were autobiography. One of Purdy's hopeful dispatches to The New Yorker in the early 1950s, a collection of his then-latest short stories, was rejected. Purdy had "no talent at all," said the editors of the magazine. Still, like a hero in one of his own novels, he carried on, eventually placing stories such as "Sound of Talking" and "Eventide" in Mademoiselle, The Black Mountain Review, Creative Writing, and other publications where he found a more sympathetic audience. Purdy felt that women's magazines in particular were also the first to be open to his writing. "Women liked my writing," said Purdy, "magazines like Mademoiselle published quite a few of my early stories. In fact, after Marilyn Monroe died and they auctioned her personal affects, it

seems she owned many of my early novels like Malcolm and 63: Dream Palace." However, he made no attempt to hide his contempt for the publishing establishment as a whole. Purdy told Contemporary Authors that "reviewing in America is in a very bad state owing to the fact that there are no serious book reviews, and reputations are made in America by political groups backed by money and power brokers who care nothing for original and distinguished writing, but are bent on forwarding the names of writers who are politically respectable." Despite all the recognition that has come to Purdy in later years, such as the nomination for the PEN/Faulkner and Morton Dauwen Zabel Fiction awards, he still finds it a battle to gain a proper readership. In 1999, Purdy was unable to find an American publisher for his manuscript, Moe's Villa and Other Stories. Rejected by William Morrow and others, Moe's Villa was finally placed with a publisher in England, the country that was first to champion Purdy's early work. In 1955, Osborn Andreas, an American businessman who was to become a friend of Purdy's, had the chance to read some of his rejected works. Andreas, who was working on a study of Henry James at the time, believed, as did another early admirer, the chemist Dr. J. J. Sjoblom, that Purdy's stories deserved immediate printing, even if they were published privately. Thus, the two men borrowed a large sum of money and one of Purdy's early, major works, the novella 63: Dream Palace was published in a small edition of one thousand copies. Purdy was now able to send copies of his work to writers he admired such as John Cowper Powys and Dame Edith Sitwell, hoping for some sort of encouragement. Purdy was not disappointed. Both Powys and Dame Edith responded with praise. Dame Edith's enthusiasm in particular helped Purdy find a publisher in England for 63: Dream Palace. The following year, 1956, New Directions became Purdy's first American publisher, releasing 63:

JAMES PURDY / 271 Dream Palace and several other stories under the title Color of Darkness after rejecting Purdy's work for ten years. Dame Edith it appears, had enough of a reputation to sway the opinions of the editors at New Directions. In many of these early stories, Purdy pursues a theme that appears in many of his later books, that of the abandoned child overcoming isolation, poverty, and depression. Purdy is often reluctant to discuss his early life, believing that his work is his biography. Purdy also has trouble recalling the pain of his early years.

PURDY'S CHARACTERS

The autobiographical elements in Purdy's early novels are easily recognized. An oft-repeated theme is the struggle for the main characters to find their identities. His protagonists are isolated from family, friends, and their own emotions, struggling to find serenity of some sort. Many of his heroes, such as Malcolm in Malcolm (1959), come from the same circumstances of broken homes and poverty. They are often-times naive, the victims of a love destined for disaster. Malcolm's whirlwind marriage to Melba, a woman he hardly knows, is a disaster and ends when he dies from alcoholism. In these characters, Purdy may be describing how the he felt while growing up in a religious and conservative community in Ohio. Characters such as Cliff in The Nephew (1960), who grow up in families that are financially and emotionally secure, are either nonexistent or severely fractured in many of these early works. Purdy's main characters in his early works search for a mentor or parent figure, someone to love, in a variety of ways in many of these episodes. In his novel Malcolm, which continues to be one of his most popular books, the young hero is Malcolm, who "could not have been more than fifteen" and "seemed to belong nowhere and to

nobody . . ." Indeed, it turns out that Malcolm's father has "disappeared," leaving the poor boy to sit on a public bench, waiting for fate to unfold the next episode. Through a series of surreal events such as his strange meeting with the astrologer Mr. Cox, Malcolm is introduced to the mysterious and eccentric Estel Blanc, the first of a long line of Purdy's dubious fictional mentors. In his novel The Nephew, young Cliff is raised by his aunt and uncle from the age of fourteen after his parents die in a plane crash. After Cliff s death in the Korean War, his aunt and uncle learn that he had once turned to Willard Baker and Vernon Miller for companionship and perhaps direction in life. These two men were suspected by some members of the community of being homosexual and thus, of dubious moral rectitude. Purdy's characters repeatedly escape from disaster, survive dead or vanished parents, and shake off the dust as they rise like some literary phoenix from a doomed or nonexistent home life. After establishing such wrecked or disadvantaged beginnings, Purdy will have his protagonist draw the reader into the story to see how well the hero will cope, and try to overcome such difficult beginnings. The writer Guy Davenport summed up this situation very well when he wrote in the New York Times Book Review: "All the characters . . . are trying to wake up and live, they tell themselves; their tragedy is that they do not know what this means, and remain as bewildered as children on a dull afternoon who want something but do not know what they want." This may be most true of Malcolm, who exercises little will in his own life. He literally waits, as he does in the beginning of the book, sitting on a bus stop bench, for someone to tell him what to do next. Purdy believes that one of the reasons Malcolm is such a popular book (it has been translated into languages such as Turkish, Korean, and Chinese) is because of his character's ambiguity. Readers apparently identify with the indecisiveness of Malcolm's character. Malcolm could be the abused child, the

272 / AMERICAN WRITERS youth struggling with sexual identity or even a Buddhist or existential philosopher! Another of Purdy's central characters, Garnet Montrose in the novel In A Shallow Grave (1975), is a Vietnam veteran whose parents died while he was in the army. Injures from the war have left Montrose a veritable monster at best in outward appearance. At the book's opening, Montrose has just returned home from the war. A doctor assures him that his "bone structure is wonderful, fine and strong," a diagnosis which is of little consolation to Montose. Just as Malcolm's father has "disappeared" and Cliff is driven to an early death in the war perhaps accelerated by the death his parents, Garnet Montrose becomes another walking casualty. One of the questions that Purdy's characters raise is, do they redeem themselves in the end; that is, do they change or rise above their suffering, or do they simply live wounded and broken lives? Reflecting back on Purdy's phrase that his "work is his biography," the reader might begin to wonder if the challenges and obstacles of Purdy's characters are merely that, biographical details drawn from life, or is there a larger plan at work? Is Purdy really commenting on the larger problem of morality (or lack thereof) in current times, targeting perhaps the increase in divorce, child abuse, and rape? In an interview conducted in 1964, Purdy stated that "our moral life is pestiferous: we live in an immoral atmosphere." Certainly, it is difficult to pick up any news magazine or watch any program without encountering society's ills. Children are abandoned, like garbage in a trash can. News reports tell of children who grow old enough to seek vengeance on those who tormented them as children. However, Purdy writes not simply for shock value, for readers can pick cheaper pulp mystery books that luridly portray these same problems much more graphically with not much more than an in-yourface attitude. Purdy's work is so finely crafted,

his prose so subtle and tightly controlled, as if to say to the reader, "Wake Up! This is what's going in our world, it's not somebody else's problem, it's yours and mine too." In the United States, a country that arguably is the wealthiest in the world and supposedly offers open arms to the tired and poor from all walks of life, Purdy shows how it is at times amazingly difficult to find real love being expressed. Just as Martin Luther King Jr. tried to bring his message of love to the world only to be assassinated by those who were threatened by this idea, many of the characters in Purdy's stories are laid to waste in various metaphorical ways. Purdy suggests that only by being conscious of their actions and how they affect fellow beings can people begin to mend their ways. In Malcolm, the title character, for example, is feted with superficial love and attention because of his youth and good looks. Yet Malcolm, who only wants to find his father in whom he might find his one chance at real love, fails, and begins to die amidst the hangers-on who think they have found in Malcolm some ideal of their own lost or unfound love. Meanwhile, Malcolm offers his own real affection to those he comes to know. A strange black comedy is at work in this story, as Purdy's characters, who are so desperate to find happiness, actually end up feeling nothing at all. For example, Malcolm's wife, Melba, to whom he was paired in an arranged, whirlwind marriage, takes a drug that would "not allow her to feel extreme grief or unpleasantness of any kind . . ." Malcolm's proverbial fifteen minutes of fame are over. As he begins to die, so does his physical beauty and the attention of his "friends." A year after his death, a rumor suddenly surfaces that he is actually still alive. The rumor dies quickly, however, when everyone begins to realize that "Malcolm, in the interim, had been almost entirely forgotten, and was no longer a subject of conversation anywhere." Finally, Malcolm's grave, "which has no marker beyond a stone bear-

JAMES PURDY / 273 ing his name, has been poorly cared for and fallen into complete neglect. . ." Malcolm's fate, while not as dramatic or tragic as being assassinated by a sniper, has the same result. Beginning his life by waiting on a bench for his father from whom he only wanted the paternal love to which he felt he was entitled, Malcolm is used by a long line of shallow misfits until he has nothing left to give. Indeed, with Purdy's cast of orphans, strays, and eccentrics, the reader can begin to see why nothing human is alien to this writer. Not to mention inhuman.

GAY THEMES

It is only with the beginning of what may be called Purdy's middle years, those covering the late 1960s and early 1970s, that his books begin to leave the cast-offs of his earlier novels. It is almost as if he is saying to his readers, "You know from what stock my characters come, now see how they cope with middle age!" Another major turning point in these middle works is the release from secrecy for many characters from their gay relationships, characters whose homosexual liaisons were strongly hinted at in his earlier works but who are, starting with the novel Eustace Chisholm and the Works (1967), openly

gay.

In the above book, the title character Eustace Chisholm lives with his male companion, Clayton Harms, who rents electric signs for a living and is one of the few people who are impressed by the poems Eustace has been writing. Eustace writes his epic poems on old scraps of newspaper with the ends of burnt matchsticks. Eustace has just been left by his wife Carla, but this seems to cause him little dismay. However, she suddenly returns, only to find herself playing second fiddle to Harms. She decides to stay regardless. Thus begins the entry of various characters who revolve around Eustace's world. Only a brief men-

tion is made of Eustace's father, who shot himself in the head when his business began to fail—just enough of a reminder to readers that, yes, things are about the same as with the earlier books in the area of difficult family histories. Eustace Chisholm continues as a sample piece for tangled relationships, the majority of which are homosexual. Many of the gay men orbit the building in which Eustace lives before spinning off into their own strange scenarios. Such is the case with Daniel Hawes, a disgruntled man who is the landlord of another of the book's characters, Amos Ratcliffe, a boy of just seventeen years. Unable to achieve satisfaction in his relationship with Amos and others, Hawes sets a new course, joining the army and becoming "Private Hawes." He forges a new relationship with an army cohort, Captain Stadger, a relationship that becomes deadly to them both. Their erotic relationship entails bizarre rituals of body mutilation until finally, Captain Stadger brings about a terrible ending. The middle novels set quite a different course from Purdy's earlier works. The reader finds no hinting or whispering here about who is and who is not gay. This openness allows Purdy to develop the theme that he has been nurturing since Malcolm, that is, the complexity of relationships between several people, both heterosexual and homosexual, making already complex relationships even more so. Eustace Chisholm and the Works shows the competition for Amos between Daniel Hawes and Eustace, competition for Eustace between his wife Clara and Clayton Harms, until there are webs within webs of entanglements, a continuation of Purdy's fascination with complicated liaisons. The Nephew only suggests the competition between Boyd and Alma for their nephew Cliff's affections. In Malcolm, characters engage in a free-for-all for the boy's attention. At this early point in Purdy's career, these competitions for affection are ambiguously based in terms of

274 / AMERICAN WRITERS the character's sexual persuasion. The aunt and uncle have what anyone might deem as a normal and even gentle conflict over who earns the majority of nephew Cliffs affections and respect. In Malcolm, the reader begins to sense sexual yearnings for Malcolm from many of the book's characters, both male and female. However, Purdy's writing is ambiguous enough only to suggest what designs on Malcolm these people might have. In a phone interview I conducted with Purdy, he said that all human beings, regardless of their sexual persuasion, have some physical attraction to their own sex. When asked how he felt about the label critics sometimes attach to him of "gay author" he scoffed: "I'm no more a 'gay author' than I am say, an 'Ohio author.' I write about feelings, the struggle to express who you are, whether it be gay or straight." He then added, "Being a gay author . . . that to me means you are political and I'm not political in that way." Still, several of Purdy's books have been published under the imprint of Guernsey Press' "Gay Modern Classics." These include Narrow Rooms (1978), Eustace Chisholm and the Works, and I Am Elijah Thrush (1972). When one reads Purdy's books, even those titles that are considered "Gay Modern Classics," the reader comes away with the feeling that sexual persuasion is not a main theme. When compared with books such as Alan Hollinghurst's Swimming Pool Library or some of Edmund White's novels, the reader discovers a deeper theme at work in Purdy's stories. Hollinghurst and White do focus on the homosexual experience in some of their books, but with Purdy the reader can see that the struggle of his characters in finding their own identity is what interests him as a writer. It is a struggle that takes precedence over whatever ending the book might have and one of the things that makes Purdy a writer of such originality and scope. One of Purdy's favorite quotes—the ancient Greek playwright Terence's "I am a man, nothing human is alien to

me"—further echoes the truth that Purdy is not simply interested in one aspect of human nature. The main works of Purdy's middle years, beginning roughly at the end of the 1960s and the beginning of the 1970s, include Jeremy's Version (1970), The House of the Solitary Maggot (1974), and Mourners Below (1981). The first two constitute part of a continuing novel, or trilogy that Purdy calls Sleepers in Moon-Crowned Valleys. In these works Purdy begins to find a more reflective mode, thinking of stories from his past. He makes use of tales of his ancestors, episodes recounted and set in the backwoods of Ohio, incorporating them into fiction. Jeremy's Version begins in an Ohio town called Boutflour and depicts the Fergus family. Wilders and Elvira Fergus raise a family of three boys, who each in their own way battle to find their own place in the world amidst the provincial environment of a small Ohio town. The reader follows the emotional and physical progress of these boys as they are shaped by the misdeeds of their elders and react to the regular, gossiped-about events of small town life. All the ingredients for small town scandal are in Jeremy's Version: rapes, drunkenness, and violence. How do these events shape and change three boys who are growing up amidst this turmoil? Are they trapped, are they damaged for life, do they pass these traits on to the next generation? Do they want to stay or go? Purdy does not tell his readers what to think. He does show them and lets the readers decide for themselves. His are not-so-still-life's of the literary venue. The next work in the Sleepers trilogy is The House of the Solitary Maggot, a title that cannot help but give the reader pause (the hero is actually a local "magnate," which the townsfolk pronounce as "maggot"). In this novel, set in the town of Prince's Crossing (not far from Boutflour), a village so small as to not even make it onto a map, the narrator, Eneas Harmond, listens to Lady Bythewait as she speaks into a tape recorder, telling the sordid history of her family.

JAMES PURDY / 275 The tape is meant for her great-great nephew. Harmond, however, confuses his own story of the present with the past of Lady Bythewait. The reader is then introduced to Mr. Skegg, the "maggot," and husband to Lady Bythwait, and sees that the two of them have not turned out to be ideal parents. As they have sown, so do they reap—their crop of three sons has grown into maturity with few of the basic social skills needed to cope with daily living. Purdy ends his book having given the reader a good portrait of the modern dysfunctional family. Next in the chronology of Purdy's trilogy is Mourners Below, a story set in an unnamed location, the residence of Eugene Bledsoe and his son Duane. Duane's two half-brothers were recently killed in a war that Purdy does not name (most likely the Korean War). Duane feels survivor's guilt and has frequent communication with the ghosts of his half-brothers, Justin and Douglas. Justin had started an affair with Estelle Dumont, the town's single, middle-aged, and wealthy figurehead of gossip. Duane, who resembles Justin physically, feels compelled to continue the relationship that his half-brother started. At this point the reader can begin to sense a setup for a rural fairy tale. What is the right thing to do? Another tangle of emotions snares Duane as he becomes involved with Estelle, for a group of townies attack and rape him, leaving him in the dirt. What makes these novels distinct from those of other writers of his time who have tried the same or similar story is the fine achievement of Purdy's prose. It sings with a rich poetic style, lightening the sometimes dark and gothic atmosphere of these novels. In a review written for the Glasgow Herald, Douglas Dunn states very matter-of-factly that Purdy's prose "elevates the emotional squalor of his story and its characters to a level of effect that is hauntingly beautiful and pure." Several other writers and critics have noted a "gothic" element in Purdy's work. Purdy, how-

ever, balks at any such description of his writing. "My characters are real," he said during our phone interview. "I didn't intend any such caricature." "Gothic" is a literary term often used loosely by critics and needs further definition. While the reader may not help but recall a slight hint of William Faulkner's southern gothic in Purdy's trilogy, regardless of how he may define such terms, Dunn's phrase "hauntingly beautiful and pure" is one the reader familiar with Purdy's work can understand and appreciate when reading the Sleepers trilogy.

ON GLORY'S COURSE As mentioned earlier, the Sleepers trilogy draws on Purdy's "aftermath years." Purdy's characters still come from troubled origins, but they are more concerned with how to live their lives after growing up in disadvantaged circumstances. The events and action in these particular books call attention to how a character who grows up deprived of love and nurturing can suffer in his adult years, not just suddenly, but slowly and painfully. Though many of his stories are set in Ohio or a Midwest region like Ohio, Purdy, unlike Sherwood Anderson, "never looked back." He has not returned to Ohio for pleasant, nostalgic visits since leaving it in his youth. Anderson, by comparison, returned to Elyria in northern Ohio to run various business ventures. Whatever personal troubles may have plagued Purdy in his early years, he hopefully purged them by writing this trilogy. In 1984 Purdy finished On Glory's Course which, though not really part of the Sleepers trilogy, serves as an epitaph to those three books. Set in the Midwestern town of Fonthill during the 1930s, Purdy makes an even stronger attempt to catch the speaking rhythms of not just the place but the time. Though a 1984 New York Times

276 / AMERICAN WRITERS Book Review article cited the novel for its "ponderous idiom," the book was nominated for the PEN/Faulkner Award in 1985. Other reviewers also found the speech appropriate for its depiction of time and place. In On Glory's Course, the reader follows the efforts of a middle-aged and wealthy woman, Adele Bevington (a woman with a "sinful past"), as she tries to locate the whereabouts of her illegitimate son whom she was forced to give up for adoption many years earlier. The time period as well as the place creates another sexually repressed atmosphere that comments on Adele as she consorts with the town's younger men. These young men are the same age her son would be, a fact that escapes the locals. Instead of understanding and compassion for the sorrows of this woman's life, the reader sees the town's jealousy of her wealth and sexual vitality. It is a conflict that allows Purdy to underscore the narrowminded thinking of small towns and permits him to drive another stake into the heart of such unenlightened thinking. On Glory's Course gives the reader a kaleidoscopic view of a time and place, thoroughly investigated by an accomplished writer, magnificent not just for its story but also for the explorative style in prose and speech rhythm. Content for the meantime to put the Midwest to rest, Purdy turned his attention to the eastern seaboard.

POETRY

Purdy is a prolific writer. As of the year 2000 he had written eleven novels excluding five volumes of poetry and another five published plays, many of which were already produced. However, it is his poetry that allows a playful outlet for Purdy. In 1970 he published On the Rebound: A Story and Nine Poems, which along with the story and poems, contains a few of Purdy's own drawings. The lead untitled poem sets the mood for the book:

Cruel zoo release your beasts unbar tiger & jaguar to roam the street & feast on all they meet.

Distilled into Purdy's poetry are pure and streamlined satire and wit, qualities that the reader finds in his short stories and novels. At times, he even reads like a Mother Goose writing for adults, as in the following untitled poem, also in On the Rebound: Bang the kettle Bang the harp Bang the inside of your black heart

The rhymes and rhythms are simple, but the content is more complex. After reading the last line of the above poem, the reader might wonder whether Purdy is being bitter or just trying to be funny. The contrast of the rhythm of the nursery rhyme with the more "adult" content of the piece creates an interesting juxtaposition—a refreshing surprise as the reader considers the entire poem. This is a technique not unknown to Purdy's longer prose works. His careful and exacting style of prose leads his audience to unexpected results. Purdy's readers do not arrive at the expected destinations as they travel the routes of Purdy's sentences. His prose style might lead readers to believe that they will, for instance, be delivered into the living room of a nineteenthcentury Henry James story instead of say, the surreal enactments of Malcolm's adventures. Purdy raises deception to a new high in this manner, always surprising the reader with the hidden complexities of what seems on the surface to be a simple story line. Since writing On the Rebound, Purdy has published many volumes of poetry, though they number fewer than his works of prose. Although poetry may not be Purdy's main medium, he gives

JAMES PURDY / 277 it the same concentration and effort as he does his prose work. Perhaps he believes, as Matthew Arnold wrote in the nineteenth century, "More and more mankind will discover that we have to turn to poetry to interpret life for us, to console us, to sustain us."

PURDY'S DRAMATIC WORKS

When needing a rest from his poetry and prose, Purdy has turned his focus to drama. Productions of Purdy's theatrical work, though, have met with limited success. Friend and famed playwright Edward Albee attempted to transform Malcolm into a stage play in the early 1960s. Purdy thought Albee the only person capable of performing this task. With only a few suggestions in the manuscript, Purdy gave his blessings. Unfortunately, the project turned into a disaster and received generally poor reviews. First there was trouble with the casting. Unable to find an actor to fit the role of small Malcolm (Michael Dunn was the first choice but was not available), Albee changed the character to the oldest man in the world. Said Purdy, "the play went off course" without a midget or dwarf (Albee's idea for casting) to play the role of Malcolm. Purdy consequently concentrated on writing for the stage. To do otherwise was to leave too many loopholes for producers, as evidenced by Albee's failed production of Malcolm. Purdy's first major drama was Children Is All (1961), a work that contains many of Purdy's classic themes—the broken home, the complex mother-son relationship and the ongoing struggle between characters unable to receive or give love. Children Is All is the story of Edna Cartwright who, nearing death as the play opens, bitterly recalls her life. She tells of her marriage early in life to a husband who died shortly thereafter and the burdens of raising her son Billy alone. Bitterness turns into resentment and becomes, finally, her rejection of Billy who of course, wants

badly to be loved by his mother as most children do. Billy's clamor for attention serves only to widen the gulf between them. Ultimately, Billy becomes the fall guy in a theft at the bank where he works—the true culprits are his co-workers, but Billy is sentenced to fifteen years in prison. Edna adds to her list of resentments the loss of respectability that is all so important to her and, ironically, the loss of her chance to know her son as a young man (Billy is only twenty years old when he is sentenced to prison). All these memories come flooding back to Edna as the play begins. Billy, now thirty-five, is soon to be released from prison. He first plans to visit his mother, who is still living in her own house with her friend, Leona Khetchum. The only bright spot in Billy's life is young Hilda, a parentless girl raised by Uncle Ben, a neighbor of Edna's. Hilda visits Billy often while he is in prison, trying to cheer him up. This relationship makes for a stark contrast to the one Billy has with his mother, who is unable to visit her son in prison, overwhelmed each time she attempts to visit him by the bleakness of the prison walls. Finally, she gives up on any attempt to see him at all. The approach of Billy's release from prison sends Edna into fits of anxiety, she even faints on his arrival. Billy has gotten a head wound during his escape from prison that further terrifies his mother and prevents her from immediately recognizing her son. "No, no," she wails, "you're not him, Billy was only a boy." Attempts to hurry Edna's recognition of her son by Hilda and Leona increase as it becomes quickly apparent that Billy's head wound will soon prove fatal. Billy dies unrecognized by his mother who also failed to recognize him in a more symbolic way as he was growing up. It is only after Billy dies (ironically, on Independence Day) that Edna can begin to love him. Cracks, another of Purdy's early dramatic works, was not very popular in the eyes of the critics. This one-act play was also written in the

278 / AMERICAN WRITERS early 1960s and contains only four characters: Nera, who is eighty years old, the Nurse, who takes care of Nera, the Child, who gives the play its title as he complains of the "cracks" in his upstairs room, and finally the Figure, or "Creator," as this character introduces himself. Cracks begins with Nera, who has been abandoned by her husband who, in her own words, was a "petty embezzler" and who left her with a large family to support. The Nurse and the Child have no names other than the roles that they play and both go to sleep as the last character, known as the Figure, enters the story. As the Figure and Nera enter into conversation, a muffled noise is heard outside which the Figure later explains was the end of the world. Poor Nera has little left in the world, all of her children are dead and her brother is a "hopeless invalid, and cannot speak or read." Nera's mother, also dead, is still her only comfort as she was the only one who loved her. It is a mystery to all involved, including the Figure (who claims to be the "Creator"), why Nera was excluded from the end of the world. The Child, according to Nera, was left by a neighbor one summer evening and she did not have the heart to take him to an institution. The Child is indeed unusual and according to Nera, is "not only ill, he's upset within." Nera informs the reader that "cracks" are the Child's words for ghosts. The reader can then surmise that when the Child (who is upstairs during the entire play) complains about drafts coming through the walls, that it may actually be the arrival of the Figure. As Nera and the Figure begin to talk, she finally asks a question the answer to which has eluded her for her entire life, "Why should we go through the pain of giving birth if it's all going to come to ... nothing?" The Figure, or perhaps he should be called the Creator from this point on, gives the only answer he can, "After all the pain of creation, the created will continue, after all the pain, after all the pain . . . no matter what we do or say."

The reader might agree with the statement quoted later in this essay by Henry Chupack, that this play may not be among Purdy's best writing efforts, but nonetheless, it is revealing in that it shows the question that was preoccupying the author's mind during that time. Nera's question is applicable to many characters in Purdy's early books. The fact that life can be so difficult might make one ask the question, "why go on?" The Creator's answer is not entirely satisfying to the reader, that "the created will continue, after all the pain ..." seems to offer little comfort to the distraught. Yet it is the question that is more interesting than the answer, as it represents the collective confusion suffered by many of Purdy's early characters. The distilled question that could be asked by Malcolm is simply "why?" So whether they like it or not, many of Purdy's creations choose to go on. Until they can stand it no more. Though replete with the themes that worked so well for Purdy in his novels, critics felt that Children Is All, as well as his other early dramatic works such as Cracks, lacked the merits of his prose work. Henry Chupack wrote about Purdy's two early plays that "while the dialogue is excellent and the plots logically worked out, the ominous mood which suffuses his best stories and gives them particular flavor is practically absent from the plays." Undismayed, Purdy has pursued the dramatic genre intermittently throughout his career. Two of his plays, Dangerous Moonlight and Down the Starry River played Off-Broadway in the late 1990s. Purdy thanks his long-time friend, playwright Tennessee Williams, for his avid support and enthusiasm for his dramatic works over the years. In 1986 Purdy continued writing with his usual energy. He wrote two novels and a volume of short stories over a four-year period. In the Hollow of His Hand was published in 1986, The Candles of Your Eyes and Thirteen Other Stories appeared in 1987, and finally, Garments the Living

JAMES PURDY / 279 Wear was published in 1989. Purdy's high rate of production, however, did not mean the sacrifice of the quality of his work. Admired by fellow writers such as Dame Edith Sitwell and John Cowper Powys in his very early years and later, Dorothy Parker, William Carlos Williams and Jonathan Lethem, Purdy still felt excluded by the 'New York Circle.' This stable of writers and publishers were the ones generally show-cased in such publications as The New Yorker, such as writers John Updike and Truman Capote among others. Purdy's work continues to win him few literary awards. In 1958 he received a grant from the National Institute of Arts and Letters, was made a Guggenheim Fellow in the same year (as well as in 1962,) and he received another grant from the Ford Foundation in 1961. Purdy also earned a nomination for the PEN/Faulkner Award in 1985 for On Glory's Course. Later, he received a much needed grant from the Rockefeller Foundation and an award from the Morton Dauwen Zabel Fiction Committee that was given to Purdy in 1993. Purdy remains a well-kept secret known only to those who are well-rounded readers, his best books being what critics condescendingly call "minor masterpieces." This term may be used because Purdy's books make critics uncomfortable, as Purdy openly writes about sex, self-honesty and personal struggle. Yet his works are far too good to pass over. His name is not spoken in the same breath John Steinbeck's, or William Faulkner's, or John Dos Passos', an oversight that deprives a large reading community of a major writer.

IN THE HOLLOW OF HIS HAND

As the 1980s drew to a close, Purdy finished one more novel, In the Hollow of His Hand. This novel tells the story of Chad Coultas, a young boy of Ojibwa Indian background with more interest in daydreaming than his studies. He lives with his parents, Eva and Lewis Coultas in the small town

of Yellow Brook. Everything is just fine until Decatur, a hometown boy and also part Ojibwa Indian, returns from his service in the army after fighting in World War I. When Decatur returns to Yellow Brook, he brings with him his re-arrangement of the Coultas family structure, for Decatur has announced himself as the real father of Chad Coultas. As the Shockwaves from his declaration begin to settle down, Decatur is asked for proof of his parenthood. Yellow Brook at the time is still decades away from DNA testing. However, Decatur suddenly flashes back to a humiliating moment in the army barracks when he is undressing with the rest of the enlisted men. By chance, a fellow soldier happens to look down at Decatur's feet and soon all the soldiers are looking at Decatur's feet, as he has feet like nobody elses—his toes are webbed. The memory sparks an idea for Decatur. He decides to take Chad out to buy him some new clothes, namely some shoes and socks. Sure enough, as Chad is taking off his socks to try on some new ones, Decatur looks down at the young boy's feet. Like father, like son; Chad has webbed feet also. Chad becomes a bit embarrassed when he notices Decatur staring down at his feet, "You are looking at it too. Mama says my feet are a little like a water fowl's there . . ." That's all the proof Decatur needs as a battle of loyalties begins when Chad is tempted to Decatur's side, interested in spending time with him as his original family feels the loss of their son. The implications of this new revelation about parenthood set the novel into motion. Once again, Purdy has begun a tale of push and pull as Chad and his family discover that everything is not as it seems. Tensions mount as the struggle for control of Chad and his affections begins. The battle, however, is moved on to family ground in this novel as compared to earlier works, where Purdy used this same conflict in intimate relationships. In Eustace Chisholm, for example, the characters are almost falling over

280 / AMERICAN WRITERS each other as they compete for the same person. In the Hollow of His Hand is the last of a series in which Purdy reaches back to his Midwestern roots for tales of his ancestors in the tradition of On Glory's Course and Mourners Below. In our recent phone interview, Purdy recalled the funeral of his great-grandmother while still a child in Ohio. Suddenly, a strange woman entered, who Purdy remembered as a full-blooded Ojibwa Indian, and walked up to the casket where his great-grandmother lay. The strange woman bent over and kissed the woman on her forehead as she lay in her casket and said, "She was one of us." Then as quickly as she came, the strange woman disappeared. "Nobody knew my greatgrandmother had any Indian blood in her," said Purdy. "It was all quite sudden." With such stories in his past, it is easier for the reader to see how such novels as In the Hollow of His Hand came to be written. Purdy knew from first-hand experience that what one takes for granted one day could be completely changed the next. As the 1990s arrived, Purdy quietly continued with his next ideas for novels and stories. With over thirty books to his name and the praise of many of his fellow writers, Purdy still found it not always easy to publish his next book. Perhaps the fact that James Purdy has not lived the life of a flamboyant, self-destructive alcoholic or drug addict has not given him headlines of more outwardly excessive writers. He is merely a craftsman, a great writer tending quietly to his work. He told the staff of Contemporary Authors in 1984 that "this is an age of exhibitionists, not souls. The press and the public primarily recognize only writers who give them 'doctored' current events as truth. For me, the only 'engagement' or cause a 'called' writer can have is his own vision and work. It is an irrevocable decision: he can march only in his own parade." The reader who appreciates literature likely remembers where he was when he read his first

memorable book and hence looks forward to more writing from that author. It is always a bright note on the calendar when a forthcoming title by Purdy is announced by a publisher or book reviewer. It was disappointing to learn that Purdy's collection in the United States, Moe's Villa and Other Stories, was turned down by his regular publishers. After creating so many books of prose and poetry, much to great acclaim, Purdy learned he could not count on the vagaries of the publishing world (Moe's Villa was quickly and happily picked up by a publisher in England, the first country to recognize Purdy's promise and ability). It is saddening that this recognition did not come from his own country.

GARMENTS THE LIVING WEAR

Garments the Living Wear is the first novel by Purdy that deals with the issue of AIDS, or "the Pest," as the book's characters call it. The fantastic is mixed with the realistic in this novel as one of the main characters, Edward Hennings makes his appearance. He arrives in time to see the erosion of New York's gay theater, the result of a lack of funding and the loss of many actors to AIDS. Hennings is an aging homosexual who gives the impression of having more money than he does and begins to impact on the lives of the book's two main characters, Jared Wakeman and Peg Sawbridge, in both positive and negative ways. Jared, who is young and good looking, is partly supported by his benefactor, Peg Sawbridge, an aging drag queen. Tensions develop as Hennings begins to seduce Jared. However, the resentment Peg feels from the attention Hennings lavishes upon Jared lessens as it becomes known that Hennings can perform miracles such as healing the sick, especially those with AIDS. With the discovery of such powers, Hennings becomes a sort of gay messiah, performing his fantastic cures. Alas, as Hennings brings his mir-

JAMES PURDY / 281 acles and salvation to New York City, he disappears, his job done. Shortly thereafter, news arrives that Hennings has died in the Caribbean, devastating those whose lives he had touched. AIDS has been defined at times by some of the most conservative evangelists as a disease that homosexuals brought upon themselves as their "wages of sin"—they are suffering God's wrath. Purdy could not resist this opportunity to satirize such beliefs by creating a gay messiah who can cure AIDS. Despite some of this book's morbid elements, Purdy's humor and wit are working at full force. He has written an upbeat book that takes a turn from some of his darker themes of alienation, poking fun at the Christian Right Wing. Purdy carries his fast-paced wit and satire into the next decade with his next book, Out with the Stars, right on the tail of the Garments the Living Wear. Two major works by Purdy appeared in the 1990s, Out With the Stars in 1992 and Gertrude of Stony Island Avenue in 1997. In these works Purdy moves his characters from the woods to the city, taking his cast to Manhattan in Out with the Stars and Chicago in Gertrude of Stony Island Avenue. Out with the Stars represents a change of pace for Purdy, offering a mixture of some of his favorite themes, such as the complexity of relationships and the struggle to find self-identity, in a more optimistic mood. This book takes place in the mid-1960s when AIDS is not yet a news item and many of the characters who are gay are still in the closet. Abner Blossom, for example, has recently left retirement to write an opera about an infamous Russian novelist-turned-photographer, Cyril Vane. Vane is married to a once-famous star of the silent screen, Madame Olga Petrovna, who still clings to the glory days of her past. The trouble begins when Olga and others who know Cyril go to amazing lengths to keep quiet some of the more sordid facts of their lives. It seems Cyril has

one especially dark secret that he is determined to take to the grave. Who else has something they wish to hide? For one thing, many of the book's characters have homosexual liaisons that they are content to keep quiet rather than have aired as common knowledge in the local community. It is sometimes the price one must pay for the cost of fame: complete loss of privacy that feeds the public hunger for gossipy chatter. What Purdy has created is a vehicle for developing one of his favorite themes, that of the character's struggle to find his own true identity. The twist however, is that some of the characters know their own identity and do not want anyone else to know. This is one of Purdy's most commercial books as the action is much more exterior than interior, the humor richer and more varied, and the characters more diverse. Another central character, a Midwestern bumpkin from Kentucky, Val Sturgis, comes to the big city to make good and eventually becomes the protege of Abner Blossom. As the story progresses, so does the complexity of the relationships between characters as values are tested as well as loyalties and ties to friendships old and new. Out with the Stars is one of Purdy's busiest books in terms of action, satire, and intrigue. As usual, reviews were mixed though mostly favorable. Irving Malin, writing for the Review of Contemporary Fiction, saw the book as a "cruel and comic meditation on the meaning of fame." Firdaus Kanga wrote in the Times Literary Supplement that Purdy "had never been funnier" and his writing "never more self-assured." Indeed, Out with the Stars is a book that approaches slapstick even if it is close to black humor. The same reviewer in the Times Literary Supplement, Firdaus Kanga, had reservations though he thought the book funny, saying that still, the book "comes to one without meaning," and added "he has made his characters into playthings without fitting them into a grand construct."

282 / AMERICAN WRITERS Responding to such a backhanded compliment, Purdy said with a laugh, "Oh why didn't they just come out and say they didn't like the book!" A reader who sees all the ups and downs of Purdy's career might wonder why he continues to write. When asked that very question in a phone interview, Purdy responded, "I'd still write even if I was never published," adding, "I'd probably be a very different writer if that were the case." Different or not, Purdy followed up Out with the Stars in 1997 with Gertrude of Stony Island Avenue. In this book Purdy at last returns to the land of his youth, Chicago, the city he first visited after he left Ohio. In novel, Purdy relates the story of the Chicago family of Carrie and her husband, a man known only as "Daddy." The story takes place in the near present when Carrie and Daddy are mourning the loss of their talented bohemian daughter, Gertrude, in what seems to be a self-willed death. As a sort of therapy, Daddy suggests to Carrie that she write a book about their daughter. Gertrude was a talented and well-known painter in her time, one who punctuated her career with copious amounts of sex and drink. As Carrie ponders the suggestion of writing their daughter's biography, she becomes obsessed with the need to discover what motivated Gertrude's frantic life. Thus Carrie, who lives in great fear of disappointing Daddy, begins her investigation that leads her to old friends and haunts that Gertrude favored, all the while reading her daughter's secret journal. Each discovery brings an illumination, such as meeting friends Carrie never knew Gertrude had, and helps pull her out of her confusion while Daddy watches from the sidelines with a mixture of encouragement and resentfulness. As Daddy's health fails, he becomes slightly envious of her revitalized energy. Carrie is not overjoyed by a visit from her sister-in-law Gwendolyn from London, but eventually they befriend each other somewhat and work together to understand Gertrude's life. They

are also helped by the eccentric Evelyn Mae, a scholar of Elizabethan times. Their quest for Gertrude becomes frantic as Carrie is drawn deeper into her daughter's world, places she never dreamed existed. The next character to be introduced is Cy Mellerick, Daddy's lawyer and, unbeknownst to all, a close friend of Gertrude's. With Cy's help, some of the final questions about Gertrude are answered. The frenzy of activity peaks into a happy ending for all. Carrie, who narrates the book, discovers that even though her daughter died an early death, ". . . Gertrude had lived . . . unlike myself..." Even though she and Daddy had been such poor parents, their daughter triumphed despite them. When Carrie is at last able to accept the fact that she had failed her daughter, she exclaims "I knew then that I was free . . . forever free." To which Daddy answers, "By George, Carrie, are you telling me we have a happy ending on our hands?" The answer seems to be yes, or as Carrie puts it, quoting Gwendolyn, "The search of Demeter for her Persephine is ended." A new pattern has emerged in Purdy's writing, that of death as a vehicle for self-discovery. In Children Is All, Edna Cartwright discovers her love for her son Billy only after he has died; the aunt and uncle in The Nephew learn about their own feelings of love after Cliff dies in the war; and now Carrie and Daddy fill the void in their own lives after discovering who Gertrude really was and how she lived. The reader might wonder what it is about human nature that makes people want to romanticize their loved ones once they are dead. There seems to be an instinct to gloss over the more sordid aspects of the life in an attempt to alleviate guilt or unfinished business in the lives of those left behind. One could almost say that there seems to be a need to compartmentalize the lives of the deceased so they may fit nicely into the remaining scheme of one's own life. Or perhaps it is simply easier to love an acquaintance or fam-

JAMES PURDY / 283 ily member once they are dead and cannot talk back. Purdy offers no answers. He does offer a wide variety of works that explore these themes. His work, not the subject of Norman Rockwell pastiche, nevertheless represents a side of humanity everyone knows exists, but may be unwilling to admit.

CONCLUSION James Purdy began to find his writing voice in the post-war 1950s, a period famous for its conformity and almost religious appreciation for material possessions. It was a time when Mom and Dad made the rules, Communists stalked the land, and homosexuals ("homos") were perverts who roamed dark alleys looking for victims. In the 1950s, the Beats began to howl and famous obscenity trials were launched over books as varied as Lawrence's Lady Chatterley's Lover and Allen Ginsberg's Howl. Could there have been a more perfect climate in which to rebel and challenge traditional mores? Experimental writing was beginning to make news, abstract expressionism was already "in," and by 1960 the world was a reflection on shattered glass, or so it seemed. Yet in a small apartment in Brooklyn, on a quiet street, in a tiny neighborhood, James Purdy picked away at the world, letter by letter, on an old Underwood typewriter. While bombs exploded around the world, Purdy organized his own revolution on blank white bond paper. At first, his writing did not seem so shocking. The writing was straightforward, very precise and yet these were not stories for the family hour. While other writers were creating manifestos by the minute, Purdy was sounding his own alarm. He was quietly showing the world-at-large just what was happening to them. It is not until people are taken outside of themselves and are forced to look inward that they see

what they are doing and have done. That is what great literature can do—how many times have people read a scene that describes something that happened to them while failing to recognize its implications until they saw it described in print? Have you ever said, " 'Hey, I've done that too,' " or " 'That's happened to me!' "? Literature can allow people to be honest with themselves, they know a book will not talk back, condemn or judge them. How many Edna Cartwrights are there out there, denying love to their offspring until they are dead and gone, wishing they had a second chance? How many loveless families, abusive relationships, and exploited children are out there? James Purdy sounds the alarm almost every time he picks up his pen. Yet Purdy is more than a social worker who likes to spin a yarn. He is a writer, a solid craftsman in the best American tradition. William Carlos Williams said "The pure products of America go crazy," but we are happy to see that a pure product such as Purdy is still sane. As time passes, his readers see that the problems Purdy wrote about in the 1950s and 1960s are still relevant. Purdy's work has grown and changed with the world, depicting the emergence of AIDS and gay rights in his pages as his sometimes dour pessimism transforms into a finely honed voice of satire and humor. Purdy's writing and his themes continue to interest his readers. Hopefully his books will not be lost and forgotten on the shelves of twentieth century literature, but will grow in stature and gain the fine reputation that they deserve. Purdy will not be the first American writer to reappear from obscurity. Readers have forgotten the limbo that some writers, who have since been taken for granted as immortals in the Literary Hall of Fame, slipped into during and after their lifetimes. William Faulkner was saved from obscurity during his career when Malcolm Cowley created and edited the Portable William Faulkner for Viking Press. Even Ernest Hemingway was,

284 / AMERICAN WRITERS in the late 1960s after his death, lodged in a slump that did not really lift until the later half of the 1970s—his work was actually passe and taboo for a number of years. So Purdy's readers hope that this quiet writer of exceptional prose, who has worked consistently at his craft for well over a half century, will someday gain the wider readership he deserves. In the meantime, it is a comfort to know he is still in Brooklyn, baton in hand, typing away. He is not done with his readers yet. Note: In January 2000, I conducted a series of telephone interviews with James Purdy. Many quotations in this essay are from those interviews.

Selected Bibliography WORKS OF JAMES PURDY NOVELS AND SHORT STORIES

63: Dream Palace. London: Victor Gollancz, 1956. Color of Darkness. New York: New Directions, 1957. Malcolm. New York: Farrar, Straus & Giroux, 1959. The Nephew. New York: Farrar, Straus & Cudahy, 1960. Children Is All. New York: New Directions, 1961. Cabot Wright Begins. New York: Farrar, Straus & Giroux, 1964. Eustace Chisholm and the Works. New York: Farrar, Straus & Giroux, 1967. An Oyster is a Wealthy Beast. San Francisco: Black Sparrow Press, 1967. Jeremy's Version. New York: Doubleday, 1970. I Am Elijah Thrush. New York: Doubleday, 1972. The House of the Solitary Maggot. New York: Doubleday, 1974. In a Shallow Grave. New York: Arbor House, 1975. Narrow Rooms. New York: Arbor House, 1978. Mourners Below. New York: Viking Press, 1981. On Glory's Course. New York: Viking Press, 1984. In the Hollow of His Hand. London: Weidenfeld & Nicolson, 1986.

The Candles of Your Eyes and Thirteen Other Stories. New York: Weidenfeld & Nicolson, 1987. Garments the Living Wear. San Francisco: City Lights Books, 1989. Out with the Stars. San Francisco: City Lights Books, 1992. Gertrude of Stony Island Avenue. New York: Morrow, 1997. POETRY

On the Rebound: A Story and Nine Poems. Los Angeles: Black Sparrow Press, 1970. The Running Sun. New York: James Purdy, limited edition, 1971. Sunshine is an Only Child. New York: Aloe Editions, 1973. Lessons and Complaints. New York: Nadja Editions, 1976. The Brooklyn Branding Parlors. New York: Contact II Publications, 1986. Collected Poems. Amsterdam: Athenaeum-Polak & Van Gennep, 1990. PLAYS

Cracks. Cosmopolitan, August 1962, pp. 64-69. Wedding Finger. New Directions in Prose and Poetry 28:77-98 (1974). Proud Flesh. Northridge, Calif.: Lord John Press, 1980. What Is It, Zach? New Directions in Prose and Poetry 43:171-179(1981).

BIBLIOGRAPHY Ladd, Jay L. James Purdy: A Bibliography. Columbus, Ohio: Ohio State University Libraries, 1999.

CRITICAL AND BIOGRAPHICAL STUDIES Adams, Stephen D. James Purdy. New York: Barnes & Noble, 1976. Chupack, Henry. James Purdy. Boston: Twayne, 1975. Contemporary Authors Autobiography Series. Vol. 1. Detroit: Gale Research, 1984. Davenport, Guy. "Jeremy's Version." New York Times Book Review, November 15, 1970, p. 4.

JAMES PURDY / 285 Dunn, Douglas. Review. Glasgow Herald, January 18, 1986. Kanga, Firdaus. "From the High Ceiling." Times Literary Supplement, June 26, 1992, p. 21. Kostelanetz, Richard, ed. On Contemporary Literature. New York: Avon, 1964. Malin, Irving. "Book Review." Review of Contemporary Fiction 14:208-209 (Summer 1994). Schwarzchild, Bettina. The Not-Right House: Essays on James Purdy. Columbia: University of Missouri Press, 1968. Seidman, Robert J. "War Between Mothers and Sons." New York Times Book Review, February 26, 1984, p. 25.

Skeen, Anita, "The Importance of Age in the Short Stories of James Purdy." Master's thesis, Bowling Green University, 1970.

RECORDINGS Eventide and Other Stories. New Rochelle, N.Y.: Spoken Arts, 1970. James Purdy. New York: Full Track Press, 1979. Malcolm. Deland, Fla.: Everett/Edwards, 1970. 63: Dream Palace. New York: Spoken Arts, 1968.

—DAVID BREITHAUPT

Anne Rice 1941-

ALTHOUGH SHORTLY AFTER the 1976 publi-

years were spent in an environment troubled by her mother's alcoholism. As Katherine Ramsland points out in her biography of Rice, Prism of the Night: A Biography of Anne Rice, Rice's mother frequently drank alone in her room, causing disasters such as setting the mattress on fire. Rice's mother demanded perfection from her children, and her children often played the role of enabler, hiding their mother's drinking and excusing her irrational behavior. Consequently, Rice assumed the role of family caretaker, performing domestic duties such as cleaning house and preparing meals, and taking on nurturing responsibilities such as caring for her sisters. When Rice was fourteen, her mother died of alcoholism. Maintaining fond memories of her mother in spite of her disease, Rice recalls in Prism that her mother inspired her to maintain self-confidence and taught her many practical skills: "[my mother] gave me the belief in myself that I could do great things, that I could do anything I wanted to do. When it came to accomplishments in the world, to manner of dress, to intellectual curiosity or achievement, she gave me a sense of limitless power. She put no premium at all on conformity. I never doubted she loved me or was interested in me." After her mother's death, Rice returned to Redemptorist High School, a Catholic school. It was an institution, ironically, that challenged her to begin to question the teachings of Catholicism.

cation of her first novel, Interview with the Vampire, Anne Rice stated in Contemporary Authors (1977), "I doubt that I will deal with the supernatural again in my fiction," she has since become one of the most prominent authors of popular horror fiction. The second of the four daughters of Howard O'Brien and Katherine Allen O'Brien, Howard Allen O'Brien was born on October 4, 1941, in New Orleans, Louisiana. Named after her father and embarrassed because she had a name that traditionally referred to a boy, Rice created and revealed the nickname Anne to a nun who asked for her name on her first day of school. Rice's mother was a very religious woman who insisted her children adhere to Catholicism and its rituals. However, amidst the sometimes oppressive religious environment, Rice's childhood was filled with frequent storytelling by her mother, who also inspired her children to reach for genius. Additionally, her father read classical literature to his daughters, filled the house with classical music, and encouraged his daughters to sing, to dance, and to play musical instruments. A precocious child, Rice showed interest in the arts from an early age, when she began to play the violin, write novels, and perform in plays with her sisters. Along with the positive influence of exposure to the arts during her childhood, Rice's early 287

288 / AMERICAN WRITERS She disagreed with the rigid doctrines advocated by Catholicism, especially sexist dogmas that place women near the bottom of a clearly established social hierarchy, and outdated ideologies that deny women sexual pleasure. In addition to her rebellion against religious teachings, Rice also began to question broader social norms that promoted sexism by encouraging young women to marry and have children while motivating young men to pursue business opportunities and to seek education. Years later, in an interview with Susan Ferraro, Rice explained her motives for forsaking the Catholic teaching her parents and some of her peers tried so hard to instill in her: "It struck me as really evil—the idea you could go to hell for French-kissing someone. I just didn't believe it was the one true Church established by Christ to give grace. I didn't believe God existed. I didn't believe Jesus Christ was the son. I didn't believe one had to be Catholic in order to go to heaven. I didn't believe heaven existed either." The emotional pressure of resisting social and religious pressures was intensified when Rice's father enrolled her and her younger sisters in St. Joseph's Academy boarding school. The boarding school upheld very strict rules and demanded structured daily routines, sources of confinement that deeply oppressed Rice. Rice's father remarried in 1957 and the family moved to Richardson, Texas, where Rice completed high school. There, she met her future husband, Stan Rice. She also began to write for the school newspaper, The Talon. During high school Rice held numerous service jobs such as waitress and drugstore clerk. After graduating, she attended Texas Woman's University, in Denton, Texas. Exposure to philosophies taught at college challenged Rice to question her religious faith even more seriously than she had in high school. After studying for a semester at Texas Woman's University, Rice transferred to North Texas State (now the University of North Texas), where Stan Rice also enrolled. During her sophomore year of

college, she moved to San Francisco, where she worked in an insurance office. After Stan's marriage proposal, Rice returned to Denton to live with him. Shortly afterward, they moved to San Francisco. While both Anne and Stan took courses at San Francisco State College (which became San Francisco State University), Anne also acted in a few plays and worked in an office, and Stan also painted and worked as an accountant. During this time, the Rices held parties for artists, and they began to drink heavily. Rice began to write short stories and novels. In 1964, both she and Stan received undergraduate degrees from San Francisco State University, where later Stan also received a master's degree. The Rices' daughter, Michele, was born in 1966, while Anne attended graduate school and Stan taught creative writing at San Francisco State University and continued to pursue a poetry writing career.

EARLY WRITING

Shortly after moving to Berkeley in 1969, Rice wrote the short story "Interview with the Vampire," began an erotic novel, The Tales ofRhoda, and wrote a novella, Katherine and Jean, which became her master's theses. In 1972, Michele Rice died of leukemia; although Rice was able to complete her master's degree during her daughter's terminal illness, shortly afterward she and her husband began to drink more heavily—a habit they continued through the time the novel Interview with the Vampire appeared in 1976. During this period, the Rices began to have intense arguments, exacerbated by drinking and complicated by frustration experienced because of their daughter's death. Rice's intense relationship with Stan continues, as she admits in a 1999 interview in Contemporary Authors: "I fell completely in love with Stan, and I'm still completely in love with him. . . . It's a passionate, stormy

ANNE RICE / 289 love. The ferocity of our arguments frightens away many people, and our affection for each other inspires them." To escape her troubled relationship and emotional problems, Rice went to stay briefly in Dallas with Stan's parents. When she returned to San Francisco, she took a job as a copy editor for a book publisher. After a bout with Guillain-Barre Syndrome, a nerve infection that partially paralyzed her for months, Rice began to join writing groups and to pursue her writing career more seriously. Still grieving over her daughter's death, experiencing obsessive-compulsive behavior, and seeking psychiatric help, Rice sold Interview with the Vampire to Knopf for $12,000. She subsequently sold the paperback and movie rights for large sums, which provided her with the financial security to travel. The Rices traveled to Europe and Egypt, where Rice gained insights into settings for future novels. In 1978, the Rices' son, Christopher, was born, which prompted both Anne and Stan to quit drinking. Rice continued to write and publish her novels, and experienced immense frustration that her novels were not taken seriously by critics. After residing in several houses in and near San Francisco, the Rices moved in 1988 to New Orleans, where they reside in a Garden District mansion adorned with Gothic memorabilia such as statues, skeletons dressed in vintage attire, and crystal balls.

RICE'S RELATIONSHIP WITH HER FANS

Rice shows remarkable loyalty to her fans, and they return her displays of loyalty. Similar to rock-star groupies, Rice's fans dress in Gothiclike costumes that include black attire, exaggerated decorations of jewelry, Mohawk haircuts, and tattoos to attend book signings and various other social events. Rice often entertains her fans with activities such as riding in limousines and tossing rubber rats to her fans during Mardi Gras

parades, and arriving at public events in horsedrawn coffins. Similarly amusing her fans, Rice celebrated the 1995 publication of Memnoch the Devil by staging a pseudo-funeral, in which she appeared wearing a wedding gown and riding in a coffin. No doubt Rice performs such acts to entertain her fans and provide a public image that helps promote her novels. Rice also engages in public activities that only vaguely relate to her writing career. In 1997, she paid for a full-page newspaper ad that promoted the boycott of the opening of a neon-lighted restaurant on St. Charles Avenue in New Orleans because she thought it disrupted the ambiance of the otherwise charming district. Coincidentally, the restaurant opened at the location where Rice had portrayed Lestat's disappearance in Memnoch the Devil, and some viewed Rice's tactics as self-promoting attempts to advertise her novels. Keeping the matter in the news, the restaurant owner countered with his own ad and sued Rice. Such public demonstrations keep Rice in the limelight and provide her fans with notions of Rice as an individual, an image they may add to notions of her as an author. More important than the colorful adventures outside of writing that Rice provides for her fans, she continues to entertain them through her novels. In addition to those written in the horror, Gothic, and fantasy genres of popular fiction, Rice's novels can be classified as historical or erotic fiction. However, of Rice's many novels, she is most recognized for her vampire novels. In Katherine Ramsland's Vampire Companion: The Official Guide to Anne Rice's The Vampire Chronicles, Rice speaks about her inspiration for writing her first vampire novel, Interview with the Vampire. She also makes comments relevant to her vampire novels in general, explaining what motivated her interest in depicting vampires: "I was just sitting at the typewriter wondering what it would be like if a vampire told you the truth about what it was like to be a vampire. I wanted

290 / AMERICAN WRITERS to know what it really feels like. I wanted to see through the vampire's eyes and ask the questions I thought were inevitable for a vampire, who once had been human to ask. What do you feel when you drink blood? Is it erotic? Is it glorious? Is it spiritual? I followed my imagination and my instinct."

VAMPIRE WORKS

Rice's vampire works consist of two series of novels: The Vampire Chronicles and New Tales of the Vampires. The first series, The Vampire Chronicles, consists of six novels: Interview with the Vampire, The Vampire Lestat (1985), The Queen of the Damned (1988), The Tale of the Body Thief (1992\ Memnoch the Devil, and The Vampire Armand (1998). Written as a series, the same characters appear throughout The Vampire Chronicles, typically with each volume focusing on a specific character's point-of-view. Additionally, some of the same incidents are referred to across the volumes, but readers are offered a different character's perspective on the events. Throughout the series, a complex and elaborate epic history of a coven of vampires, along with details of specific vampires, unravels. The Vampire Chronicles are structured similarly: they begin with brief introductory chapters that establish why the protagonists tell the stories revealed in the forthcoming chapters. The beginnings of the novels, which provide frameworks for the books, establish that the protagonists are either writing novels or participating in interviews. Typically, the novels end with epilogues, in which the protagonists offer insights about the experiences revealed in the framed narratives. The epilogues bring the novels full-circle, back to the prologues, and together the epilogues and prologues provide interesting frameworks that add layers to the narratives. The framed chapters usually provide histories of the protagonists' ex-

periences, beginning with accounts of how and when they were created. Additionally, the framed narratives contain the action and provide historical accounts of the settings as well as mentioning characters that appear throughout the chronicles. The Vampire Chronicles series begins with Interview with the Vampire, which marks Rice's popular novel debut. Interview with the Vampire is set up as an interview between the vampire Louis and a reporter called Daniel that takes place in San Francisco. Organized into four sections, the novel traces Louis' life from 1791 to the present. In the final section, Louis interprets the events and tells how they have impacted his life. After recounting his experiences, the reporter asks to be transformed into a vampire. Although confused as to why the reporter would desire such status after the trials Louis has explained, Louis nevertheless fulfills the reporter's wish. Louis spends much of the novel fighting humanlike internal conflicts, including feeling empathy for mortals and experiencing guilt. Louis's human traits separate him from other vampires and he becomes a sort of "other" in both human and vampire societies. Whereas Lestat, the vampire who transformed Louis into a vampire, clearly belongs in the vampire world and lacks human emotions, Louis constantly struggles between the desire for blood and the compassion he feels for his victims. The characterization of Lestat provides a foil for that of Louis: Louis is "[t]orn apart by the wish to take no action—to starve, to wither in thought on the one hand; and driven to kill on the other," while Lestat, who tells Louis, "Vampires are killers! They don't want you or your sensibility!" is "masterfully clever and utterly vicious." Repeatedly, Louis expresses remorse for killing people to fulfill his own need for blood. Contrary to Louis' emotional anguish, Lestat frequently celebrates the deaths of his victims and even seems to prolong their suffering to fulfill his own need to kill violently. Lestat is impatient with Louis' internal struggles

ANNE RICE / 291 and tries to teach him to take pleasure in killing his victims, a notion unimaginable to Louis. After living with Lestat for four years, Louis announces his intention to leave him. Determined to prevent Louis from leaving, Lestat creates Claudia, a five-year-old vampire whom he refers to as their daughter. Louis's attachment to Claudia inspires him to remain with Lestat for another sixty-five years. Claudia serves as a sort of middle ground between the extreme personalities represented by the characterization of Lestat, as evil, and of Louis, as good. The transformation from innocent child to vampire through the characterization of Claudia has been interpreted by some critics as an unconscious means for Rice to cope with her grief over the death of her own daughter, Michele. The reporter to whom Louis tells his story publishes the interview, an event which provides the beginning for the second novel in the Vampire Chronicles, The Vampire Lestat. Here, Lestat learns about the novel Interview with the Vampire from a rock band, reads it, and decides to correct misinformation provided by Louis. The Vampire Lestat opens with Lestat awakening in the 1980s from fifty-five years of sleep. He is awakened by noises from various media sources, including entertainment programs and news broadcasts. The sound that finally awakens him fully is that of a rock band rehearsing. Motivated to awaken by the urge to join a rock group, Lestat rides a Harley and dresses in leather. His immediate reaction to his contemporary environment is that people have rebelled against the need to conform that beset the era of the industrial revolution, and have learned to express eroticism. He also notices that since he has last been awake, society seems to have adapted an economy in which wealth is more equally distributed. Lestat approaches the rock band, Satan's Night Out, to inquire if he might join them. Members of the rock band recognize his name and inform him that he is the protagonist of a book they re-

cently read. After the group shows Lestat a copy of Interview with the Vampire, he consults his lawyer and demands to be given fame that will transcend continents and time. Lestat changes the rock group's name to The Vampire Lestat to gain the fame he seeks. Lestat realizes that during the interview that appears in print as Interview with the Vampire, Louis had committed worse crimes than merely breaking the vampire code that states that mortals must not be told about vampires. Furious about the lies that Louis has told about him in Interview with the Vampire, Lestat seeks revenge. To add to Louis' story, Lestat wants to reveal to the mortal world the events that he has seen and learned before he had met Louis. He is also motivated to write his autobiography because he wants mortals to understand vampires in general, even if they would not believe the tales he plans to tell. Since Louis' story is considered fiction by mortals, Lestat hopes to create a more believable account of vampire life. A further motive for Lestat to write his autobiography concerns his desire to entice the vampires to join forces and fight a lustrous war. The character of Lestat disguised as a mortal rock star in the framing chapters of The Vampire Lestat parallels his character as vampire in the framed chapters. As a rock star who rides a Harley, he represents a social rebel in the earthly realm; similarly, as a vampire who challenges traditional codes, he represents a rebel amongst his coven of vampires. He writes his story on a word processor after the speaker of a cassette of Death in Venice claims that evil is necessary. The cassette recording inspires Lestat to consider his own philosophies concerning good and evil. He tries to believe that evil is necessary and that immorality is unavoidable in order to evade the guilt he feels about the acts he commits as a vampire. After the opening section of The Vampire Lestat, Lestat's autobiography, "The Early Education and Adventures of the Vampire Lestat," begins.

292 / AMERICAN WRITERS It consists of seven chapters that trace Lestat's history, beginning with his birth in France in the eighteenth century. Born the seventh son of a marquis, Lestat desires to live in a monastery but his father forbids it, so he runs away. The story chronicles his adventures after joining a group of traveling actors. Demonstrative of his bravery, Lestat fights a pack of wolves and is befriended by Nicolas, with whom he goes to Paris, where he is transformed into a vampire by Magnus. Lestat goes on to transform his mother, Gabrielle, and his friend Nicolas into vampires. Lestat convinces Armand's coven to forgo their long-held religious rituals. Lestat spends ten years searching for Marius, an old vampire whom he believes will teach him the traits of a vampire. Eventually Marius finds Lestat and explains the origins of vampires. The Vampire Lestat concludes with an epilogue, "Interview with the Vampire," which is divided into two sections, and a concluding chapter that follows the epilogue. The concluding chapter, entitled "Dionysus in San Francisco, 1985," is further divided into three parts. "Interview with the Vampire" describes Lestat's decision to remain asleep since 1929. Lestat recounts his relationship with Louis and Claudia, and includes information that Louis could not have known in his account of the triangular relationship he describes in Interview with the Vampire. The Vampire Lestat ends with Lestat's concert, the music of which awakens Akasha who is the Queen of the Damned and the mother of all vampires. Left open-ended, the final pages announce that "the third book in The Chronicles of the Vampires will follow." True to the serial novel form, the ending of The Vampire Lestat leaves readers wondering what will happen next. The concluding page invites readers to consider possibilities for future action, while also promoting the next book. Continuing the climactic conclusion of The Vampire Lestat, The Queen of the Damned is the

next volume of the Vampire Chronicles. Unlike the first two novels in the series, Interview with the Vampire and The Vampire Lestat, each of which focuses on specific character's points of view, traces their histories, and reveals their thoughts, The Queen of the Damned illustrates several plots and many equally important characters. The novel begins with a poem "Tragic Rabbit," written by Stan Rice, followed by an untitled section that begins "I'm the vampire Lestat. Remember me? The vampire who became a super rock star, the one who wrote the autobiography?" Lestat's testimony provided in the untitled section serves to reorient readers with the previous book in the series. He reminds readers that he was most recently viewed as "hanging from the proverbial cliff," a situation he says he survived. After informing readers that he now resides in Miami with other vampires, he announces that he will leave the reader but will return when the time is right. Told within a narrative that introduces a framed narrative, Lestat's opening is much like the openings of the earlier novels in the Vampire Chronicles. Whereas both the poem and Lestat's introductory speech occur before the table of contents in The Queen of the Damned, the book's prologue proper "Proem," begins as if it were "found fiction," representing a long section of graffiti found on a bathroom wall; however, later it is implied that someone is reading the prologue's message out loud. The message consists of a formal declaration by Marius seeking Lestat's death for having revealed vampire secrets. Marius refers both to Interview with the Vampire and to The Vampire Lestat. Like Lestat, who attempts in his autobiography to correct Louis's accounts of vampirism, Marius warns his listeners (and inadvertently readers) to ignore some of Lestat's "gobbledygook" and questions why both Louis and Lestat have not been condemned for revealing secrets to mortals. Marius announces a need to destroy Les-

ANNE RICE / 293 tat and all of his friends and invites listeners to attend Lestat's rock concert, scheduled to occur on Halloween, in which Lestat will perform. As in the opening narrative, the point of view throughout The Queen of the Damned is cumbersome. While in the beginning Lestat claims to be writing the novel using various characters' points of view, it is not always clear that these multifarious points of view are filtered through Lestat's fictional authorial stance. Despite point of view complications, the gist of the main plot concerns the conflict between Lestat and Akasha, an Egyptian queen whose ploy to redeem humanity from evil involves destroying almost all of the male population. Akasha abducts Lestat and takes him to France to be her lover, but eventually he refuses her offer to join her as a god because he does not want to forsake his vampire status. Although Akasha claims to teach him goodness, her notion of virtue contrasts with that of Lestat's. Among many others, one minor plot involves Daniel, the reporter who interviewed Louis in Interview with the Vampire. Although several plots intertwine to some degree and the characters mingle to form at least some sort of unity, the action of The Queen of the Damned is difficult to follow. It does, however, involve the internal, philosophical struggles of the vampires, especially Lestat's ethical conflicts. For example, after the confrontation with Akasha, in which Lestat denies her perspective of good and evil, he reveals in terms of age-old philosophies why he embraces Marius: "It had to do with the whole struggle of good and evil which he understood exactly the way I did, because he was the one who had told me how we must wrestle forever with those questions, how the simple solution was not what we wanted, but what we must always fear." Similar concerns are explored when Lestat and the other vampires attempt to deny the reasons Akasha provides for why evil exists. As Maharet argues:

I tell you, we would be hard put to determine what is more evil—religion or the pure idea. The intervention of the supernatural or the elegant simple abstract solution! Both have bathed this earth in suffering; both have brought the human race literally and figuratively to its knees. Don't you see? It is not man who is the enemy of the human species. It is the irrational; it is the spiritual when it is divorced from the material; from the lesson in one beating heart or one bleeding vein. Like previous volumes in the Vampire Chronicles, The Queen of the Damned refers to earlier volumes as well as to itself as a text. The conclusion of The Queen of the Damned summarizes the various characters' current conditions and says that people will assume that this book is fiction, much as they had considered Interview with the Vampire and The Vampire Lestat. The sequel to The Queen of the Damned, The Tale of the Body Thief is the fourth volume of the Vampire Chronicles. Referring to itself as a text in a manner commonly featured in the series, the narrator of the prologue to The Tale of the Body Thief announces, "This is a contemporary story. It's a volume in the Vampire Chronicles, make no mistake. But it is the first really modern volume, for it accepts the horrifying absurdity of existence from the start. . . ." Whereas the fictional authors of the second two volumes in the Vampire Chronicles write their stories in order to correct information written in previous volumes, Lestat, in The Tale of the Body Thief, says that he will elaborate and build on tales told in earlier volumes of the Vampire Chronicles. The Tale of the Body Thief concerns Lestat's desire to be mortal. After failing a suicide attempt, he exchanges bodies with the mortal Raglan James, a con artist who trades his soul with others so that he can assume their bodies. James manipulates Lestat into exchanging bodies with him so that James may experience vampirism and Lestat may experience being human. However,

294 / AMERICAN WRITERS James escapes with Lestat's body with no intention of returning it. Lestat and David Talbot search for James, find him, and knock him out of Lestat's body. However, James later appears to Lestat in David's body and asks to be transformed into an immortal. The Tale of the Body Thief concerns Lestat's internal conflict over the evil deeds he must perform as a vampire. He sums up his moral dilemma: "My greatest sin has always been that I have a wonderful time being myself. My guilt is always there; my moral abhorrence for myself is always there; but I have a good time . . . you see that's the core of the dilemma for me—how can I enjoy being a vampire so much, how can I enjoy it if it's evil?" Lestat is pleased with his decision to turn David into a vampire and further celebrates his own vampire state, acknowledging that he had the "opportunity for salvation—and had said no." Adhering to the structural organization of the first four volumes in the Vampire Chronicles, Memnoch the Devil, the fifth volume, begins with a prologue. It opens, "Lestat here. You know who I am? Then skip the next few paragraphs. For those whom I have not met before, I want this to be love at first sight." He entices readers to continue reading Memnoch the Devil and asks if they are familiar with the previous vampire stories. The first chapter opens with David approaching Lestat a year after the ending of The Tale of the Body Thief, when Lestat had turned David into a vampire. Lestat reveals to David his plan to choose Roger, a drug dealer and murderer, as his next victim. Representative of Lestat's goal to satisfy his physical need for blood without disrupting the "good" of the universe, he explains that he plans to wait to kill Roger until after Roger's daughter, Dora Flynn, has had the chance to tell her father goodbye. The central conflict the novel poses, a battle between good and evil, is foreshadowed in this early conversation, in which David questions whether it is morally acceptable to kill a man, even if he is a drug dealer and

murderer. Lestat replies, "Think of the suffering in the world tonight. Think of those dying in Eastern Europe, think of the wars in the Holy Land, think of what's happening in this very city. You think God or the Devil gives a damn about one man?" After Lestat kills Roger, Roger returns as a ghost and asks Lestat to protect Dora because his criminal past has threatened her safety. After a brief narrative digression, in which Roger tells his life story to Lestat, the central plot, which involves a struggle between Lestat and Memnoch the Devil, begins. Memnoch stalks Lestat to persuade him to become his prince and leads him on a tour of heaven, hell, and purgatory. Memnoch tries to convince Lestat to inspire souls in hell to repent so they can go to heaven, but Lestat flees from Memnoch because he is distressed after witnessing the suffering in hell. Along the way, Lestat is given the Veil of Veronica, a relic that he gives to Dora. Dora, who is an evangelist, proclaims the veil a miracle and uses it to teach Christianity. Memnoch sends Lestat a thank you note for helping to revive Christianity, a religion filled with a history of human bloodshed. Ironically, Lestat has unwittingly performed Memnoch's true wish to perpetuate evil. At the end of Memnoch the Devil, Lestat says that he has told all the stories he knows and requests that his life story be recast from fiction to legend. In terms of the titles of the series in which Rice categorizes her novels, the Vampire Chronicles ends with The Vampire Armand, the sixth volume in the series. Unlike the earlier volumes, The Vampire Armand does not open with a prologue; however, like the earlier chronicles, it begins with an explanation of why it is being written. In the opening chapter, David Talbot persuades Armand to tell him his story so that he can write it down, and Armand agrees so that he may leave a legend for his children, Sybelle and Benjamin. Similar to the opening chapter that acts as a prologue but is not titled as such, the final chapter begins "This

ANNE RICE / 295 is no epilogue" yet serves as one in ways similar to the epilogues in some of Rice's earlier vampire novels. Armand says that he will write this final chapter in his own handwriting because he has left the manuscript with David. The epilogue explains Armand's epiphany, in which he questions Marius' philosophical beliefs. Armand reminds Marius that he once "championed the human soul, saying it had grown in depth and feeling ..." However, Marius claims no longer to believe the ideals he once taught Armand. He says that he "was ignorant" and refused "to see the very horrors that surrounded me, all the worse in this century, this reasonable century, than ever before in the world." Debating Marius, Armand defines the Lord as "the symbol of all brothers" who advocate "simply love." Armand continues his definition of God: "He was human, whether He was God or not, and He was suffering and He was doing it for things He thought were purely and universally good." As Marius and Armand sit silently after their speeches, Lestat appears and joins Armand. The sudden appearance of Lestat creates a new plot twist that provides the suspense on which the next volume in the series builds. The framed section of The Vampire Armand reveals Armand's story. The story begins with Armand's childhood, in sixteenth-century Italy, where he becomes Marius' protege after he is kidnapped and sold into slavery. Together Marius and Armand prey only on those they perceive as evil. Their humanistic goals make them the target of a Satanist coven that Armand is forced to join. The Vampire Armand explores themes such as good versus evil, familiar subjects in Rice's earlier vampire novels. After the publication of The Vampire Armand, Rice began a new vampire series, New Tales of the Vampire. The two volumes Rice categorizes as New Tales of the Vampire are published in a format that distinguishes them visually from the volumes in the Vampire Chronicles. Volumes in

New Tales of the Vampire are slimmer in width and do not contain as many pages as those in the Vampire Chronicles. Although the series is marketed as beginning with Pandora: New Tales of Vampires (1998), according to theme and character, the first novel in the series is Vittorio, the Vampire (1999). Pandora continues the action of The Vampire Armand, developing a plot that overlaps with The Vampire Armand. As does Armand in The Vampire Armand, Pandora, the central character of Pandora, tells her story to David. She says that she will explain her mortal life, describe her love for Marius, and reveal how her relationship with him ended. Like the narrators of volumes in the Vampire Chronicles, Pandora directly refers to texts from the Vampire Chronicles and briefly summarizes events that occurred in earlier volumes. At the end of Pandora, Pandora announces that she will join Lestat, who lies on a chapel floor, a reunion that connects the book to The Vampire Armand. Unlike Pandora, the first volume in the New Tales of the Vampire series, Vittorio, the Vampire does not intertwine with the Vampire Chronicles. Marketing strategies aside, thematically Vittorio, the Vampire is the first volume in the new series. While narrators of novels in Rice's Vampire Chronicles repeatedly refer to earlier volumes and acknowledge that the current narratives will continue earlier plots, the narrator of Vittorio, the Vampire establishes that his narrative will depart from patterns developed in the Vampire Chronicles. After stating outright, "I am a vampire," Vittorio reveals that he has been challenged to write his own story in book form so that it may randomly or through destiny be read by some of those who have read the other vampires' stories. Although he indirectly refers to the Vampire Chronicles, he immediately informs readers that this story will not intertwine with the stories told in that series. He says, "I know nothing of those heroes of macabre fact masquerading as fiction. I know nothing of their enticing paradise on the

296 / AMERICAN WRITERS swamplands of Louisiana. You will find no new knowledge of them in these pages, not even, hereafter, a mention." Instead of epilogues such as those that conclude the novels in Vampire Chronicles, Vittorio, the Vampire ends with a section entitled "Selected and Annotated Bibliography," in which Anne Rice, as author, claims that she personally received the manuscript from Vittorio while in Florence. Although the plots of many of Rice's vampire novels may seem a bit contrived, one of the strengths of the novels is the characterization. Rice builds on earlier depictions of vampires such as Bram Stoker's Dracula, while also departing from those portrayals. Rice breaks the pattern of the traditional vampire as a beast who has no human characteristics, primarily by telling her stories from a vampire's point of view. The vampires identify with humans when they speak directly to readers in the prologues of many of the novels. Additionally, the vampires tend to persuade readers to support them in the conflict that will be told of in the narrative sections of the books. A good example of one way the vampires relate to readers occurs in the prologue of Memnoch the Devil, in which Lestat says, "We have souls, you and I. We want to know things; we share the same earth, rich and verdant and fraught with perils. We don't—either of us—know what it means to die, no matter what we might say to the contrary. It's a cinch that if we did, I wouldn't be writing and you wouldn't be reading this book." Rather than characterizing monstrous, evil creatures who mercilessly kill humans, Rice creates vampires with whom her readers can identify. In Ramsland's Vampire Companion, Rice explains her attempt to create vampires with complex human characteristics: "That is what interests me: the idea that these characters are tragic heroes and heroines, that they have a conscience. They have hearts, they have souls, they suffer loneliness, and they know what they're doing. They don't want to be doing it [killing], and yet it's their nature."

Indeed, Rice's vampires suffer human emotions such as grief, sorrow, anger, jealousy, and guilt. Perhaps most importantly, her vampires struggle with serious ethical concerns and seek answers to profound philosophical questions. Rice's vampires also possess extraordinary, supernatural powers. In Vampire Companion, Ramsland divides Rice's portrayals of vampire powers into three categories: physical powers, mental powers, and emotional powers. Physically, the vampires possess magnificent strength, move at incredible speeds, and project their voices to high degrees and speak at levels so low that their voices can only be discerned by other vampires. In addition to their abilities to fly and jump, they can manipulate their bodies to produce extraordinary forms. They cry tears of blood. Although their wounds heal very quickly, they can be destroyed by fire and sunlight. The mental powers of Rice's vampires include exaggerated perception, heightened degrees of pleasure and pain, mental telepathy, the ability to hear moral voices from long distances, and the capability to read the minds of others. With their acute vision and intense consciousness, they can read quickly, learn other languages easily, recreate sounds, and move objects with their minds. Emotionally, vampires love members of both sexes and create stronger emotional bonds with other vampires than humans do with other humans. Because Rice's vampires do not consider incest taboo, interpersonal relationships are multifaceted: roles between mothers, sons, siblings, and companions become intertwined. Because, like their mental strengths, their emotional senses are intensified, Rice's vampires feel emotions more intensely than do humans. For example, they feel loneliness more extremely. They recognize and feel that they are "others" among humans and sometimes long to interact more emotionally with humans. Although Rice's vampires struggle with the same ethical and philosophical questions that hu-

ANNE RICE / 297 mans encounter, they tend to support or oppose either end of polarized arguments. Their sincere desires to seek truth create internal struggles concerning ethical conflicts. They become novice philosophers who question spiritual issues, usually in terms of clearly dichotomized categories such as good versus evil, heaven versus hell, or God versus Satan. Although their internal battles are revealed in terms of extreme polarities, the answers to their dilemmas are not always easily determined. Typical of philosophical pondering of Rice's vampires is the answer Lestat gives in Memnoch the Devil when Memnoch asks him why he drinks the blood from his victims: "I don't justify what I do or what I am. If you think I do, if that's why you want me to run Hell with you, or accuse God... then you picked the wrong person. I deserve to pay for what I've taken from people. Where are their souls, those I've slain? Were they ready for Heaven? Have they gone to Hell? Did those souls loosen in their identity and are they still in the whirlwind between Hell and Heaven? Souls are there, I know, I saw them, souls who have yet to find either place." A similar philosophical conclusion is drawn by Lestat in The Queen of the Damned: "We live in a world of accidents finally, in which only aesthetic principles have a consistency of which we can be sure. Right and wrong we will struggle with forever, striving to create and maintain an ethical balance; but the shimmer of summer rain under the street lamps or the great flashing glare of artillery against a sky—such brutal beauty is beyond dispute." Interview with the Vampire is filled with such philosophical musings, as reflected in Louis's comment: "[NJeither heaven nor hell seemed more than a tormenting fancy. To know, to believe, in one or the other . . . that was perhaps the only salvation for which I could dream." In addition both to building on and departing from classic portrayals of vampires, Rice frequently makes allusions to other forms of classical literature in her vampire novels. These allusions

are bountiful but examples include: references to the mythological figure of the first woman from whom the vampire Pandora, who is also full of surprises, takes her name; the Dantesque tour of the underworld given to Lestat by Memnoch; overt references to Blake's poem "The Tyger" in The Tale of the Body Thief; and the Faustian dilemmas the vampires face throughout the Vampire Chronicles. Additionally, notions of good versus evil and sin versus virtue take on levels of spiritual inquiry posed both by Dante and Milton. References to classical literature add meaning to Rice's texts by allowing readers to build on familiar ideologies and to consider broader contexts for questions Rice raises. When portraying discussions about ethics and religion, Rice challenges traditional Christian beliefs and promotes a form of secular humanism that seeks to alleviate human suffering. Although such complex issues are conveyed in relation to superhuman beings, readers come to identify with the internal struggles of Rice's vampires. When vampires consider moral and philosophical issues and question their own codes of conduct, readers are inspired to do likewise.

CRITICS' REACTIONS

From the appearance of the first book in the Vampire Chronicles, Interview with the Vampire, Rice's vampire novels have received mixed reviews. However, all her novels have sold well and continue to achieve popular appeal as horror fiction as first established by Interview with the Vampire. Most of her novels have appeared on the New York Times best-seller list, where they have remained for long periods of time. Despite the mixed reviews, for the most part, individual reviewers either exclusively praise or condemn specific novels. Critics who review Rice's vampire works favorably often note the fresh perspectives she of-

298 / AMERICAN WRITERS fers to the genre. For example, Irma Heldman calls Interview with the Vampire, "Spellbinding, eerie, original in conception, and deserving of the popular attention it appears destined to receive;" Edmund Fuller notes, "It is hard to praise sufficiently the originality Miss Rice has brought to the age-old, ever-popular vampire tradition; it is undoubtedly the best thing in that vein since Bram Stoker, commanding peer status with Dracula" Critics also praise Rice for her unique portrayal of the victim as protagonist and narrator, a technique that allows the stories to be told from the vampire's perspective. It also invites readers to view the world from a perspective that allows them to identify with what is traditionally considered a monster. Other critics praise the intellectual capacity and emotional power of Rice's vampires. Unfavorable reviews of Rice's vampire and other Gothic novels often caustically criticize and sarcastically mock not only the novels but Rice personally, as author. Edith Milton, in her scathing review of Interview with the Vampire in The New Republic, concludes, "Unfortunately, the catastrophes which come to Anne Rice's mind in Interview with the Vampire are none of them quite as awful as the book itself." In her 1999 review of Vittorio, the Vampire, Andrea Higbie talks directly to Rice: "I may not have been born five centuries ago, but I wasn't born yesterday, and I know that Vittorio did not hand Rice this manuscript in Florence. . . . Anne, you can believe in the infernal ones all you wish, but here you and I must part ways, forever and always." Daniel Mendelsohn's review of Servant of the Bones begins, "Anne Rice's latest supernatural melodrama, Servant of the Bones, is dedicated to God, and if God has any commercial savvy whatsoever, He'll dedicate His next book to her." Ironically, Rice's vampire novels are often praised for some of the same characteristics for which they are faulted. For example, Rice's verbosity is regarded as a strength by some yet a

weakness by others. Michiko Kakutani, writing for the New York Times, says that The Vampire Lestat reveals Rice's use of "cliche ridden sentences" and her "penchant for repeating herself and faults Rice for heavy-handed philosophizing and wordy prose: Lestat's character is "buried under heaps and heaps of wordy philosophizing about good and evil, heaven and hell, and even more wearisome meditations about the nature of Beauty and Truth." Pearl K. Bell flaws Rice for "all talk and no terror." Phoebe-Lou Adams says that Rice's vampires "could talk an adder to death". Contrary to Kakutani, Bell, and Adams, Jack Sullivan praises Rice's dialogue, noting that "enough of what [Lestat] says is fascinating to make Rice's vampire mythos . . . one of the more memorable horror sagas of recent years." Similarly, Nina Auerbach overlooks the loquaciousness of Rice's vampires because "even when they annoy us or tell us more than we want to know, [The Vampire Lestat's\ undead characters are utterly alive." One element of Rice's Vampire Chronicles that remains ignored by critics is the humor Rice often expresses in these works. Generally, the humor is created by characterizing vampires who have human attributes. Sometimes, Rice portrays supernatural beings with intricate details that would seem overly descriptive even for human characters. For example, in Memnoch the Devil, Lestat remarks that another vampire has carefully selected clothes for Lestat to wear. Looking at the clothes, he recalls that many times he and David have "been utterly entangled in the adventure of clothes." Realizing that he is wearing only one shoe, he notes that even vampires "have to worry about the latches on sandals." It is amusing for Lestat to be concerned with such unimportant details such as attire because he has recently experienced complex trials and tribulations that trivialize a decision about what outfit to wear. Much of Rice's humor involves the vampires' dialogue when they state in a literal sense cliched expres-

ANNE RICE / 299 sions often used in common language. Examples include Lestat recalling in Memnoch the Devil that he heard the man he plans as his next victim say, "You know I sold my soul for places just like this." When Armand sensually bites Lestat in The Vampire Lestat, Lestat remarks, "He was draining me!" a comment with layered levels of humor because Lestat intends the phrase both literally and in the sense of the cliche, as Armand is both sucking his blood and exhausting him emotionally. In Queen of the Damned, Lestat passes an elderly homeless woman sitting on a bench at midnight, and she says, "When you're old you don't need sleep anymore," an axiom Lestat understands better than she does. While in the midst of stalking his next victim in Memnoch the Devil, Lestat tells David, "I'm being stalked," never realizing himself the irony of his fear. Rice's vampires are unaware of the double entendres and puns created when their literal statements also assume cliched meanings used in everyday language.

WITCH NOVELS

In addition to a compendium of vampire novels, written as volumes for two series, Rice has written three novels known collectively as the Mayfair Trilogy: The Witching Hour (1990), Lasher (1993), and Taltos: Lives of the May fair Witches (1994). The May fair Trilogy provides a complex, interweaving story of the Mayfair dynasty, from the origin of the Mayfair family in Scotland to the present generation, who reside in the Garden District of New Orleans. The trilogy also portrays the Taltos clan and the Talamasca, a group of paranormal phenomena scholars with spiritual and religious beliefs who have studied both the Taltos and the May fairs for centuries. The Taltos are humanlike creatures who resided on Earth before humans. These creatures possess intense memory capabilities, which enable them to recall centuries

of past history. They are also immune to many diseases that infect humans. Because the Mayfair Trilogy involves thirteen generations of witches, keeping track of the many characters and their relationships to each other is somewhat difficult, but the legacy of the Mayfairs adds unity to the trilogy. As Rice says in Ramsland's Witches' Companion, "The Mayfair trilogy works as a whole. It is about the Mayfair family struggling through time to survive. The Mayfairs represent an ideal for me of a clan that stays together. These books contain very heartfelt ideas of mine about how we struggle for survival, how we fear other races, and how the more aggressive tribes wipe out the gentler ones. The question of earthbound souls and ancestor ghosts are central to my drama of birth, death, and rebirth." The Witching Hour is set in a New Orleans mansion that belongs to the Mayfair family and its generations of witches. Dr. Rowan Mayfair, a thirteenth-generation witch, who was raised away from the Mayfairs, in San Francisco, must defend herself from Lasher, the epitome of evil. Lasher is a spirit who appears to the Mayfairs in the guise of a young man. The human protagonist of The Witching Hour is Michael Curry, who resides in San Francisco, where he restores Victorian houses. Although he is a wealthy man, he takes an interest in the lives of those who work for him. When Michael drowns, he is rescued by Rowan, who possesses mystical healing powers. Rowan's rescue of Michael grants him supernatural powers, and his friends abandon him because of his resulting mental delusions. After Michael falls in love with Rowan, she discovers that her family background involves a group of powerful witches. Michael's knowledge of what has enabled him to survive his awareness of horror is revealed in the book's epilogue: "And I suppose I do believe in the final analysis that a peace of mind can be obtained in the face of the worst horrors and the worst losses. It can be obtained by faith in change and in will and in accident; and by faith in our-

300 / AMERICAN WRITERS selves, that we will do the right thing, more often than not, in the face of adversity." Lasher, who first appears in The Witching Hour, is the protagonist of the second volume in the Mayfair Trilogy, Lasher. Here, pieces of Lasher's tissue are sent to doctors to test his genetic breakdown, and Lasher and Rowan have a child, Emaleth. Michael Curry's adventures from The Witching Hour are continued in Lasher as well. In Lasher, Michael pines for Rowan, while another sect of Mayfairs appears. Lasher imprisons Rowan so he can look for other Mayfairs to bear his children. Julien Mayfair warns Michael that Lasher poses danger to the clan. Michael eventually kills Lasher and is reunited with Rowan, who shoots Emaleth in order to annihilate the Taltos. After Charlotte's mother, Deborah, is executed for allegedly having sex with Satan, Lasher gives Charlotte an emerald, a gesture that symbolizes that she is Lasher's favorite witch. The final volume in the Mayfair Trilogy, Taltos, centers on the giant Ashlar, who is introduced in Lasher as one of few survivors of the Taltos. Named as a partial anagram of Lasher, Ashlar is a doll maker who resides in New York. He goes to London to meet Yuri Stefano and to investigate alleged corruption in the Talamasca. Ashlar soon becomes involved with the Mayfair clan. The plot also continues Rowan's adventures, depicting her quest to avenge the death of Aaron Lightner, who has been killed by members of the Talamasca. After Michael and Rowan meet Yuri, Michael accepts his witch status. The central conflict between the Taltos and the Mayfairs ends when they finally make peace. Like Rice's vampire novels, the volumes in the Mayfair Trilogy have received mixed reviews. Susan Isaacs says that Rice moves beyond simple plot to create myth, adding that she creates her mythological world with "consummate skill." Elizabeth Hand praises Lasher because Rice "makes what should be an unpalatable mess as wickedly irresistible as a Halloween stash of

Baby Ruths." Other critics fault the Mayfair Trilogy for flaws similar to those pointed out in Rice's vampire novels. Patrick McGrath, reviewing The Witching Hour, says, "despite its tireless narrative energy, despite its relentless inventiveness, the book is bloated, grown to elephantine proportions because more is included than is needed." Dick Adler in a review of Lasher says that keeping up with all the Mayfair witches requires a "scorecard." Susan Ferraro says that "Ultimately, what creaks loudest [in The Witching Hour] is not the haunted house, but the plot."

HISTORICAL FICTION

Along with her novels that explore the lives of vampires and witches, Rice has written two novels that might be classified as historical fiction: The Feast of All Saints (1979) and Cry to Heaven (1982). The Feast of All Saints explores the plight of mulattoes in nineteenth-century Louisiana. The novel reveals the struggles Marcel and Marie, the children of Cecile, the black mistress of Ferronaire, a plantation owner, experience because of racism. For example, Marcel is denied an education and Marie is raped by white men. Rice uses irony to demonstrate oppression caused by hierarchical status based on color. For example, white men cannot even read the papers they demand to see from Marcel to prove he is not a slave. Two major themes the novel explores, especially in the characterization of Marcel, are the search for cultural identity and the search for a father. After his travels in search of a sense of community and after his initial goals are not achieved, Marcel concludes, "Everything existed, perhaps, but the act of faith, and we were always in the midst of creating our world, complete with the trappings of tradition that was nothing more than an invention like the rest." He foregoes his pride in belonging to the white Ferronaire family

ANNE RICE / 301 and joins African Americans in New Orleans, where he celebrates his African American heritage. While illustrating the struggles faced by mulattoes in The Feast of All Saints, Rice also addresses the exploitation of women. She challenges traditional roles for women in her characterization of Marie, who is expected to become a "kept woman" because of her beauty. However, Marie resists the role society gives her and instead desires to marry Richard Lermontant, a black man whom she loves. Through her lover's mother, Madame Suzette, Marie comes to realize that "[a] woman could have substance, simplicity, and vigor which all her life she had associated entirely with men." Marie eventually marries Richard and celebrates her black identity. Like The Feast of All Saints, Cry to Heaven reveals social and political issues. Cry to Heaven explores the Italian castrati, famous male soprano singers castrated as boys so their voices would stay high. Tonio Treschi, the protagonist, is a Venetian heir whose brother has him abducted, castrated, and exiled from his home. Although he strives to become the best singer in Europe, he eventually concludes, "I am only a man. That is all I am. That is what I was born to be and what I've become no matter what was done to prevent it." However, his realization is a positive epiphany for him, for it shows progress toward his search for masculine identity. Rice alludes to the atrocities of both the physical and psychological cruelties of castrating children in the title of the novel, which illustrates "children mutilated to make a choir of seraphim, their song a cry to heaven that heaven did not hear."

THE ROQUELAURE AND RAMPLING NOVELS

In addition to the many novels Rice has written as Anne Rice, she has also written under the pseudonyms A. N. Roquelaure and Anne Rampling.

These novels are considered erotic novels, some of which have been referred to as sadomasochistic pornography and banned from libraries. Using the pseudonym A. N. Roquelaure, Rice wrote what is referred to as the Sleeping Beauty Trilogy: The Claiming of Sleeping Beauty (1983), Beauty's Punishment (1984), and Beauty's Release: The Continued Erotic Adventures of Sleeping Beauty (1985). As the titles suggest, the novels allude to the Sleeping Beauty fairy tale while graphically illustrating sex. The Claiming of Sleeping Beauty opens with Sleeping Beauty's awakening by the Prince, who carries her to his kingdom and presents her as a sex slave to royal men. Initially mortified because she becomes the object of men's pleasure, she eventually becomes sexually aggressive. She is sent to another village for disobeying the Prince, which opens the second novel in the trilogy, Beauty's Punishment. In this book, she is sold on an auction block to an innkeeper, where she experiences humiliations similar to those experienced when she first enters the Prince's chambers. Beauty's Release portrays Beauty, Tristan, and other slaves at Sultan Palace. Beauty discovers that her protege, Innana, has been circumcised to prevent sexual pleasure. Nevertheless, Beauty and Inanna experience sexual pleasure together. After her rescue, Beauty returns home and becomes a princess. The novels in the Sleeping Beauty Trilogy defy plot; instead, they provide a series of situations in which people crave sexual gratification. Similar to the Sleeping Beauty Trilogy, Exit to Eden (1985) and Belinda (1986), written under the pseudonym Anne Rampling, present erotic situations. These novels also defy plot, instead, unfolding boy-meets-girl situations in which sexual gratification is sought through the acting out of sexual fantasies. Although Rice's erotica has been criticized as portraying women as willing victims who satisfy men sexually at the expense of their own sexual pleasure and of their dignity, Rice states in a Playboy interview with Digby

302 / AMERICAN WRITERS Diehl that she does not portray women as "victims who have to be protected from everything." In a People Weekly interview with Joyce Wadler, she says of her erotic works, "I wrote about the fantasy that interested me personally and that I couldn't find in bookstores. I wanted to create a Disneyland of S & M. Most porno is written by hacks. I meant it to be erotic and nothing else— to turn people on. Sex is good. Nothing about sex is evil or to be ashamed of." Rice's erotic novels appeared before the majority of her vampire novels were written and before any novels in the Mayfair Trilogy appeared. After publishing the first four volumes in the Vampire Chronicles, erotic fiction, historical fiction, and the Gothic novels Servant of the Bones (1996) and Violin (1997), Rice returned to what she is best known for: her portrayals of vampires. With the completion of the Vampire Chronicles and the beginning of New Tales of the Vampires, no doubt, Rice is continuing a fruitful career. However, recognized primarily as an author who writes popular genre fiction, she has received very little serious critical attention. Although she is grateful to her readers, she admits in a Rolling Stone interview with Mikal Gilmore, "If I lack any reader, if there's any audience I've failed to reach in America, it's the elite, literary audience. If there's been a failure to communicate, it's at the top—at the so-called top." Always outspoken, she speaks of having been scorned for writing bestsellers and for writing seriously about vampires. In the same interview, she says that part of the reason she is ignored critically is because current critical trends preferring "pedestrian realism of the 20th-century novel" have turned from those who write in the tradition of canonized American writers such as Hawthorne, Melville, Poe to "books about ordinary people and ordinary lives and ordinary events and littlebitty epiphanies .. ." Rice claims that the sort of books taken seriously by contemporary critics

are "simply garbage" and "not worth reading most of the time." That the line between commercial fiction and serious fiction is blurred in the case of Rice's writings is demonstrated in Jennifer Smith's Anne Rice: A Critical Companion, a volume in Greenwood's Critical Companions to Popular Contemporary Writers. As the series title reveals, volumes chosen for interpretation are considered popular, commercial fiction; however, selection for interpretation also assumes that they are worthy of critical attention, which suggests they have crossed the line from popular to serious fiction. Smith offers overviews of Rice's novels and explicates them in terms of elements of literature such as theme, point of view, and structure. Also, Rice is the subject of a 1994 study in the Twayne United States authors series by Bette B. Roberts. While Roberts acknowledges that Rice is considered primarily a writer of popular fiction, she also observes, "Rice's best novels may also be analyzed on the more traditional assessments that guarantee a lasting reputation for a major writer: philosophical substance, stylistic richness, and most pertinent to Rice, impact on the chosen genre." Similar to Roberts' assessment, other scholarly approaches to Rice's works examine her vampire books in terms of the impact they have had on the Gothic tradition. A 1996 collection of scholarly essays entitled The Gothic World of Anne Rice, edited by Gary Hoppenstand and Ray B. Browne, includes fifteen essays, most of which discuss one or more of Rice's novels in terms of ways they present the Gothic tradition. Kathryn McGinley's essay situates Rice's vampire novels in the literary vampire tradition by comparing Rice's characterization of vampires with those of Byron and Stoker. She addresses portrayals of the vampire myth in terms of philosophical subjects such as death, afterlife, and good versus evil. She also examines the ways various vampires express human emotions such as love and guilt, and looks

ANNE RICE / 303 at sensual experiences such as the sex act of vampires. Similarly, Edward J. Ingebretsen, in "Anne Rice: Raising Holy Hell, Harlequin Style," demonstrates Rice's unique contribution to the vampire tradition by analyzing Interview with the Vampire specifically as an "Americanized version" of the Gothic tradition. Although she does not refer to her novels as Gothic, in her interview with Gilmore, Rice reveals her motives for portraying what critics have labeled Gothic elements in her novels: "You can put the most horrible things into a frame, and you can go into that frame safely and talk about those things. You can go into the world of Louis and Lestat and Claudia and be able to talk about grief or loss or survival and then come back safely . . . I would find it much harder to write a realistic novel about my life. I would find it too raw. I just wouldn't be able to get the doors open, I wouldn't be able to go deep enough." Other critics have examined the erotic element of Rice's Vampire Chronicles. Terri Liberman's "Eroticism as Moral Fulcrum in Rice's Vampire Chronicles" published in The Gothic World of Anne Rice, suggests that eroticism in the novels "serves not merely to titillate but as a fulcrum for moral awareness. Through the choice of erotic object, Rice challenges moral taboos, suggesting that morality must be defined anew." Liberman sees the dichotomy between evil and good expressed in the novels as ambiguous, both relished and avoided by the vampires. The Mayfair Trilogy is also beginning to receive some serious critical attention. For example, Frank A. Salamone, in an essay published in The Gothic World of Anne Rice, examines it in terms of anthropology, noting that Rice reveals the temperament of an anthropologist, who assumes that nothing is inherently unnatural. Rice also adheres to the anthropologist's belief that perceptions of "strange" practices, behaviors, or beliefs of another culture are due to our own culturally-biased perspectives. Salamone also argues

that Rice raises the key anthropological questions that concern nature versus nurture and that reveal family habits. Kay Kinsella Rout suggests that throughout the Mayfair Trilogy when situations arise in which ruthless, self-seeking victimizers exploit helpless victims Rice consistently cheers for the victims. More recently, scholarly essays about Anne Rice's works have appeared in distinguished journals such as Paradoxa, Journal of the Fantastic, Mosaic, The Kenyan Review, Novel, and Feminist Review. In these journals, scholars examine elements of Rice's works such as Barbara Waxman's "Postexistentialism in the Neo-Gothic Mode: Anne Rice's Interview with the Vampire," Jean Marigny's "The Different Faces of Eros in the Vampire Chronicles of Anne Rice," and George E. Haggerty's "Anne Rice and the Queering of Culture." Rice also is compared with other writers in essays presented in scholarly journals. For example, Maureen King, in "Contemporary Women Writers and the 'New Evil': The Vampires of Anne Rice and Suzy McKee Charnas," argues that both Rice and Charnas characterize vampires that challenge "binary oppositions— such as good/evil, human/alien, and masculine/ feminine—which underlie oppressive patriarchal structures." Even Rice's Sleeping Beauty trilogy, among her works with the least literary merit, has received a smidgen of serious scholarly attention. In "The Pervert's Progress: An Analysis of Story of O and the Beauty Trilogy," Amalia Ziv establishes the significance of female authorship in Pauline Reage's Story of O and Rice's Beauty Trilogy. Both works, "non-lesbian-identified erotic works," employ fantasy that is not confined by attempts to depict myths and customs that exemplify specific communities. As the above critics testify, although Anne Rice is recognized primarily as a writer of popular novels, the line between commercial fiction and literary fiction is not always clear. Indeed, Rice continues to build her reputation as a serious

304 / AMERICAN WRITERS writer. She has taken an age-old genre—horror fiction—and made it new. She is as devoted to her fans as they are to her, and she continues to add to the already prolific number of novels she has published. She understands the value of marketing her works as serialized novels as a strategy to entice readers to buy her next book. More importantly, beyond the marketing strategy of inviting loyal fans to buy her next book, her cliffhanging endings and persuasive narrators might tempt them to read it as well.

Selected Bibliography WORKS OF ANNE RICE NOVELS

Interview with the Vampire. New York: Knopf, 1976. The Feast of All Saints. New York: Simon & Schuster, 1979. Cry to Heaven. New York: Knopf, 1982. The Claiming of Sleeping Beauty. New York: Dutton, 1983. (Under the pseudonym A. N. Roquelaure.) Beauty's Punishment. New York: Dutton, 1984. (Under the pseudonym A. N. Roquelaure.) Beauty's Release: The Continued Erotic Adventures of Sleeping Beauty. New York: Dutton, 1985. (Under the pseudonym A. N. Roquelaure.) Exit to Eden. New York: Morrow, 1985. (Under the pseudonym Anne Rampling.) The Vampire Lestat. New York: Knopf, 1985. Belinda. New York: Morrow, 1986. (Under the pseudonym Anne Rampling.) The Queen of the Damned. New York: Knopf, 1988. The Mummy or Ramses the Damned. New York: Ballantine, 1989. The Witching Hour. New York: Ballantine, 1990. The Tale of the Body Thief. New York: Ballantine, 1992. Lasher. New York: Knopf, 1993. Taltos. New York: Knopf, 1994.

Memnoch the Devil. New York: Knopf, 1995. Servant of the Bones. New York: Knopf, 1996. Violin. New York: Knopf, 1997. The Vampire Armand. New York: Knopf, 1998. Pandora: New Tales of the Vampires. New York: Knopf, 1998. Vittorio, the Vampire. New York: Knopf, 1999.

CRITICAL AND BIOGRAPHICAL STUDIES "Anne Rice." In Contemporary Authors. Vol. 65. Edited by Jane A. Bowden. Detroit: Gale, 1977. P. 486. "Anne Rice." In Contemporary Authors. New Revision Series. Vol. 74. Edited by Scott Peacock. Detroit: Gale, 1999. Pp. 332-338. Badley, Linda. Writing Horror and the Body: The Fiction of Stephen King, Clive Barker, and Anne Rice. Westport, Conn.: Greenwood Press, 1996. Beahm, George, ed. The Unauthorized Ann Rice Companion. Kansas City, Mo.: Andrews and McMeel, 1996. Cohen-Safir, Claude. "Perspectives Transgeneriques: Joanna Russ, Anne Rice, Ursula Le Guin." Revue Francaise d Etudes Americaines 15:33-46 (1990). Dickinson, Joy. Haunted City: An Unauthorized Guide to the Magical, Magnificent New Orleans of Anne Rice. Secaucus, N.J.: Carol Publishing Group, 1995. Doane, Janice, and Devon Hodges. "Undoing Feminism: From the Preoedipal to Postfeminism in Anne Rice's Vampire Chronicles." American Literary History 2:422-442 (1990). Haas, Lynda, and Robert Hass. "Living with(out) Boundaries: The Novels of Anne Rice." In A Dark Night's Dreaming: Contemporary American Horror Fiction. Edited by Tony Magistrale and Michael A. Morrison. Columbia: University of South Carolina Press, 1996. Pp. 55-67. Haggerty, George E. "Anne Rice and the Queering of Culture." Novel 32:5-17 (1998). Hoppenstand, Gary, and Ray B. Browne, eds. The Gothic World of Anne Rice. Bowling Green, Ohio: Bowling Green State University Popular Press, 1996. Johnson, Judith. "Women and Vampires: Nightmare or Utopia?" Kenyon Review 15:72-80 (1993).

ANNE RICE / 305 King, Maureen. "Contemporary Women Writers and the 'New Evil': The Vampires of Anne Rice and Suzy McKee Charnas." Journal-of-the-Fantasticin-the-Arts 5, no. 3:75-84 (1993). Marcus, Jana. In the Shadow of the Vampire: Reflections from the World of Anne Rice. New York: Thunder's Mouth Press, 1997. Marigny, Jean. "The Different Faces of Eros in the Vampire Chronicles of Anne Rice." Para-Doxa 1, no. 3:352-362 (1995). Ramsland, Katherine. Prism of the Night: A Biography of Anne Rice. New York: Button, 1991. . The Vampire Companion: The Official Guide to Anne Rice's The Vampire Chronicles. New York: Ballantine, 1993. . The Witches Companion: The Official Guide to Anne Rice's Lives of the May fair Witches. New York: Ballantine, 1994. . The Anne Rice Trivia Book. New York: Ballantine, 1995. -. The Roquelaure Reader: A Companion to Anne Rice's Erotica. New York: Plume, 1996. Reed, Julia. "Haunted Houses." Vogue, November 1993, pp. 280-283. Roberts, Bette B. Anne Rice. New York: Twayne, 1994. Rout, Kay Kinsella. "The Least of These: Exploitation in Anne Rice's Mayfair Trilogy." Journal of American Culture 19, no. 4:87-93 (1996). Smith, Jennifer. Anne Rice: A Critical Companion. Westport, Conn.: Greenwood Press, 1996. Tsagaris, Ellen M. " 'Men Must Be Manly and Women Womanly': Influences of Woolf's Orlando on Anne Rice's The Witching Hour." In Virginia Woolf: Emerging Perspectives. Edited by Mark Hussey and Vara Neverow. New York: Pace University Press, 1994. Pp. 178-182. Waxman, Barbara. "Postexistentialism in the NeoGothic Mode: Anne Rice's Interview with the Vampire." Mosaic 25, no. 3:79-97 (1992). Ziv, Amalia. "The Pervert's Progress: An Analysis of Story ofO and the Beauty Trilogy." Feminist Review 46:61-75 (1994).

SELECTED REVIEWS Adams, Phoebe-Lou. Review of Interview with the Vampire. Atlantic Monthly, June 1976, p. 105.

Adler, Dick. "Warlocks, Gore, and Purple Prose: Anne Rice Does It Again." Review of Lasher. Chicago Tribune, October 17, 1995, sec. 14, p. 3. Auerbach, Nina. "No. 2 With a Silver Bullet." Review of The Vampire Lestat. New York Times Book Review, October 27, 1985, p. 15. Bell, Pearl K. "A Gemeinschaft of Vampires." Review of Interview with the Vampire. New Leader, June 7, 1976, p. 15. Fuller, Edmund. Review of Interview with the Vampire. Wall Street Journal, June 17, 1976, p. 14. Hand, Elizabeth. "The Demon Seed." Review of Lasher. Washington Post Book World, October 10, 1993, p. 4. Heldman, Irma. "The Fangs Have It." Village Voice, May 10, 1976, p. 50. Higbie, Andrea. Review of Vittorio, the Vampire. New York Times Book Review, March 28, 1999, p. 28. Isaacs, Susan. "Bewitched and Bewildered." Review of The Witching Hour. Washington Post Book World, October 28, 1990, p. 1. Kakutani, Michiko. "Vampire of Our Times." Review of The Vampire Lestat. New York Times, October 19, 1985, p. 15. McGrath, Patrick. "Ghastly and Unnatural Ambitions." Review of The Witching Hour. New York Times Book Review, November 4, 1990, p. 11. Mendelsohn, Daniel. "All This and Heaven Too." Review of Servant of the Bones. New York Times Book Review, August 11, 1996, pp. 5-6. Milton, Edith. Review of Interview with the Vampire. New Republic, May 8, 1976, p. 29. Sullivan, Jack. "Fangs for the Memories." The Washington Post Book World, December 1, 1985, pp. 1, 7.

INTERVIEWS Diehl, Digby. "Anne Rice Interview." Playboy, March 1993, pp. 53-64. Ferraro, Susan. "Novels You Can Sink Your Teeth Into." New York Times Magazine, October 14,1990, pp. 27-28, 67, 74-77. Gilmore, Mikal. "The Devil and Anne Rice." Rolling Stone, July 13, 1995, pp. 92-103. Preston, John. "Anne Rice: The Fire from the Heavens . . . That's What Makes Us Different from

306 / AMERICAN WRITERS Other People." Interview, December 1990, pp. 126-129. Ramsland, Katherine. "Interview with the Vampire Writer." Psychology Today, November 1989, p. 34. Riley, Michael. Conversations with Anne Rice. New York: Ballantine, 1996. Summer, Bob. "PW Interviews Anne Rice." Publisher's Weekly, October 28, 1988, pp. 59-60. Virgits, Ronnie. "An Interview with Anne Rice: The New Orleans Experience." New Orleans Magazine, June 1991, pp. 48-50. Wadler, Joyce. "Anne Rice's Imagination May Roam Among Vampires and Erotica, But Her Heart Is

Right at Home." People Weekly, December 5, 1988, pp. 131-134.

FILMS BASED ON THE WORKS OF ANNE RICE Exit to Eden. Screenplay by Anne Rice, Deborah Anelon, and Bob Brunner. Directed by Garry Marshall. Savoy Pictures, 1994. Interview with the Vampire. Screenplay by Anne Rice. Directed by Neil Jordan. Geffen Pictures, 1994.

—LAURIE CHAMPION

Carol Shields 1935-

C'AROL SHIELDS, A dual citizen of Canada

of her generation were required to do, when she had children, but went back after the Second World War when there was a teacher shortage. The family lived in "a big old white stucco house" built in about 1910. They attended the Methodist Church and frequented the public library. Although they lived just fourteen blocks from the Chicago city line, Carol knew no one who lived in the city and almost never went there except on an annual trip to the Art Institute with the Girl Scouts, of which her mother was the leader. Shields told Wachtel she "was always involved with language" and remembers learning to read, around age four, as "the central mystical experience of my life." She loved fairy tales for a time and enjoyed the Dick and Jane stories, about which she has written a poem. She read the few late nineteenth- and early twentieth-century children's books on her parents' shelves, such as her father's Horatio Alger books and four books from her mother's childhood: Lucy Maud Montgomery's Anne of Green Gables, Gene Stratton Porter's A Girl of the Limberlost, John Habberton's Helen's Babies, and Margaret Marshall Saunders Beautiful Joe. In an essay entitled "Thinking Back Through Our Mothers: Traditions in Canadian Women's Writing," Shields asks what her mother and other girls of her generation might have seen in these books and finds that they not

and the United States, is the first fiction writer to win the top literary awards of both countries: the Canadian Governor General's Award and the American Pulitzer Prize. In an interview with Donna Hollenberg in Contemporary Literature, Shields says she feels "fortunate to have a foot on each side of the border." In fact, her two nationalities have shaped her career in ways neither could do alone. Canada, where she has lived all her adult life, gave her the nurturing environment of a small country that celebrates and supports its artists. American citizenship made her eligible for the Pulitzer that gave her access to the most powerful international publicity. The extraordinary string of prizes collected by her 1993 novel The Stone Diaries transformed Carol Shields from a respected Canadian writer to an international literary figure. Shields was born Carol Warner in the Chicago suburb of Oak Park, Illinois, on June 2, 1935. She grew up, with her brother and sister, twins a year and a half older than she, in the kind of environment she depicts in her novels: white, middle class, safe, self-contained. Her father, Robert, she told Eleanor Wachtel in an interview, "disappeared downtown every day to work," where he managed a candy factory. Her mother, Inez, the daughter of Swedish immigrants, was a fourthgrade teacher who stopped teaching, as women

307

308 / AMERICAN WRITERS only echo established tradition but subtly interrogate it. In a written interview with Joan Thomas, Shields assesses what Oak Park in the 1940s and 1950s meant. Everyone went to church—well there was one family who admitted to being atheists, but I never quite believed this could be; it seemed too preposterous. . . . Before I went away to college I had never spoken to a black or Asian person, never tasted garlic, and had never heard the word 'shit' uttered aloud. On the other hand, I knew how to write a thankyou note, which occasions demanded hat and gloves, and how to conduct polite introductions.

Although "this society . . . appears seamless and banal," however, Shields continues: there were hundreds of disruptions in its surface, signs that I seem almost deliberately to have suppressed, persuaded as I was that Oak Parkishness represented a desirable reality, perhaps the only reality. The father of one of my friends was America's leading Lincoln scholar, but I didn't know it then. Another friend lived with her mother on welfare, but this was, somehow, never acknowledged or made clear. A neighbour fell into a depression and jumped in front of a train, but I—ten years old— was told he had a heart attack on his way to work and "fell" off the platform. A local clergyman made inappropriate gestures towards teenage girls in his congregation. All these anomalies, and many more, failed somehow to enter the record I was assembling.

A similar tension between actual and acknowledged experience marks Shields's development as a writer. Even in elementary school, she was writing—"little ditties, class plays." In high school she wrote sonnets. While her parents and teachers encouraged her, she was also absorbing and fulfilling the contradictory assumption that she couldn't be a writer, because as she wrote in the Thomas interview, Writers were like movie stars. Writers were men. Hemingway grew up in Oak Park, but aside from

him I suspected that suburbia did not produce writers. My real life, as I saw it, was entirely predictable: I would get married, have children and live in a house much like the one I grew up in. Along the way I would acquire a university education so that I would have 'something to fall back on,' should any part of the plan fail. I have to say I was quite happy with this future; in fact, I was enchanted by it.

In interviews, Shields frequently borrows Annie Dillard's idea that "childhood is a long waking up" and describes herself as taking an exceptionally long time to wake up. One way of looking at Shields's progress toward becoming a writer is as a long period of waking and dozing. Another is as a dance of doing and denying. Although she told Eleanor Wachtel that she concentrated in college, at Hanover, a small Presbyterianrelated college in Hanover, Indiana, on "falling in love and going to dances" and that the poems she wrote for a Canadian Broadcasting Corporation (CBC) competition when she was twentynine were the first she had written "since those sonnets in high school," her Hanover classmate Kent Thompson, who later became editor of the Canadian literary magazine The Fiddlehead and published some of Shields's early work, remembers that she won a prize judged by Randall Jarrell for a poem she had contributed to the college literary magazine and observes that it already revealed her interest in biography, as it was one of a series of poetic portraits of famous people. The defining experience of Shields's college education was her junior year abroad at Exeter University in England. There she encountered intellectual fervor and personal independence: "We were on our own in England," she told Eleanor Wachtel. "To go to lectures or not. People took their subjects seriously. This was all a revelation to me, I couldn't believe it, that people would sit in the dining hall and talk about Christopher Marlowe, it was wonderful, I loved it once I caught on to it." There she also met Donald Shields, a graduate student in engineering from Saskatche-

CAROL SHIELDS / 309 wan. She was so unconscious of herself as a writer that they were engaged before he ever learned, from her mother, that she wrote. She "sort of forgot" about writing while caught up in courtship: "I was just interested in being in love and having a house, the whole Ladies Home Journal thing." Immediately after she graduated from Hanover, in 1957, Shields and Don married and moved to Canada, to Vancouver briefly and then to Toronto. The first of their five children, John, was born the following year. After their second child, Anne, was born, in 1959, her husband suggested she take a magazine writing course at the University of Toronto. The first piece of writing Shields sold was a story that the teacher of the course sent to the CBC without her knowledge. Shields dates her definitive awakening to the period from 1960 to 1963 that the family spent in England while Don worked on his Ph.D. at Manchester University. There she read, listened to the BBC, started going to films, traveled on the continent, and discovered The Guardian, a leftleaning newspaper that "opened the world" to her. She told Eleanor Wachtel, it "had this wonderful women's page, for example. I was reading about what women were really doing and thinking about. It wasn't what we were doing and thinking about in Canada at all." In Manchester, Shields also had a third child, Catherine, born in 1962, and back in Canada, while she was thinking about what she would do next, she had a fourth, Margaret, in 1964. She told Eleanor Wachtel that she continued reading, joined a "Great Books" discussion group, and fell into the circumstances that revealed to her what she wanted to write. (She also wrote some "highly conventional stories" she later told Harvey De Roo, and a never published novel that she mentions in "Giving your literary papers away.") A book review sent her to the poetry of Philip Larkin. "I was amazed. I loved it. I'd read Eliot and Pound and so on in university, and modern poetry had disappointed me, but I thought, 'Good heavens, this man is

being honest . . . I'm going to write some poetry.' " She worked all spring on seven short poems and sent them off the day before the deadline to a CBC Young Writers competition, which she won. She remembers "Robert Weaver phoning and saying: 'We're really pleased because none of us has every heard of you.' " Those seven poems, provoked by accident, set Shields on a fiveyear period of writing poetry and a lifetime of writing. Yet she was still only dimly aware of the literary world she was entering. She sent all the poems she wrote to The Canadian Forum, a politically progressive general magazine she subscribed to, until the poetry editor finally said, "Look, I just can't keep publishing these, can't you send them somewhere else?" She did not know anywhere else, so he gave her a list of little magazines. Shields's process of coming to consciousness as a writer parallels the process she and other women of her time were going through of coming to consciousness as women. On the way home from England on the boat in 1963, Shields read Betty Friedan's newly published analysis of middle-class white women's lives, The Feminine Mystique, which touched off the women's movement of the 1960s and 1970s. The Feminine Mystique identified the equation of femininity and domesticity as a myth that kept women from self-fulfillment. It argued that the only way women could find fulfillment was through creative work of their own, which was not, contrary to the myth, incompatible with marriage. Reading Betty Friedan "made an enormous difference" Shields told Eleanor Wachtel; "everything she said seemed right." Throughout her career, Shields has integrated art and domesticity, in the subjects of poems, the lives of fictional characters, and her own practice. She never considered family life an impediment to writing. In fact, she told Joan Thomas, "I do not think I would have become a writer if I hadn't had children. . . . Having children woke me up, in a sense. I knew I had to pay attention. I wanted to pay attention." As her chil-

310 / AMERICAN WRITERS dren were growing up, her typewriter shared a room with the sewing machine, used more and more by her growing daughters. Now her daughters are among her first readers, and she has collaborated with Anne on a story and with Catherine on a play.

POETRY The seven poems Shields submitted to the CBC Young Writers competition are included in her first book, Others, published in 1972, which was followed by another collection of poems, Intersect: Poems, in 1974. These early poems come directly from the experiences of family life. They portray her children ("John," "Anne at the Symphony"), relatives and acquaintances ("Our Old Aunt Who Is Now in a Retirement Home," "A Physicist We Know"), and the seasons of family life ("The New Mothers," "A Wife, Forty-five, Remembers Love"). As the titles of the two collections suggest, they are concerned with the separateness and intersections of individual lives. Many of them look at marriage, the primary or secondary focus of so much of Shields's fiction. Their form is as self-contained as their world. Like Cartier-Bresson's photographs, they snap portraits at telling moments. They are pulled tight by startlingly apt metaphors, unconventional line breaks that call attention to metaphor and rhyme, and suspense held until a final word throws the whole into perspective. "A Physicist We Know" makes "terrier / leaps of speculation / on the quiet." "Our Old Aunt Who Is Now in a Retirement Home" lies "stewed / in authentic age." "Anne at the Symphony" listens "like someone submitting / to surgery." In their brevity, economy, and irony, these poems recall not only Philip Larkin, but Emily Dickinson, who is invoked in a four-line poem in Intersect. The voice of these poems is as reticent as that of the traditional wife and mother, who focuses on "others," takes her

identity from membership in the family—"our" relative, someone "we" know—and protects the family's privacy. The domestic subjects and the relentless reaffirmation of a collective experience and perspective define a snug, even smug, familial world. Yet over and over the poems pierce the complacency of the world they seem to create. The speaker of "An Old Lady We Saw" rages on behalf of a woman who has fallen and broken her hip, and whom a world evoked by needlepoint and oatmeal has taught not to rage but to think of others: She should have cursed the deceitful ice, the murderous cold, not to mention our thinly gathered concern, our clockwork sympathy. Instead her needlepoint mouth moved, blue against the oatmeal snow, saying the wrong thing, the worst thing, thank you, thank you "John" denies the sufficiency of its own family context: My young son eating his lunch, heard a plane go overhead, and put down his spoon remarking: the pilot doesn't know I'm eating an egg. He seemed shocked, just as if he'd never known nor suspected he was locked in, from the beginning, alone. The surprise of this deceptively simple poem is not just the child's sudden self-consciousness, but the mother-speaker's assumption of her child's detachment. The formal artistry of these poems, at first veiled by their colloquial rhythms, serves not only to wrap them tight, but also to undermine conventional expectations and reveal the darkness under conventional social relations. The stanza break in mid-sentence in "John" emphasizes the moment of self-consciousness and iso-

CAROL SHIELDS / 311 lates the progressive rhyme from know to known to alone that links selfhood and isolation. The oddly short first line of the third (first quoted) stanza of "An Old Lady We Saw" underscores the connection between cursed and worst and the irony that the polite response is worse than the proscribed. A few autobiographical poems in Intersect anticipate Coming to Canada: Poems, published nearly twenty years later, in 1992. This sequence of scenes from Shields' childhood—from "Getting Born" to "Coming to Canada—Age TwentyTwo"—develops the theme of coming to consciousness, or adulthood. In "I/Myself," the poet's recreation of a moment of childhood self-consciousness is also a moment of adult self-consciousness: but there I was, three years old, swinging on the gate thinking (theatrical even then) here I am, three years old swinging on the gate.

Many of the poems conclude with a revelation of chaos beneath the calm: In a grandfather's otherwise mundane diary of weather and expenditures, the one-word entry "woe." Beneath Aunt Violet's Rinso-lady look, "the pinkness of her rage." In "When Grandma Died—1942," the speaker discovers that chaos in herself: When no one was looking I touched her mouth—which had not turned to dust It was hard and cold like pressing in the side of a rubber ball Later I would look at my hand and think: a part of me has touched dead lips. I would grow rich with disgust and a little awed by my hardness of heart

I tried to pretend it was a gesture of love but it wasn't. It was a test, one of the first, one of the easiest, something I had to do.

Coming to Canada was reissued in 1995 in an edition in which the title sequence is followed by selections from the first two books and a group of new poems. While the early poems and those dealing with early childhood capture illuminating moments, the last few poems in the "Coming to Canada" sequence and many of the new poems gather experience and perception over time. In "Coming to Canada—Age Twenty-Two," the fading of a postcard marks time backward to "Aunt Violet's Canadian honeymoon / 1932" and forward to the time, unspecified, when the postcard's address to visitors, "COME BACK SOON" . . . changed to here and now and home the place I came to the place I was from.

Identity develops in Shields's earliest poems through "Coming to Canada" from an attribute of others to an examination of self and from something perceived in a moment of illumination to something accrued over time. Some of the new poems in Coming to Canada record the next stage, as the layers built up over time chip and fade down to the essential core— as the family house is sold ("Now that the house is officially listed / we like it less") and the older generation dies off. The continuity of Shields's vision is illustrated in the poems about Aunt Violet that appear in each sequence and repeatedly expose a life beneath the life. Finally, in "Aunt Violet's Things," a fluttery valentine falling out of a book is a Niggling parody of that truer heart

372 / AMERICAN WRITERS infinitely more fragile shy, misshapen and spent, beating in its own rough cage merely to keep time.

Aunt Violet is a constant reminder of the unknowability of the most ordinary and familiar of human lives. Read in the order presented, the poems in this inclusive edition of Coming to Canada trace the stages of human life. Read in the order of composition, they constitute a poetic autobiography and a distillation of the themes and techniques of Shields's writing in all genres.

EARLY NOVELS

Shields's first four novels are domestic comedies about marriage and art, the two anchors of her own life. When she began writing fiction, she repeatedly tells interviewers, she wanted to write the books she and her friends wanted to read, but could not find in the early 1970s, books about women like themselves, who had children, friends, work, and a habit of reflection. The characters in Shields's early novels lead lives devoid of dramatic event. They do not fall in love or betray their spouses; they do not lose their homes or their children; they do not commit or fall victim to or solve crimes. Instead, they have supper with their families and coffee with their friends, go to conferences and parties, get the flu, do their work. Trauma—marital separation, the l<jss of children—happens to other people. Their own conflicts are those of ordinary people who have been "fairly lucky," as Brenda Bowman of A Fairly Conventional Woman (1982) puts it, in their marriages, children, and careers: conflicts between who they think they are and who they want to be. These conflicts take place inside the head and get worked out, for the moment of the narrative, without confrontation or articulation. At one point, Brenda thinks of telling a temporary friend

she has met at a convention about the time when her love for her husband Jack lapsed and months later was suddenly restored. But she decides against it because "it seemed a betrayal to pronounce aloud what had been resolved in silence." Later she does tell him. These novels, like Brenda's disclosure, tell stories that take place in the silences between people. Three of the four main characters in Shields' first four novels are writers, and they all reflect on writing. The exception, Brenda Bowman, is a quilter; hers is the story of a woman's discovery that she is an artist. Shields works out her principles of fiction most directly in her first novel, Small Ceremonies (1976), which makes use of the material "left over" from her master's thesis on the novels of the mid-nineteenth-century Canadian writer Susanna Moodie. The Shields family moved to Ottawa, and their fifth child, Sara, was born, in 1968. In 1969, Shields began a master's degree program in Canadian literature at the University of Ottawa (where her husband's position on the faculty gave her free tuition). At this time, she was working for the New Democratic Party (NDP) during elections, and in 1971 she became a Canadian Citizen in order to vote. In the period when Shields was working on her M.A., which she completed in 1975, "Canadian literature," as distinguished from "literature that happened to be written in Canada," was just being defined as a discipline (much as African-American literature was being defined in the same period in the United States). Scholars of Canadian literature were caught up in the two quests articulated in the first paragraph of Margaret Atwood's now-classic, and controversial, entry into this discussion, Survival: A Thematic Guide to Canadian Literature (1972): to identify Canadian "classics" and to define "what's Canadian about Canadian literature." Shields chose as a thesis subject a writer who had been recognized as a founder of Canadian literature, but resisted the question of her subject's "Canadianness." Instead

CAROL SHIELDS / 313 of the more or less autobiographical miscellanies about life in Canada, Roughing It in the Bush and Life in the Clearings, that had won Mrs. Moodie a place in the emerging Canadian canon, Shields focused on the pot-boilers with English settings that she wrote to support her family. In the introduction and conclusion to the published version of her thesis, Susanna Moodie: Voice and Vision (1977), Shields takes issue with Margaret Atwood and others who have "reduced" Mrs. Moodie to a type, however mythic, "of the anguished immigrant who embodied the alienation and neuroses of the whole nation;" she represents her instead as an artist struggling to make sense of her position between "two continents, two cultures, two political philosophies." Shields sees in Moodie's novels three themes: "the complexity and variability of human personality"; "the oppositions and interaction of male and female roles"; and "a debate about the nature of society." Despite her personal interest in politics, social issues are notably absent from Shields's fiction. But the first two themes she ascribes to Susanna Moodie also focus her own writing. In fact, Shields identifies Moodie's "overriding concern" in exactly the same terms as she speaks of her own: "the power and mystery of personality." The mystery of personality ties together the two main concerns of Small Ceremonies (1976): family relations and the nature of fiction. Judith Gill, who is writing a biography of Susanna Moodie, has the same problem as a wife and mother that she has as a biographer, understanding character. As a biographer, she keeps looking for, but never finds, definitive evidence of the reason Susanna changed from "a rather priggish, faintly blue-stockinged but ardent young girl into a heavy, conventional, distressed, perpetually disapproving and sorrowing woman." The defining moment "seems to be unrecorded, lodged perhaps in the years between her books, or else—and this seems more likely—wilfully suppressed, deliberately withheld." Judith's difficulty reading Su-

sanna Moodie parallels her difficulty reading the other members of her family. What is behind her sixteen-year-old daughter's exasperated silences? What do her twelve-year-old son, Richard, and Anita Spalding, the daughter of the family whose flat they rented in Birmingham, whom he has never met, write about in the air letters they exchange every week? What is her husband Martin, associate professor of English and Milton specialist, doing with a drawerful of yarn? When she tries to ask him, the question comes out, "Are you happy?" (a question that surfaces again in Shields's subsequent novels). She does not know that either, and he does not answer. Judith completes her manuscript without feeling that she has quite got her subject, and the family tensions are resolved without the fundamental questions getting answered. Judith's interactions with two other writers develop a discussion of the relation between fiction and "real life." While frustrated at the inability of the real-life evidence she depends on to reveal personality, Judith is also critical of her friend Furlong Eberhardt for writing mythic prairie novels removed from his own or anyone else's real experience. Furlong in turn advises Judith that her subject's self-concealing poses probably "pinpoint her true self better than "buckets and buckets of personal revelations." Situated between Judith and Furlong is John Spalding, the owner of the flat the Gills rented in Birmingham, who appears at the end of the novel as a novelist. Blocked and bored in Birmingham, Judith read the unpublished novels Spalding left on a bookshelf, in a biographer's effort to figure out the man who wrote them. Now Spalding, having finally had a novel published, comes to Canada and visits his former tenants, partly to warn them that his new novel is about them; it is based on their situation as North Americans abroad, the traces they have left behind in his apartment, and the letters Richard has written to his daughter, who unlike Richard has not kept the letters she received secret but

314 / AMERICAN WRITERS read them aloud to the family. While Judith has attempted to create biography from fiction, Spalding has created fiction from the sort of evidence accepted for biography. As Spalding turns out to be nothing like the man Judith has constructed from the evidence of the apartment and the selfpitying plots of his abandoned novels, she concludes that her family will probably not recognize themselves in Spalding's book: "our family situation seen through the eyes of pre-adolescent Richard and translated into his awkward letterwriting prose, then crossing cultures and read by a child we have never seen, to a family we have never met, then mixed with the neurotic creative juices of John Spalding and filtered through a publisher—surely by the time it reaches print, the least dram of truth will be drained away." It is a measure of Shields's wit that none of these fictional writers fully represents her own practice, which is to invert from observed life, but not from the lives of the people she knows. Small Ceremonies has little plot. It traces instead the seasons of life and the rhythmic forces that push people apart and pull them back together again. Its chapters follow the nine months of the academic year from September to May, during which time Judith develops her biography of Susanna Moodie from notecards to manuscript; her husband Martin turns the mysterious yarn in his desk drawer into a pictorial analysis of the themes of Paradise Lost, which is recognized as both scholarship by his colleagues and art by collectors and museums; and their friends Roger and Ruthie have a baby. Each of these acts of creation contributes to a reconciliation. The baby brings Roger and Ruthie, who have split up in January, back together. Completing her biography, incomplete as she feels her grasp of Susanna Moodie is, heals a rift between Judith and Furlong. Martin's success with a project Judith has not understood removes the barrier of a subject they have avoided since September. These connections between artistic creation and per-

sonal relationships emphasize the continuity between life and art that the ordinariness of the characters and the absence of dramatic incident proclaim. "What I can't understand," Martin says, speaking of John Spalding's novel, "is how you could find material for a novel out of our rather ordinary domestic situation." This is exactly what Shields's novel itself does. The "small ceremonies" of the title are the ways people mark the seasons of ongoing life: the Gills' habit of high tea on Sunday, brought back from their year in England; the annual English Department dinner; Roger and Ruthie's wedding. The ending is rescued from the patness of its simultaneous reconciliations by the sense that they are temporary and contingent. Roger and Ruthie's wedding, in the Gills' suburban backyard, concludes with a reference to the ongoing strains of married life—an exchanged look of resignation, the baby's five o'clock cry. "Everything will be fine," Judith wants to tell them, but nothing is final. When Small Ceremonies was accepted for publication the week Shields turned forty, she knew, she told Eleanor Wachtel, that she was "going to be a novelist all my life." The same week, her supervisors told her they would publish her thesis on Susanna Moodie and the family left for a sabbatical year in France. A day or two after they arrived, she began The Box Garden (1977), making use again of bits of her own life and material left over from previous writing, this time Judith Gill's briefly mentioned sister Charleen Forrest in Vancouver. Charleen, divorced mother of fifteenyear-old Seth, lives a shrunken life on the salary from a part-time job editing a botany journal (a job Shields based on her own experience editing Canadian Slavonic Papers part time as a graduate student). Although she has published four volumes of poetry, she has written little lately. She feels she was robbed of courage in childhood by her judgmental, penny-pinching, perpetually aggrieved mother. The Box Garden picks up the

CAROL SHIELDS / 315 theme implicit in the structure of Small Ceremonies, that things and people change. The title image, a box of growing grass that the mysterious author of an article rejected by the journal has sent her, reinforces the idea; what this Whitmanesque anti-scientist likes about grass "is the way it adapts to any condition," its "almost human resilience." In the course of the novel, in which Charleen and Eugene, the nice orthodontist she cannot quite commit to, travel from Vancouver to Scarborough, Ontario, for her mother's wedding, Charleen changes enough to stand up to her mother, Mrs. McNinn, and choose her own happiness with Eugene, and the occasion for the trip shows, even if her behavior does not, that Mrs. McNinn, who has clung to all the English-Canadian Protestant prejudices as to her pennies, has changed enough to marry a man who is not only an asthmatic cancer-victim smoker, but also a French-Canadian ex-priest. The Box Garden shows where Shields's strengths do and do not lie. She told Eleanor Wachtel she had taken her editor's observation that "there was not much happening" in Small Ceremonies as "a set of instructions [to] make something happen" in her next book and put into The Box Garden a clumsy kidnaping plot that intrudes on the interior story of Charleen's rebirth as an adult. What brings the novel alive is the satiric yet sympathetic portrait of Charleen's mother, who obsessively redecorated their cramped bungalow throughout Charleen's childhood, and then, inexplicably, stopped. This portrait of a woman whose talent for twisting compliments into insults ("Mrs. Mallory said she admired my new slipcovers. Imagine that, she admired them. She couldn't just say she liked them, no, she admired them. I do not know what gives her the right to be so high and mighty. I've seen her slipcovers,") equals her talent for transforming velvet and brocade remnants into tassels and draping— and has the same effect of strangling her family— is comic to the point of caricature. Yet the par-

allels between Charleen, lapsed poet of "minutiae" and "surfaces," and her mother, former obsessive redecorator of the surfaces of her house, help the reader to see Mrs. McNinn as another artist, handicapped by limited resources, trying to make a world through which to define herself. She is the first of Shields's eccentric artists, a group that grows to include Mary Swann from Swann and Cuyler Goodwill from The Stone Diaries, and an example of her talent for layering together, as Margaret Atwood put it in a tribute to Shields twenty years later, "hilarious surfaces" and "ominous depths." In 1977 The Box Garden was published, Small Ceremonies won the Canadian Authors' Award for best novel of 1976, and Shields began a twenty-year part-time career teaching creative writing—the first year, 1977-1978, at the University of Ottawa, the following year at the University of British Columbia, as the family had moved to Vancouver, and from 1980, when they moved to Winnipeg, at the University of Manitoba, where she taught literature as well. The reviews of Small Ceremonies had been uniformly good; those of The Box Garden were mixed. Shields took to heart the minority of reviews that called her novels "women's books" and was particularly irritated by one reviewer who, she told Marjorie Anderson, "always damned me with faint praise, thinking I would be a fine writer if I ever found a subject worthy of my abilities. . . . meaning he thought I should stop writing about women in domestic situations, I suppose." She responded with Happenstance, written in Vancouver and published in 1980, which puts a man in a domestic situation; historian Jack Bowman holds the fort at home in Elm Park in suburban Chicago for five days while his wife Brenda, a quilter, is off in Philadelphia attending a crafts convention. When she finished Happenstance, Shields embarked on the novel that later became Swann, but got stuck, put it aside, and started a novel to answer readers' questions about what

316 / AMERICAN WRITERS happened to Jack's wife while she was away, which was published as A Fairly Conventional Woman in 1982. When Happenstance and A Fairly Conventional Woman were published in Britain in 1991 and the United States in 1994, they were bound together, back to back and upside down to each other, as The Husband's Story and The Wife's Story in a single volume entitled Happenstance. This format, which Shields told Linda Burgess "was the way it should have been done in the first place," reveals the formal and thematic play between the two stories. The counterpoint between Jack's story and Brenda's dramatizes the idea with which Shields began Jack's—that men and women are more alike than different though they use different language—and offers a narrative example of the interplay of perspectives that has fascinated Shields since her first published poetry. In these novels, Shields also shifts to a thirdperson point of view, which emphasizes the limits of each character's perspective and situates the narrator in a position consistent with Shields's own sense of herself a spectator, a posture she feels she shares with Jack. She told Marjorie Anderson: "Jack's basic life posture is one of watching rather than doing; he is someone who always stands slightly outside of events. This is how I have always felt. I had to write that book to know that." With Brenda, Shields shares the experience of discovering herself as an artist. The fact that both husband and wife reflect aspects of Shields herself, and that in the course of the double novel each partner takes a few steps into the other's mental world, underlines what men and women have in common. The stories reverse common gender roles and bring husband and wife to similar understandings of their work and their marriage that they never express to each other. Jack, who at the beginning of his story is pontificating to his friend and fellow historian Bernie that "History consists of endings," spends the rest of the week coping with

domestic crises—from his daughter Laurie's conviction that her Home EC teacher will kill her if he does not find time to get her the pattern and material Brenda forgot to pick up last week before his ten o'clock meeting with the institute director about Chapter Six of his book, to the collapse of Bernie's marriage, a neighbor's suicide attempt, and his secretary's confession (fortunately on the eve of her departure for Tucson) that she has sexual fantasies about him. Brenda, whose story starts with her preparing breakfast for the family before leaving for the airport, enters the public and professional world of a hotel convention, where she luxuriates in room service, gets drunk, and contemplates an affair—none of which she has ever done before. Back in Elm Park, the personal crises of his friends mirror Jack's loss of faith in the book he has been laboring over for too long. Seeing an ad for a forthcoming book on exactly his topic, by an old grad school flame no less, sinks him into despair, and he spends the week persuading others—Bernie, the director, his parents—to give him permission to abandon it. In Philadelphia, by contrast, recognition for herself and her art—her quilt, The Second Coming, wins honorable mention in the exhibit—gives Brenda the confidence to speculate on the meaning of what she does, as Jack continually speculates on history. "What sets quilting apart from other crafts," she hears herself saying in the quilting seminar, "is the built-in shiver of history." Later, when a boozing reporter stuck covering the crafts convention gets her drunk, she goes further: "Art poses a moral question; craft responds to that question and in a sense provides the enabling energy society requires." Although she recognizes "the shiver of history" as Jack's phrase and when sober tries to disown "all that pompous junk about art posing questions," this new-found self-reflexivity represents the culminating step—following on her turning the guestroom into a workroom and deciding she can leave the family to go to the convention—in

CAROL SHIELDS / 317 Brenda's self-recognition as an artist. Her foray into Jack's world, professional and speculative, brings her into her own. Back in Elm Park, Jack also does new things, the strangest of which is to walk ten miles home from "the Loop" in a snowstorm. "Why?" his daughter accuses. "You never did it before." He cannot tell her that he was walking off a farewell lunch at which both the wine and the departing secretary's declaration of love have gone to his head, so he says, "Maybe that's why I did it. ... Just because I'd never done it before." Like Brenda's statement about art and her attempt to retract it, both these reasons are true. As Brenda's moment of drunkenness brings her into Jack's world of speculation, Jack's brings him into Brenda's world of practical realities, through "the whole harsh, seedy nexus of city blocks and masonry and traffic." In the course of his story, Jack's view of Brenda's quilting and of history changes. At first he sees her quilting as "bringing hundreds of separate parts together to form a predetermined pattern . . . not so different from his own research on Indian trading practices. (She had smiled at this analogy—what an ass he was at times!)." At the end, he looks into her workroom and is bewildered by her quilt-in-progress. "This was a simple—no, not simple—a strange and complex explosion of light," a "whirlpool . . . laid down in cipher." He recognizes the stitching as what Brenda has told him is called the meander stitch. "But meander seemed the wrong word for it, for this stitching was purposeful and relentless, suggesting something contradictory and ironic that interested him." His view of history has undergone a parallel but less conscious change. "History is not the mere unrolling of a story," he has told Bernie on page one. "It's the end of the story." His own unrolling of the grid of streets from the Loop to Elm Park and a couple of reminders of the unreliability of the written record (his journalist neighbor's suicide attempt is being explained as an accident, the absence of

his column as a vacation) bring him closer to accepting that history is as indeterminate as the design of Brenda's unfinished quilt. The night before Brenda comes home Jack discovers that the advertised book is no reason to abandon his own, but we the reader does not learn whether he carries on with his book or not, only that "he had lost faith; but had undergone a gradual and incomprehensible mending of spirit. It could happen again, he saw. And again." The "piercing apprehension" Brenda achieves, as she strides off to her newspaper interview, of what she might have been or might still become" is more optimistic than Jack's mending of spirit, but still uncertain. At the ends of the stories, both Jack and Brenda think of telling the other their inner experiences, but Jack thinks Brenda "wouldn't know what his question meant" and Brenda thinks Jack, like his father, wants reassurance not revelations. They settle for expressions of love that both know are simultaneously insufficient and enough. Brenda's quilting is a metaphor not only for Shields's narrative theory, as Jack's observation of the unfinished quilt makes clear, but also for her narrative art in this double novel. Shields has spoken of her pleasure in fitting the two stories together, "like a game." They are composed of common elements: a drunken aberration, a defining city walk, a friend's lost child and failed marriage, a rush of love for someone other than the spouse, an unfinished work, and many more. As Isobel Armstrong observes in an acute review, "each story is made to act as figure and ground to the other." Yet they read not as pieced patterns but as domestic realism. The common, even conventional, narrative elements are so individually imagined and so variously combined that their effect is that of a generously told story welling up irrepressibly from family life, as Brenda's quilt designs come from "some interior reservoir." Brenda's situation as a quilter also captures Shields's as a novelist at the moment of compos-

318 / AMERICAN WRITERS ing Brenda's story. The quilt Brenda enters in the exhibit reflects her development from the domestic representation of her early quilts "to something more abstract;" it is "experimental in workmanship" but "less risky for an exhibition" than "the unfinished quilt—that was how she thought of it, The Unfinished Quilt"—which is experimental in design as well. Happenstance is Shields's Second Coming, a narratively complex realization of her established pattern of domestic comedy published while a structurally experimental novel, Swann, waits at home unfinished. Brenda's self-representation in the newspaper interview may also be a wry parody of Shields's own interview persona of a writer who got started by accident, with a push from others, and created her first works easily from leftover scraps. "The worst part," Brenda laments when she reads the write-up in the paper, "is that dumb 'presto' stuck in the middle. Did I really say presto? I probably did."

SWANN AND OTHER LITERARY EXPERIMENTS

When she finished A Fairly Conventional Woman, Shields returned to Swann, but again ran into difficulties. She decided, she told Harvey De Roo, "to rescue myself by spending a year experimenting with different narrative approaches." In fact, the next ten years can be viewed as a period of continual literary experiment. All of Shields's fiction is experimental in the sense that she is always posing herself a new narrative problem. In the 1980s, however, she pushed not only her own narrative experience but also the conventional bounds of literary genre and authorship. She published two collections of highly varied, often odd, short stories; completed Swann, whose five chapters consist of four nearly freestanding but interlocked character biographies and a screenplay; began to write short, distinctly theatrical

plays; and collaborated with a friend on an epistolary novel. When Harvey De Roo asked, "What dictates your choice of form?" Shields shot back, "The question of form! I am, to tell you the truth, more indifferent to the boundaries between literary forms than your question indicates." The stories she wrote during that year off are collected in Various Miracles, published in 1985; in them, she tries out memoir, word games, pathos, fantasy, and metafiction. Although some stories are realistic ("Fragility," "Sailors Lost at Sea," the autobiographical "Scenes"), more turn on irony, coincidence, word play, and the surreality of the everyday; and many are about language and writing. A professor proves that metaphor is dead in a lecture composed entirely of metaphor. A man falls in love with the woman he imagines is the subject of the enigmatic sign in the window of an orthopedic shoe store proclaiming "WENDY IS BACK!" A second collection, The Orange Fish, published in 1989, is similar in subject matter, but less varied in range. As Shields moved back from the first-person point of view in her first two novels to a third-person limited perspective in Happenstance, she moves back again in most of these stories to an omniscient narrative perspective. She wanted to try "the old storyteller's voice," she told Eleanor Wachtel, a voice that calls attention to the fictionality of stories. Two of the more substantial stories in the Various Miracles illustrate the range of what she does with it. The story "Various Miracles," is a series of vignettes that recount increasingly complex and abstract coincidences. Seven women in line at a lingerie sale in Palo Alto, California, are all named Emily. Four strangers on the back seat of the Number 10 bus in Cincinnati, Ohio, are each reading a paperback copy of John Le Carre's Sm/ley's People. A husband and wife in Morocco have the same dream, except that the husband finds it threatening, the wife liberating. "Twin" parrots, sold in Marseilles twenty-two years ear-

CAROL SHIELDS / 319 Her, die on the same day in Exeter, England, and River Forest, Illinois. A small watercolor of a bridge falls off a wall in Billings, Montana, and at the same moment, a French leather-goods merchant, who painted the picture at age twelve from a postcard sent by his remote father, finds himself on "a small stone bridge not far from Tournus" and feels he has been there before, though he does not connect the feeling with the postcard or his watercolor copy. Finally, in a Borgesian piece of metafiction, a Cuban-born novelist on the way to her Toronto publisher has the revised manuscript of her new novel torn from her hands by a gust of wind while she waits for a bus at the corner of College and Spadina. All the pages are retrieved but one, the "keystone page," which has "blown around the corner of College Street into the open doorway of a fresh-fruit and vegetable stand where a young woman in a red coat [is] buying a kilo of zucchini." The young woman picks up the page and reads "A woman in a red coat is standing in a grocery store buying a kilo of zucchini. . . . " The editor, who has told the novelist that her first draft "relied too heavily on the artifice of coincidence," now asserts that the novel "stands up without the missing page. Sometimes it's better to let things be strange and to represent nothing but themselves." The coincidences in this story illuminate and bridge various physical and conceptual divides—between continents, between male and female perspectives, between representation and reality, between the world in the story and the story in the world. The narration, too, as Simone Vauthier observes in the journal Prairie Fire, negotiates between opposites—between discontinuity (each vignette is unrelated to the others) and continuity (each is dated, each depends on coincidence, they progress in development and complexity) and between the common— richly developed in such details as the lingerie sale, the bus number, and the well-known Toronto street corner—and the uncommon, the coinci-

dence. The omniscient perspective also negotiates between the whole truth and the fraction, or distortion, of it that any person grasps. In her interview with Harvey De Roo, Shields explains the idea of "miracle" in these stories as a "transcendental moment . . . in which we are able to glimpse a kind of pattern in the universe." The woman in the red coat buying zucchini who picks up a wind-blown page from a novel describing herself experiences such a moment. A different kind of miracle is revealed in "Mrs. Turner Cutting the Grass," which won the Canadian National Magazine Award in 1985. This story juxtaposes the life story of Mrs. Turner, a Winnipeg widow who cuts her grass in "an ancient pair of shorts" and "Gord's old golf cap," with the judgments of her eco-conscious neighbors, who wonder why she does not use a grass catcher, since "everyone knows that leaving the clippings like that is bad for the lawn," the highschool girls who walk by her house and wonder why she does not take the trouble to hide her cellulite, and a professor-poet from a Massachusetts college in her tour group of Japan, who makes his reputation with a comic poem that casts her as the apotheosis of the vulgar tourist. The miracle here is Mrs. Turner's self-survival in the face of hard circumstances and the judgment of others. She has not blamed the married farmer for getting her "into hot water" in Boissevain, Manitoba, or her father for driving her away from home, or Kiki, the black man who took her in when she fled to New York, for leaving her a few months after the baby came; and now that she has a house, a modest income, and the memory of a good husband, she enjoys herself and "cannot imagine that anyone would wish her harm." The story uses the language of her judges and of Mrs. Turner herself to put the reader into their perspectives and then, from the omniscient narrator's pinnacle, transcends them. The last line of the story echoes the first, which represents the schoolgirls' and neighbors' point of view—"Oh,

320 / AMERICAN WRITERS what a sight is Mrs. Turner cutting her grass"— and then transforms the meaning of "sight" from "spectacle" to "vision" by adding, "and how, like an ornament, she shines." While writing the stories in Various Miracles and The Orange Fish Shields was also experimenting with drama. In 1983, she won first prize in a CBC competition for a radio play entitled "Women Waiting." Departures and Arrivals was workshopped in 1983 and produced in 1984, though not published until 1990. A one-act version of Anniversary, co-written with Dave Williamson was produced in 1986, although the fulllength version was first produced in 1996 and published in 1998. Drama is another way of exercising an omniscient perspective, experimenting with voices, and portraying randomness, shifting perspectives, and the power and failure of language. Departures and Arrivals, a series of vignettes that take place in an airport, develops the fly-on-the-wall perspective Shields had already used in party and convention scenes in Small Ceremonies, The Box Garden, and Brenda's story in Happenstance. Instead of the random remarks overheard in these scenes, the play offers random encounters that slip into absurdity. A couple who have been divorced for eight years run into each other and improvise a way for him to look once again at the backs of her knees. A family keeps retaking its reunion until it satisfies Hollywood expectations. The conversation between two women who meet at the flight insurance booth after seeing their husbands off on business trips slides from mutual reassurance, to contingency plans, to freedom fantasies, to visions of the men they might meet in their new lives. In both narrative fiction and drama, Shields was looking, as she told Harvey De Roo, for "ways of providing . . . tension that avoid the old, artificial rhythms of convergence, catastrophe and reconciliation." In Swann, the novel she put aside twice and finally published in 1987, Shields works the nar-

rative forms she had been trying out and also her longstanding interest in the unreliability of the written record and the erasure of the lives of women into a kind of postmodern literary sampler. The novel centers on the life and work of Mary Swann, an impoverished Ontario farm wife who delivered a bagful of Dickinsonian poems to the editor of a small press (called the Peregrine Press) in Kingston in 1965 and went home to be murdered and dismembered by her husband that same night. Nearly two decades later, having been resurrected by a young feminist critic who found her posthumously published book of poems in a Wisconsin cottage, Mary Swann is about to be the subject of an academic symposium. The first Canadian edition of Swann included the subtitle A Mystery, dropped in the American and later editions (and probably responsible for its being considered for the Arthur Ellis Award for Best Canadian Mystery, which it won in 1988). The novel contains three mysteries: First and least, in a parody of the conventional mystery plot, who is stealing the few remaining copies of Swann's book and the scanty documents of her life? (This germ for the story comes from the fact that when Shields was working on her thesis some of the Susanna Moodie materials had been stolen from the University of Western Ontario archives.) Second, is Mary Swann real? Within the terms of the story, she clearly existed and wrote poems, but are these the poems she wrote and are they any good? And third, the related questions that drive all of Shields's novels, "the mystery of personality. How do you know anyone? How does art come out of common clay?" The first four chapters of the novel focus in turn on the four individuals responsible for "creating" Mary Swann: Sarah Maloney, 28, the feminist critic; Morton Jimroy, 50, famous biographer of Ezra Pound, John Starman, and now Mary Swann; Rose Hindmarch, 51, town clerk and librarian of Nadeau, Ontario, curator of the Nadeau Local History Museum, founder of the Mary Swann

CAROL SHIELDS / 321 Memorial Room therein, and the only person, apart from Swann's daughter, known to have ever spoken to Mary Swann; and Frederic Cruzzi, 80, European intellectual, retired editor of the Kingston Banner, and, with his late wife Hilde, publisher of Mary Swann's poems in a stapled pamphlet infelicitously titled Swann's Songs. Sarah's story is a first-person narrative full of self-conscious references to the personae she presents to others, especially through her letters (one-draft and typed to friends, two-draft and handwritten to others). Jimroy's is told in the third person from his own completely self-absorbed point of view. Rose's and Cruzzi's mix perspectives. We see Rose from her own point of view (Rose's loss of faith "caus[ed] her not an ounce of pain and scarcely, for that matter a trace of nostalgia. Only the nuisance of remembering to keep it to herself," as well as from a distance as though pointed out by the voice- over in a juvenile documentary ("Here comes Rose now, a shortish woman with round shoulders and the small swelling roundness of a potbelly, which she is planning to work on this fall,"). Cruzzi is developed through a variety of textual forms, including his correspondence with dear friends and annoying petitioners, "His (Unwritten) One-Sentence Autobiography," and similarly "unwritten" or "untranscribed" accounts of the history of the Peregrine Press and the events of "the fifteenth of December, 1965," the day of Mary Swann's visit and death; these accounts are titled as though from the first person, but written in the third. Each narrative presents multiple personae, through correspondence and other forms of self-representation, and portraits of each character are embedded in the narratives of the others, as they have all met and/or corresponded with each other. The text also includes fragments of Swann's poems, whose various interpretations by the characters serve both to characterize the interpreters and to satirize literary critical discourse. Rose remembers Jimroy explaining to her that the poem that

begins "Blood pronounces my name" is " 'a pretty direct reference to the sacrament of holy communion. Or perhaps, and this is my point, perhaps to a more elemental sort of blood covenant, the eating of the Godhead, that sort of thing.' Rose said nothing. . . . She was unable to utter the word menstruation. She would have died first."

Each character not only interprets but constructs Mary Swann according to his or her own needs and perpetrates some form of theft or fraud to preserve that construction. Sarah, who is struggling with the tension between her professional and female identities, wants to think that Swann invented modern poetry out of her own female experience and thus throws Swann's rhyming dictionary, given to her by Rose (to whom it does not occur to put textual material in the Mary Swann Memorial Room, which she has set up as a domestic environment) in a roadside litter bin. Jimroy, who, abandoned by his wife, takes refuge in his role in literary tradition, can not bear to think of Swann as outside that tradition and so insists, "It is highly probable that Swann read Jane Austen during this period because . . . " despite the fact that the only author he has evidence that she read is Edna Ferber. Rose, who thinks her only distinction is her tenuous association with Mary Swann and wants the Mary Swann Memorial Room to reflect well on her, has discarded most of the meager contents of the Swann house and bought pretty antiques to furnish the room supposed to represent Swann's material circumstances. But the greatest deception is Frederic Cruzzi's. Out of their mutual desire to mend injury to the other, he and his wife have reconstructed Swann's poems from the bits that remained legible after Hilde wrapped fish guts in the bag she thought contained scrap paper. "They puzzled and conferred over every blot, then guessed, then invented." The first line of the blood poem Jimroy interprets—was it "Blood pronounces my name," or "renounces"? In each

322 / AMERICAN WRITERS subsequent line they have chosen one verb over another equally possible "because—though they didn't say so—they liked it better." These thefts not only parallel, but outweigh, the theft of Swann's poems, and even her murder, because they call into question what literature is and how it comes to be. The final chapter brings the four characters together in the screenplay of a film called The Swann Symposium, in which the apparent collegiality with which the scholars have prepared for the symposium breaks down into academic posturing and self-interest, the theft of the Swann materials is discovered, and the identity of the thief is revealed. The narratives of the individual characters have balanced on the wire between textual artifice and psychological realism. In this last section, Shields separates out the components of the balance. The symposium is a parody (whether hilarious or obvious, critics disagree) of academic discourse and detective novel conventions. The parody resolves into poignancy in the last scene as, having lost all copies of the poems, the symposium participants draw together, "subtly transformed," to reconstruct the poems from memory, or create them from need, beginning with one called "Lost Things," which speaks personally to each of the four main characters as well as to the life of Mary Swann and the question of the sources of art. Reviews of Swann and Shields's other experimental works respond to a perceived contradiction between the realist and postmodern directions of her work. Positive reviews focus on her wit and narrative innovation; negative ones find the characters thin or ordinary. Maggie Helwig in The Canadian Forum disparages Shields's early novels as "really women's-magazine fiction with a bit of extra intelligence" and praises Swann as "daring" yet accessible. Josh Rubins in the New York Times Book Review finds the Swann characters "one-dimensional . . . to the point of caricature." Norman Sigurdson praises Swann, where

"the little peculiarities of our daily existence . . . provide a convincing backdrop to a strong narrative instead of being obtrusively front and centre as they were in the other novels." Chris Johnson, director of the first full production of Departures and Arrivals for the University of Manitoba's Black Hole Theatre in 1984, concludes an appreciative discussion of the wit and economy of Shields's plays with the reservation that, "I'm not convinced that Shields always comes to terms with the idea that the characters in her plays, as opposed to the characters in her novels, will eventually be inhabited by living, breathing, creative human beings, actors. The result is sometimes awkwardnesses. . . . sometimes stasis sometimes scenes . . . thinner than they need be." The farcical elements of the last section of Swann and the collective creation of the poem at the very end point to two distinctive aspects of Shields's art: her willingness to play and her impulse to share authorship. Reviewers have frequently invoked television comedy in both positive and negative characterizations of Shields's dramatic works. Her plays are deliberately light; Anniversary, the Playwrights' Note says, is "particularly suitable for summer theatre and dinner theatre." Her willingness to entertain is related to her desire to include in her plays people who have been left out of conventional drama, the well-adjusted middle-class that forms the base of the theatre audience, and particularly ordinary women. She wrote Thirteen Hands: A Play in Two Acts, she told Val Ross, to valorize the lives of women who are disparaged as "the blue rinse set," but who, in the safety of the bridge club, form communities of women that pass on traditions and transform values. Theatre people said it would not work as a play because it lacked conflict; they "suggested one of the women should quarrel with another. . .. For me, the central conflict was how these women are regarded." According to Chris Johnson, the 1993 premiere attracted a large con-

CAROL SHIELDS / 323 tingent of bridge-players, and the pleasure of women in the audience seemed to arise from "a recognition of emotions, situations, womanly communication and social custom not commonly seen on stage." Shields's impulse to inclusiveness in the subjects of her plays and her representation of collective authorship at the end of Swann extends to actual collaboration, with her friend Dave Williamson on Anniversary, her daughter Anne on the story "Words" in Various Miracles, her daughter Catherine on the play Fashion, Power, Guilt and the Charity of Families, and her friend Blanche Howard on A Celibate Season. Comprised of the letters a husband and wife write to each other while she is away from their North Vancouver home on a one-year job in Ottawa, this playful novel, which Shields was working on throughout the writing of Swann and the stories in Various Miracles and The Orange Fish, extends the premise of Happenstance and derives from the actual correspondence of the two authors. It is another example of the integration of Shields's domestic life and her art. Shields has also submitted to the more common and riskier collaboration of having a novel adapted to film. A British and Canadian co-production of Swann, with, in Shields's words (in an interview with Linda Rosborough), "major shifts in emphasis," was released in Canada in 1996.

NOVELS OF THE NINETIES

What Shields told Harvey De Roo about how she develops a novel applies to her oeuvre as well: "I write it over and over, and each time it gets longer, thicker." Shields's best known novels are longer, thicker tellings of stories she has been working on, and working out, throughout her career. Their characters are more fully realized, their worlds denser, their narrative and symbolic structures more complex, but they are the same

stories, approached from new angles, recombined, and filled up with fresh and fully integrated supplies of personal history and everyday detail. The Republic of Love (1992), is a romance and, like Thirteen Hands, a defiant effort to write a story that does not fit contemporary conventions: "It's possible to speak ironically about romance," Fay McLeod thinks in the flush of her new love for Tom Avery, "but no adult with any sense talks about love's richness and transcendence, that it actually happens, that it's happening right now, in the last years of our long, hard, lean, bitter, and promiscuous century." The novel opens with a hint that it will also be a revision of Jane Austen as Peter Knightly, the decent fellow Fay wakes up realizing she does not love anymore, has the same surname as the man Austen's Emma finally discovers she does love. Like the prospective lovers in any Jane Austen novel, Fay and Tom live in the same village. It is called Winnipeg and it has a population of six hundred thousand, but its networks of family, friends, and alliances through marriage are as tight as, though different from, any in an Austen village. Fay and Tom meet in their roles as godfather and aunt to boys at the same birthday party. They are connected before they meet by the fact that Tom's first wife, Sheila, subsequently married Sammy Sweet, who later married Fritzi, Peter Knightly's ex-wife. As in any Austen novel, these connections provide a colorful and instructive variety of approaches to marriage. Unlike that of Austen characters, however, the difficulty Fay and Tom face is not in recognizing that they are in love—each falls in love at first sight—but in coping with life alone before love and then in adjusting their separate selves to life together. After they have been living together for several months, and shortly before their planned wedding, Fay backs out and Tom makes no move to change her mind. This separation of an established couple—married in the sense that they love each other, live together, and, by announcing a wedding, have

324 / AMERICAN WRITERS made a public commitment difficult to undo— turns Fay and Tom's romance into a version of a story Shields returns to again and again: the couple who separate, in an endless range of ways and emotional registers, and come back together again. For Fay and Tom do, of course, reunite, marry (their impromptu wedding in the courthouse a sign that the real marriage has already taken place), and make the small adjustments that allow them to live happily, for some years anyway, thereafter. Shields's permutations of this story of separation and reunion include Happenstance and A Celibate Season and the story of the Moroccan couple in "Various Miracles," whose dream reveals the husband's fear of and the wife's desire for permanent separation, but who wake up and go on. They also include the play Anniversary, in which a separating couple who pretend to be together for the benefit of old friends who drop in on their property division end up convincing themselves to stay together; and the stories of Larry and Dorrie in Larry's Party and of two other couples in The Republic of Love—Fay's parents, Richard and Peggy McLeod, whose separation immediately after their fortieth anniversary is the catalyst for Fay and Tom's, and Peter Knightly and Fritzi Knightly Sweet, who after Sammy Sweet dies and Peter and Fay split up, remarry each other. This "cycle of rupture and reconciliation," as Fay realizes, not transcendent love, is the real character of romance. In all these stories, Shields probes the bonds and barriers between people through the details with which the stories are so packed. The Republic of Love is told in chapters that alternate between Tom's and Fay's viewpoints and build both their relationship and the discussion of love from all the social and material facts of everyday life. The problem of the novel is the perennial problem of love, balance between selfhood and connection to others. Their history, routines, and social interactions portray Tom as "a lost soul,

loveless," "attached to no one," and Fay as so enmeshed in a web of connection as "daughter, sister, girlfriend," that her identity "can quickly drain away when brought face to face with someone else's identity." Fay sees her parents a couple of times a week, meets her sister for dinner on Wednesdays and her father for breakfast at Mr. Donut's on Saturdays, baby-sits her nephews, and is planning her parents' fortieth anniversary party. Tom never had a father; his mother lives up in Duck River; his connections in Winnipeg are three ex-wives; he jogs alone on Saturday mornings; and his regular social event is the Newly Single Club at the Fort Rouge Community Center. Tom and Fay's work reflects their psychic selves. Tom's job as a late-night talk-show host creating a simulated community among lonely insomniacs reflects the desire for connection that has led him to marry too hastily three times. Fay's research on the folklore mermaids is a projection of the fear of invasion that makes her flee when the wedding looms: "This, Fay decides . . . is the mer-condition: solitary longing that is always being thwarted. No, not thwarted—denied." When they do find a balance together, Tom gets moved to the driving-home show on the radio, and Fay finally has enough distance on mermaids to finish her book. What makes both the pattern and the particulars of the repeated stories interesting is their relationship. In this, Shields's stories are like Fay's mermaids, which in their common features and enormous variation embody both common and individual contours of the psyche, and like romance itself, the eternal quest for the union of opposites. In The Stone Diaries (1993), and Larry's Party (1997), Shields lengthens and thickens her stories to the scope of a lived life. The Stone Diaries confronts the mystery of personality head on. It traces the life of Daisy Goodwill Flett, who is born in Tyndall, Manitoba, in 1905, to a mother who dies in childbirth without having realized she

CAROL SHIELDS / 325 was pregnant; is raised by a neighbor, Clarentine Flett, who takes Daisy with her to Winnipeg when she abandons her husband; is taken to Bloomington, Indiana, at age eleven by her father, Cuyler Goodwill, a stone cutter who metamorphoses into a stone carver and then an American entrepreneur; is married at twenty-two and widowed on her honeymoon when her drunken husband falls out of a hotel window in France; is married again at thirty-one to Barker Flett, Clarentine Flett's son, twenty-three years her senior, in Ottawa; is occupied, when the reader glimpses her in 1947, with mothering three children; is subsequently widowed, and engaged to take on her husband's newspaper gardening column— which she writes from 1955 to 1964, when she is replaced by a staff writer and falls into depression; is next seen in 1977 in Florida, where she enjoys bridge games and a trip to the Orkney Islands with her grand-niece Victoria; declines into illness in the 1980s, and dies sometime in the 1990s. But who is Daisy Goodwill Flett? And who is telling her story? The mystery of Daisy's identity is contained in the novel's narrative ambiguity. The narrative opens as if it were Daisy's autobiography, "My mother's name was Mercy Stone Goodwill," and its chapter divisions follow life stages from "Birth, 1905," through "Death." Yet it is written in a number of voices and from seemingly incompatible points of view that sometimes share the same passage. At eleven, sick with pneumonia, Daisy "could only stare at [the] absence inside herself for a few minutes at a time. It was like looking at the sun.... The long days of isolation, of silence, the torment of boredom—all these pressed down on me, on young Daisy Goodwill and emptied her out. Her autobiography, if such a thing were imaginable, would be, if such a thing were ever to be written, an assemblage of dark voids and unbridgable gaps." As she declines into illness and sheds the personae of Mrs. Flett, Mrs. Green Thumb (the gardening columnist), and her

niece Victoria's Great-Aunt Daisy, Daisy Goodwill—as the mistakenly abridged name on her hospital bracelet identifies her—becomes ironic: "But I can't go on living a lie," protests Reverend Rick who has asked whether he should tell his mother he is gay. "Why not?" replies Daisy. "Most people do." At this point it becomes possible to imagine all the voices as Daisy's, peeling the layers of self-deception from the selves with which she has gotten through a long life of being what others expect her to be, and the narrative as a deathbed review, both survey and critique of her own life. The narrative is indeed "an assemblage of dark voids and unbridgable gaps" that reflect the absence Daisy feels inside herself. Decades gape between chapters. Critical points in Daisy's life are represented by the perspectives of others: her first marriage by the society page notices of parties in honor thereof; her marriage to Barker Flett by the "the things people had to say about the Flett-Goodwill liaison"; her work—that critical center of all Shields's characters lives—not by the columns Mrs. Green Thumb writes but by the letters she receives. The photograph album at the center of the book contains pictures of Daisy's parents, children, grandchildren, and college friends, but none of Daisy. The chapter entitled "Love, 1936," defines love as "mostly the avoidance of hurt." Like the stone tower her father has built over her mother's grave, Daisy's life, which the novel's epigraph also identifies as a "monument," has a hollow core. And yet, if the narrative is Daisy's own ironic autobiography, it is a work of self-reflection, and thus of a self. In old age, Daisy thinks about her two fathers, Cuyler Goodwill and her father-inlaw, Magnus Flett. She feels closer to Magnus Flett, whom she has never met, because he, unlike Cuyler Goodwill, is reflective. While her own father has metamorphosed several times without wasting time on nostalgia for past selves or "his lost country," Daisy feels that Magnus Flett, who

326 / AMERICAN WRITERS has gone back to the Orkney Islands looking for his own home and memorized Charlotte Bronte's Jane Eyre in an effort to discover what his wife missed in him, is "the suffering modern man," a wanderer like herself, "with an orphan's heart and a wistful longing for refuge." Daisy is not only absent from the narrative but also present in the narrative, as Magnus Flett, at 115, is still— barely—alive when Daisy finds him in Stromness. The Stone Diaries is a rewriting of the story of the erasure of women's lives, especially those of her mother's generation, that Shields has been retelling since the Aunt Violet poems. But in its length and thickness—in Daisy's long life and wide travels and the plethora of documents and viewpoints that construct her—it is also a story about the instability of identity and the unreliability of the means by which people perceive it. The family trees, newspaper clippings, and especially photographs that give the book the appearance of a "real" biography or autobiography also call attention to its constructedness. (Where did she get these photographs? Who are they really of?) The images of stone (Daisy's birthright, solid, carved, enduring) and flowers (her vocation, fragile, grown, transient) that run through the novel and come together in the rare fossils of early plant life that Victoria and her colleague are looking for in the Orkneys form the warp and weft of an identity that is both solid and fragile, both constructed and real, both present and not yet found. The Stone Diaries catapulted Carol Shields to literary celebrity. Before The Stone Diaries, only four of Shields's nine previous novels had been published in the United States. As soon as The Stone Diaries began winning prizes—it was shortlisted for the Booker Prize in 1993—Viking Penguin began publishing the backlist, and Shields's subsequent books have been published in the United States the same year as in Canada. By

1995, The Stone Diaries had won the Canadian Governor General's Award, the National Book Critics Circle Award, and the Pulitzer Prize (as well as the McNally Robinson Award for Manitoba Book of the Year, the Canadian Booksellers Association Prize, the French Prix de Lire, and a place on the shortlist for the Prix Femina etranger). Film productions of The Stone Diqries and The Republic of Love as well as Swann were announced (though only Swann had appeared by 2000). When Penguin published Shields's first two novels in the wake of this success, they were reviewed as precursors to The Stone Diaries. And when Larry's Party was published in both Canada and the United States in 1997, it came into a different world from any of its predecessors. Larry's Party addresses the explicit question that focuses the dinner party conversation in the last chapter, "what is it like to be part of the company of men at the end of our millennium?"— when social change of all sorts, but especially gender upheaval, has upset the old foundations of men's lives. But it also asks the question implicit in Larry's progress from floral arts graduate of Red River College and employee of Flowerfolks in Winnipeg at age twenty-six to internationally known designer of garden mazes at forty-six: How does art come out of common clay? In effect, Larry's Party joins the two halves of Happenstance. Like Jack Bowman, Larry has to adjust to the women in his life outgrowing the selves he married. His first wife Dorrie, who he always thought was a little dumb ("She actually thinks flower college is college,") moves up from clerk-receptionist at Manitoba Motors to salesperson, and after he leaves her, to CEO of a greeting card company. His second wife Beth, a graduate student when they meet, finishes her dissertation, takes a job as head of Women's Studies at the University of Sussex, and decides she does not want to be married anymore. Like Jack's, too, Larry's life is defined by accident. As Jack at-

CAROL SHIELDS / 327 tributes his relatively happy and comfortable situation to "happenstance," Larry's life is directed by mistakes. He took floral arts because the college sent him the wrong brochure, married Dorrie because she got pregnant, got into mazes because he felt happy being lost in the Hampton Court maze he and Dorrie were taken to on the honeymoon tour of England his parents gave them for a wedding present. Unlike Jack, however, whose life remains static, Larry moves on, too. Like Brenda, he begins to make art to furnish his own home, in his case a maze in his own yard on Lipton Street in Winnipeg, and gradually learns about maze designs, soil, climate, shrub varieties, and how to put them all together to suit a particular location and client. As Brenda appropriates the guestroom for a workroom and begins to sell her quilts for wall hangings instead of bedcovers, Larry quits his flower shop job and takes a mazedesigning commission in Chicago. As Brenda becomes reflective about quilting, Larry learns how to think about mazes, their defining characteristics, histories, purposes, famous examples, and connection to his life. The connection is both multi-dimensional and simple. "A maze is a puzzle. . . . designed to deceive travelers who seek a promised goal." Larry's life is a puzzle to himself, which he keeps trying to figure out by reading the signs around him and gratefully storing the explanations others provide. He keeps a dictionary under the counter at Flowerfoiks to unlock the secrets of words. He's "grateful, grateful," to Sally Wolsche, who in initiating him into sex "had taken his puny, unamplified self and unlocked the door to his body and to that greater mystery of where he stood on the planet." A maze is a way of getting lost so one can be found. Larry is willing to go down unknown paths and take wrong turns. When his son asks him a worldly riddle he cannot answer, he feels "a stab of love" as he watches "his son watching him—a grown man who stumbled,

fell into error, got lost, made a fool of himself, but was willing, at least, to be rescued," and thinks, "Something good was bound to come of this." Every maze has a goal at the center, but the goal is not the point, only the enticement to the journey. The culmination of Larry's life "so far," the party that brings together his sister, his two ex-wives, his current woman friend, his latest clients, and a new acquaintance, celebrates the journey and takes Larry back, as a maze also does, to his beginning, as he and Dorrie, both matured by their separate journeys, rediscover their love for each other. In Larry's Party, as well as The Stone Diaries and The Republic of Love, Shields opens out the focus on domesticity in her early novels to the quest for home. The structure of Larry's Party is simultaneously chronological and synchronic. Each chapter—"Larry's Love, 1978," "Larry's Words, 1983," "Larry's Penis, 1986," and so on—is an associative essay on an aspect of Larry's identity that subsumes some life event—divorce, marriage, his first commission—as a maze does its goal. The book is like the CAT scan his father undergoes and the chapters are slices of his life, "brilliantly dyed and intricately detailed," that reproduce the same constants, "his work, his friends, his family, his son, his love for his two wives, his bodily organs," from different perspectives as he grows older. This structure replicates the way Larry assimilates the story of how his mother killed her mother-in-law (with improperly canned runner beans), and the way we assimilate stories generally, "in small pieces, by installments as it were." Each return to Larry's transcendent moment in the maze at Hampton Court, his first maze on Lipton Street, and his marriage to Dorrie, thickens their implications. With this structure Shields finds a conduit from the inner life of the character to the mind of the reader, a way to represent the unknowable other.

328 / AMERICAN Larry's Party is risky in its repetition, its ubiquitous metaphor, and its romantic ending. Most critics mentioned one or more of these risks as slight flaws overwhelmed by the novel's generosity, its acute rendering of the disequilibrium of the contemporary world, and its transformation of artifice into the experience of an inner life. The novel was named a Notable Book of 1997 by the New York Times and won the 1998 Orange Prize for fiction written by women and published in Britain. The life stories of Larry Weller and Daisy Goodwill fulfill Shields's statement to Eleanor Wachtel that biography is "the only story we've got." When Shields and her husband moved from their six-bedroom home in Winnipeg to a two-bedroom apartment, Shields gave the materials for her own biography to the National Library of Canada, a gesture she represents, characteristically, as a housecleaning move. In the fall of 1998, she was diagnosed with breast cancer. The following fall, when the cancer was in remission, writer colleagues paid public tribute to her work and her personal generosity in a program that opened the International Festival of Authors in Toronto. As the new millennium opened, Shields was at work on an actual biography, of Jane Austen. It is "part of a series that isn't trying to compete with professional biographers," she explained to Leslie Forbes. "Each book is really a history of one author's reading of another." She also published her third collection of short stories, Dressing Up for the Carnival (2000), which includes some stories her editor did not think fit in The Orange Fish, and three written after her mastectomy. Many reflect on writing and the writing life. One of the new stories, "A Scarf," stages an awkward meeting and reconciliation between two old friends who seem to represent aspects of Shields's writing persona, the "sunny" winner of a slightly embarrassing prize honoring literary accessibility and the unrecognized writer of "stuff' that "is off-centre and steers a random course."

WRITERS

Selected Bibliography WORKS OF CAROL SHIELDS NOVELS AND SHORT STORIES

Quotations, except from Dressing Up for the Carnival, are from American editions. Small Ceremonies. Toronto: McGraw-Hill Ryerson, 1976; New York: Penguin, 1996. The Box Garden. Toronto: McGraw-Hill Ryerson, 1977; New York: Penguin, 1996. Happenstance. Toronto: McGraw-Hill Ryerson, 1980. Happenstance: Two Novels in One About a Marriage in Transition: The Husband's Story. New York: Penguin, 1994. A Fairly Conventional Woman. Toronto: McGraw-Hill Ryerson, 1982. Happenstance: Two Novels in One About a Marriage in Transition: The Wife's Story. New York: Penguin, 1994. Various Miracles. Toronto: Stoddart, 1985; New York: Penguin, 1989. Swann: A Mystery. Toronto: Stoddart, 1987; Swann. New York: Viking Penguin, 1989. The Orange Fish. Toronto: Random House of Canada, 1989; New York: Viking Penguin, 1990. A Celibate Season. With Blanche Howard. Regina, Sask.: Coteau, 1991; New York: Penguin, 1999. The Republic of Love. Toronto: Random House of Canada, 1992; New York: Viking Penguin, 1992. The Stone Diaries. Toronto: Random House of Canada, 1993; New York: Viking Penguin, 1994. Larry's Party. Toronto: Random House of Canada, 1997; New York: Viking Penguin, 1997. Dressing Up For the Carnival. Toronto: Random House of Canada, 2000; New York: Viking Penguin, 2000. POETRY AND PLAYS

Intersect: Poems. Ottawa: Borealis Press, 1974. Departures and Arrivals. Winnipeg, Man.: Blizzard, 1990. Thirteen Hands: A Play in Two Acts. Winnipeg, Man.: Blizzard, 1993. Coming to Canada: Poems. Edited and with an introduction by Christopher Levenson. Ottawa: Carleton University Press, 1992. (Republished by Carleton in 1995 as Coming to Canada, with 11 poems each

CAROL SHIELDS / 329 from Others and Intersect, 33 new poems, and a new introduction by Christopher Levenson.) Fashion, Power, Guilt, and the Charity of Families. With Catherine Shields. Winnipeg, Man.: Blizzard, 1995. Anniversary. With Dave Williamson. Winnipeg, Man.: Blizzard, 1998. ESSAYS AND CRITICISM

Susanna Moodie: Voice and Vision. Ottawa: Borealis, 1977. " Thinking Back Through Our Mothers': Tradition in Canadian Women's Writing." In Re(Discovering Our Foremothers: Nineteenth-Century Canadian Women Writers. Edited by Lorraine McMullen. Ottawa: University of Ottawa Press, 1990. Pp. 9-13. "Jane Austen Images of the Body: No Fingers, No Toes." Persuasions 13:132-137 (December 1991). "Encounter." In Without A Guide: Contemporary Women 's Travel Adventures. Edited by Katherine Govier. St. Paul, Minn.: Hungry Mind, 1994. Pp. 225228. "Travelwarp." In Writing Away: The PEN Canada Travel Anthology. Edited by Constance Rooke. Toronto: McClelland & Stewart, 1994. Pp. 276-280. "Framing the Structure of a Novel." The Writer 111: 3-7 (1998). Online. Infotrac. (February 21, 2000). "Giving your literary papers away." Quill & Quire 64, 11:43 (November 1998). "Opting for Invention over the Injury of Invasions." New York Times, April 10, 2000, pp. E1-E2. (In occasional series, Writers on Writing.)

CRITICAL AND BIOGRAPHICAL STUDIES Armstrong, Isobel. "Designs for Living." Review of Happenstance: The Husband's Story; The Wife's Story. Times Literary Supplement, March 1, 1991, p. 21 Atwood, Margaret. "In Praise of Shields: Hilarious Surfaces, Ominous Depths." The National Post, October 22, 1999, p. A19. Besner, Neil, and G. N. L. Jonasson, eds. Carol Shields. Special issue of Prairie Fire 16, no. 1:5192 (1995). Giardini, Anne. "Reading My Mother." Prairie Fire 16, no. 1:6-12(1995). Gom, Leona. "Stone and Flowers." Prairie Fire 16, no. 1:22-27 (1995).

Hall, Susan Grove. "The Duality of the Artist/Crafter in Carol Shields's Novels." Kentucky Philological Review 12:42-41 (March 1997). Hammill, Faye. "Carol Shields's 'Native Genre' and the Figure of the Canadian Author." Journal of Commonwealth Literature 31, no. 2:87-99 (1996). Helwig, Maggie. "Constructing Ourselves For Others." Review of Swann: A Mystery. The Canadian Forum 67:48^9 (February/March 1988). Howard, Blanche. "Collaborating with Carol." Prairie Fire 16, no. 1:71-78(1995). Ings, Katharine Nicholson. "Illuminating the Moment: Verbal Tableaux in Carol Shields's Poetry." Prairie Fire 16, no. 1:168-173(1995). Johnson, Chris. "Ordinary Pleasures (and Terrors): The Plays of Carol Shields." Prairie Fire 16, no. 1: 161-167 (1995). Klinkenborg, Verlyn. "A Maze Makes Sense From Above." Review of Larry's Party. New York Times Book Review, September 7, 1997, p. 7. Mellor, Winifred M. " The Simple Container of Our Existence': Narrative Ambiguity in Carol Shields's The Stone Diaries." Studies in Canadian Literature 20, no. 2:97-110(1995). Nodelman, Perry. "Living in the Republic of Love: Carol Shields's Winnipeg." Prairie Fire 16, no. 1: 40-55 (1995). Parini, Jay. "Men and Women, Forever Misaligned." Review of The Stone Diaries. New York Times Book Review, March 27, 1994, pp. 3, 14. Pool, Gail. "Imagination's Invisible Ink." Review of Happenstance: Two Novels in One About a Marriage in Transition and The Stone Diaries. Women's Review of Books, May 1994, p. 20. Rosborough, Linda. "Three Shields books set to become movies." Globe and Mail, August 25, 1995, p. C4 Rubins, Josh. "They All Want a Piece of the Legend." Review of Various Miracles and Swann. New York Times Book Review, August 6, 1989, p. 11. "Shields of Honour." Globe and Mail, October 23, 1999, p. D4-D5. Sigurdson, Norman. "Carol Shields: Raising Everyday Lives to the Level of Art." Review of Swann: A Mystery. Quill & Quire 53, no. 11:21 (November 1987). Slethaug, Gordon E. " The Coded Dots of Life': Carol Shields's Diaries and Stones." Canadian Literature 156:59-81 (Spring 1998).

330 / AMERICAN WRITERS Sweeney, Susan Elizabeth. "Formal Strategies in a Female Narrative Tradition: The Case of Swann: A Mystery." In Anxious Power: Reading, Writing, and Ambivalence in Narrative by Women. Edited by Carol J. Singley and Susan Elizabeth Sweeney. Albany, N.Y.: SUNY Press, 1993. Pp. 19-32. Thomas, Clara. "Reassembling Fragments: Susanna Moodie, Carol Shields, and Mary Swann." In Inside the Poem: Essays in Honour of Donald Stephens. Edited by W. H. New. Toronto: Oxford University Press, 1992. Pp. 196-204. . "Stories Like Sonnets: 'Mrs. Turner Cutting the Grass.' " Prairie Fire 16, no. 1:79-83 (1995). Thompson, Kent. "Reticence in Carol Shields." Room of One's Own 13, nos. 1 & 2:69-76 (1989). Vauthier, Simone. " 'They say miracles are past' but they are wrong." Prairie Fire 16, no. 1:84-104 (1995). Wachtel, Eleanor, ed. Carol Shields. Special issue of Room of One's Own 13, nos. 1 & 2:2-150 (1989). Williamson, Dave. "Collaborating With Carol." Prairie Fire 20, no. 1:123-125 (1999).

INTERVIEWS Anderson, Marjorie. "Interview with Carol Shields." Prairie Fire 16, no. 1:139-150 (1995).

Burgess, Linda. "A Subject Worthy of Her Talent: An Interview with Carol Shields." Windsor Review 28, no. 2:34^3 (1995). D6 Roo, Harvey. "A Little Like Flying: An Interview with Carol Shields." West Coast Review 23, no. 3: i38-56 (1988). Forbes, Leslie. "More Spice Than Nice." Globe and Mail February 26, 2000, pp. D2-D3. Hollenberg, Donna Krolik. "An Interview With Carol Shields." Contemporary Literature 39, no. 3:339355 (1998). Ross, Val. "Unsung Lives of Girls, Women Carol Shields's Strong Suit." Globe and Mail, April 29, 1995, p. C17. Thomas, Joan. "An Epistolary Interview with Carol Shields." Prairie Fire 16, no. 1:121-137 (1995). Wachtel, Eleanor. "Interview with Carol Shields." Room of One's Own 13, nos. 1 & 2:5-45 (1989).

FILM BASED ON THE WORKS OF CAROL SHIELDS Swann. Screenplay by David Young. Directed by Anna Benson Gyles. Greenpoint Films, Majestic Films, Norstar Entertainment Inc., and Shaftesbury Films, 1996.

—SUSAN L. BLAKE

Tobias Wolff 1945-

Ar THECONCLUSION of Tobias Wolffs mem-

familiar archetype of a vital and vigorous life sadly truncated by war. In this first-person narrative, this particular tragedy is culled from the war's litany of tragedies and given importance, primacy. Pierce's story rises from the stories of countless dead American soldiers—many of whom Wolff sees, knows, and remembers—and takes a position at the forefront of the memoir. This is, of course, to be expected. He was a close friend of Wolff's, someone whom Wolff imagines, "would have been one of them, another godfather for my children, another bighearted man for them to admire and stay up late listening to." But Pierce's importance shifts the focus of the memoir. Though events and actions form the body of the tale, its pith and emotional center lie somewhere else. It lies with what is absent, with the idea of a dead soldier, and with the way that memory can haunt and persist long after a moment of action has passed. This is the condition endemic of modern, self-conscious, self-remembering man. It is also, according to Anton Chekhov—one of Wolff s foremost influences—what the writer must simply describe. "It is not the writer's job to solve problems," Chekhov writes, "his only job is to be an impartial witness." This will be a familiar argument to the reader of Wolff, an argument that holds as most important the recording vision, the observant gaze, and the carefully detailed image.

oir In Pharaoh's Army: Memories of the Lost War (1994), the paratrooper trainee Hugh Pierce stands poised in the doorway of a C-130 turboprop. As Pierce prepares to jump, he sings in falsetto and dances within the otherwise orderly formation of men progressing towards the doorway. In this remembered construction, Wolff trails Pierce in the line, bearing grateful, if uneasy, witness to his friend's levity. Thousands of feet above Fort Benning, Georgia—with only the enormous uncertainty of the jump beneath them—the rest of the soldiers are nervous and quiet. Pierce is the exception. Wolff writes: "He laughs at the look on my face, then turns and takes his place in the door, and jumps, and is gone." The book has ended, the image has vanished, and the idea of Pierce has been spoken but not analyzed. Roland Barthes' dictum from S/Z: An Essay that, "beauty cannot really be explained . . . it stands out, repeats itself, but it does not describe itself," has been realized to its fullest extent in this passage. Wolff allows the image itself to serve its purpose; the act of remembering what has vanished becomes the most important part of the artist's work. Any analysis of the memory is left out of the work and the remembrance stands by itself as a complete story. Pierce is the primary tragic figure of In Pharaoh's Army. Through Pierce's death shortly after his arrival in Vietnam in 1966, Wolff presents the

331

332 / AMERICAN WRITERS John Keegan's statement in The Face of Battle, that the study of warfare is the study of human collapse because "it is towards the disintegration of human groups that battle is directed," cannot be underestimated or ignored. Much of the first part of In Pharaoh's Army involves the story of Wolffs trip along a rural road between U.S. military installations in the Mekong River Delta on Thanksgiving Day in 1967. There are no mileage markers for the journey from Lieutenant Wolffs base at My Tho to Dong Tarn, his eventual destination. The distance stretches, elongates, and becomes discursive. As it will in much of Wolff s subsequent writing, the physical landscape of the place he is in—in this case rural Vietnam—dramatically affects the inner landscape of his self. Because he is a writer, and because he is a writer obsessed with personal memory, the uncertain territory through which he drives becomes a departure point for inquiries into the self. The images presented by memory, then, serve not only as independent structures, but also as points of departure for further trips into self-disclosure. The trauma of war's isolation, the hardship it enforces on the psyche—which must concentrate solely on survival—eventually leads to the act of writing. Wolff writes as a means of escaping the force of memory. He tunnels. On that Thanksgiving in 1967, he traverses a physical tunnel—the road with its absolute boundaries and impregnable borders of farmland. Yet the physical tunneling leads to a clearing of the self, a space in which this deeper destination reveals more images, and parallel revelations about feeling. The trip is made in order to procure a television set; Wolff and his assistant, Sergeant Benet, have decided that they want to watch the two-hour Thanksgiving Day episode of Bonanza on a large color television. Over the first ten months of their stay in My Tho as adjuncts to a base composed entirely of South Vietnamese soldiers, the two Americans have steadfastly refused any degree of

acculturation. They have resolved to "live like Americans," and have spent much of their time bartering for goods. They have acquired a sizable stash of things. They compile "electric lights, a TV, a stereo, a stove, a refrigerator, and a generator to keep it all running." In this process, Wolff surrounds himself with as many American consumer goods as possible. Alienated, lonely, and bored—a frightened soldier performing a doomed task in a doomed war—Wolff cannot strip himself of the things to which he has become accustomed. His response to immersion in a foreign culture is to refuse the immersion. He builds a barrier of possessions between himself and the larger Vietnamese society. "Given the chance," he writes, "I'd have lived smack in the middle of a minefield twenty miles wide." Wolff feels besieged. He is what will become a familiar character for the reader of Wolff: the lonely man who is, because of circumstances, separated from the remainder of the world in which he lives. In Vietnam the isolation and separation occurs because of physical danger. "If I ran over a touch-fused 105 shell it wouldn't make any difference how fast I was going," Wolff writes of the prospects of negotiating the road to Dong Tarn. "I'd seen a two-and-a-half-ton truck blown right off the road by one of those, just a few vehicles ahead of me in a convoy coming back from Saigon." Even these many years latter, relating his Vietnamese tour in memoir form, Wolff is preoccupied by the moments at which he came close to death. With great precision he relays the instances in which he nearly died; these "Close Calls" comprise the fourth section of the book. Two of the moments at which Wolff's own mortality intrudes into his consciousness are explained by machinery, by the vagaries of warfare. On one occasion the support ropes snap off a Howitzer he is attaching to the underside of a Chinook helicopter. The gun plummets seventy feet from the sky and nearly crushes him; he hap-

TOBIAS WOLFF / 333 pens to look up at the right moment and scurries clear of danger. On another occasion Wolff attends Easter services at a Catholic Church in the Mekong Delta. He is on a mission in the field, and after the Mass he takes advantage of a pause in operations to drive with Sergeant Benet to the local market to buy fresh vegetables. Even though the service has occurred several years after the Vatican has resolved to abrogate the Latin Mass, the priest still uses the unfamiliar language. The looping, foreign lexicon—the same in Vietnam as had been for centuries around the world— tricks Wolff into a sense of security. "Without marking the change in myself, I had begun to let go a little, lulled from the state of paranoid watchfulness I'd been in since my first night off the plane." This relaxation nearly costs Wolff his life. The moment at which the tunnel of paranoia and cultural detritus relents, its space around the self is replaced by violent aggression. An unseen hand rolls a live grenade underneath his jeep. It fails to detonate and he is spared, but his besieged mind encloses itself further within the fortifications of his American enclave. This enclosure of the self within comfortable goods is an understandable response to the fear through which Wolff must live each day. Wolff comes to the Army as a step in his search for the structure and possibility for valor that his childhood has lacked. He enlists as the culmination of many years of searching for "legitimacy," for some validation of his self by the larger apparatus of society. "The men I'd respected when I was growing up had all served, and most of the writers I looked up to—Norman Mailer, Irwin Shaw, James Hones, Erich Maria Remarque, and of course Hemingway, to whom I turned for guidance in all things—[had also served]." His desire to live a life similar to those lived by his heroes is a boy's wish, the culmination of a childhood in which idols and exemplars have been extremely few. In Pharaoh's Army satisfies the particulars for this type of memoir—it is a sol-

dier/writer's explication of self, a renegade individualist's appraisal of his country's army and this army's most recent extended war. Yet it also tells the story of a child who, driven by the absence of his father, seeks formal approval for his life. A young Wolff enlists to satisfy the yearning for respectability and authority that his father never supplied. After he has spent a year in Vietnam, Wolff returns to California and civilian life. His discharge pay amounts to a year's salary, and he goes to visit his father on this money, intent on coming to terms with the figure whose absence, in many ways, drove him to the war. The novelist and critic Geoffrey Wolff—Tobias Wolff's older brother—has also written a memoir, entitled The Duke of Deception, which documents their father and his steady lying, desertion, and mischievous abuse of the law. This man—a middle-class, Jewish engineer—was not able to live with his own faith or his average economic position. He fled from his family and instated himself in a dominion of lies on the Southern California coast. His protection of his true identity through an insulating layer of interference is not unlike the process that the younger Wolff has undergone in Vietnam. Thus, when the son has stripped off the second, defensive skin, and returned once again to civilian life, he flees to his father, intent on showing him what he has learned. Wolff has also gone to visit his dad immediately prior to leaving for Vietnam. These visits—the bookends of his active duty in the military—are extreme contrasts. The first time, Wolff appears unexpectedly. About to embark on his Vietnamese tour, Wolff is unable to reconcile his paternal relationship. "Of course I'd been a jackass to surprise him, but it went beyond that," Wolff writes. "It had to do with the whole of our history. He must have wondered where we stood in all this, what I'd forgiven, what I held against him, what I held against myself." Through the process of fighting, though the lessons learned or unlearned in Vietnam, Wolff

334 / AMERICAN WRITERS begins to accept his father. It is one of the few instances of clear linear progress in the work. He returns to California and spends a week with his father. Though nothing conscious has changed, no puzzle has been overtly worked out in the intervening pages, the two men now are able to coexist. "So we gave it another try," the narrative states, "and this time we got it right." He allows his father to tell his stories. He comes to forgive his eccentricities, and in a way, to accept them. Yet this acceptance comes at the price of the rigid infrastructure of formal father-son relations. Wolff writes, "I had come back to Manhattan Beach, I surely understood even then, because there could no longer be any question of judgement between my father and me." He spends several weeks in California, reconciling with his father, concocting plans to stay and enroll in community college. Then, after a particularly miserable date, he calls his ex-girlfriend Vera in Washington D.C., the city where his brother and mother are also living. He hangs up the phone shaking; hearing Vera's voice has reminded him of their love. He aches for another chance at making their relationship work. Having partially mended one relationship, he seeks to fix another. This effort will, of course, lead to failure and, more importantly, prompt him to leave his father. Yet it is important, in many ways, to note that Wolff attempts reconciliation with his father, following in part what John Stoltenberg has termed, in his important work Refusing to Be A Man, the desire of the son to "belong to the father for the rest of his natural life." On the night before Wolff's departure, the two men go to dinner. He has still not informed his father of his decision and, late in the meal, he breaks the news. His father tries bravely to shrug off the sorrow of his son's departure. He realizes that, much like the reader of the text, he will be left with only memory, and the sorrow of a partial presence. "He tried to smile but couldn't, his very flesh failed him, and that was the closest I came

to changing my mind." They calm their roiling emotions with promises of return. Yet there is, in the sadness of passed time, an awareness of actuality that Wolff inserts into the text. "I meant it when I said I'd be back but it sounded like a baldfaced lie, as if the truth was already known to both of us that I would not be back and that he would live alone and die alone, as he did, two years later." Though mutual reparations have been paid, there is not a sense of complete peace between the two of them. After his father dies, Wolff feels something akin to guilt, but he accepts it as a part of his self. This self is, in turn, the substance of the book's revelations. Through the war, Wolff has come closer to the truth of his paternal relationship. Through visiting his father, Wolff has come closer to what he perceives as the truth about his own life. It is a harmony of spheres towards which he moves; through writing about his life, he endeavors to fashion it into a beauty of accordance and concordance.

WOLFF'S CHILDHOOD

It is this beauty, this realization of "who he is" towards which Wolff is constantly striving. It is this tension between the past and the present that gives his memoir its primary tautness. Born in Birmingham, Alabama to Arthur "Duke" and Caroline Wolff on June 19, 1945, Tobias Wolff had a turbulent childhood. Even while he delves into the past, into the was of his time in Vietnam, he is forever explicating the less chronological, less linear development of his mind, a development begun, in earnest, in his boyhood. Though Wolff is acutely self-conscious at all points within his works of autobiography, there is the sense that this consciousness takes its shape more fully through the process of writing. As Peter J. Bailey writes of This Boy's Life: A Memoir (1989), Wolff's revelatory memoir about his childhood: "It is in the unresolved tension between truth and

TOBIAS WOLFF / 335 lie, self and imposture, autobiography and fiction, that the book finds a structuring dichotomy worthy of and concordant with the finest literary fiction." This, then, is a buildungsroman of the first order, a nonfictional novel of education that can be assessed independently of In Pharaoh's Army. First published in 1989, This Boy's Life can be credited with touching off the avalanche of firstperson autobiography that now comprises such a flowering and prodigious genre in American literature. Wolff writes about himself, plain and simple, focusing on the ignoble trials of his youth. This Boy's Life contains the components that have become so familiar to the modern reader: the abusive family life, the trials of poverty, and the eventual triumph of the literary artist. Wolff tells the story of a young boy whose father leaves his family, disappearing to California without warning. The text begins with a paean to the open road, to the freedom of a mother traveling with her son, to the joy of movement and the vitality of flight. Like a long string following the tradition of real and fictional protagonists of American literature—a list of names ranging from Jack Kerouac's Neal Cassady to John Steinbeck's Tom Joad to Saul Bellow's young Charlie Citrine—the Wolffs migrate by car in search of a better future, in pursuit of a change in luck. "Everything was going to change when we got out West," Wolff details, and the innocence of the statement foreshadows that this will be a troubled text, a story of displacement and hardship. Indeed, the opening tribute has its grisly side. The mother and son are free—heading for what they believe will be a better life—but they have had car trouble while crossing the Continental Divide. Here Wolff is traveling with his mother, the feminine presence preventing this story from becoming, in the words of the critic Nina Baym, a "melodrama of beset manhood," one of the many that she identifies in her 1985 essay "Melodramas of Beset Manhood" as dotting the history of American literature. While they are waiting on

the side of the road for the their radiator to cool, a large truck roars by them, out of control, having just lost its brakes. By the time they reach the site of its accident—the truck has plummeted over the edge of a cliff—a large crowd has gathered to watch the burning cab, which is lying upsidedown in a gully many thousands of feet below. The driver has died and Wolffs mother becomes protective of her son. "For the rest of the day she kept looking over at me, touching me, brushing back my hair. I saw that the time was right to make my play for souvenirs." The twist Wolff puts on the end of this scene prompts a sense of repulsion. It is an instance of a son using his own mother's love as a means towards the acquisition of material possessions—trinkets and souvenirs that she could not otherwise afford to purchase for him. Manipulation, whether it is through lying or through physical violence, figures prominently in This Boy's Life. Wolff and his mother settle in Utah, where she hopes to make a fortune working in the uranium mines. Instead, her abusive exboyfriend—whom the mother and son had originally set out to escape—appears on her doorstep, having tracked their route. Work is not as plentiful as Wolffs mother had hoped—they nearly starve as she looks for a job—and the boyfriend, Roy, only complicates matters. He loiters about the house and drains the resources from the family. He drinks and exhibits violent behavior, living primarily on a small disability check he receives from the Veterans Administration. "When he wasn't hunting or fishing or checking up on my mother," Wolff writes, "he sat at the kitchen table with a cigarette in his mouth and squinted at The Shooter's Bible through the smoke that veiled his face." Young Wolff has no ability to control his surroundings. Though Wolff willingly secedes this control to his mother, whom he loves, Roy seizes this control from him. Roy's presence intrudes upon the solitude of the boy's domestic life; he is a burn-

336 / AMERICAN WRITERS ing, uncomfortable, and powerfully smoky reminder of the violence of men. Powerless against this virulent male presence, the young Wolff begins to lie, to shape the truth of his environment through story. In his work, Stories of Resilience in Childhood, Daniel Challener traces this storytelling to Wolffs desire to move away from masculinity and towards the feminine presence of his mother. "After Toby has mastered the physical act of writing, her influence is not solely limited to the initial task-specific neuro-muscular training she has given him." Wolff is escaping from the neuro-muscular training of his manifestly male body, and creating a story-life where he can identify with all things female. While Wolff stops short of the revelatory confessions of works such as Edmund White's A Boy's Own Story, he does detail, with great and submerged energy, an individual struggle away from the ordinary constraints of gender. Before this process can develop fully, however, the family is uprooted again. There is no verbal warning for Wolff before his mother decides to flee, to leave Utah and migrate north to Seattle. Instead he comes home from school early, having skipped archery practice, to find her packing his suitcase. They are leaving, she says. Does he have any suggestions? She has decided their ultimate destination already, but with this semblance of democratic intent, Wolffs mother indicates that she understands that he deserves some voice in the matter, even if the fulfillment of his wishes does not occur. Wolff is not unhappy to flee even farther towards the continent's corner. "I was glad to be once more on the run," the young boy asserts, "and glad that I would have her to myself again." As the decision is made to leave, however, Wolff is telling a lie about his whereabouts. His archery practice has not been canceled, as he asserts. The lie that he has constructed segues smoothly into the projected path of departure for mother and son. Whether objective truth is as-

serted becomes meaningless; all that matters is that which fuels movement, departure, and travel. The reader becomes aware that this is a memoir about the interrelationship of fact and fiction, about the ways in which one can mix with and lead to the other. Later in the text, when Wolff is established in another loveless household and has further developed his propensity for lying, he forges applications to East Coast boarding schools, hoping to gain whatever support he lacks in his hopeless hometown of Concrete, Washington. He steals stationery from the principal's office of Concrete High, and creates the complete admissions package for himself—recommendation letters, transcripts, and evidence of extracurriculars. None of what he writes is true. Like many children of abusive homes, Wolff finds that his self-confidence is wrecked; he lacks the respect for his own intellectual abilities that is necessary for academic success. Yet he obtains a strange sense of truth from the act of lying about his own qualifications. "I felt full of things that had to be said, full of stifled truth . . . It was truth known only to me, but I believed in it more than I believed in the facts arrayed against it." He will be rejected from a list of the more prestigious academies—Deerfield, Choate, Exeter, Andover, St. Paul's—but will garner a scholarship to Hill, a boarding school where he will matriculate and, eventually, from which he will be expelled. Though he does not know it, Wolff is fulfilling the legacy of his father. Expelled from Deerfield many years before, the elder Wolff is buoyed by the idea of his son applying to the boarding academies. While Wolff's father is absent, the role of father in his life is filled by a string of abusive surrogates. First there is Roy, the boyfriend from whom his mother finally manages to flee when she moves to Seattle. Yet it is difficult for a single mother to raise her son—both monetarily and socially—and she soon allows a cavalcade of suit-

TOBIAS WOLFF / 337 ors into her life. This is a difficult time for Wolff; he sees his mother's self-reliance eroded by the necessities of family life. He has violent friends, and feels immersed in a destructive culture, one that is teaching him to hate, in a way, his own circumstances. Anchored in front of the relatively new technology of television, watching a purportedly educational documentary about the American conquest of the Third Reich during World War II, Wolff feels the indoctrination slipping its fibers into him. "These shows instructed us further in the faith we were already beginning to hold: that victims are contemptible, no matter how much people pretend otherwise; that it is more fun to be inside than outside, to be arrogant than to be kind, to be with a crowd than to be alone." The writer's craft, of course, is at odds with this type of belief. In order to perform his work, the adult Wolff requires solitude, exclusion, and concentrated reflection. Eventually, Wolff's mother settles on a prospective husband—Dwight, an initially charming, if somewhat unsettling man from Concrete, Washington, a small town enclosed on all sides by the Mount Baker-Snoqualmie National Forest in northwestern Washington. Though Wolff's mother is reluctant to give up her own freedom, she believes that her son will benefit from the presence of a father-figure in his life. She is already disturbed by what she has gathered from his counselors at school; he lies constantly, lapses in and out of trouble, and fails to achieve to the limits of his academic potential. She decides that Wolff will live with Dwight in Concrete over late winter and early spring and, if all goes well, she will move from the city in the summer and join the makeshift family. "I thought I had no choice," he writes of the moment when he is asked for his approval of the plan, "so I gave it." Dwight has three children from a previous marriage; Wolff is anxious as the date of his departure approaches. He feels that he has been forced to leave Seattle.

The feeling of helplessness and the sensation of being a victim do not desert him.

ABUSE AND ESCAPE

Once Dwight has the young Wolff in his purview, he changes completely. He betrays himself for what he is—a foul, violent, alcohol-dependent mechanic, living a meager existence far from the limits of acceptable society. With barely restrained anger, Wolff recounts Dwight's attempts to change the boy's flippant approach to family life. "Dwight made a study of me," he writes, relating, through this terminology, his sense of being the subject of an experiment, rather than a self-controlling individual. Wolff continues: "He thought about me during the day while he grunted over the engines of trucks and generators, and in the evening while he sat heavy-lidded at the kitchen table with a pint of Old Crow and a package of Camels to support him in his deliberations." Smoke and alcohol are the hallmarks of his character, and he wields a despotic, violent control over the young Wolff. The backlash can be felt in every sentence of the text of This Boy's Life, which contains a dedication to Dwight. "My first stepfather used to say that what I didn't know would fill a book. Well, here it is." Indeed, Wolff has accomplished a remarkable task: he has taken the victim—the utterly powerless little boy who is ruled by the bitter stepfather—and empowered him. He has given retributive force to his art, and through his art has claimed retribution. The catalog of brutalities is long. As Bailey notes, "Wolff wrote an autobiography that reads like a novel because of his control over the material and his conviction that the dividing line between fiction and autobiography is a tenuous, ethereal one." To this end, Wolff is remarkably fluent with the placement of the story's vignettes and with the revelation of the information that

338 / AMERICAN WRITERS will amount to the sense of protracted conversation that the work provides. Immediately upon leaving Seattle and the protection of his mother, Wolff must endure his future stepfather's verbal abuse. Coming around the corner of a rural mountain road, Dwight runs over a beaver, swerving his car into the oncoming lanes in order to hit it. He immediately stops and pushes Wolff out of the car. He demands that Wolff pick up the carcass of the animal, and, when the boy fails to respond, Dwight heaves the blood-soaked beast into the trunk. Halfway home they stop at a tavern, where Wolff must wait in the January-cold car while Dwight goes inside and gets drunk. "Dwight came out of the tavern a long time after he went in, at least as long a time as we'd spent getting there from Seattle, and gunned the car out of the lot." He is drunk; the car fishtails; Wolff complains that he's feeling sick. "Sick to your stomach?" Dwight replies. "A hotshot like you?" His aggression is mindless and total. As soon as they arrive in Concrete, Wolff learns that it will be his job to shuck hundreds of bags of horse chestnuts that have been languishing in the cellar. This will be brutal work, and will last months; it is Dwight's way of teaching the boy discipline. "My fingers were crazed with cuts and scratches," Wolff writes. "Even worse, the broken husks bled a juice that made my hands stink and turned them orange." Dwight refuses to allow Wolff to wear gloves, because of his belief that gloves are effeminate, and would insulate the boy from the true spirit of the labor. Eventually, Wolff's mother comes to join him. Immediately after the wedding, however, she falls into a deep depression. "She slept late, something she has never done before, and when I came home for lunch I sometimes still found her in her bathrobe, sitting at the kitchen table and staring dazedly down the bright white tunnel of the house." Then, gradually, she rebounds. Fiercely independent, she joins the Parent Teacher Association and the Gun Club, becoming that so-

ciety's first female member. She tries to turn the six people living in the run-down house in Concrete into a family. Her success, of course, is limited at best. Dwight's only son soon leaves home, and his two daughters detest their father. Dwight lies around the house, works lazily at his job as a mechanic, ineptly hunts and fishes, and verbally abuses everyone who is close to him. Finally, he steals all of the money that Wolff has been saving through his paper route, over one thousand dollars, the result of over three years of delivering papers. This becomes one of the final acts of a doomed marriage; with Wolffs acceptance at the East Coast boarding school assured, Wolff's mother leaves Dwight and goes to Washington D.C. The story is not over, though. Dwight trails her to D.C. and tries to strangle her in the lobby of the hotel where she is living. She barely escapes with her life, obtains a restraining order, and Dwight is forced to leave for Seattle. Wolff never sees him again. Wolff's two autobiographical books then, do tell a sequential and chronologically progressive narrative. They accomplish this through the presentation of individual moments of memory that eventually broaden out, through their buried connections, into a narrative tapestry. "When we are green," Wolff writes in the conclusion to This Boy's Life, "still half-created, we believe that our dreams are rights, that the world is disposed to act in our best interests, and that falling and dying are for quitters." All around him, in these two remarkable books, Wolff sees people close to him fail and suffer and die. His most profound lesson—an appreciation for his own blessed luck— comes to him only gradually. Once it is in place, however, he consecrates the beauty of his writing to its altar. This memoir of a violent youth has an ending that is similar to the ending of In Pharaoh 's Army. Again it is an image, a moment when he is driving with a friend along a deserted mountain road in the summer. They have been drinking, and the recklessness of youth is strong within

TOBIAS WOLFF / 339 them. "It was a good night to sing and we sang for all we were worth, as if we'd been saved." The belief in salvation—in this instance a purely secular redemption of drinking, speed, and song— is the most important thing that Wolff can communicate. Again, it is a wordless image conveyed through words, a goal that is often elusive for the nonfiction writer, who is often tied to storytelling and the explanation of factual circumstances.

THE FICTION

Wolffs fiction, however, in the words of James Hannah, has a habit of "entering the story in medias res, in the middle of things." Hannah asserts that Wolffs style consists of repeated punctures of brilliance. He believes that these brilliant moments, however, frequently lead to conclusions that lack resolution. This is the poet's approach, and it applies well to Wolffs most anthologized story, "Hunters in the Snow." First published in TriQuarterly Magazine in 1980—the year Wolff began his seventeen-year tenure as the Writer-InResidence at Syracuse University, a tenure that would end with his move to Stanford University in 1998—"Hunters" will be familiar to the thorough reader of Wolff. Its chief concern—the brutality of ordinary people in ordinary circumstances—arises repeatedly throughout the body of Wolff's work. "Hunters" was later published in Wolffs In the Garden of the North American Martyrs (1981). "Tub had been waiting an hour in the falling snow," it begins, and the story lurches forward, already in motion. Three friends—Kenny, Tub, and Frank—are hunting in eastern Washington, in the snow-covered hills that surround Spokane. They have been hunting all day without luck when they come to a set of tracks. It is near dusk, and they hurry to follow the trail, which leads onto the property of a farmer. Kenny goes to the farmhouse to obtain permission to hunt on the

family's property. He gets permission but with one condition: he must shoot the farmer's dog, which is old and sick and dying. All of this happens unbeknownst to the reader; the narration remains outside with Frank and Tub. When Kenny comes back outside, the three men immediately begin to follow the trail. It dies after a matter of moments, and Kenny, in mock-frustration shoots a fence post. "I hate that post," he says, immediately before he shoots it. Kenny is an angry man; his personality clashes with Frank, whose "hippie-bullshit" and new-age vocabulary stress what he terms 'the forces' of hunting. He also has difficulties with Tub, who is enormously obese and whom he teases mercilessly and relentlessly. When Kenny follows his mock-execution of the post with shootings of the tree and then, shockingly, the dog that the reader does not know he is supposed to kill, both Tub and Frank are horrified. His humor misunderstood, Kenny looks at Tub and declares: "I hate you." Tub shoots him in the stomach; the wound is dire but not immediately fatal; Kenny falls sadly to the ground, holding his wound closed with his hands. Ignoring Kenny's pathetic pleas—which include a desperate request for aspirin to ease the pain—the two men take their time getting directions to the hospital, which they ultimately forget in the farmhouse. They return to the scene of the shooting to find Kenny jackknifed over the rear gate of the truck, dazed by pain and a loss of blood. They put him on boards in the bed of the truck and then drive away—exposing the dying man to the cold winter wind. They are all abusive to each other, and their treatment of Kenny— treatment that leads directly to his death by hypothermia on the boards in the rear of the truck— shocks and appalls the reader. The two men stop to get food on their way to the hospital—a destination to which they will never arrive—and, over flapjacks, Frank tells Tub that he is having an affair with his fifteen-year-old babysitter.

340 / AMERICAN WRITERS While Kenny is dying in the truck, the focus of the story shifts to the drama between Frank and Tub. Frank confesses his indecent lust and worries about the fate of his marriage, and Tub admits that he is obese not because of a gland problem, as he had previously claimed, but because of overeating. At its conclusion, it cuts back to Kenny, who, as the truck meanders along the country roads of rural Washington, is repeating to himself the doomed mantra: "I'm going to the hospital." Only later, through a blood-soaked admission, will Kenny's friends learn that his act was not simply brutal violence. Much of this story does not come with a willful amorality, but rather an amorality that comes from simple poor decisions and general ignorance. The third-person narration frees Wolff from the compulsion of providing a likable protagonist. This will be a pattern that repeats itself throughout his fictional oeuvre. Expectations are raised and deflated on a regular basis; the heroic is notable only because of its absence. Even the stories that follow innocence and youth focus primarily on the ways in which this innocence can be corrupted. By the end of "Hunters in the Snow," Kenny, the most violent and least likable of the three characters, has become the chief point of empathy. He is something of a Wolff archetype: he is lonely, marginal, and utterly doomed by his circumstances. This is similar to the powerless figure of This Boy's Life— the young boy, reasserting and inventing himself, again and again, through the craft of fiction. Another doomed and lonely character is the young boy, Eugene, who functions as the center of "Smokers," first published in Atlanta Monthly in 1980. This story is set at Choate, where the chief concerns of the protagonist—a nameless first-person narrator—are mostly to do with social activities, rather than academics. As a conspicuous outsider, branded as such by the fact that he wears, "a green Alpine hat with feathers stuck in the brim," Eugene's appearance is analogous

to Wolff's inner, conflicted self. Much of the story is concerned with the narrator's less-thansuccessful attempts to integrate himself into the society of the more privileged boys at the boarding school. Even as he fails, he must watch Eugene—feather-cap and all—make a respectable reputation for himself. The reader cannot help but be reminded of This Boy's Life, where a young Tobias goes to Seattle to take the entrance exams for Deerfield, Choate, and all the other East Coast academies. Determined to "solve the class problem by changing classes," Wolff observes the ways that the other boys dress, act, and speak, pretending that "I belonged here, that these handsome old buildings, webbed with vines of actual ivy to which a few brown leaves still clung, were my home." In "Smokers," Eugene gets kicked out of school for smoking, an accusation that is not based on fact. His roommate, Talbot Nevin, is a privileged member of the school's aristocracy, a boy whose family has endowed the school with a hockey rink, a library, and a lecture series. "Talbot Nevin's father had driven his car to second place in the Monaco Grand Prix two years earlier, and celebrity magazines often featured a picture of him with someone like Jill St. John and a caption underneath quoting them as saying, " 'We're just good friends.' " Eugene gets along well with his roommate, and this angers the unnamed narrator, who desperately wants to count Talbot among his friends. It is Talbot's smoking—discovered by its vestigial odor after he has left the room—which prompts Eugene's undeserved notice of dismissal. Eugene, the extremely amiable and unique student, is made to suffer for the rule breaking of the school's aristocratic pupils. The narrator of the story, however, was in the room with Talbot immediately prior to the discovery of the lingering smoke. Though he has the opportunity to turn Talbot in, he refuses it in order to have a chance of rooming with a member of the Nevin family. He hides his motivations from even himself. "The

TOBIAS WOLFF / 341 problem was, if I told the dean about Talbot he would find out about me, too." He resolves to keep his secret and then excuses it. "If you wanted to get technical about it, he was guilty as charged a hundred times over. It wasn't as if some great injustice had been done." Innocence is unfairly victimized; there is no resolution in favor of morality or fair play. Of this victimization and imperfection, Wolff himself says in his contribution to Passion and Craft: Conversations with Notable Writers: "Many of the characters are somewhat self-deceived, as most of us are in one way or another." Self-deception has become the hallmark of a series of his characters, all of which are encountered in a seemingly random arc of plot. This randomness of chance carries over from story to story within In the Garden of the North American Martyrs, Wolffs first full-length collection of stories, published in 1981 by The Ecco Press. In these pieces Wolff occasionally presses against the boundaries of what it means to tell a story, to extract a work of fiction from crucial moments within the lives of its characters. In "Wingfield," the shortest story in the collection, the bulk of its beginning is an introduction of the title character, a young soldier from North Carolina whose "voice oozed out of him thick and slow and sweet," a perfect Southern drawl. Wingfield is a narcoleptic, the reader learns, an innocent boy-man who is constantly falling asleep. Wolff then presents two stories that concern Wingfield's life and how it intersects with the life of the main character, again a first-person narrator. Without pausing between stories or introducing any explicit connection between them, Wolffs narrator tells of a practice operation in a forest, in which two companies of men assume opposing sides in a battle for territory. Wolff's narrator's group executes a nighttime raid on the other group of men, surprising them as they loaf in front of their fires in the cold night air. He catches Wingfield on watch, and creeps up behind him.

"With hatred and contempt and joy I took him from behind, and as I drew it across his throat I was wishing that my finger was a knife." The hatred is not pure hatred; rather, it is corrupted by joy, and is made more repulsive by the presence of enjoyment in violence. This violence foretells the fate of American soldiers throughout Vietnam later in the war, a fate that, more often than not, seems utterly random. The soldiers storm the camp, firing into the tents with simulated weapons, massacring all of the unprepared soldiers. "It was exactly the same thing that happened to us a year and three months later," Wolff's narrator recounts, "as we slept beside a canal in the Mekong Delta, a few kilometers from Ben Tre." A member of the narrator's division who is transferred to the hospital for malaria immediately prior to the canal attack, a man named Parker, forms the core of the story's third section. Parker writes to the narrator after they have both returned stateside; Parker does not know that almost everyone in the division was killed, and Wolffs narrator ignores his letters. "Then," he rationalizes, "he would lose only one friend instead of twenty-six." After ten years—at a point close to the date of the story's narration— Parker shows up at the narrator's house. He has come for an accounting; he has comes to hear what happened to the members of his division. The meeting is solemn. "Parker asked the question he'd come to ask and then sat back and waited while I spoke name after name into the night." The names of the dead hang in the air between the men, rising from their entombment and nearly sacred departure. As Parker leaves he passes a bit of information on to the narrator: Wingfield has survived the war—Parker has seen him recently at a train station in Charlotte. Stunned, the narrator watches his old friend's car depart. He takes a bottle of wine out onto the lawn and begins drinking. This drinking, however, is no small matter. He obliterates all sense of his self, and submerges himself

342 / AMERICAN WRITERS entirely in alcohol. "I drank to the snoring earth, to the closed eye of the moon, to the trees that nodded and sighed: until, already dreaming, I fell back upon the blanket." Almost clumsily, nature is snoring, its eyes are symbolically closed, it nods and sighs, indifferent. Through his heavy drinking, the narrator tries to assert that the world is void of reason, that it is actually based entirely on chance and luck. The soldiers who are most unfit for battle still have a chance to survive; other more vigilant or skilled individuals are not as lucky. Wolffs topos has been irreversibly skewed by the experience of war. Reality becomes dreamlike, a narcoleptic necessity. The possibility of a normal, outwardly sane existence is transformed into a dream. Ernest Hemingway's legacy of implication is masterfully carried out here. The narrator takes the escape from war's brutality that was taken by so many members of the Lost Generation—the willful and purposeful loss of both will and purpose. "Wingfield," however, extends the moment of the story beyond the traditional boundaries of the genre. The internal progress of the story's protagonist continues through a series of seemingly unrelated occurrences that are bound together only by the presence of Wingfield. Yet the combination of these three instances brings about a tremendous change in the mind of the story's narrator. Though nothing actually happens in the story—all of its tragedies and joys are located in the past—the movement of the story is tremendously fluid. In a 1996 interview with Joan Smith, Wolff has discussed his affinity for movement of this sort within the stories of Chekhov. In the interview, Wolff describes a moment in Chekhov where a "brute" of a soldier who has died unredeemed, is being buried at sea. Chekhov describes the tragedy of the event, Wolff says, but does not stop there. He takes the focus away from the body of the man bobbing in the sea and "moves the vision back up to the sea and the sky where just at that moment the sun is breaking

through the clouds and he talks about the light dancing on the water—and I'm trying to get this right—'with a sort of joy for which there is no word in the language of men.' " Here, in a path that is similar to the one taken in "Wingfield," the boundary of the story is extended. The primary difference with Wolff, however, is that the progression is often external rather than internal; the subconscious is his staked-out territory. A work that takes this area—the human mind—and applies this extension technique is "Bullet In the Brain." "Bullet In the Brain," appears as the concluding work in Tobias Wolffs collection, The Night In Question: Stories (1996). In it, the application of this Chekhovian pattern of attention can be easily perceived. This story also provides Wolff with a platform for one of the more enjoyable tasks for any writer—the butchery, in print, of a book critic. This piece tells the story of the death of the critic Anders, an older man, whose submersion in irony leads to his own death. In the first part of this story, Anders has the misfortune of coming to his bank as it is being robbed. Wolff plays with the notions of plot and cliche—the criminals behave exactly like Hollywood sketches of bank robbers, wearing ski masks and speaking in thick, thug-like accents. Anders cannot help but notice this instance of life imitating bad art. He is so occupied by the idea of this irony that he cannot control himself; he becomes, quite unintentionally, engaged in a verbal sparring match with one of the thieves. This power struggle leads to his death; the criminal—who does not understand Anders' ironic laughter or his smirking references to John Woo's movie The Killers—shoots him in the head. Wolff, of course, does not stop there. "The bullet smashed Anders' skull and ploughed through his brain and exited behind his right ear, scattering shards of bone into the cerebral cortex, the corpus callosum, back toward the basal ganglia, and down into the thalamus." This specificity of

TOBIAS WOLFF / 343 medical vocabulary is perhaps Wolffs way of atoning for what is about to occur: he is about to foray from the world of the observable into the realm of thought. He describes the pattern of Anders' thoughts as he is dying. The two most important ideological tenets of this story—extension of a story's moment in time, coupled with the randomness of life's chaotic wash of memories—become its artistic focus. Wolff describes some of the most important occurrences in Anders' life, the moments of joy or suffering, and then tells the reader that, in his moment of death, these important memories are not what Anders remembers. Rather, Wolff asserts, Anders remembers an afternoon in his childhood of playing baseball and the appearance on the sandlot of a cousin of one of his friends, an uneducated boy from Mississippi. Wolff lingers on the description of this afternoon of baseball, focusing on each detail as if he were trying desperately to elongate the limited time span with which he is working. "The bullet is already in the brain," he writes, "it won't be outrun forever . . . In the end it will do its work and leave the troubled skull behind, dragging its comet's tail of memory and hope and talent and love into the marble hall of commerce." This is a departure from Wolff's usual tone; here he seems to have taken on the role of gnostic, describing for the reader, people's fate as individuals, marked, as they all are, for death's marble hall, its emotionless entombment.

ISOLATION AND IMAGE

The first lesson of the soldier—that death in the field can be quick, merciless, and entirely random—is thoroughly applied in the body of Wolff's fiction, written, as it is, from the field of living. Anders is a lonely man. Wolff has experienced profound isolation—both in his childhood and in the battlefields of Vietnam—and many of his characters reflect this primacy of the

individual, this intense solitude. Another war story that extends this " 'live alone, die alone' " philosophy also comes from The Night In Question. This work, "The Other Miller," encompasses many of the elements that the reader will witness in other parts of Wolff's fictional work. In it, a young protagonist—he is close to twenty years old—has joined the army because of a feud with his mother. This unusually intimate relationship with the maternal figure is a theme developed in This Boy's Life, where a young Tobias develops much of his self-respect and identity through his adventures—wild and country-spanning—with his mother. The central figure of "The Other Miller" also has this bond. In the absence of his father—he died in an army training accident at Fort Benning—Miller has developed an uncommon, almost erotic bond with his mother. He is in high school; she is struggling to support them both; they spend all of their time together, and Miller becomes attached to this way of living. Eventually, though, his mother falls in love again, and makes plans to get married. Miller, of course, feels threatened by this new masculine presence in her life. He does not understand how his mother can ignore what they have. He remembers, "The two of them drinking their coffee together and talking about different things, or maybe not talking at all—maybe just sitting in the kitchen while the room got dark around them, until the telephone rang or the dog started whining to get out." Miller resolves to break up the wedding. When Miller fails, his life becomes turmoil and despair. He joins the army as a means of retribution, leaving before he earns his high school diploma. His mother tries calling and writing him during his first year of enlistment, but he does not respond or answer the telephone. When the action of the story opens, Miller's commander has just pulled him from his division's training maneuvers and told him that his mother has died. To Miller, who has not yet seen the truth of the sol-

344 / AMERICAN WRITERS dier's life—that the body, the whole of existence, is frailty—this news is not understandable. He greets it by laughing, internally, and thanking his good luck at missing the miserable weather of maneuvers. He refuses to accept the news of his mother's death. He is certain that he has been confused with the other man named Miller in the company. He jokes with the men who are there to take him from maneuvers to his base, horrifying them utterly. In the course of their questioning, however, he realizes that in order to continue in life, he must heal the broken relationship with his mother. "This was supposed to be her punishment," he thinks, "but somehow it has become his own." He resolves to come home and solve the differences between them. The naive reader, operating at the lingual level of the text, works with the assumption that Miller is correct, that his mother has indeed not died. Wolff constructs the patterning of the story so that, near its conclusion, it sweeps inward, into Miller's thoughts. Sitting in the back of the jeep that will bear him back to base, he begins reflecting on death and the impermanence of the individual. These reflections give way to a fantasy of the moment at which he will return home, and there the narration removes itself from his control. In a voice that the reader cannot reliably identify, the camera of the scene moves back and captures Miller entering his house and walking into a crowd of people and a miasma of perfume. Phil Dove, the man his mother has married, is there, as is a crowd of people—the mourners at a wake. Dove ushers him into the house with a grieved salutation, and the horror of Miller's mother's death—which until now has been in question—becomes real. The story ends abruptly, without any further explanation. The image has again supplanted a conscious explication of plot. Indeed, this story, when thrown into the body of Wolffs work, evinces a movement away from plot and towards the loaded image—that is, the image with symbolic or psychological resonance. A well-developed example of

this comes from Wolffs second collection of stories, Back In The World, first published by Houghton Mifflin in 1985. "Say Yes" is the shortest story in the collection—six pages in total— but it is also Wolffs closest approach to the solitary image. The body of the story concerns a suburban couple living in a house on El Camino Real, a snake-like street of strip malls that passes by Stanford University, where Wolff was a Stegner Fellow from 1975 to 1976, three years after the completion of his undergraduate degree at Oxford University. The husband and wife have an argument and, at its conclusion, vaguely dissatisfied, the husband walks outside with the trash from the kitchen. He sees the traffic on the street, and something moves within his mind. He feels an urgency rise from the understanding of his own mortality. "In another thirty years or so they would both be dead." He can no longer rationalize the argument he has just had. "He thought of the years they had spent together and how close they were and how well they knew each other, and his throat tightened so that he could hardly breathe." He returns to the house and finds his wife in the bathroom; he lies in bed and waits for her to appear. When she does, she demands that he extinguish the light. He does and she rustles towards him in the darkness, completely unseen. Even those that people love, even those whom they hold closest, Wolff is arguing, are nothing but strangers to each other when they are laid bare before the image of mortality. This message, implicit in much of his short fiction, would seem to be at odds with the text of Wolff's novella, The Barracks Thief. First published in 1984, The Barracks Thief is an adventurous exercise in changing perspective—it shifts between first- and third-person narration in a manner that is as much puzzle as pattern. Through the protagonist's first-person recollections form the bulk of the work, Wolff still provides the reader with the missing parts of the story, with the vignettes that the narrator was not there to see. The story that The Barracks Thief tells is

TOBIAS WOLFF / 345 predictably gruesome. Tormented by the death of his father and his own repressed sexuality, the character Lewis begins to steal the wallets of the other soldiers in his barracks. He desperately needs the money in order to satisfy a debt he owes to an alcoholic hooker. Eventually he is caught and given a dishonorable discharge, but not before he topples the entire barracks into turmoil and brings aspersions of guilt onto the narrator. Though Wolffs short fiction and nonfiction are rather dissimilar, thematic concerns do unite many of his texts. These are the stories of personal loneliness, of the individual besieged by violence, mortality, or an uncaring social system. Many of the subjects of his fiction—boarding school, the army, the intricacies of the relationship between a mother and son—can be traced directly to the occurrences of his life. Wolff claims a scrupulous honesty in his depiction of his childhood and tour of duty; this attempt at honesty translates into a simplicity of style and an accessibility to his inner life. The psychological torments of his fictional characters, however, are often walled within their selves; they choose poorly and do so based on reasons that are not evident to the reader. Though both fiction and nonfiction engage in a highly controlled form of discourse—a discourse that has its nouns and verbs housed in a series of clear images—this discourse is often invisible in all but its most outward components. Perhaps this is part of the explanation for James Hannah's observation that there is "almost no conventional scholarly criticism of Tobias Wolffs work." Though there is a tremendous body of reviewers' commentary— ranging from Mona Simpson to Anatole Broyard—a large portion of his work remains beyond the critical eye. In the work "Our Story Begins," one of the middle pieces of Back In the World, the young writer-protagonist imagines himself "kneeling in the prow of that boat, lamp in hand, intent on the light shining just there before him." Wolffs life path has been circuitous and brutal, full of stren-

uous trial and personal adversity. The characters of his fiction are often lampless—lacking in even the smallest illumination to guide them through their daily lives. Yet this lack of light gives them a distinct commonality. In his interview with Joan Smith, Wolff said of his fictional characters: "Though these stories are all different, the people in them breathe the same moral and spiritual atmosphere." Though he has been severely tested, Wolffs art has risen from the bleak structure of his past—the oxygen-poor atmosphere of poverty and hardship—to delineate both its own world and to explain the details of his childhood. Literature has become an extension of the life, and the life, in its past, has become delineated by literature. Through his work, Wolff seeks out the most vivid image, presents it, and allows it to stand on it own. Like the jumper in the door of the airplane, he slips into the text of the work and is gone. His residue, the spiral of the work's symbolic and conceptual meaning, lingers behind, in the language of the printed page.

Selected Bibliography WORKS OF TOBIAS WOLFF NOVELS AND SHORT STORIES

Ugly Rumours: A Novel. London: Allen & Unwin, 1975. In the Garden of the North American Martyrs. New York: Ecco Press: 1981. The Barracks Thief. New York: Ecco Press, 1984. Back in the World. Boston: Houghton Mifflin, 1985. The Night in Question: Stories. New York: Knopf, 1996. NONFICTION

This Boy's Life: A Memoir. New York: Atlantic Monthly Press, 1989. In Pharaoh's Army: Memories of the Lost War. New York: Knopf, 1994.

346 / AMERICAN WRITERS CRITICAL AND BIOGRAPHICAL STUDIES Allen, Brooke. "Scheherazade's Exhaustion: The Work of Writers John Earth, William Trevor, and Tobias Wolff." The New Criterion 15:51-57 (November 1996). Bailey, Peter J. "Why Not Tell the Truth? The Autobiographies of Three Fiction Writers." Critique: Studies in Contemporary Fiction 32, no. 4:211-223 (Summer 1991). Barboni, Patrizia. Dirty Realism: Raymond Carver, Tobias Wolff, Richard Ford. Bologna, Italy: University of Bologna, 1994. Challener, Daniel. Stories of Resilience In Childhood: The Narratives of Maya Angelou, Maxine Hong Kingston, Richard Rodriguez, John Edgar Wideman, and Tobias Wolff New York: Garland, 1997. DePietro, Thomas. "Minimalists, Moralists, and Manhattanites." Hudson Review 39:487-494 (Autumn 1986). Halpert, Sam, ed. . . . When We Talk About Raymond Carver. Layton, Utah: Peregrine Smith, 1991. Hannah, James. Tobias Wolff: A Study of the Short Fiction. New York: Twayne, 1996. Keegan, John. The Face of Battle. New York: The Viking Press, 1976. Kelly, Colm L. "Affirming the Indeterminable: Deconstruction, Sociology, and Tobias Wolff's 'Say Yes.' " Mosaic 32:149-166 (March 1999).

Lyons, Bonnie, and Bill Oliver. Passion and Craft: Conversations with Notable Writers. Champaign, 111.: University of Illinois Press, 1998. Wolff, Geoffrey. The Duke of Deception. New York: Penguin, 1986. Woodruff, Jay. A Piece of Work: Five Writers Discuss Their Revisions. Iowa City: Iowa University Press, 1993.

INTERVIEWS Bonetti, Kay. Interview: Tobias Wolff. Columbia, Mo.: American Audio Prose Library, 1985. Burke, Michael D. Interview: Tobias Wolff. San Francisco: FM Five, 1986. Smith, Joan. Interview: Tobias Wolff. Salon Magazine www.salon.com/dec96/interview961216.html (December 16-20, 1996).

FILM BASED ON THE WORKS OF TOBIAS WOLFF This Boy's Life. Screenplay by Robert Getchell and Tobias Wolff. Directed by Michael Caton-Jones. Warner Bros. 1993.

—PAULS TOUTONGHI

Index

Index Arabic numbers printed in bold-face type refer to extended treatment of a subject.

"A" (Zukofsky), Supp. Ill, Part 2, 611,612,614,617,619,620, 621, 622, 623, 624, 626, 627, 628,629, 630, 631; Supp. IV, Part 1, 154 A. Bronson Alcott: His Life and Philosophy (Sanborn and Hams), Supp. I, Part 1, 46 A la Recherche du Temps Perdu (Proust), IV, 428 A Lume Spento (Pound), Retro. Supp. I, 283, 285 Aal, Katharyn, Supp. IV, Part 1, 332 Aaron (biblical person), IV, 152 Aaron, Daniel, II, 23; IV, 307, 429, 448; Supp. I, Part 2, 647, 650 Aaron's Rod (Lawrence), Supp. I, Part 1, 255 Abadi-Nagy, Zoltan, Supp. IV, Part 1, 280, 289, 291 Abbott, Edith, Supp. I, Part 1, 5 Abbott, George, III, 406; Supp. IV, Part 2, 585 Abbott, Grace, Supp. I, Part 1, 5 Abbott, Jacob, Supp. I, Part 1, 38, 39 Abbott, Lyman, III, 293 ABC of Color, An: Selections from Over a Half Century of Writings (Du Bois), Supp. II, Part 1, 186 ABC of Reading (Pound), III, 468, 474-475 "Abdication, An" (Merrill), Supp. Ill, Part 1, 326

Abel (biblical person), III, 5-6, 10; IV, 56 Abel, Lionel, I, 449 Abelard, Peter, I, 14, 22 Abercrombie, Lascelles, III, 471; Retro. Supp. I, 127, 128 Abernathy, Milton, Supp. Ill, Part 2,616 Abhau, Anna, see Mencken, Mrs. August (Anna Abhau) "Ability" (Emerson), II, 6 Abish, Walter, Supp. V, 44 "Abishag" (Gliick), Supp. V, 82 Abolitionism, Supp. I, Part 2, 405, 418, 587, 588, 590, 682, 683, 685-690, 692, 703 "Abortion, The" (Sexton), Supp. II, Part 2, 682 "About Kathryn" (Dubus), Supp. VII, 91 About the House (Auden), Supp. II, Part 1, 24 Above the River (Wright), Supp. III, Part 2, 589, 606 Abraham (biblical person), I, 551; IV, 137; Supp. I, Part 1, 101, Part 2, 432 "Abraham" (Schwartz), Supp. II, Part 2, 663 "Abraham Davenport" (Whittier), Supp. I, Part 2, 699 "Abraham Lincoln" (Emerson), II, 13 Abraham Lincoln: The Prairie Years (Sandburg), III, 580, 587589, 590

349

Abraham Lincoln: The Prairie Years and the War Years (Sandburg), III, 588, 590 Abraham Lincoln: The War Years (Sandburg), III, 588, 589-590 "Abraham Lincoln Walks at Midnight" (Lindsay), Supp. I, Part 2, 390-391 "Abram Morrison" (Whittier), Supp. I, Part 2, 699 "Absalom" (Rukeyser), Supp. VI, 278-279 Absalom, Absalom! (Faulkner), II, 64, 65-67, 72, 223; IV, 207; Retro. Supp. I, 75, 81, 82, 84, 85, 86, 87, 88, 89, 90, 92, 382; Retro. Supp. I, 75, 81, 82, 84, 85, 86, 87, 88, 89, 90, 92, 382; Supp. V, 261 "Absence of Mercy" (Stone), Supp. V, 295 "Absent Thee from Felicity Awhile" (Wylie), Supp. I, Part 2, 727, 729 "Absentee, The" (Levertov), Supp. Ill, Part 1, 284 Absentee Ownership (Veblen), Supp. I, Part 2, 642 "Absolution" (Fitzgerald), Retro. Supp. I, 108 Absolutism, I, 389; III, 306 Abstractionism, I, 162, 185; IV, 420 Absurdism, I, 71, 82, 94, 163, 211, 428, 429, 434; III, 281, 286, 338

350 / INDEX Abysmal Brute, The (London), II, 467 Accent (publication), III, 337-338; IV, 485 "Accident" (Minot), Supp. VI, 208-209 "Accident, The" (Strand), Supp. IV, Part 2, 624 Accident/A Day's News (Wolf), Supp. IV, Parti, 310 Accidental Tourist, The (Tyler), Supp. IV, Part 2, 657, 668669; Supp. V, 227 Accordion Crimes (Proulx), Supp. VII, 259-261 "Accountability" (Dunbar), Supp. II, Part 1, 197, 204 "Accusation, The" (Wright), Supp. III, Part 2, 595 "Accusation of the Inward Man, The" (Taylor), IV, 156 Ace, Goodman, Supp. IV, Part 2, 574 Achievement in American Poetry (Bogan), Supp. Ill, Part 1, 6364 "Achilles in Left Field" (Podhoretz), Supp. I, Part 2, 453 "Acknowledgment" (Lanier), Supp. I, Part 1, 364 Ackroyd, Peter, Supp. V, 233 "Acquaintance in the Heavens, An" (Dillard), Supp. VI, 34 "Acquainted with the Night" (Frost), II, 155; Retro. Supp. I, 137 Across Spoon River (Masters), Supp. I, Part 2, 455, 457, 459, 460, 466, 474-475, 476 Across the River and into the Trees (Hemingway), I, 491; II, 255256, 261; Retro. Supp. I, 172, 184-185 "Actfive" (MacLeish), III, 18-19, 22 Actfive and Other Poems (MacLeish), III, 3, 17-19, 21 Action (Shepard), Supp. Ill, Part 2,446 Active Anthology (Pound), Supp. Ill, Part 2, 617

Active Service (Crane), I, 409 "Actual Experience, Preferred Narratives" (Julier), Supp. IV,

Parti, 211

Acuff, Roy, Supp. V, 335 "Ad Castitatem" (Bogan), Supp. III, Part 1, 50 Ada (Nabokov), Retro. Supp. I, 265, 266, 270, 276-277, 278, 279 "Ada" (Stein), IV, 43 Ada; or Ardor (Nabokov), III, 247 "Adagia" (Stevens), IV, 78, 80, 88, 92 Adam (biblical person), I, 551, 552; II, 12, 47, 134, 162, 215, 541, 552; III, 56, 10, 11, 19,20, 199, 302, 441; IV, 149, 225, 291, 371; Supp. I, Part 1, 107, 113, 120 "Adam" (Williams), Retro. Supp. I, 422, 423 Adam and Eve" (Shapiro), Supp. II, Part 2, 708, 712 Adam & Eve & the City (Williams), Retro. Supp. I, 423 Adam Bede (Eliot), II, 181 Adams, Agatha Boyd, IV, 473 Adams, Althea, see Thurber, Mrs. James (Althea Adams) Adams, Annie, see Fields, Mrs. James T. (Annie Adams) Adams, Brooks, Supp. I, Part 2, 484 Adams, Charles, Supp. I, Part 2, 644 Adams, Charles Francis, I, 1,4; Supp. I, Part 2, 484 Adams, Charles M., II, 390 Adams, Franklin Pierce, Supp. I, Part 2, 653 Adams, Henry, I, 1-24, 111, 243, 258; II, 278, 542; III, 396, 504; IV, 191, 349; Retro. Supp. I, 53, 59; Supp. I, Part 1, 299300, 301, 314, Part 2, 417, 492, 543, 644; Supp. II, Part 1, 9394, 105; Supp. Ill, Part 2, 613; Supp. IV, Parti, 31, 208 Adams, Henry B., Supp. I, Part 1, 369 Adams, J. Donald, IV, 438

Adams, James Truslow, I, 24; Supp. I, Part 2, 481,484, 486 Adams, John, I, 1; II, 103, 301; III, 17, 473; Supp. I, Part 2, 483,506,507,509,510,511, 517, 518, 520, 524 Adams, John Quincy, I, 1, 3, 1617; Supp. I, Part 2, 685, 686 Adams, John R., Supp. I, Part 2, 601 Adams, Leonie, Supp. I, Part 2, 707; Supp. V, 79 Adams, Luella, Supp. I, Part 2, 652 Adams, Mrs. Henry (Marian Hooper), I, 1, 5, 10, 17-18 Adams, Percy G., Supp. I, Part 1, 251 Adams, Phoebe, Supp. IV, Part 1, 203 Adams, Randolph G., II, 124 Adams, Richard P., I, 119 Adams, Robert M., IV, 448 Adams, Samuel, Supp. I, Part 2, 516, 525 Adams family, III, 475 Adcock, St. John, IV, 376 Addams, Jane, Supp. I, Part 1,126 Addams, John Huy, Supp. I, Part 1,2 "Addendum" (Wright), Supp. V, 339 Adding Machine, The (Rice), I, 479 Adding Machine, The: Selected Essays (Burroughs), Supp. Ill, Part 1, 93, 97 Addio Kira, see We the Living (film) Addison, Joseph, I, 8, 105, 106107, 108, 114, 131,300,304; III, 430 "Address to My Soul" (Wylie), Supp. I, Part 2, 729 Address to the Government of the United States on the Cession of Louisiana to the French, An (Brown), Supp. I, Part 1, 146 "Address to the Scholars of New England" (Ransom), III, 491

INDEX / 351 "Addressed to a Political Shrimp, or, Fly upon the Wheel" (Freneau), Supp. II, Part 1, 267 "Adjutant Bird, The" (Banks), Supp. V, 5 Adkins, Nelson F., II, 20, 23 Adler, Alfred, I, 248 Adler, Betty, III, 103, 121 Adler, George J., Ill, 81 Adler, Jacob H., Supp. I, Part 1, 297 Admiral of the Ocean Sea: A Life of Christopher Columbus (Morison), Supp. I, Part 2, 486^88 "Adolescence" (Dove), Supp. IV, Part 1, 245 "Adolescence II" (Dove), Supp. IV, Part 1, 242, 244-245 "Adonais" (Shelley), II, 516, 540 Adorno, Theodor, Supp. I, Part 2, 645, 650; Supp. IV, Part 1, 301 "Adrienne Rich: The Poetics of Change" (Gelpi), Supp. I, Part 2,554 Adrift Among Geniuses: Robert McAlmon (Smoller), Supp. I, Part 1, 275 "Adulation and the Artist" (Lee), Supp. I, Part 2, 402 "Adultery" (Banks), Supp. V, 15 "Adultery" (Dubus), Supp. VII, 85 Adultery and Other Choices (Dubus), Supp. VII, 83-85 Adventure (London), II, 466 Adventures in Value (Cummings), 1,430 "Adventures of a Book Reviewer" (Cowley), Supp. II, Part 1, 137, 142 Adventures of a Young Man (Dos Passos), I, 488, 489, 492 Adventures of Augie March, The (Bellow), I, 144, 147, 149, 150, 151, 152-153, 154, 155, 157, 158-159, 164 Adventures of Captain Bonneville (Irving), II, 312 Adventures of Huckleberry Finn (Twain), I, 307, 506; II, 26, 72, 262, 266-268, 290, 418, 430; 111,101, 112-113,357,554,

558, 577; IV, 198, 201-204, 207; Supp. IV, Part 1, 247, 257, Part 2, 502 Adventures of Roderick Random, The (Smollett), I, 134 "Adventures of the Young Man: An Approach to Charles Brockden Brown" (Berthoff), Supp. I, Part 1, 148 Adventures of Tom Sawyer, The (Twain), II, 26; III, 223, 572, 577; IV, 199-200, 203, 204 Adventures While Preaching the Gospel of Beauty (Lindsay), Supp. I, Part 2, 374, 376, 381, 382-384, 389, 399 Advertisements for Myself (Mailer), III, 27, 35-38, 41-12, 45, 46; Supp. IV, Part 1, 90, 284 "Advertisements for Myself on the Way Out" (Mailer), III, 37 "Advice to a Prophet" (Wilbur), Supp. Ill, Part 2, 555-557 Advice to a Prophet and Other Poems (Wilbur), Supp. Ill, Part 2, 554-558 "Advice to a Raven in Russia" (Barlow), Supp. II, Part 1, 65, 74, 80, 83 Advice to the Privileged Orders, Part I (Barlow), Supp. II, Part 1,80 Advocate (publication), I, 26, 28; II, 536; III, 28 "Aeneas at Washington" (Tate), IV, 129 Aeneid (trans. Humphries), III, 124 Aeneid (Vergil), I, 396; II, 542; III, 124 Aeneus Tacticus, I, 136 Aerial View (Barabtarlo), Retro. Supp. I, 278 Aeschylus, I, 274, 433; III, 398; IV, 358, 368, 370; Retro. Supp. I, 65; Supp. I, Part 2, 458, 494 Aesop, I, 387; II, 154, 169, 302; III, 587 Aesthetic (Croce), III, 610 Aestheticism, I, 384, 447; III, 8, 481 "Aesthetics" (Mumford), Supp. II, Part 2, 476

"Aesthetics of Silence, The" (Sontag), Supp. Ill, Part 2, 459 "Affair at Coulter's Notch, The" (Bierce), I, 202 "Affair of Outposts, An" (Bierce), 1,202 Affliction (Banks), Supp. V, 15, 16 Affluent Society, The (Galbraith), Supp. I, Part 2, 648 "Aficionados, The" (Carver), Supp. Ill, Part 1, 137 "Afloat" (Beattie), Supp. V, 29 Afloat and Ashore (Cooper), I, 351, 355 Africa, Its Geography, People, and Products (Du Bois), Supp. II, Part 1, 179 Africa, Its Place in Modern History (Du Bois), Supp. II, Part 1, 179 Africa South (journal), Retro. Supp. I, 209 "Africa, to My Mother" (D. Diop), Supp. IV, Part 1, 16 "African Book" (Hemingway), II, 259 "African Chief, The" (Bryant), Supp. I, Part 1, 168 "African Fragment" (Brooks), Supp. Ill, Part 1, 85 "African Roots of War, The" (Du Bois), Supp. II, Part 1, 174 African Silences (Matthiessen), Supp. V, 203 African Treasury, An (ed. Hughes), Supp. I, Part 1, 344 "Afrika Revolution" (Baraka), Supp. II, Part 1, 53 "AFRO-AMERICAN LYRIC" (Baraka), Supp. II, Part 1, 59 After and Before the Lightning (Ortiz), Supp. IV, Part 2, 513 "After Apple-Picking" (Frost), Retro. Supp. I, 126, 128 After Experience (Snodgrass), Supp. VI, 314-316, 317 "After great pain, a formal feeling comes" (Dickinson), Retro. Supp. I, 37 "After Hearing a Waltz by Bartok" (Lowell), II, 522

352 / INDEX After Henry (Didion), Supp. IV, Part 1, 195, 196, 199, 207, 208, 211 "After Henry" (Didion), Supp. IV, Parti, 211 "After Holbein" (Wharton), IV, 325; Retro. Supp. I, 382 After I's (Zukofsky), Supp. Ill, Part 2, 628, 629 After-images: Autobiographical Sketches (Snodgrass), Supp. VI, 314, 319-323, 324, 326-327 "After Reading Barely and Widely;' (Zukofsky), Supp. Ill, Part 2, 625, 631 "After Reading Mickey in the Night Kitchen for the Third Time before Bed" (Dove), Supp. IV, Part 1, 249 "After Reading Tu Fu, I Go Outside to the Dwarf Orchard" (Wright), Supp. V, 343 "After Reading Wang Wei, I Go Outside to the Full Moon" (Wright), Supp. V, 343 "After Song, An" (Williams), Retro. Supp. I, 413 After Strange Gods (Eliot), I, 588 "After the Alphabets" (Merwin), Supp. Ill, Part 1, 356 "After the Burial" (Lowell), Supp. I, Part 2, 409 "After the Curfew" (Holmes), Supp. I, Part 1, 308 "After the Death of John Brown" (Thoreau), IV, 185 "After the Denim" (Carver), Supp. Ill, Part 1, 144 "After the Dentist" (Swenson), Supp. IV, Part 2, 645 After the Fall (Miller), III, 148, 149, 156, 161, 162, 163-165, 166 "After the Fire" (Merrill), Supp. Ill, Part 1, 328 After the Fox (film), Supp. IV, Part 2, 575 After the Genteel Tradition (Cowley), Supp. II, Part 1, 143 After the Lost Generation: A Critical Study of the Writers of

Two Wars (Aldridge), Supp. IV, Part 2, 680 "After the Persian" (Bogan), Supp. Ill, Part 1, 64 "After the Pleasure Party" (Melville), III, 93 "After the Surprising Conversions" (Lowell), I, 544, 545; II, 550 "After the Tranquilized Fifties: Notes on Sylvia Plath and James Baldwin" (Cox and Jones), Supp. I, Part 1, 69, Part 2, 548 "After Twenty Years" (Rich), Supp. I, Part 2, 559-560 "After Working Long" (Kenyon), Supp. VII, 170 "After-image" (Caldwell), I, 309 Afterlife (Updike), Retro. Supp. I, 322 Aftermath (Longfellow), II, 490 "Aftermath" (Longfellow), II, 498 "Afternoon" (Ellison), Supp. II, Part 1, 238 "Afternoon at MacDowell" (Kenyon), Supp. VII, 159 "Afternoon Miracle, An" (O. Henry), Supp. II, Part 1, 390 "Afternoon of a Playwright" (Thurber), Supp. I, Part 2, 620 Afternoon of an Author: A Selection of Uncollected Stories and Essays (Fitzgerald), II, 94 "Afternoon With the Old Man, An" (Dubus), Supp. VII, 84 "Afterwake, The" (Rich), Supp. I, Part 2, 553 "Afterward" (Wharton), Retro. Supp. I, 372 "Again, Kapowsin" (Hugo), Supp. VI, 141 Against Interpretation (Sontag), Supp. Ill, Part 2, 451, 455 "Against Interpretation" (Sontag), Supp. Ill, Part 2, 456-458, 463 "Against Modernity" (Ozick), Supp. V, 272 Against Nature (Updike), Retro. Supp. I, 323 Agapida, Fray Antonio (pseudonym), see Irving, Washington

"Agassiz" (Lowell), Supp. I, Part 2, 414, 416 Agassiz, Louis, II, 343; Supp. I, Parti, 312 Age of Anxiety, The (Auden), Supp. II, Part 1, 2, 19, 21 "Age of Conformity, The" (Howe), Supp. VI, 117 Age of Grief, The: A Novella and Stories (Smiley), Supp. VI, 292, 299-301 Age of Innocence, The (Wharton), IV, 320-322, 327-328; Retro. Supp. I, 372, 374, 380-381; Supp. IV, Part 1, 23 Age of Longing, The (Koestler), I, 258 Age of Reason, The (Paine), Supp. I, Part 2, 503, 515-517, 520 Agee, Emma, I, 26 Agee, Hugh James, I, 25 Agee, James, I, 25-47, 293; IV, 215 Agee, Mrs. Hugh James, I, 25-26 "Agent, The" (Wilbur), Supp. Ill, Part 2, 557-561 "Ages, The" (Bryant), Supp. I, Part 1, 152, 155, 166, 167 "Aging" (Jarrell), II, 388 Aging and Gender in Literature (George), Supp. IV, Part 2, 450 "Agitato ma non Troppo" (Ransom), III, 493 Agnes of Sorrento (Stowe), Supp. I, Part 2, 592, 595-596 Agnon, S. Y., Supp. V, 266 "Agosta the Winged Man and Rasha the Black Dove" (Dove), Supp. IV, Part 1, 246-247 Agrarian Justice (Paine), Supp. I, Part 2, 517-518 Agricultural Advertising (publication), I, 100 Agua Fresca: An Anthology of Raza Poetry (ed. Rodriguez), Supp. IV, Part 2, 540 Ah Sin (Harte), Supp. II, Part 1, 354-355 "Ah! Sun-flower" (Blake), III, 19 Ah, Wilderness! (O'Neill), III, 400-401; Supp. IV, Part 2, 587

INDEX / 353 Ahearn, Barry, Retro. Supp. I, 415 Ahearn, Kerry, Supp. IV, Part 2, 604 Ahmed Arabi Pasha, I, 453 Ahnebrink, Lars, III, 328, 336 AIDS and Its Metaphors (Sontag), Supp. Ill, Part 2, 452, 466-468 Aids to Reflection (Coleridge), II, 10 Aiken, Conrad, I, 48-70, 190, 211, 243, 473; II, 55, 530, 533, 542; III, 458, 460; Retro. Supp. I, 55, 56, 57, 58, 60, 62; Supp. I, Part 2, 402 Aiken, Mrs. William, I, 48 Aiken, William, I, 48 "Aim Was Song, The" (Frost), Retro. Supp. I, 133 Ainsworth, Linda, Supp. IV, Part 1,274 Ainsworth, William, III, 423 "Air Plant, The" (Crane), I, 401 Air Raid: A Verse Play for Radio (MacLeish), III, 21 Air Tight: A Novel of Red Russia (Rand), see We the Living (Rand) Air-Conditioned Nightmare, The (Miller), III, 186 Aird, Eileen M., Supp. I, Part 2, 548 Airways, Inc. (Dos Passos), I, 482 Aitken, Robert, Supp. I, Part 2, 504 Akhmadulina, Bella, Supp. Ill, Part 1, 268 Akhmatova, Anna, Supp. Ill, Part 1, 268, 269 Akhmatova Translations, The (Kenyon), Supp. VII, 160 Aksenev, Vasily P., Retro. Supp. 1,278 "Al Aaraaf' (Poe), III, 426-427 Al Aaraaf, Tamerlane, and Minor Poems (Poe), III, 410 Al Que Quiere! (Williams), Retro. Supp. I, 414, 416, 417, 428 Alarcon, Justo, Supp. IV, Part 2, 538, 539, 540 "Alastor" (Shelley), Supp. I, Part 2,728

"Alatus" (Wilbur), Supp. Ill, Part 2,563 "Alba" (Creeley), Supp. IV, Part 1, 150 Albany Daily Advertiser (newspaper), I, 346 Albany Evening Journal (newspaper), II, 128 Albee, Edward, I, 71-96, 113; II, 558, 591; III, 281, 387; IV, 4, 230 Albee, Mrs. Reed, I, 71 Albee, Reed, I, 71 Albers, Joseph, Supp. IV, Part 2, 621 Albertini, V. R., Supp. I, Part 2, 626 Albright, Margery, Supp. I, Part 2,613 "Album, The" (Morris), III, 220 Alcestiad, The (Wilder), IV, 357, 374 "Alchemist, The" (Bogan), Supp. III, Part 1, 50 "Alchemist in the City, The" (Hopkins), Supp. IV, Part 2, 639 "Alcmena" (Winters), Supp. II, Part 2, 801 Alcott, Abba, see Alcott, Mrs. Amos Bronson (Abigail May) Alcott, Amos Bronson, II, 7, 225; IV, 172, 173, 184; Supp. I, Part 1, 28, 29-32, 35, 39, 41, 45 Alcott, Anna, see Pratt, Anna Alcott, Bronson, Retro. Supp. I, 217; Supp. II, Part 1, 290 Alcott, Louisa May, IV, 172; Supp. I, Part 1, 28-^6 Alcott, May, Supp. I, Part 1, 41 Alcott, Mrs. Amos Bronson (Abigail May), IV, 184; Supp. I, Parti, 29, 30, 31, 32, 35 Alcott family, IV, 177, 178 Alcotts as I Knew Them, The (Gowing), Supp. I, Part 1, 46 Alcuin: A Dialogue (Brown), Supp. I, Part 1, 126-127, 133 Alden, Hortense, see Farrell, Mrs. James T. (Hortense Alden)

Alden, John, I, 471; II, 502-503 Aldington, Mrs. Richard, see Doolittle, Hilda Aldington, Perdita, Supp. I, Part 1,258 Aldington, Richard, II, 517, 533; III, 458, 459, 465, 472; Retro. Supp. I, 63, 127; Supp. I, Part I, 257-262, 270 Aldrich, Thomas Bailey, II, 400; Supp. II, Part 1, 192 Aldrich, Tom, Supp. I, Part 2, 415 Aldrich family, II, 403, 404 Aldridge, Alfred Owen, I, 564; II, 125 Aldridge, John W., II, 52; III, 47, 243, 384; IV, 118, 284; Supp. I, Part 1, 196, 198; Supp. IV, Part 1,286, Part 2, 680, 681 Aleck Maury Sportsman (Gordon), II, 197, 200, 203-204 Alegria, Claribel, Supp. IV, Part 1,208 Aleichem, Sholom, IV, 3, 10; Supp. IV, Part 2, 585 "Alex" (Oliver), Supp. VII, 232 Alexander, Charlotte A., Supp. I, Part 1, 69 Alexander, Doris M., Ill, 408 Alexander, George, II, 331 Alexander, Jean, III, 431 Alexander, Michael, Retro. Supp. 1,293 "Alexander Crummell Dead" (Dunbar), Supp. II, Part 1, 207, 208-209 Alexander the Great, IV, 322 Alexander's Bridge (Gather), I, 313, 314, 316-317, 326; Retro. Supp. I, 1, 6, 7, 8 Alexander's Weekly Messenger (newspaper), III, 420 "Alexandra" (Gather), Retro. Supp. I, 7, 9, 17 Alexandrov, V. E., Retro. Supp. I, 270 Algren, Nelson, I, 211; Supp. V, 4 Alhambra, The (Irving), II, 310311 "Alice Doane's Appeal" (Hawthorne), II, 227

354 / INDEX Alice in Wonderland (Carroll), Supp. I, Part 2, 622 "Alicia and I Talking on Edna's Steps" (Cisneros), Supp. VII, 64 "Alicia Who Sees Mice" (Cisneros), Supp. VII, 60 Alison, Archibald, Supp. I, Part 1, 151, 159 Alison's House (Glaspell), Supp. III, Part 1, 182, 188, 189 "AM Beach" (Hugo), Supp. VI, 135 All at Sea (Lardner), II, 427 All God's Children Need Traveling Shoes (Angelou), Supp. IV, Part 1, 2, 9-10, 12-13, 17 All God's Chillun Got Wings (O'Neill), III, 387, 391, 393394 "All Hallows" (Gliick), Supp. V, 82 "All I Want" (Tapahonso), Supp. IV, Part 2, 508 "ALL IN THE STREET" (Baraka), Supp. II, Part 1, 53 "All Mountains" (Doolittle), Supp. I, Part 1, 271 All My Friends Are Going to Be Strangers (McMurtry), Supp. V, 224, 228, 229 All My Pretty Ones (Sexton), Supp. II, Part 2, 678, 679-683 "All My Pretty Ones" (Sexton), Supp. II, Part 2, 681-682 All My Sons (Miller), III, 148, 149, 150, 151-153, 154, 155, 156, 158, 159, 160, 164, 166 "All Night, All Night" (Schwartz), Supp. II, Part 2, 665 All Night Long (Caldwell), I, 297 All Over (Albee), I, 91-94 "All Parrots Speak" (Bowles), Supp. IV, Part 1, 89 All Quiet on the Western Front (Remarque), Supp. IV, Part 1, 380, 381 "ALL REACTION IS DOOMED ! ! !" (Baraka), Supp. II, Part 1, 59 "All Revelation" (Frost), II, 160162

"All Souls" (Wharton), IV, 315316; Retro. Supp. I, 382 "All That Is" (Wilbur), Supp. Ill, Part 2, 563 "All the Bearded Irises of Life: Confessions of a Homospiritual" (Walker), Supp. Ill, Part 2, 527 "All the Beautiful Are Blameless" (Wright), Supp. Ill, Part 2, 597 ALL: The Collected Poems, 19561964 (Zukofsky), Supp. Ill, Part 2, 630 ALL: The Collected Short Poems, 1923-1958 (Zukofsky), Supp. III, Part 2, 629 All the Dark and Beautiful Warriors (Hansberry), Supp. IV, Part 1, 360, 374 "All the Dead Dears" (Plath), Supp. I, Part 2, 537 All the Good People I've Left Behind (Oates), Supp. II, Part 2,510,522,523 "All the Hippos Were Boiled in Their Tanks" (Burroughs and Kerouac), Supp. Ill, Part 1, 94 All the King's Men (Warren), I, 489; IV, 243, 248-249, 252; Supp. V, 261 All the Little Live Things (Stegner), Supp. IV, Part 2, 599, 604, 605,606,609-610,611,613 All the Sad Young Men (Fitzgerald), II, 94; Retro. Supp. I, 108 "All the Time in the World" (Dubus), Supp. VII, 91 "All the Way to Flagstaff, Arizona" (Bausch), Supp. VII, 47,49 "All Too Real" (Vendler), Supp. V, 189 Allan, Frances, III, 410, 413 Allan, John, 111,410, 411 Allegory, I, 354, 355; II, 199, 243, 281,591; III, 78, 82, 94, 239, 447, 522, 523; IV, 153 "Allegory and Typology 'Embrace and Greet': Anne Bradstreet's Contemplations" (Irvin), Supp. I, Part 1, 123 Allen, Alexander V. G., I, 564

Allen, Charles G., Ill, 455 Allen, Don Cameron, I, 542 Allen, E. L., Ill, 312 Allen, Evie Allison, IV, 354 Allen, Francis H., IV, 188 Allen, Frederick Lewis, Supp. I, Part 2, 655, 681 Allen, Gay Wilson, II, 365; III, 598; IV, 352, 354; Supp. I, Part 1, 173, Part 2, 418 Allen, Hervey, 111,431 Allen, Michael, III, 431 Allen, Paula Gunn, see Gunn Allen, Paula Allen, Shirley S., Supp. I, Part 1, 69 Allen, Walter, I, 505; III, 243, 352; IV, 71, 142; Supp. IV, Part 2, 685 Allen, Woody, Supp. I, Part 2, 607, 623; Supp. IV, Part 1, 205 (< Aller et Retour" (Barnes), Supp. Ill, Part 1, 36 Aller Retour New York (Miller), III, 178, 182, 183 Allessandrini, Goffredo, Supp. IV, Part 2, 520 "Alligators, The" (Updike), IV, 219 "Allowance" (Minot), Supp. VI, 206, 207-208 "Alloy" (Rukeyser), Supp. VI, 279 Allport, Gordon, II, 363-364, 365 Allsop, Kenneth, III, 169 "All-Star Literary Vaudeville" (Wilson), IV, 434-435 All-True Travels and Adventures of Lidie Newton (Smiley), Supp. VI, 292, 305-307 Allston, Washington, II, 298 Almack, Edward, Supp. IV, Part 2,435 "Almanac" (Swenson), Supp. IV, Part 2, 641 Almanac of the Dead (Silko), Supp. IV, Part 2, 558-559, 560, 561, 570-571 Alnilam (Dickey), Supp. IV, Part 1, 176, 186, 188-189 "Alone" (Levine), Supp. V, 184, 185, 186

INDEX / 355 "Alone" (Singer), IV, 15 "Alone" (Winters), Supp. II, Part 2,786,811 Aloneness (Brooks), Supp. Ill, Part 1, 85, 86 "Along the Color Line" (Du Bois), Supp. II, Part 1, 173 Along the Illinois (Masters), Supp. 1, Part 2, 472 "Alphabet of My Dead, An" (Pinsky), Supp. VI, 235, 250 "Alphabet of Subjects, An" (Zukofsky), Supp. Ill, Part 2, 624 "Alpine Christ, The" (Jeffers), Supp. II, Part 2, 415, 419 Alpine Christ and Other Poems, The (Jeffers), Supp. II, Part 2, 419 "Alpine Idyll, An" (Hemingway), II, 249; Retro. Supp. I, 176 Alsop, Joseph, II, 579 Aha California (newspaper), IV, 196 "Altar, The" (Herbert), Supp. IV, Part 2, 646 "Altar, The" (MacLeish), III, 4 "Altar of the Dead, The" (James), Retro. Supp. I, 229 "Altars in the Street, The" (Levertov), Supp. Ill, Part 1, 280 Alter, Robert, I, 165; III, 47; Supp. I, Part 2, 452 Altgeld, John Peter, Supp. I, Part 2, 382, 455 Althea (Masters), Supp. I, Part 2, 455, 459 Altick, Richard, Supp. I, Part 2, 423 Alvares, Mosseh, Supp. V, 11 Alvarez, A., Supp. I, Part 2, 526, 527, 548; Supp. II, Part 1, 99 Alvarez, Alfred, I, 404; II, 557 Alvarez, Julia, Supp. VII, 1-3 "Always the Stories" (Ortiz), Supp. IV, Part 2, 499, 500, 502, 504, 512 Always the Young Strangers (Sandburg), III, 577-578, 579

Amacher, Richard E., II, 124, 125 Amaranth (Robinson), III, 509, 510,512,513,522,523 Amazing Stories (magazine), Supp. IV, Part 1, 101 Amazons: An Intimate Memoir by the First Woman to Play in the National Hockey League (DeLillo), Supp. VI, 2 Ambassadors, The (James), II, 320, 333-334, 600; III, 517; IV, 322; Retro. Supp. I, 215, 218, 219, 220, 221, 232-233 Ambelain, Robert, Supp. I, Part 1, 260, 273, 274, 275 "Ambition Bird, The" (Sexton), Supp. II, Part 2, 693 Ambler, Eric, III, 57 Ambrose Holt and Family (Glaspell), Supp. Ill, Part 1, 175, 181, 184, 187, 188 "Ambrose Seyffert" (Masters), Supp. I, Part 2, 464 "Ambrose" stories, see Lost in the Funhouse (Barth) Amen Corner, The (Baldwin), Supp. I, Part 1, 48, 51, 54, 55, 56 "America" (Ginsberg), Supp. II, Part 1, 58-59, 317 "America" (song), IV, 410 "America Aglow" (Ozick), Supp. I, Part 1, 199 "America, America!" (poem) (Schwartz), Supp. II, Part 2, 665 "America! America!" (story) (Schwartz), Supp. II, Part 2, 640, 658-659, 660 America and Americans (Steinbeck), IV, 52 "America and the Vidal Chronicles" (Pease), Supp. IV, Part 2, 687 America as a Civilization (Lerner), III, 60 "America Independent" (Freneau), Supp. II, Part 1, 261 "America, Seen Through Photographs, Darkly" (Sontag), Supp. Ill, Part 2, 464

America: The Story of a Free People (Commager and Nevins), 1,253 America Was Promises (MacLeish), III, 16, 17 American, The (James), I, 226; II, 326-327, 328, 331, 334; IV, 318; Retro. Supp. I, 220, 221, 228, 376, 381 American Academy of Arts and Letters, Retro. Supp. I, 67 American Adam, The (Lewis), II, 457-458 American Almanac (Leeds), II, 110 American Annual Register for the Year 1796, Supp. I, Part 2, 507 American Anthem (Doctorow and Suares), Supp. IV, Part 1, 234 "American Apocalypse" (Gunn Allen), Supp. IV, Part 1, 325 American Blues (Williams), IV, 381,383 American Book Review (publication), Supp. IV, Part 1, 68, Part 2, 554 American Caravan: A Yearbook of American Literature (ed. Mumford), Supp. II, Part 2, 482 American Cause, The (MacLeish), 111,3 American Childhood, An (Dillard), Supp. VI, 19-21, 23, 24, 25, 26, 30,31 "American Childhood in the Dominican Republic, An" (Alvarez), Supp. VII, 2, 5 American Claimant, The (Twain), IV, 194, 198-199 American Crisis I (Paine), Supp. I, Part 2, 508 American Crisis II (Paine), Supp. I, Part 2, 508 American Crisis XIII (Paine), Supp. I, Part 2, 509 "American Critic, The" (Spingarn), 1,266 American Democrat, The (Cooper), I, 343, 346, 347, 353 American Diary (Webb), Supp. I, Part 1, 5

356 / INDEX American Drama since World War II (Weales), IV, 385 American Dream, An (Mailer), III, 27, 33-34, 35, 39, 41, 43, 44 American Dream, The (Albee), I, 74-76, 77, 89, 94 American Earth (Caldwell), I, 290, 308 "American Emperors" (Poirier), Supp. IV, Part 2, 690 American Exodus, An (Lange and Taylor), I, 293 American Experience, The (Parkes), Supp. I, Part 2, 617618 "American Fear of Literature, The" (Lewis), 11,451 American Fictions, 1940-1980 (Karl), Supp. IV, Part 1, 384 American Film (magazine), Supp. V,228 American Film (publication), Supp. IV, Part 2, 576 "American Financier, The" (Dreiser), II, 428 American Folkways (book series), 1,290 American Heritage (magazine), Supp. I, Part 2, 493 American Heroine: The Life and Legend of Jane Addams (Davis), Supp. I, Part 1, 1,27 American Historical Novel, The (Leisy), Supp. II, Part 1, 125 "American Horse" (Erdrich), Supp. IV, Part 1, 333 American Humor (Rourke), IV, 339, 352 American Humorist, The (Yates), Supp. I, Part 2, 626 American Hunger (Wright), Supp. IV, Parti, 11 "American in England, An" (Wylie), Supp. I, Part 2, 707 American Indian Anthology, An (ed. Tvedten), Supp. IV, Part 2, 505 American Indian Quarterly (publication), Supp. IV, Part 1, 333, 334, Part 2, 557 "American Indian Women: At the Center of Indigenous Resistance

in Contemporary North America" (Jaimes and Halsey), Supp. IV, Part 1,331 American Jitters, The: A Year of the Slump (Wilson), IV, 427, 428 American Journal (Hayden), Supp. II, Part 1, 367 American Journal of Education (publication), II, 465 "American Land Ethic, An" (Momaday), Supp. IV, Part 2, 488 American Landscape, The, Supp. I, Part 1, 157 American Language, The (Mencken), II, 289, 430; III, 100, 104, 105, 108, 111, 119-120 American Language, The: Supplement One (Mencken), III, 111 American Language, The: Supplement Two (Mencken), III, 111 "American Letter" (MacLeish), III, 13 "American Liberty" (Freneau), Supp. II, Part 1, 257 American Literature (publication), Supp. I, Part 1, 372 American Literature: Essays and Opinions (Pavese), Supp. I, Part 2, 478 American Magazine, Supp. I, Part 2,380 American Manufacturer (newspaper), Supp. I, Part 2, 684 American Mercury (magazine), I, 115; II, 449; III, 106-107, 108, 110; Supp. I, Part 2, 473; Supp. IV, Part 1, 166 American Mercury (newspaper), Supp. II, Part 1, 69 American Mind, The (Commager), Supp. I, Part 2, 650 American Museum (publication), III, 412 American Negro, The (Thomas), Supp. II, Part 1, 168 "American Negro in Search of Identity, The" (Marcus), Supp. I, Part 1, 70

American Notebooks, The (Hawthorne), II, 226 American Novel and Its Tradition, The (Chase), Supp. I, Part 1, 148 American Places (Porter, Stegner and Stegner), Supp. IV, Part 2, 599 "American Poet" (Shapiro), Supp. II, Part 2, 701 "American Poetry and American Life" (Pinsky), Supp. VI, 239240 American Poetry Review, Supp. V, 182, 186 American Poetry Review (magazine), Supp. IV, Part 2, 552 American Poetry Since 1900 (Untermeyer), Supp. I, Part 2, 730 American Poetry since 1960 (Mesic), Supp. IV, Part 1, 175 American Poets: From the Puritans to the Present (Waggoner), Supp. I, Part 1, 173, Part 2, 478, 706 American Primer, An (Boorstin), I, 253 American Primer, An (Whitman), IV, 348 American Primitive: Poems (Oliver), Supp. VII, 234-237, 238 American Prosody (Allen), Supp. I, Part 1, 173 American Quarterly (publication), Supp. I, Part 2, 649 "American Realist Playwrights, The" (McCarthy), II, 562 American Register, or General Repository of History, Politics, and Science, The (ed. Brown), Supp. I, Part 1, 146 American Renaissance (Matthiessen), I, 259-260; III, 310 American Revolution, The: Explorations in the History of American Radicalism (ed. Young), Supp. I, Part 2, 525

INDEX / 357 American Scene, The (James), II, 336; III, 460; Retro. Supp. I, 232, 235 American Scenes (ed. Kozlenko), IV, 378 American Scholar (publication), III, 268, 292; Supp. IV, Part 1, 200 "American Scholar, The" (Emerson), I, 239; II, 8, 12-13; Retro. Supp. I, 74-75, 149; Supp. I, Part 1, 147, Part 2, 420 American Scholar, The (Emerson), Retro. Supp. I, 62, 298 American Short Story, The: Front Line in the National Defense of Literature (Peden), Supp. I, Part 1, 199; "American Soldier, The" (Freneau), Supp. II, Part 1, 269 American Songbag, The (Sandburg), III, 583 American Spectator (publication), Supp. IV, Part 1, 209 "American Student in Paris, An" (Farrell), II, 45 "American Sublime, The" (Stevens), IV, 74 American Tragedy, An (Dreiser), I, 497, 498, 499, 501, 502, 503, 511-515, 517, 518, 519; III, 251; IV, 35, 484 "American Triptych" (Kenyon), Supp. VII, 165 "American Use for German Ideals" (Bourne), I, 228 American Vernacular Poetry (Greasley), Supp. I, Part 2, 478 "American Village, The" (Freneau), Supp. II, Part 1, 256 American Village, The (Freneau), Supp. II, Part 1, 256, 257 American Writers, 206, Retro. Supp. I, 212 Americana (DeLillo), Supp. VI, 2, 3, 5, 6, 8, 13, 14 Americana (publication), IV, 287 America's Coming-of-Age (Brooks), I, 228, 230, 240, 245, 258; IV, 427

America's Literary Revolt (Yatron), Supp. I, Part 2, 402, 478 America's Rome (Vance), Supp. IV, Part 2, 684 Ames, Fisher, Supp. I, Part 2, 486 Ames, Lois, Supp. I, Part 2, 541, 547 Ames, Van Meter, Supp. I, Part 2, 402 Ames, William, IV, 158 Amiable Autocrat: A Biography of Dr. Oliver Wendell Holmes (Tilton), Supp. I, Part 1, 319 Amiel, Henri F., I, 241, 243, 250 Amis, Kingsley, IV, 430; Supp. IV, Part 2, 688 Amis, Martin, Retro. Supp. I, 278 Ammons, A. R., Supp. Ill, Part 2, 541, Supp. VII, 23-24 Ammons, Elizabeth, Retro. Supp. I, 364, 369 "Among Children" (Levine), Supp. V, 192 Among My Books (Lowell), Supp. I, Part 2, 407 "Among School Children" (Yeats), III, 249 "Among the Hills" (Whittier), Supp. I, Part 2, 703 "Amoral Moralist" (White), Supp. I, Part 2, 648 Amory, Cleveland, Supp. I, Part 1,316 Amory, Fred, Supp. Ill, Part 1, 2 Amos (biblical book), II, 166 Amos (biblical person), Supp. I, Part 2, 689 "AMTRAK" (Baraka), Supp. II, Part 1, 60 Amy (Gould), Supp. I, Part 1, 275 Amy Lowell: A Chronicle (Damon), Supp. I, Part 1, 275 Amy Lowell, A Critical Appreciation (Bryher), Supp. I, Part 1, 275 "Amy Lowell of Brookline, Mass." (Scott), II, 512 Amy Lowell: Portrait of the Poet in Her Time (Gregory), II, 512 "Amy Wentworth" (Whittier), Supp. I, Part 2, 694, 696

"An trentiesme de mon Eage, L" (MacLeish), III, 9 Anabase (Perse), III, 12 "Anabasis (I)" (Merwin), Supp. Ill, Part 1, 342, 346 "Anabasis (II)" (Merwin), Supp. III, Part 1, 342, 346 Analectic Magazine, II, 303, 304 Analects (Confucius), Supp. IV, Part 1, 14 Analects, The (trans. Pound), III, 472 Analogy (Butler), II, 8 "Analysis of a Theme" (Stevens), IV, 81 Anarchiad, The, A Poem on the Restoration of Chaos and Substantial Night, in Twenty Four Books (Barlow), Supp. II, Part 1, 70 Anatomy Lesson, The (Roth), Supp. Ill, Part 2, 422-423, 425 Anatomy of Melancholy (Burton), III, 78 Anatomy of Nonsense, The (Winters), Supp. II, Part 2, 811,812 Anaya, Rudolfo A., Supp. IV, Part 2, 502 "Ancestors, The" (Tate), IV, 128 Ancestral Voice: Conversations with N. Scott Momaday (Woodard), Supp. IV, Part 2, 484, 485, 486, 489, 493 Ancient Child, The: A Novel (Momaday), Supp. IV, Part 2, 488, 489^91, 492, 493 Ancient Law, The (Glasgow), II, 179-180, 192 & (And) (Cummings), I, 429, 431, 432, 437, 445, 446, 448 "And Hickman Arrives" (Ellison), Supp. II, Part 1, 248 And I Worked at the Writer's Trade (Cowley), Supp. II, Part 1, 137, 139, 141, 143, 147, 148 And in the Hanging Gardens (Aiken), I, 63 "And That Night Clifford Died" (Levine), Supp. V, 195

358 / INDEX "And the Moon Be Still as Bright" (Bradbury), Supp. IV, Part 1, 106 "And the Sea Shall Give up Its Dead" (Wilder), IV, 358 "And Then Came Baldwin" (Mayfield), Supp. I, Part 1, 70 "And Ut Pictura Poesis Is Her Name" (Ashbery), Supp. Ill, Part 1, 19 Andersen, Hans Christian, I, 441; Supp. I, Part 2, 622 Anderson, Carter A., IV, 307 Anderson, Charles R., I, 473; III, 96; IV, 189; Supp. I, Part 1, 356, 360, 368, 371, 372 Anderson, Clara, see Sandburg, Mrs. August (Clara Anderson) Anderson, David D., I, 119, 120 Anderson, Frances, I, 231 Anderson, Henry J., Supp. I, Part 1, 156 Anderson, Irwin M., I, 98-99 Anderson, Jon, Supp. V, 338 Anderson, Judith, III, 399 Anderson, Karl, I, 99, 103 Anderson, Margaret, I, 103; III, 471 Anderson, Margaret Bartlett, III, 171 Anderson, Mary Jane, see Lanier, Mrs. Robert Sampson (Mary Jane Anderson) Anderson, Maxwell, III, 159, 217 Anderson, Mrs. Irwin M., I, 98-99 Anderson, Mrs. Sherwood (Tennessee Mitchell), I, 100; Supp. I, Part 2, 459, 460 Anderson, Quentin, Retro. Supp. 1,392 Anderson, Robert, Supp. I, Part 1, 277; Supp. V, 108 Anderson, Sherwood, I, 97-120, 211,374,375,384,405,423, 445, 480, 487, 495, 506, 518; II, 27, 38, 44, 55, 56, 68, 250-251, 263, 271, 289, 451, 456-457; III, 220, 224, 241, 382-383, 453, 483, 545, 576, 579; IV, 27, 40, 46, 190, 207, 433, 451, 482; Retro. Supp. I, 79, 80, 177; Supp. I, Part 2, 378, 430, 459,

472, 613; Supp. IV, Part 2, 502; Supp. V, 12, 250 Anderson, Stanley P., II, 292 Anderssen, A., Ill, 252 Andral, Gabriel, Supp. I, Part 1, 302 "Andrew Jackson" (Masters), Supp. I, Part 2, 472 Andrews, Bruce, Supp. IV, Part 2,426 Andrews, Kenneth R., IV, 212 Andrews, Wayne, IV, 310, 329 Andrews, William L., Supp. IV, Part 1, 13 Andreyev, Leonid Nikolaevich, I, 53; II, 425 Andria (Terence), IV, 363 "Andromache" (Dubus), Supp. VII, 84 "Anecdote and Storyteller" (Howe), Supp. VI, 127 "Anecdote of the Jar" (Stevens), IV, 83-84 "Anemone" (Rukeyser), Supp. VI, 281, 285 "Angel, The" (Buck), Supp. II, Part 1, 127 "Angel at the Grave, The" (Wharton), IV, 310; Retro. Supp. I, 365 "Angel Butcher" (Levine), Supp. V, 181 Angel City (Shepard), Supp. Ill, Part 2, 432, 445 "Angel Is My Watermark!, The" (Miller), III, 180 "Angel Levine" (Malamud), Supp. I, Part 2, 431, 432, 433-434, 437 Angel ofBethesda, The (Mather), Supp. II, Part 2, 464 "Angel of the Bridge, The" (Cheever), Supp. I, Part 1, 186-187 "Angel of the Odd, The" (Poe), III, 425 "Angel on the Porch, An" (Wolfe), IV, 451 "Angel Surrounded by Pay sans" (Stevens), IV, 93 Angel That Troubled the Waters, The (Wilder), IV, 356, 357-358

Angell, Carol, Supp. I, Part 2, 655 Angell, Katharine Sergeant, see White, Mrs. E. B. (Katharine Sergeant Angell) Angell, Roger, Supp. I, Part 2, 655; Supp. V, 22 Angela Herndon Jones (Hughes), Retro. Supp. I, 203 Angelou, Maya, Supp. IV, Part 1, 1-19 Angels and Earthly Creatures (Wylie), Supp. I, Part 2, 709, 713, 724-730 "Angels of the Love Affair" (Sexton), Supp. II, Part 2, 692 "Anger" (Creeley), Supp. IV, Part I, 150-152 "Anger against Children" (Bly), Supp. IV, Part 1, 73 Angle of Ascent (Hayden), Supp. II, Part 1, 363, 367, 370 "Angle of Geese" (Momaday), Supp. IV, Part 2, 485 Angle of Geese and Other Poems (Momaday), Supp. IV, Part 2, 487, 491 Angle of Repose (Stegner), Supp. IV, Part 2, 599, 605, 606, 610611 "Angle of Repose and the Writings of Mary Hallock Footer A Source Study" (WilliamsWalsh), Supp. IV, Part 2, 611 Angle, Paul M., Ill, 597 Anglo-Saxon Century, The (Dos Passos), I, 474-475, 483 Angoff, Charles, I, 262; HI, 107, 121, 408; IV, 23 "Angola Question Mark" (Hughes), Supp. I, Part 1, 344 Angry Wife, The (Sedges), Supp. II, Part 1, 125 "Angry Women Are Building: Issues and Struggles Facing American Indian Women Today" (Gunn Allen), Supp. IV, Part 1, 324 "Angst and Animism in the Poetry of Sylvia Plath" (Perloff), Supp. I, Part 2, 548 Angus, D. and S., Ill, 240

INDEX / 359 Animal and Vegetable Physiology Considered with Reference to Natural Theology (Roget), Supp. I, Parti, 312 Animal Dreams (Kingsolver), Supp. VII, 199, 204-207 "Animal, Vegetable, and Mineral" (Bogan), Supp. Ill, Part 1, 66 "Animals, The" (Merwin), Supp. Ill, Part 1, 348 "Animals Are Passing from Our Lives" (Levine), Supp. V, 181, 182 Animals of the Soul: Sacred Animals of the Oglala Sioux (Brown), Supp. IV, Part 2, 487 "Animula" (Eliot), Retro. Supp. I, 64 Ankor Wat (Ginsberg), Supp. II, Part 1, 323 "Ann Burlak" (Rukeyser), Supp. VI, 280 "Ann Garner" (Agee), I, 27 Ann Vickers (Lewis), II, 453 Anna Christie (O'Neill), III, 386, 389, 390 Anna Karenina (Tolstoi), I, 10; II, 290; Retro. Supp. I, 225; Supp. V, 323 "Anna Karenina" (Trilling), Supp. Ill, Part 2, 508 "Anna Who Was Mad" (Sexton), Supp. II, Part 2, 692 "Annabel Lee" (Poe), Retro. Supp. I, 273 "Anne" (Oliver), Supp. VII, 232 "Anne at the Symphony" (Shields), Supp. VII, 310 Anne Bradstreet (Piercy), Supp. I, Part 1, 123 Anne Bradstreet: "The Tenth Muse" (White), Supp. I, Part 1, 123 Anne Bradstreet: The Worldly Puritan (Stanford), Supp. I, Part 1, 123 "Anne Bradstreet's 'Contemplations': Patterns of Form and Meaning" (Rosenfeld), Supp. I, Part 1, 123 "Anne Bradstreet's Poetic Voices" (Requa), Supp. I, Part 1, 107, 123

Anne, Queen, II, 524; IV, 145 "Anniad, The" (Brooks), Supp. Ill, Part 1, 77, 78 Annie (musical), Supp. IV, Part 2, 577 Annie Allen (Brooks), Supp. Ill, Part 1, 76-79 Annie Dillard Reader, The (Dillard), Supp. VI, 23 Annie Hall (film), Supp. IV, Part 1,205 Annie John (Kincaid), Supp. VII, 184-186, 193 Annie Kilburn, a Novel (Howells), II, 275, 286, 287 Anniversary (Shields), Supp. VII, 320, 322, 323, 324 "Annunciation, The" (LeSueur), Supp. V, 130 Another America/Otra America (Kingsolver), Supp. VII, 207209 "Another Animal" (Swenson), Supp. IV, Part 2, 639 Another Animal: Poems (Swenson), Supp. IV, Part 2, 639-641, 649 Another Antigone (Gurney), Supp. V, 97, 98, 100, 101, 102, 105 "Another August" (Merrill), Supp. III, Part 1, 326 Another Country (Baldwin), Supp. I, Part 1, 51, 52, 56-58, 63, 67, 337, Supp. II, Part 1, 40 "Another Country, Another Time" (Strandley), Supp. I, Part 1, 71 "Another Country: Baldwin's New York Novel" (Thelwell), Supp. I, Part 1,71 "Another Language" (Jong), Supp. V, 131 Another Mother Tongue: Gay Words, Gay Worlds (Grahn), Supp. IV, Part 1, 330 "Another Night in the Ruins" (Kinnell), Supp. Ill, Part 1, 239, 251 "Another Old Woman" (Williams), Retro. Supp. I, 423

Another Part of the Forest (Hellman), Supp. I, Part 1, 282-283, 297 Another Republic: 17 European and South American Writers (trans. Strand), Supp. IV, Part 2,630 "Another Spring Uncovered" (Swenson), Supp. IV, Part 2, 644 Another Thin Man (film), Supp. IV, Part 1, 355 Another Time (Auden), Supp. II, Part 1, 15 "Another upon the Same" (Taylor), IV, 161 "Another Voice" (Wilbur), Supp. Ill, Part 2, 557 "Another Wife" (Anderson), I, 114 Another You (Beattie), Supp. V, 29, 31, 33-34 Anouilh, Jean, Supp. I, Part 1, 286-288, 297 Ansky, S., IV, 6 "Answer, The" (Jeffers), Supp. Ill, Part 2, 423 Answered Prayers: The Unfinished Novel (Capote), Supp. Ill, Part 1, 113, 125, 131-132 "Answering the Deer: Genocide and Continuance in the Poetry of American Indian Women" (Gunn Allen), Supp. IV, Part 1, 322, 325 Antaeus (Wolfe), IV, 461 "Ante-Bellum Sermon, An" (Dunbar), Supp. II, Part 1, 203-204 Antheil, George, III, 471, 472; IV, 404 Anthem (Rand), Supp. IV, Part 2, 523 Anthology of Twentieth-Century Brazilian Poetry (eds. Bishop and Brasil), Supp. I, Part 1, 94 Anthon, Kate, I, 452 Anthony, Katharine, Supp. I, Part 1,46 Anthony, Saint, III, 395 "Anthropologist as Hero, The" (Sontag), Supp. Ill, Part 2, 451

360 / INDEX Anthropos: The Future of Art (Cummings), I, 430 Antichrist (Nietzsche), III, 176 "Anti-Father" (Dove), Supp. IV, Part 1, 246 "Anti-Feminist Woman, The" (Rich), Supp. I, Part 2, 550 Antigone (Sophocles), Supp. I, Part 1, 284 Antiphon, The (Barnes), Supp. Ill, Part 1, 43^4 "Antiquities" (Mather), Supp. II, Part 2, 452 "Antiquity of Freedom, The" (Bryant), Supp. I, Part 1, 168 "Antislavery Tocsin, An" (Douglass), Supp. Ill, Part 1, 171 Antoine, Andre, III, 387 Antonioni, Michelangelo, Supp. IV, Part 1, 46, 47, 48 Antony and Cleopatra (Shakespeare), I, 285 "Antony on Behalf of the Play" (Burke), I, 284 "Ants" (Bly), Supp. IV, Part 1, 71 "Any Object" (Swenson), Supp. IV, Part 2, 640 Any Woman's Blues (Jong), Supp. V, 115, 123, 126 "Anywhere Out of This World" (Baudelaire), II, 552 Anzaldua, Gloria, Supp. IV, Part 1,330 "Aphorisms on Society" (Stevens), Retro. Supp. I, 303 Apollinaire, Guillaume, I, 432; II, 529; HI, 196; IV, 80 Apologies to the Iroquois (Wilson), IV, 429 "Apology, An" (Malamud), Supp. I, Part 2, 435, 437 "Apology for Bad Dreams" (Jeffers), Supp. II, Part 2, 427, 438 "Apology for Crudity, An" (Anderson), I, 109 Apology for Poetry (Sidney), Supp. II, Part 1, 105 "Apostle of the Tules, An" (Harte), Supp. II, Part 1, 356

"Apostrophe to a Dead Friend" (Kumin), Supp. IV, Part 2, 442, 451, 452 "Apostrophe to a Pram Rider" (White), Supp. I, Part 2, 678 "Apostrophe to Man (on reflecting that the world is ready to go to war again)" (Millay), III, 127 "Apostrophe to Vincentine, The" (Stevens), IV, 90 "Apotheosis" (Kingsolver), Supp. VII, 208 "Apotheosis of Martin Luther King, The" (Hardwick), Supp. Ill, Part 1, 203-204 Appalachia (Wright), Supp. V, 333, 345 "Appalachian Book of the Dead III" (Wright), Supp. V, 345 "Appeal to Progressives, An" (Wilson), IV, 429 Appeal to Reason (journal), Supp. V,281 Appeal to Reason (Paine), I, 490 Appeal to the World, An (Du Bois), Supp. II, Part 1, 184 Appearance and Reality (Bradley), 1,572 Appel, Alfred, Jr., Ill, 266; IV, 284 "Appendix to The Anniad' " (Brooks), Supp. Ill, Part 1, 77 "Apple, The" (Kinnell), Supp. Ill, Part 1, 250 Applegarth, Mabel, II, 465, 478 Appleseed, Johnny (pseudonym), see Chapman, John (Johnny Appleseed) Appleton, Retro. Supp. I, 381 Appleton, Frances, see Longfellow, Mrs. Henry Wadsworth (Frances Appleton) Appleton, Nathan, II, 488 Appleton, Thomas Gold, Supp. I, Part 1, 306, Part 2, 415 "Applicant, The" (Plath), Supp. I, Part 2, 535, 544, 545 "Applications of the Doctrine" (Hass), Supp. VI, 100-101 Appointment in Samarra (O'Hara), III, 361, 363-364, 365-367, 371, 374, 375, 383

"Approach to Thebes, The" (Kunitz), Supp. HI, Part 1, 265-267 "Approaches, The" (Merwin), Supp. IK, Part 1, 350 "Approaching Artaud" (Sontag), Supp. Ill, Part 2, 470-471 "Approaching Prayer" (Dickey), Supp. IV, Part 1, 175 "Apres-midi d'un faune, L' " (Mallarme), III, 8 "April" (Williams), Retro. Supp. 1,422 "April" (Winters), Supp. II, Part 2,788 "April Galleons" (Ashbery), Supp. Ill, Part 1, 26 April Galleons (Ashbery), Supp. III, Part 1, 26 April Hopes (Howells), II, 285, 289 "April Lovers" (Ransom), III, 489-490 "April Showers" (Wharton), Retro. Supp. I, 361 "April Today Main Street" (Olson), Supp. II, Part 2, 581 April Twilights (Gather), I, 313; Retro. Supp. I, 5 "Apt Pupil" (King), Supp. V, 152 Aptheker, Herbert, IV, 118 Aquinas, Saint Thomas, I, 13, 14, 265, 267; III, 270; Supp. IV, Part 2, 526 Arab Observer (publication), Supp. IV, Part 1, 8 Arabian Nights, I, 204; II, 8; Supp. I, Part 2, 584, 599; Supp. IV, Part 1, 1 "Araby" (Joyce), I, 174 Aragon, Louis, I, 429; III, 471 Aramco World Magazine, Supp. IV, Part 2, 599 Ararat (Gliick), Supp. V, 79, 8687 Arbuthnott, John (pseudonym), see Henry, O. Arch, The (magazine), Supp. IV, Part 1, 168 Archaeologist of Morning (Olson), Supp. II, Part 2, 557

INDEX / 361 "Archaic Maker, The" (Merwin), Supp. Ill, Part 1, 357 "Archaically New" (Moore), Supp. I, Part 1, 97 Archer, William, IV, 131; Retro. Supp. I, 228 Archer (television show), Supp. IV, Part 2, 474 Archer at Large (Macdonald), Supp. IV, Part 2, 473 Archer in Hollywood (Macdonald), Supp. IV, Part 2, 474 "Archibald Higbie" (Masters), Supp. I, Part 2, 461 "Architect, The" (Bourne), I, 223 "Architecture of Walter Mitty's Secret Life, The" (Sundell), Supp. I, Part 2, 627 Archives of Maryland, I, 131 Arctic Dreams (Lopez), Supp. V, 211 "Are You a Doctor?" (Carver), Supp. Ill, Part 1, 139-141 Arena (publication), I, 407 Arendt, Hannah, II, 390, 544; Retro. Supp. I, 87; Supp. I, Part 2, 570; Supp. IV, Part 1, 386 Arensberg, Walter, IV, 408; Retro. Supp. I, 416 Aren't You Happy for Me? (Bausch), Supp. VII, 42, 51, 54 Areopagitica (Milton), Supp. I, Part 2, 422 Argonaut (publication), I, 196 "Argonauts of 49, California's Golden Age" (Harte), Supp. II, Part 1, 353, 355 Aria da Capo (Millay), III, 137138 "Ariel" (Plath), Supp. I, Part 2, 542, 546 Ariel (Plath), Supp. I, Part 2, 526, 539, 541; Supp. V, 79 "Ariel Poems" (Eliot), I, 579 Arise, Arise (Zukofsky), Supp. Ill, Part 2, 619, 629 Aristides the Just, II, 9 "Aristocracy" (Emerson), II, 6 Aristocracy and Justice (More), I, 223

Aristophanes, I, 436; II, 577; Supp. I, Part 2, 406 Aristotle, I, 58, 265, 280, 527; II, 9, 12, 198, 536; III, 20, 115, 145, 157, 362, 422, 423; IV, 10, 18, 74-75, 89; Supp. I, Part 1, 104, 296, Part 2, 423; Supp. IV, Parti, 391, Part 2, 526, 530 Aristotle Contemplating the Bust of Homer (Rembrandt), Supp. IV, Part 1, 390, 391 "Arkansas Traveller" (Wright), Supp. V, 334 Arkin, Alan, II, 588 "Armadillo, The" (Bishop), Supp. I, Part 1, 93 "Armageddon" (Ransom), III, 489, 492 Armah, Aiy Kwei, Supp. IV, Part 1,373 Armies of the Night, The (Mailer), III, 39-40, 41, 42, 44, 45, 46; Supp. IV, Part 1, 207 Arminius, Jacobus, I, 557 Armitage, Shelley, Supp. IV, Part 2,439 "Armor" (Dickey), Supp. IV, Part 1, 179 Armored Attack (film), Supp. I, Part 1, 281 Arms, George T., II, 293, 294, 509 Arms, George W., Supp. I, Part 1, 173, 225, 319, Part 2, 416-417, 426, 706 Armstrong, A. Joseph, Supp. I, Part 2, 402 Armstrong, George, Supp. I, Part 2,386 Arna Bontemps Langs ton Hughes: Letters 1925-1967 (Nichols), Retro. Supp. I, 194 Arnavon, Cyrille, Supp. I, Part 1, 226 Arner, Robert, Supp. I, Part 1, 226 Arnett, Carroll, III, 550 Arnett, Willard E., Ill, 622 Arnold, George W., Supp. I, Part 2,411 Arnold, Marilyn, Supp. IV, Part 1,220

Arnold, Matthew, I, 222, 228, 275; 11,20, 110, 338, 541; III, 604; IV, 349; Retro. Supp. I, 56, 325; Supp. I, Part 2, 416, 417, 419, 529, 552, 602 Arnold, Olga, Supp. I, Part 2, 626 Arnold, Thurman, Supp. I, Part 2, 645 Arnold family, II, 404 Aronson, Steven M. L., Supp. V, 4 Around about America (Caldwell), 1,290 "Arrow" (Dove), Supp. IV, Part 1,250 Arrowsmith (Lewis), I, 362; II, 445-446, 449 Arrowsmith, William, III, 289 "Ars Poetica" (Dove), Supp. IV, Part 1, 250 "Ars Poetica" (MacLeish), III, 910 "Ars Poetica: A Found Poem" (Kumin), Supp. IV, Part 2, 455 "Ars Poetica: Some Recent Criticism" (Wright), Supp. Ill, Part 2, 603 "Arson Plus" (Hammett), Supp. IV, Part 1, 343 "Art" (Emerson), II, 13 Art & Ardor: Essays (Ozick), Supp. V, 258, 272 "Art and Neurosis" (Trilling), Supp. Ill, Part 2, 502 Art and Technics (Mumford), Supp. II, Part 2, 483 Art as Experience (Dewey), I, 266 Art by Subtraction (Reid), IV, 41 Art de toucher le Clavecin, L' (Couperin), III, 464 Art of Fiction, The (Gardner), Supp. VI, 73 "Art of Fiction" (James), Retro. Supp. I, 226 Art of James Thurber, The (Tobias), Supp. I, Part 2, 626 "Art of Keeping Your Mouth Shut, The" (Heller), Supp. IV, Part 1, 383 "Art of Literature and Commonsense, The" (Nabokov), Retro. Supp. I, 271

362 / INDEX Art of Living and Other Stories, The (Gardner), Supp. VI, 72 Art of Sylvia Plath, The (Newman), Supp. I, Part 2, 527, 548 Art of the Moving Picture, The (Lindsay), Supp. I, Part 2, 376, 391-392, 394 Art of the Novel (James), Retro. Supp. I, 227 Art of the Self, The: Essays a Propos "Steps" (Kosinski), Supp. VII, 222 "Art of Theodore Dreiser, The" (Bourne), I, 235 Arte of English Poesie (Puttenham), Supp. I, Part 1, 113 Artemis to Actaeon and Other Verse (Wharton), Retro. Supp. 1,372 Arthur, Anthony, Supp. IV, Part 2,606 Arthur Mervyn; or, Memoirs of the Year 1793 (Brown), Supp. I, Part 1, 137-140, 144 Articulation of Sound Forms in Time (Howe), Supp. IV, Part 2, 419, 431-433 "Artificial Nigger, The" (O'Connor), III, 343, 351, 356, 358 Artist, The: A Drama without Words (Mencken), III, 104 "Artist of the Beautiful, The" (Hawthorne), Retro. Supp. I, 149 "Artistic Conscience of Vachel Lindsay, The" (Massa), Supp. I, Part 2, 402 Artistry of Grief (Torsney), Retro. Supp. I, 224 "Artistry of Whittier's Margaret Smith's Journal, The" (Ringe), Supp. I, Part 2, 706 "Artists' and Models' Ball, The" (Brooks), Supp. Ill, Part 1, 72 "Art's Bread and Butter" (Benet), Retro. Supp. I, 108 Arvin, Newton, I, 259; II, 23, 245, 508, 509; III, 96; Retro. Supp. I, 19, 137

"As Flowers Are" (Kunitz), Supp. Ill, Part 1, 265 "As I Ebb'd with the Ocean of Life" (Whitman), IV, 342, 345346; Retro. Supp. I, 404, 405 As I Lay Dying (Faulkner), II, 6061, 69, 73, 74; IV, 100; Retro. Supp. I, 75, 82, 84, 85, 86, 88, 89, 91,92; Supp. IV, Parti, 47 "As I Lay with My Head in Your Lap, Camerado" (Whitman), IV, 347 "As I Walked Out One Evening" (Auden), Supp. II, Part 1, 13 "As I Went Down by Havre de Grace" (Wylie), Supp. I, Part 2, 723 "As One Put Drunk into the Packet Boat" (Ashbery), Supp. Ill, Part 1, 18 "As We Know" (Ashbery), Supp. III, Part 1, 21-22 As We Know (Ashbery), Supp. Ill, Part 1, 9, 21-25 "As Weary Pilgrim" (Bradstreet), Supp. I, Part 1, 103, 109, 122 "As You Like It" (Chopin), Supp. I, Part 1, 217 As You Like It (Shakespeare), Supp. I, Part 1, 308 Asbury, Herbert, Supp. IV, Part 1,353 Ascent ofF6, The (Auden), Supp.

II, Parti, 11, 13

Asch, Sholem, IV, 1, 14, 9, 11 Ash, Lee, IV, 23 "Ash Can" school, IV, 409 "Ash Wednesday" (Eliot), Supp. IV, Part 2, 436 Ash Wednesday (Eliot), I, 570, 574-575, 578-579, 580, 582, 584, 585; Retro. Supp. I, 64 "Ash Wednesday" (Garrett), Supp. VII, 109-110 Ashbery, John, Retro. Supp. I, 313; Supp. I, Part 1, 96; Supp. III, Part 1,1-29, Part 2, 541; Supp. IV, Part 2, 620 "Ashes" (Levine), Supp. V, 188 "Ashes of the Beacon" (Bierce), I, 209

Ashes: Poems Old and New (Levine), Supp. V, 178, 188-189 Ashford, Deborah, Supp. I, Part 2,548 Ashford, Margaret Mary (Daisy), II, 426 Ashmore, Jerome, III, 622 Asian Figures (Mervin), Supp. Ill, Part 1, 341 "Asian Peace Offers Rejected without Publication" (Bly), Supp. IV, Part 1, 61 "Asides on the Oboe" (Stevens), Retro. Supp. I, 305 Asimov, Isaac, Supp. IV, Part 1, 116 Asinof, Eliot, II, 424 Ask tile Tomorrow (Cozzens), I, 365-367, 379 Ask Your Mama (Hughes), Supp. I, Part 1, 339, 341-342 Ask Your Mama: 12 Moods for Jazz (Hughes), Retro. Supp. I, 210,211 Aspects of the Novel (Forster), Retro. Supp. I, 232 "Aspen and the Stream, The" (Wilbur), Supp. Ill, Part 2, 555, 556 "Aspern Papers, The" (James), Retro. Supp. I, 219, 227, 228 Aspern Papers, The (James), Supp. V, 101, 102 "Asphodel" (Welty), IV, 265, 271 "Asphodel, That Greeny Flower" (Williams), Retro. Supp. I, 429 Asquith, Herbert Henry, Retro. Supp. I, 59 "Ass" (Cisneros), Supp. VII, 67 Assassins, The (Oates), Supp. II, Part 2, 512, 517-519 "Assault" (Millay), III, 130-131 Asselineau, Roger, I, 119; IV, 212, 354 Asselnian, Roger, III, 408 "Assemblage of Husbands and Wives, An" (Lewis), II, 455456 Assembly (O'Hara), III, 361 Assistant, The (Malamud), Supp. I, Part 2, 427, 428, 429, 431, 435, 441-445, 451

INDEX / 363 Assommoir, U (Zola), II, 291; III, 318 Assorted Prose (Updike), IV, 215216, 218; Retro. Supp. I, 317, 319, 327 Astor, Mary, Supp. IV, Part 1, 356 Astor family, IV, 311 Astoria, or, Anecdotes of an Enterprise beyond the Rocky Mountains (Irving), II, 312 "Astounding News by Electric Express via Norfolk! The Atlantic Crossed in Three Days Signal Triumph of Mr. Monck's Flying-Machine . . ." (Poe), III, 413, 420 Astraea (Holmes), III, 82 Astre, Georges-Albeit, I, 496 Astro, Richard, Supp. I, Part 2, 429, 445, 452 "Astrological Fricassee" (Miller), III, 187 Aswell, Edward C, IV, 458, 459, 461 "At a Bar in Charlotte Amalie" (Updike), IV, 214 "At a March against the Vietnam War" (Ely), Supp. IV, Part 1, 61 "At Cheniere Caminada" (Chopin), Supp. I, Part 1, 220 "At Chinese Checkers" (Berryman), I, 182 At Fault (Chopin), Supp. I, Part 1,207,209-211,220 At Heaven's Gate (Warren), IV, 243, 247-248, 251 At Home: Essays, 1982-1988 (Vidal), Supp. IV, Part 2, 682, 687, 688 "At Kino Viejo, Mexico" (Rios), Supp. IV, Part 2, 541 At Liberty (Williams), IV, 378 "At Melville's Tomb" (Crane), I, 393 At Night the Salmon Move (Carver), Supp. Ill, Part 1, 142 "At North Farm" (Ashbery), Supp. Ill, Part 1, 1-2 At Paradise Gate (Smiley), Supp. VI, 292, 293-294

"At Paso Rojo" (Bowles), Supp. IV, Part 1, 87 At Play in the Fields of the Lord (Matthiessen), Supp. V, 199, 202, 204-206, 212 "At Pleasure By" (Pinsky), Supp. VI, 245 "At Sea" (Hemingway), II, 258 "At Shaft 11" (Dunbar), Supp. II, Part 1, 212 "At St. Croix" (Dubus), Supp. VII, 83, 87 At Sundown (Whittier), Supp. I, Part 2, 704 "At That Time, or The History of a Joke" (Paley), Supp. VI, 229230 "At the Birth of an Age" (Jeffers), Supp. II, Part 2, 432 At the Bottom of the River (Kincaid), Supp. VII, 182-184, 185 "At the Chelton-Pulver Game" (Auchincloss), Supp. IV, Part 1,27 "At the Drugstore" (Taylor), Supp. V, 323 At the Edge of the Body (Jong), Supp.V, 115, 130 "At the End of War" (Eberhart), I, 522-523 "At the Exeuted Murderer's Grave" (Wright), Supp. Ill, Part 2, 595, 597 "At the Fishhouses" (Bishop), Supp. I, Part 1, 90, 92 "At the Lake" (Oliver), Supp. VII, 244 "At the Landing" (Welty), IV, 265-266; Retro. Supp. I, 348 At the Root of Stars (Barnes), Supp. Ill, Part 1, 34 "At the Slackening of the Tide" (Wright), Supp. Ill, Part 2, 597 "At the Tomb of Walt Whitman" (Kunitz), Supp. Ill, Part 1, 262 "At the Town Dump" (Kenyon), Supp. VII, 167 "At the Worcester Museum" (Pinsky), Supp. VI, 251

"Atavism of John Tom Little Bear, The" (O. Henry), Supp. II, Part 1,410 Atheism Refuted: in a Discourse to Prove the Existence of God (Paine), Supp. I, Part 2, 517 Athenaeum (publication), I, 336; II, 302; Retro. Supp. I, 53, 59 "Athenaise" (Chopin), Supp. I, Part 1, 219-220 Atherton, Gertrude, I, 199, 207208 Atkinson, Brooks, IV, 189, 288; Supp. IV, Part 2, 683 Atkinson, Clinton J., IV, 425 Atlantic (magazine), Supp. I, Part 1,174,225,300,306,312,313, 350, 357, 362, Part 2, 406, 414, 418, 419, 421, 490, 530, 593; Supp. IV, Part 1, 202, 280, 383; Supp. V, 201, 225 Atlantic Monthly (magazine), I, 214, 217, 218, 228, 229, 230, 358, 458; II, 273, 274-275, 277, 322, 324, 328, 329, 345, 397398, 400, 401, 402, 406, 407, 408, 409, 410, 465; III, 54-55, 64, 91-92, 292, 461; IV, 195, 199, 374, 375, Retro. Supp. I, 31, 218, 219, 228, 229, 362; see also Atlantic Atlas, James, Supp. V, 233 Atlas Shrugged (Rand), Supp. IV, Part 2, 517, 521, 523, 524-526, 528, 531 Attebery, Brian, Supp. IV, Part 1, 101 "Attic Which Is Desire, The" (Williams), Retro. Supp. I, 422 Attitudes toward History (Burke), 1,274 Atwood, Margaret, Supp. IV, Part 1, 252; Supp. V, 119 "Au Bal Musette" (Van Vechten), Supp. II, Part 2, 735 "Au Jardin" (Pound), III, 465-466 "Au Vieux Jardin" (Aldington), Supp. I, Part 1, 257 Auchincloss, Hugh D., Supp. IV, Part 2, 679

364 / INDEX Auchincloss, Louis, I, 24, 375; II, 413, 584; III, 66, 72, 384; IV, 329; Retro. Supp. I, 370, 373; Supp. IV, Part 1, 21-38 "Auction, The" (Crane), I, 411 Auden, W. H., I, 71, 381, 539; II, 171, 367, 368, 371, 376, 586; HI, 17, 134, 217, 269, 271, 292, 476-477, 504, 527, 530, 542, 615; IV, 48, 136, 138, 240, 430; Retro. Supp. I, 430; Supp. I, Part 1, 270, Part 2, 552, 610, 626; Supp. H, Part 1,1-28; Supp. HI, Part 1, 2, 3, 14, 26, 27, 60, 61, 64, 341, Part 2, 591, 595; Supp. IV, Part 1, 79, 84, 136, 225, 302, 313, Part 2, 440, 465; Supp. V, 337 "Audition" (Alvarez), Supp. VII, 10 Audubon (magazine), Supp. V, 199 Audubon, John James, III, 210; IV, 265 Auer, Jane, see Bowles, Jane Auerbach, Eric, III, 453 Auerbach, Nina, Supp. I, Part 1, 40,46 "August" (Oliver), Supp. VII, 235 "August" (Rich), Supp. I, Part 2, 564 "August 1968" (Auden), Supp. II, Part 1, 25 August Snow (Price), Supp. VI, 264 Augustine, Saint, I, 279, 290; H, 537; III, 259, 270, 292, 300; IV, 69, 126; Retro. Supp. I, 247 "Aunt Cynthy Dallett" (Jewett), II, 393 "Aunt Imogen" (Robinson), III, 521 "Aunt Jemima of the Ocean Waves" (Hayden), Supp. II, Part 1, 368, 379 Aunt Jo's Scrapbooks (Alcott), Supp. I, Part 1, 43 "Aunt Mary" (Oliver), Supp. VII, 232 "Aunt Mary" (Stowe), Supp. I, Part 2, 587

"Aunt Moon's Young Man" (Hogan), Supp. IV, Part 1, 400 "Aunt Sarah" (Lowell), II, 554 "Aunt Sue's Stories" (Hughes), Retro. Supp. I, 197, 199 "Aunt Violet's Canadian Honeymoon/1932" (Shields), Supp. VII, 311 "Aunt Violet's Things" (Shields), Supp. VII, 311-312 Aurora (newspaper), Retro. Supp. 1,390 Aurora Leigh (Browning), Retro. Supp. I, 33 "Auroras of Autumn, The" (Stevens), Supp. HI, Part 1, 12; Retro. Supp. I, 311, 312 Auroras of Autumn, The (Stevens), Retro. Supp. I, 297, 300, 309312 Auser, Cortland P., Supp. I, Part 1, 198 "Auspex" (Frost), Retro. Supp. I, 122 "Auspex" (Lowell), Supp. I, Part 2,424 Austen, Jane, I, 130, 339, 375, 378; II, 272, 278, 287, 568-569, 577; IV, 8; Retro. Supp. I, 354; Supp. I, Part 1, 267, Part 2, 656, 715; Supp. IV, Part 1, 300 "Austen and Alcott on Matriarchy" (Auerbach), Supp. I, Part 1, 46 Austin, George L., II, 509 Austin, Mary, Retro. Supp. I, 7; Supp. IV, Part 2, 503 Austin, Neal R, IV, 473 Austin, Samuel, I, 564 "Authentic Unconscious, The" (Trilling), Supp. Ill, Part 2, 512 Author and Agent: Eudora Welty and Diarmuid Russell (Kreyling), Retro. Supp. I, 342, 345, 347, 349-350 "Author at Sixty, The" (Wilson), IV, 426 "Author of 'Beltraffio,' The" (James), Retro. Supp. I, 227 "Author to Her Book, The" (Bradstreet), Supp. I, Part 1, 119; Supp. V, 117-118

"Author's House" (Fitzgerald), Retro. Supp. I, 98 "Author's Reflections, An: Willie Loman, Walter Younger, and He Who Must Live" (Hansberry), Supp. IV, Part 1, 370 "Auto Wreck" (Shapiro), Supp. II, Part 2, 706 "Autobiographic Chapter, An" (Bourne), I, 236 "Autobiographical Note" (Miller), ffl, 174-175 "Autobiographical Notes" (Baldwin), Supp. I, Part 1, 54 "Autobiographical Notes" (Holmes), Supp. I, Part 1, 301 Autobiography (Cournos), Supp. I, Part 1, 275 Autobiography (Franklin), II, 102, 103, 108, 121-122, 302 Autobiography (James), I, 462 "Autobiography" (MacLeish), III, 20 Autobiography (Van Buren), HI, 473 Autobiography (Williams), Supp. I, Part 1, 254, 275 Autobiography (Zukofsky), Supp. Ill, Part 2, 627 "Autobiography of a Confluence, The" (Gunn Allen), Supp. IV, Part 1, 321 Autobiography of Alice B. Toklas, The (Stein), IV, 26, 30, 35, 43; Supp. IV, Part 1, 11,81 Autobiography of an Ex-Colored Man, The (Johnson), Supp. II, Part 1, 33, 194 Autobiography of Benjamin Franklin (Franklin), Supp. IV, Part 1, 5 Autobiography ofLeRoi Jones, The (Baraka), Retro. Supp. I, 411 Autobiography of Malcolm X (Little), Supp. I, Part 1, 66 Autobiography of Mark Twain, The (Twain), IV, 209 Autobiography of Mark Van Doren, The (Van Doren), Supp. I, Part 2, 626

INDEX / 365 Avon's Harvest (Robinson), III, Autobiography of My Mother, The 510 (Kincaid), Supp. VII, 182, 188Awake and Sing! (Odets), Supp. 190, 191, 192, 193 II, Part 2, 530, 531, 536-538, Autobiography of Upton Sinclair, 550; Supp. IV, Part 2, 587 The (Sinclair), Supp. V, 276, Awakening, The (Chopin), Retro. 282 Supp. I, 10; Supp. I, Part 1, Autobiography of W. E. B. Du 200, 201, 202, 211, 220-225; Bois, The (Du Bois), Supp. II, Supp. V, 304 Part 1, 159, 186 Awful Rowing Toward God, The Autobiography of William Carlos (Sexton), Supp. II, Part 2, 694Williams, The (Williams), 696 Retro. Supp. I, 51,428 Awiakta, Marilou, Supp. IV, Part Autocrat of the Breakfast-Table, 1, 319, 335 The (Holmes), Supp. I, Part 1, Awkward Age, The (James), n, 306-307 332, Retro. Supp. I, 229, 230"Automotive Passacaglia" (Miller), 231 III, 186 Axel's Castle: A Study in the "Autopsy Room, The" (Carver), Imaginative Literature of 1870 Supp. Ill, Part 1, 137 to 1930 (Wilson), I, 185; II, "Autre Temps" (Wharton), IV, 577; IV, 428, 431, 438, 439, 320, 324 443 "Autumn Afternoon" (Farrell), II, "Ax-Helve, The" (Frost), Retro. 45 Supp. I, 133 "Autumn Begins in Martins Ferry, Ohio" (Wright), Supp. Ill, Part Axthelm, Peter M., I, 165 Ayn Rand Column, Supp. IV, 2,599 Part 2, 532-533 "Autumn Courtship, An" Ayn Rand Letter, The, Supp. IV, (Caldwell), I, 309 Part 2, 527 Autumn Garden, The (Hellman), Azikewe, Nnamdi, Supp. IV, Part Supp. I, Part 1, 285-286, 290 1,361 "Autumn Garden, The: Mechanics and Dialectics" (Felheim), Supp. B. F. 's Daughter (Marquand), III, I, Part 1, 297 59, 65, 68, 69 "Autumn Holiday, An" (Jewett), Babbitt, Irving, I, 247; II, 456; III, II, 391 315, 461, 613; IV, 439; Retro. "Autumn Musings" (Harte), Supp. Supp. I, 55; Supp. I, Part 2, II, Part 1, 336 "Autumn Within" (Longfellow), II, 423 499 Babbitt (Lewis), II, 442, 443-445, 446, 447, 449; III, 63-64, 394; "Autumn Woods" (Bryant), Supp. IV, 326 I, Part 1, 164 "Autumnal" (Eberhart), I, 540-541 Babcock, Elisha, Supp. II, Part 1, 69 "Aux Imagistes" (Williams), Supp. Babel, Isaac, IV, 1 I, Part 1, 266 Avedon, Richard, Supp. I, Part 1, Babel to Byzantium (Dickey), Supp. IV, Part 1, 177, 185 58; Supp. V, 194 "Avenue" (Pinsky), Supp. VI, 248 Babeuf, Fra^ois, Supp. I, Part 2, 518 Avenue Bearing the Initial of "Babies, The" (Strand), Supp. IV, Christ into the New World: Part 2, 625 Poems 1946-1964 (Kinnell), Supp. Ill, Part 1, 235, 239-241 "Baby, The" (Barthelme), Supp. IV, Part 1, 49 Avery, John, Supp. I, Part 1, 153

Baby Doll (Williams), IV, 383, 386, 387, 389, 395 "Baby Face" (Sandburg), III, 584 "Baby or the Botticelli, The" (Gass), Supp. VI, 92 "Baby Villon" (Levine), Supp. V, 182 "Babylon Revisited" (Fitzgerald), II, 95; Retro. Supp. I, 109 "Babysitter, The" (Coover), Supp. V, 43-44 Bacall, Lauren, Supp. IV, Part 1, 130 "Baccalaureate" (MacLeish), HI, 4 Bach, Johann Sebastian, Supp. I, Part I, 363; Supp. ffl, Part 2, 611,612,619 Bache, Richard, Supp. I, Part 2, 504 Bachelard, Gaston, III, 431 Bachmann, Ingeborg, Supp. IV, Part 1,310 Bachofen, J. J., Supp. I, Part 2, 560, 567 Back Bog Beast Bait (Shepard), Supp. Ill, Part 2, 437, 438 Back In The World (Wolff), Supp. VII, 344, 345 Back to Methuselah (Shaw), IV, 64 "Background with Revolutionaries" (MacLeish), III, 14-15 "Backgrounds of Lowell's Satire in 'The Bigelow Papers' " (Voss), Supp. I, Part 2, 426 "Backlash Blues, The" (Hughes), Supp. I, Part 1, 343 Backman, Melvin, II, 76 "Backwacking" (Ellison), Supp. II, Part 1, 248 Backward Glance, A (Wharton), Retro. Supp. I, 360, 363, 366, 378, 380, 382 "Backward Glance o'er Travel'd Roads, A" (Whitman), IV, 348 Bacon, Francis, II, 1, 8, 11, 15-16, 111; III, 284; Retro. Supp. I, 247; Supp. I, Part 1, 310, 388 Bacon, Leonard, II, 530 Bacon, Roger, IV, 69 "Bacterial War, The" (Nemerov), III, 272

366 / INDEX Bad Boys (Cisneros), Supp. VII, 58 "Bad Dream" (Taylor), Supp. V, 320 Bad Man, A (Elkin), Supp. VI, 47 Bad Man Blues: A Portable George Garrett (Garrett), Supp. VII, 111 "Bad Music, The" (Jarrell), II, 369 Badger, A. G., Supp. I, Part 1, 356 "Badger" (Clare), II, 387 Badley, Linda, Supp. V, 148 Baeck, Leo, Supp. V, 260 Baender, Paul, II, 125 Baez, Joan, Supp. IV, Part 1, 200 Bag of Bones (King), Supp. V, 139, 148, 151 "Baha'u'llah in the Garden of Ridwan" (Hayden), Supp. II, Part 1, 370, 378 "Bailbondsman, The" (Elkin), Supp. VI, 49, 50, 58 Bailey, Gamaliel, Supp. I, Part 2, 587, 590 Bailey, William, Supp. IV, Part 2, 631, 634 Bailyn, Bernard, Supp. I, Part 2, 484, 506, 525 Baird, Peggy, I, 385, 401 Bakan, David, I, 59 Baker, Carlos, II, 259, 270; IV, 425; Supp. I, Part 1, 198 Baker, George Pierce, III, 387; IV, 453, 455 Baker, Houston, Jr., Supp. IV, Part 1, 365 Baker, Samuel Bernard, Supp. I, Part 2, 626 Baker, Sheridan, II, 270 Bakerman, Jane S., Supp. IV, Part 2,468 Bakhtin, Mikhail, Supp. IV, Part 1,301 Bakunin, Mikhail Aleksandrovich, IV, 429 Balakian, Nona, II, 608; III, 4849; IV, 118 Balbuena, Bernado de, Supp. V, 11 Balch, Emily Greene, Supp. I, Part 1, 25

Balcony, The (Genet), I, 84 Bald Soprano, The (lonesco), I, 74 Baldanza, Frank, II, 607 Baldwin, Alice, Supp. I, Part 2, 626 Baldwin, David, Supp. I, Part 1, 47, 48, 49, 50, 51, 54, 65, 66 Baldwin, James, III, 47; IV, 496; Supp. I, Part 1, 47-71, 337, 341; Supp. II, Part 1,40; Supp. Ill, Part 1, 125; Supp. IV, Parti, 1, 10, 11, 163,369; Supp. V, 201 Baldwin, Mrs. David (Emma Berdis Jones), Supp. I, Part 1, 47, 48, 49, 65 Baldwin, Roger, Supp. I, Part 1, 12 Baldwin, Samuel, Supp. I, Part 1, 48 ' 'B aidwin' s Autobiographical Essays: The Problem of Negro Identity" (Lee), Supp. I, Part 1, 70 "Ball Game, The" (Creeley), Supp. IV, Part 1, 140 "Ballad: Between the Box Cars" (Warren), IV, 245 "Ballad of Billie Potts, The" (Warren), IV, 241-242, 243, 253 "Ballad of Carmilhan, The" (Longfellow), II, 505 "ballad of chocolate Mabbie, the" (Brooks), Supp. IV, Part 1, 15 "Ballad of Dead Ladies, The" (Villon), Retro. Supp. I, 286 "Ballad of Jesus of Nazareth, A" (Masters), Supp. I, Part 2, 459 "Ballad of John Cable and Three Gentlemen" (Merwin), Supp. Ill, Part 1, 342 "Ballad of Nat Turner, The" (Hayden), Supp. II, Part 1, 378 "Ballad of Pearl May Lee, The" (Brooks), Supp. Ill, Part 1, 74, 75 "Ballad of Remembrance, A" (Hayden), Supp. II, Part 1, 368, 372, 373 Ballad of Remembrance, A (Hayden), Supp. II, Part 1, 367

"Ballad of Sue Ellen Westerfield, The" (Hayden), Supp. II, Part 1,364 "Ballad of the Brown Girl, The" (Cullen), Supp. IV, Part 1, 168 Ballad of the Brown Girl, The (Cullen), Supp. IV, Part 1, 167, 168, 169-170, 173 "Ballad of the Children of the Czar, The" (Schwartz), Supp. II, Part 2, 649 "Ballad of the Girl Whose Name Is Mud" (Hughes), Retro. Supp. I, 205 "Ballad of the Goodly Fere", III, 458 "Ballad of the Harp-Weaver" (Millay), III, 135 "Ballad of the Sad Cafe, The" (McCullers), II, 586, 587, 588, 592, 595, 596-600, 604, 605, 606 "Ballad of Trees and the Master, A" (Lanier), Supp. I, Part 1, 370 "Ballade" (MacLeish), III, 4 "Ballade for the Duke of Orleans" (Wilbur), Supp. Ill, Part 2, 556 "Ballade of Broken Flutes, The" (Robinson), III, 505 "Ballade of Meaty Inversions" (White), Supp. I, Part 2, 676 Ballads and Other Poems (Longfellow), II, 489; III, 412, 422 Ballads for Sale (Lowell), II, 527 "Ballads of Lenin" (Hughes), Supp. I, Part 1,331 Ballantyne, Sheila, Supp. V, 70 Ballard, Josephine, see McMurtry, Josephine "Ballet of a Buffoon, The" (Sexton), Supp. II, Part 2, 693 "Ballet of the Fifth Year, The" (Schwartz), Supp. II, Part 2, 650 Ballew, Leighton M., I, 95 Balliett, Carl, Jr., IV, 376 "Balloon Hoax, The" (Poe), III, 413, 420 Ballou, Robert O., II, 365

INDEX / 367 Balo (Toomer), Supp. Ill, Part 2, 484 Balsan, Consuelo, IV, 313-314 Balthus, Supp. IV, Part 2, 623 Baltimore Afro-American (newspaper), Supp. I, Part 1, 326, 331 Baltimore Evening Sun (newspaper), III, 104, 105, 106, 110, 116 Baltimore Herald (newspaper), III, 102 Baltimore, Lord, I, 132 Baltimore Saturday Visitor (newspaper), III, 411 Baltimore Sun (newspaper), III, 102, 103, 104, 105, 110; Supp. I, Part 1, 365 Balzac, Honore de, I, 103, 123, 339, 376, 474, 485, 499, 509, 518; II, 307, 322, 324, 328, 336, 337; III, 61, 174, 184, 320, 382; IV, 192, Retro. Supp. I, 91, 217, 218, 235; Supp. I, Part 2, 647 Bancal, Jean, Supp. I, Part 2, 514 Bancroft, George, I, 544; Supp. I, Part 2, 479 Band of Angels (Warren), IV, 245, 254-255 Banfield, Raffaello de, IV, 400 Bang the Drum Slowly (Harris), II, 424^25 "Banjo Song, A" (Dunbar), Supp. II, Part 1, 197 "Bank of England Restriction, The" (Adams), I, 4 Bankhead, Tallulah, IV, 357; Supp. IV, Part 2, 574 Banks, Russell, Supp. V, 1-19, 227 Banta, Martha, II, 292 "Banyan" (Swenson), Supp. IV, Part 2, 651, 652 Baptism, The (Baraka), Supp. II, Part 1, 40, 41^2, 43 Baptism of Desire (Erdrich), Supp. IV, Part 1, 259 Barabtarlo, Gennady, Retro. Supp. 1,278 Baraka, Imamu Amiri (LeRoi Jones), Retro. Supp. I, 411;

Supp. I, Part 1, 63; Supp. II, Part 1, 29-63, 247, 250; Supp. Ill, Part 1, 83; Supp. IV, Part 1, 169, 244, 369 "Barbara Frietchie" (Whittier), Supp. I, Part 2, 695-696 "Barbarian Status of Women, The" (Veblen), Supp. I, Part 2, 636637 Barbarous Coast, The (Macdonald), Supp. IV, Part 2, 472, 474 Barbary Shore (Mailer), III, 27, 28, 30-31, 33, 35, 36, 40, 44 Barber, David, Supp. IV, Part 2, 550 Barber, Rowland, Supp. IV, Part 2,581 Barber, Samuel, Supp. IV, Part 1, 84 "Barclay of Ury" (Whittier), Supp. I, Part 2, 693 Bard of Savagery, The: Thorstein Veblen and Modern Social Theory (Diggins), Supp. I, Part 2,650 "Bare Hills, The" (Winters), Supp. II, Part 2, 790 Bare Hills, The (Winters), Supp. II, Part 2, 786, 788 "Barefoot Boy, The" (Whittier), Supp. I, Part 2, 691, 699-700 Barefoot in the Park (Simon), Supp. IV, Part 2, 575, 578579, 586, 590 Barely and Widely (Zukofsky), Supp. Ill, Part 2, 627, 628, 635 Barfield, Owen, III, 274, 279 "Bargain Lost, The" (Poe), III, 411 Barker, Clive, Supp. V, 142 Barker, George, I, 47 Barksdale, Richard, Retro. Supp. I, 202, 205; Supp. I, Part 1, 69, 341, 346 Barlow, Joel, Supp. I, Part 1, 124, Part 2, 511, 515, 521; Supp. II, Part 1, 65-86, 268 Barlow, Ruth Baldwin (Mrs. Joel Barlow), Supp. II, Part 1, 69 Barn Blind (Smiley), Supp. VI, 292-293

"Barn Burning" (Faulkner), II, 72, 73; Supp. IV, Part 2, 682 Barnaby Rudge (Dickens), III, 421 Barnard, Ellsworth, III, 525 Barnard, Frederick, Supp. I, Part 2,684 Barnes, Djuna, Supp. Ill, Part 1, 31-46; Supp. IV, Part 1, 79, 80 Barnes, John S., IV, 472 Barnett, Samuel, Supp. I, Part 1, 2 Barnouw, Erik, III, 167 Barnstone, Willis, Supp. I, Part 2, 458, 477 Barnum, P. T., Supp. I, Part 2, 703 Baroja, Pio, I, 478 "Baroque Comment" (Bogan), Supp. Ill, Part 1, 56, 58 "Baroque Wall-Fountain in the Villa Sciarra, A" (Wilbur), Supp. Ill, Part 2, 553 Barr, Robert, I, 409, 424 Barracks Thief, The (Wolff), Supp. VII, 344-345 Barren Ground (Glasgow), II, 174, 175, 178, 179, 184-185, 186, 187, 188, 189, 191, 192, 193, 194 Barres, Auguste M., I, 228 Barrett, Elizabeth, Supp. IV, Part 2,430 Barrett, Ralph, Supp. I, Part 2, 462 Barrow, John, II, 18 Barrus, Clara, I, 220 Barry, Philip, Retro. Supp. I, 104; Supp. IV, Part 1, 83; Supp. V, 95 Bartas, Seigneur du, IV, 157 Barth, John, 1,121-143; Supp. I, Part 1, 100; Supp. Ill, Part 1, 217; Supp. IV, Part 1, 48, 379; Supp. V, 39, 40 Barth, Karl, III, 40, 258, 291, 303, 309; IV, 225; Retro. Supp. I, 325, 326, 327 Barthelme, Donald, Supp. IV, Part 1, 39-58, 227; Supp. V, 2, 39,44 Barthes, Roland, Supp. IV, Part 1, 39, 119, 126

368 / INDEX Bartholomay, Julia, III, 289 Bartleby in Manhattan and Other Essays (Hardwick), Supp. Ill, Part 1, 204, 210 "Bartleby, the Scrivener; A Story of Wall-Street" (Melville), III, 88-89; Retro. Supp. I, 255 Bartlet, Phebe, I, 562 Bartlett, John, H, 171 Bartlett, Mary Dougherty, Supp. IV, Part 1, 335 Barton, Bruce, III, 14; Retro. Supp. I, 179 Barton, Priscilla, see Morison, Mrs. Samuel Eliot (Priscilla Barton) Barton, Rev. William E., Retro. Supp. I, 179 Bartram, John, Supp. I, Part 1, 244 Bartram, William, H, 313 Barzun, Jacques, II, 556 "Base of All Metaphysics, The" (Whitman), IV, 348 Basil Stories, The (Fitzgerald), Retro. Supp. I, 109 Basin and Range (McPhee), Supp. in, Part 1, 309 "Basin of Eggs, A" (Swenson), Supp. IV, Part 2, 645 "Basket, The" (Lowell), II, 522 "Basketball and Beefeaters" (McPhee), Supp. Ill, Part 1, 296 Basler, Roy P., Ill, 598 Bassan, Maurice, I, 424, 426 Basso, Hamilton, Retro. Supp. I, 80 Bastard, The (Caldwell), I, 291, 292, 308 "Bat, The" (Kenyon), Supp. VII, 168 "Batard" (London), II, 468-469 Bate, W. J., H, 531 Bates, Arlo, Retro. Supp. I, 35 Bates, Sylvia Chatfield, II, 586 "Bath, The" (Carver), Supp. Ill, Part 1, 144, 145 "Batter my heart, three person'd God" (Donne), Supp. I, Part 2, 726 Battle and the Books, The (Stone), Supp. I, Part 2, 626

"Battle Hymn of the Republic" (Sandburg), HI, 585 "Battle Hymn of the Republic, The" (Howe), III, 505 "Battle Hymn of the Republic, The" (Updike), Retro. Supp. I, 324 Battle of Angels (Williams), IV, 380, 381, 383, 385, 386, 387 "Battle of Lovell's Pond, The" (Longfellow), II, 493 Battle of the Atlantic, The (Morison), Supp. I, Part 2, 490 "Battle of the Baltic, The" (Campbell), Supp. I, Part 1, 309 "Battle of the Bunker, The" (Snodgrass), Supp. VI, 319-320 Battle-Ground, The (Glasgow), II, 175, 176, 177, 178, 193 Battle-Pieces and Aspects of the War (Melville), II, 538-539; III, 92; IV, 350; Retro. Supp. I, 257 "Battler, The" (Hemingway), II, 248; Retro. Supp. I, 175 "Baudelaire" (Schwartz), Supp. II, Part 2, 663 Baudelaire, Charles, Retro. Supp. I, 56, 90 Baudelaire, Charles P., I, 58, 63, 384, 389, 420, 569; II, 543, 544-545, 552; III, 137, 141142, 143, 144, 409, 417, 418, 421, 428, 432, 448, 466, 474; IV, 74, 79, 80, 87, 211, 286; Supp. I, Part 1, 271; Supp. Ill, Part 1, 4, 6, 105 Baudrillard, Jean, Supp. IV, Part 1,45 Bauer, Dale, Retro. Supp. I, 381 Baum, Catherine B., II, 221 Baum, L. Frank, Supp. I, Part 2, 621; Supp. IV, Part 1, 101, 113 Baum, S. V., I, 449 Baumann, Walter, III, 478 Baumbach, Jonathan, I, 165; III, 242, 243, 360; IV, 118; Supp. I, Part 2, 452 Bausch, Richard, Supp. VII, 3942 Baxandall, Lee, I, 95

Baxter, Annette, III, 192 Baxter, Richard, III, 199; IV, 151, 153; Supp. I, Part 2, 683 "Bay City Blues" (Chandler), Supp. IV, Part 1, 129 Bay Psalm Book, Supp. I, Part 1, 106 Baylies, William, Supp. I, Part 1, 153 Baym, Nina, Supp. IV, Part 2, 463 Bayou Folk (Chopin), Supp. I, Part 1, 200, 216, 218 Bazalgette, Leon, IV, 189 Be Angry at the Sun (Jeffers), Supp. II, Part 2, 434 Be Glad You 're Neurotic (Bisch), Supp. I, Part 2, 608 Beach, Joseph Warren, I, 70, 119, 309, 311, 500, 520; II, 27, 52, 341; III, 72, 319; IV, 71, 473 Beach, Leonard, II, 318 Beach, Sylvia, IV, 404; Retro. Supp. I, 109, 422 "Beach Women, The" (Pinsky), Supp. VI, 241 Beaman, E. O., Supp. IV, Part 2, 604 Bean Eaters, The (Brooks), Supp. III, Part 1,79-81 Bean, Michael, Supp. V, 203 Bean, Robert Bennett, Supp. II, Part 1, 170 Bean Trees, The (Kingsolver), Supp. VII, 197, 199-201, 202, 207, 209 "Beanstalk Country, The" (Williams), IV, 383 "Bear" (Hogan), Supp. IV, Part 1, 412 "Bear, The" (Faulkner), II, 71-72, 73, 228; IV, 203; Supp. IV, Part 2, 434 "Bear, The" (Kinnell), Supp. Ill, Part 1, 244 "Bear, The" (Momaday), Supp. IV, Part 2, 480, 487 Bear and His Daughter: Stories (Stone), Supp. V, 295, 308 Beard, Charles, I, 214; IV, 429; Supp. I, Part 2, 481, 490, 492, 632, 640, 643, 647

INDEX / 369 Beard, James, I, 341, 356 Beard, Mary, Supp. I, Part 2, 481 "Bearded Oaks" (Warren), IV, 240 Bearden, Romare, Retro. Supp. I, 209 Beardsley, Aubrey, II, 56; IV, 77 "Beast" (Swenson), Supp. IV, Part 2, 639 Beast in Me, The (Thurber), Supp. I, Part 2, 615 "Beast in the Jungle, The" (James), I, 570; II, 335; Retro. Supp. I, 235; Supp. V, 103-104 Beast in View (Rukeyser), Supp. VI, 272, 273, 279, 280 "Beat! Beat! Drums!" (Whitman), III, 585 "Beatrice Palmato" (Wharton), Retro. Supp. I, 379 Beattie, Ann, Supp. V, 21-37 Beatty, General Sam, I, 193 Beatty, Richard Groom, II, 221; Supp. I, Part 2, 425 Beaty, Jerome, Supp. IV, Part 1, 331 Beaumont, Francis, Supp. I, Part 2,422 "Beauties of Santa Cruz, The" (Freneau), Supp. II, Part 1, 260 "Beautiful & Cruel" (Cisneros), Supp. VII, 63, 67 Beautiful and the Damned, The (Fitzgerald), II, 88, 89-91, 93, 263; Retro. Supp. I, 103, 103105, 105, 106, 110 "Beautiful Changes, The" (Wilbur), Supp. Ill, Part 2, 549, 550 Beautiful Changes, The (Wilbur), Supp. Ill, Part 2, 544-550 "Beautiful Child, A" (Capote), Supp. Ill, Part 1, 113, 125 "Beautiful Woman Who Sings, The" (Gunn Allen), Supp. IV, Part 1, 326 "Beauty" (Emerson), II, 2, 5 "Beauty" (Wylie), Supp. I, Part 2, 710 "Beauty and the Beast," IV, 266 "Beauty and the Beast" (Dove), Supp. IV, Part 1, 245

Beauty's Punishment (Rice), Supp. VII, 301 Beauty's Release: The Continued Erotic Adventures of Sleeping Beauty (Rice), Supp. VII, 301 Beauvoir, Simone de, IV, 477; Supp. I, Part 1, 51; Supp. Ill, Part 1, 200-201, 208; Supp. IV, Part 1, 360 Beaver, Joseph, Supp. I, Part 1, 373 "Because I could not stop for Death" (Dickinson), 38-40, 41, Retro. Supp. I, 43, 44 Bech: A Book (Updike), IV, 214; Retro. Supp. I, 329, 335 Beck, Dave, I, 493 Beck, Jack, Supp. IV, Part 2, 560 Beck, Warren, II, 76; Supp. I, Part 2, 681 Becker, Carl, Supp. I, Part 2, 492, 493 Becker, Paula, see Modersohn, Mrs. Otto (Paula Becker) Beckett, Samuel, I, 71, 91, 142, 298, 461; III, 387; IV, 95; Retro. Supp. I, 206; Supp. IV, Part 1, 297, 368-369, Part 2, 424; Supp. V, 23, 53 Beckett, Tom, Supp. IV, Part 2, 419 Beckford, William, I, 204 Beckonings (Brooks), Supp. Ill, Part 1, 85 "Becky" (Toomer), Supp. Ill, Part 2, 481, 483 "Becoming and Breaking: Poet and Poem" (Rios), Supp. IV, Part 2, 539 Becoming Canonical in American Poetry (Morris), Retro. Supp. I, 40 Becoming Light: New and Selected Poems (Jong), Supp. V, 115 Beddoes, Thomas Lovell, III, 469; Retro. Supp. I, 285 Bedichek, Roy, Supp. V, 225 "Bedrock" (Proulx), Supp. VII, 253 "Bee, The" (Lanier), Supp. I, Part 1,364

"Bee Hunt, The" (Irving), II, 313 Beebe, Maurice, II, 76; IV, 472 Beecher, Catharine, Supp. I, Part 2, 581, 582-583, 584, 586, 588, 589, 591, 599 Beecher, Charles, Supp. I, Part 2, 588, 589 Beecher, Edward, Supp. I, Part 2, 581, 582, 583, 584, 588, 591 Beecher, Harriet, see Stowe, Harriet Beecher Beecher, Henry Ward, II, 275; Supp. I, Part 2, 581 Beecher, Lyman, Supp. I, Part 2, 580-581, 582, 583, 587, 588, 599 Beecher, Mrs. Lyman (Roxanna Foote), Supp. I, Part 2, 580581, 582, 588, 599 Beer, Thomas, I, 405, 426 "Beer in the Sergeant Major's Hat, or The Sun Also Sneezes" (Chandler), Supp. IV, Part 1, 121 Beerbohm, Max, III, 472; IV, 436; Supp. I, Part 2, 714 Beet Queen, The (Erdrich), Supp. IV, Part 1, 259, 260, 264-265, 266, 273, 274, 275 Beethoven, Ludwig van, II, 536; III, 118; IV, 274, 358; Supp. I, Part 1, 363 Befo' de War: Echoes in Negro Dialect (Gordon), Supp. II, Part 1, 201 Before Adam (London), II, 466 "Before Disaster" (Winters), Supp. II, Part 2, 801, 815 Before Disaster (Winters), Supp. II, Part 2, 786, 800 "Before I Knocked" (Thomas), III, 534 "Before March" (MacLeish), III, 15 "Before the Altar" (Lowell), II, 516 "Before the Birth of one of her children" (Bradstreet), Supp. I, Parti, 118 "Begat" (Sexton), Supp. II, Part 2,693

370 / INDEX Beggar on Horseback (Kaufman and Connelly), III, 394 "Beggar Said So, The" (Singer), IV, 12 Beggar's Opera, The (Gay), Supp. I, Part 2, 523 Begin Again (Paley), Supp. VI, 221 "Beginning and the End, The" (Jeffers), Supp. II, Part 2, 420421, 424 "Beginning of Decadence, The" (Jeffers), Supp. II, Part 2, 420 Beginning of Wisdom, The (Benet), 1,358 "Behavior" (Emerson), II, 2, 4 Behind a Mask (Alcott), Supp. I, Part 1, 36-37, 43^4 "Behind a Wall" (Lowell), II, 516 "Behind Spoon River" (Van Doren), Supp. I, Part 2, 478 "Behold the Key" (Malamud), Supp. I, Part 2, 437 Behrman, S. N., Supp. V, 95 Beidler, Peter G., Supp. IV, Part 2,557 Beiliss, Mendel, Supp. I, Part 2, 427, 446, 447, 448 "Being a Lutheran Boy-God in Minnesota" (Bly), Supp. IV, Part 1, 59, 67 Being and Race (Johnson), Supp. VI, 193, 199 Being There (Kosinski), Supp. VII, 215, 216, 222-223 Belcher, William R, III, 574 "Beleaguered City, The" (Longfellow), II, 498 Belfrey Owl (magazine), Supp. I, Part 1, 320 Belfry of Bruges and Other Poems, The (Longfellow), II, 489 "Belief (Levine), Supp. V, 186, 190 "Beliefs of Writers, The" (Doctorow), Supp. IV, Part 1, 235-236 "Believers, The/Los Creyentes" (Kingsolver), Supp. VII, 208 Belinda (Rice), Supp. VII, 301302

"Belinda's Petition" (Dove), Supp. IV, Part 1, 13-14; Supp. V, IV, Part 1, 245 259 "Belita" (Rios), Supp. IV, Part 2, Beloved Lady: A History of Jane 541 Addams' Ideas on Reform and Belkind, Alan, I, 496 Peace (Farrell), Supp. I, Part 1, Bell, Arthur, IV, 401 24,27 Bell, Clive, IV, 87 Ben Franklin's Wit and Wisdom (Franklin), II, 111 Bell, Daniel, Supp. I, Part 2, 648 Bell, George E., Supp. I, Part 1, Benchley, Nathaniel, Supp. I, Part 69 2,626 Bell, George Kennedy Allen, Benchley, Robert, I, 48, 482; II, Retro. Supp. I, 65 435; III, 53 Bell Jar, The (Plath), Supp. I, Bend Sinister (Nabokov), III, 253Part 2, 526, 527, 529, 531-536, 254; Retro. Supp. I, 265, 266, 539, 540, 541, 542, 544 270 Benda, W. T., Retro. Supp. I, 13 Bell, Marvin, Supp. V, 337, 339 Benedetti, Anna, I, 70 Bell, Michael D., Supp. I, Part 1, 148 Benefactor, The (Sontag), Supp. Bell, Millicent, IV, 329 III, Part 2, 451, 455, 468, 469 Bell, Quentin, Supp. I, Part 2, 636 "Benefit Performance" (Malamud), "Bell Tower, The" (Melville), III, Supp. I, Part 2, 431 Benet, Rosemary, Supp. I, Part 2, 91 Bell, Vereen, IV, 234 626 Benet, Stephen Vincent, I, 358; II, Bell, Whitfield J., Jr., II, 123 177; III, 22, 24; IV, 129; Supp. Bellamy, Edward, II, 276; Supp. I, I, Part 2, 626 Part 2, 641 Benet, William Rose, II, 530; Bellamy, Gladys C, IV, 213 "Belle Dollinger" (Masters), Supp. Retro. Supp. I, 108; Supp. I, Part 2, 626, 709, 730 I, Part 2, 463 Ben-Hur (film), Supp. IV, Part 2, "Belle Zora'ide, La" (Chopin), Supp. I, Part 1, 215-216 683 Belleforest, Fran£ois de, IV, 370 Benito Cereno (Lowell), II, 546 "Benito Cereno" (Melville), III, Belloc, Hilary, III, 176; IV, 432 91; Retro. Supp. I, 255 Bellow, Saul, I, 113, 138-139, Benjamin Franklin (Van Doren), 144-166, 375, 517; II, 579; III, Supp. I, Part 2, 486 40; IV, 3, 19, 22, 217, 340; "Benjamin Pantier" (Masters), Supp. I, Part 2, 428, 451; Supp. I, Part 2, 461 Supp. II, Part 1, 109; Supp. Bennett, Anne Virginia, II, 184 IV, Part 1, 30; Supp. V, 258 "Bells, The" (Poe), III, 593; Supp. Bennett, Arnold, I, 103; II, 337 Bennett, George N., II, 294 I, Part 2, 388 Bennett, John C., Ill, 313 "Bells, The" (Sexton), Supp. II, Bennett, Mildred R., I, 333 Part 2, 673 Bennett, Patrick, Supp. V, 225 "Bells for John Whiteside's Bennett, Paula, Retro. Supp. I, 29, Daughter" (Ransom), III, 490 33,42 "Bells of Lynn, The" Bennett, Whitman, Supp. I, Part (Longfellow), II, 498 "Bells of San Bias, The" 2,705 Benson, A. C., II, 340 (Longfellow), II, 490-491, 493, Benson, Ivan, IV, 213 498 Benson, Jackson J., II, 270; Supp. Beloved (Morrison), Supp. Ill, IV, Part 2, 613 Part 1, 364, 372-379; Supp.

INDEX / 371 Benstock, Shari, Retro. Supp. I, 361, 368, 371, 382 Bentham, Jeremy, I, 279; Supp. I, Part 2, 635 Bentley, Eric, Supp. I, Part 1, 297 Bentley, Eric R., Ill, 407; IV, 258, 396 Bentley, Richard, III, 79, 86 Benton, Richard P., Ill, 432 Benton, Robert, Supp. IV, Part 1, 236 Beowulf, Supp. II, Part 1, 6 Bercovitch, Sacvan, Retro. Supp. I, 408; Supp. I, Part 1, 99, Part 2,659 Berdyaev, Nikolai, I, 494; III, 292 "Bereaved Apartments" (Kingsolver), Supp. VII, 203 "Bereavement in their death to feel" (Dickinson), Retro. Supp. I, 43, 44 "Berenice" (Poe), III, 415, 416, 425 Berenice (Racine), II, 573 Berenson, Bernard, Retro. Supp. I, 381; Supp. IV, Part 1,314 Berg, Stephen, Supp. IV, Part 1, 60 Berger, Charles, Retro.* Supp. I, 311 Berger, Thomas, III, 258 Bergman, Ingmar, I, 291 Bergson, Henri, I, 224; II, 163, 165, 166, 359; III, 8, 9, 488, 619; IV, 86, 122, 466, 467; Supp. IV, Part 1, 42 Bergson, Henri Louis, Retro. Supp. I, 55, 57, 80 Bergstrasser, Arnold, IV, 376 Berkeley, Anthony, Supp. IV, Part 1, 341 Berkeley, George, II, 10, 349, 357, 480, 554 Berkowitz, Gerald, Supp. IV, Part 2,590 Berland, Alwyn, IV, 142 Berlin Stories (Isherwood), Supp. IV, Part 1, 82 Berlyne, Daniel E., Supp. I, Part 2,672 Bernard, F. V., Supp. I, Part 2, 626

Bernard Clare (Farrell), II, 38, 39 Bernard Malamud (Richman), Supp. I, Part 2, 453 Bernard Malamud: A Collection of Critical Essays (eds. Field and Field), Supp. I, Part 2, 452, 453 Bernard Malamud: An Annotated Check List (Kosofsky), Supp. I, Part 2, 452 Bernard Malamud and the Critics (eds. Field and Field), Supp. I, Part 2, 453 "Bernard Malamud and the Jewish Literary Tradition" (Rovit), Supp. I, Part 2, 453 "Bernard Malamud and the New Life" (Tanner), Supp. I, Part 2, 453 "Bernard Malamud: The Magic and the Dread" (Kazin), Supp. I, Part 2, 453 "Bernard Malamud: The Sadness of Goodness" (Klein), Supp. I, Part 2, 453 "Bernard Malamud's Fiction: The Old and the New" (Solotaroff), Supp. I, Part 2, 453 Bernard, Saint, II, 538 Bernard of Clairvaux, Saint, I, 22 Berneis, Peter, IV, 383 Bernhardt, Sarah, I, 484; Retro. Supp. I, 377 Bernice (Glaspell), Supp. Ill, Part 1, 179 "Bernice Bobs Her Hair" (Fitzgerald), II, 88; Retro. Supp. I, 103 Bernstein, Aline, IV, 455, 456 Bernstein, Burton, Supp. I, Part 2, 626 Bernstein, Charles, Supp. IV, Part 2, 421, 426 Bernstein, John, III, 97 Bernstein, Leonard, I, 28; Supp. I, Part 1, 288, 289; Supp. IV, Part 1, 83, 84 Bernstein, Michael Andre, Retro. Supp. I, 427 "Berry" (Hughes), Supp. I, Part 1, 329, 330 Berry, Edmund G., II, 23

Berry, Faith, Retro. Supp. I, 194, 201 Berry, Walter, IV, 313-314, 326 Berryman, John, 1,167-189, 405, 426, 441-442, 521; II, 148, 390, 554; III, 273, 289; IV, 138, 430; Retro. Supp. I, 430; Supp. I, Part 2, 546; Supp. II, Part 1, 109; Supp. Ill, Part 2, 541, 561, 595, 596, 603; Supp. IV, Part 2, 620, 639; Supp. V, 179180, 337 Berryman, John Angus McAlpin, I, 167-168 Berryman, Mrs. John, I, 168-169 Berryman, Mrs. John Angus McAlpin, I, 167-168 Berryman's Sonnets (Berryman), I, 168, 175-178 Bersani, Leo, III, 47 Berthoff, Warner, I, 426; II, 413; III, 97; IV, 448; Supp. I, Part 1, 133, 148, Part 2, 477 Berti, Luigi, Supp. I, Part 1, 275 Bertolucci, Bernardo, Supp. IV, Part 1, 94 "Bertrand Hume" (Masters), Supp. I, Part 2, 463-164 Best American Poetry, The: 1988 (ed. Ashbery), Supp. Ill, Part 1,26 Best American Short Stories, I, 174; II, 587; III, 443; Supp. IV, Part 1, 102, 315 Best American Short Stories of 1942, The, Supp. V, 316 Best American Short Stories of the Eighties, The (ed. Ravenal), Supp. IV, Part 1, 93 Best Man, The: A Play About Politics (Vidal), Supp. IV, Part 2,683 Best Short Plays, The (Mayorga), IV, 381 Best Short Stories, The (ed. O'Brien), I, 289 Best Short Stories by Negro Writers, The (ed. Hughes), Supp. I, Part 1, 345 Best Times, The: An Informal Memoir (Dos Passos), I, 475, 482

372 / INDEX Bestiaire, Le (Apollinaire), IV, 80 Bestiary, A (Wilbur), Supp. Ill, Part 2, 552 "BETANCOURT" (Baraka), Supp. II, Part 1, 33, 34 Bete humaine, La (Zola), III, 316, 318 "Bethe" (Hellman), Supp. I, Part I, 293 Bethel Merriday (Lewis), II, 455 Bethune, Mary McLeod, Retro. Supp. I, 197; Supp. I, Part 1, 333 Bethurum, Dorothy, IV, 121 "Betrayal" (Larder), Supp. I, Part 1,364 "Betrothed" (Bogan), Supp. ffl, Part 1, 49-51 Bettelheim, Bruno, Supp. I, Part 2,622 Better Days (Price), Supp. VI, 264 Better Sort, The (James), II, 335 Betty Leicester (Jewett), II, 406 Betty Leicester's Christmas (Jewett), II, 406 Between Fantoine and Agapa (Pinget), Supp. V, 39 Between Myth and Morning: Women Awakening (Janeway), Supp. I, Part 1, 46 "Between the Porch and the Altar" (Lowell), II, 540-541 "Between the World and Me" (Wright), Supp. II, Part 1, 228 Between Time and Timbuktu (Vonnegut), Supp. II, Part 2, 753, 759 Beum, Robert, IV, 425 Bevis, Howard L., Supp. I, Part 2, 611 Bevis, John, Supp. I, Part 2, 503 "Bewitched" (Wharton), IV, 316 Bewley, Marius, I, 286, 336, 357; II, 245; Supp. I, Part 1,251 Beyle, Marie Henri, see Stendhal "Beyond Charles River to the Acheron" (Lowell), II, 541 Beyond Criticism (Shapiro), Supp. H, Part 2, 703, 711 Beyond Culture (Trilling), Supp. m, Part 2, 508-512 Beyond Desire (Anderson), I, 111

Beyond Document: The Art of Nonfiction Film (ed. Warren), Supp. IV, Part 2, 434 Beyond Good and Evil (Nietzsche), Supp. IV, Part 2, 519 "Beyond the Alps" (Lowell), II, 547, 550 "Beyond the Bayou" (Chopin), Supp. I, Part 1, 215 Beyond the Horizon (O'Neill), III, 389 Beyond the Hundredth Meridian: John Wesley Powell and the Second Opening of the West (Stegner), Supp. IV, Part 2, 599,603-604,611 "Beyond the Kittery Bridge" (Hatlen), Supp. V, 138 Beyond Tragedy (Niebuhr), III, 300-303 Bezanson, W. E., HI, 95 Bhagavad Gita, III, 566; IV, 183 "Biafra: A People Betrayed" (Vonnegut), Supp. II, Part 2, 760 Bianchi, Martha Dickinson, I, 470, 472; Retro. Supp. I, 35, 37, 38 Bible, I, 191, 280, 414, 421, 490, 506; II, 6, 12, 15, 17, 108,231, 237, 238, 252, 267, 302; III, 28, 199, 308-309, 341, 343, 350, 356,402,492,519,565,577; IV, 11, 13,42,57,60,67, 152, 153, 154, 155, 164, 165, 296, 337, 341, 367, 369, 370, 371, 438; names of biblical books; Old Testament; Retro. Supp. I, 91; Supp. I, Parti, 4, 6, 63, 101, 104, 105, 113, 193,369, Part 2, 388, 433, 494, 515, 516, 517,583,584,587,589,653, 689, 690, 691; Supp. IV, Part I, 284; see also New Testament; Old Testament; Psalms Biblia Americana (Mather), Supp. II, Part 2, 442 Bibliography of James Russell Lowell A (Cooke), Supp. I, Part 2, 425 Bibliography of John Greenleaf Whittier, A (Currier), Supp. I, Part 2, 705

Bibliography of Oliver Wendell Holmes, A (Currier), Supp. I, Part 1,319 Bibliography of the First Editions in Book Form of James Russell Lowell, A (Livingston), Supp. I, Part 2, 425 Bibliography of the King's Book, A; or, Eikon Basilike (Almack), Supp. IV, Part 2, 435 "Bibliography of the King's Book, A, or, Eikon Basilike" (Howe), Supp. IV, Part 2, 435 Bibliography of William Cullen Bryant and His Critics, 18081972, A (Phair), Supp. I, Part 1, 173 Bid Me to Live (Doolittle), Supp. I, Part 1, 258, 260, 268, 269, 270 "Bien Pretty" (Cisneros), Supp. VII, 70 Biencourt, Marius, III, 336 Bier, Jesse, HI, 384 Bierce, Albert, I, 191, 209 Bierce, Ambrose, 1,190-213, 419; II, 74, 264, 271; IV, 350 Bierce, Day, I, 195, 199 Bierce, General Lucius Verus, I, 191 Bierce, Helen, I, 210 Bierce, Leigh, I, 195, 198, 208 Bierce, Marcus, I, 190, 191 Bierce, Mrs. Ambrose, I, 194-195, 199 Bierce, Mrs. Marcus, I, 190, 191 Biffle, Kent, Supp. V, 225 Big as Life (Doctorow), Supp. IV, Part 1, 231, 234 Big Bozo, The (Glaspell), Supp. Ill, Part 1, 182 Big Knife, The (Odets), Supp. II, Part 2, 546, 547, 548 Big Knockover, The (Hammett), Supp. I, Part 1, 292; Supp. IV, Part 1, 344, 345, 356 Big Laugh, The (O'Hara), III, 362, 373-375 Big Money, The (Dos Passos), I, 482, 483, 486-487, 489; Supp. I, Part 2, 646, 647

INDEX / 373 "Big Rock Candy Figgy Pudding Pitfall, The" (Didion), Supp. IV, Part 1, 195 Big Rock Candy Mountain, The (Stegner), Supp. IV, Part 2, 596, 597, 598, 599, 600, 603, 604, 605, 606-607, 608, 610611 Big Sea, The (Hughes), Retro. Supp. I, 195, 197, 199, 201, 204; Supp. I, Part 1, 322, 332, 333; Supp. H, Part 1, 233-234 Big Sleep, The (Chandler), Supp. IV, Part 1, 122-125, 127, 128, 134 Big Sleep, The (film), Supp. IV, Part 1, 130 Big Sur (Kerouac), Supp. Ill, Part 1,230 Big Sur and the Oranges of Hieronymous Bosch (Miller), m, 189-190 "Big Two-Hearted River" (Hemingway), H, 249; Retro. Supp. I, 170-171 Big Town, The (Lardner), II, 426, 429 "Big Wind" (Roethke), III, 531 Bigelow, Charles C, II, 22 Bigelow, Jacob, Supp. I, Part 1, 302 Bigelow, John, Supp. I, Part 1, 173 Bigelow Papers, The (Lowell), Supp. I, Part 2, 406, 407, 408, 410,411^12,415,417,424 Bigelow Papers, Second Series, The (Lowell), Supp. I, Part 2, 406, 415^16 Bigsby, C. W. E., I, 95; Supp. I, Part 1, 69 "Bilingual Sestina" (Alvarez), Supp. VII, 10 "Bill" (Winters), Supp. II, Part 2, 792 "Bill, The" (Malamud), Supp. I, Part 2, 427, 430, 434 Bill of Rites, a Bill of Wrongs, a Bill of Goods, A (Morris), III, 237 Billings, Gladys, see Brooks, Mrs. Van Wyck

"Billy" (Gordon), Supp. IV, Part 1,306 Billy Bathgate (Doctorow), Supp. IV, Part 1, 217, 219, 222, 224, 227, 229-231, 231, 232, 233, 238 Billy Bathgate (film), Supp. IV, Part 1, 236 Billy Budd, Sailor (Melville), III, 40, 93-95; IV, 105; Retro. Supp. I, 249, 258-260 Billy Phelan's Greatest Game (Kennedy), Supp. VII, 131, 132, 134, 135, 142-147, 149, 151, 153, 155 Billy the Kid, Supp. IV, Part 2, 489, 490, 492 Biloxi Blues (Simon), Supp. IV, Part 2, 576, 577, 584, 586-587, 590 "Bimini" (Hemingway), II, 258 Bingham, June, III, 312 Bingham, Millicent Todd, I, 470, 472, 473; Retro. Supp. I, 36 Bingo Palace, The (Erdrich), Supp. IV, Part 1, 259, 260, 261, 263-264, 265, 266-267, 268-269, 270, 271-273, 274, 275 "Binsey Poplars" (Hopkins), Supp. I, Part 1, 94; Supp. IV, Part 2, 639 Bio-Bibliography ofLangston Hughes, 1902-1967, A (Dickinson), Supp. I, Part 1, 348 Biographia Literaria (Coleridge), II, 10; Retro. Supp. I, 308 "Biography" (Pinsky), Supp. VI, 235, 236, 239, 241, 243, 249, 250 Biography and Poetical Remains of the Late Margaret Miller Davidson (Irving), II, 314 Biography of William Cullen Bryant, with Extracts from His Private Correspondence, A (Godwin), Supp. I, Part 1, 173 "Birchbrook Mill" (Whittier), Supp. I, Part 2, 699 "Birches" (Frost), II, 154; Retro. Supp. I, 132

Bird, Alan, Supp. I, Part 1, 260 Bird, Robert M., Ill, 423 "Bird came down the Walk, A" (Dickinson), Retro. Supp. I, 37 "Bird Frau, The" (Dove), Supp. IV, Part 1, 245 "Bird, the Bird, the Bird, The" (Creeley), Supp. IV, Part 1, 149 Birdoff, Harry, Supp. I, Part 2, 601 Birds of America (McCanhy), n, 579-583 "Bird-Witted" (Moore), IH, 214 Birkerts, Sven, Supp. IV, Part 2, 650; Supp. V, 212 Birkhead,L. M.,IH, 116 "Birmingham Sunday" (Hughes), Supp. I, Part 1, 343 Birney, James G., Supp. I, Part 2, 587, 588 Birth of a Nation, The (film), Supp. I, Part 1, 66 "Birth of the Water Baby, The" (Jong), Supp. V, 131 Birth of Tragedy, The (Nietzsche), Supp. IV, Part 1, 105, 110, Part 2, 519 "Birth of Venus, The" (Botticelli), IV, 410 "Birth of Venus, The" (Rukeyser), Supp. VI, 281 "Birthday Cake for Lionel, A" (Wylie), Supp. I, Part 2, 721 "Birthday of Mrs. Pineda, The" (Rios), Supp. IV, Part 2, 542, 546 "Birthday Present, A" (Plath), Supp. I, Part 2, 531 "Birthmark, The" (Ellison), Supp. II, Part 1, 237-238 "Birth-mark, The" (Hawthorne), Retro. Supp. I, 152 Birth-mark, The: Unsettling the Wilderness in American Literary History (Howe), Supp. IV, Part 2,422,431,434 Bisch, Louis E., Supp. I, Part 2, 608 Bishop, Elizabeth, II, 390; III, 217; Retro. Supp. I, 140, 296, 303; Supp. I, Part 1, 79-97;

374 / INDEX Bishop, Elizabeth (continued) Supp. Ill, Part 1, 6, 7, 10, 1-8, 64, 239, 320, 326, Part 2, 541, 561; Supp. IV, Part 1,249, 257, Part 2, 439, 626, 639, 641, 644, 647, 651, 653; Supp. V, 337 Bishop, Ferman, II, 413 Bishop, John Peale, I, 119, 432, 440; H, 81, 85, 86-87, 91, 209; III, 384; IV, 35, 140, 427; Retro. Supp. I, 109; Supp. I, Part 2, 709 Bishop, John W., Supp. I, Part 1, 83 Bishop, Morris, Supp. I, Part 2, 676, 681 Bishop, William Thomas, Supp. I, Part 1, 83 Bismark, Otto von, Supp. I, Part 2,643 "Bistro Styx, The" (Dove), Supp. IV, Part 1,250-251 Bitov, Andrei, Retro. Supp. I, 278 "Bitter Drink, The" (Dos Passos), Supp. I, Part 2, 647 "Bitter Farce, A" (Schwartz), Supp. II, Part 2, 640, 657-658 "Bitter Pills for the Dark Ladies" (Jong), Supp. V, 118 Bitter Victory (Hardy, trans. Kinnell), Supp. Ill, Part 1, 235 Bittner, William, III, 432 Bixby, Horace, IV, 194 Bjorkman, Frances Maule, Supp. V,285 Bjornson, Bjornstjerne, II, 275 Black, Jeanette, see Norris, Mrs. Frank (Jeanette Black) Black, John, IV, 353 Black, Stephen A., Supp. I, Part 2,626 "Black Aesthetic in White America, The" (Daniels), Supp. I, Part 1, 70 Black Armour (Wylie), Supp. I, Part 2, 708, 709, 712-714, 729 "Black Art" (Baraka), Supp. II, Part 1,49, 50-51, 59, 60 "Black Art, The" (Sexton), Supp. II, Part 2, 682

Black Arts Movement, Supp. II, Part 1, 34, 53 Black Beetles in Amber (Bierce), I, 204, 209 "Black Birch in Winter, A" (Wilbur), Supp. Ill, Part 2, 561 Black Boy (Wright), IV, 477, 478, 479, 480-482, 488, 489, 494; Supp. II, Part 1, 235-236; Supp. IV, Part 1, 11 "Black Boys and Native Sons" (Howe), Supp. I, Part 1, 70 Black Cargo, The (Marquand), III, 55,60 Black Cargoes: A History of the Atlantic Slave Trade (Cowley), Supp. II, Part 1, 140 "Black Cat, The" (Poe), III, 413, 414, 415 Black Cat (publication), II, 465, 479 "Black Christ, The" (Cullen), Supp. IV, Part 1, 170, 171172 Black Christ and Other Poems, The (Cullen), Supp. IV, Part 1, 166, 170 "Black Cottage, The" (Frost), Retro. Supp. I, 128 "BLACK DADA NIHILISMUS" (Baraka), Supp. II, Part 1, 39, 41 "Black Death" (Hurston), Supp. VI, 153 "Black Earth" (Moore), III, 197, 212 Black Fire: An Anthology of Afro American Writing (ed. Baraka), Supp. II, Part 1, 53 Black Flame, The (Du Bois), Supp. II, Part 1, 159, 185-186 Black Folk, Then and Now: An Essay in the History and Sociology of the Negro Race (Du Bois), Supp. II, Part 1, 159, 178, 183, 185 "Black Fox, The" (Whittier), Supp. I, Part 2, 692 "Black Gang,", IV, 406-407 Black Humor (Johnson), Supp. VI, 187, 199

Black Image in the White Mind, The (Fredrickson), Supp. I, Part 2, 589, 601 "Black Is My Favorite Color" (Malamud), Supp. I, Part 2, 437 "Black Jewel, The" (Merwin), Supp. Ill, Part 1, 355 Black Light (Kinnell), Supp. Ill, Part 1, 235, 243 Black Magic, A Pictorial History of the Negro in American Entertainment (Hughes), Supp. I, Part 1, 345 Black Magic: Collected Poetry 1961-1967 (Baraka), Supp. II, Part 1, 45, 49-50 Black Manhattan (Johnson), Supp. IV, Part 1, 169 Black Mask (magazine), Supp. IV, Part 1, 121, 343, 345, 346, 351 Black Mass, A (Baraka), Supp. II, Part 1, 46, 48-49, 56, 57 "Black Mesa, The" (Merrill), Supp. Ill Part 1, 328 Black Metropolis (Cayton and Drake), IV, 475, 486, 488 Black Misery (Hughes), Supp. I, Part 1, 336 Black Mountain Review, The (magazine), Supp. IV, Part 1, 144 Black Mountain School, Supp. II, Part 1, 30 Black Music (Baraka), Supp. II, Part 1,47, 51 Black Nativity (Hughes), Retro. Supp. I, 196 "Black Panther" (Hughes), Retro. Supp. I, 211 Black Power (Wright), IV, 478, 488, 494 "Black Rainbow, A: Modern AfroAmerican Poetry" (Dove and Waniek), Supp. IV, Part 1, 244 Black Reconstruction (Du Bois), Supp. II, Part 1, 159, 162, 171, 182 Black Renaissance, Supp. II, Part 1, 173 Black Riders and Other Lines, The (Crane), I, 406, 419

INDEX / 375 "Black Rook in Rainy Weather" (Plath), Supp. I, Part 2, 543, 544 Black Scholar (publication), Supp. IV, Part 1, 1 Black Spear, The (Hayden), Supp. II, Part 1, 375 Black Spring (Miller), III, 170, 175, 178, 180-182, 183, 184 "Black Swan, The" (Jarrell), II, 382 Black Swan, The (Merrill), Supp. III, Parti, 319, 320 "Black Tambourine" (Crane), I, 387-388; II, 371 Black Troubadour: Langston Hughes (Rollins), Supp. I, Part 1,348 "Black Tuesday" (Swenson), Supp. IV, Part 2, 646 Black Voices (Chapman), IV, 485 "Black Wedding, The" (Singer), IV, 12-13 "Black Workers" (Hughes), Retro. Supp. I, 202 "Black Writer and the Southern Experience, The" (Walker), Supp. Ill, Part 2, 521 "Black Writers' Role, The: James Baldwin" (Neal), Supp. I, Part 1,70 Black Zodiac (Wright), Supp. V, 333, 344, 345 Blackall, Jean Franz, II, 148 "Blackberry Eating" (Kinnell), Supp. Ill, Part 1, 250 Blackberry Winter (Warren), IV, 243, 251, 252 Blackburn, Philip C, I, 357 Blackburn, William, IV, 100, 117 "Blacklist and the Cold War, The" (Kramer), Supp. I, Part 1, 295, 298 "Blackmailers Don't Shoot" (Chandler), Supp. IV, Part 1, 121-122 Blackmur, Helen Dickson (Mrs. R. P. Blackmur), Supp. II, Part 1,90 Blackmur, Richard P., I, 24, 50, 63, 67, 70, 280, 282, 386, 404, 449, 455, 472, 473; II, 320, 340,

537; III, 194, 208, 217, 462, 478, 497; IV, 95, 143, 424; Supp. II, Part 1, 87-112, 136, Part 2, 543, 643 Blacks (Brooks), Supp. Ill, Part 1, 69, 72, 86, 87 Blacks, The (Genet), Supp. IV, Part 1, 8 "Blackwater Mountain" (Wright), Supp. V, 335, 340 Blackwood's (publication), II, 310 Blackwood's Edinburgh Magazine, Supp. I, Part 1, 155 Blaine, Anita McCormick, Supp. I, Part 1, 5 Blair, Hugh, II, 8, 17; Supp. I, Part 2, 422 Blair, Robert, Supp. I, Part 1, 150 Blair, Walter, II, 20, 23; IV, 212, 213; Supp. I, Part 2, 426, 626 Blake, William, I, 381, 383, 389, 390, 398, 447, 476, 525, 526, 533; II, 321; III, 5, 19,22, 195, 196, 197, 205, 485, 528, 540, 544-545, 567, 572; IV, 129; Supp. I, Part 1, 80, Part 2, 385, 514, 517, 539, 552, 708; Supp. V, 208, 257, 258 Blamires, Harry, I, 590 Blanc-Bentzon, Mme. Therese, II, 405 Blanck, Jacob, II, 148, 294; Supp. I, Part 1, 173 Blancs, Les (Hansberry), Supp. IV, Part 1, 359, 364, 365, 369, 372-374 Blancs, Les: The Collected Last Plays of Lorraine Hansberry (ed. Nemiroff), Supp. IV, Part 1, 365, 368, 374 " 'Blandula, Tenulla, Vagula' " (Pound), III, 463; Supp. V, 336, 337, 345 Blankenship, Tom, IV, 193 Blanshard, Rufus A., I, 67, 70 Blast (publication), I, 384; III, 465 Blauvelt, William Satake, Supp. V, 171, 173 Blavatsky, Elena Petrovna, HI, 176

"Blazing in Gold and Quenching in Purple" (Dickinson), Retro. Supp. I, 30 Bleak House (Dickens), II, 291; Supp. IV, Part 1, 293 Blechman, Burt, Supp. I, Part 1, 290 "Bleeding" (Swenson), Supp. IV, Part 2, 646-647 "Blessed Is the Man" (Moore), III, 215 "Blessed Man of Boston, My Grandmother's Thimble, and Fanning Island, The" (Updike), IV, 219 "Blessing, A" (Wright), Supp. Ill, Part 2, 600, 606 "Blessing the Children" (Hogan), Supp. IV, Part 1, 401 Bleufarb, Sam, III, 242 Bligh, S. M., I, 226 Blind Bow-Boy, The (Van Vechten), Supp. II, Part 2, 737, 740-742 Blind Date (Kosinski), Supp. VII, 215, 224-225 Blind Lion, The (Gunn Allen), Supp. IV, Part 1, 324 "Blind Man's Holiday" (O. Henry), Supp. II, Part 1, 401 "Blind Poet, The: Sidney Lanier" (Warren), Supp. I, Part 1, 371, 373 Blindness and Insight (de Man), Retro. Supp. I, 67 Blithedale Romance, The (Hawthorne), II, 225, 231, 239, 241-242, 271, 282, 290; IV, 194; Retro. Supp. I, 63, 149, 152, 156-157, 162-163; Supp. I, Part 2, 579; Supp. II, Part 1, 280 Blitzstein, Marc, Supp. I, Part 1, 277 Blix (Norris), III, 314, 322, 327, 328, 333 "Blizzard in Cambridge" (Lowell), II, 554 Block, Anita, III, 407 Block, Maxine, III, 455 Blocker, Joel, IV, 23

376 / INDEX Blok, Aleksandr Aleksandrovich, IV, 443 "Blood" (Singer), IV, 15, 19 "Blood Bay, The" (Proulx), Supp. VII, 262-263 Blood for a Stranger (Jarrell), II, 367, 368-369, 370-371, 375, 377 "Blood of the Conquistadores, The" (Alvarez), Supp. VII, 7 "Blood of the Lamb, The" (hymn), Supp. I, Part 2, 385 Blood of the Martyr (Crane), I, 422 Blood of the Prophets, The (Masters), Supp. I, Part 2, 458, 459, 461 Blood on the Forge (Attaway), Supp. II, Part 1, 234-235 "Blood Returns, The" (Kingsolver), Supp. VII, 209 "Blood-Burning Moon" (Toomer), Supp. IK, Part 2, 483 Bloodlines (Wright), Supp. V, 332, 335, 340 Bloodshed and Three Novellas (Ozick), Supp. V, 259-260, 261, 266-268 Bloom, Alice, Supp. IV, Part 1, 308 Bloom, Harold, Retro. Supp. I, 67, 193, 299; Supp. I, Part 1, 96; Supp. IV, Part 2, 620, 689; Supp. V, 178, 272 Bloom, Leopold, I, 27, 150; III, 10 Bloom, Lynn Z., Supp. IV, Part 1,6 Bloomfield Citizen (newspaper), I, 225 Bloomfield, Leonard, I, 64 Bloomsbury, Retro. Supp. I, 59 Blotner, Joseph, II, 75; III, 47, 574; Retro. Supp. I, 88 "Blue Battalions, The" (Crane), I, 419-420 Blue Calhoun (Price), Supp. VI, 265-266 Blue City (Macdonald, under Millar), Supp. IV, Part 2, 466467 Blue Dahlia, The (Chandler), Supp. IV, Part 1, 130

Blue Estuaries, The: Poems, 19231968 (Bogan), Supp. HI, Part 1, 48, 57, 66 Blue Guide, III, 504 Blue Hammer, The (Macdonald), Supp. IV, Part 2, 462 "Blue Hotel, The" (Crane), I, 34, 415-416, 423 Blue Jay's Dance, The: A Birth Year (Erdrich), Supp. IV, Part I, 259-260, 265, 270, 272 "Blue Juniata" (Cowley), Supp. II, Part 1, 144 Blue Juniata: Collected Poems (Cowley), Supp. II, Part 1, 140 "Blue Meridian" (Toomer), Supp. III, Part 2, 476, 487 "Blue Moles" (Plath), Supp. I, Part 2, 539 Blue Moon News (journal), Supp. IV, Part 2, 542 Blue Mountain Ballads (music) (Bowles), Supp. IV, Part 1, 84 Blue Pastures (Oliver), Supp. VII, 229-230, 245 "Blue Ribbon at Amesbury, A" (Frost), Retro. Supp. I, 138 Blue Swallows, The (Nemerov), III, 269, 270, 271, 274-275, 278, 284, 286-288 Blue Voyage (Aiken), I, 53, 56 "Bluebeard" (Barthelme), Supp. IV, Part 1, 47 "Bluebeard" (Millay), III, 130 "Blueberries" (Frost), Retro. Supp. I, 121, 128 "Blueprints" (Kingsolver), Supp. VII, 203 Blues (publication), II, 26 Blues for Mister Charlie (Baldwin), Supp. I, Part 1, 48, 61-62, 63 "Blues I'm Playing, The" (Hughes), Retro. Supp. I, 204 "Blues on a Box" (Hughes), Retro. Supp. I, 208 Blues People: Negro Music in White America (Baraka), Supp. II, Parti, 30, 31, 33-35, 37, 41, 42, 53

"Blues Poetry of Langston Hughes, The" (Waldron), Supp. I, Part 1,348 Bluest Eye, The (Morrison), Supp. HI, Part 1, 362, 363367, 379; Supp. IV, Part 1, 2, 253 Bluestone, George, I, 47 Blum, Morgan, I, 169, 189; II, 221 Blum, W. C (pseudonym), see Watson, James Sibley, Jr. Blumenthal, Nathaniel, see Branden, Nathaniel Blunt, Wilfrid Scawen, HI, 459 Bly, Robert, I, 291; Supp. HI, Part 2, 599; Supp. IV, Part 1, 59-77, 177, Part 2, 623; Supp. V,332 Blythe, LeGette, IV, 473 Boarding House Blues (Farrell), II, 30, 43, 45 Boas, Franz, I, 214; Supp. I, Part 2,641 "Boat, The" (Oliver), Supp. VII, 247 "Boat, The" (Sexton), Supp. II, Part 2, 692 "Boat of Quiet Hours, The" (Kenyon), Supp. VII, 168 Boat of Quiet Hours, The (Kenyon), Supp. VII, 167-169, 171 "Bob and Spike" (Wolfe), Supp. Ill, Part 2, 580 Bobbsey Twins, The, Supp. IV, Part 1, 48 Boccaccio, Giovanni, III, 283, 411; IV, 230 Bode, Carl, I, 449; IV, 188 Bodenheim, Maxwell, II, 42, 530; Retro. Supp. I, 417; Supp. I, Part 1, 257 "Bodies" (Gates), Supp. II, Part 2,520 Bodley Head Jack London (London), II, 483 "Body, The" (Heldreth), Supp. V, 151 "Body and Soul: A Meditation" (Kumin), Supp. IV, Part 2, 442, 452

INDEX / 377 Body of This Death: Poems (Bogan), Supp. Ill, Part 1, 47, 49-52, 58 "Body of Waking" (Rukeyser), Supp. VI, 279 Body of Waking (Rukeyser), Supp. VI, 274, 281 Body Rags (Kinnell), Supp. Ill, Part 1, 235, 236, 243-245, 250, 253, 254 " 'Body with the Lamp Lit Inside, The' " (Mills), Supp. IV, Part 1,64 Boehme, Jakob, I, 10 Bogan, Louise, I, 169, 185, 189, 543; III, 144, 217, 289, 550; Retro. Supp. I, 36; Supp. I, Part 2, 707, 726; Supp. Ill, Part 1, 47-68 Bogan, Major Benjamin Lewis, IV, 120 Bogard, Travis, III, 407 Bogart, Humphrey, Supp. I, Part 2, 623; Supp. IV, Part 1, 130, 356 Bogdanovich, Peter, Supp. V, 226 Bogle, Donald, Supp. I, Part 1, 69 "Bohemian, The" (Harte), Supp. II, Part 1, 339 "Bohemian Girl, The" (Gather), Retro. Supp. I, 7 "Bohemian Hymn, The" (Emerson), II, 19 Bohn, William E., Supp. I, Part 2, 626 Boissevain, Eugen, III, 124 Boit, Edward, Retro. Supp. I, 366 "Bold Words at the Bridge" (Jewett), II, 394 Boleyn, Anne, Supp. I, Part 2, 461 Bolivar, Simon, Supp. I, Part 1, 283, 284, 285 Bolognese, Don, II, 75 Bolton, Guy, Supp. I, Part 1, 281 Bolts of Melody: New Poems of Emily Dickinson (eds. Todd and Bingham), I, 470; Retro. Supp. 1,36 Bombs Away (Steinbeck), IV, 5152

Bonaparte, Marie, III, 418, 432 "Bon-Bon" (Poe), III, 425 Bone by Bone (Matthiessen), Supp. V, 199, 212, 213, 214 "Bones of a House" (Cowley), see "Blue Juniata" Bonfire of the Vanities, The (Wolfe), Supp. Ill, Part 2, 584586 Boni and Liveright, Retro. Supp. I, 59, 80, 178 Bonifacius (Mather), Supp. II, Part 2, 461, 464 Bonnefoy, Yves, Supp. Ill, Part 1, 235, 243 Bonner, Robert, Retro. Supp. I, 246 Bonneville, Mme. Marguerite, Supp. I, Part 2, 520, 521 Bonneville, Nicolas de, Supp. I, Part 2, 511,518, 519 Bonney, William, see Billy the Kid Bontemps, Arna, IV, 497; Retro. Supp. I, 194, 196, 203; Supp. I, Part 1, 325; Supp. IV, Part 1, 170 Book, A (Barnes), Supp. Ill, Part 1, 36, 39, 44 Book about Myself, A (Dreiser), I, 515 "Book as a Container of Consciousness, The" (Gass), Supp. VI, 92 Book of American Negro Poetry, The (Johnson), Supp. IV, Part 1, 165, 166 Book of Breeething, The (Burroughs), Supp. Ill, Part 1, 97, 103 Book of Burlesques, A (Mencken), III, 104 Book of Common Prayer, A (Didion), Supp. IV, Part 1, 196, 198, 203-205, 207, 208 Book of Daniel, The (Doctorow), Supp. IV, Part 1, 218, 219, 220-222, 227, 231, 237-238, 238; Supp. V, 45 Book of Dreams (Kerouac), Supp. Ill, Part 1, 225 "Book of Ephraim, The" (Merrill), Supp. Ill, Part 1, 330-334

Book of Folly, The (Sexton), Supp. II, Part 2, 691,692-694 "Book of Hours of Sister Clotilde, The" (Lowell), II, 522 Book of Jamaica, The (Banks), Supp.V, 11, 12, 16 "Book of Medicines, The" (Hogan), Supp. IV, Part 1, 412, 413 Book of Medicines, The (Hogan), Supp. IV, Part 1, 397, 410, 411-414 Book of Negro Folklore, The (ed. Hughes), Supp. I, Part 1, 345 Book of Nightmares, The (Kinnell), Supp. Ill, Part 1, 235, 236, 243, 244, 246-254 Book of Prefaces, A (Mencken), III, 99-100, 105 Book of Repulsive Women, The (Barnes), Supp. Ill, Part 1, 33 Book of Roses, The (Parkman), Supp. II, Part 2, 597, 598 "Book of the Dead, The" (Rukeyser), Supp. VI, 272, 278, 279 "Book of the Grotesque, The" (Anderson), I, 106 Book of the Homeless, The (Wharton), Retro. Supp. I, 377 Book of Verses, A (Masters), Supp. I, Part 2, 458 Book Week (publication), Supp. IV, Part 2, 532 Book World (publication), Supp. IV, Part 1, 294 "Bookies, Beware!" (Heller), Supp. IV, Part 1, 383 Bookman (magazine), Retro. Supp. I, 104 "Books Considered" (Bloom), Supp. I, Part 1, 96 Books in My Life, The (Miller), II, 176, 189 "Boom" (Nemerov), III, 278 Boom! (Williams), IV, 383 "Boom Town" (Wolfe), IV, 469 Boom Town (Wolfe), IV, 456 Boone, Daniel, II, 207; III, 444; IV, 192, 193 Boorstin, Daniel, I, 253 Booth, Bradford, III, 431

378 / INDEX Booth, Charles, Supp. I, Part 1, 13 Booth, General William, Supp. I, Part 2, 384, 386 Booth, John E., IV, 401 Booth, John Wilkes, III, 588 Booth, Philip, I, 522, 542, 543; II, 390 Booth, Wayne C, III, 243 Borah, William, III, 475 Borden, Lizzie, II, 5 Borel, Petrus, III, 320 Borges, Jorge Luis, I, 123, 135, 138, 140, 142; Supp. Ill, Part 2, 560, Supp. IV, Part 2, 623, 626, 630; Supp. V, 238 "Born a Square" (Stegner), Supp. IV, Part 2, 595 "Born a Square: The Westerner's Dilemma" (Stegner), Supp. V, 224 "Born Bad" (Cisneros), Supp. VII, 62 Borroff, Marie, IV, 95 "Boston" (Hardwick), Supp. Ill, Part 1, 201 Boston (Sinclair), Supp. V, 282, 288-289 Boston Advertiser (newspaper), II, 274 "Boston Common" (Berryman), I, 172 Boston Evening Transcript (newspaper), I, 570; II, 449; III, 53 Boston Globe (newspaper), Supp. Ill, Part 2, 629 Boston Herald American (publication), Supp. IV, Part 1, 205 "Boston Hymn" (Emerson), II, 13, 19 "Boston Nativity, The" (Lowell), II, 538 Boston News Letter (newspaper), II, 103; IV, 149 Boston Sunday Herald (newspaper), Supp. I, Part 2, 529 Bostonians, The (James), I, 9; II, 282; IV, 202; Retro. Supp. I, 216, 225

Boswell, James, IV, 431; Supp. I, Part 2, 656 Boswell: A Modern Comedy (Elkin), Supp. VI, 42, 44-45, 57 Bosworth, Patricia, Supp. IV, Part 2, 573, 591 Botticelli, Sandro, IV, 410; Retro. Supp. I, 422 "Botticellian Trees, The" (Williams), Retro. Supp. I, 422 "Bottle of Perrier, A" (Wharton), IV, 316 "Bottles" (Kenyon), Supp. VII, 171 Bottom: On Shakespeare (Zukofsky), Supp. Ill, Part 2, 622, 624, 625, 626, 627, 629 "Bottom Line, The" (Elkin), Supp. VI, 52, 53 Boucher, Anthony, Supp. IV, Part 2,473 Boulanger, Nadia, Supp. IV, Part 1,81 "Boulot and Boulette" (Chopin), Supp. I, Parti, 211 Boulton, Agnes, III, 403, 407 Bound East for Cardiff (O'Neill), III, 388 "Bouquet, The" (Stevens), IV, 90 "Bouquet of Roses in Sunlight" (Stevens), IV, 93 Bourdin, Henri L., Supp. I, Part 1,251 Bourgeois Poet, The (Shapiro), Supp. II, Part 2, 701, 703, 704, 713, 714-716 Bourget, James, IV, 319 Bourget, Paul, II, 325, 338; IV, 311, 315; Retro. Supp. I, 224, 359, 373 Bourjaily, Vance, III, 43; IV, 118 Bourke-White, Margaret, see Caldwell, Mrs. Erskine Bourne, Charles Rogers, I, 215 Bourne, Mrs. Charles Rogers, I, 215 Bourne, Randolph, I, 214-238, 243, 245, 246-247, 251, 259; Supp. I, Part 2, 524 Boutroux, Emile, II, 365 Bowditch, Nathaniel, Supp. I, Part 2, 482

Bowen, Croswell, III, 407 Bowen, Elizabeth, Retro. Supp. I, 351; Supp. IV, Part 1,299 Bowen, Francis, Supp. I, Part 2, 413 Bowen, Louise de Koven, Supp. I, Part 1, 5 Bowen, Merlin, III, 97 Bowers, Claude G., II, 317 "Bowl of Blood, The" (Jeffers), Supp. H, Part 2, 434 Bowles, Jane (Jane Auer), II, 586; Supp. IV, Part 1, 89, 92 Bowles, Paul, I, 211; II, 586; Supp. H, Part 1, 17; Supp. IV, Part 1, 79-99 Bowles, Samuel, I, 454, 457; Retro. Supp. I, 30, 32, 33 "Bowls" (Moore), III, 196 Bowman, James, I, 193 Box and Quotations from Chairman Mao Tse-tung (Albee), I, 89-91, 94 Box, Edgar (pseudonym), see Vidal, Gore Box Garden, The (Shields), Supp. VII, 314-315, 320 "Box Seat" (Toomer), Supp. Ill, Part 2, 484 Boy, A (Ashbery), Supp. Ill, Part 1,5 "Boy in France, A" (Salinger), III, 552-553 Boyce, Horace, II, 136 Boyd, Blanche, Supp. I, Part 2, 578 Boyd, Brian, Retro. Supp. I, 270, 275 Boyd, Ernest Augustus, III, 121 Boyd, James, I, 119 Boyd, Nancy (pseudonym), see Millay, Edna St. Vincent Boyd, Thomas, I, 99; IV, 427 Boyesen, H. H., II, 289 "Boyhood" (Farrell), II, 28 Boyle, Kay, III, 289; IV, 404 Boynton, Henry W., I, 357 Boynton, Percy H., II, 533; III, 72 Boynton, Percy Holmes, Supp. I, Part 2, 415 "Boys and Girls" (Cisneros), Supp. VII, 59-60

INDEX / 379 Boy's Froissart, The (Lanier), Supp. I, Part 1, 361 Boy's King Arthur, The (Lanier), Supp. I, Part 1, 361 Boy's Mabinogion, The (Lanier), Supp. I, Part 1, 361 Boys of '76, The (Coffin), III, 577 "Boys of '29, The" (Holmes), Supp. I, Part 1, 308 Boy's Percy, The (Lanier), Supp. I, Part 1, 361 Boy's Town (Howells), I, 418 Boy's Will, A (Frost), II, 152, 153, 155-156, 159, 164, 166; Retro. Supp. I, 124, 127, 128, 131 Bozrah (biblical person), IV, 152 "Brace, The" (Bausch), Supp. VII, 48 Bracebridge Hall, or, The Humorists (Irving), I, 339, 341; 11,308-309,313 Bracher, Frederick, I, 378, 380; Supp. I, Part 1, 185, 198 Brackenridge, Hugh Henry, Supp. I, Part 1, 124, 127, 145; Supp. II, Part 1, 65 Brackett, Leigh, Supp. IV, Part 1, 130 Bradbury, David L., Supp. I, Part 2,402 Bradbury, John M., I, 142, 288289; II, 221; III, 502; IV, 130, 135, 142, 258 Bradbury, Ray, Supp. I, Part 2, 621-622, Supp. IV, Part 1, 101-118 Braddon, Mary E., Supp. I, Part 1, 35, 36 Bradford, Gamaliel, I, 248, 250 Bradford, Roark, Retro. Supp. I, 80 Bradford, William, Supp. I, Part 1, 110, 112, Part 2, 486, 494 Bradlee, Ben, Supp. V, 201 Bradley, F. H., Retro. Supp. I, 57, 58 Bradley, Francis Herbert, I, 59, 567-568, 572, 573 Bradley, William A., Supp. I, Part 1, 173 Bradstreet, Anne, I, 178-179, 180, 181, 182, 184; III, 505; Retro.

Supp. I, 40; Supp. I, Part 1, 98-123, Part 2, 300, 484, 485, 496, 546, 705; Supp. V, 113, 117-118 Bradstreet, Elizabeth, Supp. I, Part 1, 108, 122 Bradstreet, Mrs. Simon, see Bradstreet, Anne Bradstreet, Simon, I, 178; Supp. I, Parti, 103, 110, 116 Brady, Alice, III, 399 Brady, Charles, Supp. I, Part 2, 626 Brady, Charles A., Ill, 72 "Bragdowdy and the Busybody, The" (Thurber), Supp. I, Part 2, 617 "Brahma" (Emerson), II, 19, 20 "Brahmin Dons Homespun, A" (Blair), Supp. I, Part 2, 426 Brahms, Johannes, III, 118, 448 "Brain and Brawn, Broadway in Review" (Gilder), Supp. I, Part 2,627 "Brain and the Mind, The" (James), II, 346 "Brain Damage" (Barthelme), Supp. IV, Part 1, 44 Braithewaite, W. S., Retro. Supp. 1,131 Brancaccio, Patrick, Supp. I, Part 1, 148 Branch, Edgar M., II, 52; IV, 213 Branch Will Not Break, The (Wright), Supp. Ill, Part 2, 596, 598-601; Supp. IV, Part 1,60 Brancusi, Constantin, III, 201; Retro. Supp. I, 292 Brand New Life, A (Farrell), II, 46, 48 Brande, Dorothea, Supp. I, Part 2, 608 Branden, Nathaniel, Supp. IV, Part 2, 526, 528 Brando, Marlon, II, 588; Supp. IV, Part 2, 560 Brandon, Henry, III, 169; Supp. I, Part 2, 604, 612, 618, 626 Brandriff, Welles T., IV, 118 Brandt, Alice, Supp. I, Part 1, 92

Branscomb, Lewis, Supp. I, Part 2,626 Brant, Sebastian, III, 447, 448 Brantley, J. D., I, 496 Braque, Georges, III, 197; IV, 24 Brashear, M. M., IV, 213 Brasil, Emanuel, Supp. I, Part 1, 94 "Brasilia" (Plath), Supp. I, Part 2, 544, 545 Brass Check, The (Sinclair), Supp. V, 276, 281, 282, 284-285 "Brass Ring, The" (Carver), Supp. Ill, Part 1, 137 "Brass Spittoons" (Hughes), Supp. I, Part 1, 326-327 Braswell, William, III, 97; IV, 472 Braudy, Leo, III, 47 Braunlich, Phyllis, Supp. I, Part 2,626 Brautigan, Richard, III, 174 Brave New World (Huxley), II, 454 "Brave New World" (MacLeish), III, 18 Bravery of Earth, A (Eberhart), I, 522, 524, 525, 526, 530 Braving the Elements (Merrill), Supp. Ill, Part 1, 320, 323, 325-327, 329 Bravo, The (Cooper), I, 345-346, 348 Brawley, Benjamin, Supp. I, Part 1, 327, 332 Brawne, Fanny, I, 284; II, 531 Braxton, Joanne, Supp. IV, Part 1, 12, 15 Brazil (Bishop), Supp. I, Part 1, 92 Brazil (Updike), Retro. Supp. I, 329, 330, 334 Brazzi, Rossano, Supp. IV, Part 2,520 "Bread" (Dickey), Supp. IV, Part 1, 182 "Bread Alone" (Wylie), Supp. I, Part 2, 727 Bread of Idleness, The (Masters), Supp. I, Part 2, 460 Bread of Time, The (Levine), Supp. V, 180

380 / INDEX Breadloaf Writer's Conference, Supp. V, 239 "Break, The" (Sexton), Supp. II, Part 2, 689 Breakfast at Tiffany's (Capote), Supp. Ill, Part 1, 113, 117, 119-121, 124, 126 Breakfast of Champions (Vonnegut), Supp. II, Part 2, 755, 759, 769, 770, 777-778 "Breaking Open" (Rukeyser), Supp. VI, 286 Breaking Open (Rukeyser), Supp. VI, 274, 281 "Breaking Up of the Winships, The" (Thurber), Supp. I, Part 2, 616 Breast, The (Roth), Supp. Ill, Part 2, 416, 418 "Breast, The" (Sexton), Supp. II, Part 2, 687 "Breath" (Levine), Supp. V, 185 Breathing Lessons (Tyler), Supp. IV, Part 2, 669-670 Breathing the Water (Levertov), Supp. Ill, Part 1, 274, 283, 284 Brecht, Bertolt, I, 60, 96, 301; III, 161, 162; IV, 394; Supp. I, Part 1, 292; Supp. II, Part 1, 10, 26, 56; Supp. IV, Part 1, 359 Breen, Joseph I., IV, 390 Breit, Harvey, I, 47, 433, 449; III, 47, 72, 242, 384, 575; Supp. I, Part 1, 69, 198 Bremer, Fredrika, Supp. I, Part 1, 407 Brenner, Gerry, IV, 234 Brent, Linda, Supp. IV, Part 1, 12, 13 Brentano, Franz, II, 350 Brer Rabbit (tales), Supp. IV, Parti, 11, 13 Breslin, James E., IV, 424 Breslin, James E. B., Retro. Supp. 1,430 Breslin, John B., Supp. IV, Part 1,308 Bresson, Robert, Supp. IV, Part 1, 156 "Bresson's Movies" (Creeley), Supp. IV, Part 1, 156-157

Bretall, Robert W., Ill, 313 Breton, Andre, III, 425 Brett, George, II, 466; Supp. V, 286 Brevoort, Henry, II, 298 Brew, Kwesi, Supp. IV, Part 1, 10, 16 "Brewing of Soma, The" (Whittier), Supp. I, Part 2, 704 Brewsie and Willie (Stein), IV, 27 Brewster, Martha, Supp. I, Part 1, 114 "Briar Patch, The" (Warren), IV, 237 Briar Rose (Coover), Supp. V, 52 "Briar Rose (Sleeping Beauty)" (Sexton), Supp. II, Part 2, 690 Brice, Fanny, II, 427 "Brick Layer's Lunch Hour, The" (Ginsberg), Supp. II, Part 1, 318 Brickell, Herschel, III, 72 "Bricks, The" (Hogan), Supp. IV, Part 1, 413 "Bridal Ballad, The" (Poe), III, 428 Bridal Dinner, The (Gurney), Supp. V, 109, 110 "Bride Comes to Yellow Sky, The" (Crane), I, 34, 415, 416, 423 "Bride in the 30's, A" (Auden), Supp. II, Part 1, 9 Bride ofLammermoor (Scott), II, 291 Bride of Samoa (film), Supp. IV, Part 1, 82 "Bride of the Innisfallen, The" (Welty), IV, 278-279; Retro. Supp. I, 353 Bride of the Innisfallen, The (Welty), IV, 261, 275-279 Bride of the Innisfallen, The, and Other Stories (Welty), Retro. Supp. I, 352-353, 355 Brides of the South Wind: Poems 1917-1922 (Jeffers), Supp. II, Part 2, 419 "BRIDGE, THE" (Baraka), Supp. 11, Part 1, 32, 36 Bridge, The (Crane), I, 62, 109, 266, 385, 386, 387, 395-399,

400, 402; IV, 123, 341, 418, 419, 420; Retro. Supp. I, 427; Supp. V, 342 "Bridge Burners, The" (Van Vechten), Supp. II, Part 2, 733 Bridge, Horatio, II, 226, 245 Bridge of San Luis Rey, The (Wilder), I, 360; IV, 356, 357, 360-363, 365, 366 Bridges, Harry, I, 493 "Bridges" (Kingsolver), Supp. VII, 208 Bridges, Robert, II, 537; III, 527; Supp. I, Part 2, 721; Supp. II, Part 1, 21 Bridgman, P. W., I, 278 Bridgman, Richard, Supp. I, Part 2,477 "Bridle, The" (Carver), Supp. Ill, Part 1, 138 "Brief Debut of Tildy, The" (O. Henry), Supp. II, Part 1, 408 "Brief Encounters on the Inland Waterway" (Vonnegut), Supp. II, Part 2, 760 Briefings (Ammons), Supp. VII, 29 "Briefly It Enters, and Briefly Speaks" (Kenyon), Supp. VII, 174 Briffault, Robert, Supp. I, Part 2, 560, 567 "Brigade de Cuisine" (McPhee), Supp. Ill, Part 1, 307-308 Brigadier and the Golf Widow, The (Cheever), Supp. I, Part 1, 184-185, 192 Briggs, Austin, II, 148 Briggs, Charles F., Supp. I, Part 2,411 "Bright and Morning Star" (Wright), IV, 488 Bright Book of Life (Kazin), Supp. I, Part 1, 198 Bright Procession (Sedges), Supp. II, Part 1, 125 Brighton Beach Memoirs (Simon), Supp. IV, Part 2, 576, 577, 584, 586-587, 590 Brignano, Russell, IV, 496 "Brilliant Leaves" (Gordon), II, 199

INDEX / 381 "Brilliant Sad Sun" (Williams), Retro. Supp. I, 422 "Bring the Day!" (Roethke), III, 536 "Bringing Back the Trumpeter Swan" (Kumin), Supp. IV, Part 2,454 Brinnin, John Malcolm, I, 189; IV, 26, 27, 28, 42, 46, 47 Brissot, Jacques Pierre, Supp. I, Part 2, 511 "Britain's Negro Problem in Sierra Leone" (Du Bois), Supp. I, Part I, 176 "British Poets, The" (Holmes), Supp. I, Part 1, 306 "British Prison Ship, The" (Freneau), Supp. II, Part 1, 261 Brittain, Joan, III, 360 Britten, Benjamin, II, 586; Supp. II, Part 1, 17; Supp. IV, Part 1,84 Broadwater, Bowden, II, 562 Broadway Bound (Simon), Supp. IV, Part 2, 576, 577, 584, 586587, 590 Broadway, J. William, Supp. V, 316 Broadway Journal (publication), III, 413 Broadway Magazine, I, 501 "Broadway Sights" (Whitman), IV, 350 Brodtkorb, Paul, Jr., Ill, 97 "Brokeback Mountain" (Proulx), Supp. VII, 264-265 "Broken Balance, The" (Jeffers), Supp. II, Part 2, 426 "Broken Home, The" (Merrill), Supp. Ill, Part 1, 319, 325 "Broken Promise" (MacLeish), III, 15 Broken Span, The (Williams), IV, 419; Retro. Supp. I, 424 "Broken Tower, The" (Crane), I, 385, 386, 400, 401-402 "Broken Vessels" (Dubus), Supp. VII, 90 Broken Vessels (Dubus), Supp. VII, 90-91 Bromfield, Louis, IV, 380

Bromwich, David, Retro. Supp. I, 305 "Broncho That Would Not Be Broken, The" (Lindsay), Supp. I, Part 2, 383 Bronte, Anne, Supp. IV, Part 2, 430 Bronte, Branwell, I, 462 Bronte, Charlotte, I, 458; II, 175; Supp. IV, Part 2, 430 Bronte, Emily, I, 458; Supp. IV, Part 2, 430; Retro. Supp. I, 43 "Bronze" (Merrill), Supp. Ill, Part 1, 336 "Bronze Buckaroo, The" (Baraka), Supp. II, Part 1, 49 "Bronze Horses, The" (Lowell), II, 524 "Bronze Tablets" (Lowell), II, 523 Bronzeville Boys and Girls (Brooks), Supp. Ill, Part 1, 79 "Bronzeville Mother Loiters in Mississippi, A. Meanwhile, a Mississippi Mother Burns Bacon" (Brooks), Supp. Ill, Part 1, 80 "Brooch, The" (Singer), IV, 20 Brook Evans (Glaspell), Supp. Ill, Part 1, 182-185 Brook Farm (West Roxbury, Mass.), Retro. Supp. I, 156 Brooke, Rupert, II, 82; III, 3 "Brooking Likeness" (Gliick), Supp. V, 85 Brooklyn Eagle (newspaper), IV, 334 Brooklyn Times, IV, 341 Brooks, Cleanth, I, 280, 282; II, 76, 390; III, 217, 517; IV, 236, 258, 279, 284; Retro. Supp. I, 40, 41, 90; Supp. I, Part 2, 423; Supp. Ill, Part 2, 542; Supp. V, 316 Brooks, David, Supp. IV, Part 2, 623, 626, 630 Brooks, Gwendolyn, Retro. Supp. I, 208; Supp. Ill, Part 1, 6990; Supp. IV, Part 1, 2, 15, 244, 251, 257 Brooks, Mel, Supp. IV, Part 1, 390, Part 2, 591

Brooks, Mrs. Van Wyck (Eleanor Kenyon Stimson), I, 240, 245, 250, 252 Brooks, Mrs. Van Wyck (Gladys Billings), I, 258, 262 Brooks, Phillips, II, 542 Brooks, Van Wyck, I, 24, 106, 117, 119,213,215,222,228, 230, 231, 233, 236, 237, 239263, 266, 480; II, 30, 195, 271, 285, 294, 309, 318, 337, 341, 482, 533; III, 394, 606; IV, 171, 189, 213, 312, 330, 427, 433; Supp. I, Part 2, 423, 424, 426, 650; Supp. II, Part 1, 137 Broom (periodical), Supp. II, Part 1, 138 Brosnan, Jim, II, 424-425 Brother Carl (Sontag), Supp. Ill, Part 2, 452 "Brother Death" (Anderson), I, 114 Brother to Dragons: A Tale in Verse and Voices (Warren), IV, 243-244, 245, 246, 251, 252, 254, 257 "Brothers" (Anderson), I, 114 Brothers Ashkenazi, The (Singer), IV, 2 Brothers Karamazov, The (Dostoevski), II, 60; III, 146, 150, 283 Broughton, Rhoda, II, 174; IV, 309, 310 Broun, Heywood, I, 478; II, 417; IV, 432 Broussais, Fran£ois, Supp. I, Part 1,302 Broussard, Louis, III, 432 Browder, Earl, I, 515 Brower, Brock, II, 584 Brower, Reuben A., II, 172 Brown, Alice, II, 523 Brown, Ashley, II, 221; IV, 95; Supp. I, Part 1, 79, 80, 82, 84, 92,96 Brown, C. H., Ill, 47 Brown, Charles Brockden, I, 54, 211, 335; II, 74, 267, 298; III, 415; Supp. I, Part 1,124-149; Supp. II, Part 1, 65, 292

382 / INDEX Brown, Charles H., Supp. I, Part 1, 173 Brown, Clarence, Supp. I, Part 2, 477 Brown, Clifford, Supp. V, 195 Brown, Dee, Supp. IV, Part 2, 504 Brown, E. K., I, 333; IV, 376, 448 Brown, Elijah, Supp. I, Part 1, 125 Brown, George Douglas, III, 473 Brown, Harry, Supp. IV, Part 2, 560 Brown, Herbert Ross, Supp. I, Part 2, 601 Brown, John, II, 13; IV, 125, 126, 172, 237, 249, 254; Supp. I, Part 1, 345 Brown, John Mason, III, 407; IV, 376 Brown, Joseph Epes, Supp. IV, Part 2, 487 Brown, Mary Armitt, Supp. I, Part 1, 125 Brown, Merle E., I, 287 Brown, Mrs. Charles Brockden (Elizabeth Linn), Supp. I, Part 1, 145, 146 Brown, Percy, II, 20, 23 Brown, Slater, IV, 123 Brown, Solyman, Supp. I, Part 1, 156 Brown, Sterling, Retro. Supp. I, 198; Supp. IV, Part 1, 169 Brown, Susan Jenkins, I, 403 Brown, W. C, IV, 166 Brown, Wesley, Supp. V, 6 Brown Decades, The (Mumford), Supp. II, Part 2, 475, 478, 491-492 "Brown Dwarf of Rugen, The" (Whittier), Supp. I, Part 2, 696 "Brown River, Smile" (Toomer), Supp. IV, Part 1, 16 Browne, Charles Farrar, II, 289; IV, 193, 196 Browne, E. K., IV, 330 Browne, E. Martin, I, 590 Browne, Nina E., II, 245 Browne, R. B., Ill, 241-242

Browne, Sir Thomas, II, 15-16, 304; III, 77, 78, 198, 487; IV, 147 Browne, William, Supp. I, Part 1, 98 Brownell, W. C., II, 14; Supp. I, Part 2, 426 Brownell, William Crary, Retro. Supp. I, 365, 366 Brownies' Book, The (Hughes), Supp. I, Part 1, 321 Browning, Elizabeth, I, 458, 459 Browning, Elizabeth Barrett, Retro. Supp. I, 33, 43 Browning, Robert, I, 50, 66, 103, 458, 460, 468; II, 338, 478, 522; 111,5,8,467,469,484,511, 521, 524, 606, 609; IV, 135, 245, 366, 416; Retro. Supp. I, 43, 55, 217; Supp. I, Part 1, 2, 6, 79, 311, Part 2, 416, 468, 622; Supp. Ill, Part 1, 5, 6; Supp. IV, Part 2, 430 Brownstone Eclogues and Other Poems (Aiken), I, 65, 67 Broyard, Anatole, Supp. I, Part 1, 198; Supp. IV, Part 1, 39 Bruccoli, Matthew, Retro. Supp. 1,98, 102, 105, 114, 115,359 Bruccoli, Matthew J., II, 100; Supp. IV, Part 2, 468, 470 Bruchac, Joseph, Supp. IV, Part 1, 261, 319, 320, 321, 322, 323, 325, 328, 398, 399, 403, 408, 414, Part 2, 502, 506 Brueghel, Pieter, I, 174, 189; Supp. I, Part 2, 475 Brueghel, Pieter, the Elder, Retro. Supp. I, 430 Brunner, Emil, III, 291, 303, 313 Bruno's Bohemia (publication), I, 384 Bruno's Weekly (publication), I, 384 Brustein, Robert, I, 95; III, 407 Brutus, IV, 373, 374; Supp. I, Part 2, 471 "Brutus and Antony" (Masters), Supp. I, Part 2, 472 "Bryan, Bryan, Bryan, Bryan" (Lindsay), Supp. I, Part 2, 394, 395, 398

Bryan, Katharine, see O'Hara, Mrs. John (Katharine Bryan) Bryan, William Jennings, I, 483; IV, 124; Supp. I, Part 2, 385, 395-396, 455, 456 Bryant, Austin, Supp. I, Part 1, 152, 153 Bryant, Frances, Supp. I, Part 1, 153 Bryant, Jerry H., Supp. I, Part 1, 69 Bryant, Mrs. William Cullen (Frances Fairchild), Supp. I, Part 1, 153, 169 Bryant, Peter, Supp. I, Part 1, 150, 151, 152, 153 Bryant, William Cullen, I, 335, 458; II, 311; II, Supp. I, Part 1, 154; III, 81; IV, 309; Retro. Supp. I, 217; Supp. I, Part 1, 150-173, 312, 362, Part 2, 413, 416, 420; Supp. IV, Part 1, 165 Bryer, Jackson R., I, 119, 142; II, 100; III, 406; IV, 95, 472; Supp. IV, Part 2, 575, 583, 585, 586, 589, 591 Bryher, Jackson R. (pseudonym), see Ellerman, Winifred Brylowski, Walter, II, 76 Buber, Martin, II, 228; III, 45, 308, 528; IV, 11; Supp. I, Part 1, 83, 88 Buccaneers, The (Wharton), IV, 327; Retro. Supp. I, 382 Buchan, A. M., II, 413 Buchanan Dying (Updike), Retro. Supp. I, 331, 335 Buchen, Irving, IV, 23 Buck, Dudley, Supp. I, Part 1, 362 Buck, Gene, II, 427 Buck, Pearl S., Supp. II, Part 1, 113-134 Buck, Philo Melvin, Jr., Ill, 407 "Buck in the Snow, The" (Millay), III, 135 "Buckdancer's Choice" (Dickey), Supp. IV, Part 1, 191 Buckdancer's Choice (Dickey), Supp. IV, Part 1, 176, 177, 178, 180

INDEX / 383 Bucke, R. M., IV, 353 Bucke, Richard Maurice, Retro. Supp. I, 407 Buckingham, Willis J., I, 564 Buckley, Tom, IV, 401 Buckminster, Joseph, Supp. II, Part 1, 66-67, 69 Bucolics (Auden), Supp. II, Part 1, 21, 24 Budd, Louis J., IV, 210, 213 Budd, Nelson H., Supp. I, Part 2, 626 Buddha, I, 136; II, 1; III, 173, 179, 239, 567; Supp. I, Part 1, 363, Part 2, 397 "Buddha's Last Instruction, The" (Oliver), Supp. VII, 239 Buechner, Frederick, III, 310 Buell, Lawrence, Supp. V, 209 "Buffalo, The" (Moore), III, 215 "Buffalo Bill", see Cody, William Buffalo Express (publication), II, 465 Buffalo Girls (McMurtry), Supp. V, 229 Buffalo Girls (screenplay) (McMurtry), Supp. V, 232 Buffington, Robert, III, 502 Buffon, Comte de, II, 101 "Buglesong" (Stegner), Supp. IV, Part 2, 606 "Buick" (Shapiro), Supp. II, Part 2,705 "Build Soil" (Frost), Retro. Supp. I, 138, 139 Builders, The (Glasgow), II, 183184, 193 Builders of the Bay Colony (Morison), Supp. I, Part 1, 123, Part 2, 484-485 "Builders of the Bridge, The" (Mumford), Supp. II, Part 2, 475 "Building of the Ship, The" (Longfellow), II, 498 Building of Uncle Tom's Cabin, The (Kirkham), Supp. I, Part 2, 601 Build-Up, The (Williams), Retro. Supp. I, 423

Bukowski, Charles, Supp. Ill, Part 1, 147 "Bulgarian Poetess, The" (Updike), IV, 215, 227; Retro. Supp. I, 329 Bulkin, Elly, Supp. I, Part 2, 578 Bull, Ole, II, 504 "Bullet In the Brain" (Wolff), Supp. VII, 342-343 Bullet Park (Cheever), Supp. I, Part 1, 185, 187-193, 194, 195 Bullins, Ed, Supp. II, Part 1, 34, 42 "Bully, The" (Dubus), Supp. VII, 84 Bultmann, Rudolf, III, 309 Bulwark The (Dreiser), I, 497, 506, 516-517 Bulwer-Lytton, Edward George, IV, 350 "Bums in the Attic" (Cisneros), Supp. VII, 62 Bunche, Ralph, Supp. I, Part 1, 343 "Bunchgrass Edge of the World, The" (Proulx), Supp. VII, 263 "Bunner Sisters, The" (Wharton), IV, 317 Bunting, Basil, Retro. Supp. I, 422; Supp. Ill, Part 2, 616, 620, 624 Bunuel, Luis, III, 184 Bunyan, John, I, 445; II, 15, 104, 228; IV, 80, 84, 156, 437; Supp. I, Part 1, 32 Buranelli, Vincent, III, 432 Burbank, Luther, I, 483 Burbank, Rex, I, 119, 120; IV, 363, 376 Burchard, Rachael C, IV, 234 Burchfield, Alice, Supp. I, Part 2, 652, 660 Burden of Southern History, The (Woodward), Retro. Supp. I, 75 Burger, Gottfried August, II, 306 Burgess, Anthony, III, 47; IV, 234; Supp. IV, Part 1, 227, Part 2, 685; Supp. V, 128 Burgess, Charles E., Supp. I, Part 2,477 Burgh, James, Supp. I, Part 2, 522

"Burglar of Babylon, The" (Bishop), Supp. I, Part 1, 93 Burgum, E. B., IV, 469, 470 Burhans, Clinton S., Jr., Supp. I, Part 1, 198 Buried Child (Shepard), Supp. Ill, Part 2, 433, 447, 448 "Buried Lake, The" (Tate), IV, 136 Burke, Edmund, I, 9; III, 310; Supp. I, Part 2, 496, 511, 512, 513, 523; Supp. II, Part 1, 80 Burke, Kenneth, I, 264-287, 291, 311; III, 217, 289, 497, 499, 546, 550; IV, 48, 123, 408, 424; Retro. Supp. I, 297; Supp. I, Part 2, 630; Supp. II, Part 1, 136 Burke, Paine, and the Rights of Man: A Difference of Political Opinions (Fennessy), Supp. I, Part 2, 525 Burks, Mary Fair, Supp. I, Part 1, 69 "Burly Fading One, The" (Hayden), Supp. II, Part 1, 366 "Burned" (Levine), Supp. V, 186, 192 Burnett, Frances Hodgson, Supp. I, Part 1, 44 Burnett, Hallie S., Ill, 573 Burnett, Whit, 111,551, 573 Burnham, James, IV, 142; Supp. I, Part 2, 648 Burnham, John Chynoweth, I, 59 Burnham, Philip E., IV, 188 "Burning, The" (Welty), IV, 277278; Retro. Supp. I, 353 Burning Bright (Steinbeck), IV, 51, 61-62 Burning Daylight (London), II, 474, 481 Burning House, The (Beattie), Supp. V, 29 "Burning of Paper Instead of Children, The" (Rich), Supp. I, Part 2, 558 Burns, David, III, 165-166 Burns, Robert, II, 150, 306; III, 592; IV, 453; Supp. I, Part 1, 158, Part 2, 410, 455, 683, 685, 691, 692

384 / INDEX Burnshaw, Stanley, Retro. Supp. I, 298, 303; Supp. HI, Part 2, 615 "Burnt Norton" (Eliot), Retro. Supp. I, 66 Burnt Norton (Eliot), I, 575, 580581, 582, 584, 585; III, 10 Burr: A Novel (Vidal), Supp. IV, Part 2, 677, 682, 684, 685, 687, 688, 689, 691 Burr, Aaron, I, 7, 549, 550; II, 300; IV, 264; Supp. I, Part 2, 461,483 Burr Oaks (Eberhart), I, 533, 535 Burroughs, Edgar Rice, Supp. IV, Part 1, 101 Burroughs, John, I, 220, 236, 506; IV, 346 Burroughs, William, III, 45, 174, 258; Supp. II, Part 1, 320, 328 Burroughs, William S., Supp. Ill, Part 1, 91-110, 217, 226; Supp. IV, Part 1, 79, 87, 90 Burrow, Trigant, Supp. II, Part 1, 6 Burrows, David, II, 293 Burrows, Ken, Supp. V, 115 Burt, Steve, Supp. V, 83 Burt, Struthers, Supp. I, Part 1, 198 Burton, Robert, II, 535; III, 77, 78; Supp. I, Part 1, 349 Burton, William Evans, III, 412 Burton's Gentleman's Magazine, III, 412 Bury My Heart at Wounded Knee (Brown), Supp. IV, Part 2, 504 Bury the Dead (Shaw), IV, 381 "Burying Ground by the Ties" (MacLeish), III, 14 Busch, Arthur J., Ill, 242 Bush, Douglas, Supp. I, Part 1, 268, 275 Bush, Warren V., Ill, 25 "Busher Comes Back, The" (Lardner), II, 422 "Busher's Letters Home, A" (Lardner), II, 418-419, 421 Bushman, Richard L., I, 564 "Business Deal" (West), IV, 287

Buss, Helen M., Supp. IV, Part 1, 12 "But Only Mine" (Wright), Supp. III, Part 2, 595 "But What Is the Reader to Make of This?" (Ashbery), Supp. Ill, Part 1, 25 Butler, Benjamin, I, 457 Butler, Dorothy, see Farrell, Mrs. James T. (Dorothy Butler) Butler, E. M., Supp. I, Part 1, 275 Butler, Elizabeth, Supp. I, Part 1, 260 Butler, Joseph, II, 8, 9 Butler, Maud, see Falkner, Mrs. Murray C. (Maud Butler) Butler, Nicholas Murray, I, 223; Supp. I, Part 1, 23; Supp. Ill, Part 2, 499 Butler, Samuel, II, 82, 86; IV, 121, 440 Butscher, Edward, Supp. I, Part 2, 526, 548 Butterfield 8 (O'Hara), III, 361 Butterfield, R. W., I, 386, 404 Butterfield, Roger, III, 72 Butterfield, Stephen, Supp. IV, Parti, 3, 11 "Butterfly and the Traffic Light, The" (Ozick), Supp. V, 263, 265 Buttons, Red, Supp. IV, Part 2, 574 Buttrick, George, III, 301 "Buz" (Alcott), Supp. I, Part 1, 43 By Avon River (Doolittle), Supp. I, Part 1, 272 "By Blue Ontario's Shore" (Whitman), Retro. Supp. I, 399, 400 "By Disposition of Angels" (Moore), III, 214 By Land and by Sea (Morison), Supp. I, Part 1, 492 By Love Possessed (Cozens), I, 358, 365, 372-374, 375, 376, 377, 378, 379 "By Morning" (Swenson), Supp. IV, Part 2, 642 By the North Gate (Gates), Supp. II, Part 2, 504

By Way of Orbit (O'Neill), III, 405 By-Line: Ernest Hemingway (Hemingway), II, 257-258 Bynner, Witter, II, 513, 527 Byrd, Cecil K., Supp. I, Part 1, 401 Byrd, William, Supp. IV, Part 2, 425 Byrne, Donn, IV, 67 Byron, George Gordon, Lord, I, 343, 568, 577; II, 135, 193, 296, 301, 303, 310, 315, 331, 566; III, 82, 137, 170, 409, 410, 412, 469; IV, 245, 435; Supp. I, Part 1, 150, 312, 349, Part 2, 580, 591, 683, 685, 719 "C 33" (Crane), I, 384 Cabala, The (Wilder), IV, 356, 358-360, 369, 374 Cabbages and Kings (O. Henry), Supp. II, Part 1, 394, 409 Cabell, James Branch, II, 42, 195; III, 394; IV, 67, 359, 360; Retro. Supp. I, 80; Supp. I, Part 2, 613, 714, 718, 721, 730 "Cabin, The" (Carver), Supp. Ill, Part 1, 137, 146 Cabinet of Dr. Caligari, The (film), Retro. Supp. I, 268 Cable, George Washington, II, 289; Supp. I, Part 1, 200; Supp. II, Part 1, 198 Cabot, James, II, 14, 23; IV, 173 Cabot, John, Supp. I, Part 2, 496, 497 "Caddy's Diary, A" (Lardner), II, 421-422 "Cadence" (Dubus), Supp. VII, 84-85 "Cadillac Flambe" (Ellison), Supp. II, Part 1, 248 Cadillac Jack (McMurtry), Supp. V,225 Cadle, Dean, Supp. I, Part 2, 429, 452 Cady, Edwin H., I, 426, 564; II, 272, 292, 294; Supp. I, Part 2, 402 "Caedmon" (Garrett), Supp. VII, 96-97

INDEX / 385 Caesar, Julius, II, 12, 502, 561562; IV, 372, 373 Caesar, Sid, Supp. IV, Part 2, 574, 591 Cage, John, Supp. IV, Part 1, 84; Supp. V, 337, 341 "Cage and the Prairie: Two Notes on Symbolism, The" (Bewley), Supp. I, Parti, 251 Cage of Spines, A (Swenson), Supp. IV, Part 2, 641-642, 647 Cagney, James, Supp. IV, Part 1, 236 Cain (biblical person), III, 5-6; IV, 56, 57, 371, 483; Supp. I, Part 1, 120 Cain, James M., Ill, 99; Supp. IV, Part 1, 130 Cairns, Huntington, III, 103, 108, 114, 119, 121 Cairo! Shanghai! Bombay! (Williams and Shapiro), IV, 380 Cakes and Ale (Maugham), III, 64 Calamity Jane (Martha Jane Canary), Supp. V, 229-230 "Calamus" (Whitman), IV, 342343; Retro. Supp. I, 52, 403, 404, 407 Calasso, Roberto, Supp. IV, Part 1,301 Calder-Marshall, Arthur, II, 484 Calderon, Hector, Supp. IV, Part 2,544 Caldwell, Christopher, Supp. IV, Parti, 211 Caldwell, Erskine, I, 97, 211, 288311; IV, 286; Supp. IV, Part 2, 601 Caldwell, Mrs. Erskine (Helen Lannegan), I, 289 Caldwell, Mrs. Erskine (Margaret Bourke-White), I, 290, 293-295, 297,311 Caldwell, Mrs. Erskine (Virginia Fletcher), I, 290 Caldwell, Reverend Ira Sylvester, I, 289, 305 Caleb Williams (Godwin), III, 415 "Calendar" (Creeley), Supp. IV, Part 1, 158

Calhoun, John C, I, 8; III, 309 "California" (Didion), Supp. IV, Part 1, 195 California and Oregon Trail, The (Parkman), Supp. I, Part 2, 486 California Monthly (publication), Supp. IV, Part 1, 200 "California Oaks, The" (Winters), Supp. II, Part 2, 798 "California Republic" (Didion), Supp. IV, Part 1, 205 California Suite (film), Supp. IV, Part 2, 589 California Suite (Simon), Supp. IV, Part 2, 581,582 Californian (publication), I, 194; IV, 196 Californians (Jeffers), Supp. II, Part 2, 415, 418, 420 "Caligula" (Lowell), II, 554 "Call at Corazon" (Bowles), Supp. IV, Part 1, 82, 87 Call It Experience (Caldwell), I, 290-291, 297 "Call Letters: Mrs. V. B." (Angelou), Supp. IV, Part 1, 15 Call Me Ishmael (Olson), Supp. II, Part 2, 556 Call of the Gospel The (Mather), Supp. II, Part 2, 448 Call of the Wild, The (London), II, 466, 470^71, 472, 481 "Call to Arms" (Mumford), Supp. II, Part 2, 479 Call to Arms, The (film), Retro. Supp. I, 325 Callaghan, Morley E., II, 100 Callahan, North, III, 598 Calley, Captain William, II, 579 Calligrammes (Apollinaire), I, 432 "Calling Jesus" (Toomer), Supp. III, Part 2, 484 Calling Myself Home (Hogan), Supp. IV, Part 1, 397, 399, 400, 401, 413 Callow, James T., Supp. I, Part 1, 173 "Galloway's Code" (O. Henry), Supp. II, Part 1, 404 Calvert, George H., Supp. I, Part 1,361

Calvin, John, II, 342; IV, 160, 490 Calvinism, I, 215; II, 491, 495; III, 82, 390, 396, 522, 602; IV, 145, 149, 155, 156, 158, 159; Supp. I, Part 1, 38, 151, 228, 229, 301, 302, 315, Part 2, 502, 580, 593, 596, 683, 699 Calvino, Italo, Supp. IV, Part 2, 623, 678 Cambon, Glauco, I, 404, 473; II, 557; IV, 424 Cambridge Edition of the Works of F. Scott Fitzgerald, The (Bruccoli, ed.), Retro. Supp. I, 115 "Cambridge Thirty Years Ago" (Lowell), Supp. I, Part 2, 419 Cambridge University Press, Retro. Supp. I, 115 "Camellia Sabina" (Moore), III, 208, 215 Camera Obscura (Nabokov), III, 255 Cameron, Elizabeth, I, 10, 17 Cameron, Kenneth W., II, 16, 23 Cameron, Sharon, Retro. Supp. I, 43 Camerson, Don, I, 10, 17 Camino Real (Williams), IV, 382, 385, 386, 387, 388, 391, 392, 395, 398 Camoes, Luiz Vaz de, II, 133 "Camp Evergreen" (Kenyon), Supp. VII, 168 Camp, Helen, II, 460 Camp, Walter, II, 423 Campana, Dino, Supp. V, 337 Campbell, Alan, Supp. IV, Part 1, 353 Campbell, Alexander, Supp. I, Part 2, 381, 395 Campbell, Harry M., II, 76 Campbell, James Edwin, Supp. II, Part 1, 202 Campbell, Joseph, I, 135; IV, 369, 370, 376 Campbell, Killis, III, 431, 432 Campbell, Lewis, III, 476 Campbell, Louise, I, 520 Campbell, Thomas, II, 8, 303, 314; III, 410; Supp. I, Part 1, 309, 310

386 / INDEX Campbell (Hale), Janet, Supp. IV, Part 2, 503 "Campers Leaving: Summer 1981" (Kenyon), Supp. VII, 169 "Camping in Madera Canyon" (Swenson), Supp. IV, Part 2, 649 Campion, Thomas, I, 439 Camus, Albert, I, 53, 61, 292, 294, 494; II, 57, 244; III, 292, 306, 453; IV, 6, 211, 236, 442, 487; Retro. Supp. I, 73; Supp. I, Part 2, 621 Camuto, Christopher, Supp. V, 212-213 "Can a Good Wife Be a Good Sport?" (Williams), IV, 380 Can Grande's Castle (Lowell), II, 518, 524 Can Such Things Be? (Bierce), I, 203, 204, 205, 209 "Can You Carry Me" (O'Hara), III, 369 "Canadians and Pottawatomies" (Sandburg), III, 592-593 "Canal, The: A Poem on the Application of Physical Science to Political Economy" (Barlow), Supp. II, Part 1, 73 Canary, Martha Jane, see Calamity Jane (Martha Jane Canary) "Canary for One, A" (Hemingway), Retro. Supp. I, 170, 189 Canary in a Cat House (Vonnegut), Supp. II, Part 2, 758 "Canary in Bloom" (Dove), Supp. IV, Part 1, 248 Canby, Henry Seidel, I, 356; II, 533; IV, 65, 189, 354, 363 "Cancer Match, The" (Dickey), Supp. IV, Part 1, 182 "Cancion y Glosa" (Merwin), Supp. Ill, Part 1, 342 Candide (Hellman), I, 28; Supp. I, Part 1, 288-289, 292 Candide (Moliere, trans. Wilbur), Supp. Ill, Part 2, 560 Candide (Voltaire), Supp. I, Part 1, 288-289 Candle in the Cabin, The (Lindsay), Supp. I, Part 2, 398, 400

Candles in Babylon (Levertov), Supp. Ill, Part 1, 283 Candles in the Sun (Williams), IV, 381 Candles of Your Eyes, The (Purdy), Supp. VII, 278 "Candy-Man Beechum" (Caldwell), I, 309 Cane, Melvin H., II, 460 Cane (Toomer), Supp. Ill, Part 2, 475, 481^86, 488; Supp. IV, Part 1, 164, 168 "Cane in the Corridor, The" (Thurber), Supp. I, Part 2, 616 Canfield, Cass, Supp. I, Part 2, 668 Canfield, Dorothy, Retro. Supp. I, 4, 11, 14, 18; see also Fisher, Dorothy Canfield "Canis Major" (Frost), Retro. Supp. I, 137 Cannery Row (Steinbeck), IV, 50, 51, 64-65, 66, 68 Cannibal Galaxy, The (Ozick), Supp. V, 270 Cannibals and Christians (Mailer), III, 38-39, 40, 42 Canning, George, I, 7, 8 Cannon, Jimmy, II, 424 Cannon between My Knees, A (Gunn Allen), Supp. IV, Part 1, 324 Canny, James R., Ill, 431 "Canso" (Merwin), Supp. Ill, Part 1,344 Canterbury Tales (Chaucer), II, 504; III, 411; IV, 65 "Canto Amor" (Berryman), I, 173 Canto I (Pound), III, 469, 470; Retro. Supp. I, 286 Canto II (Pound), III, 470 Canto III (Pound), III, 470 Canto IV (Pound), III, 470 Canto VIII (Pound), III, 472 Canto IX (Pound), III, 472 Canto X (Pound), III, 472 Canto XIII (Pound), III, 472 Canto XXXIX (Pound), III, 468 "Canto XLV" (Pound), Retro. Supp. I, 292 Canto LXXXI (Pound), III, 459

"Canto LXXXI" (Pound), Retro. Supp. I, 293 Cantor, Lois, Supp. IV, Part 1, 285 Cantos (Pound), I, 482; III, 13-14, 17, 457, 462, 463, 466, 467, 469-470, 472-473, 474, 475, 476, 492; Retro. Supp. I, 284, 292, 292-293, 293, 427; Supp. 1, Part 1, 272; Supp. II, Part 1, 5, Part 2, 420, 557, 564, 644; Supp. IV, Part 1, 153; Supp. V, 343, 345 "Cantus Planis" (Pound), III, 466 Cantwell, Robert, I, 311; IV, 448; Retro. Supp. I, 85 Canzoneri, Robert, IV, 114, 116, 118 Canzoni (Pound), Retro. Supp. I, 286, 288, 413 "Cap" (Shaw), Supp. IV, Part 1, 345 "Cape Breton" (Bishop), Supp. I, Part 1, 92 Cape Cod (Thoreau), II, 540 Capek, Milic, II, 365 Capitalism: The Unknown Ideal (Rand), Supp. IV, Part 2, 518, 527, 531, 532 Caponi, Gena Dagel, Supp. IV, Part 1, 95 Capote, Truman, Supp. I, Part 1, 291, 292; Supp. Ill, Part 1, 111-133, Part 2, 574; Supp. IV, Part 1, 198, 220 Capouya, Emile, Supp. I, Part 1, 50 Capps, Jack, I, 473 "Capsule History of Conservation, A" (Stegner), Supp. IV, Part 2, 600 "Capt Christopher Levett (of York)" (Olson), Supp. II, Part 2, 576, 577 "Captain Carpenter" (Ransom), III, 491 Captain Craig (Robinson), III, 508, 523; Supp. II, Part 1, 192 "Captain Jim's Friend" (Harte), Supp. II, Part 1, 337

INDEX / 387 "Captain Jones's Invitation" (Freneau), Supp. II, Part 1, 261 "Captain's Son, The" (Taylor), Supp.V, 314, 325, 327 "Captivity and Restoration of Mrs. Mary Rowlandson, The" (Howe), Supp. IV, Part 2, 419, 431, 434 "Captivity of the Fly" (MacLeish), III, 19 "Captured Goddess, The" (Lowell), II, 520 Caputi, Jane, Supp. IV, Part 1, 334, 335 Carby, Hazel B., Supp. IV, Part 1,13 "Carcassonne" (Faulkner), Retro. Supp. I, 81 Card, Antha E., Supp. I, Part 2, 496 Cardenas, Lupe, Supp. IV, Part 2, 538, 539, 540 "Cardinal Ideograms" (Swenson), Supp. IV, Part 2, 645 "Cards" (Beattie), Supp. V, 31 "Careful" (Carver), Supp. Ill, Part 1, 138 Careful and Strict Enquiry into the Modern Prevailing Notions of That Freedom of Will Which Is Supposed to be Essential to Moral Agency, Vertue and Vice, Reward and Punishment, Praise and Blame, A (Edwards), I, 549, 557, 558, 562 Carel: A Poem and Pilgrimage in the Holy Land (Melville), III, 92-93 Carew, Thomas, IV, 453 Carey, Julian C, Supp. I, Part 2, 348 Cargill, Oscar, I, 262, 520; III, 336, 407, 598; IV, 472, 473; Supp. II, Part 1, 117 Caribbean as Columbus Saw It (Morison and Obregon), Supp. I, Part 2, 488 Carl, K. A., Ill, 475 Carl Sandburg (Golden), III, 579 Carleton Miscellany (magazine), III, 268 Carlisle, Olga, III, 169

"Carlos Who Died, and Left Only This, The" (Rios), Supp. IV, Part 2, 547 Carlotta (empress of Mexico), Supp. I, Part 2, 457 Carlson, Eric W., Ill, 432 Carlyle, Thomas, I, 103, 279; II, 5, 7, 11, 15-16, 17,20,22, 145, 315; III, 82, 84, 85, 87; IV, 169, 182, 338, 350; Retro. Supp. I, 360, 408; Supp. I, Part 1, 2, 349, Part 2, 410, 422, 482, 485, 552 "Carma" (Toomer), Supp. Ill, Part 2, 481-483 "Carmen de Boheme" (Crane), I, 384 Carmen Jones (film), Supp. I, Part 1, 66 Carnegie, Andrew, I, 483; IV, 192; Supp. I, Part 2, 639, 644; Supp. V, 285 Carnegie, Dale, Supp. I, Part 2, 608 "Carnegie Hall: Rescued" (Moore), III, 215 Carnell, Edward J., Ill, 312 Carne-Ross, D. S., Supp. I, Part 1, 268, 269, 275 "Carnival with Spectres" (Benet), Supp. I, Part 2, 626 Carnovsky, Morris, III, 154 "Carol of Occupations" (Whitman), I, 486 Caroling Dusk: An Anthology of Verse by Negro Poets (Cullen), Supp. IV, Part 1, 166, 169 "Carpe Noctem, if You Can" (Thurber), Supp. I, Part 2, 620 Carpenter, Dan, Supp. V, 250 Carpenter, Frederic I., II, 20, 23; III, 243, 407 Carpenter, George Rice, Supp. I, Part 2, 706 Carpentered Hen and Other Tame Creatures, The (Updike), IV, 214 Carpentered Hen, The (Updike), Retro. Supp. I, 320 Carpenter's Gothic (Gaddis), Supp. IV, Part 1, 288, 289291, 293, 294

Carpet-Bag (magazine), IV, 193 Carr, Dennis W., Supp. IV, Part 2,560 Carrall, Aaron, Supp. IV, Part 2, 499 Carrel, Alexis, IV, 240 "Carriage from Sweden, A" (Moore), III, 212 Carrie (King), Supp. V, 137 Carrier of Ladders (Merwin), Supp. Ill, Part 1, 339, 346, 350-352, 356, 357 "Carriers of the Dream Wheel" (Momaday), Supp. IV, Part 2, 481 Carriers of the Dream Wheel: Contemporary Native American Poetry (ed. Niatum), Supp. IV, Part 2, 484, 505 Carrington, Carroll, I, 199 Carrington, George C., Jr., II, 293, 294 "Carrion Spring" (Stegner), Supp. IV, Part 2, 604 Carroll, Charles, Supp. I, Part 2, 525 Carroll, Lewis, I, 432; II, 431; III, 181; Supp. I, Part 1, 44, Part 2, 622, 656 Carroll, Paul, IV, 47 "Carrots, Noses, Snow, Rose, Roses" (Gass), Supp. VI, 87 Carrouges, Michel, Supp. IV, Part 1, 104 "Carrousel, The" (Rilke), III, 558 Carruth, Hayden, I, 189; III, 289; Supp. IV, Part 1, 66 "Carry" (Hogan), Supp. IV, Part 1,412 Carse, James, I, 564 Carson, Edward Russell, III, 384 Carson, Johnny, Supp. IV, Part 2, 526 Carson, Rachel, Supp. V, 202 Carter, Elliott, Supp. Ill, Part 1, 21 Carter, Everett, II, 148, 294 Carter, Jimmy, Supp. I, Part 2, 638 Carter, Marcia, Supp. V, 223 Carter, Mary, Supp. IV, Part 2, 444

388 / INDEX Carter family, Supp. V, 334-335 Cartesian Sonata and Other Novellas (Gass), Supp. VI, 9293 Carrier, Jacques, Supp. I, Part 2, 496, 497 "Cartographies of Silence" (Rich), Supp. I, Part 2, 571-572 Carver, Raymond, Supp. Ill, Part I, 135-151; Supp. IV, Part 1, 342; Supp. V, 22, 23, 220, 326 Cary, Richard, II, 413 "Casabianca" (Bishop), Supp. I, Part 1, 86 Case of the Crushed Petunias, The (Williams), IV, 381 Case of the Officers of Excise (Paine), Supp. I, Part 2, 503504 Casements (magazine), IV, 286 Cash, Arthur, Supp. IV, Part 1, 299 "Cask of Amontillado, The" (Poe), II, 475; III, 413 Casper, Leonard, IV, 258 Cass Timberlane (Lewis), II, 455456 Cassady, Neal, Supp. II, Part 1, 309,311 "Cassandra Southwick" (Whittier), Supp. I, Part 2, 693 Cassill, R. V., Supp. V, 323 Cassirer, Ernst, I, 265; IV, 87, 89 Cast a Cold Eye (McCarthy), II, 566 Castaway (Cozzens), I, 363, 370, 374, 375, 379 "Caste in America" (Du Bois), Supp. II, Part 1, 169 Castiglione, Baldassare, I, 279; III, 282 "Castilian" (Wylie), Supp. I, Part 2,714 Castle Sinister (Marquand), III, 58 "Castles and Distances" (Wilbur), Supp. Ill, Part 2, 550 Castro, Fidel, II, 261, 434 "Casual Incident, A" (Hemingway), II, 44 "Cat in the Hat for President, The" (Coover), Supp. V, 44, 46-47

Cat Inside, The (Burroughs), Supp. Ill, Part 1, 105 Cat on a Hot Tin Roof (Williams), II, 190; IV, 380, 382, 383, 386, 387, 389, 390, 391, 394, 395, 397-398 "Catbird Seat, The" (Thurber), Supp. I, Part 2, 623 Catcher in the Rye, The (Salinger), 1, 493; III, 551, 552, 553-558, 567, 571; Retro. Supp. I, 102; Supp. I, Part 2, 535; Supp. V, 119 Catch-22 (Heller), III, 558; Supp. IV, Part 1, 379, 380, 381-382, 382, 383, 384-386, 386, 387, 390, 391, 392, 393, 394; Supp. V, 244, 248 "Catching Frogs" (Kenyon), Supp. VII, 170 Cater, Harold Dean, I, 24; II, 317 Catered Affair, The (film), Supp. IV, Part 2, 683 Catharine Beecher: A Study in American Domesticity (Sklar), Supp. I, Part 2, 601 Cathay (Pound), II, 527; Retro. Supp. I, 289 Cathcart, Wallace H., II, 245 "Cathedral" (Carver), Supp. Ill, Part 1, 144-145 Cathedral (Carver), Supp. Ill, Part 1, 144-146 Cathedral, The (Lowell), Supp. I, Part 2, 407, 416^17 Gather, Charles, I, 312, 330 Gather, Mrs. Charles, I, 330 Gather, Willa, I, 312-334, 405; II, 51, 96, 177, 404, 412, 413, 414; III, 453; IV, 190; Retro. Supp. 1,1-23, 355, 382; Supp. I, Part 2, 609, 719; Supp. IV, Part 1, 31 Catherine II, Supp. I, Part 2, 433 Catherine, Saint, II, 211 Catholic Anthology (publication), III, 460 "Cathy Queen of Cats" (Cisneros), Supp. VII, 59 Cato, II, 114, 117

Cat's Cradle (Vonnegut), Supp. Ill, Part 2, 758, 759, 767768, 770, 771, 772; Supp. V, 1 "Catterskill Falls" (Bryant), Supp. 1, Part 1, 160 Catullus (Gai Valeri Catulli Veronensis Liber) (Zukofsky), Supp. Ill, Part 2, 625, 627, 628, 629 Catullus, Gaius Valerius, I, 381; Supp. I, Part 1, 261, Part 2, 728 "Caul, The" (Banks), Supp. V, 1011 Cause for Wonder (Morris), III, 232-233 " 'Cause My House Fell Down': The Theme of the Fall in Baldwin's Novels" (Foster), Supp. I, Part 1, 70 "Causerie" (Tate), IV, 129 "Causes of American Discontents before 1768, The" (Franklin), II, 120 Cavalcade of America, The (radio program), III, 146 Cavalcanti (Pound, opera), Retro. Supp. I, 287 Cavalcanti, Guido, I, 579; III, 467; Supp. Ill, Part 2, 620, 621, 622, 623 Cavalier and Yankee: The Old South and American National Character (Taylor), Supp. I, Part 2, 601 Cavalieri, Grace, Supp. IV, Part 2, 630, 631 "Cavalry Crossing the Ford" (Whitman), IV, 347 Cave, The (Warren), IV, 255-256 Cavell, Stanley, Retro. Supp. I, 306-307, 309 Cavender's House (Robinson), III, 510 "Cawdor" (Jeffers), Supp. II, Part 2,431 Caxton, William, III, 486 Cayton, Horace, IV, 475, 488, 496, 497 Cazamian, Louis, II, 529 Cazemajou, Jean, I, 426, 427

INDEX / 389 "Celebrated Jumping Frog of Calaveras County, The" (Twain), IV, 196 Celebrated Jumping Frog of Calaveras County, The, and Other Sketches (Twain), IV, 197 "Celery" (Stein), IV, 43 "Celestial Globe" (Nemerov), III, 288 Celestial Navigation (Tyler), Supp. IV, Part 2, 662-663, 671 "Celestial Railroad, The" (Hawthorne), Supp. I, Part 1, 188; Retro. Supp. I, 152 Celibate Season, A (Shields), Supp. VII, 323, 324 "Cemetery at Academy, California" (Levine), Supp. V, 182 "Census of the Works of Charles Brockden Brown, A" (Krause), Supp. I, Part 1, 148 "Census-Taker, The" (Frost), Retro. Supp. I, 129 "Centaur, The" (Swenson), Supp. IV, Part 2, 641 Centaur, The (Updike), IV, 214, 216, 217, 218, 219-221, 222; Retro. Supp. I, 318, 322, 324, 331, 336 Centennial History of the Associated Reformed Presbyterian Church, I, 305 "Centennial Meditation of Columbia, The" (Lanier), Supp. I, Part 1, 362 Centeno, Agusto, IV, 375 "Centipede" (Dove), Supp. IV, Part 1, 246 "Central Man, The" (Bloom), Supp. IV, Part 2, 689 "Central Park" (Lowell), II, 552 Century (magazine), I, 101; II, 289, 408, 466; III, 434; IV, 201; Supp. I, Part 2, 418, 709, 717 Century Illustrated Monthly Magazine, Retro. Supp. I, 362 Century of Dishonor, A (Jackson), Retro. Supp. I, 31 "Ceremonies" (Rukeyser), Supp. VI, 279 Ceremony (Silko), Supp. IV, Part 1, 274, 333, Part 2, 557-

558, 558-559, 559, 561-566, 570 Ceremony (Wilbur), Supp. Ill, Part 2, 550-551 Ceremony in Lone Tree (Morris), III, 229-230, 232, 238, 558 Ceremony of Brotherhood, A (eds. Anaya and Ortiz), Supp. IV, Part 2, 502 Cerf, Bennett, III, 405; IV, 288 "Certain Music, A" (Rukeyser), Supp. VI, 273 Certain Noble Plays of Japan (Pound), III, 458 Certain People (Wharton), Retro. Supp. I, 382 "Certain Poets" (MacLeish), III, 4 "Certain Testimony" (Bausch), Supp. VII, 48 Certificate, The (Singer), IV, 1 Cervantes, Lorna Dee, Supp. IV, Part 2, 545 Cervantes, Miguel de, I, 130, 134; II, 8, 272, 273, 276, 289, 302, 310, 315; III, 113, 614; IV, 367; Retro. Supp. I, 91; Supp. I, Part 2, 406; Supp. V, 277 "Cesarean" (Kenyon), Supp. VII, 173 Cezanne, Paul, II, 576; III, 210; IV, 24, 26, 31, 407; Supp. V, 333, 341-342 Chaboseau, Jean, Supp. I, Part 1, 260 Chaikin, Joseph, Supp. Ill, Part 2, 433, 436-437 "Chain, The" (Kumin), Supp. IV, Part 2, 452 "Chain of Love, A" (Price), Supp. VI, 258-259, 260 Chainbearer, The (Cooper), I, 351, 352-353 Chains of Dew (Glaspell), Supp. III, Parti, 181 Challacombe, Robert Hamilton, III, 176 Chalmers, George, Supp. I, Part 2,514,521 Chamber Music (Joyce), III, 16 "Chambered Nautilus, The" (Holmes), Supp. I, Part 1, 254, Part 2, 307, 312-313, 314

Chamberlain, John, Supp. I, Part 2, 647; Supp. IV, Part 2, 525 Chamberlain, Neville, II, 589; Supp. I, Part 2, 664 Chambers, Richard, Supp. Ill, Part 2, 610, 611, 612 Chambers, Whittaker, Supp. Ill, Part 2, 610; Supp. IV, Part 2, 526 Chametzky, Jules, IV, 23 "Champagne Regions" (Rios), Supp. IV, Part 2, 553 "Champion" (Lardner), II, 420421, 428, 430 Champion, Myra, IV, 473 Champollion-Figeac, Jean Jacques, IV, 426 "Chance" (Doolittle), Supp. I, Part 1, 271 Chance Acquaintance, A (Howells), II, 278 Chance, Frank, II, 418 "Chanclas" (Cisneros), Supp. VII, 61 Chandler, Raymond, Supp. Ill, Part 1, 91; Supp. IV, Part 1, 119-138, 341, 344, 345, Part 2, 461, 464, 469, 470, 471, 472, 473 Chaney, "Professor" W. H., II, 463-464 Chang, Leslie C, Supp. IV, Part 1,72 "Change Is Always for the Worse" (Segal), Supp. I, Part 1, 199 Change of World, A (Rich), Supp. I, Part 2, 551,552 "Change, The: Kyoto-Tokyo Express" (Ginsberg), Supp. II, Part 1, 313, 329 Changeling (Middleton), Retro. Supp. I, 62 "Changeling, The" (Lowell), Supp. I, Part 2, 409 "Changeling, The" (Whittier), Supp. I, Part 2, 697 Changing Light at Sandover, The (Merrill), Supp. Ill, Part 1, 318, 319, 323, 327, 332, 335336 "Changing Same, The" (Baraka), Supp. II, Part 1,47, 51, 53

390 / INDEX Chanler, Mrs. Winthrop, I, 22, 24; IV, 325 "Channel X: Two Plays on the Race Conflict" (Roth), Supp. I, Part 1, 70-71 Channing, Carol, IV, 357 Channing, Edward, Supp. I, Part 2, 479-480 Channing, Edward Tyrrel, Supp. I, Part 1, 155, Part 2, 422 Channing, William Ellery, Retro. Supp. I, 54 Channing, William Ellery (the elder), I, 336; II, 224, 495; IV, 172, 173, 176, 177, 189; Supp. I, Part 1, 103, Part 2, 589 Channing, William Henry, IV, 178; Supp. II, Part 1, 280, 285 Chanson de Roland, I, 13 "Chanson un Peu Naive" (Bogan), Supp. Ill, Part 1,50-51 "Chant for May Day" (Hughes), Supp. I, Parti, 331 Chaos (Dove), Supp. IV, Part 1, 243 "Chaperone, The" (Van Vechten), Supp. II, Part 2, 728 Chaplin, Charles Spencer, I, 27, 32, 43, 386, 447; III, 403; Supp. I, Part 2, 607; Supp. IV, Part 1, 146, Part 2, 574 Chapman, Abraham, IV, 485 Chapman, Edward M., II, 413 Chapman, George, Supp. I, Part 2,422 Chapman, Harmon M., II, 365 Chapman, John (Johnny Appleseed), Supp. I, Part 2, 397 Chapman, John Jay, IV, 436 "Chapman" (Rukeyser), Supp. VI, 273 Chappell, Fred, Supp. IV, Part 1, 69 "Chapter VI" (Hemingway), II, 252 Chapter Two (Simon), Supp. IV, Part 2, 575, 586 Chapters in a Mythology: The Poetry of Sylvia Plath (Kroll), Supp. I, Part 2, 541-543, 548

Chapters on Erie (Adams and Adams), Supp. I, Part 2, 644 "Character" (Emerson), II, 6 "Character of Presidents, The" (Doctorow), Supp. IV, Part 1, 224 "Character of Socrates, The" (Emerson), II, 8-9 "Characters in Fiction" (McCarthy), II, 562 Charlatan, The (Singer), IV, 1 "Charles Brockden Brown" (Ringe), Supp. I, Part 1, 148 Charles Brockden Brown (Ringe), Supp. I, Part 1, 148 "Charles Brockden Brown: A Bibliographical Essay" (Witherton), Supp. I, Part 1, 148 Charles Brockden Brown: A Study of Early American Fiction (Vilas), Supp. I, Part 1, 148 Charles Brockden Brown: American Gothic Novelist (Warfel), Supp. I, Part 1, 148 "Charles Brockden Brown, America's First Important Novelist: A Checklist of Biography and Criticism" (Hemenway and Keller), Supp. I, Part 1, 147 "Charles Brockden Brown and the Culture of Contradictions" (Hedges), Supp. I, Part 1, 148 "Charles Brockden Brown as a Novelist of Ideas" (Hirsh), Supp. I, Part 1, 148 Charles Brockden Brown: Pioneer Voice of America (Clark), Supp. I, Part 1, 148 "Charles Brockden Brown's Historical 'Sketches': A Consideration" (Berthoff), Supp. I, Part 1, 148 Charles Goodnight: Cowman and Plainsman (Haley), Supp. V, 226 Charles I, King, II, 146; IV, 145 Charles II, King, II, 120; IV, 145; Supp. I, Part 1, 110, 111, Part 2,552 Charles X, King, I, 345

Charles Scribner's Sons, see Scribners Charles the Bold, Duke of Burgundy, III, 487 Charleville, Victoria Verdon, Supp. I, Part 1, 200-201, 205, 206, 210 Charley's Aunt (Thomas), II, 138 Charlotte: A Tale of Truth (Rowson), Supp. I, Part 1, 128 Charlotte's Web (White), Supp. I, Part 2, 655, 656, 658, 667, 670 Charm, The (Creeley), Supp. IV, Part 1, 139, 141, 144, 149-150 Charmed Life, A (McCarthy), II, 571-574 Charnel Rose, The (Aiken), I, 50, 57,62 Charney, Maurice, Supp. I, Part 1,69 Charterhouse, The (Percy), Supp. Ill, Part 1, 388 Charvat, William, II, 244; Supp. I, Part 1, 148 Chase, Cleveland B., I, 119 Chase, Mary Ellen, II, 413 Chase, Richard, I, 473; III, 97, 336; IV, 202, 354, 443, 448; Retro. Supp. I, 40, 395; Supp. I, Part 1, 148 Chase, Salmon P., Supp. I, Part 2, 584 Chase, Stuart, Supp. I, Part 2, 609 Chase, The (Foote), Supp. I, Part 1,281 "Chaste Land, The" (Tate), IV, 122 Chattanooga News (newspaper), II, 197 Chatterbox (publication), III, 101 Chatterton, Thomas, Supp. I, Part 1, 349, Part 2, 410, 716 Chaucer, Geoffrey, I, 131; II, 11, 504, 516, 542, 543; III, 283, 411,473, 492, 521; Retro. Supp. I, 135, 426; Supp. I, Part 1, 356, 363, Part 2, 422, 617; Supp. V, 259 Chauncy, Charles, I, 546-547, 565; IV, 147 Chavez, Cesar, Supp. V, 199

INDEX / 391 Chavez, Denise, Supp. IV, Part 2, 544 Chavkin, Allan, Supp. IV, Part 1, 259 Chavkin, Nancy Feyl, Supp. IV, Part 1, 259 "Checklist of the Melcher Lindsay Collection" (Byrd), Supp. I, Part 2, 401 "Cheers" (Carver), Supp. Ill, Part 1,138 Cheetham, James, Supp. I, Part 2, 521 Cheever, Benjamin Hale, Supp. I, Part 1, 175 Cheever, David W., Supp. I, Part 1,304 Cheever, Ezekiel, Supp. I, Part 1, 174, 193 Cheever, Federico, Supp. I, Part 1, 175 Cheever, Fred, Supp. I, Part 1, 174 Cheever, Frederick L., Supp. I, Part 1, 174 Cheever, John, Retro. Supp. I, 116, 333, 335; Supp. I, Parti, 174-199; Supp. V, 23, 95 Cheever, Mary Liley, Supp. I, Part 1, 174 Cheever, Mrs. John (Mary Winternitz), Supp. I, Part 1, 175 Cheever, Susan, see Cowley, Susan Cheever (Susan Cheever) Cheever Evening, A (Gurney), Supp. V, 95 "Cheever's Inferno" (Warnke), Supp. I, Part 1, 199 "Cheever's Triumph" (demons), Supp. I, Part 1, 198 "Cheever's Use of Mythology in The Enormous Radio' " (Kendle), Supp. I, Part 1, 199 Chekhov, Anton, I, 52, 90; II, 27, 38, 44, 49, 198, 542; III, 362, 467; IV, 17, 53, 359, 446; Retro. Supp. I, 5, 355; Supp. I, Part 1, 196; Supp. II, Part 1, 6; Supp. IV, Part 2, 585; Supp. V, 265

"Chemin de Per" (Bishop), Supp. I, Part 1, 80, 85, 86 Chenetier, Marc, Supp. I, Part 2, 402 Cheney, Brainard, II, 221 Cheney, Ednah D., Supp. I, Part 1,46 Chernyshevski, Nikolai, III, 261, 262, 263; Retro. Supp. I, 269 Cherry, Conrad, I, 565 Cherry Orchard, The (Chekhov), IV, 359, 426 Cheslock, Louis, III, 99, 118, 119, 121 Chesnutt, Charles Waddell, Supp. II, Part 1, 174, 193, 211; Supp. IV, Part 1, 257 Chessman, Caryl, Supp. I, Part 2, 446 Chester, Alfred, I, 95; IV, 234 Chesterfield, Lord, II, 36 Chesterton, Gilbert Keith, I, 226; IV, 432 Cheuse, Alan, Supp. IV, Part 2, 570 "Chicago" (Sandburg), III, 581, 592, 596; Supp. Ill, Part 1, 71 Chicago (Shepard), Supp. Ill, Part 2, 439 Chicago Chronicle (newspaper), Supp. I, Part 2, 455 Chicago Daily Globe (newspaper), 1,499 Chicago Daily News (newspaper), III, 580 Chicago Daily World (newspaper), III, 580 Chicago Defender (publication), Retro. Supp. I, 194, 202, 205; Supp. I, Part 1, 336 "Chicago Defender Sends a Man to Little Rock, The" (Brooks), Supp. Ill, Part 1, 80-81 Chicago Evening Post (newspaper), Supp. I, Part 2, 379 Chicago Examiner (newspaper), II, 417 "Chicago Hamlet, A" (Anderson), I, 112 Chicago Inter-Ocean (newspaper), II, 417

"Chicago Picasso, The" (Brooks), Supp. Ill, Part 1, 70-71, 84 Chicago Poems (Sandburg), III, 579, 581-583, 586 Chicago Renaissance in American Letters, The: A Critical History (Duffey), Supp. I, Part 2, 402, 478 Chicago Renaissance: The Literary Life in the Midwest, 1900-1930 (Kramer), Supp. I, Part 2, 402, 478 Chicago Sunday Tribune Magazine of Books (publication), Supp. IV, Part 2, 681 Chicago Times Herald (newspaper), Supp. I, Part 1, 200 Chicago Tribune (newspaper), II, 417; Supp. I, Part 2, 490, 606; Supp. IV, Part 1, 205, Part 2, 570; Supp. V, 239, 282 Chicago Tribune Book World (publication), Supp. IV, Part 1, 208 "Chicano/Borderlands Literature and Poetry" (Rios), Supp. IV, Part 2, 537, 538, 542, 545 Chick, Nancy, Supp. IV, Part 1, 1 "Chickamauga" (Bierce), I, 201 "Chickamauga" (Wolfe), IV, 460 "Chickamauga" (Wright), Supp. V, 334 Chickamauga (Wright), Supp. V, 333, 343-344 "Chiefly about War Matters" (Hawthorne), II, 227 "Chiefly about War Matters. By a Peaceable Man" (Hawthorne), Retro. Supp. I, 165 "Child" (Plath), Supp. I, Part 2, 544 "Child, The" (Rios), Supp. IV, Part 2, 543 "Child by Tiger, The" (Wolfe), IV, 451 "Child Is the Meaning of This Life, The" (Schwartz), Supp. II, Part 2, 659-660 "Child Margaret" (Sandburg), III, 584

392 / INDEX "Child of Courts, The" (Jarrell), II, 378, 379, 381 "CHILD OF THE THIRTIES" (Baraka), Supp. II, Part 1, 60 "Child on Top of a Greenhouse" (Roethke), 111,531 Child Savers, The: The Invention of Delinquency (Platt), Supp. I, Part 1, 27 "Childhood" (Wilder), IV, 375 "Childhood" (Wright), Supp. V, 341 "Childhood Sketch" (Wright), Supp. Ill, Part 2, 589 "Childhood, When You Are in It . . ." (Kenyon), Supp. VII, 160, 170 "Childless Woman" (Plath), Supp. I, Part 2, 544 "Childlessness" (Merrill), Supp. III, Part 1, 323 Children (Gurney), Supp. V, 95, 96 "Children" (Stowe), Supp. I, Part 2,587 Children, The (Wharton), IV, 321, 326; Retro. Supp. I, 381 Children and Others (Cozzens), I, 374 Children is All (Purdy), Supp. VII, 277, 278, 282 "Children of Adam" (Whitman), IV, 342; Retro. Supp. I, 403, 405 Children of Light (Stone), Supp. V, 304-306 Children of Light and the Children of Darkness, The (Niebuhr), III, 292, 306, 310 Children of the Frost (London), II, 469, 483 Children of the Market Place (Masters), Supp. I, Part 2, 471 "Children on Their Birthdays" (Capote), Supp. Ill, Part 1, 114, 115 "Children Selecting Books in a Library" (Jarrell), II, 371 "Children, the Sandbar, That Summer" (Rukeyser), Supp. VI, 274

Children's Hour, The (Hellman), Supp. I, Part 1, 276-277, 281, 286, 297 "Children's Rhymes" (Hughes), Supp. I, Part 1, 340 Child's Garden of Verses, A (Stevenson), Supp. IV, Part 1, 298, 314 "Child's Reminiscence, A" (Whitman), IV, 344 Childwold (Gates), Supp. II, Part 2,519-520 Chill, The (Macdonald), Supp. IV, Part 2, 473 Chills and Fever (Ransom), III, 490, 491^92, 493 Chilly Scenes of Winter (Beattie), Supp. V, 21, 22, 23, 24, 26, 27 "Chimes for Yahya" (Merrill), Supp. Ill, Part 1, 329 Chin, Frank, Supp. V, 164, 172 "China" (Johnson), Supp. VI, 193-194 China Men (Kingston), Supp. V, 157, 158, 159, 160, 161, 164169 China Trace (Wright), Supp. V, 332, 340, 341, 342; "Chinaman's Hat," Supp. V, 169 Chinese Classics (Legge), III, 472 Chinese Materia Medica (Smith), III, 572 "Chinese Nightingale, The" (Lindsay), Supp. I, Part 2, 392393, 394 Chinese Nightingale and Other Poems, The (Lindsay), Supp. I, Part 2, 392 "Chinoiseries" (Lowell), II, 524525 Chirico, Giorgio de, Supp. Ill, Part 1, 14 "Chiron" (Winters), Supp. II, Part 2,801 Chodorov, Jerome, IV, 274 "Choice of Profession, A" (Malamud), Supp. I, Part 2, 437 Chomei, Kamo No, IV, 170, 171, 184 Chomsky, Noam, Supp. IV, Part 2,679

Choosing not Choosing (Cameron), Retro. Supp. I, 43 Chopin, Felix, Supp. I, Part 1, 202 Chopin, Frederic, Supp. I, Part 1, 363 Chopin, Jean, Supp. I, Part 1, 206 Chopin, Kate, II, 276; Retro. Supp. I, 10, 215; Supp. I, Part 1, 200-226; Supp. V, 304 Chopin, Mrs. Oscar, see Chopin, Kate Chopin, Oscar, Supp. I, Part 1, 206-207 "Choral: The Pink Church" (Williams), Retro. Supp. I, 428 "Chord" (Merwin), Supp. Ill, Part 1,356 Choruses from Iphigenia in Aulis (trans. Doolittle), Supp. I, Part 1, 257, 268, 269 Chosen Country (Dos Passos), I, 475, 490-491 C/zosdVz (Lowell), II, 513 Choukri, Mohamed, Supp. IV, Part 1, 92 Chovteau, Mane Therese, Supp. I, Part 1, 205 Chrisman, Robert, Supp. IV, Part 1,1 "Christ for Sale" (Lowell), II, 538 Christabel (Coleridge), Supp. IV, Part 2, 465 Christian Century (publication), III, 297 Christian Dictionary, A (Wilson), IV, 153 "Christian Minister, The" (Emerson), II, 10 Christian Philosopher, The (Mather), Supp. II, Part 2, 463464 Christian Realism and Practical Problems (Niebuhr), III, 292, 308 Christian Register (publication), I, 471-472 "Christian Roommates, The" (Updike), IV, 226-227; Retro. Supp. I, 319, 323

INDEX / 393 Christian Science Monitor (newspaper), Supp. I, Part 2, 530; Supp. IV, Part 2, 441 Christianity and Crisis (publication), III, 292 Christianity and Power Politics (Niebuhr), III, 292, 303 Christiansen, Carrie, I, 210 Christie, Agatha, Supp. IV, Part I, 341, Part 2, 469 Christie, Francis A., I, 564 Christine (King), Supp. V, 139, 148 Christman, Henry M., IV, 354 "Christmas Banquet, The" (Hawthorne), II, 227 Christmas Carol, A (Dickens), Retro. Supp. I, 196; Supp. I, Part 2, 409^10 "Christmas Eve in the Time of War: A Capitalist Meditates by a Civil War Monument" (Lowell), II, 538 "Christmas Eve under Hooker's Statue" (Lowell), II, 539-540 "Christmas Gift" (Warren), IV, 252-253 "Christmas Greeting, A" (Wright), Supp. Ill, Part 2, 601 "Christmas Hymn, A" (Wilbur), Supp. Ill, Part 2, 557 Christmas Memory, A (Capote), Supp. Ill, Part 1, 118, 119, 129 "Christmas 1944" (Levertov), Supp. Ill, Part 1, 274 "Christmas, or the Good Fairy" (Stowe), Supp. I, Part 2, 586 Christmas Story (Mencken), III, 111 Christographia (Taylor), IV, 164165 "Christopher Cat" (Cullen), Supp. IV, Part 1, 173 Christopher Columbus, Mariner (Morison), Supp. I, Part 2, 488 Christus: A Mystery (Longfellow), II, 490, 493, 495, 505-507 "Chronicle of Race Relations, A" (Du Bois), Supp. II, Part 1, 182

Chronicle of the Conquest of Granada (Irving), II, 310 Chronologies of the Life and Writings of William Cullen Bryant. . . (Sturges), Supp. I, Part 1, 173 "Chrysanthemums, The" (Steinbeck), IV, 53 "Chrysaor" (Longfellow), II, 498 "Chunk of Amethyst, A" (Bly), Supp. IV, Part 1, 72 Church, Margaret, IV, 466 "Church Porch, The" (Herbert), IV, 153 Church Psalmody, Selected from Dr. Watts and Other Authors (ed. Mason and Greene), I, 458 Churchill, Winston, I, 9, 490; Supp. I, Part 2, 491 Ciannic, Saint, II, 215 Ciano, Edda, IV, 249 Ciardi, John, I, 169, 179, 189, 535, 542; III, 268, 289; IV, 424; Supp. IV, Part 1, 243, Part 2,

639 "Cicadas" (Wilbur), Supp. Ill, Part 2, 549 Cicero, I, 279; II, 8, 14-15; III, 23; Supp. I, Part 2, 405 Cider House Rules, The (Irving), Supp. VI, 164, 173-175 "Cigales" (Wilbur), Supp. Ill, Part 2, 549 "Cimetiere Marin, Le" (Valery), IV, 91-92 "Cinderella" (Jarrell), II, 386 "Cinderella" (Perrault), IV, 266, 267 "Cinderella" (Sexton), Supp. II, Part 2, 691 Cinthio, IV, 370 CIOPW (Cummings), I, 429 "Circe" (Welty), Retro. Supp. I, 353 "Circle in the Fire, A" (O'Connor), III, 344-345, 349-350, 351, 353, 354 "Circles" (Emerson), I, 455, 460 "Circles" (Lowell), II, 554 "Circus, The" (Porter), III, 443, 445

"Circus Animals' Desertion" (Yeats), I, 389 "Circus in the Attic" (Warren), IV, 253 Circus in the Attic, The (Warren), IV, 243, 251-253 "Circus in Three Rings" (Plath), Supp. I, Part 2, 536 "Cirque d'Hiver" (Bishop), Supp. 1, Part 1, 85 Cisneros, Sandra, Supp. IV, Part 2, 544; Supp. VII, 57-59 Cities of the Red Night (Burroughs), Supp. Ill, Part 1, 106 "Citizen Cain" (Baraka), Supp. II, Part 1, 49 Citizen Kane (film), Retro. Supp. I, 115; Supp. V, 251 "Citizen of the World" (Goldsmith), II, 299 City and the Pillar, The (Vidal), Supp. IV, Part 2, 677, 680681 "City and the Pillar, The, as Gay Fiction" (Summers), Supp. IV, Part 2, 680-681 City in History, The (Mumford), Supp. II, Part 2, 495 "City in the Sea, The" (Poe), III, 411 City Life (Barthelme), Supp. IV, Part 1, 44, 47 City of Discontent (Harris), Supp. I, Part 2, 402 City of God, The (St. Augustine), IV, 126 City of the Living and Other Stones, The (Stegner), Supp. IV, Part 2, 599, 609, 613 "City on a Hill" (Lowell), II, 552 "City Person Encountering Nature, A" (Kingston), Supp. V, 170 City Without Walls (Auden), Supp. II, Part 1, 24 Civil Disobedience (Thoreau), IV, 185; Supp. I, Part 2, 507 "Civil Rights" (Lanier), Supp. I, Part 1, 357 Civilization in the United States (Stearns), I, 245 Claiborne, William, I, 132

394 / INDEX Claiming of Sleeping Beauty, The (Rice), Supp. VII, 301 Clancy's Wake, At (Crane), I, 422 Clara Howard; or, The Enthusiasm of Love (Brown), Supp. I, Part 1, 145 Clara's Ole Man (Bullins), Supp. II, Part 1, 42 Clare, John, II, 387; III, 528 Clarel: A Poem and Pilgrimage in the Holy Land (Melville), Retro. Supp. I, 257 Clarissa (Richardson), II, 111; Supp. I, Part 2, 714; Supp. V, 127 Clark, Barrett H., Ill, 406-407 Clark, Charles, I, 470 Clark, David Lee, Supp. I, Part 1, 148 Clark, Eleanor, see Warren, Mrs. Robert Penn (Eleanor Clark) Clark, Francis Edward, II, 9 Clark, Harry Hayden, Supp. I, Part 1,319, Part 2, 423, 426, 525 Clark, John Bates, Supp. I, Part 2, 633 Clark, Thomas, Supp. Ill, Part 2, 629; Supp. IV, Part 1, 140, 145, 147 Clark, William, III, 14; IV, 179, 283 Clark, Willis Gaylord, Supp. I, Part 2, 684 Clark Lectures, Retro. Supp. I, 65 Clarke, James Freeman, Supp. II, Part 1, 280 Clarke, John, Supp. IV, Part 1, 8 Clarke, John H., IV, 118, 119 Clarke, John J., Ill, 356 Clarke, Samuel, II, 108 Clash by Night (Odets), Supp. II, Part 2, 531, 538, 544-546, 550, 551 "CLASS STRUGGLE" (Baraka), Supp. Ill, Part 1, 55 Classical Tradition, The (Highet), Supp. I, Part I, 268 Classical World ofH. D., The (Swann), Supp. I, Part 1, 275

Classics and Commercials: A Literary Chronicle of the Forties (Wilson), IV, 433 Claudel, Paul, I, 60 Claudelle Inglish (Caldwell), I, 304 Clavel, Marcel, I, 343, 357 "Claw of the Sea Puss, The: James Thurber's Sense of Experience" (Black), Supp. I, Part 2, 626 "CLAY" (Baraka), Supp. II, Part 1,54 Clay, Cassius, see Muhammad Ali Clay, Henry, I, 8; Supp. I, Part 2, 684, 686 Clayton, John J., I, 165; Supp. IV, Part 1, 238 "Clean, Well Lighted Place, A" (Hemingway), Retro. Supp. I, 181 "Clear Days" (White), Supp. I, Part 2, 664, 665 "Clear Morning" (Gliick), Supp. V, 88 "Clear Night" (Wright), Supp. V, 341 Clear Pictures: First Loves, First Guides (Price), Supp. VI, 253, 254, 255, 256, 265 "Clear, with Light Variable Winds" (Lowell), II, 522 "Clearing, The" (Kenyon), Supp. VII, 174 "Clearing the Title" (Merrill), Supp. Ill, Part 1, 336 "Clearness" (Wilbur), Supp. Ill, Part 2, 544, 550 Cleaver, Eldridge, Supp. IV, Part 1,206 Cleland, John, Supp. V, 48, 127 Clemenceau, Georges, I, 490 Clemens, Clara, IV, 213 Clemens, Jane, I, 247 Clemens, John Marshall, IV, 193 Clemens, Mrs. John Marshall (Jane Lampton), IV, 193 Clemens, Mrs. Samuel Langhorne (Olivia Langdon), I, 197, 208; Supp. I, Part 2, 457 Clemens, Olivia, I, 247 Clemens, Orion, IV, 193, 195

Clemens, Samuel Langhorne, see Twain, Mark Clemens, Susie, IV, 208 Clementine Recognitions (novel), Supp. IV, Part 1, 280 Clemm, Mrs., Ill, 411, 412, 429 Clemm, Virginia, see Poe, Mrs. Edgar Allan (Virginia Clemm) demons, Walter, Supp. I, Part 1, 198; Supp. IV, Part 1, 305, 307 Cleopatra, III, 44; IV, 373; Supp. I, Parti, 114 "Clepsydra" (Ashbery), Supp. Ill, Part 1, 10-15 "Clerks, The" (Robinson), III, 517-518 Cleveland, Ceil, Supp. V, 222 Cleveland, Grover, II, 126, 128, 129, 130, 137, 138; Supp. I, Part 2, 486 Cleveland Press (newspaper), Supp. IV, Part 1, 205 Clift, Montgomery, III, 161 Cline, Regina L, see O'Connor, Mrs. Edward F., Jr. (Regina L. Cline) Cline family, III, 337 Clinton, De Witt, I, 338 Clinton News (publication), Supp. IV, Part 1, 168 "Clipped Wings" (Miller), III, 176-177 Clive, Robert, Supp. I, Part 2, 505 Clock Winder, The (Tyler), Supp. IV, Part 2, 661-662, 670 Clock Without Hands (McCullers), II, 587-588, 604-606 Clocks of Columbus, The (Holmes), Supp. I, Part 2, 626 Clorindy (Cook), Supp. II, Part 1, 199 "Close Calls" (Wolff), Supp. VII, 332-333 Close Range: Wyoming Stories (Proulx), Supp. VII, 261-265 Close the Book (Glaspell), Supp. III, Part 1, 179 "Close the Book" (Lowell), II, 554 Closer Look at Ariel, A (Steiner), Supp. I, Part 2, 549

INDEX / 395 Closet Writing & Gay Reading: The Case of Melville's Pierre (Creech), Retro. Supp. I, 254 Closing Time (Heller), Supp. IV, Part 1, 382, 386, 391-394 "Cloud, The" (Shelley), Supp. I, Part 2, 720 "Cloud and Fame" (Berryman), I, 173 Cloud Forest, The: A Chronicle of the South American Wilderness (Matthiessen), Supp. V, 202,

204 "Cloud on the Way, The" (Bryant), Supp. I, Part 1, 171 "Cloud River" (Wright), Supp. V,

341

"Clouds" (Levine), Supp. V, 184 Cloudsplitter (Banks), Supp. V, 16 Clough, Arthur, II, 22 "Clover" (Lanier), Supp. I, Part 1, 362-364 Clover and Other Poems (Lanier), Supp. I, Part 1, 362 Cluck, Julia, Supp. I, Part 2, 728, 730 Cluny, Hugo, IV, 290 Clurman, Harold, I, 93; IV, 381, 385 Clyme, W. B., II, 171 "Coal: Beginning and End" (Winters), Supp. II, Part 2, 791 "Coast, The" (column), Supp. IV, Part 1, 198 "Coast Guard's Cottage, The" (Wylie), Supp. I, Part 2, 723 Coast of Trees, A (Ammons), Supp. VII, 24, 34 "Coast-Range Christ, The" (Jeffers), Supp. II, Part 2, 414, 419 "Coast-Road, The" (Jeffers), Supp. II, Part 2, 425 Coates, Robert, I, 54; IV, 298, 307, Supp. I, Part 2, 626 "Coats" (Kenyon), Supp. VII, 172 Cobb, Lee J., Ill, 153 Cobb, Palmer, III, 432 Cobb, Ty, III, 227, 229 Cobbett, William, Supp. I, Part 2, 517

"Cobbler Keezar's Vision" (Whittier), Supp. I, Part 2, 699 "Cobweb, The" (Carver), Supp. Ill, Part 1, 148 Cobwebs From an Empty Skull (Bierce), I, 195 Cock Pit (Cozzens), I, 359, 378, 379 "Cock-a-Doodle-Doo!" (Melville), III, 89 "Cockayne" (Emerson), II, 6 "Cock-Crow" (Gordon), II, 219 "Cock Robin Takes Refuge in the Storm House" (Snodgrass), Supp. VI, 319 Cocke, Frances, see Pain, Mrs. Joseph (Frances Cocke) Cockpit: A Novel (Kosinski), Supp. VII, 215, 223-224, 225 Cocktail Hour, The (Gurney), Supp. V, 95, 96, 100, 101, 103, 105, 108 Cocktail Hour and Two Other Plays: Another Antigone and The Perfect Party (Gurney), Supp. V, 100 Cocktail Party, The (Eliot), I, 571, 582-583; III, 21; Retro. Supp. I, 65; Supp. V, 101, 103 Cocteau, Jean, III, 471; Retro. Supp. I, 82, 378; Supp. IV, Part 1, 82 "Coda: Wilderness Letter" (Stegner), Supp. IV, Part 2, 595 "Code, The" (Frost), Retro. Supp. I, 121, 128 Codman, Florence, Supp. II, Part 1, 92, 93 Codman, Ogden, Jr., Retro. Supp. I, 362, 363 Cody, William ("Buffalo Bill"), I, 440; III, 584; Supp. V, 230 Coffey, Michael, Supp. V, 243 Coffey, Warren, III, 358 Coffin, Charles, III, 577 Coffin, R. P. T., Ill, 525 Coffman, Stanley K., Supp. I, Part 1, 275 Coffman, Stanley K., Jr., II, 533; IV, 424

Cogan, David J., Supp. IV, Part 1,362 Coghill, Nevill, Supp. II, Part 1, 4 Cohan, George M., II, 427; III, 401 Cohen, Arthur, IV, 307 Cohen, Hennig, II, 365 Cohen, Hettie, Supp. II, Part 1, 30 Cohen, I. Bernard, II, 124 Cohen, Sarah Blacher, Supp. V, 273 Cohn, Ruby, I, 96 Coindreau, Maurice, III, 339 "Coitus" (Pound), III, 466 "Cold, The" (Kenyon), Supp. VII, 164 "Cold, The" (Winters), Supp. II, Part 2, 790-791, 809, 811 "Cold Ground Was My Bed Last Night" (Garrett), Supp. VII, 100 Cold Ground Was My Bed Last Night (Garrett), Supp. VII, 98 "Cold Night, The" (Williams), Retro. Supp. I, 418 Cold War American Poetry, Supp. V, 182 Cold War and the Income Tax, The (Wilson), IV, 430 "Cold-blooded Creatures" (Wylie), Supp. I, Part 2, 729 Colden, Cadwallader, Supp. I, Part 1, 250 "Colder the Air, The" (Bishop), Supp. I, Part 1, 86 Cole, Goody, Supp. I, Part 2, 696-697 Cole, Nat King, Retro. Supp. I, 334 Cole, Thomas, Supp. I, Part 1, 156, 158, 171 Coleman, D. C., I, 95 Coleridge, Mrs. Samuel T., I, 283, 284 Coleridge, Samuel, Supp. V, 258 Coleridge, Samuel Taylor, I, 283, 284, 447, 522; II, 7, 10, 11, 19, 71, 169, 273, 301, 502, 516, 549; III, 77, 83-84, 424, 461, 488, 523; IV, 74, 173, 250, 349, 453; Retro. Supp. I, 65, 308;

396 / INDEX Coleridge, Samuel Taylor (continued) Supp. I, Part 1,31,311, 349, Part 2, 376, 393, 422; Supp. IV, Part 2, 422, 465 Coles, Katharine, Supp. IV, Part 2,630 Coles, Robert, III, 243; Supp. I, Part 1, 69 "Coliseum, The" (Poe), III, 411 "Collapse of Tomorrow, The" (Mumford), Supp. II, Part 2, 482 Collected Earlier Poems (Williams), Retro. Supp. I, 414, 428 Collected Earlier Poems 19401960 (Levertov), Supp. Ill, Part 1, 273, 275 Collected Essays (Tate), IV, 133134 Collected Essays of Robert Creeley, The (Creeley), Supp. IV, Part 1, 153, 154 Collected Later Poems (Williams), Retro. Supp. I, 428 Collected Letters (Lawrence), Supp. I, Part 1, 275 Collected Plays (Miller), III, 158 Collected Plays, 1974-1983 (Gurney), Supp. V, 99 Collected Poems (Aiken), I, 50 Collected Poems (Burke), I, 269 Collected Poems (Cummings), I, 430, 439, 441 Collected Poems (Doolittle), Supp. I, Part 1, 264-267, 269 Collected Poems (Frost), Retro. Supp. I, 136 Collected Poems (Lindsay), Supp. I, Part 2, 380, 387, 392, 396397, 400 Collected Poems (Moore), III, 194, 215 Collected Poems (Price), Supp. VI, 267 Collected Poems, The (Stevens), III, 273; IV, 75, 76, 87, 93; Retro. Supp. I, 296, 309 Collected Poems (Williams), IV, 415; Retro. Supp. I, 430

Collected Poems (Winters), Supp. II, Part 2, 791, 810 Collected Poems (Wright), Supp. III, Part 2, 602 Collected Poems 1909-1935 (Eliot), I, 580; Retro. Supp. I, 66 Collected Poems 1909-1962 (Eliot), I, 583 Collected Poems 1917-1952 (MacLeish), III, 3, 4, 19 Collected Poems 1921-1931 (Williams), Retro. Supp. I, 422 Collected Poems, 1923-1953 (Bogan), Supp. Ill, Part 1, 64 Collected Poems 1930-1960 (Eberhart), I, 522, 525-526, 540, 541 Collected Poems: 1940-1978 (Shapiro), Supp. II, Part 2, 703, 717 Collected Poems: 1951-1971 (Ammons), Supp. VII, 24, 2629, 32, 33 Collected Poems of George Garrett (Garrett), Supp. VII, 109 Collected Poems of Hart Crane, The, I, 399-402 Collected Poems of James Agee, The (ed. Fitzgerald), I, 27-28 Collected Poems of James T. Farrell, The, II, 45 Collected Poems ofLangston Hughes, The (Rampersad and Roessel, ed.), Retro. Supp. I, 194, 196, 212 Collected Poems of Muriel Rukeyser, The (Rukeyser), Supp. VI, 274 Collected Poetry (Auden), Supp. II, Parti, 18 Collected Prose (Wright), Supp. III, Part 2, 596 Collected Recordings (Williams), Retro. Supp. I, 431 Collected Short Stories, The (Wharton), Retro. Supp. I, 362, 363, 366 Collected Sonnets (Millay), III, 136-137

Collected Stories, The (Paley), Supp. VI, 218 Collected Stories, The (Price), Supp. VI, 266 Collected Stories, The (Wharton), Retro. Supp. I, 361 Collected Stories, 1939-1976 (Bowles), Supp. IV, Part 1, 92 Collected Stories of Eudora Welty, The, Retro. Supp. I, 355 Collected Stories of Katherine Anne Porter, III, 454 Collected Stories of Peter Taylor, Supp. V, 314, 320, 323-324, 325, 326 Collected Stories of Wallace Stegner, Supp. IV, Part 2, 599, 605 Collected Stories of William Faulkner, II, 72; Retro. Supp. 1,75 Collected Works (Bierce), I, 204, 208-210 Collected Works of Buck Rogers in the 25th Century, The (Bradbury), Supp. IV, Part 1, 101 Collection of Epigrams, II, 111 Collection of Poems, on American Affairs, and a Variety of Other Subjects . . . (Freneau), Supp. II, Part 1, 274 Collection of Select Aphorisms and Maxims (Palmer), II, 111 "Collectors" (Carver), Supp. Ill, Part 1, 141-142 Collier's (magazine), II, 433, 467; 111,54, 58, 552, 591; Retro. Supp. I, 114; Supp. IV, Part 1, 102, 383; Supp. V, 281 Collingwood, R. G., I, 278 Collins, Carvel, I, 311; II, 75; III, 336; IV, 188 Collins, Doug, Supp. V, 5 Collins, Eddie, II, 416 Collins, John, II, 104,105 Collins, Seward, I, 262 Collins, Wilkie, Supp. I, Part 1, 35, 36; Supp. IV, Part 1, 341 Collins, William, Supp. I, Part 2, 714 Collinson, Peter, II, 114

INDEX / 397 Collinson, Peter (pseudonym), see Hammett, Dashiell Collogue Sentimental (ballet), Supp. IV, Part 1, 83 Colloquial Style in America, The (Bridgman), Supp. I, Part 2, 477 "Colloquy in Black Rock" (Lowell), II, 535 "Colloquy of Monos and Una, The" (Poe), III, 412 Color (Cullen), Supp. IV, Part 1, 164, 166, 167, 168 Color and Democracy: Colonies and Peace (Du Bois), Supp. II, Part 1, 184, 185 Color Curtain, The (Wright), IV, 478, 488 "Color Line, The" (Douglass), Supp. Ill, Part 1, 163-165 Color Line, The (Smith), Supp. II, Part 1, 168 Color of Darkness (Purdy), Supp. VII, 271 Color Purple, The (Walker), Supp. Ill, Part 2, 517, 518, 520, 525529, 532-537 "Colorado" (Beattie), Supp. V, 27 "Colored Americans" (Dunbar), Supp. II, Part 1, 197 "Colors of Night, The" (Momaday), Supp. IV, Part 2, 490 "Colors without Objects" (Swenson), Supp. IV, Part 2, 645 Colossus, The (Plath), Supp. I, Part 2, 529, 531, 536, 538, 540; Supp. V, 79 Colossus ofMaroussi, The (Miller), III, 178, 185-186 "Colt, The" (Stegner), Supp. IV, Part 2, 600 Coltelli, Laura, Supp. IV, Part 1, 323, 330, 335, 409, Part 2, 493, 497, 559 Colum, Mary, I, 246, 252, 256, 262; Supp. I, Part 2, 708, 709, 730 Columbia Monthly (publication), I, 216, 217, 223, 224

Columbiad, The (Barlow), Supp. II, Part 1, 67, 72, 73, 74, 7577,79 Columbian Magazine, Supp. I, Part 1, 125 "Columbian Ode" (Dunbar), Supp. II, Part 1, 199 Columbus, Christopher, I, 253; II, 6, 310; III, 8; Supp. I, Part 2, 397, 479, 480, 483, 486-488, 491, 495, 497, 498 Columbus Dispatch (newspaper), Supp. I, Part 2, 606, 613 "Columbus to Ferdinand" (Freneau), Supp. II, Part 1, 255 Colvert, James B., I, 426, 427 Comanche Moon (McMurtry), Supp. V, 232 Come Blow Your Horn (Simon), Supp. IV, Part 2, 574, 575, 577, 578, 586, 587, 591 "Come, Break With Time" (Bogan), Supp. Ill, Part 1, 52 "Come In" (Frost), Retro. Supp. I, 139 "Come on Back" (Gardner), Supp. VI, 73 "Come out the Wilderness" (Baldwin), Supp. I, Part 1, 63 Comeback, The (Gurney), Supp. V, 97 "Comedian as the Letter C, The" (Stevens), IV, 84-85, 88; Retro. Supp. I, 297, 301, 302 "Comedy Cop" (Farrell), II, 45 "Comedy of Exiles, A" (Munson), Supp. I, Part 2, 478 "Comedy's Greatest Era" (Agee), 1,31 Comer, Cornelia, I, 214 Comerchero, Victor, IV, 307 "Comforts of Home, The" (O'Connor), III, 349, 351, 355 Comic Artist, The (Glaspell and Matson), Supp. Ill, Part 1, 182 Comic Imagination in American Literature (ed. Rubin), Supp. I, Part 2, 681 "Comic Imagination of the Young Dickens, The" (Wright), Supp. III, Part 2, 591

Comic Tragedies (Alcott), Supp. I, Part 1, 33 "Coming Close" (Levine), Supp. V, 192 Coming Forth by Day of Osiris Jones, The (Aiken), I, 59 "Coming Home" (Gordon), Supp. IV, Part 1, 309 "Coming in From the Cold" (Walker), Supp. Ill, Part 2, 526 Coming into the Country (McPhee), Supp. Ill, Part 1, 298, 301-306, 309, 310 Coming of Age in Mississippi (Moody), Supp. IV, Part 1, 11 "Coming to Canada—Age Twenty Two" (Shields), Supp. VII, 311 Coming to Canada: Poems (Shields), Supp. VII, 311-312 "Coming to the Morning" (Merwin), Supp. Ill, Part 1, 356 "Coming to This" (Strand), Supp. IV, Part 2, 627 Comiskey, Charles, II, 422 Commager, Henry Steele, I, 253; Supp. I, Part 1, 372, Part 2, 484, 647, 650 "Command of Human Destiny as Exemplified in Two Plays: Lillian Hellman's The Little Foxes and Lorraine Hansberry's A Raisin in the Sun" (Phillips), Supp. I, Part 1, 298 Command the Morning (Buck), Supp. II, Part 1, 125 "Commencement Day Address, The" (Schwartz), Supp. II, Part 2,660 "Comment on Curb" (Hughes), Supp. I, Part 1, 340 Commentaries (Caesar), II, 502, 561 "Commentary" (Auden), Supp. II, Part 1, 13 Commentary (publication), III, 452^53; Supp. I, Part 1, 51; Supp. V, 45, 272 Commercial Appeal (newspaper), Retro. Supp. I, 341 Commins, Saxe, Retro. Supp. I, 73

398 / INDEX "Committed Writer, The: James Baldwin as Dramatist" (Bigsby), Supp. I, Part 1, 69 Commodity of Dreams, A, & Other Stories (Nemerov), III, 268269, 285 Common Ground (publication), Supp. I, Part 1, 334 "Common Ground, A" (Levertov), Supp. Ill, Part 1, 277 "Common Life, The" (Auden), Supp. IV, Part 1,302, 313 Common Room, A: Essays 19541987 (Price), Supp. VI, 264265, 267 "Common Sense" (Bailyn), Supp. I, Part 2, 525 Common Sense (Paine), II, 117; Supp. I, Part 1, 231, Part 2, 505, 506-508, 509, 513, 516, 517, 521 Commons, John, Supp. I, Part 2, 645 Commonweal (publication), III, 358; Retro. Supp. I, 19; Supp. IV, Part 1, 286; Supp. V, 319 "Communion" (Dubus), Supp. VII, 91 Communism, I, 505, 515; II, 26, 38-39, 40, 41, 454, 562 Communist Manifesto, The (Marx), II, 463 Communities of Women (Auerbach), Supp. I, Part 1, 46 Conines, Gregory, Supp. IV, Part 1, 283, 284, 291 "Companions, The" (Nemerov), III, 269, 278, 287 Company of Women, The (Gordon), Supp. IV, Part 1, 302-304, 304, 306, 313 Company She Keeps, The (McCarthy), II, 562, 563-566 Compass Flower, The (Merwin), Supp. Ill, Part 1, 353, 357 "Compassionate Friendship" (Doolittle), Supp. I, Part 1, 257, 258, 259, 260, 271 "Compendium" (Dove), Supp. IV, Part 1, 248 "Complaint" (Williams), Retro. Supp. I, 418

Complete Collected Poems of William Carlos Williams, 19061938, The (Williams), Retro. Supp. I, 424 "Complete Destruction" (Williams), IV, 413 "Complete Life of John Hopkins, The" (O. Henry), Supp. II, Part 1,405 Complete Poems, The (Ashbery), Supp. I, Part 1, 96 Complete Poems, The (Bishop), Supp. I, Part 1, 72, 82, 94 Complete Poems, The (Bradbury), Supp. IV, Part 1, 105 Complete Poems (Frost), II, 155, 164 Complete Poems (Sandburg), III, 590-592, 594, 596 Complete Poems of Emily Dickinson, The (Bianchi and Hampson, ed.), Retro. Supp. I, 35 Complete Poems of Emily Dickinson, The (ed. Johnson), I, 470 Complete Poems of Frederick Goddard Tuckerman, The (Momaday), Supp. IV, Part 2, 480 Complete Poems to Solve, The (Swenson), Supp. IV, Part 2, 652 Complete Poetical Works (Hulme), III, 464 Complete Poetical Works (Lowell), 11,512,516-517 Complete Works of Kate Chopin, The (ed. Seyersted), Supp. I, Part 1, 212, 225 Complete Works of the GawainPoet (Gardner), Supp. VI, 64, 65 "Complicated Thoughts About a Small Son" (White), Supp. I, Part 2, 678 "Compliments of the Season" (O. Henry), Supp. II, Part 1, 392, 399 "Compline" (Auden), Supp. II, Part 1, 23 "Composition as Explanation" (Stein), IV, 27, 28

Composition as Explanation (Stein), IV, 32, 33, 38 "Compounding of Consciousness" (James), II, 358-359 Comprehensive Bibliography (Hanneman), II, 259 Compton, C. H., II, 366 Compton-Burnett, Ivy, I, 93; II, 580 "Comrade Laski, C.P.U.S.A. [M.L.]" (Didion), Supp. IV, Part 1, 200 Comus (Milton), II, 12; Supp. I, Part 2, 622 Conan Doyle, Arthur, see Doyle, Arthur Conan Conarroe, Joel O., IV, 424 "Concept of Character in Fiction, The" (Gass), Supp. VI, 85, 86 Concept of Dread, The (Kierkegaard), III, 305 Conceptions of Reality in Modern American Poetry (Dembo), Supp. I, Part 1, 272, 275 Concerning the End for Which God Created the World (Edwards), I, 549, 557, 559 Concerto for Two Pianos, Winds, and Percussion (Bowles), Supp. IV, Part 1, 83 Conchologist 's First Book, The (Poe), III, 412 Conclusive Evidence (Nabokov), III, 247-250, 252 "Concord Hymn" (Emerson), II, 19 "Concrete Universal, The: Observations on the Understanding of Poetry" (Ransom), III, 480 Condensed Novels and Other Papers (Harte), Supp. II, Part 1,342 Condition of Man, The (Mumford), Supp. II, Part 2, 483, 484, 486, 495^96, 498 "Condominium, The" (Elkin), Supp. VI, 49, 50-51, 55, 56 Condorcet, Marquis de, Supp. I, Part 2, 511 Conduct of Life, The (Emerson),

II, 1-5, 8

INDEX / 399 Conduct of Life, The (Mumford), Supp. II, Part 2, 485, 496-497 "Conductor of Nothing, The" (Levine), Supp. V, 189 Confession de Claude, La (Zola), 1,411 Confession of Jereboam O. Beauchamp, The (pamphlet), IV, 253 Confessional Poets, The (Phillips), Supp. I, Part 2, 548 Confessions (Augustine), I, 279 Confessions (Rousseau), I, 226 Confessions of Nat Turner, The (Styron), IV, 98, 99, 105, 113117 Confidence (James), II, 327, 328 Confidence Man, The (Melville), III, 91 Confidence Man, The (Van Vechten), Supp. II, Part 2, 737 Confidence-Man, The: His Masquerade (Melville), Retro. Supp. I, 255-256, 257 Confident Years, 1885-1915, The (Brooks), I, 257, 259; Supp. I, Part 2, 650 Confidential Clerk, The (Eliot), I, 570, 571-572, 583, 584; Retro. Supp. I, 65 "Configurations" (Ammons), Supp. VII, 28 Confluencia: Revista Hispdnica de Cultura y Literatura (journal), Supp. IV, Part 2, 544 Confucianism, III, 456, 475 Confucius, II, 1; III, 456, 475; Supp. IV, Part 1, 14 Confusion (Cozzens), I, 358, 359, 377, 378 Congo (film), Supp. IV, Part 1, 83 "Congo, The" (Lindsay), Supp. I, Part 2, 388-389, 392, 395 Congo and Other Poems, The (Lindsay), Supp. I, Part 2, 379, 382, 389, 390, 391 Congreve, William, III, 195; Supp. V, 101 Coningsby (Disraeli), II, 127 "Conjugation of the Paramecium, The" (Rukeyser), Supp. VI, 271

"Conjuration" (Wilbur), Supp. Ill, Part 2, 551 Conjure Woman, The (Chesnutt), Supp. II, Part 1, 193 Conklin, Grof, Supp. I, Part 2, 672 Conkling, Hilda, II, 530 Conkling, Roscoe, III, 506 Conley, Robert J., Supp. V, 232 Conlin, Matthew T., Ill, 408 Connaroe, Joel, Supp. IV, Part 2, 690 Connecticut Industry (publication), Supp. Ill, Part 2, 611 "Connecticut Lad, A" (White), Supp. I, Part 2, 677 "Connecticut Valley" (Cowley), Supp. II, Part 1, 141-142 Connecticut Wits, The (Howard), Supp. I, Part 1, 148 Connecticut Yankee in King Arthur's Court, A (Twain), I, 209; II, 276; IV, 205 Connell, Norreys (pseudonym), see O'Riordan, Conal Holmes O'Connell Connelly, Kenneth, I, 189 Connelly, Marc, III, 394; Supp. I, Part 2, 679 Conner, Paul W., II, 125 "Connoisseur of Chaos" (Stevens), IV, 89; Retro. Supp. I, 306 Connor, Frederick W., Supp. I, Part 1, 173 Connors, Elizabeth, see Lindsay, Mrs. Vachel (Elizabeth Connors) Conover, Roger, Supp. I, Part 1, 95 Conquest of Canaan (Dwight), Supp. I, Part 1, 124 Conquistador (MacLeish), III, 2, 3, 13-14, 15 Conrad, Alfred H., Supp. I, Part 2,552 Conrad, David, Supp. I, Part 2, 552 Conrad, Jacob, Supp. I, Part 2, 552 Conrad, Joseph, I, 123, 343, 394, 405, 409, 415, 421, 485, 506, 575-576, 578; II, 58, 73, 74, 91, 92, 144, 263, 320, 338, 595; III,

28, 102, 106, 328, 464, 467, 491, 512; IV, 476; Retro. Supp. 1, 80, 91, 106, 108, 231, 274, 377; Supp. I, Part 1, 292, Part 2, 621, 622; Supp. IV, Part 1, 197, 341, Part 2, 680, 249; Supp. V, 251, 262, 298, 307, 311 Conrad, Paul, Supp. I, Part 2, 552 Conrad, Peter, Supp. IV, Part 2, 688 "Conrad Aiken: From Savannah to Emerson" (Cowley), Supp. II, Part 1, 43 Conscience "with the Power and Cases thereof(Ames), IV, 158 "Conscientious Objector, The" (Shapiro), Supp. II, Part 2, 710 "Conscription Camp" (Shapiro), Supp. II, Part 2, 705 "Considerations by the Way" (Emerson), II, 2, 5 Considine, Bob, II, 424 "Consolation" (Bausch), Supp. VII, 48 "Conspiracy of History, The: E. L. Doctorow's The Book of Daniel" (Levine), Supp. IV, Part 1, 221 Conspiracy of Kings, The (Barlow), Supp. II, Part 1, 80 Conspiracy of Pontiac, The (Parkman), Supp. II, Part 2, 590, 595, 596, 599-600 Constance (Kenyon), Supp. VII, 170-172 "Constructive Work" (Du Bois), Supp. II, Part 1, 172 "Consumption" (Bryant), Supp. I, Part 1, 169-170 Contact (journal), Retro. Supp. I, 418 Contact (publication), IV, 287, 304 "Contagiousness of Puerperal Fever, The" (Holmes), Supp. I, Part 1, 303-304 "Contemplations" (Bradstreet), Supp. I, Part 1, 112, 113, 119122 Contempo (publication), IV, 286, 287, 288 Contemporary Literature (publication), Supp. IV, Part 2, 423

400 / INDEX "Contentment" (Holmes), Supp. I, Part 1, 307 "Contest, The" (Paley), Supp. VI, 223, 230, 231 "Contest for Aaron Gold, The" (Roth), Supp. Ill, Part 2, 403 Continental Drift (Banks), Supp. V, 13-14, 16, 227 Continental Monthly (magazine), II, 322 Continental Op, The (Hammett), Supp. IV, Part 1, 344 Continuity of American Poetry, The (Pearce), Supp. I, Part 1, I I I , 173, 373, Part 2, 475, 478, 706 Continuous Life, The (Strand), Supp. IV, Part 2, 630, 631633 "Contract" (Lardner), II, 432 "Contraption, The" (Swenson), Supp. IV, Part 2, 643 "Contrition" (Dubus), Supp. VII, 84 Control of Nature, The (McPhee), Supp. Ill, Part 1,310-313 "Conventional Wisdom, The" (Elkin), Supp. VI, 52-53 "Convergence" (Ammons), Supp. VII, 28 Conversation (Aiken), I, 54 Conversation at Midnight (Millay), III, 138 "Conversation Galante" (Eliot), I, 565 "Conversation of Eiros and Charmion, The" (Poe), III, 412 "Conversation on Conversation" (Stowe), Supp. I, Part 2, 587 "Conversation with My Father, A" (Paley), Supp. VI, 220 "Conversations in Moscow" (Levertov), Supp. Ill, Part 1, 282 Conversations on Some of the Old Poets (Lowell), Supp. I, Part 2, 405 Conversations with Eudora Welty (Prenshaw, ed.), Retro. Supp. I, 339, 340, 341, 342, 343, 352, 354

Conversations with Richard Wilbur (Wilbur), Supp. Ill, Part 2, 542-543 "Conversion of the Jews, The" (Roth), Supp. Ill, Part 2, 404, 406 Conway, Jill, Supp. I, Part 1, 19, 27 Coode, John, I, 132 Cook, Albert, IV, 424 Cook, Captain James, I, 2 Cook, Don L., II, 292 Cook, Eleanor, Retro. Supp. I, 311 Cook, Elisha, Supp. IV, Part 1, 356 Cook, Elizabeth Christine, II, 106, 125 Cook, Mercer, Supp. IV, Part 1, 368 Cook, Reginald L., IV, 189 Cooke, Alistair, III, 113, 119, 120 Cooke, Delmar G., II, 271, 294 Cooke, G. W., Supp. I, Part 2, 425 Cooke, Grace MacGowan, Supp. V,285 Cooke, Philip Pendleton, III, 420 Cooke, Rose Terry, II, 401 "Cookie" (Taylor), Supp. V, 320 Cook-Lynn, Elizabeth, Supp. IV, Part 1, 325 Cool Million, A (West), III, 425; IV, 287, 288, 297-299, 300 "Cool Tombs" (Sandburg), III, 554 Coolbrith, Ina, I, 193, 196 Cooley, John, Supp. V, 214 Coolidge, Calvin, I, 498; II, 95; Supp. I, Part 2, 647 Coon, Ross, IV, 196 "Coon Hunt" (White), Supp. I, Part 2, 669 Co-op (Sinclair), Supp. V, 290 Cooper, Gary, Supp. IV, Part 2, 524 Cooper, James Fenimore, I, 211, 257, 335-357; II, 74, 277, 295296, 302, 306, 309, 313, 314; III, 51; IV, 205, 333; Retro. Supp. I, 246; Supp. I, Part 1, 141, 147, 155, 156, 158, 171,

372, Part 2, 413, 495, 579, 585, 652, 660; Supp. IV, Part 1, 80, Part 2, 463, 469; Supp. V, 209210 Cooper, Mrs. James Fenimore (Susan A. De Lancey), I, 338, 351, 354 Cooper, Mrs. William, I, 337 Cooper, Susan Fenimore, I, 337, 354, 356 Cooper, William, I, 337-338, 351 Cooperman, Stanley, III, 336 Coover, Robert, Supp. IV, Part 1, 388; Supp. V, 39-55 Copland, Aaron, II, 586; Supp. I, Part 1, 281; Supp. Ill, Part 2, 619; Supp. IV, Part 1, 79, 8081,84 Coplas de Don Jorge Manrique (trans. Longfellow), II, 488, 492 Coppee, Fran9ois Edouard Joachim, II, 325 Copper Sun (Cullen), Supp. IV, Part 1, 167, 168 Copperhead, The (Frederic), II, 134-135 "Cora Unashamed" (Hughes), Supp. I, Part 1, 329, 330 "Coral Ring, The" (Stowe), Supp. I, Part 2, 586 Corbett, Gentlemen Jim, II, 416 Corbiere, Jean Antoine, II, 354355, 528 Corelli, Marie, III, 579 Corey, Lewis, Supp. I, Part 2, 645 Corinthian, The (publication), III, 337 "Coriolan" (Eliot), I, 580 "Coriolanus and His Mother" (Schwartz), Supp. II, Part 2, 643, 644-645 Corke, Hilary, Supp. I, Part 1, 198 "Corkscrew" (Hammett), Supp. IV, Part 1, 345, 347 Corkum, Gerald, I, 37 Corman, Cid, IV, 425; Supp. Ill, Part 2, 624, 628, 626, 627, 625; Supp. IV, Part 1, 144 "Corn" (Lanier), Supp. I, Part 1, 352, 353, 354, 356-361, 364, 366

INDEX / 401 Corneille, Pierre, Supp. I, Part 2, 716 Cornell, Esther, I, 231 Cornell, Katherine, IV, 356 Cornell Sun (newspaper), Supp. I, Part 2, 652 Cornhill Magazine, Retro. Supp. 1,223 Cornhuskers (Sandburg), III, 583585 "Corn-Planting, The" (Anderson), I, 114 "Corporal of Artillery" (Dubus), Supp. VII, 84, 85 "Corpse Plant, The" (Rich), Supp. I, Part 2, 555 Corradi, Juan, Supp. IV, Part 1, 208 Corrector (publication), II, 298 "Correspondences" (Baudelaire), I, 63 Corrigan, Robert W., Ill, 169; IV, 376 Corrington, J. W., Ill, 47 Corso, Gregory, Supp. II, Part 1, 30; Supp. IV, Part 1, 90 "Corsons Inlet" (Ammons), Supp. VII, 25-26 Corsons Inlet (Ammons), Supp. VII, 25-26, 28-29, 36 Cortazar, Julio, Retro. Supp. I, 278 "Cortege for Rosenbloom" (Stevens), IV, 81 Cortez, Hernando, III, 2 Cory, Daniel, III, 621, 622 Coser, Lewis, Supp. I, Part 2, 650 Cosmic Optimism: A Study of the Interpretation of Evolution by American Poets from Emerson to Robinson (Conner), Supp. I, Part 1, 73 "Cosmological Eye, The" (Miller), III, 183 Cosmological Eye, The (Miller), III, 174, 184 Cosmopolitan (magazine), I, 200, 208, 407; II, 430; III, 54, 62; Retro. Supp. I, 5; Supp. IV, Part 1, 121, 210, Part 2, 440

"Cosmos" (Beattie), Supp. V, 35 "Cost of Living, The" (Malamud), Supp. I, Part 2, 429, 437 Cott, Jonathan, I, 189 "Cottage Street, 1953" (Wilbur), Supp. Ill, Part 2, 543, 561 Gotten, Joseph, Supp. IV, Part 2, 524 Cotton, John, Supp. I, Part 1, 98, 101, 110, 111, 116 Cotton, Seaborn, Supp. I, Part 1, 101 Coulette, Henri, Supp. V, 180 "Council of State, A" (Dunbar), Supp. II, Part 1-211,213 Count Frontenac and New France Under Louis XIV (Parkman), Supp. II, Part 2, 607, 609-610 Count of Monte Cristo, The (Dumas), III, 386, 396 "Countee Cullen at The Heights' " (Tuttleton), Supp. IV, Part 1, 166 Counterfeiters, The (Gide), Supp. IV, Parti, 80, Part 2, 681 "Countering" (Ammons), Supp. VII, 28 Counterlife, The (Roth), Supp. Ill, Part 2, 424-426 Counter-Statement (Burke), I, 270272; IV, 431 "Countess, The" (Whittier), Supp. I, Part 2, 691, 694 "Counting Small-Boned Bodies" (Bly), Supp. IV, Part 1, 62 "Counting the Mad" (Justice), Supp. VII, 117 "Country Boy in Boston, The" (Howells), II, 255 Country By-Ways (Jewett), II, 402 Country Doctor, A (Jewett), II, 391, 392, 396, 404^05 "Country Full of Swedes" (Caldwell), I, 297, 309 Country Girl, The (Odets), Supp. II, Part 2, 546, 547, 548-549 "Country House" (Kumin), Supp. IV, Part 2, 446 "Country Husband, The" (Cheever), Supp. I, Part 1, 184, 189

Country Music: Selected Early Poems (Wright), Supp. V, 332, 335, 338, 342 Country of a Thousand Years of Peace, The (Merrill), Supp. Ill, Part 1, 321, 322, 331 "Country of Elusion, The" (O. Henry), Supp. II, Part 1, 407 Country of the Pointed Firs, The (Jewett), II, 392, 399, 405, 409411; Retro. Supp. I, 6 "Country Printer, The" (Freneau), Supp. II, Part 1, 269 Coup, The (Updike), Retro. Supp. 1,331,334,335 "Coup de Grace, The" (Bierce), I, 202 Couperin, Fran£ois, III, 464 "Couple of Hamburgers, A" (Thurber), Supp. I, Part 2, 616 Couples (Updike), IV, 214, 215, 216, 217, 227, 229-230; Retro. Supp. I, 320, 327, 330 Cournos, John, III, 465; Supp. I, Part 1, 258, 275 "Course of a Particular, The" (Stevens), Retro. Supp. I, 312 Courtier, The (Castiglione), III, 282 " 'Couitin', The" (Lowell), Supp. I, Part 2, 415 "Courtship" (Dove), Supp. IV, Part 1, 248 "Courtship, Diligence" (Dove), Supp. IV, Part 1, 248 Courtship of Miles Standish, The (Longfellow), II, 489, 502-503 "Cousin Aubrey" (Taylor), Supp. V, 328 Couturier, Maurice, Supp. IV, Part 1, 44 "Covered Bridges" (Kingsolver), Supp. VII, 203 "Cow in Apple Time, The" (Frost), II, 154; Retro. Supp. I, 131 "Cow Wandering in the Bare Field, The" (Jarrell), II, 371, 388 Cowan, Lester, III, 148 Cowan, Louise, II, 221; III, 502; IV, 120, 125, 142, 258 Cowan, Michael H., II, 23; III, 47

402 / INDEX Coward, Noel, I, 95; Retro. Supp. I, 65; Supp. I, Part 1, 332; Supp. V, 101 Cowboy Mouth (Shepard), Supp. IH, Part 2, 441-442 Cowboys (Shepard), Supp. Ill, Part 2, 432 Cowboys #2 (Shepard), Supp. Ill, Part 2, 437, 438 Cowell, Henry, Supp. IV, Part 1, 80,82 Cowen, Wilson Walker, Supp. IV, Part 2, 435 Cowie, Alexander, IV, 70, 71 Cowl, Jane, IV, 357 Cowley, Abraham, III, 508; IV, 158; Supp. I, Part 1, 357 Cowley, Malcolm, I, 120, 246, 253, 254, 255, 256, 257, 262, 263, 283, 334, 385, 404; II, 26, 57, 76, 94, 99, 456; III, 606; IV, 119, 123, 143,258,354, 376; Retro. Supp. I, 73, 91, 97; Supp. I, Part 1, 174, Part 2, 609, 610, 620, 626, 627, 647, 654, 678; Supp. II, Part 1, 103, 135-156 Cowley, Marguerite Frances Baird (Mrs. Malcolm Cowley), Supp. I, Part 2, 615; Supp. II, Part 1, 138, 139 Cowley, Muriel Maurer (Mrs. Malcolm Cowley), Supp. II, Part 1, 139 Cowley, Susan Cheever (Susan Cheever), Supp. I, Part 1, 175, 198 Cowper, William, II, 17, 304; III, 508, 511; Supp. I, Part 1, 150, 151, 152, Part 2, 539 Cox, C. B., Supp. I, Part 1, 69, Part 2, 548 Cox, James M., IV, 213 Cox, James T., I, 426 Cox, Sidney, II, 171-172; Retro. Supp. I, 131 Cox, Stephen, Supp. IV, Part 2, 523, 524 Coxe, Louis, III, 525 Coxey, Jacob, II, 464 "Coxon Fund, The" (James), Retro. Supp. I, 228

Coyne, Patricia, Supp. V, 123 "Coyote Ortiz: Canis latrans latrans in the Poetry of Simon Ortiz" (Smith), Supp. IV, Part 2,509 Coyote Was Here (Ortiz), Supp. IV, Part 2, 499 Coyote's Daylight Trip (Gunn Allen), Supp. IV, Part 1, 320, 324 Cozzens, James Gould, I, 358380; II, 459 Crabbe, George, II, 304; III, 469, 508,511,521 "Crab-Boil" (Dove), Supp. IV, Part 1, 249 Crabtree, Arthur B., I, 565 "Cracked Looking-Glass, The" (Porter), III, 434, 435, 446 Cracks (Purdy), Supp. VII, 277278 "Crack-Up, The" (Fitzgerald), I, 509; Retro. Supp. I, 113, 114 Crack-Up, The (Fitzgerald), II, 80; III, 35, 45; Retro. Supp. I, 113, 115; Supp. V, 276 "Crack-up of American Optimism, The: Vachel Lindsay, the Dante of the Fundamentalists" (Viereck), Supp. I, Part 2, 403 Cradle Will Rock, The (Blitzstein), Supp. I, Part 1, 277, 278 Craft of Fiction, The (Lubbock), I, 504

Craft of Peter Taylor, The (McAlexander, ed.), Supp. V, 314 "Craftsmanship of Lowell, The: Revisions in The Cathedral' " (Tanselle), Supp. I, Part 2, 426 Craig, Gordon, III, 394 Crain, Jean Larkin, Supp. V, 123 Cram, Ralph Adams, I, 19 Crandall, Reuben, Supp. I, Part 2, 686 Crane, Agnes, I, 406 Crane, Edmund, I, 407 Crane, Hart, I, 61, 62, 97, 109, 116, 119, 266, 381-404; II, 133, 215, 306, 368, 371, 536, 542; III, 260, 276, 453, 485, 521; IV,

122, 123-124, 127, 128, 129, 135, 139, 140, 141, 341, 380, 418, 419; Retro. Supp. I, 427; Supp. I, Part 1, 86; Supp. II, Part 1, 89, 152; Supp. Ill, Part I, 20, 63, 350; Supp. V, 342 Crane, Jonathan, Jr., I, 407 Crane, Jonathan Townley, I, 406 Crane, Luther, I, 406 Crane, Mrs. Jonathan Townley, I, 406 Crane, Nellie, I, 407 Crane, R. S., Supp. I, Part 2, 423 Crane, Stephen, I, 34, 169-170, 189,201,207,211,405-427, 477, 506, 519; II, 58, 144, 148, 198, 262, 263, 264, 276, 289, 290, 291; III, 314, 317, 334, 335, 454, 505, 585; IV, 207, 208, 256, 350, 475; Retro. Supp. I, 231, 325; Supp. I, Part 1, 314; Supp. Ill, Part 2, 412; Supp. IV, Part 1, 350, 380, Part 2, 680, 689, 692 Crane, Verner W., II, 124, 125 Crane, William, I, 407 Crashaw, William, IV, 145, 150, 151, 165 Crater, The (Cooper), I, 354, 355 Cratylus (Plato), II, 10 "Craven Street Gazette" (Franklin), 11,119 Crawford, Bill, III, 121 Crawford, Eva, I, 199 Crawford, F. Marion, III, 320 Crawford, Joan, Supp. I, Part 1, 67 Crawford, Kathleen, I, 289 "Crayon House" (Rukeyser), Supp. VI, 273 Crayon Miscellany, The (Irving), II, 312-313 "Crazy Cock" (Miller), III, 177 Crazy Horse, Supp. IV, Part 2, 488, 489 Crazy Horse (McMurtry), Supp. V, 233 Creation: A Novel (Vidal), Supp. IV, Part 2, 677, 685, 688 "Creation, According to Coyote, The" (Ortiz), Supp. IV, Part 2, 505

INDEX / 403 "Creation of Anguish" (Nemerov), III, 269 "Creation Story" (Gunn Allen), Supp. IV, Part 1, 325 "Creative and Cultural Lag" (Ellison), Supp. II, Part 1, 229 Creative Criticism (Spingarn), I, 266 Creatures in an Alphabet (illus. Barnes), Supp. Ill, Part 1, 43 "Credences of Summer" (Stevens), IV, 93-94 "Credo" (Du Bois), Supp. II, Part I, 169 "Credo" (Jeffers), Supp. II, Part 2,424 "Credos and Curios" (Thurber), Supp. I, Part 2, 606, 613 Creech, James, Retro. Supp. I, 254 "Creed of a Beggar, The" (Lindsay), Supp. I, Part 2, 379 Creekmore, Hubert, II, 586 Creeley, Robert, Retro. Supp. I, 411; Supp. II, Part 1,30;

Supp. Ill, Part 1, 2, Part 2, 622, 626, 629; Supp. IV, Part

1,139-161, 322, 325 "Cremona Violin, The" (Lowell), II, 523 "Cressy" (Harte), Supp. II, Part 1, 354, 356 "Cretan Woman, The" (Jeffers), Supp. II, Part 2, 435 Crevecoeur, Michel-Guillaume Jean de, I, 229; Supp. I, Part 1, 227-252 Crevecoeur, Robert de, Supp. I, Part 1, 252 Crevecoeur's Eighteenth-Century Travels in Pennsylvania and New York (Adams), Supp. I, Parti, 251 "Crevecoeur's Letters and the Beginning of an American Literature" (Stone), Supp. I, Part 1, 252 Crews, Frederick C, II, 245 Criers and Kibitzers, Kibitzers and Criers (Elkin), Supp. VI, 45-46, 57

Crime and Punishment (Dostoevski), II, 60, 130; IV, 484; Supp. IV, Part 2, 525 Crisis (magazine), Retro. Supp. I, 195, 198 Crisis, The (magazine), Supp. IV, Part 1, 166, 170 Crisis (periodical), Supp. I, Part 1, 321, 322, 323, 325, 326, 327; Supp. II, Part 1, 157, 158, 170, 173-174, 175, 181 Crisis papers (Paine), Supp. I, Part 2, 508-509, 510 "Criteria of Negro Arts" (Du Bois), Supp. II, Part 1, 181 Criterion (journal), Retro. Supp. I, 63, 65, 66 Criterion (publication), I, 565; Supp. II, Part 1, 12 "Critiad, The" (Winters), Supp. II, Part 2, 794, 799 "Critic Who Does Not Exist, The" (Wilson), IV, 431 Critic's Notebook, A (Howe), Supp. VI, 126-128 Critical Essays on Peter Taylor (MeAlexander), Supp. V, 319, 320, 323-324 Critical Essays on Robert Ely (Davis), Supp. IV, Part 1, 64, 69 Critical Essays on Wallace Stegner (Arthur), Supp. IV, Part 2, 606 Critical Fable, A (Lowell), II, 511-512,527,529-530 Critical Guide to Leaves of Grass, A (Miller), IV, 352 Critical Response to Joan Didion, The (Felton), Supp. IV, Part 1, 210 Criticism and Fiction (Howells), II, 288 Criticism and Ideology (Eagleton), Retro. Supp. I, 67 "Criticism as Science" (Robertson), Supp. I, Part 2, 426 Criticism in the Borderlands (eds. Calderon and Saldivar), Supp. IV, Part 2, 544 "Critics, The" (Jong), Supp. V, 119

"Critics and Connoisseurs" (Moore), III, 209 "Critique de la Vie Quotidienne" (Barthelme), Supp. IV, Part 1, 50 Critique Philosophique (publication), II, 346, 350 Croce, Arlene, I, 47 Croce, Benedetto, I, 58, 255, 265, 273, 281; III, 610 Crockett, Davy, II, 307; III, 227; IV, 266; Supp. I, Part 2, 411 Crofter and the Laird, The (McPhee), Supp. Ill, Part 1, 301-302, 307 Croly, Herbert, I, 229, 231, 235; IV, 436 Cromwell, Oliver, IV, 145, 146, 156; Supp. I, Part 1, 111 Cronin, Dr. Archibald, III, 578 Crooke, Dr. Helkiah, Supp. I, Part 1, 98, 104 Crooks, Alan, Supp. V, 226 Crosby, Caresse, III, 473 Crosby, Harry, I, 385 Crosby, Mrs. Harry, I, 385 "Cross" (Hughes), Supp. I, Part 1, 325 "Cross Country Snow" (Hemingway), II, 249 "Cross of Snow, The" (Longfellow), II, 490 Crossan, John Dominic, Supp. V, 251 "Crossing, The" (Swenson), Supp. IV, Part 2, 644 "Crossing Brooklyn Ferry" (Whitman), IV, 333, 340, 341; Retro. Supp. I, 389, 396, 397, 400-401 Crossing the Water (Plath), Supp. I, Part 2, 526, 538 Crossing to Safety (Stegner), Supp. IV, Part 2, 599, 606, 612, 613-614 "Crossings" (Hogan), Supp. IV, Part 1, 412 "Cross-Roads, The" (Lowell), II, 523 "Crossroads of the World Etc." (Merwin), Supp. Ill, Part 1, 347, 348

404 / INDEX Cross-Section (Seaver), IV, 485 Grouse, Russel, III, 284 "Crow" (Hogan), Supp. IV, Part 1,405 "Crow, The" (Creeley), Supp. IV, Part 1, 148-149 "Crow Jane" (Baraka), Supp. II, Part 1, 38 "Crowded Street, The" (Bryant), Supp. I, Part 1, 168 Crown of Columbus (Erdrich and Dorris), Supp. IV, Part 1, 260 Crowninshield, Frank, III, 123 "Crows, The" (Bogan), Supp. Ill, Part 1, 50, 51 Crozier, Alice C, Supp. I, Part 2, 601 Crucial Instances (Wharton), Retro. Supp. I, 365, 367 Crucible, The (Miller), III, 147, 148, 155, 156-158, 159, 166 "Crucifix in the Filing Cabinet" (Shapiro), Supp. II, Part 2, 712 "Crude Foyer" (Stevens), Retro. Supp. I, 310 "Cruel and Barbarous Treatment" (McCarthy), II, 562, 563 Cruise of the Dazzler, The (London), II, 465 Cruise of the Snark, The (London), II, 476-477 " 'Crumbling Idols' by Hamlin Garland" (Chopin), Supp. I, Part 1, 217 "Crusade of the Excelsior, The" (Harte), Supp. II, Part 1, 336, 354 "Crusoe in England" (Bishop), Supp. I, Part 1, 93, 95, 96; Supp. Ill, Part 1, 10, 18 Crying of Lot 49, The (Pynchon), Supp. II, Part 2, 618, 619, 621, 630-633 "Crying Sisters, The" (Rand), Supp. IV, Part 2, 524 "Crystal, The" (Aiken), I, 60 "Crystal, The" (Lanier), Supp. I, Part 1, 364, 370 "Crystal Cage, The" (Kunitz), Supp. Ill, Part 1, 258 Cry to Heaven (Rice), Supp. VII, 300-301

"Cuba" (Hemingway), II, 258 "Cuba Libre" (Baraka), Supp. II, Part 1, 33 Cubism, I, 91, 435, 436; IV, 32, 407,409,410,411,415 "Cudjo's Own Story of the Last American Slaver" (Hurston), Supp. VI, 153 Cudjoe, Selwyn, Supp. IV, Part 1, 6 Cudlipp, Thelma, I, 501 Cudworth, Ralph, II, 9, 10 Cujo (King), Supp. V, 138-139, 143, 149, 152 Cullen, Countee, Retro. Supp. I, 207; Supp. I, Part 1, 49, 325; Supp. Ill, Part 1, 73, 75, 76; Supp. IV, Part 1, 163-174 Cullen, John B., II, 76 Culley, Margaret, Supp. I, Part 1, 226 "Cult of the Best, The" (Arnold), I, 223 "Cultivation of Christmas Trees, The" (Eliot), I, 579 "Cultural Exchange" (Hughes), Supp. I, Part 1, 341 Cultural History of the American Revolution, A (Silverman), Supp. I, Part 1, 149 Cultural Life of the New Nation, 1776-1830, The (Nye), Supp. I, Part 1, 149 "Culture" (Emerson), III, 2, 4 Culture of Cities, The (Mumford), Supp. II, Part 2, 492, 494495 "Culture, Self, and Style" (Gass), Supp. VI, 88 Cummings, E. E., I, 44, 48, 64, 105, 176, 428-450, 475, 477, 482, 526; III, 20, 196, 476; IV, 384, 402, 415, 427, 433; Supp. I, Part 2, 622, 678; Supp. Ill, Part 1, 73; Supp. IV, Part 2, 637, 641 Cummings, Mrs. E. E. (Marion Morehouse), I, 430, 439 Cummings, Mrs. Edward, I, 428429 Cummings, Reverend Edward, I, 428-129

Cummings, Robert, Supp. IV, Part 2, 524 Cunard, Lady, III, 459 Cunningham, Mary E., I, 357 Cunningham, Merce, Supp. IV, Part 1, 83 Cup of Gold (Steinbeck), IV, 51, 53, 61-64, 67 "Cupola, The" (Bogan), Supp. Ill, Part 1, 53 Cure de Tours, Le (Balzac), I, 509 Curie, Marie, IV, 420, 421; Supp. I, Part 2, 569 Curie, Pierre, IV, 420 Curiosa Americana (Mather), Supp. II, Part 2, 463 Curley, Thomas F., II, 53 Current Biography (publication), Supp. I, Part 2, 429 Current-Garcia, E., Ill, 455 "Currents and Counter-Currents in Medical Science" (Holmes), Supp. I, Part 1, 305 "Curried Cow" (Bierce), I, 200 Currier, Thomas Franklin, Supp. I, Parti, 319, Part 2, 705 Curry, Professor W. C., IV, 122 Curse of the Starving Class (Shepard), Supp. Ill, Part 2, 433, 447-448 "Curtain, The" (Chandler), Supp. IV, Part 1, 122 "Curtain of Green, A" (Welty), IV, 263-264 Curtain of Green, A (Welty), IV, 261-264, 268, 283 Curtain of Green, A, and Other Stories (Welty), Retro. Supp. I, 343, 344, 345, 346, 347, 355 Curtain of Trees (opera), Supp. IV, Part 2, 552 "Curtain Raiser, A" (Stein), IV, 43,44 "Curtains" (Cisneros), Supp. VII, 66 Curti, Merle, Supp. I, Part 1, 27 Curtis, George William, Supp. I, Part 1, 307 Curve of Binding Energy, The (McPhee), Supp. Ill, Part 1, 301

INDEX / 405 Curzon, Mary, III, 52 Gushing, Caleb, Supp. I, Part 2, 684, 686 Cushman, Howard, Supp. I, Part 2,652 Cushman, Stephen, Retro. Supp. 1,430 Custer, General George, I, 489, 491 Custer Died for Your Sins (Deloria), Supp. IV, Part 1, 323, Part 2, 504 "Custom House, The" (Hawthorne), II, 223; Retro. Supp. I, 147-148, 157 Custom of the Country, The (Wharton), IV, 318; Retro. Supp. I, 374, 375-376 "Cut-Glass Bowl, The" (Fitzgerald), II, 88 Cutler, Jonathan D., I, 47 Cutting, Bronson, III, 600 "Cuttings, later" (Roethke), III, 532 "Cycles, The" (Pinsky), Supp. VI, 250-252 Cynic's Word Book, The (Bierce), I, 197, 205, 208, 209, 10 Cynthia Ozick (Lowin), Supp. V, 273 Cynthia Ozick's Comic Art (Cohen), Supp. V, 273 Cynthia Ozick's Fiction (Kauvar), Supp. V, 273 D. H. Lawrence, The Man and His Work (Delavaney), Supp. I, Part 1, 275 Da Vinci, Leonardo, I, 274; II, 536; III, 210 Dacey, Philip, Supp. IV, Part 1, 70 Dacier, Andre, II, 10 "Dad" (Cullen), Supp. IV, Part 1, 167 Dadaism, I, 33, 105; II, 435; IV, 241; Supp. I, Parti, 369 "Daddy" (Plath), Supp. I, Part 2, 529, 542, 545, 546; Supp. II, Part 2, 688 "Daemon, The" (Bogan), Supp. Ill, Part 1, 58, 61

"Daffy Duck in Hollywood" (Ashbery), Supp. Ill, Part 1, 18 Dagonet family, IV, 318 Dahlberg, Edward, I, 119, 231, 237; Retro. Supp. I, 426; Supp. III, Part 2, 624 Daiches, David, I, 333; III, 289; Supp. I, Part 2, 536 Daily Eagle (newspaper), Retro. Supp. I, 390 Daily Express (newspaper), Supp. IV, Part 1, 120 Daily Mail (London) (newspaper), I, 296; Supp. IV, Part 1, 135 Daily Mail (newspaper), Retro. Supp. I, 63 Daily Running Horse (newspaper), IV, 302 Daily Worker (newspaper), IV, 476; Retro. Supp. I, 112; Supp. II, Part 1, 10 Dain Curse, The (Hammett), Supp. IV, Part 1, 348 "Daisies" (Gliick), Supp. V, 88 "Daisy" (Gates), Supp. II, Part 2, 523 "Daisy Miller" (James), II, 325, 326, 327, 329; IV, 316 Daisy Miller (James), Retro. Supp. I, 216, 220, 222, 223, 228, 231 Dale, Charlie, Supp. IV, Part 2, 584 Dalf, Salvador, II, 586; Supp. IV, Part 1, 83 Dalibard, Thomas-Francis, II, 117 Dallas Morning News, Supp. V, 225 Dallas Times Herald, Supp. V, 225 "Dalliance of Eagles, The" (Whitman), IV, 348 Daly, Carroll John, Supp. IV, Part 1, 343, 345 Daly, John, II, 25, 26 Daly, Julia Brown, II, 25, 26 "Dalyrimple Goes Wrong" (Fitzgerald), II, 88 "Dam, The" (Rukeyser), Supp. VI, 283

Damascus Gate (Stone), Supp. V, 308-311 Dameron, J. Lesley, III, 431 Damnation of Theron Ware, The (Frederic), II, 140-143, 144, 146, 147; Retro. Supp. I, 325 "Damned Thing, The" (Bierce), I, 206 Damon, S. Foster, I, 26; II, 512, 514, 515, 533; Supp. I, Part 1, 275 "Damon and Vandalia" (Dove), Supp. IV, Part 1, 252 Dana, H. W. L., I, 225; II, 509 Dana, Richard Henry, I, 339, 351; III, 241; Supp. I, Part 1, 103, 154, 155, Part 2, 414, 420 Dana, Richard Henry, Jr., Ill, 81 Dana, Robert, 180; Supp. V, 178 Dance, Daryl C., Supp. I, Part 1, 70 "Dance, The" (Crane), I, 109 "Dance, The" (Roethke), III, 541 Dance of Death, The (Auden), Supp. II, Part 1, 10 Dance of Death, The (Bierce and Harcourt), I, 196 "Dance of the Solids, The" (Updike), Retro. Supp. I, 323 Dancing After Hours (Dubus), Supp. VII, 91 Dancing Bears, The (Merwin), Supp. Ill, Part 1, 343-344 "Dancing the Jig" (Sexton), Supp. II, Part 2, 692 Dandelion Wine (Bradbury), Supp. IV, Parti, 101, 109-110 Dandurand, Karen, Retro. Supp. I, 30 "Dandy Frightening the Squatters, The" (Twain), IV, 193-194 Dane, G. Ezra, IV, 212 Dangerous Moonlight (Purdy), Supp. VII, 278 "Dangerous Road Before Martin Luther King" (Baldwin), Supp. I, Part 1, 52 "Dangerous Summer, The" (Hemingway), II, 261 "Dangers of Authorship, The" (Blackmur), Supp. II, Part 1, 147

406 / INDEX Dangling Man (Bellow), I, 144, 145, 147, 148, 150-151, 153154, 158, 160, 161, 162, 163 Daniel (biblical book), Supp. I, Part 1, 105 Daniel (biblical person), III, 347; Supp. I, Part 1, 106 Daniel (film), Supp. IV, Part 1, 236 Daniel, Arnaut, III, 467 Daniel, Robert W., Ill, 76 Daniel, Samuel, Supp. I, Part 1, 369 Daniel Deronda (Eliot), I, 458 Daniels, Jonathan, IV, 473 Daniels, Mark R., Supp. I, Part 1, 70 Danielson, Linda, Supp. IV, Part 2,569 D'Annunzio, Gabriele, II, 515 Danny O'Neill pentalogy (Farrell), II, 35-41 "Dans le Restaurant" (Eliot), I, 578, 554 Dans Vombre des cathedrales (Ambelain), Supp. I, Part 1, 273, 275 Danse Macabre (King), Supp. IV, Part 1, 102; Supp. V, 144 "Danse Russe" (Williams), IV, 412^13 Dante Alighieri, I, 103, 136, 138, 250, 384, 433, 445; II, 8, 274, 278, 289, 490, 492, 493, 494, 495, 504, 508, 524, 552; III, 13, 77, 124, 182, 259, 278, 448, 453, 467, 525, 533, 607, 609, 610-612, 613; IV, 50, 134, 137, 138, 139, 247, 437, 438; Retro. Supp. I, 62, 63, 64, 66, 360; Supp. I, Part 1, 256, 363, Part 2, 422, 454; Supp. Ill, Part 2, 611, 618, 621; Supp. IV, Part 2, 634; Supp. V, 277, 283, 331, 338, 345 "Dante of Suburbia" (Oilman), Supp. I, Part 1, 198 Danziger, Adolphe, I, 199-200 Dar (Nabokov), III, 246, 255 "Dare's Gift" (Glasgow), II, 190 Dark Angel The (Bolton), Supp. I, Part 1, 281

"Dark Angel: The Writings of James Baldwin" (Maclnnes), Supp. I, Part 1, 70 Dark Carnival (Bradbury), Supp. IV, Part 1, 102 "Dark Funnel, The: A Reading of Sylvia Plath" (Phillips), Supp. I, Part 2, 548 Dark Green, Bright Red (Vidal), Supp. IV, Part 2, 677 Dark Half, The (King), Supp. V, 141 Dark Harbor: A Poem (Strand), Supp. IV, Part 2, 633-634 "Dark Hills, The" (Robinson), III, 523 Dark Laughter (Anderson), I, 111, 116; II, 250-251 "Dark Men, The" (Dubus), Supp. VII, 86 Dark Night of the Soul, The (St. John of the Cross), I, 1, 585 "Dark Ones" (Dickey), Supp. IV, Part 1, 182 Dark Princess: A Romance (Du Bois), Supp. II, Part 1, 179, 181-182 Dark Room, The (Williams), IV, 381 "Dark Summer" (Bogan), Supp. Ill, Parti, 51, 53 Dark Summer: Poems (Bogan), Supp. Ill, Part 1, 52-53, 57 "Dark Tower, The" (column), Supp. IV, Part 1, 168, 170 Dark Tower, The: The Gunslinger (King), Supp. V, 152 Dark Tower IV, The: Wizard and Glass (King), Supp. V, 139 Dark Tunnel, The (Macdonald, under Millar), Supp. IV, Part 2, 465, 466 "Dark Walk, The" (Taylor), Supp. V, 320-321, 322, 326 Darker (Strand), Supp. IV, Part 2, 619, 626-628 Darker Face of the Earth, The (Dove), Supp. IV, Part 1, 255257 "Darkling Alphabet, A" (Snodgrass), Supp. VI, 323

Darkling Child (Merwin and Milroy), Supp. Ill, Part 1, 346 "Darkling Summer, Ominous Dusk, Rumorous Rain" (Schwartz), Supp. II, Part 2, 661 "Darkness on the Edge of Town" (O'Brien), Supp. V, 246 Darkwater: Voices from Within the Veil (Du Bois), Supp. II, Part I, 178, 180, 183 Darragh, Tina, Supp. IV, Part 2, 427 Darreu, Robert Donaldson, Supp. II, Part 1, 89, 98, 102 Darrow, Clarence, Supp. I, Part 1, 5, Part 2, 455 Darwin, Charles, I, 457; II, 323, 462, 481; III, 226, 231; IV, 69, 304; Retro. Supp. I, 254; Supp. I, Part 1, 368, 373 Darwinism, II, 143, 345, 350, 361, 416, 463, 483; III, 227, 315, 326; IV, 441; Supp. I, Part 1, 313, 314, Part 2, 640 Daryush, Elizabeth, Supp. V, 180 "DAS KAPITAL" (Baraka), Supp. II, Part 1, 55 Daudet, Alphonse, II, 325, 338 Daugert, Stanley, Supp. I, Part 2, 649 Daugherty, George H., I, 120 Daugherty, James, III, 597 "Daughter" (Caldwell), I, 309 "Daughter of Donne" (Gorman), Supp. I, Part 2, 730 Daughter of the Snows, A (London), II, 465, 469-470 "Daughters" (Anderson), I, 114 Daughters, I Love You (Hogan), Supp. IV, Part 1, 397, 399, 401 "Daughters of Invention" (Alvarez), Supp. VII, 9 Daumier, Honore, IV, 412 Davenport, Abraham, Supp. I, Part 2, 699 Davenport, Gary, IV, 425 Davenport, Herbert J., Supp. I, Part 2, 642 Davenport, James, I, 546 Daves, E. G., Supp. I, Part 1, 369

INDEX / 407 "David" (Garrett), Supp. VII, 109-110 "David" (Gordon), Supp. IV, Part 1, 298-299 David Copperfield (Dickens), I, 458; II, 290; Retro. Supp. I, 33 David Harum (Westcott), I, 216 David Show, The (Gurney), Supp. V,97 Davideis (Cowley), IV, 158 Davidson, Donald, I, 294; III, 495, 496; IV, 121, 122, 124, 125, 142, 143, 236; Supp. II, Part 1, 139 Davidson, Edward, III, 144 Davidson, Edward H., I, 565; II, 245; III, 432 Davidson, John, Retro. Supp. I, 55 Davidson, Sara, Supp. IV, Part 1, 196, 198, 203 Davie, Donald, III, 478; Supp. IV, Part 2, 474; Supp. V, 331 Davies, Arthur, III, 273 Davies,D. R., Ill, 312 Davies, Sir John, III, 541 Davis, Allen F., Supp. I, Part 1, 1, 7, 27 Davis, Allison, Supp. I, Part 1, 327 Davis, Angela, Supp. I, Part 1, 66 Davis, Arthur, Supp. I, Part 1, 348 Davis, Bette, I, 78; Supp. I, Part 1,67 Davis, Charles T., Ill, 525 Davis, Elizabeth Gould, Supp. I, Part 2, 567 Davis, Elmer, IV, 376 Davis, George, II, 586 Davis, Glover, Supp. V, 180, 182, 186 Davis, Harry R., Ill, 312 Davis, Jefferson, II, 206; IV, 122, 125, 126 Davis, Merrell R., Ill, 96, 97 Davis, Ossie, Jr., Supp. IV, Part 1,362 Davis, Rebecca Harding, Supp. I, Part 1, 45 Davis, Richard Harding, III, 328; Supp. II, Part 1, 393

Davis, Robert Gorham, II, 51; IV, 108, 118 Davis, Stuart, IV, 409 Davis, William V., I, 449; Supp. IV, Part 1, 63, 64, 68, 69, 70 Davy, Francis X., II, 125 Dawn (Dreiser), I, 498, 499, 503, 509, 515, 519 "Dawnbreaker" (Hayden), Supp. II, Part 1, 370 Dawson, Edward, IV, 151 Dawson, Emma, I, 199 Day, Dorothy, II, 215; Supp. I, Part 2, 524 Day, Georgiana, Supp. I, Part 2, 585 Day, Mary, see Lamer, Mrs. Sidney (Mary Day) Day Book, A (Creeley), Supp. IV, Part 1, 155 "Day longs for the evening, The" (Levertov), Supp. Ill, Part 1, 274 "Day for Poetry and Song, A" (Douglass), Supp. Ill, Part 1, 172 "Day of Days, A" (James), II, 322 Day of Doom (Wigglesworth), IV, 147, 155, 156 Day of the Locust, The (Pynchon), Supp. II, Part 2, 626 Day of the Locust, The (West), I, 298; IV, 288, 299-306 "Day on the Big Branch, A" (Nemerov), III, 275-276 "Day on the Connecticut River, A" (Merrill), Supp. Ill, Part 1, 336 Day Room, The (DeLillo), Supp. VI, 4 "Day the Presidential Candidate Came to Ciudad Tamaulipas, The" (Caldwell), I, 309 Day the World ended, The (Coover), Supp. V, 1 "Day with Conrad Green, A" (Lardner), II, 428-^29, 430 "Daybreak" (Kinnell), Supp. Ill, Part 1, 250 "Daybreak in Alabama" (Hughes), Supp. I, Part 1, 344; Retro. Supp. I, 211

"Day-Dream, A" (Bryant), Supp. I, Part 1, 160 "Days" (Emerson), II, 19, 20 "Days and Nights: A Journal" (Price), Supp. VI, 265 Days Before, The (Porter), III, 433, 453 "Days of 1935" (Merrill), Supp. Ill, Part 1, 325, 328 "Days of 1941 and '44" (Merrill), Supp. Ill, Part 1, 336 "Days of 1964" (Merrill), Supp. Ill, Part 1, 328, 352 "Days of 1971" (Merrill), Supp. Ill, Part 1, 328 Days of Mars, The (Bryher), Supp. I, Part 1, 275 Days of Our Lives Lie in Fragments: New and Old Poems (Garrett), Supp. VII, 109-110, 111 Days of the Phoenix (Brooks), I, 266 Days: Tangier Journal, 19871989 (Bowles), Supp. IV, Part 1,94 Days to Come (Hellman), Supp. I, Part 1, 276, 277-278 Days without End (O'Neill), III, 385, 391, 397 "Day's Work, A" (Capote), Supp. Ill, Part 1, 120 "Day's Work, A" (Porter), III, 443, 446 De Bellis, Jack, Supp. I, Part 1, 366, 368, 372, 373 De Bosis, Lauro, IV, 372 De Camoes, Luis, Supp. I, Part 1, 94 De Chiara, Ann, see Malamud, Mrs. Bernard (Ann de Chiara) De Colores (journal), Supp. IV, Part 2, 542 "De Daumier-Smith's Blue Period" (Salinger), III, 560-561 De Forest, John William, II, 275, 280, 288, 289; IV, 350 De La Mare, Walter, III, 429; Supp. II, Part 1, 4 De Lancey, James, I, 338 De Lancey, Mrs. James (Anne Heathcote), I, 338

408 / INDEX De Lancey, Susan A, see Cooper, Mrs. James Fenimore De Lancey, William Heathcote, I, 338, 353 De Veducation d'un homme sauvage (Itard), Supp. I, Part 2, 564 de Man, Paul, Retro. Supp. I, 67 De Reilhe, Catherine, Supp. I, Part 1, 202 De Rerum Natura (Lucretius), II, 162 "De Rerum Virtute" (Jeffers), Supp. II, Part 2, 424 De Rioja, Francisco, Supp. I, Part 1, 166 De Santis, Christopher, Retro. Supp. I, 194 De Schloezer, Doris, III, 474 De Selincourt, Basil, IV, 354 De Voto, Bernard, I, 247, 248; II, 446; III, 72; IV, 212, 213; Supp. IV, Part 2, 599, 601 De Vries, Peter, Supp. I, Part 2, 604, 627 De Young, Charles, I, 194 "Deacon's Masterpiece, The" (Holmes), Supp. I, Part 1, 302, 307 "Dead, The" (Joyce), I, 285; III, 343 Dead End (Kingsley), Supp. I, Part 1, 277, 281 Dead Father, The (Barthelme), Supp. IV, Part 1, 43, 47, 50-51 "Dead Fiddler, The" (Singer), IV, 20 Dead Fingers Talk (Burroughs), Supp. Ill, Part 1, 103 "Dead Hand" series (Sinclair), Supp. V, 276, 277, 281 Dead Lecturer, The (Baraka), Supp. II, Part 1, 31, 33, 35-37, 49 Dead Man's Walk (McMurtry), Supp. V, 231, 232 Dead Man's Walk (screenplay) (McMurtry and Ossana), Supp. V,231 Dead Souls (Gogol), I, 296 "Dead Souls on Campus" (Kosinski), Supp. VII, 222

"Dead Wingman, The" (Jarrell), II, 374 "Dead Yellow Women" (Hammett), Supp. IV, Part 1, 345 Dead Zone, The (King), Supp. V, 139, 143, 144, 148, 152 Deadline at Dawn (Odets), Supp. II, Part 2, 546 Dean, James, I, 493 Dean, Man Mountain, II, 589 "Dean of Men" (Taylor), Supp. V, 314, 323 Deane, Silas, Supp. I, Part 2, 509, 524 "Dear America" (Ortiz), Supp. IV, Part 2, 503 "Dear Judas" (Jeffers), Supp. II, Part 2, 431-432, 433 Dear Lovely Death (Hughes), Retro. Supp. I, 203; Supp. I, Part 1, 328 "Dear World" (Gunn Allen), Supp. IV, Part 1, 321 "Death" (Lowell), II, 536 "Death" (Mailer), III, 38 "Death" (West), IV, 286 "Death" (Williams), Retro. Supp. 1,422 "Death and Absence" (Gliick), Supp. V, 82 "Death and the Child" (Crane), I, 414 Death before Bedtime (Vidal, under pseud. Box), Supp. IV, Part 2, 682 "Death by Water" (Eliot), I, 395, 578 Death Comes for the Archbishop (Gather), I, 314, 327, 328330; Retro. Supp. I, 16-18, 21 Death in the Afternoon (Hemingway), II, 253; IV, 35; Retro. Supp. I, 182 Death in the Family, A (Agee), I, 25, 29, 42, 45 Death in the Fifth Position (Vidal, under pseud. Box), Supp. IV, Part 2, 682 "Death in the Woods" (Anderson), I, 114, 115

Death in the Woods and Other Stories (Anderson), I, 112, 114, 115 Death in Venice (Mann), III, 231; Supp. IV, Part 1, 392; Supp. V,51 Death Is a Lonely Business (Bradbury), Supp. IV, Part 1, 102, 103, 111-112, 115 Death Kit (Sontag), Supp. Ill, Part 2, 451,468-469 Death Likes It Hot (Vidal, under pseud. Box), Supp. IV, Part 2, 682 Death Notebooks, The (Sexton), Supp. II, Part 2, 691, 694, 695 Death of a Kinsman, The (Taylor), Supp. V, 324, 326 "Death of a Pig" (White), Supp. I, Part 2, 665-668 Death of a Salesman (Miller), I, 81; III, 148, 149, 150, 153-154, 156, 157, 158, 159, 160, 163, 164, 166; IV, 389; Supp. IV, Part 1, 359 "Death of a Soldier, The" (Stevens), Retro. Supp. I, 299, 312; see also "Lettres d'un Soldat" (Stevens) "Death of a Soldier, The" (Wilson), IV, 427, 445 "Death of a Toad" (Wilbur), Supp. Ill, Part 2, 550 "Death of a Traveling Salesman" (Welty), IV, 261; Retro. Supp. 1,344 "Death of an Old Seaman" (Hughes), Retro. Supp. I, 199 Death of Bessie Smith, The (Albee), I, 76-77, 92 Death of Billy the Kid, The (Vidal), Supp. IV, Part 2, 683 Death of Cock Robin, The (Snodgrass), Supp. VI, 315, 317-319, 324 "Death of General Wolfe, The" (Paine), Supp. I, Part 2, 504 "Death of Halpin Frayser, The" (Bierce), I, 205 "Death of Justina, The" (Cheever), Supp. I, Part 1, 184-185

INDEX / 409 Death of Life, The (Barnes), Supp. III, Part 1, 34 Death of Malcolm X, The (Baraka), Supp. II, Part 1, 47 "Death of Me, The" (Malamud), Supp. I, Part 2, 437 "Death of Slavery, The" (Bryant), Supp. I, Part 1, 168-169 "Death of St. Narcissus, The" (Eliot), Retro. Supp. I, 291 "Death of the Ball Turret Gunner, The" (Jarrell), II, 369-370, 372, 374, 375, 376, 378 "Death of the Fathers, The" (Sexton), Supp. II, Part 2, 692 "Death of the Flowers, The" (Bryant), Supp. I, Part 1, 170 Death of the Fox (Garrett), Supp. VII, 99, 101-104, 108 "Death of the Hired Man, The" (Frost), III, 523; Retro. Supp. I, 121, 128 "Death of the Kapowsin Tavern" (Hugo), Supp. VI, 137, 141 Death of the Kapowsin Tavern (Hugo), Supp. VI, 133-135 "Death of Venus, The" (Creeley), Supp. IV, Part 1, 143, 144145 "Death on All Fronts" (Ginsberg), Supp. II, Part 1, 326 Death the Proud Brother (Wolfe), IV, 456 "Death Throes of Romanticism, The: The Poetry of Sylvia Plath" (Gates), Supp. I, Part 2, 548 "Death to Van Gogh's Ear!" (Ginsberg), Supp. II, Part 1, 320, 322, 323 "Death Warmed Over!" (Bradbury), Supp. IV, Part 1, 104-105, 112 Death's Jest-Book (Beddoes), Retro. Supp. I, 285 Debacle, La (Zola), III, 316 "Debate with the Rabbi" (Nemerov), III, 272 "Debriefing" (Sontag), Supp. Ill, Part 2, 468^70 Debs, Eugene, I, 483, 493; III, 580, 581; Supp. I, Part 2, 524

Debt to Pleasure, The (Lanchester), Retro. Supp. I, 278 Debusscher, Gilbert, I, 95 "Debuts du roman realiste americain et 1'influence fran9aise, Les" (Arnavon), Supp. I, Part 1, 226 Decameron (Boccaccio), III, 283, 411 DeCasseres, Benjamin, III, 121 "Deceased" (Hughes), Retro. Supp. I, 208 "December" (Oliver), Supp. VII, 245 "December Eclogue" (Winters), Supp. II, Part 2, 794 Deception (Roth), Supp. Ill, Part 2,426^27 ^ "Decided Loss, A" (Poe), II, 411 Decker, James A., Supp. Ill, Part 2,621 Declaration of Gentlemen and Merchants and Inhabitants of Boston, and the Country Adjacent, A (Mather), Supp. II, Part 2, 450 "Declaration of Paris, The" (Adams), I, 4 Declaration of the Rights of Man and the Citizen, Supp. I, Part 2, 513,519 Declaration of Universal Peace and Liberty (Paine), Supp. I, Part 2, 512 Decline and Fall (Waugh), Supp. I, Part 2, 607 Decline and Fall of the English System of Finance, The (Paine), Supp. I, Part 2, 518 Decline and Fall of the Roman Empire, The (Gibbons), Supp. Ill, Part 2, 629 "Decline of Book Reviewing, The" (Hardwick), Supp. Ill, Part 1, 201-202 Decline of the West, The (Spengler), I, 270; IV, 125 "Decoration Day" (Jewett), II, 412 Decoration of Houses, The (Wharton), IV, 308

Decoration of Houses, The (Wharton and Codman), Retro. Supp. I, 362, 363-364, 366 "Decoy" (Ashbery), Supp. Ill, Part 1, 13-14 "Dedication and Household Map" (Erdrich), Supp. IV, Part 1, 272 "Dedication Day" (Agee), I, 34 "Dedication for a Book of Criticism" (Winters), Supp. II, Part 2, 801 "Dedication in Postscript, A" (Winters), Supp. II, Part 2, 801 "Dedication to Hunger" (Gliick), Supp. V, 83 "Dedication to My Wife, A" (Eliot), I, 583 Dee, Ruby, Supp. IV, Part 1, 362 Deep Sleep, The (Morris), III, 224-225 Deep South (Caldwell), I, 305, 309, 310 "Deep Water" (Marquand), III, 56 "Deep Woods" (Nemerov), III, 272-273, 275 Deephaven (Jewett), II, 398-399, 400,401,410,411 "Deer at Providencia, The" (Dillard), Supp. VI, 28, 32 Deer Park, The (Mailer), I, 292; 111,27,31-33,35-36,37,39, 40, 42, 43, 44 Deerslayer, The (Cooper), I, 341, 349, 350, 355; Supp. I, Part 1, 251 "Defence of Poesy, The" (Sidney), Supp. V, 250 "Defence of Poetry" (Longfellow), II, 493-494 "Defender of the Faith" (Roth), Supp. Ill, Part 2, 404, 407, 420 Defenestration of Prague (Howe), Supp. IV, Part 2, 419, 426, 429^30 Defense, The (Nabokov), III, 251252; Retro. Supp. I, 266, 268, 270-272 "Defense of James Baldwin, A" (Gayle), Supp. I, Part 1, 70 Defiant Ones, The (film), Supp. I, Part 1, 67

410 / INDEX "Defining the Age" (Davis), Supp. IV, Part 1, 64 "Definition" (Ammons), Supp. VII, 28 Defoe, Daniel, I, 204; II, 104, 105, 159, 304-305; III, 113, 423; IV, 180; Supp. 1, Part 2, 523; Supp. V, 127 Degler, Carl, Supp. I, Part 2, 496, 500 Deism, Supp. I, Part 2, 503, 515, 516, 520, 521, 717, 718 "Dejection" (Coleridge), II, 97 DeJong, David Cornel, I, 35, 47 Delacroix, Henri, I, 227 Delakas, Daniel L., IV, 473 Delano, Amasa, III, 90 Delattre, Roland A., I, 558, 565 Delavaney, Emile, Supp. I, Part 1, 275 Delicate Balance, A (Albee), I, 86-89, 91, 93, 94 "Delicate Prey, The" (Bowles), Supp. IV, Part 1, 86 Delicate Prey and Other Stories, The (Bowles), Supp. IV, Part 1, 86-87 Delie (Sceve), Supp. Ill, Part 1, 11 DeLillo, Don, Retro. Supp. I, 278; Supp. VI, 1, 2-4, 5-18 Delineator (publication), I, 501, 509 Deliverance (Dickey), Supp. IV, Part 1, 176, 186-188, 190 Deliverance, The (Glasgow), II, 175, 176, 177-178, 181 "Delivering" (Dubus), Supp. VII, 87 Dell, Floyd, I, 103, 105; Supp. I, Part 2, 379 "Delia Primavera Trasportata al Morale" (Williams), Retro. Supp. I, 419, 422 Deloria, Vine, Jr., Supp. IV, Part 1, 323, Part 2, 504 "Delta Autumn" (Faulkner), II, 71 "Delta Factor, The" (Percy), Supp. Ill, Part 1, 386 Delta Wedding (Welty), IV, 261, 268-271, 273, 281; Retro. Supp. I, 349-350, 351

Delusions (Berryman), I, 170 DeMars, James, Supp. IV, Part 2, 552 Dembo, L. S., I, 386, 391, 396, 397, 398, 402, 404; III, 266, 478; Supp. I, Part 1, 272, 275 Demetrakopoulous, Stephanie A., Supp. IV, Part 1, 12 DeMille, Cecil B., Supp. IV, Part 2,520 Demme, Jonathan, Supp. V, 14 Democracy (Adams), I, 9-10, 20; Supp. IV, Part 1, 208 Democracy (Didion), Supp. IV, Part 1, 198, 208-210 "Democracy" (Lowell), Supp. I, Part 2, 419 Democracy and Education (Dewey), I, 232 Democracy and Other Addresses (Lowell), Supp. I, Part 2, 407 Democracy and Social Ethics (Addams), Supp. I, Part 1, 811 Democracy in America (Tocqueville), Retro. Supp. I, 235 Democratic Review (publication), IV, 335 Democratic Vistas (Whitman), IV, 333, 336, 348-349, 351, 469; Retro. Supp. I, 408; Supp. I, Part 2, 456 Democritus, I, 480-481; II, 157; III, 606; Retro. Supp. I, 247 "Demon Lover, The" (Rich), Supp. I, Part 2, 556 "Demonstrators, The" (Welty), IV, 280; Retro. Supp. I, 355 DeMott, Benjamin, Supp. I, Part 1, 198; Supp. IV, Part 1, 35 Demott, Benjamin, Supp. V, 123 Dempsey, David, IV, 118 Demuth, Charles, IV, 404; Retro. Supp. I, 412, 430 "Demystified Zone" (Paley), Supp. VI, 227 Den Uyl, Douglas, Supp. IV, Part 2, 528, 530 Denmark Vesey (opera) (Bowles), Supp. IV, Part 1, 83

Denney, Joseph Villiers, Supp. I, Part 2, 605 Dennie, Joseph, II, 298; Supp. I, Part 1, 125 Denny, Reuel, I, 70 "Departure" (Gluck), Supp. V, 89 "Departure" (Plath), Supp. I, Part 2,537 "Departure, The" (Freneau), Supp. II, Part 1, 264 Departures (Justice), Supp. VII, 124-127 Departures and Arrivals (Shields), Supp. VII, 320, 322 "Depressed by a Book of Bad Poetry, I Walk Toward an Unused Pasture and Invite the Insects to Join Me" (Wright), Supp. Ill, Part 2, 600 Der Wilde Jdger (Burger), II, 306 Derleth, August, Supp. I, Part 2, 465, 472, 477 Deronda, Daniel, II, 179 Derrida, Jacques, Supp. IV, Part 1,45 Deny, John, Supp. I, Part 2, 525 Des Imagistes (Pound), II, 513; Supp. I, Part 1, 257, 261, 262 Descartes, Rene, I, 255; III, 618619; IV, 133 Descendents, The (Glasgow), II, 173, 174-175, 176 Descending Figure (Gluck), Supp. V, 83-84 "Descent, The" (Williams), Retro. Supp. I, 428, 429 "Descent from the Cross" (Eliot), Retro. Supp. I, 57, 58 "Descent into the Maelstrom, A" (Poe), 111,411,414, 416, 424 Descent of Man, The (Wharton), IV, 311; Retro. Supp. I, 367 Descent of Man and Other Stories, The (Wharton), Retro. Supp. I, 367 Descent of Winter, The (Williams), Retro. Supp. I, 419, 428 "Description of the great Bones dug up at Clavarack on the Banks of Hudsons River A.D. 1705, The" (Taylor), IV, 163, 164

INDEX / 411 "Description without Place" (Stevens), Retro. Supp. I, 422 Deseret News (newspaper), Supp. IV, Part 2, 638 "Desert" (Hughes), Retro. Supp. 1,207 Desert Music (Williams), IV, 422 "Desert Music, The" (Williams), Retro. Supp. I, 428, 429 Desert Music, The (Williams), Retro. Supp. I, 428, 429 "Desert Places" (Frost), II, 159; Retro. Supp. I, 121, 123, 129, 138, 299 Desert Rose, The (McMurtry), Supp. V, 225, 231 Deserted Village, The (Goldsmith), II, 304 "Design" (Frost), II, 158, 163; Retro. Supp. I, 121, 126, 138, 139 "Designated National Park, A" (Ortiz), Supp. IV, Part 2, 509 "Desire" (Beattie), Supp. V, 29 Desire under the Elms (O'Neill), III, 387, 390 "Desiree's Baby" (Chopin), Supp. I, Part 1, 213-215 "Desolate Field, The" (Williams), Retro. Supp. I, 418 "Desolation, A" (Ginsberg), Supp. II, Part 1,313 Desolation Angels (Kerouac), Supp. Ill, Part 1,218, 225, 230 (( Desolation Is a Delicate Thing " (Wylie), Supp. I, Part 2, 729 Despair (Nabokov), Retro. Supp. I, 270, 274 Desperate Faith: A Study of Bellow, Salinger, Mailer, Baldwin, and Updike (Harper), Supp. I, Part 1, 70 "Despisals" (Rukeyser), Supp. VI, 282 "Destruction of Kreschev, The" (Singer), IV, 13 Destruction of the European Jews, The (Hilberg), Supp. V, 267 "Destruction of the Long Branch, The" (Pinsky), Supp. VI, 239, 240, 243-244, 245, 247, 250

Destructive Element, The (Spender), Retro. Supp. I, 216 "Detail & Parody for the poem Taterson' " (Williams), Retro. Supp. I, 424 Detective Tales (magazine), Supp. IV, Part 1, 102 Detmold, John, Supp. I, Part 2, 670 Detweiler, Robert, I, 165; IV, 234 Deuteronomy (biblical book), II, 166 Deutsch, Babette, I, 47, 450; III, 550; IV, 424; Supp. I, Part 1, 328, 341 Deutsch, Helen, III, 406 Deutsch, Michel, Supp. IV, Part I, 104 "Development of the Modern English Novel, The" (Lanier), Supp. I, Part 1, 370-371 DeVeriante (Herbert of Cherbury), II, 108 "Devil and Daniel Webster, The" (Benet), III, 22 "Devil and Tom Walker, The" (Irving), II, 309-310 Devil At Large, The: Erica Jong on Henry Miller (Jong), Supp. V, 115, 131 Devil Finds Work, The (Baldwin), Supp. I, Part 1, 48, 52, 66-67 "Devil in Manuscript, The" (Hawthorne), II, 226; Retro. Supp. I, 150-151 Devil in Paradise, A (Miller), III, 190 "Devil in the Belfrey, The" (Poe), III, 425 Devil Tree, The (Kosinski), Supp. VII, 215, 222, 223 Devil's Dictionary, The (Bierce), I, 196, 197, 205, 208, 209, 210, 213 "Devising" (Ammons), Supp. VII, 28 Dewey, John, I, 214, 224, 228, 232, 233, 266, 267; II, 20, 23, 27, 34, 52, 229, 361, 365; III, 112, 294-295, 296, 303, 309310, 599, 605, 622; IV, 27, 429; Supp. I, Part 1, 3, 5, 7, 10, 11,

12, 24, Part 2, 493, 641,647, 677; Supp. V, 290 Dewey, Thomas, IV, 161 Deyo, C. L., Supp. I, Part 1, 226 Dhairyam, Sagari, Supp. IV, Part 1, 329, 330 Dharma Bums, The (Kerouac), Supp. Ill, Part 1, 230, 231 D'Houdetot, Madame, Supp. I, Part 1, 250 "Diabetes" (Dickey), Supp. IV, Part 1, 182 Diaghilev, Sergei, Supp. I, Part 1, 257 Dial (publication), I, 58, 109, 115, 116,215,231,233,245,261, 384, 429; II, 8, 430; III, 194, 470, 471, 485; IV, 122, 171, 427; Retro. Supp. I, 58; Supp. 1, Part 2, 642, 643, 647; Supp. II, Part 1, 168, 279, 291, Part 2, 474; Supp. Ill, Part 2, 611 "Dialectic of The Fire Next Time,' The" (Gayle), Supp. I, Part 1, 70 Dialectical materialism, I, 275, 279 "Dialogue" (Rich), Supp. I, Part 2,560 Dialogue, A (Baldwin and Giovanni), Supp. I, Part 1, 66 "Dialogue Between Franklin and the Gout" (Franklin), II, 121 "Dialogue Between General Wolfe and General Gage in a Wood near Boston, A" (Paine), Supp. I, Part 2, 504 "Dialogue between Old England and New" (Bradstreet), Supp. I, Part 1, 105-106, 110-111, 116 "Dialogue between the Writer and a Maypole Dresser, A" (Taylor), IV, 155 Dialogues (ed. Bush), III, 4 Dialogues in Limbo (Santayana), III, 606 "Diamond as Big as the Ritz, The" (Fitzgerald), II, 88-89 Diamond Cutters and Other Poems, The (Rich), Supp. I, Part 2, 551,552, 553 "Diamond Guitar, A" (Capote), Supp. Ill, Part 1, 124

412 / INDEX "Diana and Persis" (Alcott), Supp. I, Part 1, 32, 41 Diary of a Yuppie (Auchincloss), Supp. IV, Part 1,31,32-33 Diary of "Helena Morley," The (trans. Bishop), Supp. I, Part 1, 92 Dias del Castillo, Bernal, III, 13, 14 Dick Gibson Show, The (Elkin), Supp. VI, 42, 48-49 "Dick Whittington and His Cat", Supp. I, Part 2, 656 Dickens, Charles, I, 152, 198, 505; II, 98, 179, 186, 192, 271, 273274, 288, 290, 297, 301, 307, 316, 322, 559, 561, 563, 577, 582; III, 146, 247, 325, 368, 411,421,426,572,577,613614, 616; IV, 21, 192, 194,211, 429; Retro. Supp. I, 33, 91, 218; Supp. I, Part 1, 13, 34, 35, 36, 41, 49, Part 2, 409, 523, 579, 590, 622, 675; Supp. IV, Part 1, 293, 300, 341, Part 2, 464 Dickey, James, I, 29, 450, 535, 542; II, 390; III, 268, 289, 525, 550; Supp. Ill, Part 1, 354, Part 2, 541, 597; Supp. IV, Part 1, 175-194; Supp. V, 333 Dickinson, Donald, Retro. Supp. I, 206, 212 Dickinson, Donald C, Supp. I, Part 1, 348 Dickinson, Edward, I, 451^52, 453 Dickinson, Emily, I, 384, 419, 433, 451-473; II, 272, 276, 277, 530; III, 19, 194, 196, 214, 493, 505, 508, 556, 572, 576; IV, 134, 135, 331, 444; Retro. Supp. I, 25-50; Supp. I, Part I, 29, 79, 188, 372, Part 2, 375, 546, 609, 682, 691, 705; Supp. II, Part 1, 4; Supp. Ill, Part 1, 63, Part 2, 600, 622; Supp. IV, Parti, 31,257, Part 2, 434, 637, 641, 643; Supp. V, 79, 140, 332, 335 Dickinson, Gilbert, I, 469

Dickinson, Lavinia Norcross, I, 451,453,462,470 Dickinson, Mrs. Edward, I, 451, 453 Dickinson, Mrs. William A. (Susan Gilbert), I, 452, 453, 456, 469, 470 Dickinson, William Austin, I, 451, 453, 469 Dickinson and the Strategies of Reticence (Dobson), Retro. Supp. I, 29, 42 Dickson, Helen, see Blackmur, Helen Dickson Dickstein, Morris, Supp. I, Part 1, 70 "DICTATORSHIP OF THE PROLETARIAT, THE" (Baraka), Supp. II, Part 1, 54 Dictionary of American Biography, Supp. I, Part 2, 486 Dictionary of Modern English Usage, A (Fowler), Supp. I, Part 2, 660 "Dictum: For a Masque of Deluge" (Merwin), Supp. Ill, Part 1, 342-343 "Did You Ever Dream Lucky?" (Ellison), Supp. II, Part 1, 246 "Didactic Poem" (Levertov), Supp. III, Part 1, 280 Didacticism, I, 275, 350, 424; III, 425 Diderot, Denis, II, 535; IV, 440 Didion, Joan, Retro. Supp. I, 116; Supp. I, Part 1, 196, 197, 198; Supp. Ill, Part 1, 302; Supp. IV, Part 1, 195-216 Dido, I, 81 Die Zeit Ohne Beispiel, (Goebbels), III, 560 Diehl, Digby, Supp. IV, Part 1, 204 Dienstfrey, Harris, III, 47 "Dies Irae" (Lowell), II, 553 Different Seasons (King), Supp. V, 148, 152 Difficulties, The (publication), Supp. IV, Part 2, 419, 420, 430 "Difficulties of a Statesman" (Eliot), I, 580

"Difficulties of Modernism and the Modernism of Difficulty" (Poirier), Supp. II, Part 1, 136 Different (O'Neill), III, 389 "Digging in the Garden of Age I Uncover a Live Root" (Swenson), Supp. IV, Part 2, 649 Diggins, John P., Supp. I, Part 2, 650 Dijkstra, Abraham, IV, 424 "Dilemma of Determinism, The" (James), II, 347-348, 352 "Dilemma of Love in Go Tell It on the Mountain and Giovanni's Room, The" (Bell), Supp. I, Part 1, 69 "Dilettante, The" (Wharton), IV, 311,313 "Dilettante, The: A Modern Type" (Dunbar), Supp. II, Part 1, 199 Dillard, Annie, Supp. VI, 19-23, 24-39 Dillman, Bradford, III, 403 Dillon, George, III, 141, 144, 217; Supp. Ill, Part 2, 621 Dillon, Millicent, Supp. IV, Part 1,95 Dilthey, Wilhelm, I, 58 Dime Detective Magazine (publication), Supp. IV, Part 1, 122 "Dimout in Harlem" (Hughes), Supp. I, Part 1, 333 Dinesen, Isak, IV, 279, 284 Dining Room, The (Gurney), Supp. V, 105-106 "Dinner at , A" (O. Henry), Supp. II, Part 1, 402 "Dinner at Sir Nigel's" (Bowles), Supp. IV, Part 1, 94 Dinner at the Homesick Restaurant (Tyler), Supp. IV, Part 2, 657, 667-668 Dinner Bridge (Lardner), II, 435 Dinosaur Tales (Bradbury), Supp. IV, Part 1, 103 Dionysis in Doubt (Robinson), III, 510 Diop, Birago, Supp. IV, Part 1, 16 Diop, David, Supp. IV, Part 1, 16

INDEX / 413 DiPrima, Diane, Supp. Ill, Part 1, 30 "Directive" (Frost), III, 287; Retro. Supp. I, 140 "Dirge" (Dunbar), Supp. II, Part 1,199 "Dirge without Music" (Millay), III, 126 "Dirty Word, The" (Shapiro), Supp. II, Part 2, 710 "Disappearances" (Hogan), Supp. IV, Part 1, 401 "Disappointment, The" (Creeley), Supp. IV, Part 1, 143 "Disappointment and Desire" (Ely), Supp. IV, Part 1, 71 Discerning the Signs of the Times (Niebuhr), III, 300-301, 307308 "Discordants" (Aiken), I, 65 Discourse on Method (Descartes), 1,255 "Discovery" (Freneau), Supp. II, Part 1, 258 Discovery No. 1 (publication), IV, 104 "Discovery of the Madeiras, The" (Frost), Retro. Supp. I, 139 "Discovery of What It Means to Be an American, The" (Baldwin), Supp. I, Part 1, 5455 Discovery! The Search for Arabian Oil (Stegner), Supp. IV, Part 2, 599 "Discrete Series" (Zukofsky), Supp. Ill, Part 2, 616 "Discretions of Alcibiades" (Pinsky), Supp. VI, 241 "Disease, The" (Rukeyser), Supp. VI, 279 Disenchanted, The (Schulberg), II, 98; Retro. Supp. I, 113 Diser, Philip E., I, 143 "Dish of Green Pears, A" (Rios), Supp. IV, Part 2, 552 Disney, Walt, III, 275, 426 "Displaced Person, The" (O'Connor), III, 343-344, 350, 352, 356 "Disposal" (Snodgrass), Supp. VI, 314

Dispossessed, The (Berryman), I, 170, 172, 173, 174, 175, 176, 178 "Disquieting Muses, The" (Plath), Supp. I, Part 2, 538 Disraeli, Benjamin, II, 127 Dissent (Didion), Supp. IV, Part 1,208 Dissent (magazine), III, 35 Dissent in Three American Wars (Morison, Merk, and Freidel), Supp. I, Part 2, 495 "Dissenting Opinion on Kafka, A" (Wilson), IV, 437-138 Dissertation on Liberty and Necessity, Pleasure and Pain, A (Franklin), II, 108 Dissertations on Government; the Affairs of the Bank: and Paper Money (Paine), Supp. I, Part 2, 510 "Distance" (Carver), Supp. Ill, Part 1, 146 "Distance" (Paley), Supp. VI, 222 "Distance Nowhere" (Hughes), Retro. Supp. I, 207 "Distant Episode, A" (Bowles), Supp. IV, Part 1, 84-85, 86, 90 Distant Episode, A: The Selected Stories (Bowles), Supp. IV, Part 1, 79 Distinguished Women Writers (Moore), Supp. I, Part 2, 730 Distortions (Beattie), Supp. V, 21, 23, 24, 25, 27 "Distrest Shepherdess, The" (Freneau), Supp. II, Part 1, 258 District of Columbia (Dos Passes), I, 478, 489-190, 492 Disturber of the Peace (Manchester), III, 103 "Diver, The" (Hayden), Supp. II, Part 1, 368, 372, 373 "Divided Life of Jean Toomer, The" (Toomer), Supp. Ill, Part 2,488 Divina Commedia (trans. Longfellow), II, 490, 492, 493 Divine Comedies (Merrill), Supp. Ill, Part 1, 324, 329-332 Divine Comedy (Dante), I, 137, 265, 400, 446; II, 215, 335, 490,

492, 493; III, 13, 448, 453; Supp. V, 283, 331, 338, 345 "Divine Image, The" (Blake), Supp. V, 257 Divine Pilgrim, The (Aiken), I, 50, 55 Divine Tragedy, The (Longfellow), II, 490, 500, 505, 506, 507 Divine Weekes and Workes (tr. Sylvester), Supp. I, Part 1, 104 Divine Weeks (Du Bartas), IV, 157-158 "Diving into the Wreck: Poems 1971-1972" (Rich), Supp. I, Part 2, 550, 559-565, 569 "Divinity School Address" (Emerson), II, 12-13 Dixon, Ivan, Supp. IV, Part 1, 362 Dixon, Thomas, Jr., Supp. II, Part 1, 169, 171, 177 Djinn (Robbe-Grillet), Supp. V, 48 D'Lugoff, Burt, Supp. IV, Part 1, 362, 370 Do, Lord, Remember Me (Garrett), Supp. VII, 98-100, 110 "Do We Understand Each Other?" (Ginsberg), Supp. II, Part 1, 311 Do with Me What You Will (Oates), Supp. II, Part 2, 506, 515-517 "Doaksology, The" (Wolfe), IV, 459 Dobie, J. Frank, Supp. V, 225 Dobriansky, Lev, Supp. I, Part 2, 648, 650 Dobson, Joanne, Retro. Supp. I, 29, 31, 42 "Dock Rats" (Moore), III, 213 "Docking at Palermo" (Hugo), Supp. VI, 137-138 "Dock-Witch, The" (Ozick), Supp. V, 262, 264 "Doctor, The" (Dubus), Supp. VII, 80-81 "Doctor and the Doctor's Wife, The" (Hemingway), II, 248; Retro. Supp. I, 174, 175 Doctor Breen 's Practice, a Novel (Howells), I, 282 Doctor Faustus (Mann), III, 283

414 / INDEX "Doctor Jekyll" (Sontag), Supp. Ill, Part 2, 469 "Doctor Leavis and the Moral Tradition" (Trilling), Supp. Ill, Part 2, 512-513 Doctor Martino and Other Stories (Faulkner), II, 72; Retro. Supp. 1,84 "Doctor of the Heart, The" (Sexton), Supp. II, Part 2, 692 Doctor Sax (Kerouac), Supp. Ill, Part 1, 220-222, 224-227 Doctor Stories, The (Williams), Retro. Supp. I, 424 Doctor Zhivago (Pasternak), IV, 434, 438, 443 Doctorow, E. L., Retro. Supp. I, 97; Supp. Ill, Part 2, 590, 591; Supp. IV, Part 1, 217-240; Supp. V, 45 "Doctors' Row" (Aiken), I, 67 Doctor's Son and Other Stories, The (O'Hara), III, 361 "Doctor's Wife, The" (Ozick), Supp. V, 262, 265 Dodd, Elizabeth, Supp. V, 77 Dodd, Wayne, Supp. I, Part 2, 578; Supp. IV, Part 2, 625 Dodds, Elisabeth D., I, 564 Dodson, Owen, Supp. I, Part 1, 54 Dodsworth (Lewis), II, 442, 449450, 453, 456 Doenitz, Karl, Supp. I, Part 2, 491 Does Civilization Need Religion? (Niebuhr), III, 293-294 "Does 'Consciousness' Exist?" (James), II, 356 "Does Education Pay?" (Du Bois), Supp. II, Part 1, 159 Dog (Shepard), Supp. Ill, Part 2, 434 Dog & the Fever, The (Quevedo), Retro. Supp. I, 423 "Dog and the Playlet, The" (O. Henry), Supp. II, Part 1, 399 Dog Beneath the Skin, The (Auden), Supp. II, Part 1, 10 "Dog Creek Mainline" (Wright), Supp. V, 340

Dog in the Manger, The (Vega, trans. Merwin), Supp. Ill, Part 1, 341, 347 Dog Soldiers (Stone), Supp. V, 298, 299-301 Dogs Bark, The: Public People and Private Places (Capote), Supp. Ill, Part 1, 120, 132 "Dogwood, The" (Levertov), Supp. Ill, Part 1, 276 "Dogwood Tree, The" (Updike), IV, 218 "Dogwood Tree, The: A Boyhood" (Updike), Retro. Supp. I, 318, 319 Dolci, Carlo, III, 414-415 Dole, Nathan H., 111,431 Doll's House, A (Ibsen), III, 523; IV, 357 Dolmetsch, Arnold, III, 464 Dolores Claiborne (King), Supp. V, 138, 141, 147, 148, 149-150, 152 "Dolph Heyliger" (Irving), II, 309 Dome of Many-Coloured Class, A (Lowell), II, 515, 516-517 Domesday Book (Masters), Supp. I, Part 2, 465, 466-469, 471, 473, 476 "Domestic Manners" (Hardwick), Supp. Ill, Part 1,211 "Domestication, Domesticity and the Otherworldly" (Vendler), Supp. I, Part 1, 97 Dommergues, Pierre, III, 243 "DON JUAN IN HELL" (Baraka), Supp. II, Part 1, 33 Don Quixote (Cervantes), I, 134; II, 291, 434; III, 113,614; Supp. I, Part 2, 422 Dona Perfecta (Galdos), II, 290 Donahue, Francis, IV, 401 Donahue, H. E. F., IV, 425 Donahue, Phil, Supp. IV, Part 2, 526 Donaldson, Scott, Supp. I, Part 1, 198 "Done Made Us Leave Our Home: Langston Hughes's Not Without Laughter Unifying Image and Three Dimensions" (Miller), Supp. I, Part 1, 348

Doner, Dean, IV, 234 "Donna mi Prega" (Cavalcanti), Supp. Ill, Part 2, 620, 621, 622 Donn-Byrne, Brian Oswald, see Byrne, Donn Donne, John, I, 358-359, 384, 389, 522, 586; II, 254; III, 493; IV, 83, 88, 135, 141, 144, 145, 151, 156, 165, 331, 333; Supp. I, Part 1, 80, 364, 367, Part 2, 421, 424, 467, 725, 726, 730; Supp. Ill, Part 2, 614, 619 Donoghue, Denis, I, 165, 473, 537, 542; II, 390; IV, 424; Supp. IV, Part 1, 39 Don't Ask (Levine), Supp. V, 178 Don't Ask Questions (Marquand), III, 58 Don't You Want to Be Free? (Hughes), Retro. Supp. I, 203; Supp. I, Part 1, 339 "Doodler, The" (Merrill), Supp. Ill, Part 1, 321 Dooley, D. J., II, 460 Doolittle, Charles Leander, Supp. I, Part 1, 253, 254 Doolittle, Hilda (H. D.), II, 517, 520-521; III, 194, 195-196, 217, 457, 465; IV, 404, 406; Retro. Supp. I, 288, 412, 413, 414, 415, 417; Supp. I, Part 1, 253-275, Part 2, 707; Supp. Ill, Part 1, 48, Part 2, 610; Supp. IV, Part 1, 257; Supp. V,79 Doolittle, Mrs. Charles Leander (Helen Eugenia Wolle), Supp. I, Part 1, 253, 254 Doolittle, Thomas, IV, 150 Doomsters, The (Macdonald), Supp. IV, Part 2, 462, 463, 472, 473 "Door, The" (Creeley), Supp. IV, Part 1, 145, 146, 156-157 "Door, The" (White), Supp. I, Part 2, 651,675-676 "Door in the Dark, The" (Frost), II, 156 Door in the Hive, A (Levertov), Supp. Ill, Part 1, 283, 284 "Door of the Trap, The" (Anderson), I, 112

INDEX / 415 " 'Door, The,' 'The Professor,' 'My Friend the Poet (Deceased)' " (Steinhoff), Supp. I, Part 2, 681 "Doors, Doors, Doors" (Sexton), Supp. II, Part 2, 681 Dorfman, Joseph, Supp. I, Part 2, 631, 647, 650 Dorn, Edward, Supp. IV, Part 1, 154 Dorris, Michael, Supp. IV, Part 1, 260, 272 Dos Passos, John, I, 99, 288, 374, 379, 474-496, 517, 519; II, 74, 77, 89, 98; III, 2, 28, 29, 70, 172, 382-383; IV, 340, 427, 433; Retro. Supp. I, 105, 113, 187; Supp. I, Part 2, 646; Supp. Ill, Part 1, 104, 105; Supp. V, 277 Dos Passos, John Randolph, I, 474-475 "Dos Passos: Poet Against the World" (Cowley), Supp. II, Part 1, 143, 145 Dostoevski, Fedor, I, 53, 103, 211, 468; II, 60, 130, 275, 320, 587; ffl, 37, 61, 155, 174, 176, 188, 189, 267, 272, 283, 286, 354, 357, 358, 359, 467, 571, 572; IV, 1, 7, 8, 17, 21, 50, 59, 106, 110, 128, 134,285,289,476, 485, 491; Supp. I, Part 1,49, Part 2, 445, 466; Supp. IV, Part 2, 519, 525 Double Agent, The (Blackmur), Supp. II, Part 1, 90, 108, 146 Double Axe, The (Jeffers), Supp. II, Part 2, 416, 434 Double Dealer (periodical), Retro. Supp. I, 79, 80 Double Dream of Spring, The (Ashbery), Supp. Ill, Part 1, 11-13 "Double Gap, The" (Auchincloss), Supp. IV, Part 1, 33 Double Image, The (Levertov), Supp. Ill, Part 1, 274, 276 "Double Image, The" (Sexton), Supp. II, Part 2, 671, 677-678 Double Indemnity (film), Supp. IV, Part 1, 130

Double Man, The (Auden), Supp. III, Part 1, 16 "Double Ode" (Rukeyser), Supp. VI, 282-283, 286 Doubleday, Supp. V, 281-282 Doubleday, Frank, I, 500, 502, 515, 517; III, 327 Doubleday, Mrs. Frank, I, 500 Double-Dealer (magazine), II, 56; IV, 122 "Double-Headed Snake of Newbury, The" (Whittier), Supp. I, Part 2, 698 " 'Double-Tongued Deceiver, The': Sincerity and Duplicity in the Novels of Charles Brockden Brown" (Bell), Supp. I, Part 1, 148 Douglas, Aaron, Supp. I, Part 1, 326 Douglas, Claire, III, 552 Douglas, George (pseudonym), see Brown, George Douglas Douglas, Lloyd, IV, 434 Douglas, Melvyn, Supp. V, 223 Douglas, Paul, III, 294 Douglas, Stephen A., Ill, 577, 588-589; Supp. I, Part 2, 456, 471 Douglas, William O., Ill, 581 Douglass, Frederick, Supp. I, Part 1,51, 345, Part 2, 591; Supp. II, Part 1, 157, 195, 196, 292, 378; Supp. Ill, Part 1, 153174; Supp. IV, Part 1, 1, 2, 13, 15, 256 Douglass Pilot, The (ed. Baldwin), Supp. I, Part 1, 49 Dove, Belle, I, 451 Dove, Rita, Supp. IV, Part 1, 241-258 "Dover Beach" (Arnold), Retro. Supp. I, 325 Dow, Lorenzo, IV, 265 Dowd, Douglas, Supp. I, Part 2, 645, 650 Dowie, William, Supp. V, 199 Dowling, Eddie, IV, 394 "Down at City Hall" (Didion), Supp. IV, Part 1,211 "Down at the Cross" (Baldwin), Supp. I, Part 1, 60, 61

"Down at the Dinghy" (Salinger), III, 559, 563 "Down by the Station, Early in the Morning" (Ashbery), Supp. Ill, Part 1, 25 "Down East Humor (1830-1867)" (Blair), Supp. I, Part 2, 426 "Down in Alabam" (Bierce), I, 193 Down the Starry River (Purdy), Supp. VII, 278 "Down Where I Am" (Hughes), Supp. I, Part 1, 344 Downer, Alan S., I, 95; III, 407 Downey, Jean, II, 509 Downing, Major Jack (pseudonym), see Smith, Seba "Downward Path to Wisdom, The" (Porter), III, 442, 443, 446 Dowson, Ernest C, I, 384 Doyle, Arthur Conan, Retro. Supp. I, 270; Supp. IV, Part 1, 128, 341, Part 2, 464, 469 Doyle, C. W., I, 199 "Dr. Bergen's Belief (Schwartz), Supp. II, Part 2, 650 "Dr. Holmes: A Reinterpretation" (Clark), Supp. I, Part 1, 319 Drabble, Margaret, Supp. IV, Part 1, 297, 299, 305 Drach, Ivan, Supp. Ill, Part 1, 268 Dracula (film), Supp. IV, Part 1, 104 "Draft Horse, The" (Frost), Retro. Supp. I, 141 "Draft Lyrics for Candide" (Agee), 1,28 Draft of XVI Cantos, A (Pound), III, 472; Retro. Supp. I, 292 Draft of XXX Cantos, A (Pound), III, 196; Retro. Supp. I, 292 Drafts &Fragments (Pound), Retro. Supp. I, 293 Dragon Country (Williams), IV, 383 Dragon Seed (Buck), Supp. II, Part 1, 124 Dragon's Teeth (Sinclair), Supp. V,290 Drake, Benjamin, Supp. I, Part 2, 584

416 / INDEX Drake, Daniel, Supp. I, Part 2, 584 Drake, Sir Francis, Supp. I, Part 2,497 Drake, St. Clair, IV, 475, 496 Dramatic Duologues (Masters), Supp. I, Part 2, 461 "Draught" (Cowley), Supp. II, Part 1, 141, 142 Drayton, Michael, IV, 135 "Dreadful Has Already Happened, The" (Strand), Supp. IV, Part 2,627 "Dream, A" (Ginsberg), Supp. II, Part 1, 312 "Dream, A" (Tate), IV, 129 "Dream, The" (Hayden), Supp. II, Part 1, 368, 377 Dream at the End of the World, The: Paul Bowles and the Literary Renegades in Tangier (Green), Supp. IV, Part 1, 95 "Dream Boogie" (Hughes), Supp. I, Part 1, 339-340; Retro. Supp. I, 208 "Dream Interpreted, The" (Paine), Supp. I, Part 2, 505 Dream Keeper, The (Hughes), Supp. I, Part 1, 328, 332, 333, 334 Dream Keeper and Other Poems, The (Hughes), Retro. Supp. I, 201, 202 Dream Life ofBalso Snell, The (West), IV, 286, 287, 288-290, 291, 297 Dream of a Common Language, Poems 1974-77, The (Rich), Supp. I, Part 2, 551, 554, 569576 Dream of Arcadia: American Writers and Artists in Italy (Brooks), I, 254 "Dream of Italy, A" (Masters), Supp. I, Part 2, 458 "Dream of Mourning, The" (Gliick), Supp. V, 84 "Dream of the Blacksmith's Room, A" (Bly), Supp. IV, Part 1, 73 Dream of the Golden Mountains, The (Cowley), Supp. II, Part I, 139, 141, 142, 144

"Dream Pang, A" (Frost), II, 153 "Dream Variations" (Hughes), Retro. Supp. I, 198; Supp. I, Part 1, 323 Dream Work (Oliver), Supp. VII, 234-235, 236-238, 240 Dreamer (Johnson), Supp. VI, 186, 196-199 "Dreamer in a Dead Language" (Paley), Supp. VI, 217 "Dreaming the Breasts" (Sexton), Supp. II, Part 2, 692 "Dreams About Clothes" (Merrill), Supp. Ill, Part 1, 328-329 "Dreams of Adulthood" (Ashbery), Supp. Ill, Part 1, 26 "Dreams of Math" (Kenyon), Supp. VII, 160-161 Dred: A Tale of the Great Dismal Swamp (Stowe), Supp. I, Part 2,592 Dreiser, Al, I, 498 Dreiser, Claire, I, 499 Dreiser, Ed, I, 499 Dreiser, Emma, I, 498, 502, 504 Dreiser, John Paul, I, 498-499, 503 Dreiser, Mame, I, 498, 504 Dreiser, Mrs. Theodore (Sara White), I, 500, 501 Dreiser, Paul, I, 498, 500, 503, 517 Dreiser, Rome, I, 498 Dreiser, Sara, I, 510, 511-512, 515 Dreiser, Sara Maria Schanab, I, 498, 499, 503, 504 Dreiser, Sylvia, I, 498 Dreiser, Theodore, I, 59, 97, 109, 116, 119,355,374,375,475, 482, 497-520; II, 26, 27, 29, 34, 38, 44, 74, 89, 93, 180, 276, 283,428,444,451,456457, 467^68; III, 40, 103, 106, 251, 314,319,327,335,453,576, 582; IV, 29, 35, 40, 135, 208, 237, 475, 482, 484; Retro. Supp. I, 325, 376; Supp. I, Part 1, 320, Part 2, 461, 468; Supp. Ill, Part 2, 412; Supp. IV, Part 1, 31, 236, 350, Part 2, 689; Supp. V, 113, 120 Dreiser, Theresa, I, 498

"Drenched in Light" (Hurston), Supp. VI, 150-151 Dress Gray (teleplay), Supp. IV, Part 2, 683 Dress Gray (Truscott), Supp. IV, Part 2, 683 Dresser, Paul, see Dreiser, Paul "Dressing for Dinner" (Rios), Supp. IV, Part 2, 548 Dressing Up for the Carnival (Shields), Supp. VII, 328 Drew, Elizabeth, I, 590 Dreyfus, Alfred, Supp. I, Part 2, 446 Drift and Mastery (Lippmann), I, 222-223 "Drinker, The" (Lowell), II, 535, 550 "Drinking from a Helmet" (Dickey), Supp. IV, Part 1, 180 Drinking Gourd, The (Hansberry), Supp. IV, Part 1, 359, 365367, 374 Drinks before Dinner (Doctorow), Supp. IV, Part 1, 231, 234-235 "Drive Home, The" (Banks), Supp. V, 7 "Driver" (Merrill), Supp. Ill, Part 1,331 "Driving through Minnesota during the Hanoi Bombings" (Bly), Supp. IV, Part 1, 61 "Driving toward the Lac Qui Parle River" (Bly), Supp. IV, Part 1, 61 Drowning Pool, The (film), Supp. IV, Part 2, 474 Drowning Pool, The (Macdonald), Supp. IV, Part 2, 470, 471 Drowning with Others (Dickey), Supp. IV, Part 1, 176, 178, 179 "Drowsy Day, A" (Dunbar), Supp. II, Part 1, 198 "Drug Store" (Shapiro), Supp. II, Part 2, 705 Drugiye Berega (Nabokov), III, 247-250, 252 "Drugstore in Winter, A" (Ozick), Supp. V, 272 "Drum, The" (Alvarez), Supp. VII, 7

INDEX / 417 "Drum" (Hogan), Supp. IV, Part 1,413 Drum (magazine), Supp. I, Part 1, 344 "Drumlin Woodchuck, A" (Frost), II, 159-160; Retro. Supp. I, 138 Drummond, William, Supp. I, Part 1, 369 Drummond de Andrade, Carlos, Supp. IV, Part 2, 626, 629, 630 Drum-Taps (Whitman), IV, 346, 347, 444; Retro. Supp. I, 406 "Drunk in the Furnace, The" (Merwin), Supp. Ill, Part 1, 346 Drunk in the Furnace, The (Merwin), Supp. Ill, Part 1, 345-346 Drunkard's Holiday, The (Fitzgerald), II, 53 "Drunken Fisherman, The" (Lowell), II, 534, 550 "Drunken Sisters, The" (Wilder), IV, 374 "Dry Salvages, The" (Eliot), Retro. Supp. I, 66 Dry Salvages, The (Eliot), I, 581 "Dry September" (Faulkner), II, 72,73 Dryden, Edgar A., Ill, 97 Dryden, John, II, 111, 542, 556; III, 15; IV, 145; Retro. Supp. I, 56; Supp. I, Part 1, 150, Part 2, 422 Du Bartas, Guillaume, Supp. I, Part 1,98, 104, 111, 118, 119 Du Bois, Nina Gomer (Mrs. W. E. B. Du Bois), Supp. II, Part 1, 158 Du Bois, Shirley Graham (Mrs.W. E. B. Du Bois), Supp. II, Part 1, 186 Du Bois, W. E. B., I, 260; Supp. I, Part 1, 5, 345; Supp. II, Part 1, 33, 56, 61, 157-189, 195; Supp. IV, Part 1, 9, 164, 170, 362 Du Marnier family, II, 404 "Dual Curriculum" (Ozick), Supp. V, 270 Dualism, I, 460, 527; II, 21

Duane's Depressed (McMurtry), Supp. V, 233 Duberman, Martin, Supp. I, Part 2, 408, 409, 425 "Dubin's Lives" (Malamud), Supp. I, Part 2, 451 Dubliners (Joyce), I, 130, 480; III, 471 Dubreuil, Jean, Supp. IV, Part 2, 425 Dubus, Andre, Supp. VII, 75-78, 91-92 Duchamp, Marcel, IV, 408; Retro. Supp. I, 416, 417, 418, 430; Supp. IV, Part 2, 423, 424 "Duchess at Prayer, The" (Wharton), Retro. Supp. I, 365 Duchess ofMalfi, The (Webster), IV, 131 Duck Soup (film), Supp. IV, Part 1,384 Dudley, Anne, see Bradstreet, Anne Dudley, Joseph, III, 52 Dudley, Thomas, III, 52; Supp. I, Part 1,98, 99, 110, 116 Duet for Cannibals (Sontag), Supp. Ill, Part 2, 452, 456 "Duet of Cheevers, A" (Cowley), Supp. I, Part 1, 198 "Duet, With Muffled Brake Drums" (Updike), Retro. Supp. 1,319 Duffey, Bernard, I, 119, 120; Supp. I, Part 1, 173, Part 2, 402, 458, 471, 478 Duffus, R. L., Supp. I, Part 2, 650 Duffy, Martha, Supp. IV, Part 1, 207 Dufy, Raoul, I, 115; IV, 80 Dujardin, Edouard, I, 53 "Duke de 1'Omelette, The" (Poe), 111,411,425 "Duke in His Domain, The" (Capote), Supp. Ill, Part 1, 113, 126 Duke of Deception, The (Wolff), Supp. II, Part 1, 97 Dukore, Bernard F., I, 95 "Dulham Ladies, The" (Jewett), II, 407, 408

Duluth (Vidal), Supp. IV, Part 2, 677, 685, 689, 691-692 Dumas, Alexandre, III, 386 "Dumb Oax, The" (Lewis), Retro. Supp. I, 170 "Dummy, The" (Sontag), Supp. Ill, Part 2, 469 "Dump Ground, The" (Stegner), Supp. IV, Part 2, 601 Dunbar, Alice Moore (Mrs. Paul Laurence Dunbar), Supp. II, Part 1, 195, 200, 217 Dunbar, Paul Laurence, Supp. I, Part 1, 320; Supp. II, Part 1, 174, 191-219; Supp. Ill, Part I, 73; Supp. IV, Part 1, 15, 165, 170 Duncan, Bowie, III, 289 Duncan, Isadora, I, 483 Duncan, Robert, Supp. Ill, Part 2, 625, 626, 630, 631 Dunciad, The (Pope), I, 204 Dunlap, Leslie W., Ill, 598 Dunlap, William, Supp. I, Part 1, 126, 130, 137, 141, 145, 148 Dunne, Finley Peter, II, 432 Dunne, John Gregory, Supp. IV, Part 1, 197, 198, 201, 203, 207 "Dunnet Shepherdess, A" (Jewett), II, 392-393 Dunning, William Archibald, Supp. II, Part 1, 170 Dunnock, Mildred, III, 153 Dunster, Henry, Supp. I, Part 2, 485 Dupee, F. W., I, 254, 263, 449; II, 341, 548; III, 266; Supp. I, Part 2, 452 DuPlessis, Rachel Blau, Supp. IV, Part 2, 421,426, 432 Duplicate Keys (Smiley), Supp. VI, 292, 294-296 Durand, Asher, B., Supp. I, Part 1, 156, 157 Durand, Regis, Supp. IV, Part 1, 44 "Durango Suite" (Gunn Allen), Supp. IV, Part 1, 326 Durer, Albrecht, III, 212 "During Fever" (Lowell), II, 547 Durkheim, Emile, I, 227; Supp. I, Part 2, 637, 638

418 / INDEX Durkheim, Emile, Retro. Supp. I, 55,57 Durrell, Lawrence, III, 184, 190, 191, 192; IV, 430 Durrenmatt, Friedrich, Supp. IV, Part 2, 683 Duse, Eleonora, II, 515, 528 Dusk of Dawn: An Essay Toward an Autobiography of a Race Concept (Du Bois), Supp. II, Part 1, 159, 183, 186 "Dust of Snow" (Frost), II, 154 Dust Tracks on a Road (Hurston), Supp. IV, Part 1, 5, 11; Supp. VI, 149, 151, 158-159 "Dusting" (Alvarez), Supp. VII, 4 "Dusting" (Dove), Supp. IV, Part 1, 247, 248 "Dutch Nick Massacre, The" (Twain), IV, 195 Dutchman (Baraka), Supp. II, Part 1, 38, 40, 42^4, 54, 55 Dutton, Clarence Earl, Supp. IV, Part 2, 598 Dutton, Robert R., I, 165 Duvall, Robert, Supp. V, 227 "Duwamish" (Hugo), Supp. VI, 136 "Duwamish No. 2" (Hugo), Supp. VI, 137 "Duwamish, Skagit, Hoh" (Hugo), Supp. VI, 136-137 Duyckinck, Evert, III, 77, 81, 83, 85; Retro. Supp. I, 155, 247, 248; Supp. I, Part 1, 122, 317 Duyckinck, George, Supp. I, Part 1, 122 Dwellings: A Spiritual History of the Living World (Hogan), Supp. IV, Part 1, 397, 410, 415-416, 417 Dwight, Sereno E., I, 547, 564 Dwight, Timothy, Supp. I, Part 1, 124, Part 2, 516, 580; Supp. II, Part 1, 65, 69 Dybbuk, The (Ansky), IV, 6 Dyer, Henry Hopper, II, 53 "Dying Elm, The" (Freneau), Supp. II, Part 1, 258 "Dying Indian, The" (Freneau), Supp. II, Part 1, 262

"Dying Man, The" (Roethke), III, 540, 542, 543-545 "Dylan Thomas on Edgar Lee Masters" (Thomas), Supp. I, Part 2, 478 Dynamo (O'Neill), III, 396 "E. B. W." (Thurber), Supp. I, Part 2, 681 "E. B. White" (Beck), Supp. I, Part 2, 681 E. B. White (Sampson), Supp. I, Part 2, 681 "E. B. White on the Exercycle" (Hall), Supp. I, Part 2, 681 E. E. Cummings (Marks), I, 438 E. E. Cummings: A Miscellany (Cummings), I, 429, 441 E. E. Cummings: A Miscellany, Revised (Cummings), I, 429 E. L. Doctorow (Harter and Thompson), Supp. IV, Part 1, 217 E. L. Masters (Simone), Supp. I, Part 2, 478 E. M. Forster (Trilling), Supp. Ill, Part 2, 496, 501,504 "Each and All" (Emerson), II, 19 Each in His Season (Snodgrass), Supp. VI, 324, 327 "Each Like a Leaf (Swenson), Supp. IV, Part 2, 644 "Eagle, The" (Tate), IV, 128 Eagle (newspaper), Retro. Supp. 1,319 "Eagle and the Mole, The" (Wylie), Supp. I, Part 2, 710, 711,713,714,729 "Eagle That Is Forgotten, The" (Lindsay), Supp. I, Part 2, 382, 387 "Eagles" (Dickey), Supp. IV, Part 1,186 Eagle's Mile, The (Dickey), Supp. IV, Part 1, 178, 185-186 Eagleson, Harvey, IV, 48 Eagleton, Terry, Retro. Supp. I, 67 Eames, Roscoe, II, 476 "Earl Painter" (Banks), Supp. V, 14-15

"Early Adventures of Ralph Ring wood, The" (Irving), II, 314 Early Ayn Rand, The: A Selection of Her Unpublished Fiction (Rand), Supp. IV, Part 2, 520 Early Dark (Price), Supp. VI, 262 Early Elian (Elkin), Supp. VI, 4243,45 "Early Evenin' Blues" (Hughes), Retro. Supp. I, 205 Early Lectures of Ralph Waldo Emerson, The (Emerson), II, 11 Early Lives of Melville, The (Sealts), Retro. Supp. I, 257 Early Martyr and Other Poems, An (Williams), Retro. Supp. I, 423 "Early Morning: Cape Cod" (Swenson), Supp. IV, Part 2, 641 "Early Plays of Edgar Lee Masters, The" (Hartley), Supp. I, Part 2, 478 "Early Spring between Madison and Bellingham" (Bly), Supp. IV, Part 1,71 "Early Thurber" (White), Supp. I, Part 2, 627 Earnest, Ernest, II, 148 Earnshaw, Doris, Supp. IV, Part 1,310 "Earth" (Bryant), Supp. I, Part 1, 157, 164, 167 "Earth, The" (Sexton), Supp. II, Part 2, 696 Earth Power Coming (ed. Ortiz), Supp. IV, Part 2, 502 "Earthly Care a Heavenly Discipline" (Stowe), Supp. I, Part 2, 586 Earthly Possessions (Tyler), Supp. IV, Part 2, 665-666, 671 "Earth's Holocaust" (Hawthorne), Retro. Supp. I, 152 "Earth's Holocaust" (Hawthorne), 11,226, 231, 232, 242; III, 82 "East Coker" (Eliot), Retro. Supp. 1,66 East Coker (Eliot), I, 580, 581, 582, 585, 587

INDEX / 419 East Lynne (Wood), Supp. I, Part I, 35, 36, Part 2, 459, 462 East of Eden (Steinbeck), IV, 51, 56-57, 59 "East of the Sun and West of the Moon" (Merwin), Supp. Ill, Part 1, 344 East Wind (Lowell), II, 527 East Wind: West Wind (Buck), Supp. II, Part 1, 114-115 "Easter" (Toomer), Supp. Ill, Part 2,486 "Easter, an Ode" (Lowell), II, 536 "Easter Morning" (Ammons), Supp. VII, 34 "Easter Ode, An" (Dunbar), Supp. II, Part 1, 196 "Easter Sunday: Recollection" (Gunn Allen), Supp. IV, Part 1, 322 "Easter Wings" (Herbert), Supp. IV, Part 2, 646 Eastman, Max, I, 496; Supp. I, Part 2, 626; Supp. Ill, Part 2, 620 Easton, Robert, Supp. IV, Part 2, 461, 474 "Eating Poetry" (Strand), Supp. IV, Part 2, 626 Eaton, Peggy, Supp. I, Part 2, 461 "Eatonville Anthology, The" (Hurston), Supp. VI, 152 "Ebb and Flow, The" (Taylor), IV, 161 Eben Holden (Bacheller), I, 216 Eberhardt, Isabelle, Supp. IV, Part 1, 92 Eberhart, Mrs., I, 521-522, 530 Eberhart, Richard, I, 189, 521543; II, 535-536, 557; III, 289, 527; IV, 416; Supp. I, Part 1, 83 Eble, Kenneth E., II, 100, 294; Supp. I, Part 1, 201, 226 Ebony (magazine), Supp. IV, Part 1,1 Eccentricities of a Nightingale (Williams), IV, 382, 385, 397, 398 Ecclesiastica Historia Integrant Ecclesiae (Taylor), IV, 163

Echanges (publication), Supp. Ill, Part 2, 612 "Echo, The" (Bowles), Supp. IV, Part 1, 84, 86, 87 Eckhart, Maria, Supp. V, 212 Eckler, A. Ross, Supp. I, Part 2, 627 Eckman, Fern Marja, Supp. I, Part 1, 69 Eclecticism, III, 511, 521 Eclipse (Hogan), Supp. IV, Part I, 397, 400, 402 "Ecologue" (Ginsberg), Supp. II, Part 1, 326 "Ecologues of These States 19691971" (Ginsberg), Supp. II, Part 1, 325 "Economic Theory of Women's Dress, The" (Veblen), Supp. I, Part 2, 636 "Economics of Negro Emancipation in the United States, The" (Du Bois), Supp. II, Part 1, 174 Economist (magazine), Supp. IV, Part 1, 309 "Economy of Love, The: The Novels of Bernard Malamud" (Baumbach), Supp. I, Part 2, 452 Ecotactics: The Sierra Club Handbook for Environmental Activists (eds. Mitchell and Stallings), Supp. IV, Part 2, 488 Eddy, Mary Baker, I, 583; III, 506 Edel, Leon, I, 20, 333; II, 293, 338-339, 340, 341; IV, 330; Retro. Supp. I, 218, 224, 231 Edelberg, Cynthia, Supp. IV, Part 1, 155 Edelstein, J. M., IV, 376 Edelstein, Sanford, IV, 425 Edenbaum, Robert, Supp. IV, Part 1,352 Edgar Huntly; or, Memoirs of a Sleep-Walker (Brown), Supp. I, Part 1, 140-144, 145 "Edgar Lee Masters" (Powys), Supp. I, Part 2, 478

Edgar Lee Masters: A Centenary Memoir-Anthology (Masters), Supp. I, Part 2, 478 "Edgar Lee Masters and the Chinese" (Hartley), Supp. I, Part 2, 478 "Edgar Lee Masters Biographer and Historian" (Hartley), Supp. I, Part 2, 478 "Edgar Lee Masters Centenary Exhibition: Catalogue and Checklist of Books" (Robinson), Supp. I, Part 2, 478 "Edgar Lee Masters Collection, The: Sixty Years of Literary History" (Robinson), Supp. I, Part 2, 478 "Edgar Lee Masters Political Essayist" (Hartley), Supp. I, Part 2, 478 Edgar Lee Masters: The Spoon River Poet and His Critics (Flanagan), Supp. I, Part 2, 478 Edge, Mary E., II, 316 "Edge" (Plath), Supp. I, Part 2, 527, 547 Edgell, D. P., IV, 376 Edgeworth, Maria, II, 8 "Edict by the King of Prussia, An" (Franklin), II, 120 Edison, Thomas A., I, 483; Supp. I, Part 2, 392 Edith Wharton (Joslin), Retro. Supp. I, 376 Edith Wharton: A Biography (Lewis), Retro. Supp. I, 362 Edith Wharton: A Woman in Her Time (Auchincloss), Retro. Supp. I, 370 Edith Wharton: Matters of Mind and Spirit (Singley), Retro. Supp. I, 373 Edith Wharton: Traveller in the Land of Letters (Goodwyn), Retro. Supp. I, 370 Edith Wharton's Argument with America (Ammons), Retro. Supp. I, 364 Edith Wharton's Brave New Politics (Bauer), Retro. Supp. I, 381

420 / INDEX Edith Wharton's Letters from the Underworld (Waid), Retro. Supp. I, 360 Editing of Emily Dickinson, The (Franklin), Retro. Supp. I, 41 "Editor and the Schoolma'am, The" (Frederic), II, 130 "Editor Whedon" (Masters), Supp. I, Part 2, 463 "Editor's Easy Chair" (Howells), II, 276 "Editor's Study, The" (Howells), II, 275, 276, 285 Edman, Irwin, III, 605, 621 Edsel (Shapiro), Supp. II, Part 2, 703, 704, 717-719 "Educated American Woman, An" (Cheever), Supp. I, Part 1, 194 "Education, An" (Ozick), Supp. V, 267 Education and Living (Bourne), I, 252 Education of Black People, The (Du Bois), Supp. II, Part 1, 186 Education of Henry Adams, The

(Adams),!, 1,5,6, 11, 14, 15-

18, 19,20-21, 111; II, 276; III, 504; Retro. Supp. I, 53, 59 "Education of Jane Adams, The" (Phillips), Supp. I, Part 1, 27 "Education of Mingo, The" (Johnson), Supp. VI, 193, 194 Education of Oscar Fairfax, The (Auchincloss), Supp. IV, Part 1, 25, 36 "Education of the Poet" (Gliick), Supp. V, 78, 80 Education sentimentale (Flaubert), 111,315 Edward IV, King, II, 379; IV, 200 Edwards, Davis, Supp. I, Part 2, 402 Edwards, Esther, I, 545 Edwards, John, I, 478 Edwards, Jonathan, I, 544-566; II, 432; Supp. I, Part 1, 301, 302, Part 2, 552, 594, 700; Supp. IV, Part 2, 430 Edwards, Sarah, I, 545 Edwards, Timothy, I, 545 "Edwin Arlington Robinson" (Cowley), Supp. II, Part 1, 144

Edwin Arlington Robinson (Winters), Supp. II, Part 2, 812 Edwin Booth (play), Supp. IV, Part 1, 89 "Effects of Analogy" (Stevens), Retro. Supp. I, 297 "Effort at Speech between Two People" (Rukeyser), Supp. VI, 276, 284 "Efforts of Affection" (Moore), III, 214 "Egg, The" (Anderson), I, 113, 114 "Eggplant Epithalamion, The" (Jong), Supp. V, 119 Egoist, The (Meredith), II, 186 Egoist, The (publication), I, 384, 568; III, 194, 197, 471; Retro. Supp. I, 52, 59, 66, 413, 416; Supp. I, Part 1, 257, 262 "Egotism, or the Bosom Sergent" (Hawthorne), II, 227, 239 "Egyptian Pulled Glass Bottle in the Shape of a Fish, An" (Moore), III, 195, 213 Ehrenpreis, Irvin, II, 557 Eichelberger, Clayton, II, 413 "Eidolon" (Warren), IV, 239 Eight Cousins (Alcott), Supp. I, Part 1, 29, 38, 42, 43 Eight Harvard Poets: E. Estlin Cummings, S. Foster Damon, J. R. Dos Passos, Robert Hillyer, R. S. Mitchell, William A. Norris, Dudley Poore, Cuthbert Wright, I, 429, 475 Eight Men (Wright), IV, 478, 488, 494 18 Poems from the Quechua (trans. Strand), Supp. IV, Part 2,630 "18 West llth Street" (Merrill), Supp. Ill, Part 1, 323, 328 1876: A Novel (Vidal), Supp. IV, Part 2, 677, 684, 688, 689, 691, 692 "Eighth Air Force" (Jarrell), II, 373-374, 377 "Eighth Ditch, The" (Baraka), Supp. II, Part 1, 40 Eighties, The (magazine) (Bly), Supp. IV, Part 1, 60

80 Flowers (Zukofsky), Supp. Ill, Part 2, 631 Eikon Basilike, The, Supp. IV, Part 2, 435 Eileen (Masters), Supp. I, Part 2, 460 Eimi (Cummings), I, 429, 433, 434, 439-440 Einstein, Albert, I, 493; III, 8, 10, 21, 161; IV, 69, 375, 410, 411, 421; Retro. Supp. I, 63; Supp. I, Part 2, 609, 643; Supp. Ill, Part 2, 621; Supp. V, 290 "Einstein" (MacLeish), III, 5, 8, 10-11, 18-19 Eiseley, Loren, III, 227-228 Eisenberg, J. A., IV, 23 Eisenhower, Dwight D., I, 136, 376; II, 548; III, 215; IV, 75; Supp. I, Part 1, 291; Supp. Ill, Part 2, 624; Supp. V, 45 Eisenstein, Sergei, I, 481 Eisinger, Chester E., I, 165, 302; II, 221, 604, 607; III, 47, 72, 243 Eissenstat, Martha Turnquist, III, 168 El Bernardo (Balbuena), Supp. V, 11 El Greco, I, 387; III, 212 "El Round up" (Alvarez), Supp. VII, 11 "El Salvador: Requiem and Invocation" (Levertov), Supp. III, Part 1, 284 Elbert, Sarah, Supp. I, Part 1, 34, 41,46 Elder, Donald, II, 417, 426, 435, 437, 438 Elder, Lonne, III, Supp. IV, Part 1,362 Elder Statesman, The (Eliot), I, 572, 573, 583; Retro. Supp. I, 53,65 Eldridge, Florence, III, 154, 403; IV, 357 Eleanor of Aquitaine, III, 470 Eleanor of Guienne, I, 14 "Elect, The" (Taylor), Supp. V, 323 "Elections, Nicaragua, 1984" (Kingsolver), Supp. VII, 208

INDEX / 421 Elective Affinities (Goethe, trans. Bogan and Mayer), Supp. Ill, Part 1, 63 Electra (Euripides), III, 398 Electra (Sophocles), III, 398; IV, 370 "Electra on Azalea Path" (Plath), Supp. I, Part 2, 538 "Electric Arrows" (Proulx), Supp. VII, 256 Electric Kool-Aid Acid Test, The (Wolfe), Supp. Ill, Part 2, 575577, 582-584 "Electrical Storm" (Bishop), Supp. I, Part 1, 93 "Electrical Storm" (Hayden), Supp. II, Part 1, 370 Elegant Extracts (Knox), II, 8 "Elegies" (Rukeyser), Supp. VI, 272 Elegies (Rukeyser), Supp. VI, 273 "Elegies for Paradise Valley" (Hayden), Supp. II, Part 1, 363 "Elegy" (Merwin), Supp. Ill, Part 1,351 "Elegy" (Tate), IV, 128 "Elegy for D. H. Lawrence, An" (Williams), Retro. Supp. I, 421 "Elegy for My Father" (Strand), Supp. IV, Part 2, 628 "Elegy, for the U.S.N. Dirigible, Macon, An" (Winters), Supp. II, Part 2, 810 "Elegy of Last Resort" (Nemerov), III, 271 Elegy Written in a Country Churchyard (Gray), I, 68 "Elementary Scene, The" (Jarrell), II, 387, 388, 389 Elements of Style, The (Strunk), Supp. I, Part 2, 670 "Elenita, Cards, Palm, Water" (Cisneros), Supp. VII, 64 "Eleonora" (Poe), III, 412 Eleothriambos (Lee), IV, 158 "Elephants" (Moore), III, 203 "Elevator Boy" (Hughes), Retro. Supp. I, 200; Supp. I, Part 1, 326 "Eleven" (Cisneros), Supp. VII, 69

Eleven Essays in the European Novel (Blackmur), Supp. II, Parti, 91, 111 Eleven Poems on the Same Theme (Warren), IV, 239-241 "El-Hajj Malik El-Shabazz" (Hayden), Supp. II, Part 1, 379 Eli (biblical person), Supp. I, Part 2,690 "Eli, the Fanatic" (Roth), Supp. Ill, Part 2, 407-408 Elias, Robert H., I, 520; Supp. I, Part 2, 627 Elijah (biblical person), III, 347 Elinor Wylie (Gray), Supp. I, Part 2,730 "Elinor Wylie: Heroic Mask" (Kohler), Supp. I, Part 2, 730 "Elinor Wylie: The Glass Chimaera and the Minotaur" (Wright), Supp. I, Part 2, 730 Elinor Wylie: The Portrait of an Unknown Lady (Hoyt), Supp. I, Part 2, 730 "Elinor Wylie's Poetry" (Tate), Supp. I, Part 2, 730 "Elinor Wylie's Shelley Obsession" (Cluck), Supp. I, Part 2, 730 Eliot, Charles W., I, 5; II, 345; Supp. I, Part 2, 479 Eliot, Charles William, Retro. Supp. I, 55 Eliot, Charlotte Champe Stearns, I, 567 Eliot, George, I, 375, 458, 459, 461, 467; II, 179, 181, 191-192, 275, 319, 324, 338, 577; IV, 311, 322; Retro. Supp. I, 218, 220, 225; Supp. I, Part 1, 370, Part 2, 559, 579; Supp. IV, Parti, 31,297, Part 2, 677; Supp. V, 258 Eliot, Henry Ware, I, 567 Eliot, John, Supp. I, Part 2, 484, 485 Eliot, Mrs. T. S. (Valerie Fletcher), I, 568, 583 Eliot, Mrs. T. S. (Vivienne Haigh Haigh-Wood), I, 568 Eliot, Samuel, Supp. I, Part 2, 479

Eliot, T. S., I, 48, 49, 52, 59, 60, 64, 66, 68, 105, 107, 215-216, 236, 243, 256, 259, 261, 266, 384, 386, 395, 396, 399, 403, 430, 433, 441, 446, 475, 478, 479, 482, 521, 522, 527, 567591; II, 65, 96, 158, 168, 316, 371, 376, 386, 529, 530, 532, 537, 542, 545; III, 1, 4, 5, 6, 78,9, 10, 11, 14, 17,20,21,23, 26, 34, 174, 194, 195-196, 205206, 216, 217, 220, 236, 239, 269, 270-271, 277-278, 301, 409, 428, 432, 435, 436, 453, ' 456-457, 459^60, 461-462, 464, 466, 471, 476, 478, 485, 488, 492, 493, 498, 504, 509, 511,517,524,527,539,572, 575, 586, 591, 594, 600, 613; IV, 27, 74, 82, 83, 95, 122, 123, 127, 129, 134, 138, 140, 141, 143, 191, 201, 213, 237, 331, 379, 402, 403, 418, 419, 420, 430, 431, 439, 442, 491; Retro. Supp. I, 51-71, 74, 80, 89, 91, 171, 198, 210, 283, 289, 290, 292,296,298,299,311,324, 359,411,413,414,416,417, 420, 428; Supp. I, Part 1, 257, 264, 268, 270, 274, 275, 299, Part 2, 387, 423, 455, 536, 554, 624, 659, 721; Supp. II, Part 1, 1, 4, 8, 20, 30, 91, 98, 103, 136, 314; Supp. Ill, Part 1,9, 10, 26, 31, 37, 41, 43, 44, 48, 6264, 73, 91, 99-100, 105-106, 273, Part 2, 541, 611, 612, 617, 624; Supp. IV, Part 1, 40, 47, 284, 380, 404, Part 2, 436; Supp. V, 79, 97, 101, 338, 343, 344 Eliot's Early Years (Gordon), Retro. Supp. I, 55 Elisha (biblical person), III, 347 "Elizabeth" (Longfellow), I, 502 Elizabeth Appleton (O'Hara), III, 362, 364, 375-377 "Elizabeth Bishop," Supp. I, Part 1,96 Elizabeth Bishop (Stevenson), Supp. I, Part 1, 97

422 / INDEX "Elizabeth Bishop in Brazil" (Brown), Supp. I, Part 1, 96 "Elizabeth Bishop, or the Power of Reticence" (Paz), Supp. I, Part 1,97 "Elizabeth Bishop's 'Natural Heroism' " (Spiegelman), Supp. I, Part 1, 97 Elizabeth I, Queen, I, 284; II, 139; Supp. I, Part 1, 100, 111, 114, 115, 116, 118 "Elizabeth Gone" (Sexton), Supp. II, Part 2, 674, 681 Elizabeth Lloyd and the Whittiers (ed. Currier), Supp. I, Part 2, 705 Elizabethan literature, I, 177, 384, 569; II, 14-15, 18, 74; III, 77, 83, 145, 152, 397; IV, 155, 309; Supp. I, Part 1, 365, Part 2, 719 Elk Heads on the Wall (Rios), Supp. IV, Part 2, 540 "Elk Song" (Hogan), Supp. IV, Part 1, 406 Elkin, Stanley, Supp. VI, 41-42, 43-59 Ellen Rogers (Farrell), II, 42^3 Eller, Ernest, Supp. I, Part 2, 497 Ellerman, Winifred, II, 533; Supp. I, Part 1, 258-259, 275; see also McAlmon, Mrs. Robert (Winifred Ellerman) Ellery Queen's Mystery Magazine, Supp. IV, Part 2, 466 Ellington, Duke, Supp. IV, Part 1, 360 Elliot, Charles, Supp. V, 161 Elliott, George B., Ill, 47, 289, 478 Elliott, Karin, III, 407 Ellis, Albert, Supp. IV, Part 2, 527 Ellis, Charles, Supp. I, Part 1, 99 Ellis, Havelock, II, 276 Ellis, John Harvard, Supp. I, Part 1, 103 Ellis, Katherine, IV, 114 Ellison, Fanny McConnell (Mrs. Ralph Ellison), Supp. II, Part 1, 241

Ellison, Ralph, I, 426; IV, 250, 493, 496; Supp. II, Part 1, 33, 221-252; Supp. IV, Pan 1, 374 Ellmann, Maud, Supp. IV, Part 1, 302 Ellmann, Richard, IV, 424 Elman, Richard, Supp. V, 40 Elman, Richard M., IV, 23 "Elmer" (Faulkner), Retro. Supp. I, 79, 80 Elmer Gantry (Lewis), I, 26, 364; II, 447^49, 450, 455 Elmer the Great (Lardner), II, 427 "Elms" (Gliick), Supp. V, 85 "Eloquence of Grief, An" (Crane), 1,411 "Elsa Wertman" (Masters), Supp. I, Part 2, 462^63 Elsasser, Henry, I, 226 Elsie Venner (Holmes), Supp. I, Part 1, 243, Part 2, 315-316 Eluard, Paul, III, 528; Supp. IV, Part 1, 80 Elvins, Kells, Supp. Ill, Part 1, 93, 101 Elwood, Douglas J., I, 565 Ely, Richard T., Supp. I, Part 1, 5, Part 2, 640, 645 "Emancipation: A Life Fable" (Chopin), Supp. I, Part 1, 207208 "Emancipation in the British West Indies" (Emerson), II, 13 "Emancipation Proclamation, The" (Emerson), II, 13 Emanuel, James, Supp. I, Part 1, 346, 348 Embargo, The (Bryant), Supp. I, Part I, 152-153 "Embarrassment of Riches, An: Baldwin's Going to Meet the Man" (Moore), Supp. I, Part 1, 70 Embarrassments (James), Retro. Supp. I, 229 Embezzler, The (Auchincloss), Supp. IV, Part 1, 24, 30-31 Embree, Lester E., II, 366 "Emerald, The" (Merrill), Supp. III, Part 1, 328 Emerson, Donald, II, 697

Emerson, Edward Waldo, II, 22, 23; IV, 189 Emerson, Ellen, Supp. I, Part 1, 33 Emerson, Everett, IV, 166 Emerson, Mary Moody, II, 7, 8; IV, 172 Emerson, Mrs. Ralph Waldo (Ellen Tucker), II, 7, 11 Emerson, Mrs. Ralph Waldo (Lydia Jackson), II, 7; IV, 171, 177 Emerson, Ralph Waldo, I, 98, 217, 220, 222, 224, 228, 239, 246, 251, 252, 253, 257, 260, 261, 283, 386, 397, 402, 424, 433, 444, 447, 455, 458, 460-461, 463, 464, 485, 561; II, 1-24, 49, 92, 127-128, 169, 170, 226, 233, 237, 273-274, 275, 278, 289, 295, 301, 313, 315, 336, 338, 344, 402, 491, 503; III, 53, 82, 171, 174, 260, 277, 409, 424, 428, 453, 454, 507, 576577, 606, 614; IV, 60, 167, 169, 170, 171, 172, 173-174, 176, 178, 183, 186, 187, 192, 201, 202,211,335,338,340,342, 350; Retro. Supp. I, 34, 53, 54, 57, 62, 74-75, 76, 125, 148149, 152-153, 159, 217, 250, 298, 392, 400, 403; Supp. I, Part 1,2, 28-29, 31, 33, 147, 188, 299, 308-309, 317, 358, 365, 366, 368, 373, Part 2, 374, 383, 393, 407, 413, 416, 420, 422, 474, 482, 580, 582, 602, 659, 679; Supp. II, Part 1, 280, 288; Supp. Ill, Part 1, 387; Supp. IV, Part 2, 439, 597, 619; Supp. V, 118 Emerson, Reverend William (father), II, 7 Emerson, William (brother), II, 7 Emerson family, IV, 177, 178 "Emerson and the Essay" (Gass), Supp. VI, 88 "Emerson the Lecturer" (Lowell), Supp. I, Part 2, 420, 422 Emerson-Thoreau Award, Retro. Supp. I, 67 Emery, Clark, III, 478

INDEX / 423 "Emily Dickinson and Class" (Erkkila), Retro. Supp. I, 42^3 Emily Dickinson Editorial Collective, Retro. Supp. I, 47 Emily Dickinson: Woman Poet (Bennett), Retro. Supp. I, 42 Eminent Victorians (Strachey), Supp. I, Part 2, 485 "Emma and Eginhard" (Longfellow), III, 505 "Emma Enters a Sentence of Elizabeth Bishop's" (Gass), Supp. VI, 93 Emperor Jones, The (O'Neill), II, 278; III, 391, 392 Emperor of Haiti (Hughes), Supp. I, Part 1, 339 "Emperor of Ice Cream, The" (Stevens), IV, 76, 80-81 "Emperor's New Clothes, The" (Anderson), I, 441 "Empire" (Ford), Supp. V, 69 Empire: A Novel (Vidal), Supp. IV, Part 2, 677, 684, 686, 690 "Empire Builders" (MacLeish), III, 14 "Emporium" (Shapiro), Supp. II, Part 2, 705 Empson, William, I, 522, 533; II, 536; III, 286, 497, 498, 499; IV, 136, 431; Retro. Supp. I, 263 "Empty Hills, The" (Winters), Supp. II, Part 2, 792, 793, 796 Empty Mirror, Early Poems (Ginsberg), Supp. II, Part 1, 308,311,313-314,319,329 "Empty Room" (Hughes), Supp. I, Part 1, 337 "Empty Threat, An" (Frost), II, 159 "Encantadas, The" (Melville), III, 89 Enchanter, The (Nabokov), Retro. Supp. I, 266 Enck, John, I, 143, 165; IV, 95 "Encomium Twenty Years Later" (Tate), I, 381 "Encounter, The" (Pound), III, 466 Encounters "with Chinese Writers (Dillard), Supp. VI, 19, 23, 31, 32,33

Encounters with the Archdruid (McPhee), Supp. Ill, Part 1, 292-294, 301 Encyclopaedia Britannica, The, IV, 91, 440 "End of Books, The" (Coover), Supp. V, 53 "End of Season" (Warren), IV, 239-240 "End of Something, The" (Hemingway), II, 248 End of the Age of Innocence, The (Price), Retro. Supp. I, 377 "End of the Line" (Geismar), Supp. I, Part 1, 198 "End of the Line, The" (Jarrell), III, 527 "End of the Rainbow, The" (Jarrell), II, 386 End of the Road, The (Barth), I, 121, 122, 126-131 "End of the World, The" (MacLeish), III, 8 End Zone (DeLillo), Supp. VI, 2, 3,4,5, 10, 11, 12 Endecott and the Red Cross (Lowell), II, 545 Endor (Nemerov), III, 269, 270, 279 "Enduring Chill, The" (O'Connor), 111,349,351,357 Endymion (Keats), IV, 405; Retro. Supp. I, 412 Enemies A Love Story (Singer), IV, 1 Enemy of the People, An (adapt. Miller), III, 154-156 Enemy, The: Time (Williams), IV, 391 "Energy Vampire" (Ginsberg), Supp. II, Part 1, 326 "Enforcement of the Slave Trade Laws, The" (Du Bois), Supp. II, Part 1, 161 Engel, Bernard F., I, 532, 542; III, 217 Engel, Edwin A., Ill, 407 Engels, Friedrich, IV, 429, 443444; Supp. I, Part 1, 13 Engels, John, IV, 423, 424 Engineer of Moonlight (DeLillo), Supp. VI, 4

Engineers and the Price System, The (Veblen), I, 475-476; Supp. I, Part 2, 638, 642, 648 "England" (Moore), III, 203, 207, 214 Engle, Paul, II, 171; III, 542; Supp. V, 337 English Elegy, The: Studies in the Genre from Spenser to Yeats (Sacks), Supp. IV, Part 2, 450 English Hours (James), II, 337; Retro. Supp. I, 235 English Notebooks, The (Hawthorne), II, 226, 227-228 English Novel, The (Lanier), Supp. I, Part 1,371 English Poets, The: Lessing, Rousseau (Lowell), Supp. I, Part 2, 407 English Prosody and Modern Poetry (Shapiro), Supp. II, Part 2,710 English Review, The (journal), Retro. Supp. I, 421 English Traits (Emerson), II, 1, 5, 6-7,8 "English Writers on America" (Irving), II, 308 Englishmen of Letters (James), II, 327 Engstrand, Stuart, Supp. I, Part 1, 51 Enjoyment of Laughter (Eastman), Supp. I, Part 2, 626 "Enormous Changes at the Last Minute" (Paley), Supp. VI, 226, 232 Enormous Changes at the Last Minute (Paley), Supp. VI, 218 "Enormous Radio, The" (Cheever), Supp. I, Part 1, 175-177, 195 Enormous Radio and Other Stories, The (Cheever), Supp. I, Part 1, 175-177 Enormous Room, The (Cummings), I, 429, 434, 440, 445, 477 "Enough for a Lifetime" (Buck), Supp. II, Part 1, 127 Enquiry Concerning Political Justice (Godwin), Supp. I, Part 1, 126, 146

424 / INDEX Enright, D. J., IV, 234 Entered From the Sun (Garrett), Supp. VII, 105-106, 107-109 "Entering the Kingdom" (Oliver), Supp. VII, 234 Enterprise (publication), Retro. Supp. I, 126 Entertaining Strangers (Gurney), Supp. V, 98, 99 "Entropy" (Pynchon), Supp. II, Part 2, 619, 621 Environmental Imagination, The (Buell), Supp. V, 209 "Envoys, The" (Merrill), Supp. Ill, Part 1, 326 "Envy; or, Yiddish in America" (Ozick), Supp. V, 263, 265266 "Eolian Harp, The" (Coleridge), I, 284 "Ephemera, The" (Franklin), II, 121 Ephesians (biblical book), Supp. I,

Parti, 117

EPIC News, Supp. V, 289-290 Epictetus, III, 566 "Epicurean, The" (Auchincloss), Supp. IV, Part 1, 25 Epicurus, I, 59 "Epigram" (Lowell), II, 550 "Epimanes" (Poe), III, 411 "Epimetheus" (Longfellow), II, 494 "Epipsychidion" (Shelley), Supp. I, Part 2, 718 Episode in Palmetto (Caldwell), I, 297, 307 Epistle to a Godson (Auden), Supp. II, Part 1, 24 "Epistle to Be Left in the Earth" (MacLeish), III, 13 "Epistle to George William Curtis" (Lowell), Supp. I, Part 2,416 "Epistle to Leon-Paul Fargue" (MacLeish), III, 15 "Epitaph for Fire and Flower" (Plath), Supp. I, Part 2, 537 "Epitaph for the Race of Man" (Millay), III, 127-128 "Epithalamium" (Auden), Supp. II, Part 1, 15

Epstein, Joseph, Supp. IV, Part 2, 692 "Epstein" (Roth), Supp. Ill, Part 2, 404, 406^07, 412, 422 "Equal in Paris" (Baldwin), Supp. I, Part 1, 52 "Equilibrists, The" (Ransom), III, 490, 494 "Erat Hora" (Pound), III, 463; Retro. Supp. I, 413 Erdrich, Louise, Supp. IV, Part 1, 259-278, 333, 404 "Ere Sleep Comes Down to Soothe the Weary Eyes" (Dunbar), Supp. II, Part 1, 199, 207-208 Erikson, Erik, I, 58, 214, 218 Erkkila, Betsy, Retro. Supp. I, 42 "Ernest: or Parent for a Day" (Bourne), I, 232 "Eros at Temple Stream" (Levertov), Supp. Ill, Part 1, 278-279 "Eros Turannos" (Robinson), III, 510, 512, 513-516, 517, 518 "Errand" (Carver), Supp. Ill, Part 1, 149 Erskine, Albert, IV, 261 Erskine, John, I, 223 Erstein, Hap, Supp. IV, Part 2, 589, 590 "Escape" (MacLeish), III, 4 Espey, John, III, 463, 468, 478 Esprit (publication), III, 352, 355, 356, 358 Esquire (magazine), I, 139; II, 78, 97, 98, 591; III, 38, 351; IV, 97, 461; Retro. Supp. I, 98, 113, 114, 115; Supp. I, Parti, 50, 295, 329, Part 2, 664; Supp. IV, Part 1, 102, 198, 201,205, 383, Part 2, 678; Supp. V, 237, 238 Essais (Renouvier), II, 344-345 Essay Concerning Human Understanding, An (Locke), I, 554; II, 8, 348-349 Essay on American Poetry (Brown), Supp. I, Part 1, 156 "Essay on Aristocracy" (Paine), Supp. I, Part 2, 515 Essay on Man (Pope), II, 111; Supp. I, Part 2, 516

Essay on Our Changing Order (Veblen), Supp. I, Part 2, 629, 642 "Essay on Poetics" (Ammons), Supp. VII, 29-31 Essay on Projects (Defoe), II, 104 "Essay on Psychiatrists" (Pinsky), Supp. VI, 237, 238, 241, 242, 249, 250 Essay on Rime (Shapiro), I, 430; Supp. II, Part 2, 702, 703, 708-711 "Essay on the Character of Robespierre" (Paine), Supp. I, Part 2, 515 Essay on the Chinese Written Character (Fenollosa), III, 474 "Essay Toward a Point of View, An" (Brooks), I, 244 Essays (Emerson), II, 1, 7, 8, 1213, 15, 21 Essays in Anglo-Saxon Law (Adams), I, 5 Essays in London (James), II, 336 Essays in Radical Empiricism (James), II, 356-357, 355 Essays on the Nature and Principles of Taste (Alison), Supp. I, Part 1, 151 Essays, Speeches, and Public Letters by William Faulkner (Meriweather, ed.), Retro. Supp. I, 77 Essays to Do Good (Mather), II, 104; Supp. II, Part 2, 461, 467 Essential Haiku, The (Hass), Supp. VI, 102 Essential Keats (Levine, ed.), Supp. V, 179 "Essential oils are wrung" (Dickinson), I, 471 "Essential Oils—are wrung" (Dickinson), Retro. Supp. I, 43, 46 "Essentials" (Toomer), Supp. Ill, Part 2, 486 Essentials: A Philosophy of Life in Three Hundred Definitions and Aphorisms (Toomer), Supp. Ill, Part 2, 486

INDEX / 425 "Essentials of Spontaneous Prose" (Kerouac), Supp. Ill, Part 1, 227-228 Essex Gazette (newspaper), Supp. 1, Part 2, 683, 684 Esslin, Martin, I, 95 Estess, Sybil, Supp. IV, Part 2, 449, 452 Esther (Adams), I, 9-10, 20 "Esthetique du Mai" (Stevens), IV, 79; Retro. Supp. I, 300, 311, 312 "Estoy-eh-muut and the Kunideeyahs (Arrowboy and the Destroyers)" (film), Supp. IV, Part 2, 560 "Estrangement, Betrayal & Atonement: The Political Theory of James Baldwin" (Daniels), Supp. I, Part 1, 70 Esty, William, III, 358; Supp. I, Part 1, 198 "Etching, An" (Masters), Supp. I, Part 2, 458 Eternal Adam and the New World Garden, The (Noble), Supp. I, Part 1, 70 "Eternal Goodness, The" (Whittier), Supp. I, Part 2, 704 "Eternity, An" (Williams), Retro. Supp. I, 423 "Eternity Is Now" (Roethke), III, 544-545 "Ethan Brand" (Hawthorne), II, 227 Ethan Frame (Wharton), IV, 316317, 327; Retro. Supp. I, 372373 Ethics (Spinoza), IV, 12 Etulain, Richard, Supp. IV, Part 2, 597, 601, 604, 606, 607, 608, 610,611 Euclid, III, 6; III, 620 "Euclid Alone Has Looked on Beauty Bare" (Millay), III, 133 Eudora Welty Society, Retro. Supp. I, 354 Eudora Welty Writers' Center, Retro. Supp. I, 354 Eugene Onegin (Pushkin), III, 246, 263

Eugene Onegin (Pushkin; trans. Nabokov), Retro. Supp. I, 266, 267, 272 Eugenie, Empress, IV, 309 Eugenie Grandet (Balzac), II, 328 "Eugenie Grandet" (Barthelme), Supp. IV, Part 1, 47 Eumenides (Aeschylus), Retro. Supp. I, 65 Eureka (Poe), III, 409, 424, 428429 Euripides, I, 325; II, 8, 282, 543; III, 22, 145, 398; IV, 370; Supp. I, Part 1, 268, 269, 270, Part 2, 482; Supp. V, 277 "Euripides a Playwright" (West), IV, 286 "Euripides and Professor Murray" (Eliot), Supp. I, Part 1, 268 "Europe" (Ashbery), Supp. Ill, Part 1, 7-10, 13, 18 "Europe! Europe!" (Ginsberg), Supp. II, Part 1, 320, 322 Europe of Trusts, The: Selected Poems (Howe), Supp. IV, Part 2, 420, 422, 426 Europe without Baedeker (Wilson), IV, 429 European Discovery of America, The: The Northern Voyages (Morison), Supp. I, Part 2, 496-497 European Discovery of America, The: The Southern Voyages (Morison), Supp. I, Part 2, 497 Europeans, The (James), I, 452; II, 327, 328; Retro. Supp. I, 216, 220, 222 Eustace Chisholm and the Works (Purdy), Supp. VII, 273-274, 279-280 Eustace, Saint, II, 215 "Euthanasia" (Tate), IV, 122 Evangeline (Longfellow), II, 489, 501-502; Supp. I, Part 2, 586 Evans, Arthur, I, 189 Evans, Catherine, I, 189 Evans, Mary Ann, see Eliot, George Evans, Oliver, II, 608; Supp. IV, Part 1, 85, 91 Evans, Robert I., Ill, 169

Evans, Walker, I, 36, 38, 47, 293 Eve (biblical person), I, 551; II, 47, 134, 215; III, 19, 199, 224225, 441; IV, 149,225,291, 371; Supp. I, Parti, 113, 120, Part 2, 567 "Eve" (Williams), Retro. Supp. I, 423 Eve of Saint Agnes, The (Keats), 11,82,531 "Eve the Fox" (Gunn Allen), Supp. IV, Part 1,331 "Even Sea, The" (Swenson), Supp. IV, Part 2, 641 "Evening" (Carver), Supp. Ill, Part 1, 148 Evening (Minot), Supp. VI, 204205, 208, 213-215 "Evening at a Country Inn" (Kenyon), Supp. VII, 167 "Evening in a Sugar Orchard" (Frost), Retro. Supp. I, 133 "Evening in Nuevo Leon, An" (Caldwell), I, 309 "Evening in the Sanitarium" (Bogan), Supp. Ill, Part 1, 61 Evening Performance, An: New and Selected Short Stories (Garrett), Supp. VII, 109 Evening Post, The: A Century of Journalism (Nevins), Supp. I, Part 1, 173 "Evening Star" (Bogan), Supp. Ill, Part 1, 56 Evening Star, The (McMurtry), Supp. V, 230 Evening Star, The (screenplay) (McMurtry), Supp. V, 232 "Evening Sun" (Kenyon), Supp. VII, 168 "Evening Wind, The" (Bryant), Supp. I, Part 1, 164 Evening with Richard Nixon, An (Vidal), Supp. IV, Part 2, 683 "Evening without Angels" (Stevens), Retro. Supp. I, 302 "Evenings at Home" (Hardwick), Supp. Ill, Part 1, 195-196 "Evening's at Seven, The" (Thurber), Supp. I, Part 2, 616 "Event, An" (Wilbur), Supp. Ill, Part 2, 547, 554

426 / INDEX "Event, The" (Dove), Supp. IV, Part 1, 242, 247-248 "Eventide" (Brooks), Supp. Ill, Part 1, 73 "Eventide" (Purdy), Supp. VII, 270 Events Leading up to the Comedy (Nugent), Supp. I, Part 2, 626 "Ever a Bridegroom: Reflections on the Failure of Texas Literature" (McMurtry), Supp. V,225 Everett, Alexander Hill, Supp. I, Part 1, 152 Evers, Medgar, IV, 280; Supp. I, Part 1, 52, 65 Everwine, Peter, Supp. V, 180 Every Saturday (publication), Supp. I, Part 1, 365 Every Soul Is a Circus (Lindsay), Supp. I, Part 2, 384, 394, 399 "Everybody's Protest Novel" (Baldwin), Supp. I, Part 1, 50, 51 "Everyday Use" (Walker), Supp. Ill, Part 2, 534 "Everything Is a Human Being" (Walker), Supp. Ill, Part 2, 527 "Everything Stuck to Him" (Carver), Supp. Ill, Part 1, 143 "Everything That Rises Must Converge" (O'Connor), III, 349, 352, 357 Everything That Rises Must Converge (O'Connor), III, 339, 348-349, 350-351 Eve's Diary (Twain), IV, 208-209 Evidence of the Senses, The (Kelley), Supp. IV, Part 2, 529 "Evil Seekers, The" (Sexton), Supp. II, Part 2, 696 "Evolution" (Swenson), Supp. IV, Part 2, 639 Ev'ry Month (publication), I, 500 Ewings, The (O'Hara), III, 383 "Ex Parte" (Lardner), II, 432 "Examination of the Hero in a Time of War" (Stevens), Retro. Supp. I, 305-306, 308 "Excavation of Troy" (MacLeish), III, 18

Excellent Becomes the Permanent, The (Addams), Supp. I, Part 1, 25 "Excerpts from the Epistemology Workshops" (Rand), Supp. IV, Part 2, 529 "Excess of Charity" (Wylie), Supp. I, Part 2, 720 "Exchange, The" (Swenson), Supp. IV, Part 2, 644 "Excrement Poem, The" (Kumin), Supp. IV, Part 2, 448 "Excursion" (Garrett), Supp. VII, 100 Excursions (Thoreau), IV, 188 "Exhausted Bug, The" (Bly), Supp. IV, Part 1, 73 "Exhortation" (Bogan), Supp. Ill, Part 1, 58 "Exile" (Gass), Supp. VI, 92 "Exile" (Oates), Supp. II, Part 2, 523 Exile (publication), Supp. Ill, Part 2,610,611 Exile, The (Buck), Supp. II, Part 1, 119, 131 "Exiles, The" (Bradbury), Supp. IV, Parti, 113 "Exiles, The" (Whittier), Supp. I, Part 2, 692-693 Exiles and Fabrications (Scott), II, 512 Exile's Daughter, The (Spencer), Supp. II, Part 1, 121 "Exile's Departure, The" (Whittier), Supp. I, Part 2, 683 Exile's Return (Cowley), Supp. Ill, Parti, 136, 138, 140, 141, 144, 147, 148 "Exile's Return, The" (Lowell), II, 539 Existentialism, I, 123, 128, 206, 294; II, 244, 373; III, 35, 3738, 39, 267, 283, 339, 388, 418, 448; IV, 3, 5, 11, 115-117,246, 477, 483, 484, 487, 488, 491, 493, 495, 496 Exit to Eden (Rampling), Supp. VII, 301-302 "Exit Vachel Lindsay Enter Ernest Hemingway" (Kreymborg), Supp. I, Part 2, 402

Exodus (biblical book), IV, 300 Exodus (Uris), Supp. IV, Part 1, 379 "Exorcism, An" (Malamud), Supp. I, Part 2, 435 "Exorcism" (Snodgrass), Supp. VI, 314 Exorcist, The (film), Supp. I, Part 1,66 "Expanses" (Dickey), Supp. IV, Part 1, 186 "Expectant Father Compares His Wife to a Rabbit, An" (White), Supp. I, Part 2, 678 "Expedition to the Pole, An" (Dillard), Supp. VI, 32, 34 "Expelled" (Cheever), Supp. I, Part 1, 174, 186 Expense of Greatness, The (Blackmur), Supp. II, Part 1, 90, 107 Expense of Vision, The (Holland), Retro. Supp. I, 216 "Expensive Moment, The" (Paley), Supp. VI, 222, 227228, 230 Expensive People (Oates), Supp. II, Part 2, 509, 510-511 "Experience and the Objects of Knowledge in the Philosophy of F. H. Bradley" (Eliot), I, 572; Retro. Supp. I, 59 Experience of Literature, The (Trilling), Supp. Ill, Part 2, 493 "Experiences and Principles of an Historian" (Morison), Supp. I, Part 2, 492 "Experiment in Misery, An" (Crane), I, 411 Experimental Death Unit # I (Baraka), Supp. II, Part 1, 46 "Experimental Life, The" (Bourne), I, 217, 220 Experiments and Observations on Electricity (Franklin), II, 102, 114-115 "Expiation" (Wharton), Retro. Supp. I, 367 "Explaining Evil" (Gordon), Supp. IV, Part 1,310 "Explanation" (Stevens), IV, 79

INDEX / 427 Explanation of America, An (Pinsky), Supp. VI, 237, 241243 "Exploit" (Wharton), IV, 324 "Explorer, The" (Brooks), Supp. III, Part 1, 79-80 "Exploring the Magalloway" (Parkman), Supp. II, Part 2, 591 Expositor's Bible, The (Smith), III, 199 Expressions of Sea Level (Ammons), Supp. VII, 24, 28, 36 "Exquisites, The" (Kazin), Supp. I, Part 2, 730 Extract from Captain Stormfeld's Visit to Heaven (Twain), IV, 209-210 Extracts from Adam's Diary (Twain), IV, 208-209 "Exulting, The" (Roethke), III, 544 "Eye, The" (Bowles), Supp. IV, Part 1, 93 Eye, The (Nabokov), III, 251 "Eye of Paris, The" (Miller), III, 183184 "Eye of the Story, The" (Porter), IV, 279 Eye of the Story, The: Selected Essays and Reviews (Welty), Retro. Supp. I, 339, 342, 344, 345, 346, 351, 354, 355, 356 Eye-Beaters, Blood, Victory, Madness, Buckhead and Mercy, The (Dickey), Supp. IV, Part 1, 178, 182-183 "Eyes, The" (Wharton), IV, 315 "Eyes like They Say the Devil Has" (Rios), Supp. IV, Part 2, 543, 544 Eyes of the Dragon, The (King), Supp. V, 139, 152 "Eyes of Zapata" (Cisneros), Supp. VII, 70 "Eyes to See" (Cozzens), I, 374 Eysturoy, Annie O., Supp. IV, Part 1, 321, 322, 323, 328 Ezekiel (biblical book), II, 541

Ezekiel (biblical person), III, 347 Ezekiel, Mordecai, Supp. I, Part 2,645 "Ezra Pound: His Cantos" (Zukofsky), Supp. Ill, Part 2, 612, 619, 622 Ezra Pound's Mauberley (Espey), III, 463 "Ezra Pound's Very Useful Labors" (Schwartz), Supp. II, Part 2, 644 "Fabbri Tape, The" (Auchincloss), Supp. IV, Part 1, 21-22 Faber, Geoffrey, Retro. Supp. I, 63 Faber and Faber, Retro. Supp. I, 63, 64, 65 Faber and Gwyer, Retro. Supp. I, 63 "Fable" (Merwin), Supp. Ill, Part 1,343 "Fable" (Wylie), Supp. I, Part 2, 714 Fable, A (Faulkner), II, 55, 73; Retro. Supp. I, 74 "Fable, A" (Cluck), Supp. V, 86 "Fable, The" (Winters), Supp. II, Part 2, 792, 793, 796 Fable for Critics, A (Lowell), Supp. I, Part 2, 406, 407-408, 409, 412-413, 416, 420, 422 "Fable of the War, A" (Nemerov), III, 272 Fables (Gay), II, 111 Fables for Our Time (Thurber), Supp. I, Part 2, 610 Fables of La Fontaine, The (Moore), III, 194, 215 "Fables of the Fallen Guy" (Rosaldo), Supp. IV, Part 2, 544 "Fables of the Moscow Subway" (Nemerov), III, 271 Fabre, Michel, IV, 496 Fabricius, Johannes, I, 590 Fabulation, Supp. V, 40, 41^44 Fabulators, The (Scholes), Supp. V,40 Face of Time, The (Farrell), II, 28, 34, 35, 39

"Facing West from California's Shores" (Jeffers), Supp. II, Part 2, 437-438 Fackre, Gabriel J., Ill, 312 " Tact' as Style: The Americanization of Sylvia" (Ostriker), Supp. I, Part 2, 548 "Fact in Fiction, The" (McCarthy), II, 562 "Facts" (Levine), Supp. V, 193 "Facts" (Oliver), Supp. VII, 231232 "Facts, The" (Lardner), II, 431 Facts, The: A Novelist's Autobiography (Roth), Supp. III, Part 2, 401, 405, 417, 426 "Facts and Traditions Respecting the Existence of Indigenous Intermittent Fever in New England" (Holmes), Supp. I, Part 1, 303 "Facts in the Case of M. Valdemar, The" (Poe), III, 416 Fadiman, Clifton, I, 213; II, 430, 431,443, 591-592; III, 384 Faerie Queen, The (Spencer), III, 487; IV, 253 Faery, Rebecca Blevins, Retro. Supp. I, 374 Pagan, Kathy, Supp. V, 180 Faggen, Robert, 7; Supp. V, 11, 15,16 Fagin, N. Bryllion, III, 432 Fahrenheit 451 (Bradbury), Supp. IV, Part 1, 101, 102, 104, 107109, 110, 113 Faint Perfume (Gale), Supp. I, Part 2, 613 Fairchild, Frances, see Bryant, Mrs.William Cullen (Frances Fairchild) Fairfield, Flora (pseudonym), see Alcott, Louisa May Fairly Conventional Woman, A (Shields), Supp. VII, 312, 316, 318 Faith and History (Niebuhr), III, 308 Faith and the Good Thing (Johnson), Supp. VI, 187, 188190, 191, 193, 194, 196

428 / INDEX Faith for Living (Mumford), Supp. II, Part 2, 479^80 "Faith in a Tree" (Paley), Supp. VI, 217-218, 224, 230 "Faith in Search of Understanding" (Updike), Retro. Supp. I, 327 "Faith of an Historian" (Morison), Supp. I, Part 2, 492 Faithful Narrative of the Surprising Works of God in the Conversion of Many Hundred Souls in Northampton, and the Neighboring Towns and Villages of New-Hampshire in NewEngland, A (Edwards), I, 545, 562 Falcon (Hammett), Supp. IV, Part 1,351 "Falcon of Ser Federigo, The" (Longfellow), II, 505 Falconer (Cheever), Supp. I, Part 1, 176, 193-195, 196 "Falconer" (Didion), Supp. I, Part 1, 198 Falk, Doris V., Ill, 407, 408; Supp. I, Part 1, 297 Falk, Signi Lenea, III, 25; IV, 401 Falkner, Dean, II, 55 Falkner, John, II, 55 Falkner, Mrs. Murray C. (Maud Butler), II, 55 Falkner, Murray, II, 55 Falkner, Murray C., II, 55, 76 Falkner, William C., II, 55 "Fall in Corrales" (Wilbur), Supp. III, Part 2, 556 "Fall 1961" (Lowell), II, 550 Fall of America, The: 1965-1971 (Ginsberg), Supp. II, Part 1, 323, 325, 327 Fall of the City, The: A Verse Play for Radio (MacLeish), III, 20 "Fall of the House of Usher, The" (Poe), III, 412, 414, 415, 419 "Falling" (Dickey), Supp. IV, Part 1, 182 Falling (Dickey), Supp. IV, Part 1, 178, 181-182 "Falling Asleep over the Aeneid" (Lowell), II, 542 Falling in Place (Beattie), Supp. V, 28-29

"Falling into Holes in Our Sentences" (Bly), Supp. IV, Part 1, 71 "Falls Fight, The" (Howe), Supp. IV, Part 2, 431-432 Falon, Janet Ruth, Supp. IV, Part 2,422 "False Dawn" (Wharton), Retro. Supp. I, 381 "False Documents" (Doctorow), Supp. IV, Part 1, 220, 236 Fame & Folly: Essays (Ozick), Supp. V, 272 "Familiar Epistle to a Friend, A" (Lowell), Supp. I, Part 2, 416 "Family" (Wilson), IV, 426 Family Life (Banks), Supp. V, 7 "Family Matters" (Alvarez), Supp. VII, 10 Family Moskat, The (Singer), IV, I, 46, 17, 20 "Family of Little Feet, The" (Cisneros), Supp. VII, 61 Family Party, A (O'Hara), III, 362 Family Pictures (Brooks), Supp. Ill, Part 1, 69, 85, 86 Family Reunion, The (Eliot), I, 570-571, 572, 581, 584, 588; Retro. Supp. I, 62, 65 "Family Secrets" (Kingsolver), Supp. VII, 208 "Family Way, The" (Hardwick), Supp. I, Part 1, 198 Famous American Negroes (Hughes), Supp. I, Part 1, 345 "Famous Gilson Bequest, The" (Bierce), I, 204 Famous Negro Music Makers (Hughes), Supp. I, Part 1, 345 "Famous New York Trials" (Ellison), Supp. II, Part 1, 230 Fanatics, The (Dunbar), Supp. II, Part 1, 213-214 "Fancy and Imagination" (Poe), III, 421 "Fancy Flights" (Beattie), Supp. V,25 Fancy Woman, The" (Taylor), Supp. V, 316-317, 319, 323 "Fancy's Show Box" (Hawthorne), II, 238

Fanny: Being the True History of the Adventures of Fanny Hackabout-Jones (Jong), Supp. V, 115, 127 Fanny Hill (Cleland), Supp. V, 48, 127 Fanshawe (Hawthorne), II, 223224; Retro. Supp. I, 149, 151 "Fantasia on 'The Nut-Brown Maid' " (Ashbery), Supp. Ill, Part 1, 19 "Fantasia on the Relations between Poetry and Photography" (Strand), Supp. IV, Part 2, 631 "Fantastic Fables" (Bierce), I, 209 "Far Field, The" (Roethke), III, 537, 540 Far Field, The (Roethke), III, 528, 529, 539, 545, 547-548 Far from the Madding Crowd (Hardy), II, 291 Far North (Shepard), Supp. Ill, Part 2, 433, 435 "Far Rockaway" (Schwartz), Supp. II, Part 2, 649 Far Side of the Dollar, The (Macdonald), Supp. IV, Part 2, 473 Far Tortuga (Matthiessen), Supp. V, 201, 206-207 Faraday, Michael, I, 480-481 "Farewell" (Emerson), II, 13 Farewell, My Lovely (Chandler), Supp. IV, Part 1, 122, 125126, 127, 128, 130 "Farewell, My Lovely!" (White), Supp. I, Part 2, 661-663, 665 "Farewell Performance" (Merrill), Supp. Ill, Part 1, 336-337 "Farewell Sweet Dust" (Wylie), Supp. I, Part 2, 727-728 Farewell to Arms, A (Hemingway), I, 212, 421, 476, 477; II, 68-69, 248-249, 252-253, 254, 255, 262, 265; Retro. Supp. I, 171, 178, 180-182, 187, 189; Supp. IV, Part 1,380-381, 381 "Farewell to Miles" (Berryman), I, 173 Farewell to Reform (Chamberlain), Supp. I, Part 2, 647

INDEX / 429 "Farewell to the Middle Class" (Updike), Retro. Supp. I, 321 Farewell-Sermon Preached at the First Precinct in Northampton, after the People's Publick Rejection of their Minister, A (Edwards), I, 548, 562 Paris, Athenaise Charleville, Supp. I, Part 1, 204 Paris, Eliza, see O'Flaherty, Mrs. Thomas (Eliza Fans) Farley, Abbie, I, 458 "Farm, The" (Creeley), Supp. IV, Part 1, 155 "Farm Implements and Rutabagas in a Landscape" (Ashbery), Supp. Ill, Part 1, 13 "Farmers' Daughters, The" (Williams), Retro. Supp. I, 423 Farmers Hotel The (O'Hara), III, 361 "Farmer's Wife, The" (Sexton), Supp. II, Part 2, 676 Farnham, James F., Ill, 360 Farnol, Jeffrey, Supp. I, Part 2, 653 Farrand, Max, II, 122, 124 Farrar, Geraldine, Retro. Supp. I, 10 Farrar, John, II, 191 Farrell, James Francis, II, 25, 26 Farrell, James T., I, 97, 288, 475, 508, 517, 519; II, 25-53, 416, 424; III, 28, 114, 116, 118, 119, 317, 382; IV, 211, 286; Supp. I, Part 2, 679 Farrell, John, II, 26 Farrell, John C, Supp. I, Part 1, 24,27 Farrell, Kevin, II, 26 Farrell, Mary, II, 25 Farrell, Mrs. James T. (Dorothy Butler), II, 26 Farrell, Mrs. James T. (Hortense Alden), II, 26, 27, 45, 48 "Fascinating Fascism" (Sontag), Supp. Ill, Part 2, 465 "Fascination of Cities, The" (Hughes), Supp. I, Part 1, 325 Fascism, I, 172, 588; II, 44, 454, 480

Fashion, Power, Guilt and the Charity of Families (Shields), Supp. VII, 323 Fasman, Jonathan, Supp. V, 253 Fast, Howard, Supp. I, Part 1, 295 Fast, Jonathan, Supp. V, 115 Fast and Loose (Wharton), Retro. Supp. I, 361 "Fastest Runner on Sixty-first Street, The" (Farrell), II, 45 "Fat" (Carver), Supp. Ill, Part 1, 141 "Fat Girl, The" (Dubus), Supp. VII, 84, 85 Fatal Interview (Millay), III, 128129, 130 "Fatality" (Bausch), Supp. VII, 54 "Fate" (Emerson), II, 2-3, 4, 16 "Fate of Pleasure, The" (Trilling), Supp. Ill, Part 2, 510 Fate of the Jury, The (Masters), Supp. I, Part 2, 466, 468, 469 "Father" (Levine), Supp. V, 188 "Father" (Walker), Supp. Ill, Part 2,522 "Father, The" (Carver), Supp. Ill, Part 1, 137, 140 "Father Abraham" (Faulkner), Retro. Supp. I, 81, 82 "Father and Daughter" (Eberhart), 1,539 "Father and Son" (Eberhart), I, 539 Father and Son (Farrell), II, 34, 35, 290, 291 "Father and Son" (Hughes), Retro. Supp. I, 204; Supp. I, Part 1, 329, 339 "Father and Son" (Kunitz), Supp. Ill, Part 1, 262 "Father and Son" (Schwartz), Supp. II, Part 2, 650 Father Bombo 's Pilgrimage to Mecca (Freneau), Supp. II, Part 1,254 "Father out Walking on the Lawn, A" (Dove), Supp. IV, Part 1, 246 "Fathers" (Creeley), Supp. IV, Part 1, 157-158 Fathers, The (Tate), IV, 120, 127, 130, 131-133, 134, 141

"Fathers and Sons" (Hemingway), II, 249, 265-266; Retro. Supp. I, 175 "Father's Body, The" (Dickey), Supp. IV, Part 1, 176 "Father's Story, A" (Dubus), Supp. VII, 88 Fatout, Paul, I, 213 Faulkner, Mrs. William (Estelle Oldham), II, 57 Faulkner, William, I, 54, 97, 99, 105, 106, 115, 117, 118, 119, 120, 123, 190,204-205,211, 288, 289, 291, 292, 297, 305, 324, 374, 378, 423, 480, 517; II, 28, 51, 54-76, 131, 174, 194, 217, 223, 228, 230, 259, 301, 306,431,458-459,542,594, 606; III, 45, 70, 108, 164, 218, 220, 222, 236-237, 244, 292, 334, 350, 382, 418, 453, 454, 482, 483; IV, 2, 4, 33, 49, 97, 98, 100, 101, 120, 131, 203, 207,211,217,237,257,260, 261, 279, 280, 352, 461, 463; Retro. Supp. I, 73-95, 215, 339, 347, 356, 379, 382; Supp. I, Part 1, 68, 196, 197, 242, 372, Part 2, 450, 621; Supp. III, Part 1, 384-385, 396; Supp. IV, Part 1, 47, 130, 257, 342, Part 2, 434, 463, 468, 502, 677, 682; Supp. V, 58, 59, 138, 210, 226, 237, 261, 262, 334-336 Faulkner: A Collection of Critical Essays (Warren), Retro. Supp. 1,73 Faulkner at Nagano (ed. Jelliffe), I, 289; II, 63, 65 Faulkner-Cowley File, The (Cowley), Supp. II, Part 1, 140, 141 Faulkner-Cowley File, The: Letters and Memories 1944-1962 (Cowley, ed.), Retro. Supp. I, 73,92 "Faun" (Plath), Supp. I, Part 2, 537 "Fauna" (Jeffers), Supp. II, Part 2,415 Fauset, Jessie, Supp. I, Part 1, 321, 325; Supp. IV, Part 1, 164

430 / INDEX Fausset, Hugh FAnson, IV, 354 Faust, Clarence H., I, 564, 565; II, 20,23 Faust (Goethe), I, 396; II, 489; III, 395; Supp. II, Part 1, 16 Faute de VAbbe Mouret, La (Zola), III, 322 Favor Island (Merwin), Supp. Ill, Part 1, 346, 347 Fay, Bernard, IV, 41 "Fear & Fame" (Levine), Supp. V, 192 Fear of Fifty: A Midlife Memoir (Jong), Supp. V, 114, 115, 116, 131 Fear of Flying (Jong), Supp. V, 113, 115, 116, 119-123, 124, 129 "Fear, The" (Frost), Retro. Supp. I, 128 "Feast, The" (Kinnell), Supp. Ill, Part 1, 239, 250 Feast of All Saints, The (Rice), Supp. VII, 299-301 "Featherbed for Critics, A" (Blackmur), Supp. II, Part 1, 93, 151 "Feathers" (Carver), Supp. Ill, Part 1, 145 Feathers (Van Vechten), Supp. II, Part 2, 736, 749 "Feathers, The" (Hogan), Supp. IV, Part 1, 416 "February" (Ellison), Supp. II, Part 1, 229 "February 14th" (Levine), Supp. V, 194 "February: Thinking of Flowers" (Kenyon), Supp. VII, 171 Fechner, Gustav, II, 344, 355, 358, 359, 363, 364 Feder, Lillian, IV, 136, 142 Federal Arts Project, Supp. Ill, Part 2, 618 Federalist, The, II, 8 Federigo, or, The Power of Love (Nemerov), III, 268, 276, 282, 283-284, 285 "Fedora" (Chopin), Supp. I, Part 1,220 Fedorko, Kathy A., Retro. Supp. I, 361, 374

"Feel Like a Bird" (Swenson), Supp. IV, Part 2, 639 "Feel Me" (Swenson), Supp. IV, Part 2, 647 Feeley, Sister Kathleen, II, 221 "Feeling and Precision" (Moore), III, 206 "Feeling of Effort, The" (James), II, 349 Feibleman, James K., I, 119-120 Feidelson, Charles, Jr., II, 23, 245 Feied, Frederick, II, 484 Fein, Richard, II, 390 Feldman, Irving, IV, 23 Felheim, Marvin, Supp. I, Part 1, 297 Felheim, Melvin, II, 608 "Fellow Citizens" (Sandburg), III, 553 Fellows, John, Supp. I, Part 2, 520 "Felo de Se" (Wylie), Supp. I, Part 2, 727, 729 Felton, Sharon, Supp. IV, Part 1, 210 "Female Frailty" (Freneau), Supp. II, Part 1, 258 Female Imagination, The (Spacks), Supp. I, Part 1, 46 "Feminine Landscape of Leslie Marmon Silko's Ceremony, The" (Gunn Allen), Supp. IV, Part 1, 324 Feminism and the Politics of Literary Reputation: The Example of Erica Jong (Templin), Supp. V, 116 "Fence, The" (Oliver), Supp. VII, 232 "Fenimore Cooper's Literary Offenses" (Twain), IV, 204-205 Fennessy, R. R., Supp. I, Part 2, 525 Fenollosa, Ernest, III, 458, 465, 466, 474, 475, 477; Retro. Supp. I, 289; Supp. IV, Part 1, 154 Fenollosa, Mrs. Ernest, III, 458 Fenton, Charles A., II, 270 Ferdinand: Including "It Was" (Zukofsky), Supp. Ill, Part 2, 630

Ferenczi, Sandor, II, 365 "Fergus" (Bourne), I, 229 Ferguson, Alfred Riggs, II, 23 Ferguson, J. DeLancey, IV, 213 Ferguson, James, Supp. I, Part 2, 503 Ferguson Affair, The (Macdonald), Supp. IV, Part 2, 473 Fergusson, Francis, I, 265, 286, 440, 450; III, 408; IV, 143, 376 Ferlinghetti, Lawrence, Supp. IV, Part 1, 90 Ferment of Realism, The (Berthoff), Supp. I, Part 2, 477 Fern, Fanny, Retro. Supp. I, 246; Supp. V, 122 "Fern" (Toomer), Supp. Ill, Part 2,481 "Fern Hill" (Thomas), IV, 93 Fernandez, Ramon, Retro. Supp. I, 302, 303 "Fern-Beds in Hampshire Country" (Wilbur), Supp. Ill, Part 2, 558 Feron, James, III, 169 Ferreo, Guglielmo, Supp. I, Part 2,481 Ferres, John H., I, 120 Ferris, Sumner J., Ill, 360 Fessenden, Thomas Green, II, 300 "Festival Aspect, The" (Olson), Supp. II, Part 2, 585 Fetes galantes (Verlaine), IV, 79 "Fever" (Carver), Supp. Ill, Part 1, 145 "Fever 103°" (Plath), Supp. I, Part 2, 541 "Few Don'ts by an Imagiste, A" (Pound), III, 465; Retro. Supp. I, 288; Supp. I, Part 1, 261262 "Fiction: A Lens on Life" (Stegner), Supp. IV, Part 2, 595, 596, 600 Fiction and the Figures of Life (Gass), Supp. VI, 85 Fiction of Joseph Heller, The (Seed), Supp. IV, Part 1, 391 Fiction of the Fifties: A Decade of American Writing (ed. Gold), Supp. I, Part 1, 198 Fiction of the Ponies (Eisinger), I, 302; II, 604

INDEX / 431 "Fiction Writer and His Country, The" (O'Connor), III, 342; Supp. II, Part 1, 148 Fiddlehead (journal), Supp. V, 40 Fidelity (Glaspell), Supp. Ill, Part 1, 177 "Fie! Fie! Fi-Fi!" (Fitzgerald), Retro. Supp. I, 100 Fiedler, Leslie A., I, 143, 165; II, 27, 390; III, 218, 243, 432; IV, 258; Supp. I, Part 2, 453, 601; Supp. II, Part 1, 87; Supp. IV, Part 1, 42, 86 Field, Andrew, III, 266 Field, Eugene, Supp. II, Part 1, 197 Field, John, IV, 179 Field, Joyce W., Supp. I, Part 2, 452, 453 Field, Leslie A., IV, 472, 473; Supp. I, Part 2, 452, 453 Field (magazine), Supp. V, 189 Field Guide, (Hass), Supp. VI, 97-98, 99-101, 102, 103, 106 "Field Guide to the Western Birds" (Stegner), Supp. IV, Part 2, 609 Field of Vision, The (Morris), III, 226-228, 229, 232, 233, 238 Fielding, Henry, I, 134; II, 302, 304-305; III, 61; Supp. I, Part 2, 421, 422, 656; Supp. IV, Part 2, 688; Supp. V, 127 "Field-larks and Blackbirds" (Lanier), Supp. I, Part 1, 355 Fields, Annie, see Fields, Mrs. James T. Fields, James T., II, 274, 279, 402-403; Supp. I, Part 1, 317 Fields, Joseph, IV, 274 Fields, Mrs. James T. (Annie Adams), II, 401, 402, 403-404, 406, 412, 413; IV, 177; Supp. I, Part 1, 317 Fields, W. C., II, 427; IV, 335 Fields of Wonder (Hughes), Retro. Supp. I, 206, 207; Supp. I, Part 1, 333-334 Fields Were Green, The (Arms), Supp. I, Part 1, 173, 319, Part 2, 426, 706

Fiene, Donald F., Ill, 574 Fiery Chariot, The (Hurston), Supp. VI, 155-156 75 Poems (Banks), Supp. V, 5 "Fifteenth Farewell" (Bogan), Supp. Ill, Part 1,51,58 "Fifth Avenue, Uptown" (Baldwin), Supp. I, Part 1, 52 Fifth Book of Peace, The (Kingston), Supp. V, 173 Fifth Column, The (Hemingway), II, 254, 258; Retro. Supp. I, 184 Fifth Decad of Cantos, The (Pound), Retro. Supp. I, 292 "Fifth Movement: Autobiography" (Zukofsky), Supp. Ill, Part 2, 611 "Fifth Sunday" (Dove), Supp. IV, Part 1, 252 Fifth Sunday (Dove), Supp. IV, Part 1,251,252-253 Fifties, The (magazine) (Bly), Supp. IV, Part 1, 60 Fifty Best American Short Stories (O'Brien), III, 56 "Fifty Dollars" (Elkin), Supp. VI, 43-44 "Fifty Grand" (Hemingway), II, 250, 424; Retro. Supp. I, 177 50 Poems (Cummings), I, 430, 440, 442-443, 444-445, 446 "55 Miles to the Gas Pump" (Proulx), Supp. VII, 264 55 Poems (Zukofsky), Supp. Ill, Part 2, 611,621 "Fifty Years Among the Black Folk" (Du Bois), Supp. II, Part 1, 169 "Fifty Years of American Poetry" (Jarrell), Retro. Supp. I, 52 "52 Oswald Street" (Kinnell), Supp. Ill, Part 1,251 Figaro (publication), I, 195 Fight Back: For the Sake of the People, For the Sake of the Land (Ortiz), Supp. IV, Part 2, 497,498,499,503,510-512, 514 Fight for Freedom (Hughes), Supp. I, Part 1, 345

Fightin': New and Collected Stories (Ortiz), Supp. IV, Part 2,513 Fighting Angel (Buck), Supp. II, Parti, 119, 131 Fighting France; From Dunkerque to Belfort (Wharton), Retro. Supp. I, 377, 378 "Figlia che Piange, La" (Eliot), I, 570, 584; III, 9 Figliola, Samantha, Supp. V, 143 "Figure a Poem Makes, The" (Frost), Retro. Supp. I, 139 "Figure in the Carpet, The" (James), Retro. Supp. I, 228, 229 "Figure in the Doorway, The" (Frost), Retro. Supp. I, 138 "Figured Wheel, The" (Pinsky), Supp. VI, 243, 244, 245, 246 Figured Wheel, The: New and Collected Poems (Pinsky), Supp. VI, 247-248 "Figures in the Clock, The" (McCarthy), II, 561-562 Figures of Time (Hayden), Supp. II, Part 1, 367 Filler, Louis, I, 237 Fillmore, Millard, III, 101 Film Flam: Essays on Hollywood (McMurtry), Supp. V, 228 Films ofAyn Rand, The (Cox), Supp. IV, Part 2, 524 Filson, John, Retro. Supp. I, 421 "Fin de Saison Palm Beach" (White), Supp. I, Part 2, 673 "Final Fear" (Hughes), Supp. I, Part 1, 338 Final Harvest: Emily Dickinson's Poems (ed. Johnson), I, 470, 471 Final Payments (Gordon), Supp. IV, Part 1, 297, 299, 300-302, 304, 306, 314 "Final Soliloquy of the Interior Paramour" (Stevens), Retro. Supp. I, 312 "Finale" (Longfellow), II, 505, 506-507 Financier, The (Dreiser), I, 497, 501, 507, 509

432 / INDEX Find a Victim (Macdonald), Supp. IV, Part 2, 467, 472, 473 "Find the Woman" (Macdonald, under Millar), Supp. IV, Part 2, 466 Finding a Form (Gass), Supp. VI, 91-92, 93 "Finding a Girl in America" (Dubus), Supp. VII, 87 Finding a Girl in America (Dubus), Supp. VII, 85-88 "Finding Beads" (Hogan), Supp. IV, Part 1, 400 "Finding of Zach, The" (Dunbar), Supp. II, Part 1, 212 Finding the Center: Narrative Poetry of the Zuni Indians (Tedlock), Supp. IV, Part 2, 509 Finding the Islands (Merwin), Supp. Ill, Part 1, 353, 357 "Finding the Place: A Migrant Childhood" (Stegner), Supp. IV, Part 2, 597 Findings and Keepings: Analects for an Autobiography (Mumford), Supp. II, Part 2, 483 Fine Clothes to the Jew (Hughes), Retro. Supp. I, 200, 201, 203, 205; Supp. I, Part 1, 326-328 Finer Grain, The (James), II, 335 Finished Man, The (Garrett), Supp. VII, 96, 97-98 Fink, Mike, IV, 266 Finkelstein, Dorothee, III, 97 Finley, John H., II, 418 Finn, James, Supp. I, Part 1, 70 Finnegans Wake (Joyce), III, 7, 12, 14, 261; IV, 182, 369-370, 418, 421; Supp. I, Part 2, 620; Supp. II, Part 1, 2 "Finnish Rhapsody" (Ashbery), Supp. Ill, Part 1, 26 Firbank, Ronald, IV, 77, 436 "Fire" (Hughes), Supp. I, Part 1, 327 Fire!! (magazine), Retro. Supp. I, 201 Fire (publication), Supp. I, Part 1, 326

"Fire and Cloud" (Wright), IV, 488 "Fire and Ice" (Frost), II, 154; Retro. Supp. I, 133 Fire and Ice (Stegner), Supp. IV, Part 2, 598, 607-608 "Fire and the Cloud, The" (Hurston), Supp. VI, 158 "Fire and the Hearth, The" (Faulkner), II, 71 Fire Next Time, The (Baldwin), Supp. I, Part 1, 48, 49, 52, 6061 "Fire of Driftwood" (Longfellow), II, 499 "Fire of Life" (McCullers), II, 585 "Fire Poem" (Merrill), Supp. Ill, Part 1, 321 Fire Screen, The (Merrill), Supp. III, Parti, 319, 325-329 "Fire Season" (Didion), Supp. IV, Part 1, 199 "Fire Sequence" (Winters), Supp. II, Part 2, 791, 796, 800 Fire Sermon (Morris), III, 238239 "Fire Sermon, The" (Eliot), Retro. Supp. I, 60-61 "fire the bastards" (Green), Supp. IV, Part 1, 285 Fire Under the Andes (Sergeant), Supp. I, Part 2, 730 Firebaugh, Joseph J., IV, 376 "Firebombing, The" (Dickey), Supp. IV, Part 1, 180-181, 187, 189-190 "Fireborn Are at Home in Fire, The" (Sandburg), III, 591 Firecrackers (Van Vechten), Supp. II, Part 2, 740, 742-744, 749 Fireman's Wife and Other Stories, The (Bausch), Supp. VII, 48, 54 "Fires" (Carver), Supp. Ill, Part 1, 136-139, 147 Fires: Essays, Poems, Stories (Carver), Supp. Ill, Part 1, 136, 140, 142, 146-147 Fireside Travels (Lowell), Supp. I, Part 2, 407, 419-420 Firestarter (King), Supp. V, 140, 141, 144

"Fire-Truck, A" (Wilbur), Supp. Ill, Part 2, 556 "Firewood" (Banks), Supp. V, 15 "Fireworks" (Ford), Supp. V, 69 "Fireworks" (Shapiro), Supp. II, Part 2, 707 Fir-Flower Tablets (Lowell), II, 512, 526-527 Firkins, Oscar W., II, 23, 271, 294 Firmage, George J., I, 449 "Firmament, The" (Bryant), Supp. I, Part 1, 162 "First American, The" (Toomer), Supp. Ill, Part 2, 480, 487 First Book of Africa, The (Hughes), Supp. I, Part 1, 344345 First Book of Jazz, The (Hughes), Supp. I, Part 1, 345 First Book of Negroes, The (Hughes), Supp. I, Part 1, 345 First Book of Rhythms, The (Hughes), Supp. I, Part 1, 345 First Book of the West Indies, The (Hughes), Supp. I, Part 1, 345 First Century of New England Verse, The (Jantz), Supp. I, Part 1, 123 "First Death in Nova Scotia" (Bishop), Supp. I, Part 1, 73 First Four Books of Poems, The (Gliick), Supp. V, 81, 83 "First Heat" (Taylor), Supp. V, 323 "First Job, The" (Cisneros), Supp. VII, 62 "1st Letter on Georges" (Olson), Supp. II, Part 2, 578 "First Love" (Welty), IV, 264; Retro. Supp. I, 347 First Man, The (O'Neill), III, 390 "First Meditation" (Roethke), III, 545-546 "First Passover" (Longfellow), II, 500-501 First Poems (Merrill), Supp. Ill, Parti, 318-321, 323 First Poems 1946-1954 (Kinnell), Supp. Ill, Part 1, 235, 238-239 "First Praise" (Williams), Retro. Supp. I, 413

INDEX / 433 First Principles (Spencer), Supp. I, Part 1, 368 "First Seven Years, The" (Malamud), Supp. I, Part 2, 431 "First Snow in Alsace" (Wilbur), Supp. Ill, Part 2, 545, 546, 559 "First Song" (Kinnell), Supp. Ill, Part 1, 239 "First Things First" (Auden), Supp. II, Part 1, 13 "First Thought, Best Thought" (Ginsberg), Supp. II, Part 1, 327 "First Travels of Max" (Ransom), III, 490-491 "First Tycoon of Teen, The" (Wolfe), Supp. Ill, Part 2, 572 "First Views of the Enemy" (Gates), Supp. II, Part 2, 508 "First Wife, The" (Buck), Supp. II, Part 1, 127 "First World War" (White), Supp. I, Part 2, 665 Firstborn (Gliick), Supp. V, 80, 81, 82, 84 "Firstborn" (Wright), Supp. V, 340 Firth, John, Supp. I, Part 1, 198 Fischer, Russell G., Supp. I, Part 1,70 Fish, Robert L., II, 484 Fish, Stanley, Supp. IV, Part 1, 48 "Fish, The" (Moore), III, 195, 197, 209,211,213-214 "Fish, The" (Oliver), Supp. VII, 236 "Fish and Shadow" (Pound), III, 466 "Fish in the Stone, The" (Dove), Supp. IV, Part 1, 245, 257 "Fish in the unruffled lakes" (Auden), Supp. II, Part 1, 8-9 Fisher, Alexander Metcalf, Supp. I, Part 2, 582 Fisher, Craig, Supp. V, 125 Fisher, Dorothy Canfield, Retro. Supp. I, 21, 133; Supp. II, Part 1, 117; see also Canfield, Dorothy Fisher, G. M., II, 364 Fisher, Mary, Supp. I, Part 2, 455

Fisher, Phillip, Retro. Supp. I, 39 Fisher, Rudolph, Retro. Supp. I, 200; Supp. I, Part 1, 325 Fisher, Vardis, Supp. IV, Part 2, 598 Fisher, William J., Ill, 407 "Fisherman, The" (Merwin), Supp. II, Part 1, 346 "Fisherman and His Wife, The" (Welty), IV, 266 Fisk, James, I, 4, 474 Fiske, John, Supp. I, Part 1, 314, Part 2, 493 "Fit Against the Country, A" (Wright), Supp. Ill, Part 2, 591-592, 601 Fitch, Clyde, Supp. IV, Part 2, 573 Fitch, Elizabeth, see Taylor, Mrs. Edward (Elizabeth Fitch) Fitch, James, IV, 147 Fitts, Dudley, I, 169, 173, 189; III, 289; Supp. I, Part 1, 342, 345 FitzGerald, Edward, Supp. I, Part 2, 416; Supp. Ill, Part 2, 610 Fitzgerald, F. Scott, I, 107, 117, 118, 123, 188,221,263,288, 289, 358, 367, 374-375, 382, 423, 476, 482, 487, 495, 509, 511; II, 77-100, 257, 263, 272, 283, 415, 416, 417-418, 420, 425, 427, 430, 431, 432, 433, 434, 436, 437, 438, 450, 458459, 482, 560; III, 2, 26, 35, 36, 37, 40, 44, 45, 69, 106, 244, 284,334,350-351,453,454, 471, 551, 552, 572; IV, 27, 49, 97, 101, 126, 140, 191, 222, 223, 287, 297, 427, 471; Retro. Supp. I, 1, 74, 97-120, 178, 180, 186, 215, 359, 381; Supp. I, Part 1, 196, 197, Part 2, 622; Supp. Ill, Part 2, 409, 411, 585; Supp. IV, Part 1, 123, 197, 200, 203, 341, Part 2, 463, 468, 607, 689; Supp. V, 23, 95, 226, 251, 262, 276, 313 Fitzgerald, Robert, I, 27-28, 47; II, 390; III, 338, 348, 359, 360; IV, 142; Supp. IV, Part 2, 631 Fitzgerald, Sally, III, 338

Fitzgerald, Zelda (Zelda Sayre), I, 482; II, 77, 79, 82-85, 88, 9091, 93, 95; Supp. IV, Part 1, 310 "Fitzgerald: The Romance of Money" (Cowley), Supp. II, Part 1, 143 "Fitzgerald's Tragic Sense" (Schorer), Retro. Supp. I, 115 "Five Awakenings of Edna Pontellier, The" (Wheeler), Supp. I, Part 1, 226 Five Black Writers: Essays on Wright, Ellison, Baldwin, Hughes and Le Roi Jones (Gibson), Supp. I, Part 1, 348 Five Came Back (West), IV, 287 5 Detroits (Levine), Supp. V, 178 "Five Dollar Guy, The" (Williams), Retro. Supp. I, 423 Five Easy Pieces (film), Supp. V, 26 "Five Elephants" (Dove), Supp. IV, Part 1, 244-245 Five Indiscretions (Rios), Supp. IV, Part 2, 545-547 Five Plays (Hughes), Retro. Supp. I, 197, 209 Five Points (journal), Supp. V, 180, 182 Five Temperaments (Kalstone), Supp. I, Part 1, 97 Five Young American Poets, I, 170; II, 367 Fixer, The (Malamud), Supp. I, Part 2, 428, 435, 445, 446-448, 450,451 Fixler, Michael, IV, 23 Flaccus, Kimball, Retro. Supp. I, 136 Flacius, Matthias, IV, 163 Flag for Sunrise, A (Stone), Supp. V, 301-304 Flag of Our Union, The (publication), II, 397 "Flag of Summer" (Swenson), Supp. IV, Part 2, 645 Flagons and Apples (Jeffers), Supp. II, Part 2, 413, 414, 417-418 Flags in the Dust (Faulkner), Retro. Supp. I, 81, 82, 83, 86, 8

434 / INDEX Flaherty, Joe, III, 48 Flaming Corsage, The (Kennedy), Supp. VII, 133, 153-156 Flammarion, Camille, Supp. I, Part 1, 260 Flanagan, John T., Ill, 598; Supp. I, Part 2, 402, 464, 465, 468, 478 Flanagan, William, I, 95 "Flannery O'Connor: Poet to the Outcast" (Sister Rose Alice), III, 348 Flappers and Philosophers (Fitzgerald), II, 88; Retro. Supp. I, 103 Flasch, Mrs. Harold A., I, 95 "Flashcards" (Dove), Supp. IV, Part 1, 250 Flatt, Lester, Supp. V, 335 Flaubert, Gustave, I, 66, 123, 130, 272,312,314,315,477,504, 506, 513, 514; II, 182, 185, 194, 198-199, 205, 209, 221, 230,289,311,316,319,325, 337, 392, 401, 577, 594; III, 196,207,251,315,461,467, 511, 564; IV, 4, 29, 31, 37, 40, 134, 285, 428; Retro. Supp. I, 5, 215, 218, 222, 225, 235, 287, Supp. Ill, Part 2, 411, 412 "Flavia and Her Artists" (Gather), Retro. Supp. I, 5 Flavor of Man, The (Toomer), Supp. Ill, Part 2, 487 Flavoring of New England, The (Brooks), I, 253, 256 Flaxman, Josiah, Supp. I, Part 2, 716 "Fleche d'Or" (Merrill), Supp. Ill, Part 1, 328 Flecker, James Elroy, Supp. I, Part 1, 257 "Flee on Your Donkey" (Sexton), Supp. II, Part 2, 683, 685 Fleming, Thomas, II, 125 Flender, Harold, IV, 23 "Fleshbody" (Ammons), Supp. VII, 27 Fletcher, H. D., II, 517, 529 Fletcher, John, Supp. IV, Part 2, 621

Fletcher, John Gould, I, 243; II, 517, 529; III, 458; Supp. I, Part 1, 263, 275, 373, Part 2, 422 Fletcher, Marie, II, 221; Supp. I, Part 1, 226 Fletcher, Phineas, Supp. I, Part 1, 369 Fletcher, Valerie, see Eliot, Mrs. T. S. (Valerie Fletcher) Fletcher, Virginia, see Caldwell, Mrs. Erskine (Virginia Fletcher) Fleurs du Mai, Les (trans. Millay and Dillon), III, 141-142 "Flight" (Updike), IV, 218, 222, 224; Retro. Supp. I, 318 "Flight, The" (Roethke), III, 537538 Flight of the Rocket, The (Fitzgerald), II, 89 Flint, F. Cudworth, IV, 142, 258 Flint, F. S., II, 517; III, 459, 464, 465; Retro. Supp. I, 127; Supp. I, Part 1, 261, 262 Flint, R. W., II, 390; III, 289 Flivver King, The (Sinclair), Supp. V,290 Floating Bear (periodical), Supp. II, Part 1, 30 Floating Opera, The (Earth), I, 121, 122-126, 127, 129, 130, 131 "Floating Poem, Unnumbered, The" (Rich), Supp. I, Part 2, 572-573 Flood (Warren), IV, 252, 256-257 "Flood of Years, The" (Bryant), Supp. I, Part 1, 159, 170, 171, Part 2, 416 "Floral Decorations for Bananas" (Stevens), IV, 8 "Florida Road Workers" (Hughes), Retro. Supp. I, 203 "Florida Sunday, A" (Lanier), Supp. I, Part 1, 364, 366 "Flossie Cabanis" (Masters), Supp. I, Part 2, 461-462 Flournoy, Theodore, II, 365 "Flowchart" (Ashbery), Supp. Ill, Part 1, 26 Flower Fables (Alcott), Supp. I, Part 1, 33

"Flower Herding on Mount Monadnock" (Kinnell), Supp. III, Part 1, 242 Flower Herding on Mount Monadnock (Kinnell), Supp. Ill, Part 1, 235, 239, 241-244 Flower-de-Luce (Longfellow), II, 490 "Flower-Fed Buffaloes, The" (Lindsay), Supp. I, Part 2, 398 "Flower-gathering" (Frost), II, 153 "Flowering Death" (Ashbery), Supp. Ill, Part 1, 22 "Flowering Dream, The" (McCullers), II, 591 "Flowering Judas" (Porter), III, 434, 435-436, 438, 441, 445, 446, 450-451 Flowering Judas and Other Stories (Porter), III, 433, 434 Flowering of New England, The (Brooks), IV, 171-172; Supp. I, Part 2, 426 Flowering of the Rod (Doolittle), Supp. I, Part 1, 272 Flowering Peach, The (Odets), Supp. II, Part 2, 533, 547, 549-550 "Flowering Plum" (Gliick), Supp. V, 82 "Flowers for Marjorie" (Welty), IV, 262 "Flowers Well if anybody" (Dickinson), Retro. Supp. I, 30 Floyd, Charles Arthur "Pretty Boy," Supp. V, 231 "Fly, The" (Kinnell), Supp. Ill, Part 1, 249 "Fly, The" (Shapiro), Supp. II, Part 2, 705 Flye, Father James Harold, I, 25, 26, 35-36, 37, 42, 46; IV, 215 "Flying High" (Levertov), Supp. Ill, Part 1, 284 "Flying Home" (Ellison), Supp. II, Part 1, 235, 238-239 "Flying Home" (Kinnell), Supp. Ill, Part 1, 250 "Flying Home from Utah" (Swenson), Supp. IV, Part 2, 645

INDEX / 435 "Flying to Hanoi" (Rukeyser), Supp. VI, 279 Focillon, Henri, IV, 90 Focus (Miller), III, 150-151, 156 Foerster, Norman, I, 222, 263; II, 23; III, 432; Supp. I, Part 2, 423, 424, 426; Supp. IV, Part 2,598 "Fog" (Sandburg), III, 586 Fogle, Richard H., II, 245 Folded Leaf, The (Maxwell), Supp. Ill, Part 1, 62 Foley, Martha, I, 188; II, 587; III, 573 Folk of Southern Fiction, The (Skaggs), Supp. I, Part 1, 226 Folks from Dixie (Dunbar), Supp. II, Part 1,211-212 Folkways (Sumner), III, 102 Follett, Wilson, I, 405, 425 Following the Equator (Twain), II, 434; IV, 208 Folly (Minot), Supp. VI, 205, 208, 210-213 Folsom, Charles, Supp. I, Part 1, 156 Folsom, Ed, Retro. Supp. I, 392 Folsom, James K., Ill, 336 Fonda, Henry, Supp. I, Part 1, 67; Supp. IV, Part 1, 236 Fonda, Jane, III, 284 Foner, Eric, Supp. I, Part 2, 523 Foner, Philip S., II, 484 Fontanne, Lynn, III, 397 Fool for Love (Shepard), Supp. III, Part 2, 433, 447, 448 Fools (Simon), Supp. IV, Part 2, 584-585 "Foot Fault" (pseudonym), see Thurber, James Foote, Horton, Supp. I, Part 1, 281 Foote, Mary Hallock, Supp. IV, Part 2, 611 Foote, Roxanna, see Beecher, Mrs. Lyman (Roxanna Foote) Foote, Samuel, Supp. I, Part 2, 584 "Footing up a Total" (Lowell), II, 528 "Footnote to Howl" (Ginsberg), Supp. II, Part 1,316-317

Footprints (Levertov), Supp. Ill, Part 1, 272, 281 "Footsteps of Angels" (Longfellow), II, 496 For a Bitter Season: New and Selected Poems (Garrett), Supp. VII, 99-100 "For a Dead Lady" (Robinson), 111,508,513,517 "For a Lamb" (Eberhart), I, 523, 530, 531 "For a Marriage" (Bogan), Supp. III, Part 1, 52 "For a Southern Man" (Cisneros), Supp. VII, 67 "For All Tuesday Travelers" (Cisneros), Supp. VII, 67-68 "For an Emigrant" (Jarrell), II, 371 "For Anna Akmatova" (Lowell), II, 544 "For Annie" (Poe), III, 427 "For Bailey" (Angelou), Supp. IV, Part 1, 15 For Bread Alone (Choukri), Supp. IV, Part 1, 92 "For Dudley" (Wilbur), Supp. Ill, Part 2, 558 "For Elizabeth Bishop" (Lowell), Supp. I, Part 1, 97 "For Esme with Love and Squalor" (Salinger), III, 560 "For George Santayana" (Lowell), II, 547 "FOR HETTIE" (Baraka), Supp. II, Part 1, 32 "FOR HETTIE IN HER FIFTH MONTH" (Baraka), Supp. II, Part 1, 32, 38 "For I'm the Boy" (Barthelme), Supp. IV, Part 1, 47 "For Jessica, My Daughter" (Strand), Supp. IV, Part 2, 629 "For John, Who Begs Me not to Enquire Further" (Sexton), Supp. II, Part 2, 676 "For Johnny Pole on the Forgotten Beach" (Sexton), Supp. II, Part 2,675 "For Joy to Leave Upon" (Ortiz), Supp. IV, Part 2, 508 For Lancelot Andrewes (Eliot), Retro. Supp. I, 64

"For Love" (Creeley), Supp. IV, Part 1, 145 For Love (Creeley), Supp. IV, Part 1, 139, 140, 142-145, 147149, 150, 154 "For Malamud It's Story" (Shenker), Supp. I, Part 2, 453 "For Mr. Death Who Stands with His Door Open" (Sexton), Supp. II, Part 2, 695 "For My Lover, Returning to His Wife" (Sexton), Supp. II, Part 2,688 "For Once, Then, Something" (Frost), II, 156-157; Retro. Supp. I, 126, 133, 134 "For Radicals" (Bourne), I, 221 "For Rainer Gerhardt" (Creeley), Supp. IV, Part 1, 142-143, 147 "For Richard After All" (Kingsolver), Supp. VII, 208 "For Sacco and Vanzetti" (Kingsolver), Supp. VII, 208 For Spacious Skies (Buck), Supp. II, Parti, 131 "For the Ahkoond" (Bierce), I, 209 "For the Dedication of the New City Library, Boston" (Holmes), Supp. I, Part 1, 308 "For the Fallen" (Levine), Supp. V, 188 "For the Last Wolverine" (Dickey), Supp. IV, Part 1, 182 "For the Man Cutting the Grass" (Oliver), Supp. VII, 235 "For the Marriage of Faustus and Helen" (Crane), I, 395-396, 399, 402 "For the Meeting of the National Sanitary Association, 1860" (Holmes), Supp. I, Part 1, 307 For the New Intellectual (Rand), Supp. IV, Part 2, 521, 526527, 527, 532 "For the New Railway Station in Rome" (Wilbur), Supp. Ill, Part 2, 554 "For the Night" (Kenyon), Supp. VII, 163 "For the Poem Patterson" (Williams), Retro. Supp. I, 424

436 / INDEX "For the Poets of Chile" (Levine), Supp. V, 188 "FOR THE REVOLUTIONARY OUTBURST BY BLACK PEOPLE" (Baraka), Supp. II, Part 1, 55 For the Time Being (Auden), Supp. II, Part 1, 2, 17, 18 For the Time Being (Dillard), Supp. VI, 23, 27, 29, 32, 34-35 "For the Union Dead" (Lowell), II, 551 For the Union Dead (Lowell), II, 543, 550-551, 554, 555 "For the Word Is Flesh" (Kunitz), Supp. Ill, Part 1, 262-264 "For Theodore Roethke: 19081963" (Lowell), II, 554 For Whom the Bell Tolls (Hemingway), II, 249, 254255, 261; III, 18, 363; Retro. Supp. I, 115, 176-177, 178, 184, 187 Forbes, Malcolm, Supp. IV, Part 1,94 Forbes, Waldo Emerson, II, 22; IV, 189 Forbes (magazine), Supp. IV, Part 1, 24 Forche, Carolyn, Supp. IV, Part 1,208 Ford, Arthur, Supp. IV, Part 1, 140 Ford, Ford Madox, I, 288, 405, 409, 417, 421, 423; II, 58, 144, 198, 221, 222, 257, 263, 265, 517, 536; III, 458, 464^465, 470^471, 472, 476; IV, 27, 126, 261; Retro. Supp. I, 127, 177, 178, 186, 231, 286-287, 418; Supp. II, Part 1, 107; Supp. Ill, Part 2, 617 Ford, Harry, Supp. V, 179 Ford, Henry, I, 295, 480-481; III, 292, 293; Supp. I, Part 1, 21, Part 2, 644; Supp. Ill, Part 2, 612, 613; Supp. IV, Part 1, 223; Supp. V, 290 Ford, John, Supp. I, Part 2, 422; Supp. HI, Part 2, 619 Ford, Newell F., IV, 259 Ford, Paul Leicester, II, 124

Ford, Richard, Supp. IV, Part 1, 342; Supp. V, 22, 57-75 Ford, Webster (pseudonym), see Masters, Edgar Lee Ford, Worthington C., I, 24 "Ford Madox Ford" (Lowell), II, 547 Fordyce, David, II, 113 Foregone Conclusion, A (Howells), II, 278-279, 282 "Foreign Affairs" (Kunitz), Supp. III, Part 1, 265 "Foreigner, The" (Jewett), II, 409410 Forensic and the Navigators (Shepard), Supp. Ill, Part 2, 439 Foreseeable Future, The (Price), Supp. VI, 265 "Forest Hymn, A" (Bryant), Supp. I, Part 1, 156, 162, 163, 164, 165, 170 "Forest in the Seeds, The" (Kingsolver), Supp. VII, 203 "Forest of the South, The" (Gordon), II, 199, 201 Forest of the South, The (Gordon), II, 197 Forester's Letters (Paine), Supp. I, Part 2, 508 "Forever and the Earth" (Bradbury), Supp. IV, Part 1, 102 "Forgotten Novel, A: Kate Chopin's The Awakening" (Eble), Supp. I, Part 1, 226 Forgotten Village, The (Steinbeck), IV, 51 Forgue, Guy J., Ill, 118, 119, 121 "Forlorn Hope of Sidney Lanier, The" (Leary), Supp. I, Part 1, 373 "Form Is Emptiness" (Baraka), Supp. II, Part 1,51 "Formal Elegy" (Berryman), I, 170 "Formalist Criticism: Its Principles and Limits" (Burke), I, 282 Forman, Milos, Supp. IV, Part 1, 236 "Formation of a Separatist, I" (Howe), Supp. IV, Part 2, 427

Forms of Discovery (Winters), Supp. II, Part 2, 812, 813 Forms of Fiction, The (Gardner and Dunlap), Supp. VI, 64 Forrestal, James, I, 491; Supp. I, Part 2, 489 Forrey, Carolyn, Supp. I, Part 1, 226 "Forsaken Merman" (Arnold), Supp. I, Part 2, 529 Forster, E. M., I, 292; IV, 201; Retro. Supp. I, 59, 232; Supp. Ill, Part 2, 503; Supp. V, 258 Forster, John, II, 315 Fort, Paul, II, 518, 528, 529; Retro. Supp. I, 55 Fortnightly Review (publication), III, 466 "Fortress, The" (Gluck), Supp. V, 82 "Fortress, The" (Sexton), Supp. II, Part 2, 682 Fortune, T. Thomas, Supp. II, Part 1, 159 Fortune (magazine), I, 25, 26, 30, 35-36, 37, 38; III, 2 Forty Poems Touching on Recent American History (ed. Bly), Supp. IV, Part 1, 61 Forty Stories (Barthelme), Supp. IV, Part 1, 47, 49, 53, 54 45 Mercy Street (Sexton), Supp. II, Part 2, 694, 695, 697 42nd Parallel, The (Dos Passos), I, 482, 484^85 Forum (magazine), Supp. IV, Part 1,42 Foscolo, Ugo, II, 543 Foss, Sam Walter, Supp. II, Part 1, 197 "Fossils, The" (Kinnell), Supp. III, Part 1, 244 Possum, Robert H., IV, 118 Foster, Charles H., Supp. I, Part 2,601 Foster, David E., Supp. I, Part 1, 70 Foster, Edward, Supp. IV, Part 2, 431,434 Foster, Elizabeth, III, 95 Foster, Emily, II, 309 Foster, Frank Hugh, I, 565

INDEX / 437 Foster, Phil, Supp. IV, Part 2, 574 Foster, Richard, III, 48, 289; IV, 142 Foster, Ruel E., II, 76 Foster, Stephen, Supp. I, Part 1, 100-101, Part 2, 699 Founding of Harvard College, The (Morison), Supp. I, Part 2, 485 "Fountain, The" (Bryant), Supp. I, Part 1, 157, 165, 166, 168 Fountain, The (O'Neill), III, 391 Fountain and Other Poems, The (Bryant), Supp. I, Part 1, 157 "Fountain Piece" (Swenson), Supp. IV, Part 2, 641 Fountainhead, The (film), Supp. IV, Part 2, 524 Fountainhead, The (Rand), Supp. IV, Part 2, 517, 521-523, 525, 531 Fountainhead, The: A Fiftieth Anniversary Celebration (Cox), Supp. IV, Part 2, 523 "Four Ages of Man, The" (Bradstreet), Supp. I, Part 1, 111, 115 Four American Indian Literary Masters (Velie), Supp. IV, Part 2,486 "Four Beasts in One; the Homo Cameleopard" (Poe), III, 425 Four Black Revolutionary Plays (Baraka), Supp. II, Part 1, 45 "Four Brothers, The" (Sandburg), III, 585 "Four for Sir John Davies" (Roethke), III, 540, 541 "Four Girls, The" (Alvarez), Supp. VII, 7 "Four in a Family" (Rukeyser), Supp. VI, 272 "Four Lakes' Days" (Eberhart), I, 525 "Four Meetings" (James), II, 327 Four Million, The (O. Henry), Supp. II, Part 1, 394, 408 "Four Monarchyes" (Bradstreet), Supp. I, Part 1, 105, 106, 116 "Four Mountain Wolves" (Silko), Supp. IV, Part 2, 561 Four of a Kind (Marquand), III, 54,55

"Four Poems" (Bishop), Supp. I, Part 1, 92 "Four Preludes on Playthings of the Wind" (Sandburg), III, 586 Four Quartets (Eliot), I, 570, 576, 580-582, 585, 587; II, 537; III, 539; Retro. Supp. I, 66, 67; Supp. II, Part 1, 1; Supp. IV, Part 1, 284; Supp. V, 343, 344 Four Saints in Three Acts (Stein), IV, 30, 31, 33, 43, 44-45 "Four Seasons" (Bradstreet), Supp. I, Parti, 112-113 "Four Sides of One Story" (Updike), Retro. Supp. I, 328 4-H Club (Shepard), Supp. Ill, Part 2, 439 "400-Meter Free Style" (Kumin), Supp. IV, Part 2, 442 "Four Skinny Trees" (Cisneros), Supp. VII, 64 Fourier, Charles, II, 342 Fourteen Hundred Thousand (Shepard), Supp. Ill, Part 2, 439 "14: In A Dark Wood: Wood Thrushes" (Oliver), Supp. VII, 244 "14 Men Stage Head Winter 16247 25" (Olson), Supp. II, Part 2, 574 Fourteen Stories (Buck), Supp. II, Part 1, 126 "Fourteenth Ward, The" (Miller), III, 175 Fourth Book of Peace, The (Kingston), Supp. V, 173 "Fourth Down" (Marquand), III, 56 "Fourth of July in Maine" (Lowell), II, 535, 552-553 Fourth Wall, The (Gurney), Supp. V, 109-110 Fowler, Douglas, Supp. IV, Part 1, 226, 227 Fowler, Henry Watson, Supp. I, Part 2, 660 Fowler and Wells, Retro. Supp. I, 393 Fowlie, Wallace, III, 217 Fox, Dixon Ryan, I, 337 Fox, Ruth, Supp. I, Part 2, 619

"Fox, The" (Levine), Supp. V, 181, 189 "Fox of Peapack, The" (White), Supp. I, Part 2, 677 Fox of Peapack, The (White), Supp. I, Part 2, 676, 677-678 Fox-Genovese, Elizabeth, Supp. IV, Part 1, 286 Fraenkel, Michael, III, 178, 183, 191 "Fragility" (Shields), Supp. VII, 318 "Fragment" (Ashbery), Supp. Ill, Parti, 11, 13, 14, 19,20 "Fragment" (Lowell), II, 516 "Fragment" (Ortiz), Supp. IV, Part 2, 507 "Fragment of a Meditation" (Tate), IV, 129 "Fragment of a Prologue" (Eliot), 1, 579-580 "Fragment of an Agon" (Eliot), I, 579-580 "Fragment of New York, 1929" (Eberhart), I, 536-537 "Fragments" (Emerson), II, 19 "Fragments of a Liquidation" (Howe), Supp. IV, Part 2, 426 Fragonard, Jean Honore, III, 275; IV, 79 Fraiman, Susan, Supp. IV, Part 1, 324 France, Anatole, IV, 444; Supp. I, Part 2, 631 France and England in North America (Parkman), Supp. II, Part 2, 596, 600-605, 607, 613614 Franchere, Hoyt C, II, 131 Franchiser, The (Elkin), Supp. VI, 51-52, 58 Francis I, King, I, 12 Francis, Lee, Supp. IV, Part 2, 499 Francis of Assisi, Saint, III, 543; IV, 69, 375, 410; Supp. I, Part 2, 394, 397, 441, 442, 443 Franco, Francisco, II, 261 Franconia (Fraser), Retro. Supp. I, 136 "Franconia" tales (Abbott), Supp. I, Part 1, 38

438 / INDEX Frank, Charles P., IV, 448 Frank, Gerold, II, 100 Frank, Jerome, Supp. I, Part 2, 645 Frank, Joseph, II, 587; IV, 259 Frank, M. Z., IV, 23 Frank, Waldo, I, 106, 109, 117, 119, 120,229,236,245,259, 400, 403, 404 Frank Leslie's Illustrated Newspaper (periodical), Supp. I, Part 1, 35 Frankel, Charles, III, 291 Frankel, Haskel, Supp. I, Part 2, 448, 453 Frankenberg, Lloyd, I, 436, 437, 445, 446, 450; III, 194, 217 Frankenstein (film), Supp. IV, Part 1, 104 Frankenstein (Gardner), Supp. VI, 72 Frankfurter, Felix, I, 489 Franklin, Benjamin, II, 6, 8, 92, 101-125, 127, 295, 296, 302, 306; III, 74, 90; IV, 73, 193; Supp. I, Part 1, 306, Part 2, 411,503,504,506,507,510, 516, 518, 522, 524, 579, 639 Franklin, Cynthia, Supp. IV, Part 1,332 Franklin, H. Bruce, III, 97 Franklin, R. W., I, 473; Retro. Supp. I, 29, 41, 43, 47 Franklin, Sarah, II, 122 Franklin, Temple, II, 122 Franklin, William, II, 122; Supp. I, Part 2, 504 Franklin Evans (Whitman), Retro. Supp. I, 393 "Franny" (Salinger), III, 564, 565566 Franny and Zooey (Salinger), III, 552, 564-567; IV, 216 Fraser, Joe, in, 46 Fraser, Marjorie Frost, Retro. Supp. I, 136 Frayn, Michael, Supp. IV, Part 2, 582 Frazee, E. S., Supp. I, Part 2, 381 Frazee, Esther Catherine, see Lindsay, Mrs. Vachel Thomas (Esther Catherine Frazee)

Frazer, James, Retro. Supp. I, 80 Frazer, Sir James G., I, 135; II, 204; III, 6-7; IV, 70; Supp. I, Part 1, 18, Part 2, 541 Frazier, David L., II, 294 "Freak Show, The" (Sexton), Supp. II, Part 2, 695 Freddy's Book (Gardner), Supp. VI, 72 Frederic, Harold, I, 409; II, 126149, 175, 276, 289; Retro. Supp. I, 325 "Frederick Douglass" (Dunbar), Supp. II, Part 1, 197, 199 "Frederick Douglass" (Hayden), Supp. II, Part 1, 363 Frederick the Great, II, 103; Supp. I, Part 2, 433 Fredrickson, George M., Supp. I, Part 2, 589, 601 "Free" (O'Hara), III, 369 Free Air (Lewis), II, 441 "Free Fantasia: Tiger Flowers" (Hayden), Supp. II, Part 1, 363, 366 "Free Lance, The" (Mencken), III, 104, 105 "Free Man" (Hughes), Supp. I, Part 1, 333 "Free Man's Worship, A" (Russell), Supp. I, Part 2, 522 Freedman, Richard, Supp. V, 244 Freedman, William, Supp. I, Part 2,453 Freedom (newspaper), Supp. IV, Part 1, 361, 362 "Freedom" (White), Supp. I, Part 2,659 Freedom Is the Right to Choose: An Inquiry into the Battle for the American Future (MacLeish), 111,3 "Freedom, New Hampshire" (Kinnell), Supp. Ill, Part 1, 238, 239, 251 "Freedom's Plow" (Hughes), Supp. I, Part 1, 346 Freeing of the Dust, The (Levertov), Supp. Ill, Part 1, 281-282 Freeman, Douglas Southall, Supp. I, Part 2, 486, 493

Freeman, Joseph, II, 26; Supp. I, Part 2, 610 Freeman, Lucy, IV, 401 Freeman, Mary E. Wilkins, II, 401 Freeman, The (publication), I, 245 Freeman's Journal (periodical), Supp. II, Part 1, 260, 261 Fremont, John Charles, Supp. I, Part 2, 486 Fremstad, Olive, I, 319; Retro. Supp. I, 10 French, Warren, III, 574; IV, 71 French Connection, The (film), Supp. V, 226 French Poets and Novelists (James), II, 336; Retro. Supp. 1,220 French Ways and Their Meaning (Wharton), IV, 319; Retro. Supp. I, 378 Freneau, Eleanor Forman (Mrs. Philip Freneau), Supp. II, Part 1,266 Freneau, Philip M., I, 335; II, 295; Supp. I, Part 1, 124, 125, 127, 145; Supp. II, Part 1, 65, 253277 Frenz, Horst, I, 95; III, 408 Frescoes for Mr. Rockefeller's City (MacLeish), III, 14-15 Freud, Sigmund, I, 55, 58, 59, 66, 67, 135, 241, 242, 244, 247, 248, 283; II, 27, 365, 370, 546547; III, 134, 390, 400, 418, 488; IV, 7, 70, 138, 295; Retro. Supp. I, 80, 176, 253, Supp. I, Part 1, 13, 43, 253, 254, 259, 260, 265, 270, 315, Part 2, 493, 527, 616, 643, 647, 649; Supp. IV, Part 2, 450 "Freud and Literature" (Trilling), Supp. Ill, Part 2, 502-503 Freud: The Mind of the Moralist (Sontag and Rieff), Supp. Ill, Part 2, 455 "Freud: Within and Beyond Culture" (Trilling), Supp. Ill, Part 2, 508 Freudian Psychology and Veblen 's Social Theory, The (Schneider), Supp. I, Part 2, 650

INDEX / 439 Freudian Wish and Its Place in Ethics, The (Holt), I, 59 Freudianism, I, 66, 152, 192, 248, 273, 365; II, 261, 272, 355, 380; 111,51,180,273,308-309,349, 352, 397, 399, 506, 563, 564; IV, 70, 233, 429, 441 "Freud's Room" (Ozick), Supp. V, 268 Frey, Carroll, III, 121 Friar, Kimon, I, 404 "Friday Morning Trial of Mrs. Solano, The" (Rios), Supp. IV, Part 2, 538, 548 Friedman, Bruce Jay, I, 161; Supp. IV, Part 1, 379 Friedman, Lawrence S., Supp. V, 273 Friedman, M. J., Ill, 360; IV, 118 Friedman, Milton, Supp. I, Part 2, 648 Friedman, Norman, I, 431-432, 435, 439, 450 Friedman, Paul, I, 404 Friedmann, Georges, Supp. I, Part 2,645 Friedrich, Otto, Supp. I, Part 2, 627 Friend, Julius, Retro. Supp. I, 80 Friend, Julius W., I, 119 Friend, The (Coleridge), II, 10 "Friend Husband's Latest" (Sayre), Retro. Supp. I, 104 "Friend of the Fourth Decade, The" (Merrill), Supp. Ill, Part 1,327 "Friend to Alexander, A" (Thurber), Supp. I, Part 2, 616 "Friendly Debate between a Conformist and a NonConformist, A" (Wild), IV, 155 "Friends" (Beattie), Supp. V, 23, 27 "Friends" (Paley), Supp. VI, 219, 226 "Friends" (Sexton), Supp. II, Part 2,693 Friend's Delight, The (Bierce), I, 195 "Friends from Philadelphia" (Updike), Retro. Supp. I, 319

"Friends of the Family, The" (McCarthy), II, 566 "Friendship" (Emerson), Supp. II, Part 1, 290 "Frigate Pelican, The" (Moore), 111,208,210-211,215 Frobenius, Leo, III, 475; Supp. Ill, Part 2, 620 "Frog Pond, The" (Kinnell), Supp. III, Part 1, 254 Frohock, W. M., I, 34, 42, 47, 311; II, 53; IV, 259 Frolic of His Own, A (Gaddis), Supp. IV, Part 1, 279, 291, 292-294 "From a Survivor" (Rich), Supp. I, Part 2, 563 From a Writer's Notebook (Brooks), I, 254 "From an Old House in America" (Rich), Supp. I, Part 2, 551, 565-567 From Bauhaus to Our House (Wolfe), Supp. Ill, Part 2, 580, 581, 584 "From Bernard Malamud, with Discipline and Love" (Freedman), Supp. I, Part 2, 453 "From Chicago" (Anderson), I, 108-109 From Death to Morning (Wolfe), IV, 450, 456, 458 "From Feathers to Iron" (Kunitz), Supp. Ill, Part 1, 261 "From Fifth Avenue Up" (Barnes), Supp. Ill, Part 1, 33, 44 "From Grand Canyon to Burbank" (Miller), III, 186 From Here to Eternity (Jones), I, 477 From Jordan's Delight (Blackmur), Supp. II, Part 1, 91 From Morn to Midnight (Kaiser), 1,479 "From Pico, the Women: A Life" (Creeley), Supp. IV, Part 1, 149 From Ritual to Romance (Weston), II, 540; III, 12; Supp. I, Part 2, 439

"From Room to Room" (Kenyon), Supp. VII, 159, 163-165 From Room to Room (Kenyon), Supp. VII, 163-165, 166, 167 From Sand Creek: Rising in this Heart Which Is Our America (Ortiz), Supp. IV, Part 2, 512513 "From Sea Cliff, March" (Swenson), Supp. IV, Part 2, 649 "From the Antigone" (Yeats), III, 459 "From the Childhood of Jesus" (Pinsky), Supp. VI, 244-245, 247 "From the Corpse Woodpiles, From the Ashes" (Hayden), Supp. II, Part 1, 370 "From the Country to the City" (Bishop), Supp. I, Part 1, 85, 86 "From the Cupola" (Merrill), Supp. Ill, Part 1, 324-325, 331 "From the Dark Side of the Earth" (Gates), Supp. II, Part 2, 510 "From the Diary of One Not Born" (Singer), IV, 9 "From the East, Light" (Carver), Supp. Ill, Part 1, 138 From the First Nine: Poems 19461976 (Merrill), Supp. Ill, Part 1,336 "From the Flats" (Lanier), Supp. I, Part 1, 364 From the Heart of Europe (Matthiessen), III, 310 "From the Memoirs of a Private Detective" (Hammett), Supp. IV, Part 1, 343 "From the Nursery" (Kenyon), Supp. VII, 171 From the Terrace (O'Hara), III, 362 Fromm, Erich, I, 58 "Front, A" (Jarrell), II, 374 Front, The (film), Supp. I, Part 1, 295 "Frost Flowers" (Kenyon), Supp. VII, 168 Frost, Isabelle Moodie, II, 150, 151

440 / INDEX Frost, Jeanie, II, 151 Frost, John Eldridge, II, 413 Frost, Mrs. Robert (Elinor White), II, 151, 152 Frost, Robert, I, 26, 27, 60, 63, 64, 171, 229, 303, 311, 326, 418; II, 23, 55, 58, 150-172, 276, 289, 388, 391, 471, 523, 527, 529, 535; III, 5, 23, 67, 269, 271, 272,275,287,453,510,523, 536, 575, 581, 591; IV, 140, 190, 415; Retro. Supp. I, 67, 121-144, 276, 287, 292, 298, 299, 311, 413; Supp. I, Part 1, 80, 242, 263, 264, Part 2, 387, 461, 699, 705; Supp. II, Part 1, 4, 19, 26, 103; Supp. Ill, Part 1, 63, 74-75, 239, 253, Part 2, 546, 592, 593; Supp. IV, Part 1, 15, Part 2, 439, 445, 447, 448, 599, 601 Frost, William Prescott, II, 150151 "Frost: A Dissenting Opinion" (Cowley), Supp. II, Part 1, 143 "Frost: He Is Sometimes a Poet and Sometimes a StumpSpeaker" (News-Week), Retro. Supp. I, 137 Frothingham, Nathaniel, I, 3 Frothingham, Octavius B., IV, 173 "Frozen City, The" (Nemerov), III, 270 "Frozen Fields, The" (Bowles), Supp. IV, Part 1, 80 "Fruit Garden Path, The" (Lowell), 11,516 "Fruit of the Flower" (Cullen), Supp. IV, Part 1, 167 Fruit of the Tree, The (Wharton), IV, 314-315; Retro. Supp. I, 367, 370-371, 373 "Fruit of Travel Long Ago" (Melville), III, 93 Fruits and Vegetables (Jong), Supp.V, 113, 115, 117, 118, 119 Fruman, Norman, III, 574 Fry, Christopher, Supp. I, Part 1, 270 Fryckstedt, Olov W., I, 426; II, 294

Frye, Northrop, I, 473, 590; Supp. I, Part 2, 530; Supp. II, Part 1, 101 Fryer, Judith, Retro. Supp. I, 379 "F. S. F., 1896-1996, R.I.P." (Doctorow), Retro. Supp. I, 97 Fuchs, Daniel, IV, 95 Fuchs, Miriam, Supp. IV, Part 1, 284 Fuehrer Bunker, The (Snodgrass), Supp. VI, 314, 315-317, 319321, 323 Fuertes, Gloria, Supp. V, 178 Fugitive, The (magazine), III, 485, 491; IV, 121, 122, 127, 236, 238 Fugitive Group, The (Cowan), IV, 120 Fugitive Kind, The (Williams), IV, 381, 383 "Fugitive Slave Law, The" (Emerson), II, 13 Fugitives, The (group), IV, 122, 124, 125, 131, 237, 238 Fugitives, The: A Critical Account (Bradbury), IV, 130 Fugitive's Return (Glaspell), Supp. Ill, Parti, 182-184 "Full Fathom Five" (Plath), Supp. I, Part 2, 538 "Full Moon" (Hayden), Supp. II, Part 1, 370 Full Moon and Other Plays (Price), Supp. VI, 266 "Full Moon and You're Not Here" (Cisneros), Supp. VII, 71-72 "Full Moon: New Guinea" (Shapiro), Supp. II, Part 2, 707 Fuller, B. A. G., Ill, 605 Fuller, Edmund, IV, 376 Fuller, J. W., Supp. I, Part 2, 681 Fuller, Margaret, I, 261; II, 7, 52, 276; IV, 172; Retro. Supp. I, 155-156, 163; Supp. I, Part 2, 524; Supp. II, Part 1, 279-306 Fuller, Thomas, II, 111, 112 "Fullness of Life, The" (Wharton), Retro. Supp. I, 363 Fulton, A. R., IV, 376 Fulton, Robert, Supp. I, Part 2, 519; Supp. II, Part 1,73 Fun (publication), I, 195

Function of Criticism, The (Winters), Supp. II, Part 2, 812, 813 "Fundamental Project of Technology, The" (Kinnell), Supp. Ill, Part 1, 253 "Fundamentalism" (Tate), IV, 125 Funke, Lewis, IV, 401 "Funnel" (Sexton), Supp. II, Part 2,675 Furioso (magazine), III, 268 Furious Passage of James Baldwin, The (Eckman), Supp. I, Part 1, 69 "Furious Seasons, The" (Carver), Supp. Ill, Part 1, 137 Furious Seasons and Other Stories (Carver), Supp. Ill, Part 1, 142, 143, 146 Furness, William, II, 22 "Furnished Room, The" (Hayden), Supp. II, Part 1, 386-387, 394, 397, 399, 406, 408 Further Fables for Our Time (Thurber), Supp. I, Part 2, 612 "Further in Summer than the Birds" (Dickinson), I, 471 Further Poems of Emily Dickinson (Bianchi and Hampson, ed.), Retro. Supp. I, 35 Further Range, A (Frost), II, 155; Retro. Supp. I, 132, 136, 137, 138, 139 "Fury of Aerial Bombardment, The" (Eberhart), I, 535-536 "Fury of Flowers and Worms, The" (Sexton), Supp. II, Part 2, 694 "Fury of Rain Storms, The" (Sexton), Supp. II, Part 2, 695 Fussell, Edwin, I, 120; III, 525 Fussell, Paul, Supp. V, 241 "Future, if Any, of Comedy, The" (Thurber), Supp. I, Part 2, 620 Future is Ours, Comrade, The: Conversations with the Russians (Kosinski), Supp. VII, 215 "Future Life, The" (Bryant), Supp. I, Part 1, 170 Future Punishment of the Wicked, The (Edwards), I, 546

INDEX / 441 Futuria Fantasia (magazine), Supp. IV, Part 1, 102 Futurism, Supp. I, Part 1, 257 Gable, Clark, III, 161 Gabriel, Ralph H., Supp. I, Part 1, 251 Gabriel, Trip, Supp. V, 212 "Gabriel" (Rich), Supp. I, Part 2, 557 Gabriel Conroy (Harte), Supp. II, Part 1, 354 "Gabriel's Truth" (Kenyon), Supp. VII, 166 Gaddis, William, Supp. IV, Part 1, Part 2, 279-296, 484; Supp. V,52 Gaer, Joseph, II, 484 Gagey, Edmond M., Ill, 407 Gaines, Jim, IV, 401 Galamain, Ivan, Supp. Ill, Part 2, 624 Galantiere, Lewis, I, 119 Galbraith, John Kenneth, Supp. I, Part 2, 645, 650 Galdos, Benito Perez, see Perez Galdos, Benito Gale, Zona, Supp. I, Part 2, 613 "Gale in April" (Jeffers), Supp. II, Part 2, 423 Galignani, Giovanni Antonio, II, 315 Galileo, I, 480-481 Gallatin, Albert, I, 5 "Gallery of Real Creatures, A" (Thurber), Supp. I, Part 2, 619 Galloway, David D., I, 165; IV, 118,234 Gallows Songs (Snodgrass), Supp. VI, 317 Gallup, Donald, I, 590; III, 404, 478; IV, 47 Galsworthy, John, III, 70, 153, 382 Gallon Case, The (Macdonald), Supp. IV, Part 2, 463, 473, 474 "Gambler, the Nun, and the Radio, The" (Hemingway), II, 250 "Gambler's Wife, The" (Dunbar), Supp. II, Part 1, 196 "Game at Salzburg, A" (Jarrell), II, 384, 389

"Game of Catch, A" (Wilbur), Supp. Ill, Part 2, 552 "Games Two" (Wilbur), Supp. Ill, Part 2, 550 "Gamut, The" (Angelou), Supp. IV, Part 1, 15 Gandhi, Mahatma, III, 179, 296297; IV, 170, 185, 367 Gansevoort, Guert, III, 94 Gansevoort, Peter, III, 92 Gansevoort family, III, 75 Garbage (Ammons), Supp. VII, 24, 35-36 Garbage Man, The (Dos Passos), I, 478, 479, 481, 493 Garbo, Greta, Supp. I, Part 2, 616 Garcia Marquez, Gabriel, Supp. V, 244 "Garden" (Marvell), IV, 161 "Garden, The" (Gliick), Supp. V, 83 "Garden, The" (Strand), Supp. IV, Part 2, 629 "Garden by Moonlight, The" (Lowell), II, 524 "Garden Lodge, The" (Gather), I, 316,317 Garden of Adonis, The (Gordon), II, 196, 204-205, 209 Garden of Earthly Delights, A (Gates), Supp. II, Part 2, 504, 507-509 "Garden of Eden" (Hemingway), II, 259 Garden of Eden, The (Hemingway), Retro. Supp. I, 186, 187-188 "Gardens, The" (Oliver), Supp. VII, 236 "Gardens of Zufii, The" (Merwin), Supp. Ill, Parti, 351 Gardiner, Harold C, II, 53, 509; III, 72 Gardiner, Judith Kegan, Supp. IV, Part 1, 205 Gardner, Erie Stanley, Supp. IV, Part 1, 121, 345 Gardner, Helen, I, 590 Gardner, Isabella, IV, 127 Gardner, John, Supp. I, Part 1, 193, 195, 196, 198; Supp. Ill,

Part 1, 136, 142, 146; Supp. VI, 61-62, 63-76 Gardens, S. S. See Snodgrass, W. D. Garibaldi, Giuseppe, I, 4; II, 284 Garis, Robert, I, 143 Garland Companion, The (Zverev), Retro. Supp. I, 278 Garland, Hamlin, I, 407; II, 276, 289; III, 576; Retro. Supp. I, 133; Supp. I, Part 1, 217; Supp. IV, Part 2, 502 Garments the Living Wear (Purdy), Supp. VII, 278-279, 280-281 Garner, Stanton, II, 148 Garnett, Edward, I, 405, 409, 417, 426; III, 27 Garrett, George, Supp. I, Part 1, 196, 198; Supp. VII, 95-96 Garrett, George P., Ill, 243 Garrigue, Jean, IV, 424 Garrison, Fielding, III, 105 Garrison, William Lloyd, Supp. I, Part 2, 524, 588, 683, 685, 686, 687 "Garrison of Cape Ann, The" (Whittier), Supp. I, Part 2, 691, 694 Garry Moore Show (television show), Supp. IV, Part 2, 575 "Garter Motif (White), Supp. I, Part 2, 673 Garvey, Marcus, Supp. Ill, Part 1, 175, 180; Supp. IV, Part 1, 168 Gary Schools, The (publication), I, 232 Gas (Kaiser), I, 479 Gas-House McGinty (Farrell), II, 41^2 Gaskell, Elizabeth, A., Supp. I, Part 2, 192, 580 Gass, W. H., IV, 48 Gass, William H., Supp. V, 44, 52, 238; Supp. VI, 77, 78-80, 8196 Gassner, John, III, 169, 407; IV, 376, 381, 401; Supp. I, Part 1, 284, 292 Gates, David, Supp. V, 24 Gates, Elmer, I, 515-516

442 / INDEX Gates, Henry Louis, Retro. Supp. I, 194, 195, 203 Gates, Lewis E., Ill, 315, 330 "Gates, The" (Rukeyser), Supp. VI, 286 Gates, The (Rukeyser), Supp. VI, 271, 274, 281 Gates of Wrath, The; Rhymed Poems (Ginsberg), Supp. II, Parti, 311, 319 Gather Together in My Name (Angelou), Supp. IV, Part 1, 2, 3,4-6, 11 Gathering of Fugitives, A (Trilling), Supp. Ill, Part 2, 506, 512 Gathering ofZion, The: The Story of the Mormon Trail (Stegner), Supp. IV, Part 2, 599, 602-603 Gaudier-Brzeska, Henri, III, 459, 464, 465, 477 Gauguin, Paul, I, 34; IV, 290; Supp. IV, Part 1,81 "Gauley Bridge" (Rukeyser), Supp. VI, 278 Gaunt, Marcia E., Supp. I, Part 1, 198 Gauss, Christian, II, 82; IV, 427, 439-440, 444 Gaustad, Edwin Scott, I, 565 Gautier, Theophile, II, 543; III, 466, 467; Supp. I, Part 1, 277 Gay, John, II, 111; Supp. I, Part 2,523 Gay, Peter, I, 560, 565 Gay, Sydney Howard, Supp. I, Part 1, 158 Gay, Walter, IV, 317 Gay and Lesbian Poetry in Our Time (publication), Supp. IV, Part 2, 653 "Gay Chaps at the Bar" (Brooks), Supp. Ill, Part 1, 74, 75 Gayatri Prayer, The, III, 572 Gayle, Addison, Jr., Supp. I, Part 1,70 Gaylord, Winfield R., Ill, 579-580 "Gazebo" (Carver), Supp. Ill, Part 1, 138, 144, 145 Gazzo, Michael V., Ill, 155 Geddes, Virgil, III, 407; Supp. I, Part 2, 627

Gefvert, Constance J., IV, 166 "Gegenwart" (Goethe), Supp. II, Part 1, 26 Gehman, Richard B., IV, 307 Geismar, Maxwell, I, 119, 333, 426, 520; II, 178, 195, 431, 438, 484; III, 71, 72, 336; IV, 71, 118, 213, 472, 473; Supp. I, Part 1, 198 Gelb, Arthur, III, 407; IV, 380, 401 Gelb, Philip, III, 169 Gelbart, Larry, Supp. IV, Part 2, 591 Gelfant, Blanche H., I, 496; II, 27, 41,53 Gellhorn, Martha, see Hemingway, Mrs. Ernest (Martha Gellhorn) Gelpi, Albert, I, 473; Supp. I, Part 2, 552, 554, 560 Gelpi, Barbara, Supp. I, Part 2, 560 Gemini: an extended autobiographical statement on my first twenty-five years of being a black poet (Giovanni), Supp. IV, Part 1, 11 "General Aims and Theories" (Crane), I, 389 General Died at Dawn, The (Odets), Supp. II, Part 2, 546 "General Gage's Confession" (Freneau), Supp. II, Part 1, 257 "General Gage's Soliloquy" (Freneau), Supp. II, Part 1, 257 General History of the Robberies and Murders of the Most Notorious Pyrates from Their First Rise and Settlement in the Island of New Providence to the Present Year, A (Johnson), Supp. V, 128 "General William Booth Enters into Heaven" (Lindsay), Supp. I, Part 2, 374, 382, 384, 385388, 389, 392, 399 General William Booth Enters into Heaven and Other Poems (Lindsay), Supp. I, Part 2, 379, 381, 382, 387-388, 391 "Generations of Men, The" (Frost), Retro. Supp. I, 128

Generous Man, A (Price), Supp. VI, 259, 260, 261 Genesis, Retro. Supp. I, 250, 256 Genesis (biblical book), I, 279; II, 540 "Genesis" (Stegner), Supp. IV, Part 2, 604 Genesis: Book One (Schwartz), Supp. II, Part 2, 640, 651-655 Genet, Jean, I, 71, 82, 83, 84; Supp. IV, Part 1, 8 "Genetic Expedition" (Dove), Supp. IV, Part 1, 249, 257 "Genetics of Justice" (Alvarez), Supp. VII, 19 "Genial Host, The" (McCarthy), II, 564 "Genie in the Bottle, The" (Wilbur), Supp. Ill, Part 2, 542 "Genius," The (Dreiser), I, 497, 501,509-511,519 "Genius, The" (MacLeish), III, 19 "Genius Child" (Hughes), Retro. Supp. I, 203 "Genteel Tradition in American Philosophy, The" (Santayana), I, 222 Gentle Crofter, The (O. Henry), Supp. II, Part 1, 410 "Gentle Lena, The" (Stein), IV, 37, 40 Gentleman Caller, The (Williams), IV, 383 "Gentleman from Cracow, The" (Singer), IV, 9 "Gentleman of Bayou Teche, A" (Chopin), Supp. I, Part 1, 211212 "Gentleman of Shalott, The" (Bishop), Supp. I, Part 1, 85, 86 Gentleman's Agreement (Hobson),

III, 151

Gentleman's Magazine, II, 114 Gentry, Marshall Bruce, Supp. IV, Part 1, 236 "Genuine Man, The" (Emerson), II, 10 "Geode" (Frost), II, 161 Geographical History of America, ), IV, 31, 45

INDEX / 443 Geography and Plays (Stein), IV, 29-30, 32, 43, 44 Geography of a Horse Dreamer (Shepard), Supp. Ill, Part 2, 432 Geography III (Bishop), Supp. I, Part 1, 72, 73, 76, 82, 93, 94, 95 George II, King, I, 352, 547 George III, King, II, 120; Supp. I, Part 1, 102, Part 2, 404, 504, 506, 507 George V, King, II, 337 George, Diana Hume, Supp. IV, Part 2, 447, 449, 450 George, Henry, II, 276; Supp. I, Part 2, 518 George, Jan, Supp. IV, Part 1, 268 George Bernard Shaw: His Plays (Mencken), III, 102 George Mills (Elkin), Supp. VI, 53-54 "George Robinson: Blues" (Rukeyser), Supp. VI, 279 "George Thurston" (Bierce), I, 202 George's Mother (Crane), I, 408 Georgia Boy (Caldwell), I, 288, 305-306, 308, 309, 310 "Georgia: Invisible Empire State" (Du Bois), Supp. II, Part 1, 179 "Georgia Night" (Toomer), Supp. Ill, Part 2, 481 Georgia Scenes (Longstreet), II, 70, 313; Supp. I, Part 1,352 Georgics (Virgil), Retro. Supp. I, 135 Georgoudaki, Ekaterini, Supp. IV, Part 1, 12 Gerald's Game (King), Supp. V, 141, 148-150, 151, 152 Gerald's Party (Coover), Supp. V, 49-50, 51, 52 "Geraldo No Last Name" (Cisneros), Supp. VII, 60-61 Gerando, Joseph Marie de, II, 10 Gerhardt, Rainer, Supp. IV, Part 1, 142 "German Girls! The German Girls!, The" (MacLeish), III, 16 "German Refugee, The" (Malamud), Supp. I, Part 2, 436, 437

"Germany's Reichswehr" (Agee), 1,35 Germer, Rudolf, I, 590 Germinal (Zola), III, 318, 322 Gernsback, Hugo, Supp. IV, Part 1, 101 "Gerontion" (Eliot), I, 569, 574, 577, 578, 585, 588; III, 9, 435, 436; Retro. Supp. I, 290 Gerry, Elbridge, Supp. I, Part 2, 486 Gershwin, Ira, Supp. I, Part 1, 281 Gerstenberger, Donna, III, 289 Gerstner, John H., I, 565 Gertrude of Stony Island Avenue (Purdy), Supp. VII, 281-282 Gertrude Stein (Sprigge), IV, 31 Gertrude Stein: A Biography of Her Work (Sutherland), IV, 38 "Gertrude Stein and the Geography of the Sentence" (Gass), Supp. VI, 87 Gesell, Silvio, III, 473 Getlin, Josh, Supp. V, 22 "Getting Born" (Shields), Supp. VII, 311 "Getting There" (Plath), Supp. I, Part 2, 539, 542 "Gettysburg: July 1, 1863" (Kenyon), Supp. VII, 172 Gettysburg, Manila, Acoma (Masters), Supp. I, Part 2, 471 "Ghazals: Homage to Ghalib" (Rich), Supp. I, Part 2, 557 Ghost, The (Crane), I, 409, 421 "Ghost of the Buffaloes, The" (Lindsay), Supp. I, Part 2, 393 Ghost Town (Coover), Supp. V, 52-53 Ghost Writer, The (Roth), Supp. Ill, Part 2, 420-421 "Ghostlier Demarcations, Keener Sounds" (Vendler), Supp. I, Part 2, 565 "Ghostly Father, I Confess" (McCarthy), II, 565-566 Ghostly Lover, The (Hardwick), Supp. Ill, Part 1, 194-196, 208, 209

Ghosts (Ibsen), III, 152 Ghosts (Wharton), IV, 316, 327 "G.I. Graves in Tuscany" (Hugo), Supp. VI, 138 Giachetti, Fosco, Supp. IV, Part 2,520 "Giacometti" (Wilbur), Supp. Ill, Part 2, 551 Giacomo, Padre, II, 278-279 Giant Weapon, The (Winters), Supp. II, Part 2, 810 "Giant Woman, The" (Gates), Supp. II, Part 2, 523 Gibbon, Edward, I, 4, 378; IV, 126; Supp. I, Part 2, 503; Supp. Ill, Part 2, 629 Gibbons, Richard, Supp. I, Part 1, 107 Gibbs, Barbara, Supp. IV, Part 2, 644 Gibbs, Wolcott, Supp. I, Part 2, 604, 618 "Gibbs" (Rukeyser), Supp. VI, 273 Gibson, Donald B., I, 426; Supp. I, Part 1, 348 Gibson, Wilfrid W., Retro. Supp. I, 128 Gibson, William M., II, 293, 294; IV, 212 "GIBSON" (Baraka), Supp. II, Part 1, 54 Gide, Andre, I, 271, 290; II, 581; III, 210; IV, 53, 289; Supp. I, Part 1, 51; Supp. IV, Part 1, 80, 284, 347, Part 2, 681,682 Gideon Planish (Lewis), II, 455 Gielgud, John, I, 82 Gierow, Dr. Karl Ragnar, III, 404 "Gift, The" (Creeley), Supp. IV, Part 1, 153 "Gift, The" (Doolittle), Supp. I, Part 1, 267 Gift, The (Nabokov), III, 246, 255, 261-263; Retro. Supp. I, 264, 266, 268-270, 273, 274-275, 278 "Gift from the City, A" (Updike), Retro. Supp. I, 320 "Gift of God, The" (Robinson), 111,512,517,518-521,524

444 / INDEX Gift of the Black Folk, The: The Negroes in the Making of America (Du Bois), Supp. II, Part 1, 179 "Gift of the Magi, The" (O. Henry), Supp. II, Part 1, 394, 406, 408 "Gift of the Osuo, The" (Johnson), Supp. VI, 194 "Gift of the Prodigal, The" (Taylor), Supp. V, 314, 326 "Gift Outright, The" (Frost), II, 152; Supp. IV, Part 1, 15 Gil Bias (Le Sage), II, 290 "Gila Bend" (Dickey), Supp. IV, Part 1, 185-186 Gilbert, Sandra, Retro. Supp. I, 42 Gilbert, Susan, see Dickinson, Mrs. William A. Gilbert and Sullivan, Supp. IV, Part 1, 389 Gilded Age, The (Twain), III, 504; IV, 198 "Gilded Six-Bits, The" (Hurston), Supp. VI, 154-155 Gilder, Richard Watson, Supp. I, Part 2, 418 Gilder, Rosamond, IV, 376; Supp. I, Part 2, 627 Gildersleeve, Basil, Supp. I, Part 1,369 Giles, Barbara, II, 195 Giles, H. A., Retro. Supp. I, 289 Giles Corey of the Salem Farms (Longfellow), II, 505, 506 Giles Goat-Boy (Barm), I, 121, 122-123, 129, 130, 134, 135138; Supp. V, 39 Gilkes, Lillian, I, 426; II, 148 Gill, Brendan, Supp. I, Part 2, 626, 659, 660, 681 Gillette, Chester, I, 512 Gillikin, Dure J., II, 390 Gillis, Jim, IV, 196 Gillis, Steve, IV, 195 Gilman, Charlotte Perkins, Supp. I, Part 2, 637; Supp. V, 121, 284, 285 Gilman, Daniel Coit, Supp. I, Part 1, 361, 368, 370

Gilman, Richard, IV, 115, 118, 235; Supp. I, Part 1, 198; Supp. IV, Part 2, 577 Gilman, William H., II, 22; III, 96,97 Gilmore, Eddy, Supp. I, Part 2, 618 Gilpin, Charles, III, 392 Gilpin, Laura, Retro. Supp. I, 7 Gilpin, Sam, Supp. V, 213 Gilpin, William, Supp. IV, Part 2, 603 "Gil's Furniture Bought & Sold" (Cisneros), Supp. VII, 61-62, 64 Gimbel, Peter, Supp. I, Part 2, 525 "Gimpel the Fool" (Singer), IV, 14 Gimpel the Fool and Other Stories (Singer), IV, 1, 7-9, 10, 12 "Gin" (Levine), Supp. V, 193 "Gingerbread House, The" (Coover), Supp. V, 42^3 Gingerbread Lady, The (Simon), Supp. IV, Part 2, 580, 583584, 588 Gingerich, Willard, Supp. IV, Part 2, 510 Gingrich, Arnold, III, 573; Retro. Supp. I, 113 Ginsberg, Allen, I, 183; Retro. Supp. I, 411, 426, 427; Supp. II, Part 1, 30, 32, 58, 307-333; Supp. Ill, Part 1, 91, 96, 98, 100, 222, 226, Part 2, 541, 627; Supp. IV, Part 1, 79, 90, 322, Part 2, 502; Supp. V, 168, 336 Giorgi, Amedeo, II, 365 Giotto, Supp. I, Part 2, 438 Giovanni, Nikki, Supp. I, Part 1, 66; Supp. II, Part 1, 54; Supp. IV, Parti, 11 Giovanni's Room (Baldwin), Supp. I, Part 1, 51, 52, 55-56, 57, 60, 63, 67; Supp. Ill, Part 1, 125 Giovannitti, Arturo, I, 476 "Giraffe" (Swenson), Supp. IV, Part 2, 651 Giraldi, Giovanni Battista, see Cinthio

"Girl" (Kincaid), Supp. VII, 182183 "Girl from Red Lion, P.A., A" (Mencken), III, 111 "Girl of the Golden West" (Didion), Supp. IV, Part 1, 195, 208,211 Girl of the Golden West, The (Puccini), III, 139 "Girl on the Baggage Truck, The" (O'Hara), III, 371-372 Girl Who Loved Tom Gordon, The (King), Supp. V, 138, 152 "Girl with Silver Eyes, The" (Hammett), Supp. IV, Part 1, 344, 345 "Girls at the Sphinx, The" (Farrell), II, 45 Girodias, Maurice, III, 171 Giroux, Robert, Supp. IV, Part 1, 280 Gish, Dorothy, Retro. Supp. I, 103 Gissing, George, II, 138, 144 Gittings, Robert, II, 531 "Give Us Back Our Country" (Masters), Supp. I, Part 2, 472 "Give Way, Ye Gates" (Roethke), III, 536 "Give Your Heart to the Hawks" (Jeffers), Supp. II, Part 2, 433 "Giving Blood" (Updike), IV, 226; Retro. Supp. I, 332 Giving Good Weight (McPhee), Supp. Ill, Part 1, 307 "Giving Myself Up" (Strand), Supp. IV, Part 2, 627 Gladden, Washington, III, 293; Supp. I, Part 1, 5 Gladstone, William Ewart, Supp. I, Part 2, 419 "Gladys Poem, The" (Alvarez), Supp. VII, 10 "Glance at German 'Kultur,' A" (Bourne), I, 228 "Glance at Lowell's Classical Reading, A" (Pritchard), Supp. I, Part 2, 426 "Glance from the Bridge, A" (Wilbur), Supp. Ill, Part 2, 551

INDEX / 445 Glanville, Brian, IV, 23 Glanville-Hicks, Peggy, Supp. IV, Part 1, 84 Glare (Ammons), Supp. VII, 3536 Glasgow, Gary, II, 173, 182 Glasgow, Ellen, I, 333; II, 173195; IV, 328 Glaspell, Susan, Supp. Ill, Part 1, 175-191 Glass Bees, The (lunger, trans. Bogan and Mayer), Supp. Ill, Part 1, 63 "Glass Blower of Venice" (Malamud), Supp. I, Part 2, 450 Glass Key, The (Hammett), Supp. IV, Part 1,351-353 "Glass Meadows" (Bausch), Supp. VII, 53-54 Glass Menagerie, The (Williams), I, 81; IV, 378, 379, 380, 382, 383, 385, 386, 387, 388, 389, 390, 391, 392, 393-394, 395, 398; Supp. IV, Part 1, 84 "Glass Mountain, The" (Barthelme), Supp. IV, Part 1, 47 Glatstein, Jacob, IV, 23 "Gleaners, The" (Merwin), Supp. Ill, Part 1, 346 Gleanings in Europe (Cooper), I, 346 Gleason, Jackie, Supp. IV, Part 2, 574 Glebe (magazine), III, 465 Gleckner, Robert F., I, 427 Glenn, Eunice, IV, 284 Click, Nathan, III, 72 Glicklich, Martha, IV, 22 Glicksberg, Charles L, I, 263; II, 53; III, 48; IV, 117 Glimpses of the Moon, The (Wharton), II, 189-190; IV, 322-323; Retro. Supp. I, 381 "Glimpses of Vietnamese Life" (Levertov), Supp. Ill, Part 1, 282 Gloria Mundi (Frederic), II, 144145 Glory of Hera, The (Gordon), II, 196-197, 198, 199, 217-220

Glory of the Conquered, The (Glaspell), Supp. Ill, Part 1, 176 Glover, Danny, Supp. IV, Part 1, 367 Glover, William, IV, 401 Gluck, Christoph Willibald, II, 210,211 Gluck, Louise, Supp. V, 77-94 "Glutton, The" (Shapiro), Supp. II, Part 2, 705 Gnddiges Frdulein, The (Williams), IV, 382, 395, 398 Gnomes and Occasions (Nemerov), III, 269 Gnomologia (Fuller), II, 111 "Gnothis Seauton" (Emerson), II, 11, 18-19 "Go Down Death A Funeral Sermon" (Johnson), Supp. IV, Part 1, 7 "Go Down, Moses" (Faulkner), II, 71-72 Go Down, Moses (Faulkner), Retro. Supp. I, 75, 82, 85, 86, 88, 89, 90, 92 Go Down, Moses (Hayden), Supp. II, Part 1, 365 Go Down, Moses and Other Stories (Faulkner), II, 71 Go Tell It on the Mountain (Baldwin), Supp. I, Part 1, 48, 49, 50, 51, 52, 53-54, 55, 56, 57, 59, 61, 63, 64, 67; Supp. II, Part 1, 170 "Go to the Devil and Shake Yourself (song), Supp. I, Part 2,580 "Go to the Shine That's on a Tree" (Eberhart), I, 523 "Goal of Intellectual Men, The" (Eberhart), I, 529-530 Go-Between, The (Hartley), Supp. I, Part 1, 293 God Bless You, Mr. Rosewater (Vonnegut), Supp. II, Part 2, 758, 767, 768-769, 771, 772 "God in the Doorway" (Dillard), Supp. VI, 28 "God is a distant-stately Lover" (Dickinson), I, 471 God Knows (Heller), Supp. IV, Part 1, 386, 388-389

God of His Fathers, The (London), II, 469 God of Vengeance (Asch), IV, 11 "God Rest Ye Merry, Gentlemen" (Hemingway), IV, 122 "God Save the Rights of Man" (Freneau), Supp. II, Part 1, 268 God without Thunder (Ransom), III, 495^96, 499 Godard, Jean-Luc, Supp. I, Part 2, 558 Godbey (Masters), Supp. I, Part 2, 472 Goddess Abides, The (Buck), Supp. II, Part 1, 129, 131-132 Godel, Kurt, Supp. IV, Part 1, 43 Godfather (Puzo), Supp. IV, Part 1,390 Godkin, E. L., II, 274 Gods Arrive, The (Wharton), IV, 326-327; Retro. Supp. I, 382 God's Country and My People (Morris), III, 238 Gods Determinations touching his Elect: and the Elects Combat in their Conversion, and Coming up to God in Christ together with the Comfortable Effects thereof (Taylor), IV, 155-160, 165 God's Favorite (Simon), Supp. IV, Part 2, 575, 586, 588, 590 God's Little Acre (Caldwell), I, 288, 289, 290, 297, 298-302, 305-306, 309, 310 God's Man: A Novel in Wood Cuts (Ward), I, 31 "God's Peace in November" (Jeffers), Supp. II, Part 2, 420 God's Trombones (Johnson), Supp. II, Part 1, 201 God-Seeker, The (Lewis), II, 456 "GodslChildren" (Swenson), Supp. IV, Part 2, 645 Godwin, Parke, Supp. I, Part 1, 173 Godwin, William, II, 304; III, 415; Supp. I, Part 1, 126, 146, Part 2, 512, 513-514, 522, 709, 719 Goebbels, Josef, III, 560 Goen, C. C., I, 560, 564, 565

446 / INDEX Goethe, Johann Wolfgang von, I, 181, 396, 587-588; II, 5, 6, 320, 344, 488, 489, 492, 502, 556; III, 395, 453, 607, 612, 616; IV, 50, 64, 173, 326; Retro. Supp. I, 360; Supp. I, Part 2, 423, 457; Supp. II, Part 1, 26; Supp. Ill, Part 1, 63 Gogol, Nikolai, I, 296; IV, 1, 4; Retro. Supp. I, 266, 269 Going After Cacciato (O'Brien), Supp. V, 237, 238, 239, 244246, 248, 249 Going for the Rain (Ortiz), Supp. IV, Part 2, 499, 505-508, 509, 514 "Going Home by Last Night" (Kinnell), Supp. Ill, Part 1, 244 "Going Home in America" (Hardwick), Supp. Ill, Part 1, 205 Going South (Lardner and Buck), II, 427 Going to Meet the Man (Baldwin), Supp. I, Part 1, 60, 62-63 "Going to Meet the Man" (Baldwin), Supp. I, Part 1, 6263 "Going to Naples" (Welty), Retro. Supp. I, 352, 353 "Going to Naples" (Welty), IV, 278 "Going to Shrewsbury" (Jewett), II, 393 "Going to the Bakery" (Bishop), Supp. I, Part 1, 93 Going-to-the-Stars (Lindsay), Supp. I, Part 2, 398 Going-to-the-Sun (Lindsay), Supp. I, Part 2, 397-398 "Going Under" (Dubus), Supp. VII, 83 Gold (O'Neill), III, 391 Gold, Herbert, Supp. I, Part 1, 198 Gold, Michael, II, 26; IV, 363, 364, 365, 376; Supp. I, Part 1, 331, Part 2, 609 "Gold Bug, The" (Poe), III, 410, 413, 419, 420 "Gold Mountain Stories" project (Kingston), Supp. V, 164

Gold Standard and the Logic of Naturalism, The (Michaels), Retro. Supp. I, 369 Goldberg, Isaac, III, 121 Golde, Miss (Mencken's Secretary), III, 104, 107 Golden, Harry, III, 579, 581, 598 Golden Age (publication), Supp. I, Part 1, 361 Golden Age, The (Gurney), Supp. V, 101-103 Golden Apples of the Sun, The (Bradbury), Supp. IV, Part 1, 102, 103 Golden Apples, The (Welty), IV, 261, 271-274, 281, 293; Retro. Supp. I, 341, 342, 343, 350351, 352, 355 Golden Book of Springfield, The (Lindsay), Supp. I, Part 2, 376, 379, 395, 396 Golden Bough, The (Frazer), II, 204, 549; III, 6-7; Supp. I, Part 1, 18 Golden Bowl, The (James), II, 320, 333, 335; Retro. Supp. I, 215, 216, 218-219, 232, 234-235, 374 Golden Boy (Odets), Supp. II, Part 2, 538, 539, 540-541, 546, 551 Golden Calves, The (Auchincloss), Supp. IV, Part 1, 35 Golden Day, The (Mumford), Supp. II, Part 2, 471, 475, 477, 483, 484, 488-489, 493 Golden Era (newspaper), IV, 196; Supp. II, Part 1, 338, 339, 341 Golden Fleece, The (Gurney), Supp. V, 97 "Golden Heifer, The" (Wylie), Supp. I, Part 2, 707 "Golden Honeymoon, The" (Lardner), II, 429-430, 431 "Golden Lads" (Marquand), III, 56 Golden Legend, The (Longfellow), II, 489, 490, 495, 505, 506, 507 Golden Mean and Other Poems, The (Tate and Wills), IV, 122 Golden Treasury of Best Songs and Lyrical Poems in the English

Language (Palgrave), Retro. Supp. I, 124 Golden Whales of California and Other Rhymes in the American Language, The (Lindsay), Supp. I, Part 2, 394-395, 396 Goldhurst, William, II, 100 Golding, Arthur, III, 467, 468 Golding, William, Supp. IV, Part 1,297 Goldini, Carlo, II, 274 Goldman, Emma, III, 176, 177; Supp. I, Part 2, 524 Goldman, Sherli Evans, II, 584 Goldman, William, Supp. IV, Part 2,474 Goldring, Douglas, III, 458 Goldschmidt, Eva M., Ill, 25 Goldsmith, Oliver, II, 273, 282, 299, 304, 308, 314, 315, 514; Retro. Supp. I, 335; Supp. I, Parti, 310, Part 2, 503, 714, 716 Goldwater, Barry, I, 376; III, 38 Goldwyn, Samuel, Supp. I, Part 1,281 Golem, The (Leivick), IV, 6 Goll, Ivan, Supp. Ill, Part 1, 235, 243-244, Part 2, 621 Goncourt, Edmond de, II, 325, 328; Retro. Supp. I, 226 Goncourt, Jules de, II, 328 Goncourt brothers, III, 315, 317318, 321 Gone \vith the Wind (film), Retro. Supp. I, 113 Gone with the Wind (Mitchell), II, 177; Retro. Supp. I, 340 Gongora y Argote, Luis de, II, 552 Good, Robert C, III, 312 "Good Anna, The" (Stein), IV, 37, 40,43 Good As Gold (Heller), Supp. IV, Part 1, 386, 388, 394 Good Boys and Dead Girls and Other Essays (Gordon), Supp. IV, Part 1,309-310 "Good Country People" (O'Connor), III, 343, 350, 351, 352, 358 Good Doctor, The (Simon), Supp. IV, Part 2, 575, 585

INDEX / 447 Good Earth, The (Buck), Supp. I, Part 1, 49; Supp. II, Part 1, 115-175, 118, 125, 132 Good European, The (Blackmur), Supp. II, Part 1, 91 Good Evening Mr. & Mrs. America, and All the Ships at Sea (Bausch), Supp. VII, 41, 47,52 Good Gray Poet, The (O'Connor), Retro. Supp. I, 407 Good Health and How We Won It (Sinclair), Supp. V, 285-286 Good Hearts (Price), Supp. VI, 259, 265 Good Housekeeping (magazine), II, 174; Supp. IV, Part 1, 383 "Good Job Gone, A" (Hughes), Retro. Supp. I, 204 Good Journey, A (Ortiz), Supp. IV, Part 2, 497, 499, 503, 505, 509-510,514 Good Luck in Cracked Italian (Hugo), Supp. VI, 133, 137138 "Good Man Is Hard to Find, A" (O'Connor), III, 339, 344, 353 Good Man Is Hard to Find, A (O'Connor), III, 339, 343-345 Good Morning, America (Sandburg), III, 592-593 "Good Morning, Major" (Marquand), III, 56 Good Morning, Midnight (Rhys), Supp. Ill, Part 1, 43 "Good Morning, Revolution" (Hughes), Retro. Supp. I, 201, 203 Good Morning Revolution: Uncollected Writings of Social Protest (Hughes), Retro. Supp. I, 194, 201, 202, 209 "Good News from New-England" (Johnson), Supp. I, Part 1, 115 Good Night, Willie Lee, I'll See You in the Morning (Walker), Supp. Ill, Part 2, 520, 531 Good Will (Smiley), Supp. VI, 292, 299-300 "Good Word for Winter, A" (Lowell), Supp. I, Part 2, 420

"Good-by and Keep Cold" (Frost), Retro. Supp. I, 135 "Good-bye" (Emerson), II, 19 "Goodbye and Good Luck" (Paley), Supp. VI, 219, 223 "Goodbye, Christ" (Hughes), Retro. Supp. I, 202, 203 "Goodbye, Columbus" (Roth), Supp. Ill, Part 2, 401, 404, 408^09,411 Goodbye, Columbus (Roth), Supp. III, Part 2, 403-406 Goodbye Girl, The (film), Supp. IV, Part 2, 589 Goodbye Girl, The (musical), Supp. IV, Part 2, 576, 588 Goodbye Girl, The (Simon), Supp. IV, Part 2, 575 "Goodbye, Goldeneye" (Swenson), Supp. IV, Part 2, 651 Goodbye Look, The (Macdonald), Supp. IV, Part 2, 473, 474 "Goodbye, My Brother" (Cheever), Supp. I, Part 1, 175, 177, 193 "Good-Bye My Fancy" (Whitman), IV, 348 "Goodbye to All That" (Didion), Supp. IV, Part 1, 197 Goodbye to All That (Graves), I, 477 "Good-Bye to the Mezzogiorno" (Auden), Supp. II, Part 1, 19 "Goodbye to the Poetry of Calcium" (Wright), Supp. Ill, Part 2, 599 Goode, Gerald, III, 24 Goode, James, III, 169 Goodheart, Eugene, IV, 23 Goodman, Henry, I, 95 Goodman, Paul, I, 218, 261; III, 39; Supp. I, Part 2, 524 Goodman, Philip, III, 105, 108 Goodman, Randolph, IV, 400 Goodman, Walter, Supp. IV, Part 2,532 Goodrich, Samuel G., Supp. I, Part 1, 38 Goodwin, K. L., Ill, 478 Goodwin, Stephen, Supp. V, 314, 316, 322, 323, 325 Goodwyn, Janet, Retro. Supp. I, 370

"Goose Fish, The" (Nemerov), III, 272, 284 "Goose Pond" (Kunitz), Supp. Ill, Part 1, 262 Goose-Step, The (Sinclair), Supp. V, 276 Gordan, John D., I, 426 Gordon, A. R., Ill, 199 Gordon, Andrew, III, 48 Gordon, Caroline, II, 196-222, 536, 537; III, 360, 454, 482; IV, 123, 126-127, 139, 142, 282; Supp. II, Part 1, 139 Gordon, Charles G., I, 454 Gordon, Eugene, Supp. II, Part 1, 170 Gordon, James Morris, II, 197 Gordon, Lois, Supp. IV, Part 1, 48; Supp. V, 46 Gordon, Lyndall, Retro. Supp. I, 55 Gordon, Mary, Supp. IV, Part 1, 297-317 Gordon, Ruth, IV, 357 Gordon, William A., Ill, 191, 192 Gore, Thomas Pryor, Supp. IV, Part 2, 679 Gorey, Edward, IV, 430, 436 Gorki, Maxim, I, 478; II, 49; III, 402; IV, 299; Supp. I, Part 1, 5,51 Gorman, Herbert S., II, 509; Supp. I, Part 2, 730 Gorra, Michael, Supp. V, 71 Goslings, The (Sinclair), Supp. V, 276, 281 Gospel According to Joe, The (Gurney), Supp. V, 99 "Gospel According to Saint Mark, The" (Gordon), Supp. IV, Part 1,310 "Gospel of Beauty, The" (Lindsay), Supp. I, Part 2, 380, 382, 384, 385, 391, 396 Gosse, Edmund, II, 538; IV, 350 Gossett, Louis, Jr., Supp. IV, Part 1,362 Gossett, Louise Y., I, 311; III, 360; IV, 119 Gossips, Gorgons, and Crones: The Fates of the Earth (Caputi), Supp. IV, Part 1, 335

448 / INDEX Gottfried, Martin, Supp. IV, Part 2,584 Gotthelf, Allan, Supp. IV, Part 2, 528 Gottlieb, Elaine, IV, 22, 23 Gottlieb, Robert, Supp. IV, Part 2,474 Gottschalk and the Grande Tarantelle (Brooks), Supp. Ill, Part 1, 86 "Gottschalk and the Grande Tarantelle" (Brooks), Supp. Ill, Part 1, 86-87 Gould, Edward Sherman, I, 346 Gould, Janice, Supp. IV, Part 1, 322, 327 Gould, Jay, I, 4 Gould, Jean, I, 95; Supp. I, Part 1,275 Gourd Dancer, The (Momaday), Supp. IV, Part 2, 481,487, 491, 493 Gourmont, Remy de, I, 270, 272; II, 528, 529; III, 457, 467^68, 477; Retro. Supp. I, 55 Gouverneurs de la Rosee (Roumain), Supp. IV, Part 1, 360, 367 "Governors of Wyoming, The" (Proulx), Supp. VII, 264 Gowing, Clara, Supp. I, Part 1, 46 Goyen, William, Supp. V, 220 Grabo, Norman S., IV, 165, 166 "Grace" (Dubus), Supp. VII, 91 Grace Notes (Dove), Supp. IV, Part 1, 248-250, 252 "Graduation" (Dubus), Supp. VII, 84 Grady, Henry W., Supp. I, Part 1, 370 Graeber, Laurel, Supp. V, 15 Graham, Billy, I, 308 Graham, Maryemma, Retro. Supp. I, 201, 204 Graham, Phillip, Supp. I, Part 1, 373 Graham, Sheilah, II, 94, 100; Retro. Supp. I, 97, 113-114, 115 Graham, Shirley, Supp. I, Part 1, 51

Graham, Stephen, Supp. I, Part 2, 397, 402 Graham, Tom (pseudonym), see Lewis, Sinclair Graham's Magazine, III, 412-413, 420 Grahn, Judy, Supp. IV, Part 1, 325, 330 Grainger, Percy, Supp. I, Part 2, 386 Gramar (Lowth), II, 8 Grammar of Motives, A (Burke), I, 272, 275, 276-278, 283, 284 Cranberry, Edwin, I, 288 Grand Design, The (Dos Passos), I, 489^90 "Grand Inquisitor" (Dostoevski), IV, 106 "Grande Malade, The" (Barnes), Supp. Ill, Part 1, 36 "Grandfather's Blessing" (Alvarez), Supp. VII, 2 Grandissimes (Cable), II, 291 "Grand-Master Nabokov" (Updike), Retro. Supp. I, 317 "Grandmother" (Gunn Allen), Supp. IV, Part 1, 320, 325 "Grandmother in Heaven" (Levine), Supp. V, 186 "Grandmother of the Sun: Ritual Gynocracy in Native America" (Gunn Allen), Supp. IV, Part 1, 328 "Grandmother Songs, The" (Hogan), Supp. IV, Part 1, 413 Grandmothers of the Light: A Medicine Woman's Sourcebook (ed. Gunn Allen), Supp. IV, Part 1, 332, 333-334 "Grandpa and the Statue" (Miller), III, 147 "Grandparents" (Lowell), II, 550 Grange, Red, II, 416 Granger, Bruce, II, 124, 125 Granger's Index to Poetry (anthology), Retro. Supp. I, 37, 39 Grant, Annette, Supp. I, Part 1, 198 Grant, Madison, Supp. II, Part 1, 170

Grant, Ulysses S., I, 4, 15; II, 542; III, 506, 584; IV, 348, 446; Supp. I, Part 2, 418 Grantwood, Retro. Supp. I, 416, 417 "Grape Sherbet" (Dove), Supp. IV, Part 1, 246 Grapes of Wrath, The (Steinbeck), I, 301; III, 589; IV, 51,53-55, 59, 63, 65, 67, 68, 69; Supp. V, 290 "Grapevine, The" (Ashbery), Supp. Ill, Part 1, 4 "Grass" (Sandburg), III, 584 Grass Harp, The (Capote), Supp. Ill, Parti, 114-117, 123 Grass Still Grows, The (Miller), III, 146 "Grasse: The Olive Trees" (Wilbur), Supp. Ill, Part 2, 550 Gratitude to Old Teachers (Bly), Supp. IV, Part 1, 73 Grattan, C. Hartley, I, 213; II, 53, 341 "Grave, A" (Moore), III, 195, 202, 208, 213 Grave, The (Blair), Supp. I, Part 1, 150 "Grave, The" (Porter), III, 433, 443, 445-446 "Grave, The" (Winters), Supp. II, Part 2, 795, 796 Grave of the Right Hand, The (Wright), Supp. V, 332, 338, 339 "Grave Piece" (Eberhart), I, 533 "Graven Image" (O'Hara), III, 320 Graves, Billy, Supp. I, Part 2, 607 Graves, John, Supp. V, 220 Graves, Peter, Supp. IV, Part 2, 474 Graves, Rean, Supp. I, Part 1, 326 Graves, Robert, I, 437, 450, 477, 523; II, 171; IV, 448; Supp. I, Part 2, 541; Supp. IV, Part 1, 280, 348, Part 2, 685 Graveyard for Lunatics, A (Bradbury), Supp. IV, Part 1, 102, 114-116

INDEX / 449 Gravity's Rainbow (Pynchon), Supp. II, Part 2, 617, 618-619, 621-625, 627, 630, 633-636; Supp. IV, Part 1, 279; Supp. V,44 Gray, Cecil, Supp. I, Part 1, 258 Gray, Francine Du Plessix, Supp. V, 169 Gray, James, III, 72, 207; Supp. I, Part 2, 410 Gray, Paul, Supp. IV, Part 1, 305, Part 2, 639 Gray, Thomas, I, 68; IV, 114; Supp. I, Part 1, 150, Part 2, 422, 716 Gray, Thomas A., Supp. I, Part 2, 710, 730 "Gray Heron, The" (Kinnell), Supp. Ill, Part 1, 250 Greasley, Philip, Supp. I, Part 2, 478 "Great Adventure of Max Breuck, The" (Lowell), II, 522 Great American Novel, The (Roth), Supp. Ill, Part 2, 414^16 Great Battles of the World (Crane), 1,415 Great Christian Doctrine of Original Sin Defended, The . . . (Edwards), I, 549, 557, 559 Great Circle (Aiken), I, 53, 55, 57 Great Day, The (Hurston), Supp. VI, 154 Great Days (Barthelme), Supp. IV, Part 1, 39 Great Days, The (Dos Passos), I, 491 Great Digest (trans. Pound), III, 472 Great Expectations (Dickens), III, 247; Supp. I, Part 1, 35 "Great Figure, The" (Williams), IV, 414 "Great Fillmore Street Buffalo Drive, The" (Momaday), Supp. IV, Part 2, 493 Great Gatsby, The (Fitzgerald), I, 107, 375, 514; II, 77, 79, 83, 84, 85, 87, 91-93, 94, 96, 98; III, 244, 260, 372, 572; IV, 124, 297; Retro. Supp. I, 98, 105, 105-108, 110, 114, 115,335,

359; Supp. II, Part 2, 626; Supp. Ill, Part 2, 585; Supp. IV, Part 2, 468, 475 Great Gatsby, The (Fitzgerald) (Modern Library), Retro. Supp. I, 113 Great God Brown, The (O'Neill), III, 165, 391, 394-395 Great Goodness of Life: A Coon Show (Baraka), Supp. II, Part 1,47 Great Inclination, The (Wharton), IV, 310 Great Jones Street (DeLillo), Supp. VI, 2, 3, 8-9, 11, 12,14 "Great Lawsuit, The" (Fuller), Supp. II, Part 1, 292 "Great Lawsuit, The: Man versus Men: Woman versus Women" (Fuller), Retro. Supp. I, 156 "Great Men and Their Environment" (James), II, 347 "Great Mississippi Bubble, The" (Irving), II, 314 Great Stories of Suspense (ed. Millar), Supp. IV, Part 2, 474 Great Valley, The (Masters), Supp. I, Part 2, 465 Great World and Timothy Colt, The (Auchincloss), Supp. IV, Part 1, 25, 31, 32 Greater Inclination, The (Wharton), Retro. Supp. I, 363, 364-365, 366 "Greater Torment, The" (Blackmur), Supp. II, Part 1, 92 Grebstein, Sheldon Norman, II, 460; III, 384 "Greek Boy, The" (Bryant), Supp. I, Part 1, 168 Greek Mind/Jewish Soul: The Conflicted Art of Cynthia Ozick (Strandberg), Supp. V, 273 "Greek Partisan, The" (Bryant), Supp. I, Part 1, 168 Greeley, Horace, I, 119; II, 7; IV, 197, 286-287 Green, A. Wigfall, II, 76 Green, Ashbel, Supp. IV, Part 2, 474 Green, Charles B., II, 171

Green, David Bonnell, II, 413 Green, Henry, IV, 279; Retro. Supp. I, 354; Supp. Ill, Part 1, 3 Green, Jack, Supp. IV, Part 1, 284-285 Green, Martin, III, 48; Supp. I, Part 1, 299 Green, Michelle, Supp. IV, Part 1,95 "Green Automobile, The" (Ginsberg), Supp. II, Part 1, 322 Green Bough, A (Faulkner), Retro. Supp. I, 84 Green Centuries (Gordon), II, 196, 197-207, 209 "Green Door, The" (O. Henry), Supp. II, Part 1, 395 Green Hills of Africa (Hemingway), II, 253; Retro. Supp. I, 182, 186 Green Memories (Mumford), Supp. II, Part 2, 474, 475, 479, 480-481 Green Pastures, The (Connelly), Supp. II, Part 1, 223 "Green Red Brown and White" (Swenson), Supp. IV, Part 2, 639 "Green River" (Bryant), Supp. I, Part 1, 155, 164 Green Shadows, White Whale (Bradbury), Supp. IV, Part 1, 102, 103, 116 Green Wall, The (Wright), Supp. Ill, Part 2, 591, 593, 595 Green Wave, The (Rukeyser), Supp. VI, 273, 280 "Green Ways" (Kunitz), Supp. Ill, Part 1, 265 Green with Beasts (Merwin), Supp. Ill, Part 1, 340, 344346 Greenberg, Eliezer, Supp. I, Part 2,432 Greenberg, Samuel, I, 393 Greene, A. C, Supp. V, 223, 225 Greene, Beatrice, Supp. I, Part 1, 198 Greene, David, I, 458 Greene, E. J. H., I, 590

450 / INDEX Greene, Elizabeth Shaw, see Morison, Mrs. Samuel Eliot (Elizabeth Shaw Greene) Greene, George, III, 72 Greene, Graham, I, 480; II, 62, 320; III, 57, 556; Retro. Supp. I, 215; Supp. I, Part 1, 280; Supp. IV, Part 1, 341; Supp. V,298 Greene, Helga, Supp. IV, Part 1, 134, 135 Greene, Nathanael, Supp. I, Part 2,508 Greene, Richard Tobias, III, 76 "Greene-ing of the Portables, The" (Cowley), Supp. II, Part 1, 140 "Greenest Continent, The" (Stevens), Retro. Supp. I, 304 Greenfeld, Josh, III, 169, 364 Greenfield, Stanley B., I, 426 Greenlanders, The (Smiley), Supp. VI, 292, 296-298, 299, 305, 307 Greenlaw, Edwin A., IV, 453 "Greenleaf' (O'Connor), III, 350, 351 Greenman, Walter F., I, 217, 222 Greenslet, Ferris, I, 19; II, 533; Retro. Supp. I, 9, 10, 11, 13 Greenspan, Alan, Supp. IV, Part 2,526 Greenstreet, Sydney, Supp. IV, Part 1, 356 Greenwald, Ted, Supp. IV, Part 2, 423 Greer, Germaine, III, 48 Gregerson, Linda, Supp. IV, Part 2,651 Gregory, Alyse, I, 119, 221, 226, 227, 231 Gregory, Horace, I, 47; II, 53, 512, 533; III, 144, 217; IV, 95; Supp. Ill, Part 2, 614, 615 Gregory, Lady, III, 458 Grenander, M. E., I, 213 Grendel (Gardner), Supp. VI, 63, 67, 68, 74 "Gretel in Darkness" (Gliick), Supp. V, 82 Gretta (Caldwell), I, 301, 302 Greuze, Jean Baptiste, Supp. I, Part 2, 714 Griffin, Alice, III, 169

Griffin, Bartholomew, Supp. I, Part 1, 369 Griffin, John, III, 169 Griffin, Merv, Supp. IV, Part 2, 526 Griffith, Albert J., Supp. V, 325 Griffith, Clark, I, 473 Griffith, D. W., Retro. Supp. I, 103, 325 Griffith, David Wark, I, 31, 481482 Griffiths, Clyde, 1,511 Grile, Dod (pseudonym), see Bierce, Ambrose Grimm, Herman, II, 17, 22 Grimm brothers, II, 378; III, 101, 491, 492; IV, 266; Supp. I, Part 2, 596, 622 Gris, Juan, I, 442; Retro. Supp. I, 430 Griscom, Joan, II, 221 Griswold, Rufus Wilmot, III, 409, 429, 431 Grogg, Sam, Jr., Supp. IV, Part 2, 468, 471 Gronlund, Laurence, II, 276 "Groping for Trouts" (Gass), Supp. VI, 87 Grosart, Alexander B., I, 564 Gross, A. H., IV, 21 Gross, Barry, Supp. I, Part 1, 70 Gross, Harvey, III, 550 Gross, John J., Ill, 72 Gross, Seymour L, II, 245; IV, 284 Gross, Theodore L., I, 166; Supp. I, Part 1, 70 Grossman, James, I, 47, 357 Grosz, George, III, 172; IV, 438 "Groundhog, The" (Eberhart), I, 523, 530-532, 533 Group, The (McCarthy), II, 570, 574-578 "Group of Two, A" (Jarrell), II, 368 Group Theatre, Retro. Supp. I, 64; Supp. II, Part 2, 529-530, 543, 547-548 Group Theatre of London, Supp. II, Part 1, 10 Groves of Academe, The (McCarthy), II, 568-571

"Growing Season, The" (Caldwell), I, 309 Growing Up Gay: A Literary Anthology (ed. Singer), Supp. IV, Part 1, 330 "Growth" (Lowell), II, 554 Growth of the American Republic, The (Morison and Commager), Supp. I, Part 2, 484 Gruen, John, IV, 401 Gruen, Joseph, III, 169 Gruenberg, Louis, III, 392 Grumbach, Doris, II, 560, 584 Grunwald, Henry Anatole, III, 574 Guard of Honor (Cozzens), I, 370372, 375, 376-377, 378, 379 Guardian Angel, The (Holmes), Supp. I, Part 1,315-316 Gubar, Susan, Retro. Supp. I, 42 Guerin, Maurice de, I, 241 "Guerrilla Handbook, A" (Baraka), Supp. II, Part 1, 36 Guess and Spell Coloring Book, The (Swenson), Supp. IV, Part 2,648 Guess Who's Coming to Dinner (film), Supp. I, Part 1, 67 "Guests of Mrs. Timms, The" (Jewett), II, 408 Guide in the Wilderness, A (Cooper), I, 337 Guide to Ezra Pound's Selected Cantos' (Kearns), Retro. Supp. 1,292 Guide to Kulchur (Pound), III, 475 Guide to the Ruins (Nemerov), III, 269, 270-271, 272 Guillen, Nicolas, Supp. I, Part 1, 345 Guillen, Nicolas, Retro. Supp. I, 202 Guillevic, Eugene, Supp. Ill, Part 1,283 "Guilty Man, The" (Kunitz), Supp. II, Part 1, 263 Guilty Pleasures (Barthelme), Supp. IV, Part 1, 44, 45, 53 Guimond, James, IV, 424 Guinness, Alec, Retro. Supp. I, 65

INDEX / 451 Gulistan (Saadi), II, 19 Gullason, Thomas A., I, 425, 426 Gullible's Travels (Lardner), II, 426, 427 Gulliver's Travels (Swift), I, 209, 348, 366; II, 301; Supp. I, Part 2,656 "Gulls" (Hayden), Supp. II, Part 1,367 "Gulls, The" (Nemerov), III, 272 Gunderode: A Translation from the German (Fuller), Supp. II, Part 1,293 Gungrick, Arnold, II, 99 Gunn, Thomas, Supp. V, 178 Gunn Allen, Paula, Supp. IV, Part 1, 319-340, 404, Part 2, 499, 502, 557, 568 "Guns as Keys; and the Great Gate Swings" (Lowell), II, 524 Gunter, Richard, I, 450 Gurdjieff, Supp. V, 199 Gurko, Leo, III, 62, 72, 384 Gurney, A. R., Supp. V, 95-112 Gurney, Mary (Molly) Goodyear, Supp. V, 95 Gurwitsch, Aron, II, 366 Gussow, Mel, I, 95; IV, 401 Gustavus Vassa, the African (Vassa), Supp. IV, Part 1, 11 Gutenberg, Johann, Supp. I, Part 2,392 Guthrie, Ramon, II, 460 Guthrie, Tyrone, IV, 376 Gutman, Herbert, Supp. I, Part 1, 47 "Gutting of Couffignal, The" (Hammett), Supp. IV, Part 1, 345 Guttmann, Allen, I, 166 Guy Domville (James), II, 331; Retro. Supp. I, 228 Gwynn, Frederick L, II, 75; III, 574 Gypsy Ballads (trans. Hughes), Supp. I, Part 1, 345 "Gyroscope, The" (Rukeyser), Supp. VI, 271 "H.D.: A Note on Her Critical Reputation" (Bryher), Supp. I, Part 1, 275

"H.D.: A Preliminary Checklist" (Bryher and Roblyer), Supp. I, Part 1, 275 "H.D.'s 'Hermetic Definition' " (Quinn), Supp. I, Part 1, 275 H. L. Mencken, a Portrait from Memory (Angoff), III, 107 "H. L. Mencken Meets a Poet in the West Side Y.M.C.A." (White), Supp. I, Part 2, 677 H. L. Mencken: The American Scene (Cairns), III, 119 H. M. Pulham, Esquire (Marquand), II, 4824—83; III, 58, 59, 65, 68-69 Haardt, Sara, see Mencken, Mrs. H. L. (Sara Haardt) Haas, Robert B., IV, 47 Habakkuk (Hebrew prophet and biblical book), III, 200, 347 "Habit" (James), II, 351 Habitations of the Word (Gass), Supp. VI, 88 Hackett, Francis, I, 120; Supp. I, Part 2, 626 Haeckel, Ernst Heinrich, II, 480 Hafif, Marcia, Supp. IV, Part 2, 423 Hagedorn, Hermann, III, 525 Hagemann, E. R., I, 425 Hagen, Beulah, Supp. I, Part 2, 679 Hager, Philip E., Ill, 574 Haggard, Rider, III, 189 Hagopian, John Y., Supp. I, Part 1,70 Hagoromo (play), III, 466 Haigh-Wood, Vivienne Haigh, see Eliot, Mrs. T. S. (Vivienne Haigh Haigh-Wood) Haines, George, IV, I, 444, 450; IV, 48 Haines, Paul, II, 148 "Hair, The" (Carver), Supp. Ill, Part 1, 137 "Haircut" (Lardner), II, 430, 436 "Hairs" (Cisneros), Supp. VII, 59 Hairs/Pelitos (Cisneros), Supp. VII, 58 Hairy Ape, The (O'Neill), III, 391, 392, 393

"Haita the Shepherd" (Bierce), I, 203 Haldeman, Anna, Supp. I, Part 1, 2 Hale, Edward Everett, Supp. I, Part 2, 425, 584 Hale, John Parker, Supp. I, Part 2, 685 Hale, Nathan G., Jr., II, 365 Hale family, III, 52 Haley, Alex, Supp. I, Part 1, 47, 66 Haley, J. Evetts, Supp. V, 226 "Half a Century Gone" (Lowell), II, 554 "Half Deity" (Moore), III, 210, 214, 215 "Half Hour of August" (Rios), Supp. IV, Part 2, 552 Half Sun Half Sleep (Swenson), Supp. IV, Part 2, 645-646 Half-Century of Conflict, A (Parkman), Supp. II, Part 2, 600, 607, 610 Half-Lives (Jong), Supp. V, 115, 119 Half-Past Nation Time (Johnson), Supp. VI, 187 "Half-Skinned Steer, The" (Proulx), Supp. VII, 261-262 Halfway (Kumin), Supp. IV, Part 2, 441^42 "Halfway" (Rich), Supp. I, Part 2, 553 Haliburton, Thomas Chandler, II, 301; IV, 193; Supp. I, Part 2, 411 Halifax, Lord, II, 111 Hall, Donald, I, 542, 567; III, 194, 217; Supp. I, Part 2, 681, 706; Supp. IV, Part 1, 63, 72, Part 2,621 Hall, James, I, 542; II, 313; Supp. I, Part 2, 584, 585 Hall, Max, II, 125 Hall of Mirrors, A (Stone), Supp. V, 295, 296-299, 300, 301 Halleck, Fitz-Greene, Supp. I, Part 1, 156, 158 Haller, Robert S., IV, 95 Hallock, Rev. Moses, Supp. I, Part 1, 153

452 / INDEX Halloween Tree, The (Bradbury), Supp. IV, Part 1, 102, 112113 Hallwas, John E., Supp. I, Part 2, 402, 454, 478 Halpern, Daniel, Supp. IV, Part 1, 94-95, 95 Halsey, Theresa, Supp. IV, Part 1, 330, 331 Hamburger, Philip, III, 72 Hamerik, Asger, Supp. I, Part 1, 356 Hamilton, Alexander, I, 485; Supp. I, Part 2, 456, 483, 509 Hamilton, Alice, IV, 235; Supp. I, Part 1, 5 Hamilton, Hamish, Supp. I, Part 2,617 Hamilton, Kenneth, I, 95; III, 574; IV, 235 Hamilton, Lady Emma, II, 524 Hamilton, Walton, Supp. I, Part 2,632 Hamilton Stark (Banks), Supp. V, 8,9-10, 11 "Hamlen Brook" (Wilbur), Supp. Ill, Part 2, 564 "Hamlet" (Laforgue), I, 573; III, 11 Hamlet (Miller and Fraenkel), III, 178, 183 Hamlet (Shakespeare), I, 53, 183, 205, 377, 586-587; II, 158, 531; 111,7, 11, 12, 183; IV, 116, 131, 227; Supp. I, Part 1, 369, Part 2,422, 457, 471; Supp. IV,

Part 2, 612 Hamlet, The (Faulkner), II, 69-71, 73, 74; IV, 131; Retro. Supp. I, 82, 91, 92 "Hamlet and His Problems" (Eliot), I, 586-587 Hamlet of A. MacLeish, The (MacLeish), III, 11-12, 14, 15, 18 Hammar, George, III, 312 Hammett, Dashiell, IV, 286; Supp. I, Part 1, 286, 289, 291, 292, 293, 294, 295; Supp. Ill, Part 1,91; Supp. IV, Parti, 120, 121, 341-357, Part 2, 461, 464, 468, 469, 472, 473

Hammond, Karla, Supp. IV, Part 2, 439, 442, 448, 637, 640, 644, 648 Hampshire Gazette (publication), Supp I Part 1, 152 Hampson, Alfred Leete, I, 472; Retro. Supp. I, 35-36, 38 "Hamrick's Polar Bear" (Caldwell), I, 309-310 Hams, William T., Supp. I, Part 1,46 Hamsun, Knut, IV, 22 Hanau, Stella, III, 406 Hancock, John, Supp. I, Part 2, 524 "Hand of Emmagene, The" (Taylor), Supp. V, 314, 325326 Handbook of North American Indians (Sando), Supp. IV, Part 2,510 Handcarved Coffins: A Nonfiction Account of an American Crime (Capote), Supp. Ill, Part 1, 131 Handel, Georg Friedrich, III, 210; IV, 369 "Handfuls" (Sandburg), III, 584 "Handle with Care" (Fitzgerald), Retro. Supp. I, 114 "Hands" (Anderson), I, 106, 107 Handy Guide for Beggars, A (Lindsay), Supp. I, Part 2, 376378, 380, 382, 399 "Hanging Pictures in Nanny's Room" (Kenyon), Supp. VII, 164 "Hanging the Wash" (Alvarez), Supp. VII, 4 "Hangman, The" (Sexton), Supp. II, Part 2, 680, 691 Hanh, Thich Nhat, Supp. V, 199 Hankiss, Elemer, I, 95 Hanks, Lucy, III, 587 Hanks, Nancy, see Lincoln, Mrs. Thomas (Nancy Hanks) Hanley, Lynne T., Supp. IV, Part 1,208 Hanna, Mark, Supp. I, Part 2, 395 "Hannah Armstrong" (Masters), Supp. I, Part 2, 461 Hanneman, Audre, II, 259, 270 Hanoi (McCarthy), II, 579

Hansberry, Lorraine, Supp. IV, Part 1, 359-377 Hansel and Gretel, Supp. I, Part 2,597 Hansen, Erik, Supp. V, 241 Hansen, Harry, I, 119; IV, 366, 376 "Happenings: An Art of Radical Juxtaposition" (Sontag), Supp. Ill, Part 2, 456 Happenstance (Shields), Supp. VII, 315-318, 320, 323, 324, 326 Happersberger, Lucien, Supp. I, Part 1,51 "Happiest I've Been, The" (Updike), IV, 219 "Happiness" (Oliver), Supp. VII, 236 "Happiness" (Sandburg), III, 582583 Happy Birthday, Wanda June (Vonnegut), Supp. II, Part 2, 759, 776-777 Happy Days (Beckett), Retro. Supp. I, 206 Happy Days, 1880-1892 (Mencken), III, 100, 111, 120 "Happy Failure, The" (Melville), III, 90 Happy Families Are All Alike (Taylor), Supp. V, 322-323, 325 "Happy Journey to Trenton and Camden, The" (Wilder), IV, 366 "Happy Marriage, The" (MacLeish), III, 15-16 Happy Marriage and Other Poems, The (MacLeish), III, 4 "Hapworth 16, 1924" (Salinger), III, 552, 571-572 Harbert, Earl N., II, 125 Harcourt, Alfred, II, 191, 451-452; III, 587; Retro. Supp. I, 131 Harcourt, Brace, Retro. Supp. I, 83 Harcourt, T. A., I, 196 Hard Candy, a Book of Stories (Williams), IV, 383 "Hard Daddy" (Hughes), Retro. Supp. I, 200

INDEX / 453 Hard Facts (Baraka), Supp. II, Part 1, 54, 55, 58 Hard Freight (Wright), Supp. V, 332, 339-340 "Hard Kind of Courage, The" (Baldwin), Supp. I, Part 1, 52 Hard Times (Dickens), Supp. I, Part 2, 675 "Hard Times in Elfland, The" (Lanier), Supp. I, Part 1, 365 "Hardcastle Crags" (Plath), Supp. I, Part 2, 537 Hardie, Kier, Supp. I, Part 1, 5 Harding, Walter, II, 23; IV, 177, 178, 188, 189 Harding, Warren G., I, 486; II, 253, 433; Supp. I, Part 1, 24 Hardwick, Elizabeth, Supp. I, Part 1, 196, 198; Supp. Ill, Part 1, 193-215; Supp. IV, Part 1, 299 see also Lowell, Mrs. Robert (Elizabeth Hardwick); Supp. V, 319 Hardy, Barbara, Supp. I, Part 2, 527, 548 Hardy, John E., IV, 284 Hardy, Oliver, Supp. I, Part 2, 607; Supp. IV, Part 2, 574 Hardy, Rene, Supp. Ill, Part 1, 235 Hardy, Thomas, I, 59, 70, 103, 292, 317, 377; II, 181, 184-185, 186, 191-192, 271, 275, 372, 523, 542; III, 32, 453, 485, 502, 508, 524; IV, 83, 135, 136; Retro. Supp. I, 141, 377-378; Supp. I, Part 1, 217, Part 2, 429, 512; Supp. II, Part 1,4, 26 Harjo, Joy, Supp. IV, Part 1, 325, 404, Part 2, 499, 507 Harland, Gordon, III, 312-313 "Harlem" (Hughes), Retro. Supp. I, 194, 204; Supp. I, Part 1, 340 Harlem (publication), Supp. I, Part 1, 328 Harlem Gallery (Tolson), Retro. Supp. I, 208, 209, 210 Harlem Renaissance, Retro. Supp. I, 198, 201, 205; Supp. II, Part 2,739

"Harlequin of Dreams, The" (Lanier), Supp. I, Part 1, 365 Harlow, Jean, IV, 256; Retro. Supp. I, 110 Harmer, J. B., Supp. I, Part 1, 275 Harmon, William, Retro. Supp. I, 37 Harmonium (Stevens), III, 196; IV, 76, 77, 78, 82, 87, 89, 92; Retro. Supp. I, 296, 297, 299, 300-302, 301, 302 "Harmony of the Gospels" (Taylor), IV, 149 Haroutunian, Joseph, I, 565, 566 Harper, Donna, Retro. Supp. I, 194, 195, 209 Harper, Frances E. Watkins, Supp. II, Part 1, 201-202 Harper, Gordon Lloyd, I, 166 Harper, Howard M., Jr., I, 166; III, 48; IV, 235; Supp. I, Part 1,70 Harper, William Rainey, Supp. I, Part 2, 631 Harper (film), Supp. IV, Part 2, 473 Harper and Brothers, Retro. Supp. I, 257, 320 Harper's (magazine), I, 409; II, 271, 275, 276, 285, 401, 406; III, 59, 89, 90, 91, 292; Supp. I, Part 2, 530, 654, 655; Supp. IV, Part 1, 66, 167, 235 Harper's Anthology of 20th Century Native American Poetry (ed. Niatum), Supp. IV, Part 1, 331 Harper's Bazaar (magazine), Supp. IV, Part 1, 84 Harper's Monthly (magazine), Retro. Supp. I, 362 Harper's Young People (magazine), Supp. I, Part 1, 211 "Harriet" (Lowell), II, 554 Harriet Beecher Stowe (Adams), Supp. I, Part 2, 601 Harrigan, Edward, II, 276; III, 14 Harrington, Michael, I, 306 Harris, Celia, Retro. Supp. I, 9 Harris, George, II, 70

Harris, Joel Chandler, III, 338; Supp. I, Part 1, 352; Supp. II, Part 1, 192, 201 Harris, Julie, II, 587, 601 Harris, Mark, Supp. I, Part 2, 402 Harris, Victoria Frenkel, Supp. IV, Part 1, 68, 69 Harris, Wendell V., I, 95 Harrison, James A., Ill, 431 Harrison, Oliver (pseudonym), see Smith, Harrison "Harry of Nothingham" (Hugo), Supp. VI, 146-147 Harryhausen, Ray, Supp. IV, Part 1, 115 "Harry's Death" (Carver), Supp. Ill, Part 1, 146 "Harsh Judgment, The" (Kunitz), Supp. Ill, Part 1, 264 Hart, Albert Bushnell, Supp. I, Part 2, 479, 480, 481 Hart, Bernard, I, 241, 242, 248250, 256 Hart, Henry, I, 286 Hart, J., I, 450 Hart, James D., Ill, 335 Hart, Jane, III, 360 Hart, Lorenz, III, 361 Hart, Moss, Supp. IV, Part 2, 574 "Hart Crane" (Tate), I, 381 Harte, Anna Griswold, Supp. II, Part 1, 341 Harte, Bret, I, 193, 195, 203; II, 289; IV, 196; Supp. II, Part 1, 335-359, 399 Harte, Walter Blackburn, I, 199 Harter, Carol C, Supp. IV, Part 1,217 Hartford Courant (newspaper), II, 405 Hartford Wits, Supp. II, Part 1, 65, 69, 268 Hartley, David, III, 77 Hartley, L. P., Supp. I, Part 1, 293 Hartley, Lodowick, III, 455 Hartley, Lois, Supp. I, Part 2, 459, 464-465, 478 Hartley, Marsden, IV, 409, 413; Retro. Supp. I, 430 Hartman, Carl, II, 222

454 / INDEX Hartman, Geoffrey, Supp. IV, Parti, 119 Harum, David, II, 102 "Harv Is Plowing Now" (Updike), Retro. Supp. I, 318 "Harvard" (Lowell), II, 554 Harvard Advocate (publication), I, 475, 567, 569; IV, 76; Retro. Supp. I, 55, 295 Harvard College in the Seventeenth Century (Morison), Supp. I, Part 2, 485 Harvard Guide to American History (publication), Supp. I, Part 2, 493 Harvard Lampoon (publication), Supp. IV, Part 1, 279 "Harvest Song" (Toomer), Supp. Ill, Part 2, 483 "Harvesters of Night and Water" (Hogan), Supp. IV, Part 1, 412 Harvey, Robert D., Ill, 289 Hascom, Leslie, III, 169 Hasley, Louis, Supp. I, Part 2, 627, 681 Hass, Robert, Supp. VI, 97, 9899, 100-111 Hassan, Ihab, I, 166; II, 608; III, 48, 192, 243; IV, 99-100, 115, 119; Supp. I, Parti, 198 Hasse, Henry, Supp. IV, Part 1, 102 Hasty-Pudding, The (Barlow), Supp. II, Part 1, 74, 77-80 Hatfield, James T., II, 509 Hatfield, Ruth, II, 53 Hatful of Rain, A (Gazzo), III, 155 Hathorne, Captain Nathaniel, II, 223 Hathorne, Elizabeth Manning, II, 223, 224 Hathorne family, II, 223, 225 Hatlen, Burton, Supp. V, 138, 139-140 "Hattie Bloom" (Oliver), Supp. VII, 232 "Haunted Landscape" (Ashbery), Supp. Ill, Part 1, 22 "Haunted Mind, The" (Hawthorne), II, 230-231

"Haunted Oak, The" (Dunbar), Supp. II, Part 1, 207, 208 "Haunted Palace, The" (Poe), III, 421 "Haunted Valley, The" (Bierce), I, 200 Hauptmann, Gerhart, III, 472 "Havanna vanities come to dust in Miami" (Didion), Supp. IV, Part 1, 210 "Have You Ever Tried to Enter the Long Black Branches" (Oliver), Supp. VII, 247 Haven's End (Marquand), III, 55, 56, 63, 68 Havighurst, Walter, Supp. I, Part 2,478 "Having Been Interstellar" (Ammons), Supp. VII, 25 "Having It Out With Melancholy" (Kenyon), Supp. VII, 171 "Having Lost My Sons, I Confront the Wreckage of the Moon: Christmas, 1960" (Wright), Supp. Ill, Part 2, 600 "Having Snow" (Schwartz), Supp. II, Part 2, 652 Hawai 'i One Summer (Kingston), Supp. V, 157, 160, 166, 169170 Hawk in the Rain, The (Hughes), Supp. I, Part 2, 537, 540 Hawk Moon (Shepard), Supp. Ill, Part 2, 445 Hawke, David Freeman, Supp. I, Part 2, 511, 516 Hawkes, John, I, 113; III, 360; Supp. Ill, Part 1, 2; Supp. V, 40 Hawkins, William, II, 587 Hawks, Howard, Supp. IV, Part 1, 130 "Hawk's Shadow" (Gliick), Supp. V, 85 Hawk's Well, The (Yeats), III, 459^60 Hawley, Joseph, I, 546 Hawley, Michael, Supp. I, Part 2, 627 Hawthorne, Julian, II, 225, 245; Supp. I, Part 1, 38 Hawthorne, Manning, II, 509

Hawthorne, Mrs. Nathaniel (Sophia Peabody), II, 224, 244, 245; III, 75,86 Hawthorne, Nathaniel, I, 106, 204, 211,340,355,363,384,413, 458, 561-562; II, 7, 8, 40, 60, 63, 74, 89, 127-128, 138, 142, 198, 223-246, 255, 259, 264, 267, 272, 274, 277, 281, 282, 295,307,309,311,313,322, 324, 326, 340, 402, 408, 446, 501, 545; III, 51, 81-82, 83, 84, 85,87,88,91,92, 113,316, 359, 412, 415, 421, 438, 453, 454, 507, 565, 572; IV, 2, 4, 167, 172, 179, 194, 333, 345, 453; Retro. Supp. I, 1, 53, 59, 62, 63, 91, 145-167, 215, 218, 220, 223, 248-249, 252, 257, 258, 330, 331, 365; Supp. I, Parti, 38, 147, 188, 197,317, 372, Part 2, 420, 421, 545, 579, 580, 582, 587, 595, 596; Supp. III, Part 2, 501; Supp. IV, Part 1, 80, 127, 297, Part 2, 463, 596; Supp. V, 152 Hawthorne, Rose, II, 225 Hawthorne, Una, II, 225 Hawthorne (James), II, 372-378; Retro. Supp. I, 220, 223-224 "Hawthorne" (Lowell), II, 550 "Hawthorne and His Mosses" (Melville), Retro. Supp. I, 254 "Hawthorne Aspect [of Henry James], The" (Eliot), Retro. Supp. I, 63 "Hawthorne in Solitude" (Cowley), Supp. II, Part 1, 143 Hay, John, I, 1, 10, 12, 14-15; Supp. I, Part 1, 352 Hay, Mrs. John, I, 14 Hayakawa, S. I., I, 448; Supp. I, Part 1, 315 Hayashi, Tetsumaro, III, 168 Hayden, Robert, Supp. II, Part 1, 361-383; Supp. IV, Part 1, 169 Haydn, Hiram, IV, 100, 358 Haydock, J., II, 484 Hayek, Friedrich A. von, Supp. IV, Part 2, 524 Hayes, Ira, Supp. IV, Part 1, 326 Hayes, Richard, Supp. V, 320

INDEX / 455 Hayes, Rutherford B., Supp. I, Part 2, 419 Hayford, Harrison, III, 95, 96 Hay man, Ronald, III, 169 Hayne, Paul Hamilton, Supp. I, Part 1, 352, 354, 355, 360, 372 Hayward, John, Retro. Supp. I, 67 Haywood, "Big" Bill, Supp. V, 286 Haywood, Bill, I, 483 Hazard, Grace, II, 530 Hazard of New Fortunes, A (Howells), II, 275, 276, 286297, 290 Hazel, Robert, I, 311 Hazen, General W. B., I, 192, 193 Hazlitt, Henry, Supp. IV, Part 2, 524 Hazlitt, William, I, 58, 378; II, 315 Hazo, Samuel, I, 386, 404 H.D, see Doolittle, Hilda "H.D.: A Note on Her Critical Reputation" (Bryher), Supp. I, Part 1, 275 "H.D.: A Preliminary Checklist" (Bryher and Roblyer), Supp. I, Part 1, 275 "H.D.'s 'Hermetic Definition' " (Quinn), Supp. I, Part 1, 275 "He" (Porter), III, 434, 435 "He Came Also Still" (Zukofsky), Supp. Ill, Part 2, 612 "He 'Digesteth Harde Yron' " (Moore), Supp. IV, Part 2, 454 "He of the Assembly" (Bowles), Supp. IV, Part 1, 90 He Who Gets Slapped (Andreyev), II, 425 "He Who Spits at the Sky" (Stegner), Supp. IV, Part 2, 605 "He Will Not Leave a Note" (Rios), Supp. IV, Part 2, 548 "Head and Shoulders" (Fitzgerald), Retro. Supp. I, 101 "Head-Hunter, The" (O. Henry), Supp. II, Part 1, 403 Headings, Philip R., I, 590 "Headless Hawk, The" (Capote), Supp. Ill, Part 1, 124

Headlines (Williams), IV, 381 Headlong Hall (Peacock), Supp. I, Part 1, 307 Headmaster, The (McPhee), Supp. III, Part 1, 291, 294, 298 Headsman, The (Cooper), I, 345346 "Headwaters" (Momaday), Supp. IV, Part 2, 486 Heal, Edith, IV, 423 Healy, Tim, II, 129,137 "Hear the Nightingale Sing" (Gordon), II, 200 Hearn, Lafcadio, I, 211; II, 311 Hearst, Patty, Supp. IV, Part 1, 195 Hearst, William Randolph, I, 198, 207, 208; IV, 298 Hearst's International (publication), II, 87 "Heart and the Lyre, The" (Bogan), Supp. Ill, Part 1, 65 Heart for the Gods of Mexico, A (Aiken), I, 54 Heart is a Lonely Hunter, The (McCullers), II, 586, 588-593, 604, 605 Heart of a Woman, The (Angelou), Supp. IV, Part 1, 2, 5, 7-9, 9, 14, 17 "Heart of Darkness" (Conrad), I, 575, 578; II, 595 Heart of Darkness (Conrad), Supp. V, 249, 311 Heart of Darkness (Didion), Supp. IV, Part 1, 207 Heart of Happy Hollow, The (Dunbar), Supp. II, Part 1, 214 Heart of Knowledge, The: American Indians on the Bomb (eds. Gunn Allen and Caputi), Supp. IV, Part 1, 334-335 "Heart of Knowledge, The: Nuclear Themes in Native American Thought and Literature" (Caputi), Supp. IV, Part 1, 335 Heart of the West (O. Henry), Supp. II, Part 1, 410 "Heart Songs" (Proulx), Supp. VII, 254

Heart Songs and Other Stories (Proulx), Supp. VII, 252-256, 261 Heart to Artemis, The (Bryher), Supp. I, Part 1, 259, 275 Heartbreak Kid, The (film), Supp. IV, Part 2, 575, 589 Heartland, The: Ohio, Indiana, Illinois (Havighurst), Supp. I, Part 2, 478 Heartman, Charles F., Ill, 431 "Hearts, The" (Pinsky), Supp. VI, 245-247, 248 "Hearts' and Flowers' " (MacLeish), III, 8 "Hearts and Heads" (Ransom), Supp. I, Part 1, 373 "Heart's Needle" (Snodgrass), Supp. VI, 311-313, 320 Heart's Needle (Snodgrass), I, 400 Heart-Shape in the Dust (Hayden), Supp. II, Part 1, 365, 366 Heathcote, Anne, see De Lancey, Mrs. James "Heathen Chinee, The" (Harte), Supp. II, Part 1, 350-351, 352 Heathen Days, 1890-1936 (Mencken), III, 100, 111 "Heaven" (Levine), Supp. V, 182 "Heaven and Earth in Jest" (Dillard), Supp. VI, 24, 28 "Heaven as Anus" (Kumin), Supp. IV, Part 2, 448 Heavenly Conversation, The (Mather), Supp. II, Part 2, 460 "Heavy Bear Who Goes with Me, The" (Schwartz), Supp. II, Part 2,646 Hecht, Anthony, IV, 138, 143; Supp. Ill, Part 2, 541, 561 Hecht, Ben, I, 103; II, 42; Supp. I, Part 2, 646 Hecht, S. Theodore, Supp. Ill, Part 2, 614 Heckewelder, John, II, 503 "Hedge Island" (Lowell), II, 524 Hedges, William, Supp. I, Part 1, 148 Hedges, William L, II, 311-312, 318 Hedylus (Doolittle), Supp. I, Part 1, 259, 270

456 / INDEX "Heel & Toe To the End" (Williams), Retro. Supp. I, 430 Hegel, Georg Wilhelm Friedrich, I, 265; II, 358; III, 262, 308-309, 480, 481, 487, 607; IV, 86, 333, 453; Supp. I, Part 2, 633, 635, 640, 645 "HEGEL" (Baraka), Supp. II, Part 1, 53 "Hegemony of Race, The" (Du Bois), Supp. II, Part 1, 181 Hegger, Grace Livingston, see Lewis, Mrs. Sinclair (Grace Livingston Hegger) Heidegger, Martin, II, 362, 363; III, 292; IV, 491; Supp. V, 267 Heidenmauer, The (Cooper), I, 345-346 Heidi Chronicles, The (Wasserstein), Supp. IV, Part 1, 309 "Height of the Ridiculous, The" (Holmes), Supp. I, Part 1, 302 Heilbroner, Robert, Supp. I, Part 2, 644, 648, 650 Heilman, Robert B., II, 222; IV, 425 Heim, Michael, Supp. V, 209 Heimert, Alan, I, 565, 566; III, 312 Heine, Heinrich, II, 272, 273, 277, 281, 282, 387, 544; IV, 5 Heineman, Frank, Supp. Ill, Part 2,619 Heinlein, Robert, Supp. IV, Part 1, 102 Heinz, Helen, see Tate, Mrs. Allen (Helen Heinz) Heiress, The (film), Retro. Supp. I, 222 "Helas" (Creeley), Supp. IV, Part 1, 150, 158 Helburn, Theresa, III, 407; IV, 381 Heldreth, Leonard, Supp. V, 151 "Helen" (Lowell), II, 544 "Helen: A Courtship" (Faulkner), Retro. Supp. I, 81 "Helen I Love You" (Farrell), II, 28,45 Helen in Egypt (Doolittle), Supp. I, Part 1, 260, 272, 273, 274

Helen Keller: Sketch for a Portrait (Brooks), I, 254 "Helen of Tyre" (Longfellow), II, 496 Heliodora (Doolittle), Supp. I, Part 1, 266 Hellbox (O'Hara), III, 361 Heller, Joseph, II, 221; III, 2, 258; IV, 98; Supp. I, Part 1, 196; Supp. IV, Part 1, 379-396; Supp. V, 244 Heilman, George S., II, 317 Heilman, Lillian, I, 28; III, 28; Supp. I, Part 1, 276-298; Supp. IV, Part 1, 1, 12,83, 353, 355, 356 Hello (Creeley), Supp. IV, Part 1, 155, 157 Hello Dolly! (musical play), IV, 357 "Hello, Hello Henry" (Kumin), Supp. IV, Part 2, 446 "Hello, Stranger" (Capote), Supp. Ill, Part 1, 120 Hellyer, John, Supp. I, Part 2, 468 Helmcke, Hans, IV, 473 Helmets (Dickey), Supp. IV, Part 1, 175, 178, 180 "Helmsman, The" (Doolittle), Supp. I, Part 1, 266 "Help" (Barm), I, 139 "Helsinki Window" (Creeley), Supp. IV, Part 1, 158 Hemenway, Robert, Supp. IV, Part 1, 6 Hemenway, Robert E., Supp. I, Part 1, 147 Hemingway, Dr. Clarence Edwards, II, 248, 259 Hemingway, Ernest, I, 28, 64, 97, 99, 105, 107, 117, 150, 162, 190,211,221,288,289,295, 367, 374, 378, 421, 423, 445, 476, 477, 478, 482, 484^85, 487, 488, 489, 491, 495, 504, 517; II, 27, 44, 51, 58, 68-69, 78, 90, 97, 100, 127, 206, 247270,289,424,431,456,457, 458^59, 482, 560, 600; III, 2, 18, 20, 35, 36, 37, 40, 61, 108, 220, 334, 363, 364, 382, 453, 454, 471-472, 476, 551, 575,

576, 584; IV, 27, 28, 33, 34, 35, 42, 49, 97, 108, 122, 126, 138, 190, 191, 201, 216, 217, 257, 297,363,404,427,433,451; Retro. Supp. I, 74, 98, 108, 111, 112, 113, 115, 169-191, 215, 292, 359, 418; Supp. I, Part 2, 621, 658, 678; Supp. II, Part 1, 221; Supp. Ill, Part 1, 146, Part 2, 617; Supp. IV, Part 1, 48, 102, 123, 197, 236, 342, 343, 344, 348, 350, 352, 380-381, 383, Part 2, 463, 468, 502, 607, 679, 680, 681, 689, 692; Supp. V, 237, 240, 244, 250, 336 Hemingway, Leicester, II, 270 Hemingway, Mrs. Ernest (Hadley Richardson), II, 257, 260, 263 Hemingway, Mrs. Ernest (Martha Gellhorn), II, 260 Hemingway, Mrs. Ernest (Mary Welsh), II, 257, 260 Hemingway, Mrs. Ernest (Pauline Pfeiffer), II, 260 "Hemingway in Paris" (Cowley), Supp. II, Part 1, 144 "Hemingway Story, A" (Dubus), Supp. VII, 91 "Hemingway: The Old Lion" (Cowley), Supp. II, Part 1, 143 Hemley, Cecil, IV, 22, 23 "Hen Flower, The" (Kinnell), Supp. Ill, Part 1, 247-248 "Henchman, The" (Whittier), Supp. I, Part 2, 696 Henderson, Alice Corbin, Supp. I, Part 2, 387 Henderson, Archibald and Barbara, II, 365 Henderson, F. C., Ill, 121 Henderson, Katherine, Supp. IV, Part 1, 203, 207 Henderson, Linda, see Hogan, Linda Henderson, Stephen, Supp. IV, Part 1, 365 Henderson the Rain King (Bellow), I, 144, 147, 148, 152, 153, 154, 155, 158, 160, 161, 162-163 Hendin, Josephine, III, 360 Hendricks, King, II, 484

INDEX / 457 Henfrey, Norman, III, 622 Henle, James, II, 26, 30, 38, 41 Henri, Robert, IV, 411; Supp. I, Part 2, 376 Henry VI, King, II, 379 Henry VIII, King, I, 12; III, 101; IV, 201; Supp. I, Part 2, 461 Henry, Arthur, I, 515 Henry, O. (pseudonym), see Porter, William Sydney Henry, William A., Ill, Supp. IV, Part 2, 574 Henry IV (Shakespeare), III, 166 Henry Holt and Company, Retro. Supp. I, 121, 131, 133, 136 "Henry James and the Art of Teaching" (Rowe), Retro. Supp. I, 216 "Henry James, Jr." (Howells), II, 289; Retro. Supp. I, 220 "Henry Manley, Living Alone, Keeps Time" (Kumin), Supp. IV, Part 2, 451 "Henry Manley Looks Back" (Kumin), Supp. IV, Part 2, 451 "Henry Manley" poems (Kumin), Supp. IV, Part 2, 446 Henry Miller Reader, The (ed. Durrell), III, 175, 190 "Henry's Confession" (Berryman), I, 186 Henslee, Supp. IV, Part 1, 217 Henson, Josiah, Supp. I, Part 2, 589 Hentoff, Margot, Supp. IV, Part 1,205 Hentz, Caroline Lee, Supp. I, Part 2,584 Henze, Hans Werner, Supp. II, Part 1, 24 "Her Dream Is of the Sea" (Rios), Supp. IV, Part 2, 546 "Her Kind" (Sexton), Supp. II, Part 2, 687 "Her Management" (Swenson), Supp. IV, Part 2, 642 "Her Own People" (Warren), IV, 253 "Her Quaint Honour" (Gordon), II, 196, 199, 200 "Her Sense of Timing" (Elkin), Supp. VI, 56, 58

"Her Sweet turn to leave the Homestead" (Dickinson), Retro. Supp. I, 44 Heraclitus, II, 1, 163; IV, 86 Herakles: A Play in Verse (MacLeish), III, 21, 22 Herald (newspaper), Retro. Supp. I, 102 Herberg, Will, III, 291 Herbert, Edward, II, 11; III, 408 Herbert, Francis (pseudonym), see Bryant, William Cullen Herbert, George, II, 12; IV, 141, 145, 146, 151, 153, 156, 165; Supp. I, Part 1, 80, 107, 108, 122; Supp. IV, Part 2, 646 Herbert of Cherbury, Lord, II, 108 Herbst, Josephine, I, 119; III, 455 "Here" (Kenyon), Supp. VII, 164 Here and Beyond (Wharton), Retro. Supp. I, 382 Here and Now (Levertov), Supp. III, Part 1, 275, 276 Here at the New Yorker (Gill), Supp. I, Part 2, 626, 681 "Here to Learn" (Bowles), Supp. IV, Part 1, 93 "Here to Yonder" (Hughes), Retro. Supp. I, 205 Heredity and Variation (Lock), Retro. Supp. I, 375 Herford, Reverend Brooke, I, 471 Hergesheimer, Joseph, Supp. I, Part 2, 620 "Heritage" (Cullen), Supp. IV, Part 1, 164-165, 168, 170, 171 "Heritage" (Hogan), Supp. IV, Part 1,413 Herman, Florence, see Williams, Mrs. William Carlos (Florence Herman) Herman, William (pseudonym), see Bierce, Ambrose "Herman Melville" (Auden), Supp. II, Part 1, 14 Herman Melville (Mumford), Supp. II, Part 2, 471,476, 489-491 "Hermes of the Ways" (Doolittle), Supp. I, Part 1, 266

Hermetic Definition (Doolittle), Supp. I, Part 1, 271, 272, 273, 274 "Hermit and the Wild Woman, The" (Wharton), Retro. Supp. I, 372 Hermit and the Wild Woman, The (Wharton), IV, 315; Retro. Supp. I, 371 "Hermit Meets the Skunk, The" (Kumin), Supp. IV, Part 2, 447 "Hermit of Saba, The" (Freneau), Supp. II, Part 1, 259 Hermit of 69th Street, The: The Working Papers or Norbert Kosky (Kosinski), Supp. VII, 215, 216, 223, 226-227 "Hermit Picks Berries, The" (Kumin), Supp. IV, Part 2, 447 Hernandez, Miguel, Supp. V, 194 Herne, James A., II, 276; Supp. II, Part 1, 198 "Hero, The" (Moore), III, 200, 211,212 Hero, The (Raglan), I, 135 Hero in America, The (Van Doren), II 103 Herod, King, III, 353; IV, 138 Herodiade (Mallarme), I, 66 Herodotus, Supp. I, Part 2, 405 Heroes, The (Ashbery), Supp. Ill, Part 1, 3 Heroic Ideal in American Literature, The (Gross), Supp. I, Part 1, 70 Herold, David, Supp. I, Part 2, 500 "Heron, The" (Roethke), III, 540541 Herrick, Robert, II, 11, 18, 444, 484; III, 463, 592; IV, 453; Retro. Supp. I, 319; Supp. I, Part 2, 646 Herring, Paul D., Ill, 241 Herron, George, Supp. I, Part 1, 7 Herron, Ima Honaker, Supp. I, Part 2, 478 Herschel, Sir John, Supp. I, Part 1,314 Hersey, John, IV, 4; Supp. I, Part 1, 196, 198

458 / INDEX Herzog (Bellow), I, 144, 147, 149, 150, 152, 153, 154, 155, 156, 157, 158, 159-160; Supp. IV, Part 1, 30 Heseltine, H. P., IV, 259 "Hesitation Blues" (Hughes), Retro. Supp. I, 211 Hesse, Hermann, Supp. V, 208 Hetherington, H. W., Ill, 97 Hewitt, Bernard, IV, 376 Hewlett, Maurice, I, 359 "Hey! Hey!" (Hughes), Supp. I, Part 1, 327-328 Hey Rub-a-Dub-Dub (Dreiser), I, 515; II, 26 Hiatt, David F., II, 294 Hiawatha (Longfellow), Supp. I, Part 1, 79; Supp. Ill, Part 2, 609, 610 "Hibernaculum" (Ammons), Supp. VII, 26-27 "Hie Jacet" (Williams), Retro. Supp. I, 414 Hichborn, Mrs. Philip, see Wylie, Elinor Hichborn, Philip, Supp. I, Part 2, 707, 708 Hickock, James Butler ("Wild Bill"), Supp. V, 229, 230 Hicks, Granville, I, 254, 259, 374, 380, 520; II, 26; III, 72, 240, 241, 242, 336, 342, 355, 359, 360, 407, 452; IV, 448; Supp. I, Part 1, 198, 361, Part 2, 453, 609; Supp. IV, Part 1, 22, Part 2,526 "Hidden Gardens" (Capote), Supp. Ill, Part 1, 125 "Hidden Name and Complex Fate" (Ellison), Supp. II, Part 1,245 "Hiding" (Minot), Supp. VI, 203, 206, 207 Hienger, Jorg, Supp. IV, Part 1, 106 Higgins, David, I, 473 Higgins, George, Supp. IV, Part 1,356 Higginson, Thomas Wentworth, I, 451-452, 453, 454, 456, 458, 459, 463, 464, 465, 470, 472; II, 509; Retro. Supp. I, 26, 31, 33,

35, 39, 40; Supp. I, Part 1, 307, 371; Supp. IV, Part 2, 430 "High Bridge above the Tagus River at Toledo, The" (Williams), Retro. Supp. I, 429 "High Dive: A Variant" (Kumin), Supp. IV, Part 2, 442 High Noon (film), Supp. V, 46 "High Tide" (Marquand), III, 56 High Tide in Tucson: Essays from Now or Never (Kingsolver), Supp. VII, 198, 201, 209 High Window, The (Chandler), Supp. IV, Part 1, 127-129, 130, 131 "Higher Keys, The" (Merrill), Supp. Ill, Part 1, 335-336 Higher Learning in America, The (Veblen), Supp. I, Part 2, 630, 631, 641, 642 Highet, Gilbert, Supp. I, Part 1, 268 Highsmith, Patricia, Supp. IV, Part 1, 79, 94, 132 "High-Toned Old Christian Woman, A" (Stevens), Retro. Supp. I, 301 "Highway, The" (Merwin), Supp. Ill, Part 1, 346 "Highway 99E from Chico" (Carver), Supp. Ill, Part 1, 136 Hijuelos, Oscar, Supp. IV, Part 1, 54 Hike and the Aeroplane (Lewis), II, 440-441 Hilberg, Raul, Supp. V, 267 Hilda Doolittle (H.D.) (Quinn), Supp. I, Part 1, 275 Hildebrand, Al, III, 118 Hilen, Andrew, II, 509 Hiler, Hilaire, Supp. Ill, Part 2, 617 Hilfer, Anthony Channell, I, 95 Hill, Hamlin, IV, 212, 213 Hill, Herbert, IV, 496 Hill, James J., Supp. I, Part 2, 644 Hill, Joe, I, 493 Hill, Patti, I, 289 Hill, Vernon, Supp. I, Part 2, 397 "Hill, The" (Strand), Supp. IV, Part 2, 627

"Hill, The" (Toomer), Supp. Ill, Part 2, 486 "Hill Wife, The" (Frost), II, 154; Retro. Supp. I, 131 "Hillcrest" (Robinson), III, 504 Killer, Hilaire, III, 191 Hill-Lubin, Mildred A., Supp. IV, Part 1, 13 Hillman, Sidney, Supp. I, Part 1, 5 Hills, L. Rust, III, 573 "Hills Beyond, The" (Wolfe), IV, 460 Hills Beyond, The (Wolfe), IV, 450,451,460,461 "Hills Like White Elephants" (Hemingway), Retro. Supp. I, 170 "Hillside Thaw, A" (Frost), Retro. Supp. I, 133 "Hill-Top View, A" (Jeffers), Supp. II, Part 2, 417 Hillway, Tyrus, III, 97 Hillyer, Robert, I, 475 "Hilton's Holiday, The" (Jewett), II, 391 Him (Cummings), I, 429, 434435 Himes, Chester, Supp. I, Part 1, 51, 325 Himes, Norman, Supp. V, 128 Hinchman, Sandra K., Supp. IV, Part 1, 210 Hindemith, Paul, IV, 357; Supp. IV, Part 1, 81 Hindus, Milton, I, 286; IV, 23 Hinge Picture (Howe), Supp. IV, Part 2, 423-424 "Hippies: Slouching towards Bethlehem" (Didion), Supp. IV, Part 1, 200 Hippolytus (Euripides), II, 543; Supp. I, Part 1, 270 Hippoytus Temporizes (Doolittle), Supp. I, Part 1, 270 "Hips" (Cisneros), Supp. VII, 61, 62 Hirsch, Edward, Supp. V, 177 Hirsch, Sidney, see Mttron-Hirsch, Sidney Hirschorn, Clive, Supp. IV, Part 2, 577, 579

INDEX / 459 Hirsh, David H., Supp. I, Part 1, 148 "His Bride of the Tomb" (Dunbar), Supp. II, Part 1, 196 "His Chest of Drawers" (Anderson), I, 113, 114 "His Hopes on the Human Heart" (Hicks), Supp. I, Part 2, 453 "His Lover" (Dubus), Supp. VII, 86 "His Own Key" (Rios), Supp. IV, Part 2, 543 "His Shield" (Moore), III, 211 "His Story" (Cisneros), Supp. VII, 67 His Thought Made Pockets & the Plane Buckt (Berryman), I, 170 His Toy, His Dream, His Rest (Berryman), I, 169, 170, 183, 184-186 "His Words" (Roethke), III, 544 Histoire comparee des systemes de philosophie (Gerando), II, 10 Historical and Moral View of the Origin and Progress of the French Revolution (Wollstonecraft), Supp. I, Part 1, 126 "Historical Conceptualization" (Huizinga), I, 255 "Historical Interpretation of Literature, The" (Wilson), IV, 431, 433, 445 Historical Jesus, The: The Life of a Mediterranean Jewish Peasant (Crossan), Supp. V, 251 "Historical Value of Crevecoeur's Voyage . . .," (Adams), Supp. I, Part 1,251 "History" (Emerson), II, 13, 15 "History" (Hughes), Supp. I, Part 1,344 "History among the Rocks" (Warren), IV, 252 History as a Literary Art (Morison), Supp. I, Part 2, 493 "History as Fate in E. L. Doctorow's Tale of a Western Town" (Arnold), Supp. IV, Part 1, 220 "History Is the Memory of Time" (Olson), Supp. II, Part 2, 574

"History, Myth, and the Western Writer" (Stegner), Supp. IV, Part 2, 596, 601 "History of a Literary Movement" (Nemerov), III, 270 "History of a Literary Radical, The" (Bourne), I, 215, 235, 236 History of a Radical: Essays by Randolph Bourne (Brooks), I, 245 History of American Graphic Humor, A (Murrell), Supp. I, Part 2, 626 History of English Literature (Taine), III, 323 History of Fortus, The (Emerson), 11,8 History of Henry Esmond, The (Thackeray), II, 91, 130 History of Modern Poetry, A (Perkins), Supp. I, Part 2, 475, 478 History of My Heart (Pinsky), Supp. VI, 243, 244, 245 History of New York, from the Beginning of the World to the End of the Dutch Dynasty, A (Irving), II, 300-303, 304, 310 History of Pendennis, The (Thackeray), II, 291 "History of Red, The" (Hogan), Supp. IV, Part 1,411 History ofRoxbury Town (Ellis), Supp. I, Part 1, 99 History of the Conquest of Mexico (Prescott), Retro. Supp. I, 123 History of the Conquest of Peru (ed. Morison), Supp. I, Part 2, 494 History of the Dividing Line betwixt Virginia and North Carolina (Byrd), Supp. IV, Part 2, 425 History of the Life and Voyages of Christopher Columbus, A (Irving), II, 310, 314 History of the Navy of the United States of America (Cooper), I, 347 History of the United States of America during the Administrations of Thomas

Jefferson and James Madison (Adams), I, 6-9, 10, 20, 21 History of the Work of Redemption, A (Edwards), I, 560 History of United States Naval Operations in World War II (Morison), Supp. I, Part 2, 490-492 "History Through a Beard" (Morison), Supp. I, Part 2, 490 "History Without a Beard" (Degler), Supp. I, Part 2, 500 Hitchcock, Ada, see MacLeish, Mrs. Archibald (Ada Hitchcock) Hitchcock, Alfred, IV, 357; Supp. IV, Part 1, 132 "Hitch-Hikers, The" (Welty), IV, 262 Hitler, Adolf, I, 261, 290, 492; II, 146, 454, 561, 565, 592; III, 2, 3, 110, 115, 140, 156,246,298, 446; IV, 5, 17, 18, 298, 372; Supp. I, Part 2, 431, 436, 446, 664; Supp. V, 290 Hitler, Wendy, III, 404 "Hoarder, The" (Sexton), Supp. II, Part 2, 692 Hobb, Gormley, I, 203 Hobbes, Thomas, I, 277; II, 9, 10, 540; III, 306; IV, 88 Hobson, Geary, Supp. IV, Part 1, 321, Part 2, 502 Hobson, J. A., I, 232 Hobson, John A., Supp. I, Part 2, 650 Hobson, Laura Z., Ill, 151 Hochman, Baruch, II, 557; IV, 23 Hocking, William Ernest, III, 303 Hodgson, Captain Joseph, III, 328 Hoeltje, Hubert, II, 23, 245 Hoffa, Jimmy, I, 493 Hoffding, Harold, II, 364 Hoffman, Daniel G., I, 405, 426, 542; II, 246, 307, 318; III, 432 Hoffman, Dustin, Supp. IV, Part 1,236 Hoffman, Frederick J., I, 60, 67, 70, 120; II, 76, 100, 195, 222, 443; III, 48, 217; IV, 71, 113, 119,424 Hoffman, Josiah Ogden, II, 297, 300

460 / INDEX Hoffman, Louise M., II, 318 Hoffman, Matilda, II, 300, 314 Hoffman, Michael J., IV, 48 Hoffmann, E. T. A., Ill, 415 Hofmann, Hans, III, 313 Hogan, Charles Beecher, III, 525 Hogan, Linda, Supp. IV, Part 1, 324, 325, 397-418 Hogg, James, I, 53; Supp. I, Part 1,349 Hohne, Karen, Supp. V, 147 Hojoki (Chomei), IV, 170 Hokusai, III, 597 Holbrook, Clyde, I, 564 Holbrook, David, Supp. I, Part 2, 526-527, 546, 548 Holcroft, Thomas, Supp. I, Part 2, 514 "Hold Me" (Levine), Supp. V, 186 Holder, Alan, I, 47, 143 "Holding On" (Levine), Supp. V, 184 Holding the Line: Women in the Great Arizona Mine Strike of 1983 (Kingsolver), Supp. VII, 197, 201-202, 204 "Holding the Mirror Up to Nature" (Nemerov), III, 275, 276 "Hole in the Floor, A" (Wilbur), Supp. Ill, Part 2, 556-557 Holiday, Billie, Supp. I, Part 1, 80; Supp. IV, Part 1, 2, 7 Holiday (Barry), Retro. Supp. I, 104 Holiday (magazine), III, 350 "Holiday" (Porter), III, 454 Holinshed, Raphael, IV, 370 Holland, Josiah, Supp. I, Part 2, 420 Holland, Laura Virginia, I, 286 Holland, Laurence Bedwell, Retro. Supp. I, 216 Holland, Mrs. Theodore, I, 453, 455, 465 Holland, Theodore, I, 453 Holland, William, IV, 381 Hollander, John, I, 450; Supp. I, Part 1, 96; Supp. Ill, Part 2, 541; Supp. IV, Part 2, 642 Hollis, Thomas Brand, Supp. I, Part 2, 514

Hollow Men, The (Eliot), I, 574, 575, 578-579, 580, 585; III, 586; Retro. Supp. I, 63, 64 "Hollow Tree, A" (Bly), Supp. IV, Part 1, 64, 66 Holloway, Emory, IV, 353, 354 "Hollywood!" (Vidal), Supp. IV, Part 2, 688 Hollywood: A Novel of America in the 1920s (Vidal), Supp. IV, Part 2, 677, 684, 686, 688, 690, 691 Hollywood: American Movie-City (Rand, unauthorized), Supp. IV, Part 2, 519 Hollywood on Trial (film), Supp. 1, Part 1, 295 Holman, C. Hugh, IV, 472, 473 Holmes, Abiel, Supp. I, Part 1, 300, 301, 302, 310 Holmes, Charles, Supp. I, Part 2, 626 Holmes, John, I, 169, 189; Supp. II, Part 1, 87; Supp. IV, Part 2, 440-441 Holmes, Mrs. Abiel (Sarah Wendell), Supp. I, Part 1, 300 Holmes, Mrs. Oliver Wendell (Amelia Jackson), Supp. I, Part 1,303 Holmes, Oliver Wendell, I, 487; II, 225, 273-274, 402, 403; III, 81-82, 590, 591-592; IV, 429, 436; Supp. I, Part 1, 103, 243, 254, 299-319, Part 2, 405, 414, 415, 420, 593, 704, 705 Holmes, Oliver Wendell, Jr., I, 3, 19; Supp. IV, Part 2, 422 Holmes, Ted, Supp. V, 180 Holmes, William Henry, Supp. IV, Part 2, 603-604 Holmes of the Breakfast-Table (Howe), Supp. I, Part 1, 319 Holt, Edwin E., I, 59; II, 365 Holt, Felix, II, 179 Holt, Henry, II, 348; III, 587 Holtby, Winifred, Supp. I, Part 2, 720 Holy Ghostly, The (Shepard), Supp. Ill, Part 2, 437-438, 447 "Holy Innocents, The" (Lowell), II, 539

Holy Sonnets (Donne), IV, 145; Supp. I, Part 1, 367; Supp. Ill, Part 2, 619 "Holy Terror, A" (Bierce), I, 203 Holy the Firm (Dillard), Supp. VI, 23,29,30,31,32 Holy War, The (Bunyan), IV, 156 "Homage to Arthur Rimbaud" (Wright), Supp. V, 339 "Homage to Che Guevara" (Banks), Supp. V, 5 Homage to Clio (Auden), Supp. II, Part 1, 24 "Homage to Elizabeth Bishop" (ed. Ivask), Supp. I, Part 1, 96 "Homage to Ezra Pound" (Wright), Supp. V, 339 Homage to Frank O 'Hara (Ashbery), Supp. Ill, Part 1, 2-3 "Homage to Hemingway" (Bishop), IV, 35 Homage to Mistress Bradstreet (Berryman), I, 168, 169, 170171, 172, 174, 175, 178-183, 184, 186 "Homage to Paul Cezanne" (Wright), Supp. V, 341-342 "Homage to Sextus Propertius" (Pound), III, 462, 476; Supp. III, Part 2, 622 Homage to Sextus Propertius (Pound), Retro. Supp. I, 290 "Homage to Shakespeare" (Cheever), Supp. I, Part 1, 180 "Homage to the Empress of the Blues" (Hayden), Supp. II, Part 1,379 "Homage to the Memory of Wallace Stevens" (Justice), Supp. VII, 126 Homage to Theodore Dreiser (Warren), 1,517 "Home" (Hughes), Supp. I, Part 1, 329, 330 Home (Updike), Retro. Supp. I, 320 "Home after Three Months Away" (Lowell), II, 547 Home and Colonial Library (Murray), Retro. Supp. I, 246

INDEX / 461 Home as Found (Cooper), I, 348, 349, 350, 351 "Home Burial" (Frost), Retro. Supp. I, 124, 125, 128, 129-130 Home Magazine (publication), I, 313; II, 465 Home Monthly (magazine), Retro. Supp. I, 5 Home on the Range (Baraka), Supp. II, Part 1, 47 Home Place, The (Morris), III, 221, 222, 232 Home: Social Essays (Baraka), Supp. II, Part 1, 45, 61 Homecoming (Alvarez), Supp. VII, 1, 3-5, 9 Homecoming Game, The (Nemerov), III, 268, 282, 284285 "Homeland" (Merwin), Supp. Ill, Part 1, 351 Homeland and Other Stories (Kingsolver), Supp. VII, 199, 202-204, 207 Homer, I, 312, 433; II, 6, 8, 133, 302, 543, 544, 552; III, 14, 21, 278, 453, 457, 473, 567; IV, 54, 371; Retro. Supp. I, 59; Supp. I, Part 1, 158, 283, Part 2, 494 Homer, Louise, Retro. Supp. I, 10 "Homesick Blues" (Hughes), Supp. I, Part 1, 327 Homeward Bound (Cooper), I, 348 "Homily" (Tate), IV, 121-122 "Homme Moyen Sensuel, L' " (Pound), III, 462 Homme revolte, L' (Camus), III, 306 Homo Ludens (Huizinga), II, 416417, 425 "Homoeopathy and Its Kindred Delusions" (Holmes), Supp. I, Part 1, 303-304, 305 "Homosexual Villain, The" (Mailer), III, 36 Hone and Strong Diaries of Old Manhattan, The (ed. Auchincloss), Supp. IV, Part 1, 23 "Honey" (Beattie), Supp. V, 33 "Honey" (Wright), Supp. Ill, Part 2,589

"Honey and Salt" (Sandburg), III, 594 Honey and Salt (Sandburg), III, 594-596 "Honey Babe" (Hughes), Supp. I, Part 1, 334 "Honey Tree, The" (Oliver), Supp. VII, 236 "Honey, We'll Be Brave" (Farrell), 11,45 Hong, Maxine, see Kingston, Maxine Hong Honig, Edwin, I, 450; IV, 424 "Honky Tonk in Cleveland, Ohio" (Sandburg), III, 585 "Honkytonk" (Shapiro), Supp. II, Part 2, 705 Honorable Men (Auchincloss), Supp. IV, Part 1, 23 Hood, Tom, I, 195 "Hoodoo in America" (Hurston), Supp. VI, 153-154 Hook, Sidney, I, 265, 287; II, 365; Supp. IV, Part 2, 527 "Hook" (Wright), Supp. Ill, Part 2,604 Hooker, Adelaide, see Marquand, Mrs. John P. (Adelaide Hooker) Hooker, Samuel, IV, 162, 165 Hooker, Thomas, II, 15-16; IV, 162 Hooper, Marian, see Adams, Mrs. Henry (Marian Hooper) Hoover, Herbert, Supp. I, Part 2, 638 Hope, Lynn, Supp. II, Part 1, 38 "Hope" (Jarrell), II, 389 "Hope Atherton's Wanderings" (Howe), Supp. IV, Part 2, 432 Hope of Heaven (O'Hara), III, 361 Hopkins, Anne Yale, Supp. I, Part 1, 100, 102, 113 Hopkins, Gerard Manley, I, 171, 179, 397, 401, 522, 525, 533; II, 537; III, 197, 209, 523; IV, 129, 135, 141, 421; Supp. I, Parti, 79, 81, 94; Supp. Ill, Part 2, 551; Supp. IV, Parti, 178, Part 2, 637, 638, 639, 641, 643; Supp. V, 337 Hopkins, L. A., I, 502

Hopkins, Lemuel, Supp. II, Part 1,70 Hopkins, Miriam, IV, 381; Supp. I, Part 1, 281 Hopkins, Samuel, I, 547, 549, 564 Hopkins, Vivian, II, 20, 23 Hopkinson, Francis, Supp. I, Part 2,504 Hopper, Edward, IV, 411, 413; Supp. IV, Part 2, 619, 623, 631, 634 Hopper, Stanley R., IV, 377 Hopper (Strand), Supp. IV, Part 2,632 Hopwood, Avery, Supp. IV, Part 2,573 Horace, II, 8, 154, 169, 543, 552, 568; III, 15; IV, 89; Supp. I, Part 2, 423 Horae Canonicae (Auden), Supp. II, Part 1, 21 "Horatian Ode" (Marvell), IV, 135 Horizon (periodical), Supp. II, Part 1, 172, 176 Horkheimer, Max, Supp. I, Part 2, 645; Supp. IV, Part 1, 301 Horn, Mother, Supp. I, Part 1, 49, 54 "Horn of Plenty" (Hughes), Retro. Supp. I, 210; Supp. I, Part 1, 342 Hornberger, Theodore, I, 565 Homer, George F., II, 125 Horowitz, Mark, Supp. V, 219, 231 "Horse, The" (Levine), Supp. V, 182 "Horse, The" (Wright), Supp. Ill, Part 2, 592, 601 Horse Eats Hay (play), Supp. IV, Part 1, 82 Horse Feathers (film), Supp. IV, Part 1, 384 Horse Sense in American Humor (Blair), Supp. I, Part 2, 626 "Horse Show, The" (Williams), Retro. Supp. I, 423 "Horse Thief (Caldwell), I, 310 Horseman, Pass By (McMurtry), Supp. V, 220-221, 224 Horses and Men (Anderson), I, 112-113, 114

462 / INDEX "Horses and Men in Rain" (Sandburg), III, 584 Horses Make a Landscape More Beautiful (Walker), Supp. Ill, Part 2, 521, 533 Horsford, Howard C, III, 96 Horton, Philip, I, 383, 386, 387, 393, 404, 441, 450 Hosea (biblical book), II, 166 Hoskins, Katherine, IV, 424 Hosmer family, IV, 177 Hospers, John, Supp. IV, Part 2, 528 Hospital, Janette Turner, Supp. IV, Parti, 311-302 Hospital Sketches (Alcott), Supp. I, Part 1, 34, 35 "Hot Time, A" (Gunn Allen), Supp. IV, Part 1, 333 "Hot Times in the Catbird Seat" (Braunlich), Supp. I, Part 2, 626 Hotel New Hampshire, The (Irving), Supp. VI, 163, 164, 172-173, 177, 179 Houdini, Harry, IV, 437 Hough, Robert L., II, 294 Houghton, Frederick, III, 72 Houghton Mifflin, Retro. Supp. I, 7, 9, 13, 35 Hound and Horn (publication), III, 434; Supp. I, Part 1, 174; Supp. Ill, Part 2, 613, 614 "Hound of Heaven" (Thompson), Retro. Supp. I, 55 "Hour in Chartres, An" (Bourne), 1,228 "Hours before Eternity" (Caldwell), I, 291 House, Edward, Supp. I, Part 2, 643 House, Kay S., I, 357 "House, The" (Merrill), Supp. Ill, Part 1, 323 House, Bridge, Fountain, Gate (Kumin), Supp. IV, Part 2, 448, 449, 451, 454 House Divided, A (Buck), Supp.

II, Parti, 118

"House Divided, The/La Casa Divida" (Kingsolver), Supp. VII, 207

"House Guest" (Bishop), Supp. I, Part 1, 93 "House in Athens, The" (Merrill), Supp. Ill, Part 1, 323 House in the Uplands, A (Caldwell), I, 297, 301, 306 "House in Turk Street, The" (Hammett), Supp. IV, Part 1, 344 House Made of Dawn (Momaday), Supp. IV, Part 1, 274, 323, 326, Part 2, 479, 480, 481^84, 485, 486, 504, 562 House of Dust, The: A Symphony (Aiken), I, 50 House of Earth trilogy (Buck), Supp. II, Part 1, 118, 123 House of Fiction, The: An Anthology of the Short Story (Gordon and Tate), II, 221 House of Five Talents, The (Auchincloss), Supp. IV, Part 1, 21, 25-27 "House of Flowers" (Capote), Supp. Ill, Part 1, 123 House of Incest (Nin), Supp. Ill, Part 1, 43 House of Light (Oliver), Supp. VII, 238-240 House of Mirth, The (Wharton), II, 180, 193; IV, 311-313, 314, 316, 318, 323, 327; Retro. Supp. I, 360, 366, 367, 367370, 373, 380 "House of Mist, The" (Rand), Supp. IV, Part 2, 524 "House of My Own, A" (Cisneros), Supp. VII, 64 "House of Night, The" (Freneau), Supp. II, Part 1, 259, 260 House of the Far and Lost, The (Wolfe), IV, 456 House of the Prophet, The (Auchincloss), Supp. IV, Part 1,31 House of the Seven Gables (Hawthorne), I, 106; II, 60, 224, 225, 231, 237, 239, 240-241, 243, 244; Retro. Supp. I, 63, 149, 160-162, 163, 164; Supp. I, Part 2, 579

House of the Solitary Maggot, The (Purdy), Supp. VII, 274-275 "House on 15th S.W., The" (Hugo), Supp. VI, 140 "House on Mango Street, The" (Cisneros), Supp. VII, 59 House on Mango Street, The (Cisneros), Supp. VII, 58, 5964, 65, 66, 67, 68, 72 House on Marshland, The (Gliick), Supp. V, 81-83, 84 "House on the Heights, A" (Capote), Supp. Ill, Part 1, 120 "House on the Hill, The" (Robinson), III, 505, 524 "House Unroofed by the Gale" (Tu Fu), II, 526 "House Where Mark Twain Was Born, The" (Masters), Supp. I, Part 2, 472 Houseboat Days (Ashbery), Supp. Ill, Part 1, 18-20 Housebreaker of Shady Hill and Other Stories, The (Cheever), Supp. I, Part 1, 184 "Housekeeping" (Alvarez), Supp. VII, 3-5, 10 "Housekeeping for Men" (Bourne), 1,231 Houseman, John, Supp. IV, Part 1, 173 "Houses" (Hogan), Supp. IV, Part 1,402 "Houses, The" (Merwin), Supp. III, Part 1, 354 "Housewife" (Sexton), Supp. II, Part 2, 682 Housman, A. E., Ill, 15, 136, 606; Supp. II, Part 1, 4; Supp. IV, Part 1, 165 Houston Post (newspaper), Supp. IV, Part 1, 40, 42 Houston Trilogy (McMurtry), Supp. V, 223-225 Hovey, Richard B., II, 270 "How About This?" (Carver), Supp. Ill, Part 1, 141 "How Annandale Went Out" (Robinson), III, 513 "How David Did Not Care" (Bly), Supp. IV, Part 1, 73

INDEX / 463 "How I Became a Shadow" (Purdy), Supp. VII, 269 "How I Learned to Sweep" (Alvarez), Supp. VII, 4 "How I Told My Child About Race" (Brooks), Supp. Ill, Part 1,78 "How I Went to the Mines" (Harte), Supp. II, Part 1, 336 "How I Write" (Welty), IV, 279, 280 "How It Feels to Be Colored Me" (Hurston), Supp. VI, 152 "How Jonah Did Not Care" (Bly), Supp. IV, Part 1, 73 "How Many Midnights" (Bowles), Supp. IV, Part 1, 86-87 "How Many Nights" (Kinnell), Supp. Ill, Part 1, 245-246 How Much? (Blechman), Supp. I, Part 290 "How Much Earth" (Levine), Supp. V, 184 "How Soon Hath Time" (Ransom), IV, 123 How the Alligator Missed Breakfast (Kinney), Supp. Ill, Part 1, 235, 253 How the Garcia Girls Lost Their Accents (Alvarez), Supp. VII, 3, 5-9, 11, 15, 17, 18 How the Other Half Lives (Riis), I, 293 "How the Saint Did Not Care" (Bly), Supp. IV, Part 1, 73 "How the Women Went from Dover" (Whittier), Supp. I, Part 2, 694, 696, 697 How to Develop Your Personality (Shellow), Supp. I, Part 2, 608 "How to Live on $36,000 a Year" (Fitzgerald), Retro. Supp. I, 105 "How to Live. What to Do" (Stevens), Retro. Supp. I, 302 How to Read a Novel (Gordon), II, 198 How to Save Your Own Life (Jong), Supp. V, 115, 123-125, 130 "How to Study Poetry" (Pound), III, 474

How to Win Friends and Influence People (Carnegie), Supp. I, Part 2, 608 How to Worry Successfully (Seabury), Supp. I, Part 2, 608 How to Write (Stein), IV, 32, 34, 35 "How to Write a Blackwood Article" (Poe), III, 425 "How to Write a Memoir Like This" (Gates), Supp. Ill, Part 2, 509 "How to Write Like Somebody Else" (Roethke), III, 540 How to Write Short Stories (Lardner), II, 430, 431 "How Vincentine Did Not Care" (Bly), Supp. IV, Part 1, 73 "How We Danced" (Sexton), Supp. II, Part 2, 692 "How You Sound??" (Baraka), Supp. II, Part 1, 30 Howard, Jane, I, 189; IV, 235; Retro. Supp. I, 334 Howard, Leon, I, 564; III, 97; Supp. I, Part 1, 148, Part 2, 408, 422, 423, 426 Howard, Richard, Supp. IV, Part 2, 624, 626, 640 Howarth, Cora, I, 408, 409 Howarth, Herbert, I, 590 Howbah Indians (Ortiz), Supp. IV, Part 2, 513 Howe, E.W., I, 106 Howe, Irving, I, 119, 120; II, 53, 76; III, 289; IV, 10, 23, 448, 497; Retro. Supp. I, 369; Supp. I, Part 1, 70, Part 2, 432; Supp. II, Part 1, 99; Supp. VI, 113-116, 117-129 Howe, James Wong, Supp. I, Part 1, 281; Supp. V, 223 Howe, Julia Ward, III, 505 Howe, M. A. De Wolfe, I, 258; II, 406, 413; Supp. I, Part 1, 319 Howe, Mary Manning, Supp. IV, Part 2, 422 Howe, Samuel, Supp. I, Part 1, 153 Howe, Susan, Retro. Supp. I, 33, 43; Supp. IV, Part 2, 419^38 Howell, James, II, 111

Howells, Margaret, II, 271 Howells, Mildred, II, 294 Howells, Mrs. William Dean (Elinor Mead), II, 273 Howells, William C., II, 273 Howells, William Dean, I, 109, 192,204,210,211,254,355, 407, 411,418, 459, 469; II, 127-128, 130, 131, 136, 137, 138, 140, 271-294, 322, 331332, 338, 397-398, 400, 415, 444, 451, 556; III, 51, 118,314, 327-328, 336, 461, 576, 607; IV, 192, 202, 213, 342, 349; Retro. Supp. I, 220, 334, 362, 378; Supp. I, Part 1, 306, 318, 357, 360, 368, Part 2, 414, 420, 645-646; Supp. II, Part 1, 198, 352; Supp. IV, Part 2, 678 Howells, Winifred, II, 271 "Howells as Anti-Novelist" (Updike), Retro. Supp. I, 334 Howells: His Life and World (Brooks), I, 254 Howgate, George W., Ill, 622 Howl (Ginsberg), Retro. Supp. I, 426; Supp. Ill, Part 1, 92; Supp. IV, Part 1, 90; Supp. V, 336 Howl and Other Poems (Ginsberg), Supp. II, Part 1, 308, 317-318, 319 Hewlett, William, Retro. Supp. I, 17 Hoyer, Linda Grace (pseudonym), see Updike, Mrs. Wesley Hoyle, James F., Supp. I, Part 2, 548 Hoyt, Charles A., Supp. I, Part 1, 148 Hoyt, Constance, Supp. I, Part 2, 707 Hoyt, Elinor Morton, see Wylie, Elinor Hoyt, Henry (father), Supp. I, Part 2, 707 Hoyt, Henry (son), Supp. I, Part 2,708 Hoyt, Henry Martyn, Supp. I, Part 2,707 Hoyt, Nancy, Supp. I, Part 2, 730 Hubbard, Elbert, I, 98, 383 Hubbell, G. S., II, 23

464 / INDEX Hubbell, Jay B., Ill, 431; Supp. I, Part 1, 372 "Hubbub, The" (Ammons), Supp. VII, 35 Huber, Francois, II, 6 Huckleberry Finn (Twain), Retro. Supp. I, 188; Supp. I, Part 1, 247; Supp. V, 131 Hud (film), Supp. V, 223, 226 Hudson, Henry, I, 230 Hudson Review (periodical), Supp. IV, Part 1, 285; Supp. V, 344 Hudson River Bracketed (Wharton), IV, 326-327; Retro. Supp. I, 382 Huebsch,B. W., Ill, 110 Hueffer, Ford Madox, Supp. I, Part 1, 257, 262; see also, Ford, Ford Madox, see Ford, Ford Madox Huftel, Sheila, III, 169 Huge Season, The (Morris), III, 225-226, 227, 230, 232, 233, 238 "Hugh Harper" (Bowles), Supp. IV, Part 1, 94 "Hugh Selwyn Mauberley" (Pound), I, 66, 476; III, 9, 462463, 465, 468 Hugh Selwyn Mauberley (Pound), 289-290, 291, Retro. Supp. I, 299 Hughes, Catharine R., IV, 23 Hughes, Frieda, Supp. I, Part 2, 540, 541 Hughes, Glenn, II, 533; Supp. I, Part 1, 255, 275 Hughes, James Langston, Retro. Supp. I, 193-214 Hughes, James Nathaniel, Supp. I, Part 1, 321, 332 Hughes, Langston, Supp. I, Part 1, 320-348; Supp. II, Part 1, 31, 33, 61, 170, 173, 181, 227, 228,233, 361; Supp. Ill, Part 1, 72-77; Supp. IV, Part 1, 15, 16, 164, 168, 169, 173, 243, 368 Hughes, Mrs. Ted, see Plath, Sylvia Hughes, Nicholas, Supp. I, Part 2, 541

Hughes, Ted, IV, 3, 23; Supp. I, Part 2, 536, 537, 538, 539, 540, 541, 548 Hughes, Thomas, Supp. I, Part 2, 406 Hughie (O'Neill), III, 385, 401, 405 Hugo, Richard, Supp. VI, 131134, 135-148 Hugo, Victor, II, 290, 490, 543; Supp. IV, Part 2, 518 Hui-neng, III, 567 Huis Clos (Sartre), Supp. IV, Part 1,84 Huizinga, Johan, I, 225; II, 416417, 418, 425 Hul-House Maps and Papers, Supp. I, Part 1, 7 Hull-House Settlement, Supp. I, Parti, 1,2,3,4,7, 11, 12, 16, 17, 19, 21, 22 Hulme, Thomas E., I, 68, 69, 475; III, 196, 209, 463-^64, 465; IV, 122; Supp. I, Part 1, 261, 262 "Human Culture" (Emerson), II, 11-12 Human Factor, The (Greene), Supp. V, 298 "Human Immortality" (James), II, 353-354 "Human Life" (Emerson), II, 1112 "Human Things" (Nemerov), III, 279 "Human Universe" (Olson), Supp. II, Part 2, 565, 567 Human Universe (Olson), Supp. II, Part 2, 571 Human Wishes (Hass), Supp. VI, 105-106, 107 Humanism, I, 577; II, 542; III, 231, 600, 613; IV, 117, 165, 435, 437, 438, 439, 474, 491 Humble Inquiry into the Rules of the Word of God, An, Concerning the Qualifications Requisite to a Complete Standing and Full Communion in the Visible Christian Church (Edwards), I, 548 Humboldt, Alexander von, III, 428

Hume, David, I, 125; II, 349, 357, 480; III, 618 Humes, Harold, Supp. V, 201 "Hummingbirds, The" (Welty), IV, 273 Humphreys, Christmas, Supp. V, 267 Humphreys, David, Supp. II, Part I, 65, 69, 70, 268 Humphries, Rolfe, III, 124, 144; Retro. Supp. I, 137 Hunchback of Notre Dame, The (film), Supp. IV, Part 1, 101 Hundred Camels in the Courtyard, A (Bowles), Supp. IV, Part 1, 90 "Hundred Collars, A" (Frost), Retro. Supp. I, 128 Hundred White Daffodils, A: Essays, Interviews, Newspaper Columns, and One Poem (Kenyon), Supp. VII, 160-162, 165, 166, 167, 174 Huneker, James, III, 102 "Hunger" (Hogan), Supp. IV, Part 1,411 "Hunger . . ." (Rich), Supp. I, Part 2, 571 "Hungerfield" (Jeffers), Supp. II, Part 2, 416-417, 436 Hungerfield and Other Poems (Jeffers), Supp. II, Part 2, 422 Hungerford, Edward B., I, 543; II, 390; III, 289 Hunlgry Ghosts, The (Oates), Supp. II, Part 2, 504, 510 Hunt, John W., Jr., Ill, 243 Hunt, Leigh, 11,515-516 Hunt, Richard Morris, IV, 312 Hunt, William, II, 343 "Hunt in the Black Forest, The" (Jarrell), II, 379-380 Hunter, Dr. Joseph, II, 217 Hunter, J. Paul, Supp. IV, Part 1, 332 Hunter, Kim, Supp. I, Part 1, 286 "Hunter of the West, The" (Bryant), Supp. I, Part 1, 155 "Hunters in the Snow" (Brueghel), I, 174; Retro. Supp. I, 430

INDEX / 465 "Hunters in the Snow" (Wolff), Supp. VII, 339-340 "Hunter's Moon—Eating the Bear" (Oliver), Supp. VII, 234 "Hunter's Vision, The" (Bryant), Supp. I, Part 1, 160 "Hunting Is Not Those Heads on the Wall" (Baraka), Supp. II, Part 1, 45 Huntington, Collis P., I, 198, 207 Huntley, Jobe, Supp. I, Part 1, 339 Hurrell, John D., IV, 401 "Hurricane, The" (Crane), I, 401 "Hurricane, The" (Freneau), Supp. II, Part 1, 262 "Hurry Kane" (Lardner), II, 425, 426, 427 "Hurry up Please It's Time" (Sexton), Supp. II, Part 2, 694, 695 Hurston, Zora Neale, Retro. Supp. I, 194, 198, 200, 201, 203; Supp. I, Part 1, 325, 326, 332; Supp. II, Part 1, 33; Supp. IV, Part 1,5, 11, 12, 164,257; Supp. VI, 149-153, 154-161 Husband's Story, The (Shields), Supp. VII, 316; see also Happenstance Husserl, Edmund, II, 362, 363, 366; IV, 491; Supp. IV, Part 1, 42,43 Huston, John, I, 30, 31, 33, 35, 47; II, 588; III, 161; Supp. IV, Parti, 102, 116,355 "Huswifery" (Taylor), IV, 161; Supp. I, Part 2, 386 Hutcheson, Francis, I, 559 Hutchins, John K., Ill, 242 Hutchins, Patricia, III, 478 Hutchinson, Abigail, I, 562 Hutchinson, Anne, Part 2, 484; Supp. I, Part 1, 100, 101, 113; Supp. IV, Part 2, 434 Hutchison, E. R., Ill, 192 Huxley, Aldous, II, 454; III, 281, 428, 429^30, 432; IV, 77, 435; Supp. I, Part 2, 714 Huxley, Thomas, III, 102, 108, 113,281

Huxley, Thomas Henry, Supp. I, Part 1, 368, 373 Huysmans, Joris Karl (Charles Marie Georges), I, 66; III, 315; IV, 286 "Hwame, Koshkalaka, and the Rest: Lesbians in American Indian Cultures" (Gunn Allen), Supp. IV, Part 1, 330 "Hydras, The" (Merwin), Supp. Ill, Part 1, 349 Hyman, Stanley Edgar, I, 129, 143, 264, 286, 287, 363, 377, 379, 380; III, 360; IV, 23, 235, 448; Supp. I, Part 1, 198 Hymen (Doolittle), Supp. I, Part 1,266 "Hymie's Bull" (Ellison), Supp. II, Part 1, 229 "Hymn Books" (Emerson), II, 10 "HYMN FOR LANIE POO" (Baraka), Supp. II, Part 1, 31, 37 "Hymn from a Watermelon Pavilion" (Stevens), IV, 81 "Hymn of the Sea, A" (Bryant), Supp. I, Part 1, 157, 163, 165 "Hymn to Death" (Bryant), Supp. I, Part 1, 169, 170 "Hymn to Earth" (Wylie), Supp. I, Part 2, 727-729 "Hymn to the Night" (Longfellow), Supp. I, Part 2, 409 "Hymns of the Marshes" (Lanier), Supp. I, Part 1, 364 Hynes, Sam, IV, 259 Hyperion: A Romance (Longfellow), II, 488, 489, 491492, 496 "Hypocrite Auteur" (MacLeish), III, 19 "Hypocrite Swift" (Bogan), Supp. Ill, Part 1, 55 Hyslop, Francis E., Jr., Ill, 432 Hyslop, Lois, III, 432 "Hysteria" (Eliot), I, 570 I Accuse! (film), Supp. IV, Part 2, 683 "I Almost Remember" (Angelou), Supp. IV, Part 1, 15

"I Am Alive" (Momaday), Supp. IV, Part 2, 489 " 1 Am Cherry Alive,' the Little Girl Sang" (Schwartz), Supp. II, Part 2, 663 "I am Dying, Meester?" (Burroughs), Supp. Ill, Part 1, 98 / Am Elijah Thrush (Purdy), Supp. VII, 274 / Am! Says the Lamb (Roethke), III, 545 "I and My Chimney" (Melville), III, 91 / and Thou (Buber), III, 308 "I Came Out of the Mother Naked" (Bly), Supp. IV, Part 1, 62-63, 68 "I Cannot Forget with What Fervid Devotion" (Bryant), Supp. I, Part 1, 154 "I Can't Stand Your Books: A Writer Goes Home" (Gordon), Supp. IV, Part 1,314 "I Could Believe" (Levine), Supp. V, 189 "I Cry, Love! Love!" (Roethke), III, 539-540 / Don't Need You Any More (Miller), III, 165 "I Dream I'm the Death of Orpheus" (Rich), Supp. I, Part 2, 557-558 /, etcetera (Sontag), Supp. Ill, Part 2, 451-452, 469 "I felt a Funeral, in my Brain" (Dickinson), Retro. Supp. I, 38 / Gaspiri (Lardner), II, 435 "I Gather the Limbs of Osiris" (Pound), Retro. Supp. I, 287 / Got the Blues (Odets), Supp. II, Part 2, 530 /, Governor of California and How I Ended Poverty (Sinclair), Supp. V, 289 "I Had Eight Birds Hatcht in One Nest" (Bradstreet), Supp. I, Parti, 102, 115, 117, 119 "I had no time to Hate" (Dickinson), Retro. Supp. I, 44-45, 46

466 / INDEX "I Have a Rendezvous with Life" (Cullen), Supp. IV, Part 1, 168 "I Have Increased Power" (Ginsberg), Supp. II, Part 1, 313 "I Have Seen Black Hands" (Wright), Supp. II, Part 1, 228 "I Hear an Army" (Joyce), Supp. I, Part 1, 262 "I Hear It Was Charged against Me" (Whitman), IV, 343 "I heard a Fly buzz when I died" (Dickinson), Retro. Supp. I, 38 "I Heard Immanuel Singing" (Lindsay), Supp. I, Part 2, 379 "I Held His Name" (Rios), Supp. IV, Part 2, 547 "I Know a Man" (Creeley), Supp. IV, Part 1, 147-148, 149 / Know Why the Caged Bird Sings (Angelou), Supp. IV, Part 1, 24,5,7, 11, 12, 13, 14, 15, 17 "I Let Him Take Me" (Cisneros), Supp. VII, 71 "I like to see it lap the Miles" (Dickinson), Retro. Supp. I, 37 "I Live Up Here" (Merwin), Supp. Ill, Part 1, 349 "I Look at My Hand" (Swenson), Supp. IV, Part 2, 638, 647 I Love Myself When I Am Laughing . . . : A Zora Neale Hurston Reader (Walker), Supp. Ill, Part 2, 531,532 "I May, I Might, I Must" (Moore), III, 215 "I/Myself (Shields), Supp. VII, 311 "I Need, I Need" (Roethke), III, 535-536 "I never saw a Moor" (Dickinson), Retro. Supp. I, 37 "I Only Am Escaped Alone to Tell Thee" (Nemerov), III, 272, 273274 / Ought to Be in Pictures (Simon), Supp. IV, Part 2, 584 I Promessi Sposi (Manzoni), II, 291 "I Remember" (Sexton), Supp. II, Part 2, 680

I Remember America (Bohn), Supp. I, Part 2, 626 "I Saw in Louisiana a Live-Oak Growing" (Whitman), I, 220 / Shall Spit on Your Graves (film), Supp. I, Part 1, 67 "I Sing the Body Electric" (Whitman), Retro. Supp. I, 394, 395 /: Six Nonlectures (Cummings), I, 430, 433, 434 I Stole a Million (West), IV, 287 "I taste a liquor never brewed" (Dickinson), Retro. Supp. I, 30, 37 / Tell You Now (Ortiz), Supp. IV, Part 2, 500 "I think to live May be a Bliss" (Dickinson), Retro. Supp. I, 44 / Thought of Daisy (Wilson), IV, 428, 434, 435 "I, Too" (Hughes), Retro. Supp. I, 193, 199; Supp. I, Part 1, 320 "I wandered Lonely as a Cloud" (Wordsworth), Retro. Supp. I, 121-122 "I Want to Be a Father Like the Men" (Cisneros), Supp. VII, 71 "I Want to Be Miss America" (Alvarez), Supp. VII, 18 "I Want to Know Why" (Anderson), I, 114, 115, 116; II, 263 I Was Born in Lucerne" (Levine), Supp. V, 181, 189 "I Will Lie Down" (Swenson), Supp. IV, Part 2, 640 / Wonder As I Wander (Hughes), Supp. I, Part 1, 329, 332-333 / Wonder As I Wander: An Autobiographical Journey (Hughes), Retro. Supp. I, 196, 203 "I years had been from home" (Dickinson), I, 471 Ibsen, Henrik, II, 27, 276, 280, 291-292; III, 118, 145, 148, 149, 150, 151, 152, 154-155, 156, 161, 162, 165, 167,511, 523; IV, 397; Retro. Supp. I, 228; Supp. IV, Part 2, 522

"Icarium Mare" (Wilbur), Supp. Ill, Part 2, 563 "Icarus at St. Botolphs: A Descent to 'Unwonted Otherness' " (Greene), Supp. I, Part 1, 198 Icarus's Mother (Shepard), Supp. Ill, Part 2, 446 "Ice House, The" (Gordon), II, 201 "Ice Palace, The" (Fitzgerald), Retro. Supp. I, 103 "Ice Palace, The" (Fitzgerald), II, 83,88 "Ice Storm, The" (Ashbery), Supp. Ill, Part 1, 26 "Ice-Storm, The" (Pinsky), Supp. VI, 247-248 "Iceberg, The" (Merwin), Supp. Ill, Part 1, 345 Iceman Cometh, The (O'Neill), I, 81; III, 151, 385, 386, 401, 402-403 "Ichabod" (Whittier), Supp. I, Part 2, 687, 689-690 "Icicles" (Gass), Supp. VI, 83 Ickes, Harold, Supp. I, Part 1, 5 "Icon and the Portrait, The" (Auden), Supp. I, Part 2, 626 Iconographs (Swenson), Supp. IV, Part 2, 638, 646-648, 651 "Icosaphere, The" (Moore), III, 213 Ida (Stein), IV, 43, 45 "Idea of Order at Key West, The" (Stevens), Retro. Supp. I, 302, 303, 313 "Idea of Order at Key West, The" (Stevens), IV, 89-90 "Idea, The" (Carver), Supp. Ill, Part 1, 143 "Idea, The" (Strand), Supp. IV, Part 2, 631 Ideal Husband (Wilde), II, 515 Idealism, I, 206, 220, 241, 243, 244, 246; II, 353; III, 295, 304, 308-309, 373, 484, 601-602, 612; IV, 173 Ideas of Order (Stevens), Retro. Supp. I, 296, 298, 302-303, 303, 305 "Identity of James Baldwin, The" (Finn), Supp. I, Part 1, 70

INDEX / 467 Ides of March, The (Wilder), IV, 357, 372 "Idiom of a Self, The" (Pinsky), Supp. VI, 240 "Idiot, The" (Crane), I, 401 Idiot, The (Dostoevski), I, 468 "Idiots First" (Malamud), Supp. I, Part 2, 434-435, 437, 440-441 Idle Man, The (publication), Supp. I, Part 1, 155 Idylls of the King (Tennyson), III, 487; Supp. I, Part 2, 410 "If (Creeley), Supp. IV, Part 1, 158 IfBeale Street Could Talk (Baldwin), Supp. I, Part 1, 48, 59-60, 67 "If Beale Street Could Talk" (McClusky), Supp. I, Part 1, 70 "If I Could Only Live at the Pitch That Is Near Madness" (Eberhart), I, 523, 526-527 If I Die in a Combat Zone (O'Brien), Supp. V, 238, 239, 240, 245 "If I Had My Way" (Creeley), Supp. IV, Part 1, 157 ///fD^(Gide), I, 290 If Morning Ever Comes (Tyler), Supp. IV, Part 2, 658-659 "If There Is No Human Comedy, It Will Be Necessary to Create One" (Benchley), Supp. I, Part 2,626 "If They Knew Yvonne" (Dubus), Supp. VII, 81 "If We Must Die" (McKay), Supp. IV, Part 1, 3 "If We Take All Gold" (Bogan), Supp. Ill, Part 1, 52 "Ignis Fatuus" (Tate), IV, 128 Iguana Killer, The (Rios), Supp. IV, Part 2, 542-544 "Ikon: The Harrowing of Hell" (Levertov), Supp. Ill, Part 1, 284 lie (O'Neill), III, 388 Iliad (Homer), II, 470; Supp. IV, Part 2, 631 Iliad (trans. Bryant), Supp. I, Part 1, 158

Iliad (trans. Pope), Supp. I, Part 1, 152 I'll Take My Stand ("Twelve Southerners"), II, 196; III, 496; IV, 125, 237 "Illegal Days, The" (Paley), Supp. VI, 222, 223 "Illinois" (Masters), Supp. I, Part 2,458 Illinois Poems (Masters), Supp. I, Part 2, 472 "Illinois Village, The" (Lindsay), Supp. I, Part 2, 381 Illness as Metaphor (Sontag), Supp. Ill, Part 2, 452, 461, 466 Illumination (Frederic), II, 141 "Illusion of Eternity, The" (Eberhart), I, 541 "Illusions" (Emerson), II, 2, 5, 14, 16 Illustrated London News (newspaper), III, 203 Illustrated Man, The (Bradbury), Supp. IV, Part 1, 102, 103, 113 Illustrations of Political Economy (Martineau), Supp. II, Part 1, 288 "I'm a Fool" (Anderson), I, 113, 114, 116; Supp. I, Part 2, 430 "I'm Crazy" (Salinger), III, 553 "I'm Here" (Roethke), III, 547 Image and Idea (Rahv), Supp. II, Part 1, 146 "Image and Idea in Wieland and Edgar Huntly " (Witherington), Supp. I, Part 1, 148 Image and the Law, The (Nemerov), III, 268, 269-271, 272 "Images" (Hass), Supp. VI, 103 "Images for Godard" (Rich), Supp. I, Part 2, 558 "Images of Walt Whitman" (Fiedler), IV, 352 "Imaginary Iceberg, The" (Bishop), Supp. I, Part 1, 86, 88 "Imaginary Jew, The" (Berryman), I, 174-175 Imaginary Letters (Pound), III, 473-474 Imagination and Fancy; or, Selections from the English

Poets, illustrative of those first requisites of their art; with markings of the best passages, critical notices of the writers, and an essay in answer to the question'What is Poetry?' (Hunt), 11,515-516 "Imagination and Reality in the Fiction of Katherine Anne Porter and John Cheever" (Gaunt), Supp. I, Part 1, 198 "Imagination as Value" (Stevens), Retro. Supp. I, 298 "Imagination of Disaster, The" (Gordon), Supp. IV, Part 1, 306 "Imagination of James Thurber, The" (MacLean), Supp. I, Part 2,627 "Imagine a Day at the End of Your Life" (Beattie), Supp. V, 33 "Imagine Kissing Pete" (O'Hara), III, 372 "Imagining How It Would Be to Be Dead" (Eberhart), I, 533 "Imagining Jews" (Roth), Supp. I, Part 2, 453 Imagining the Worst: Stephen King and the Representations of Women (Lant and Thompson), Supp. V, 141 Imagism (Coffman), Supp. I, Part 1,275 Imagism and the Imagists (Hughes), Supp. I, Part 1, 275 "Imagisme" (Pound), Retro. Supp. I, 288 Imagismo (Berti), Supp. I, Part 1, 275 Imagistes, Des (Pound), Retro. Supp. I, 288 Imagistes, Des: An Anthology of the Imagists (ed. Pound), III, 465, 471 "Imago" (Stevens), IV, 74, 89 Imitations (Lowell), II, 543, 544545, 550, 555 "Imitations of Drowning" (Sexton), Supp. II, Part 2, 684, 686 "Immaculate Man" (Gordon), Supp. IV, Part 1,311

468 / INDEX "Immanence of Dostoevsky, The" (Bourne), I, 235 "Immigrant Story, The" (Paley), Supp. VI, 230 "Immobile Wind, The" (Winters), Supp. II, Part 2, 788, 811 Immobile Wind, The (Winters), Supp. II, Part 2, 786 "Immoral Proposition, The" (Creeley), Supp. IV, Part 1, 144 "Immortal Autumn" (MacLeish), III, 13 "Immortal Woman, The" (Tate), IV, 130, 131, 137 "Immortality Ode" (Nemerov), III, 87 "Immortality Ode" (Wordsworth), 11,17 Immortality Ode (Wordsworth), Supp. I, Part 2, 673 "Imp of the Perverse, The" (Poe), III, 414-415 "Impasse" (Hughes), Supp. I, Part 1,343 Imperative Duty, An, a Novel (Howells), II, 286 Imperial Germany and the Industrial Revolution (Veblen), Supp. I, Part 2, 642, 643 "Implosions" (Rich), Supp. I, Part 2,556 "Importance of Point of View in Brockden Brown's Wieland, The" (Manly), Supp. I, Part 1, 148 "Important Houses, The" (Gordon), Supp. IV, Part 1,315 "Impossible to Tell" (Pinsky), Supp. VI, 247, 248 Impressionism, I, 51, 170, 336, 389, 405, 475, 476; II, 276; III, 2, 464; IV, 407 "Impressions of a European Tour" (Bourne), I, 225 "Impressions of Europe, 19131914" (Bourne), I, 225 "In a Dark Time" (Roethke), III, 539, 547, 548 "In a Disused Graveyard" (Frost), Retro. Supp. I, 126, 133 "In a Garden" (Lowell), II, 513

"In a Hard Intellectual Light" (Eberhart), I, 523 "In a Hollow of the Hills" (Harte), Supp. II, Part 1, 354 In a Narrow Grave: Essays on Texas (McMurtry), Supp. V, 220, 223 In A Shallow Grave (Purdy), Supp. VII, 272 "In a Station of the Metro" (Pound), Retro. Supp. I, 288; Supp. I, Part 1, 265 "In a Strange Town" (Anderson), I, 114, 115 "In Absence" (Lanier), Supp. I, Part 1, 364 "In Absentia" (Bowles), Supp. IV, Part 1, 94 "In Amicitia" (Ransom), IV, 141 "In and Out of Books" (Breit), Supp. I, Part 1, 198 "In Another Country" (Hemingway), I, 484-485; II, 249 In April Once (Percy), Retro. Supp. I, 341 In Battle for Peace: The Story of My 83rd Birthday (Du Bois), Supp. II, Part 1, 185 In Bed One Night & Other Brief Encounters (Coover), Supp. V, 49,50 "In Bertram's Garden" (Justice), Supp. VII, 117 "In Blackwater Woods" (Oliver), Supp. VII, 244, 246 "In Celebration of My Uterus" (Sexton), Supp. II, Part 2, 689 In Cold Blood: A True Account of a Multiple Murder and Its Consequences (Capote), Supp. I, Part 1, 292; Supp. Ill, Part 1, 111, 117, 119, 122, 123, 125131, Part 2, 574; Supp. IV, Part 1, 220 "In Cold Hell, in Thicket" (Olson), Supp. II, Part 2, 558, 563-564, 566, 572, 580 In Cold Hell, in Thicket (Olson), Supp. II, Part 2, 571

In Defense of Ignorance (Shapiro), Supp. II, Part 2, 703, 704, 713-714 In Defense of Reason (Winters), Supp. I, Part 1, 268, 275 In Defense of Women (Mencken), III, 109 "In Distrust of Merits" (Moore), III, 201, 214 In Dreams Begin Responsibilities (Schwartz), Supp. II, Part 2, 642, 645-650 "In Dreams Begin Responsibilities" (Schwartz), Supp. II, Part 2, 641, 649, 654 In Dubious Battle (Steinbeck), IV, 51, 55-56, 59, 63 "In Durance" (Pound), Retro. Supp. I, 285 "In Flower" (Snodgrass), Supp. VI, 325 "In Football Season" (Updike), IV, 219 "In Honor of David Anderson Brooks, My Father" (Brooks), Supp. Ill, Part 1, 79 "In Limbo" (Wilbur), Supp. Ill, Part 2, 544, 561 In Love and Trouble: Stones of Black Women (Walker), Supp. Ill, Part 2, 520, 521, 530, 531, 532 "In Memoriam" (Emerson), II, 13 "In Memoriam" (Tennyson), Retro. Supp. I, 325 In Memoriam (Tennyson), Supp. I, Part 2, 416 "In Memory of Arthur Winslow" (Lowell), II, 541, 547, 550 "In Memory of Congresswoman Barbara Jordan" (Pinsky), Supp. VI, 250 "In Memory of Elinor Wylie" (Wilson and Colum), Supp. I, Part 2, 730 In Morocco (Wharton), Retro. Supp. I, 380; Supp. IV, Part 1, 81 In Motley (Bierce), I, 209 In My Father's Court (Singer), IV, 16-17

INDEX / 469 "In My Life" (Dubus), Supp. VII, 81 "In Nine Sleep Valley" (Merrill), Supp. Ill, Part 1, 328 In Old Plantation Days (Dunbar), Supp. II, Part 1, 214 In Ole Virginia (Page), Supp. II, Part 1, 201 In Orbit (Morris), III, 236 In Other Words (Swenson), Supp. IV, Part 2, 650-652 In Our Terribleness (Some elements and meaning in black style) (Baraka), Supp. II, Part I, 52, 53 In Our Time (Hemingway), I, 117; II, 68, 247, 252, 263; IV, 42; Retro. Supp. I, 170, 173, 174, 178, 180 "In Our Time" (Wolfe), Supp. Ill, Part 2, 584 In Pharaoh's Army: Memories of the Lost War (Wolff), Supp. VII, 331-334, 335, 338 "In Plaster" (Plath), Supp. I, Part 2,540 "In Praise of Johnny Appleseed" (Lindsay), Supp. I, Part 2, 397 "In Praise of Limestone" (Auden), Supp. II, Part 1, 20-21 In Quest of the Ordinary (Cavell), Retro. Supp. I, 307 In Radical Pursuit (Snodgrass), Supp. VI, 312, 316, 318 In Reckless Ecstasy (Sandburg), III, 579 In Recognition of William Gaddis (Kuehl and Moore), Supp. IV, Part 1, 279 "In Retirement" (Malamud), Supp. I, Part 2, 437 "In Retrospect" (Angelou), Supp. IV, Part 1, 15 In Russia (Miller), III, 165 "In Sabine" (Chopin), Supp. I, Part 1, 213 "In School-Days" (Whittier), Supp. I, Part 2, 699-700 In Search ofBisco (Caldwell), I, 296 "In Search of Our Mothers' Gardens" (Walker), Supp. Ill,

Part 2, 522, 524, 529, 532-533, 536 In Search of Our Mothers' Gardens (Walker), Supp. Ill, Part 2, 520-523, 524, 525, 527, 532-533, 535 "In Search of Yage" (Burroughs), Supp. Ill, Part 1, 98 "In Shadow" (Crane), I, 386 "In Sickness and in Health" (Auden), Supp. II, Part 1, 15 "In So Many Dark Rooms" (Hogan), Supp. IV, Part 1, 400 In Suspect Terrain (McPhee), Supp. Ill, Part 1, 309, 310 "In Tall Grass" (Sandburg), III, 585 "In Terms of the Toenail: Fiction and the Figures of Life" (Gass), Supp. VI, 85 "In the Absence of Bliss" (Kumin), Supp. IV, Part 2, 453 "In the Alley" (Elkin), Supp. VI, 46-47 In the American Grain (Williams), Retro. Supp. I, 420-421 In the American Tree (Silliman), Supp. IV, Part 2, 426 In the Bar of a Tokyo Hotel (Williams), IV, 382, 386, 387, 391, 393 In the Beauty of the Lilies (Updike), Retro. Supp. I, 322, 325, 326, 327, 333 "In the Black Museum" (Nemerov), III, 275 "In the Bodies of Words" (Swenson), Supp. IV, Part 2, 651 "In the Cage" (Gass), Supp. VI, 85 "In the Cage" (James), II, 332; Retro. Supp. I, 231 In the Cage (James), Retro. Supp. 1,229 "In the City Ringed with Giants" (Kingsolver), Supp. VII, 209 In the Clearing (Frost), II, 153, 155, 164; Retro. Supp. I, 121, 122, 141 "In the Closet of the Soul" (Walker), Supp. Ill, Part 2, 526

"In the Confidence of a StoryTeller" (Chopin), Supp. I, Part 1,217 "In the Courtyard of the Isleta Missions" (Bly), Supp. IV, Part 1,71 "In the Dark" (Levine), Supp. V, 194 "In the Days of Prismatic Colour" (Moore), III, 205, 213 "In the Field" (Wilbur), Supp. Ill, Part 2, 558 "In the Footsteps of Gutenberg" (Mencken), III, 101 "In the Forties" (Lowell), II, 554 In the Garden of the North American Martyrs (Wolff), Supp. VII, 341-342 In the Garret (Van Vechten), Supp. II, Part 2, 735 "In the Grove: The Poet at Ten" (Kenyon), Supp. VII, 160 "In the Hall of Mirrors" (Merrill), Supp. Ill, Part 1, 322 In the Harbor (Longfellow), II, 491 In the Heart of the Heart of the Country (Gass), Supp. VI, 8283, 84, 85, 93 "In the Heart of the Valley: Bernard Malamud's A New Life" (Astro), Supp. I, Part 2, 452 In the Heat of the Night (film), Supp. I, Part 1, 67 In the Hollow of His Hand (Purdy), Supp. VII, 278-280 In the Lake of the Woods (O'Brien), Supp. V, 240, 243, 250-252 "In the Mecca" (Brooks), Supp. Ill, Part 1, 70, 83-84 In the Mecca (Brooks), Supp. Ill, Part 1, 74 In the Midst of Life (Bierce), I, 200-203, 204, 206, 208, 212 "In the Miro District" (Taylor), Supp. V, 323 In the Miro District and Other Stories (Taylor), Supp. V, 325326 In the Money (Williams), Retro. Supp. I, 423

470 / INDEX "In the Naked Bed, in Plato's Cave" (Schwartz), Supp. II, Part 2, 646-649 "In the Night" (Kincaid), 183 In the Night Season: A Novel (Bausch), Supp. VII, 52-53 "In the Old Neighborhood" (Dove), Supp. IV, Part 1, 241, 257 "In the Old World" (Oates), Supp. II, Part 2, 503, 504 "In the Pit" (Proulx), Supp. VII, 255, 261 In the Presence of the Sun (Momaday), Supp. IV, Part 2, 489, 490, 491-493, 493 "In the Realm of the Fisher King" (Didion), Supp. IV, Part 1, 211 "In the Red Room" (Bowles), Supp. IV, Part 1, 93 "In the Region of Ice" (Oates), Supp. II, Part 2, 520 "In the Shadow of Gabriel, A.D.1550" (Frederic), II, 139 In the Spirit of Crazy Horse (Matthiessen), Supp. V, 211 In the Summer House (Jane Bowles), Supp. IV, Part 1, 83, 89 In the Tennessee Country (Taylor), Supp. V, 328 "In the Time of the Blossoms" (Mervin), Supp. Ill, Part 1, 352 In the Time of the Butterflies (Alvarez), Supp. VII, 1, 12-15, 18 "In the Upper Pastures" (Kumin), Supp. IV, Part 2, 453 In the Valley (Frederic), II, 133134, 136, 137 "In the Village" (Bishop), Supp. I, Part 1, 73, 74-75, 76, 77, 78, 88 "In the Waiting Room" (Bishop), Supp. I, Part 1, 81,94, 95; Supp. IV, Part 1, 249 "In the Ward: The Sacred Wood" (Jarrell), II, 376, 377 "In the White Night" (Beattie), Supp. V, 30-31 "In the Wind My Rescue Is" (Ammons), Supp. VII, 25

In the Winter of Cities (Williams), IV, 383 "In the Yard" (Swenson), Supp. IV, Part 2, 647 In the Zone (O'Neill), III, 388 "In These Dissenting Times" (Walker), Supp. Ill, Part 2, 522 "In This Country, but in Another Language, My Aunt Refuses to Marry the Men Everyone Wants Her To" (Paley), Supp. VI, 225 In This, Our Life (film), Supp. I, Part 1, 67 In This Our Life (Glasgow), II, 175, 178, 189 "In Those Days" (Jarrell), II, 387388 "In Time of War" (Auden), Supp. II, Part 1, 8, 13 In Touch: The Letters of Paul Bowles (Miller), Supp. IV, Part 1,95 "In Weather" (Hass), Supp. VI, 102-103 "In Your Fugitive Dream" (Hugo), Supp. VI, 143 "In Your Good Dream" (Hugo), Supp. VI, 143-144 Inada, Lawson Fusao, Supp. V, 180 Inchbald, Elizabeth, II, 8 Inchiquin, the Jesuit's Letters (Ingersoll), I, 344 "Incident" (Cullen), Supp. IV, Part 1, 165, 166 Incident at Vichy (Miller), III, 165, 166 Incidental Numbers (Wylie), Supp. I, Part 2, 708 Incidentals (Sandburg), III, 579 Incidents in the Life of a Slave Girl (Brent), Supp. IV, Part 1, 13 "Incipience" (Rich), Supp. I, Part 2,559 "Incomparable Light, The" (Eberhart), I, 541 Incorporative Consciousness of Robert Ely, The (Harris), Supp. IV, Part 1, 68 "Increment" (Ammons), Supp. VII, 28

Independence Day (Ford), Supp. V, 57, 62-63, 67-68 Independent (journal), Retro. Supp. I, 124 "Independent Candidate, The, a Story of Today" (Howells), II, 277 Independent, The (magazine), II, 397, 401; Supp. I, Part 2, 380 "Indestructible Mr. Gore, The" (Vidal), Supp. IV, Part 2, 679 Index of American Design, Supp. III, Part 2, 618 "Indian at the Burial-Place of His Fathers, An" (Bryant), Supp. I, Part 1, 155-156, 167-168 "Indian Burying Ground, The" (Freneau), Supp. II, Part 1, 264, 266 "Indian Camp" (Hemingway), Retro. Supp. I, 174-175, 176, 177, 181 "Indian Camp" (Hemingway), II, 247-248, 263 Indian Country (Matthiessen), Supp. V, 211 "Indian Manifesto" (Deloria), Supp. IV, Part 1, 323 "Indian Student, The" (Freneau), Supp. II, Part 1, 264 Indian Summer (Howells), II, 275, 279-281, 282 "Indian Uprising, The" (Barthelme), Supp. IV, Part 1, 44 Indian Voices (publication), Supp. IV, Part 2, 481 Indifferent Children, The (Auchincloss), Supp. IV, Part 1,25 "Indignations of a Senior Citizen" (Updike), Supp. I, Part 2, 627 Indiscretions (Pound), Retro. Supp. I, 284 "Individual and the State, The" (Emerson), II, 10 "Individualism", II, 471, 478; III, 467, 483 Individualism, Old and New (Dewey), Supp. I, Part 2, 677 "Industry of Hard Kissing, The" (Rios), Supp. IV, Part 2, 547

INDEX / 471 Inevitable Exiles (Kielsky), Supp. V, 273 "Inevitable Trial, The" (Holmes), Supp. I, Parti, 318 "Infancy" (Wilder), IV, 375 "Infant Boy at Midcentury" (Warren), IV, 244-245, 252 Infante, Guillermo Cabrera, Retro. Supp. I, 278 Inferno (Dante), IV, 139; Supp. V, 338 Inferno of Dante, The (Pinsky), Supp. VI, 235, 248 "Infiltration of the Universe" (MacLeish), III, 19 "Infinite Reason, The" (MacLeish), III, 19 "Infirmity" (Lowell), II, 554 "Infirmity" (Roethke), III, 548 "Influence of Landscape upon the Poet, The" (Eliot), Retro. Supp. 1,67 Informer, The (film), Supp. Ill, Part 2, 619 Inge, William, IV, 400 Ingersoll, Charles J., I, 344 Ingersoll, Robert Green, Supp. II, Part 1, 198 Ingram, John H., 111,431 Inhabitants, The (Morris), III, 221-222 Inheritors (Glaspell), Supp. Ill, Part 1, 175, 179-181, 186, 189 "Inhumanist, The" (Jeffers), Supp. II, Part 2, 423, 426 "Injudicious Gardening" (Moore), III, 198 "Injustice" (Paley), Supp. VI, 220 Injustice Collectors, The (Auchincloss), Supp. IV, Part 1,25 Ink Truck, The (Kennedy), Supp. VII, 132, 133-138, 140, 141, 149, 152 Inner Room, The (Merrill), Supp. Ill, Part 1, 336 Innocents Abroad, The; or, The New Pilgrim's Progress (Twain), II, 275, 434; IV, 191, 196, 197-198 Innocents at Cedro, The: A Memoir of Thorstein Veblen and

Some Others (Duffus), Supp. I, Part 2, 650 Innocents, The: A Story for Lovers (Lewis), II, 441 "Inpatient" (Kenyon), Supp. VII, 169 Inquiry into the Nature of Peace, An (Veblen), Supp. I, Part 2, 642 "Inscription for the Entrance to a Wood" (Bryant), Supp. I, Part 1, 154, 155, 161-162 Inside His Mind (Miller), III, 154 Inside Sports magazine, Supp. V, 58,61 "Insider Baseball" (Didion), Supp. IV, Part 1,211 "Insomnia" (Bishop), Supp. I, Part 1, 92 "Insomniac" (Plath), Supp. I, Part 2,539 "Inspiration for Greatness" (Caldwell), I, 291 "Installation #6" (Beattie), Supp. V, 33 Instinct of Workmanship and the State of the Industrial Arts, The (Veblen), Supp. I, Part 2, 642 Instincts of the Herd in Peace and War, The (Trotter), I, 249 Institute (Calvin), IV, 158, 160 Instructed Vision, The: Scottish Common Sense Philosophy and the Origins of American Fiction (Martin), Supp. I, Part 1, 148149 "Instruction Manual, The" (Ashbery), Supp. Ill, Part 1, 67, 10, 12 "Instruction to Myself (Brooks), Supp. Ill, Part 1, 87 Instrument, The (O'Hara), III, 362, 364 "Insurance and Social Change" (Stevens), Retro. Supp. I, 297 Insurgent Mexico (Reed), I, 476 Intellectual Origins of American Radicalism (Lynd), Supp. I, Part 2, 525 "Intellectual Pre-Eminence of Jewsin Modern Europe, The"

(Veblen), Supp. I, Part 2, 643644 Intellectual Things (Kunitz), Supp. Ill, Part 1, 260, 262-264 Intellectual versus the City, The (White), I, 258 Intentions (Wilde), Retro. Supp. I,

56 "Interest in Life, An" (Paley), Supp. VI, 222, 224-225 Interest of Great Britain Considered, with Regard to Her Colonies and the Acquisition of Canada and Guadeloupe, The (Franklin), II, 119 Interior Landscapes (Vizenor), Supp. IV, Part 1, 262 Interiors (film), Supp. IV, Part 1, 205 "International Episode, An" (James), II, 327 International Socialist Review (publication), III, 580, 581; Supp. I, Part 2, 645 International Workers Order, Retro. Supp. I, 202 Interpretation of Christian Ethics, An (Niebuhr), III, 298-300, 301, 302 Interpretation of Music of the XVIIth and XVIIIth Centuries, The (Dolmetsch), III, 464 Interpretations and Forecasts: 1922-1972 (Mumford), Supp. II, Part 2, 481 Interpretations of Poetry and Religion (Santayana), III, 611 Interpreters and Interpretations (Van Vechten), Supp. II, Part 2, 729, 733-734 "Interrogate the Stones" (MacLeish), III, 9 "Interrupted Conversation, An" (Van Vechten), Supp. II, Part 2,735 Intersect: Poems (Shields), Supp. VII, 310-311 "Interview, The" (Thurber), Supp. I, Part 2, 616 "Interview With a Lemming" (Thurber), Supp. I, Part 2, 603

472 / INDEX "Interview with Adrienne Rich, An" (Boyd), Supp. I, Part 2, 578 "Interview with Adrienne Rich, An" (Bulkin), Supp. I, Part 2, 578 "Interview with Adrienne Rich, An" (Shaw and Plotz), Supp. I, Part 2, 578 "Interview with Bernard Malamud" (Frankel), Supp. I, Part 2, 453 "Interview with the Vampire" (Rice), Supp. VII, 288 Interview with the Vampire (Rice), Supp. VII, 287, 288-291, 297298, 303 Interzone (Burroughs), Supp. IV, Part 1, 90 "Into My Own" (Frost), II, 153; Retro. Supp. I, 127 "Into the Night Life . . ." (Miller), III, 180, 184 "Into the Stone" (Dickey), Supp. IV, Part 1, 179 Into the Stone (Dickey), Supp. IV, Part 1, 178 Into the Stone and Other Poems (Dickey), Supp. IV, Part 1, 176 "Intrigue" (Crane), I, 419 "Introducing the Fathers" (Kumin), Supp. IV, Part 2, 452 Introductio ad Prudentiam (Fuller), II, 111 "Introduction to a Haggadah" (Paley), Supp. VI, 219 Introduction to Objectivist Epistemology (Rand), Supp. IV, Part 2, 527, 528-529 Introduction to Objectivist Epistemology 2nd ed. (Rand), Supp. IV, Part 2, 529 "Introduction to the Hoh" (Hugo), Supp. VI, 136-137 "Introduction to The New Writing in the USA" (Creeley), Supp. IV, Part 1, 153-154 Introitus (Longfellow), II, 505, 506-507 Intruder in the Dust (Faulkner), II, 71,72 "Intruder, The" (Dubus), Supp. VH, 76-78, 91

Intruder, The (Maeterlinck), I, 91 Inventing Memory: A Novel of Mothers and Daughters (Jong), Supp.V, 115, 129 "Inventions of the March Hare" (Eliot), Retro. Supp. I, 55 Inventions of the March Hare (Eliot), Retro. Supp. I, 55-56, 58 "Inverted Forest, The" (Salinger), III, 552, 572 "Investigations of a Dog" (Kafka), IV, 438 "Investiture at Cecconi's" (Merrill), Supp. Ill, Part 1, 336 "Investiture, The" (Banks), Supp. V,7 Invisible Man (Ellison), IV, 493; Supp. II, Part I, 40, 170, 221, 224, 226, 227, 230, 231-232, 235, 236, 241-245 Invisible Spectator, An (SawyerLauc.anno), Supp. IV, Part 1, 95 Invisible Swords (Farrell), II, 27, 46, 48-49 Invisible Worm, The (Millar), Supp. IV, Part 2, 465 Invitation to a Beheading (Nabokov), III, 252-253, 254, 257-258; Retro. Supp. I, 265, 270, 273 "Invitation to the Country, An" (Bryant), Supp. I, Part 1, 160 "Invocation to the Social Muse" (MacLeish), III, 15 Ion (Plato), I, 523 Ion (trans. Doolittle), Supp. I, Part 1, 269, 274 "lone" (Dunbar), Supp. II, Part 1, 199 lonesco, Eugene, I, 71, 74, 75, 84, 295; II, 435 Iowa Review (magazine), Supp. IV, Part 2, 540 "Irenicon" (Shapiro), Supp. II, Part 2, 704 "Iris by Night" (Frost), Retro. Supp. I, 132 Irish Triangle, An (Barnes), Supp. Ill, Part 1, 34

"Iron Characters, The" (Nemerov), III, 279, 282 "Iron Hans" (Sexton), Supp. II, Part 2, 691 Iron Heel, The (London), II, 466, 480 Iron John: A Book about Men (Bly), Supp. IV, Part 1, 59, 67 "Iron Table, The" (Jane Bowles), Supp. IV, Part 1, 82-83 Ironweed (Kennedy), Supp. VII, 132, 133, 134, 135, 142, 144, 145-147, 148, 150, 153 Irony of American History, The (Niebuhr), III, 292, 306-307, 308 "Irrational Element in Poetry, The" (Stevens), Retro. Supp. I, 298, 301 "Irrevocable Diameter, An" (Paley), Supp. VI, 231-232 Irvin, William J., Supp. I, Part 1, 123 Irving, Ebenezer, II, 296 Irving, John, Supp. VI, 163-166, 167-183 Irving, John Treat, II, 296 Irving, Peter, II, 296, 297, 298, 299, 300, 303 Irving, Pierre M., II, 317 Irving, Sir Henry, IV, 350 Irving, Washington, I, 211, 335, 336, 339, 343; II, 295-318, 488, 495; III, 113; IV, 309; Retro. Supp. I, 246; Supp. I, Part 1, 155, 157, 158, 317, Part 2, 377, 487, 585; Supp. II, Part 1, 335; Supp. IV, Part 1, 380 Irving, William, II, 296 Irving, William, Jr., II, 296, 297, 298, 299, 303 Irwin, William Henry, Supp. II, Part 1, 192 Is 5 (Cummings), I, 429, 430, 434, 435, 440, 445, 446, 447 "Is It True?" (Hughes), Supp. I, Part 1, 342 Is Objectivism a Religion? (Ellis), Supp. IV, Part 2, 527 Is Sex Necessary? (Thurber and White), Supp. I, Part 2, 607, 612, 614, 653

INDEX / 473 "Is Verse a Dying Technique?" (Wilson), IV, 431 Isaac (biblical person), IV, 152, 296 "Isaac and Archibald" (Robinson), 111,511,521,523 Isaacs, Edith J. R., Ill, 408 Isaacs, Harold, IV, 497 "Isabel Sparrow" (Oliver), Supp. VII, 232 Isaiah (biblical book), Supp. I, Part 1,236, Part 2, 516 Isaiah (biblical person), Supp. I, Part 1,20-21, Part 2, 689 "Isaiah Beethoven" (Masters), Supp. I, Part 2, 461 Isherwood, Christopher, II, 586; IV, 259; Supp. II, Part 1, 10, 11, 13; Supp. IV, Part 1, 79, 82, 102 "Island" (Hughes), Supp. I, Part 1,340 Island Holiday, An (Henry), I, 515 "Island of the Fay, The" (Poe), III, 412, 417 Islands in the Stream (Hemingway), II, 258; Retro. Supp. I, 186 "Islands, The" (Hayden), Supp. II, Part 1, 373 "Isolation of Modern Poetry, The" (Schwartz), Supp. II, Part 2, 644 Israel Potter, or Fifty Years of Exile (Melville), III, 90 "Israfel" (Poe), 111,411 It (Creeley), Supp. IV, Part 1, 157, 158 /r(King), Supp. V, 139, 140, 141, 146-147, 151, 152 "It Always Breaks Out" (Ellison), Supp. II, Part 1, 248 It Came from Outer Space (film), Supp. IV, Part 1, 102 It Can't Happen Here (Lewis), II, 454 It Has Come to Pass (Farrell), II, 26 "It Is a Strange Country" (Ellison), Supp. II, Part 1, 238 "It Must Be Abstract" (Stevens), IV, 95; Retro. Supp. I, 307

"It Must Change" (Stevens), Retro. Supp. I, 300, 307, 308 "It Must Give Pleasure" (Stevens), Retro. Supp. I, 307, 308, 309 It Was (Zukofsky), Supp. Ill, Part 2,630 It Was the Nightingale (Ford), III, 470^71 Italian Backgrounds (Wharton), Retro. Supp. I, 370 Italian Hours (James), I, 12; II, 337; Retro. Supp. I, 235 Italian Journeys (Howells), II, 274 "Italian Morning" (Bogan), Supp. Ill, Part 1, 58 Italian Villas and Their Gardens (Wharton), IV, 308; Retro. Supp. I, 361, 367 Itard, Jean-Marc Gaspard, Supp. I, Part 2, 564 "Ithaca" (Gltick), Supp. V, 89 "Itinerary of an Obsession" (Kumin), Supp. IV, Part 2, 450 It's Loaded, Mr. Bauer (Marquand), III, 59 "It's Nation Time" (Baraka), Supp. II, Part 1, 53 It's Nation Time (Baraka), Supp. II, Part 1, 52, 53 Ivanhoe (Scott), I, 216; Supp. I, Part 2, 410 Ivask, Ivar, Supp. I, Part 1, 96 Ivens, Joris, I, 488; Retro. Supp. 1,184 Ives, George H., Supp. I, Part 1, 153 "Ives" (Rukeyser), Supp. VI, 273, 283 Ivory Grin, The (Macdonald), Supp. IV, Part 2, 471, 472 Ivory Tower, The (James), II, 337338 "Ivy Winding" (Ammons), Supp. VII, 33 "lyani: It goes this Way" (Gunn Allen), Supp. IV, Part 1, 321 Iyer, Pico, Supp. V, 215 Izvestia (publication), Supp. I, Part 1, 329

/. B.: A Play in Verse (MacLeish), II, 163, 228; III, 3, 21-22, 23; Supp. IV, Part 2, 586 / R (Gaddis), Supp. IV, Part 1, 279, 280, 285-289, 291, 294, Part 2, 484 "Jachid and Jechidah" (Singer), IV, 15 Jack and Jill (Alcott), Supp. I, Part 1, 42 Jack Kelso (Masters), Supp. I, Part 2, 456, 471-472 Jack London, Hemingway, and the Constitution (Doctorow), Supp. IV, Part 1, 220, 222, 224, 232, 235 Jack Tier (Cooper), I, 354, 355 Jacklight (Erdrich), Supp. IV, Part 1, 259, 270 Jackpot (Caldwell), I, 304 Jackson, Amelia, see Holmes, Mrs. Oliver Wendell (Amelia Jackson) Jackson, Andrew, I, 7, 20; III, 473; IV, 192, 248, 298, 334, 348; Supp. I, Part 2, 456, 461, 473, 474, 493, 695 Jackson, Blyden, Supp. I, Part 1, 337, 348 Jackson, Charles, Supp. I, Part 1, 303 Jackson, Esther M., IV, 401 Jackson, George, Supp. I, Part 1, 66 Jackson, Helen Hunt, I, 459, 470; Retro. Supp. I, 26, 27, 30-31, 32,33 Jackson, J. O., Ill, 213 Jackson, James, Supp. I, Part 1, 302, 303 Jackson, Joe, Supp. I, Part 2, 441 Jackson, Lydia, see Emerson, Mrs. Ralph Waldo (Lydia Jackson) Jackson, Richard, II, 119 Jackson, Thomas J. ("Stonewall"), IV, 125, 126 "Jackson Square" (Levertov), Supp. Ill, Part 1, 276 Jacob (biblical person), II, 284; IV, 13, 152; Supp. I, Part 2, 594

474 / INDEX "Jacob" (Garrett), Supp. VII, 109110 "Jacob" (Schwartz), Supp. II, Part 2,663 Jacobs, Robert D., I, 311; II, 222 "Jacob's Ladder, The" (Levertov), Supp. Ill, Part 1, 278 Jacob's Ladder, The (Levertov), Supp. Ill, Part 1, 272, 276278, 281 Jackson, Thomas J. ("Stonewall"), IV, 125, 126 Jacobson, Dan, IV, 23; Supp. I, Part 1, 70 Jacoby, Russell, Supp. IV, Part 2, 692 "Jacquerie, The" (Lanier), Supp. I, Part 1, 355, 356, 360, 364, 370 Jade Mountain, The (Bynner), II, 527 Jailbird (Vonnegut), Supp. II, Part 2, 760, 779-780 Jaimes, M. Annette, Supp. IV, Part 1, 330, 331 Jain, Manju, Retro. Supp. I, 53, 58 Jake's Women (Simon), Supp. IV, Part 2, 576, 588 Jakobson, Roman, Supp. IV, Part 1, 155 "Jamaica Kincaid's New York" (Kincaid), Supp. VII, 181 James I, King, Supp. I, Part 1, 116 James II, King, IV, 145 James, Alice, I, 454; II, 365; Retro. Supp. I, 228, 235 James, C. L. R., Ill, 97 James, George W., II, 484 James, Henry, I, 4, 5, 9, 10, 12, 15, 16,20,52,93, 109,211, 226, 228, 244, 246, 251, 255, 258, 259, 263, 336, 363, 374, 375, 379, 384, 409, 429, 436, 439, 452, 454, 459, 461-462, 463,464,485,500,504,513, 514, 517-518, 571; II, 38, 58, 60, 73, 74, 95, 138, 140, 144, 147, 196, 198, 199, 221, 228, 230, 234, 243, 245, 259, 267, 271, 272, 275, 276, 278, 281, 282, 283, 284, 285, 286, 287,

288, 290, 293, 306, 309, 316, 319-341, 365, 398, 404, 410, 415, 427, 444, 542, 544, 547548, 556, 600; III, 44, 51, 136, 194-195, 199, 206, 208, 218, 228-229, 237, 281, 319, 325, 326, 334, 409, 453, 454, 457, 460,461,464,511,522,576, 607; IV, 8, 27, 34, 37, 40, 53, 58, 73, 74, 134, 168, 172, 182, 198, 202, 285, 308, 309, 310, 311,314,316,317,318,319, 321, 322, 323, 324, 328, 330, 347, 352, 359, 433, 439, 476; Retro. Supp. I, 1, 8, 53, 56, 59, 108, 112, 215-242, 272, 283, 284, 362, 366, 367, 368, 371, 373, 374, 375, 376, 377, 378, 379; Supp. I, Part 1, 35, 38, 43, 68, Part 2, 414, 426, 454, 608, 609, 612-613, 618, 620, 646; Supp. II, Part 1, 94-95; Supp. III, Part 1, 14, 200, Part 2, 410, 412; Supp. IV, Part 1, 31, 35, 80, 127, 197, 349, 353, Part 2, 613, 677, 678, 682, 689, 693; Supp. V, 97, 101, 103, 258, 261, 263, 313 James, Henry (father), II, 7, 275, 321, 337, 342-344, 364, 365; IV, 174; Supp. I, Part 1, 300 James, Henry (nephew), II, 360, 365 James, William, I, 104, 220, 224, 227, 228, 255, 454; II, 20, 23, 27, 165, 166, 276, 321, 337, 342-366, 411; III, 303, 309, 509, 599, 600, 605, 606, 612; IV, 26, 27, 28-29, 31, 32, 34, 36, 37, 43, 46, 291, 486, 496; Retro. Supp. I, 57, 216, 227, 228, 235, 295, 300, 306; Supp. I, Parti, 3, 7, 11,20 James, William (grandfather), II, 342 James, William (nephew), II, 365 "James Baldwin: A Bibliography, 1947-1962" (Fischer), Supp. I, Part 1, 70 "James Baldwin: A Checklist, 1947-1962" (Kindt), Supp. I, Part 1, 70

"James Baldwin: A Checklist, 1963-1967" (Strandley), Supp. I, Part 1, 71 James Baldwin: A Collection of Critical Essays (ed. Kinnamon), Supp. I, Part 1, 69 James Baldwin: A Critical Evaluation (O'Daniel), Supp. I, Part 1, 69 James Baldwin: A Critical Study (Macebuh), Supp. I, Part 1, 69 "James Baldwin: A Question of Identity" (Klein), Supp. I, Part 1,70 "James Baldwin and the 'Literary Ghetto' " (Pratt), Supp. I, Part 1,70 "James Baldwin and the Negro Conundrum" (Simmons), Supp. I, Part 1, 71 "James Baldwin and Two Footnotes" (Breit), Supp. I, Part 1, 69 "James Baldwin as Spokesman" (Jacobson), Supp. I, Part 1, 70 "James Baldwin Back Home" (Coles), Supp. I, Part 1, 69 "James Baldwin: Caliban to Prospero" (Lee), Supp. I, Part 1,70 "James Baldwin I Know His Name" (Leaks), Supp. I, Part 1, 70 "James Baldwin: The Artist as Incorrigible Disturber of the Peace" (Strandley), Supp. I, Part 1, 71 "James Baldwin: The Black and the Red-White-and-Blue" (Hagopian), Supp. I, Part 1, 70 "James Baldwin: The Crucial Situation" (Strandley), Supp. I, Part 1, 71 "James Baldwin: The View from Another Country" (McCarthy), Supp. I, Part 1, 70 "James Baldwin: Voice of a Revolution" (Spender), Supp. I, Part 1, 71 "James Baldwin's 'Agony Way' " (Meserve), Supp. I, Part 1, 70

INDEX / 475 James Baldwin's Go Tell It on the Mountain and Another Country, The Fire Next Time, Giovanni's Room, Notes of a Native Son (Alexander), Supp. I, Part 1, 69 "James Baldwin's Other Country" (Sayre), Supp. I, Part 1, 71 "James Baldwin's Protest Novel: If Beale Street Could Talk" (Burks), Supp. I, Part 1, 69 "James Baldwin's Quarrel with Richard Wright" (Charney), Supp. I, Part 1, 69 James Dickey and the Politics of Canon (Suarez), Supp. IV, Part 1, 175 "James Dickey on Yeats: An Interview" (Dickey), Supp. IV, Part 1, 177 James Russell Lowell (Beatty), Supp. I, Part 2, 425 James Russell Lowell (Duberman), Supp. I, Part 2, 425 "James Russell Lowell" (James), Supp. I, Part 2, 426 James Russell Lowell (McGlinchee), Supp. I, Part 2, 426 "James Russell Lowell" (Rees), Supp. I, Part 2, 425 James Russell Lowell (Scudder), Supp. I, Part 2, 426 James Russell Lowell and His Friends (Hale), Supp. I, Part 2, 425 James Russell Lowell: Portrait of a Many-Sided Man (Wagenknecht), Supp. I, Part 2, 426 James Thurber (Morsberger), Supp. I, Part 2, 626 "James Thurber" (Pollard), Supp. I, Part 2, 468, 626 "James Thurber" (White), Supp. I, Part 2, 627 "James Thurber: A Critical Study" (Friedrich), Supp. I, Part 2, 627 "James Thurber and Oral History at Ohio State University" (Branscomb), Supp. I, Part 2, 626

"James Thurber and the Short Story" (Albertini), Supp. I, Part 2,626 "James Thurber, Aphorist for an Anxious Age", Supp. I, Part 2, 627 "James Thurber: Artist in Humor" (Hasley), Supp. I, Part 2, 627 "James Thurber as a Shakespeare Critic" (Soellner), Supp. I, Part 2,627 James Thurber: His Masquerades, A Critical Study (Black), Supp. I, Part 2, 626 "James Thurber, Humorist" (Arnold), Supp. I, Part 2, 626 "James Thurber of Columbus" (Nugent), Supp. I, Part 2, 627 "James Thurber: The Columbus Years" (Baker), Supp. I, Part 2, 626 "James Thurber: The Comic Prufrock" (De Vries), Supp. I, Part 2, 627 "James Thurber: The Primitive, the Innocent, and the Individual" (Elias), Supp. I, Part 2, 627 "James Thurber A Portrait of the Dog-Artist" (MacLean), Supp. I, Part 2, 627 "James Thurber's Compounds" (Baldwin), Supp. I, Part 2, 626 "James Thurber's Dream Book" (Cowley), Supp. I, Part 2, 627 "James Whitcomb Riley (From a Westerner's Point of View)" (Dunbar), Supp. II, Part 1, 198 Jameson, F. R., Supp. IV, Part 1, 119 Jameson, Sir Leander Starr, III, 327 Jamison, A. Leland, I, 566 Jammes, Francis, II, 528; Retro. Supp. I, 55 "Jan, the Son of Thomas" (Sandburg), III, 593-594 Jane Addams: A Biography (Linn), Supp. I, Part 1, 27 "Jane Addams: An American Heroine" (Conway), Supp. I, Part 1, 27

"Jane Addams and the Future" (MacLeish), Supp. I, Part 1, 27 Jane Addams and the Liberal Tradition (Levine), Supp. I, Part 1, 27 "Jane Addams and the Radical Impulse" (Lynd), Supp. I, Part 1,27 "Jane Addams on Human Nature" (Curti), Supp. I, Part 1, 27 Jane Talbot: A Novel (Brown), Supp. I, Part 1, 145-146 Janet, Pierre, I, 248, 249, 252; Retro. Supp. I, 55, 57 "Janet Waking" (Ransom), III, 490, 491 Janeway, Elizabeth, Supp. I, Part 1, 46, 198 Jantz, Harold S., Supp. I, Part 1, 112, 123 "January" (Barthelme), Supp. IV, Part 1, 54 "Janus" (Beattie), Supp. V, 31 Janzen, Jean, Supp. V, 180 Jara, Victor, Supp. IV, Part 2, 549 Jarman, Mark, Supp. IV, Part 1, 68 Jarrell, Mrs. Randall (Mary von Schrader), II, 368, 385 Jarrell, Randall, I, 167, 169, 173, 180, 189; II, 367-390, 539-540; III, 134, 194, 213, 217, 268, 289, 527; IV, 352, 411,422, 423, 424; Retro. Supp. I, 52, 121, 135, 140; Supp. I, Part 1, 89, 96, Part 2, 552; Supp. II, Part 1, 109, 135; Supp. Ill, Part 1, 64, Part 2, 541, 550; Supp. IV, Part 2, 440; Supp. V, 315, 318, 323 Jarvis, John Wesley, Supp. I, Part 2, 501, 520 Jaskoski, Helen, Supp. IV, Part 1, 325 "Jason" (MacLeish), III, 4 Jason and Medeia (Gardner), Supp. VI, 63, 68-69 Jaspers, Karl, III, 292; IV, 491 Jay, William, I, 338

476 / INDEX "Jaz Fantasia" (Sandburg), III, 585 "Jazz Age Clerk, A" (Farrell), II, 45 "Jazzonia" (Hughes), Supp. I, Part 1, 324 "Jazztet Muted" (Hughes), Supp. I, Part 1, 342 "Je Suis Perdu" (Taylor), Supp. V,314, 321-322 "Jealous" (Ford), Supp. V, 71 "Jeff Briggs's Love Story" (Harte), Supp. II, Part 1, 355 Jeffers, Robinson, I, 66; III, 134; Retro. Supp. I, 202; Supp. II, Part 2, 413-440 Jeffers, Una Call Kuster (Mrs. Robinson Jeffers), Supp. II, Part 2, 414 Jefferson and/or Mussolini (Pound), Retro. Supp. I, 292 "Jefferson Davis as a Representative American" (Du Bois), Supp. II, Part 1, 161 Jefferson, Thomas, I, 1, 2, 5, 6-8, 14, 485; II, 5, 6,134, 217, 300, 301, 437; III, 3, 17, 18, 294295, 306, 310, 473, 608; IV, 133, 243, 249, 334, 348; Supp. I, Part 1, 146, 152, 153, 229, 230, 234, 235, Part 2, 389, 399, 456, 474, 475, 482, 507, 509, 510,511,516,518-519,520, 522 Jeffersonian Magazine (publication), Supp. I, Part 2, 455 Jelliffe, Robert A., II, 75 J-E-L-L-O (Baraka), Supp. II, Part 1, 47 "Jelly-Bean, The" (Fitzgerald), II, 88 "Jellyfish, A" (Moore), III, 215 Jemie, Onwuchekwa, Supp. I, Part 1, 343, 348 Jenkins, J. L., I, 456 Jenkins, Kathleen, III, 403 Jenkins, Susan, IV, 123 Jenks, Deneen, Supp. IV, Part 2, 550, 554 Jennie Gerhardt (Dreiser), I, 497, 499, 500, 501, 504-505, 506, 507, 519

"Jennie M'Grew" (Masters), Supp. I, Part 2, 468 Jennifer Lorn (Wylie), Supp. I, Part 2, 709, 714-717, 718, 721, 724 "Jenny Garrow's Lover" (Jewett), II, 397 "Jerboa, The" (Moore), III, 203, 207,209,211-212 Jeremy's Version (Purdy), Supp. VII, 274 "Jericho" (Lowell), II, 536 Jerome, Judson, III, 289 "Jersey City Gendarmerie, Je T'aime" (Lardner), II, 433 Jersey Rain (Pinsky), Supp. VI, 235, 247-250 "Jesse B. Semple: Negro American" (Davis), Supp. I, Part 1, 348 "Jesse B. Semple Revisited and Revised" (Carey), Supp. I, Part 1,348 Jesuits in North America in the Seventeenth Century, The (Parkman), Supp. II, Part 2, 597, 603-605 Jesus, I, 27, 34, 68, 89, 136, 552, 560; II, 1, 16, 197, 198, 214, 215, 216, 218, 219, 239, 373, 377, 379, 537, 538, 539, 549, 569, 585, 591, 592; III, 39, 173, 179, 270, 291, 296-297, 300, 303,305,307,311,339,340, 341, 342, 344, 345, 346, 347, 348, 352, 353, 354, 355, 436, 451, 489, 534, 564, 566, 567, 582; IV, 51, 69, 86, 107, 109, 117, 137, 138, 141, 144, 147, 149, 150, 151, 152, 155, 156, 157, 158, 159, 163, 164, 232, 241, 289, 293, 294, 296, 331, 364, 392, 396, 418, 430; Supp. I, Part 1, 2, 54, 104, 107, 108, 109, 121,267, 371, Part 2, 379, 386, 458, 515, 580, 582, 583, 587, 588, 683; Supp. V, 280 "Jesus Asleep" (Sexton), Supp. II, Part 2, 693 "Jesus of Nazareth, Then and Now" (Price), Supp. VI, 268

"Jesus Papers, The" (Sexton), Supp. II, Part 2, 693 "Jesus Raises Up the Harlot" (Sexton), Supp. II, Part 2, 693 Jetee, La (film), Supp. IV, Part 2, 436 "Jeune Parque, La" (Valery), IV, 92 "Jewbird, The" (Malamud), Supp. I, Part 2, 435 "Jewboy, The" (Roth), Supp. Ill, Part 2, 412 Jewett, Caroline, II, 396 Jewett, Dr. Theodore Herman, II, 396-397, 402 Jewett, Mary, II, 396, 403 Jewett, Mrs. Theodore Furber (Sarah Orne), II, 395 Jewett, Rutger, Retro. Supp. I, 381 Jewett, Sarah Orne, I, 313; II, 391-414; Retro. Supp. I, 6, 7, 19; Supp. I, Part 2, 495 Jewett, Theodore Furber, II, 395 Jewett family, II, 391 Jewish Daily Forward (newspaper), IV, 2 "Jewish Graveyards, Italy" (Levine), Supp. V, 190 Jews ofShklov (Schneour), IV, 11 Jig ofForslin, The: A Symphony (Aiken), 1,50, 51, 57, 62, 66 "Jilting of Granny Weatherall, The" (Porter), III, 434, 435, 438 Jim Crow's Last Stand (Hughes), Retro. Supp. I, 205 Jimmie Higgins (Sinclair), Supp. V,288 Jim's Book: A Collection of Poems and Short Stories (Merrill), Supp. Ill, Part 1,319 Joachim, Harold, Retro. Supp. I, 58 Joan of Arc, IV, 241; Supp. I, Part 1, 286-288, Part 2, 469 Joan, Pope, IV, 165 Joans, Ted, Supp. IV, Part 1, 169 Job (biblical book), II, 165, 166167, 168; III, 21, 199, 512; IV, 13, 158; Supp. I, Part 1, 125 Job (biblical person), Supp. I, Part 2, 458, 722

INDEX / 477 Job, The (Burroughs and Odier), Supp. Ill, Part 1, 97, 103 Job, The: An American Novel (Lewis), II, 441 "Job History" (Proulx), Supp. VII, 262 Jobim, Antonio Carlos, Supp. IV, Part 2, 549 "Joe" (Alvarez), Supp. VII, 7-8 Joe Hill: A Biographical Novel (Stegner), Supp. IV, Part 2, 599 Johannes in Eremo (Mather), Supp. II, Part 2, 453 John the Baptist, I, 389; II, 537, 591 John XXIII, Pope, Supp. I, Part 2, 492 John (biblical book), I, 68 "John" (Shields), Supp. VII, 310311 John Addington Symonds: A Biographical Study (Brooks), I, 240, 241 John Barleycorn (London), II, 467, 481 John Brown (Du Bois), Supp. II, Part 1, 171-172 "John Brown" (Emerson), II, 13 "John Brown" (Lindsay), Supp. I, Part 2, 393 John Brown: The Making of a Martyr (Warren), IV, 236 John Brown's Body (Benet), II, 177 John Bull in America; or, The New Munchausen (Paulding), I, 344 "John Burke" (Olson), Supp. II, Part 2, 579, 580 "John Burns of Gettysburg" (Harte), Supp. II, Part 1, 343 "John Carter" (Agee), I, 27 "John Cheever: A Vision of the World" (Bracher), Supp. I, Part 1, 198 "John Cheever and Comedy" (Bracher), Supp. I, Part 1, 198 "John Cheever and the Broken World" (Wink), Supp. I, Part 1, 199 "John Cheever and the Charms of Innocence: The Craft of The

Wapshot Scandal" (Garrett), Supp. I, Part 1, 198 "John Cheever and the Grave of Social Coherence" (Burhans), Supp. I, Part 1, 198 "John Cheever and the Soft Sell of Disaster" (Aldridge), Supp. I, Part 1, 198 "John Cheever: The Art of Fiction LXII" (Grant), Supp. I, Part 1, 198 "John Cheever: The Dual Vision of His Art" (Valhouli), Supp. I, Part 1, 199 "John Cheever: The Upshot of Wapshot" (Rupp), Supp. I, Part I, 199 "John Cheever's Country" (Scott), Supp. I, Part 1, 199 "John Cheever's Golden Egg" (Hyman), Supp. I, Part 1, 198 "John Cheever's Myth of Men and Time: The Swimmer' " (Auser), Supp. I, Part 1, 198 "John Cheever's Photograph Album" (Malcolm), Supp. I, Part 1, 199 "John Cheever's Sense of Drama" (Burt), Supp. I, Part 1, 198 "John Cheever's Stories" (Kees), Supp. I, Part 1, 199 "John Coltrane: Where Does Art Come From?" (Baraka), Supp. II, Part 1, 60 John Deth: A Metaphysical Legend and Other Poems (Aiken), I, 61 John Endicott (Longfellow), II, 505, 506 "John Evereldown" (Robinson),

III, 524

John G. Whittier: A Profile in Pictures (Wright), Supp. I, Part 2,706 John G. Whittier: The Poet of Freedom (Kennedy), Supp. I, Part 2, 705-706 "John Gardner: The Writer As Teacher" (Carver), Supp. Ill, Part 1, 136, 146-147 John Greenleaf Whittier (Carpenter), Supp. I, Part 2, 706

"John Greenleaf Whittier" (Keller), Supp. I, Part 2, 705 John Greenleaf Whittier (Leary), Supp. I, Part 2, 706 John Greenleaf Whittier: A Portrait in Paradox (Wagenknecht), Supp. I, Part 2, 706 John Greenleaf Whittier: A Sketch of His Life (Perry), Supp. I, Part 2, 706 John Greenleaf Whittier: An Introduction and Interpretation (Pickard), Supp. I, Part 2, 706 John Greenleaf Whittier: Friend of Man (Pollard), Supp. I, Part 2, 706 John Greenleaf WhittierJs Poetry: An Appraisal and a Selection (Warren), Supp. I, Part 2, 706 "John, John Chinaman" (Buck), Supp. II, Part 1, 128 John Keats (Lowell), II, 530-531 "John L. Sullivan" (Lindsay), Supp. I, Part 2, 394, 395 John Lane, Retro. Supp. I, 59 "John Marr" (Melville), III, 93 John Marr and Other Sailors (Melville), III, 93; Retro. Supp. 1,257 John of the Cross (Saint), I, 585; Supp. IV, Part 1, 284 John Paul Jones: A Sailor's Biography (Morison), Supp. I, Part 2, 494-495 "John Redding Goes to Sea" (Hurston), Supp. VI, 150 John Sloan: A Painter's Life (Brooks), I, 254 "John Smith Liberator" (Bierce), I, 209 "John Steinbeck: No Grapes of Wrath" (Waldmeir), Supp. I, Part 2, 478 "John Sutter" (Winters), Supp. II, Part 2, 810 Johnny Appleseed and Other Poems (Lindsay), Supp. I, Part 2,397 "Johnny Bear" (Steinbeck), IV, 67 "Johnny Ray" (Rios), Supp. IV, Part 2, 543

478 / INDEX John's Wife (Coover), Supp. V, 51-52 Johnson, Alvin, I, 236 Johnson, Ben, Retro. Supp. I, 56 Johnson, Buffie, Supp. IV, Part 1, 94 Johnson, Carl L., II, 509 Johnson, Charles, Supp. I, Part 1, 325; Supp. V, 128; Supp. VI, 185-188, 189-201 Johnson, Curtiss S., Supp. I, Part 1, 173 Johnson, Dianne, Retro. Supp. I, 196 Johnson, Eastman, IV, 321 Johnson, Edward, IV, 157; Supp. I, Parti, 110, 115 Johnson, Elmer D., IV, 472 Johnson, George W., II, 148 Johnson, Georgia Douglas, Supp. IV, Part 1, 164 Johnson, Gerald W., Ill, 121 Johnson, J. W., Ill, 455 Johnson, James Weldon, Supp. I, Part 1, 324, 325; Supp. II, Part 1, 33, 194, 200, 202-203, 206207; Supp. Ill, Part 1, 73; Supp. IV, Part 1, 7, 11, 15, 16, 164, 165, 166, 169 Johnson, Lady Bird, Supp. IV, Part 1, 22 Johnson, Lyndon B., I, 254; II, 553, 582 Johnson, Marguerite, see Angelou, Maya Johnson, Martin, II, 484 Johnson, Merle, IV, 212 Johnson, Nunnally, Supp. IV, Part 1,355 Johnson, Pamela Hansford, IV, 469, 473 Johnson, Rafer, Supp. I, Part 1, 271 Johnson, Reed, Supp. IV, Part 2, 589 Johnson, Richard Colles, I, 120 Johnson, Robert, Supp. IV, Part 1, 146 Johnson, Robert K., Supp. IV, Part 2, 573, 584 Johnson, Samuel, II, 295; III, 491, 503; IV, 452; Retro. Supp. I,

56, 65; Supp. I, Part 1, 33, Part 2, 422, 498, 503, 523, 656; Supp. IV, Part 1, 34, 124 Johnson, Thomas H., I, 470^71, 473, 564, 565; II, 125, 533; IV, 144, 158, 165; Retro. Supp. I, 26, 28, 36, 39, 40, 41, 43 Johnson, W. R., Ill, 289 Johnson, Walter, II, 422 Johnsrud, Harold, II, 562 Johnston, Basil, Supp. IV, Part 1, 269 Johnston, Mary, II, 194 Johnston, Robert M., Supp. I, Part 1,369 Jolas, Eugene, Supp. IV, Part 1, 80 "Jolly Corner, The" (James), Retro. Supp. I, 235 "Jolly Corner, The" (James), I, 571 Jonah (biblical person), III, 347, 348; IV, 152; Supp. I, Part 2, 555 "Jonah" (Lowell), II, 536 Jonah's Gourd Vine (Hurston), Supp. VI, 149, 155 "Jonathan Edwards" (Holmes), Supp. I, Part 1,302, 315 "Jonathan Edwards in Western Massachusetts" (Lowell), II, 550 Jones, A. R., Part 2, 548; Supp. I, Part 1, 69 Jones, Claude E., 111,431 Jones, David E., I, 590 Jones, E. Stanley, III, 297 Jones, Edith Newbold, see Wharton, Edith Jones, Emma Berdis, see Baldwin, Mrs. David (Emma Berdis Jones) Jones, Ernest, II, 365 Jones, Everett LeRoi, see Baraka, Amiri Jones, Genesius, I, 590 Jones, George Frederic, IV, 309 Jones, Harry, Supp. I, Part 1, 337 Jones, Howard Mumford, I, 119, 263, 353, 357; II, 509; Supp. I, Part 2, 706; Supp. IV, Part 2, 606

Jones, James, III, 40; IV, 98, 118 Jones, Jennifer, Supp. IV, Part 2, 524 Jones, John Paul, II, 405^06; Supp. I, Part 2, 479, 480, 494495 Jones, LeRoi, see Baraka, Imamu Amiri Jones, Lucretia Stevens Rhinelander, IV, 309 Jones, Major (pseudonym), see Thompson, William T. Jones, Malcolm, Supp. V, 219 Jones, Robert Edmond, III, 387, 391, 394, 399 Jones, Rufus, Supp. I, Part 2, 706 Jones, Tommy Lee, Supp. V, 227 Jones family, IV, 311 "Jones's Private Argyment" (Lanier), Supp. I, Part 1, 352 Jong, Allan, Supp. V, 115 Jong, Erica, Supp. V, 113-135 Jong-Fast, Molly Miranda, Supp. V, 115 Jonson, Ben, I, 58, 358; II, 11, 16, 17, 18, 436, 556; III, 3, 463, 575-576; IV, 395, 453; Supp. I, Part 2, 423; Supp. IV, Part 2, 585 Jonsson, Thorsten, Retro. Supp. I, 73 Joplin, Janis, Supp. IV, Part 1, 206 Joplin, Scott, Supp. IV, Part 1, 223 Jordy, William H., I, 24 Jo's Boys (Alcott), Supp. I, Part I, 32, 35, 40-41, 42 Joselyn, Sister M., Ill, 360 Joseph (biblical person), IV, 152 Joseph, Gerhard, I, 143 Joseph Heller (Ruderman), Supp. IV, Part 1, 380 "Josephine Has Her Day" (Thurber), Supp. I, Part 2, 606 Josephine Stories, The (Fitzgerald), Retro. Supp. I, 109 Josephson, Matthew, I, 259 "Jose's Country" (Winters), Supp. II, Part 2, 789, 790 Joshua (biblical book), Supp. I, Part 2, 515

INDEX / 479 Joslin, Katherine, Retro. Supp. I, 376 Journal (Emerson), Supp. I, Part 1,309 Journal (Thoreau), IV, 175 "Journal for My Daughter" (Kunitz), Supp. Ill, Part 1, 268 "Journal of a Solitary Man, The" (Hawthorne), II, 226 Journal of American Sociology (publication), Supp. I, Part 2, 629 Journal of Arthur Stirling, The (Sinclair), Supp. V, 280 Journal of Contemporary Literature, A (publication), Supp. IV, Part 1, 324 Journal of Nervous and Mental Disease, The, Retro. Supp. I, 112 Journal of Political Economy (publication), Supp. I, Part 2, 629 Journal of Speculative Philosophy (publication), II, 345, 349 Journal of the Fictive Life (Nemerov), III, 267, 268, 269, 272, 273, 274, 280-281, 284285, 286, 287 Journal of the Plague Year, A (Defoe), III, 423 "Journal of the Year of the Ox, A" (Wright), Supp. V, 343 Journals (Thoreau), Supp. I, Part 1,299 Journals and Other Documents on the Life and Voyages of Christopher Columbus (ed. Morison), Supp. I, Part 2, 494 Journals of Bronson Alcott, The (ed. Shepard), Supp. I, Part 1, 46 Journals of Ralph Waldo Emerson, The (Emerson), II, 8, 17, 21 "Journey, A" (Wharton), Retro. Supp. I, 364 Journey and Other Poems, The (Winters), Supp. II, Part 2, 786, 794, 795, 796, 799, 800, 801 Journey Around My Room: The Autobiography of Louise

Bogan—A Mosaic (Bogan), Supp. Ill, Part 1, 47, 48, 52, 53 Journey Down, The (Bernstein), IV, 455 Journey of Tai-me, The (Momaday), Supp. IV, Part 2, 485 "Journey of the Magi" (Eliot), Retro. Supp. I, 64 "Journey, The" (Winters), Supp. II, Part 2, 795 "Journey, The" (Wright), Supp. III, Part 2, 605-606 "Journey, The: For Jane at Thirteen" (Kumin), Supp. IV, Part 2, 442 Journey to a War (Auden and Isherwood), Supp. II, Part 1, 13 Journey to Love (Williams), IV, 422; Retro. Supp. I, 429 "Journey to Nine Miles" (Walker), Supp. Ill, Part 2, 527 Journeyman (Caldwell), I, 297, 302-304, 307, 309 "Joy" (Singer), IV, 9 Joyce, James, I, 53, 105, 108, 130, 174, 256, 285, 377, 395, 475476, 478, 480, 483, 576; II, 27, 42, 58, 73, 74, 198, 209, 264, 320, 569; III, 7, 16, 26-27, 45, 174, 181, 184, 261, 273, 277, 343, 396, 398, 465, 471, 474;

IV, 32, 73, 85, 95, 103, 171, 182,211,286,370,412,418, 419, 428, 434, 456; Part 2, 611, 617, 618; Retro. Supp. I, 59,

63, 75, 80, 89, 91, 108, 109, 127, 287, 290, 292, 334, 335,

420; Supp. I, Part 1, 257, 262, 270, Part 2, 437, 546, 613, 620; Supp. II, Part 1, 136; Supp. Ill, Part 1, 35, 36, 65, 225, 229; Supp. IV, Part 1, 40, 47, 80, 227, 300, 310, Part 2, 424, 677; Supp. V, 261, 331 "Juan's Song" (Bogan), Supp. Ill, Part 1, 50 Jubilate Agno (Smart), Supp. IV, Part 2, 626 Jubilee (publication), III, 358

Judas (biblical person), II, 449; IV, 66, 357 Judas Maccabeus (Longfellow), II, 506 Judd Rankin 's Daughter (Glaspell), Supp. Ill, Part 1, 186-188 Judd, Sylvester, II, 290; Supp. I, Part 2, 420 Jude the Obscure (Hardy), Supp. I, Part 1, 217 "Judgement Day" (O'Connor), III, 349, 350 "Judgement Marked by a Cellar: The American Negro Writer and the Dialectic of Despair" (Scott), Supp. I, Part 1, 71 Judgment Day (Farrell), II, 29, 31, 32, 34, 39 "Judgment of Paris, The" (Merwin), Supp. Ill, Part 1, 350 Judgment of Paris, The (Vidal), Supp. IV, Part 2, 680, 682 "Judgment of the Sage, The" (Crane), I, 420 Judith (Farrell), II, 46, 48 "Judith" (Garrett), Supp. VII, 109-110 "Jug of Sirup, A" (Bierce), I, 206 "Jugurtha" (Longfellow), II, 499 "Juke Box Love Song" (Hughes), Retro. Supp. I, 209 "Julia" (Hellman), Supp. I, Part 1, 280, 293 "Julia Miller" (Masters), Supp. I, Part 2, 461 Julian (Vidal), Supp. IV, Part 2, 677, 684-685, 685, 689 Julian the Apostate, Retro. Supp. 1,247 "Julian Vreden" (Bowles), Supp. IV, Part 1, 94 Julier, Laura, Supp. IV, Part 1, 211 Julius Caesar (Shakespeare), I, 284 "July Midnight" (Lowell), II, 521 Jumel, Madame, Supp. I, Part 2, 461 "Jump-Up Day" (Kingsolver), Supp. VII, 203

480 / INDEX Jumping Out of Bed (Ely), Supp. IV, Part 1,71 "June Light" (Wilbur), Supp. Ill, Part 2, 545 June Moon (Lardner and Kaufman), II, 427 "June Recital" (Welty), IV, 272273 "Juneteenth" (Ellison), Supp. II, Part 1, 248 Jung, Carl, I, 58, 135, 241, 248, 252, 402; III, 400, 534, 543; Supp. I, Part 2, 439; Supp. IV, Part 1, 68, 69 Junger, Ernst, Supp. Ill, Part 1, 63 Jungle, The (Sinclair), III, 580; Supp. V, 281-284, 285, 289 "Junior Addict" (Hughes), Supp. I, Part 1, 343 "Junk" (Wilbur), Supp. Ill, Part 2,556 Junkie: Confessions of an Unredeemed Drug Addict (Burroughs), Supp. Ill, Part 1, 92, 94-96, 101 Juno and the Paycock (O'Casey), Supp. IV, Part 1, 361 "Jupiter Doke, Brigadier General" (Bierce), I, 204 Jurgen (Cabell), III, 394; IV, 286; Retro. Supp. I, 80; Supp. I, Part 2, 718 Jusserand, Jules, II, 338 Just and the Unjust, The (Cozzens), I, 367-370, 372, 375, 377, 378, 379 "Just Before the War with the Eskimos" (Salinger), III, 559 "Just Boys" (Farrell), II, 45 "Just Like Job" (Angelou), Supp. IV, Part 1, 15 Just Wild About Harry (Miller), III, 190 "Justice" (Hughes), Supp. I, Part 1,331 "Justice, A" (Faulkner), Retro. Supp. I, 83 Justice and Expediency (Whitter), Supp. I, Part 2, 686 "Justice Denied in Massachusetts" (Millay), III, 140

Justice, Donald, Retro. Supp. I, 313; Supp. Ill, Part 2, 541; Supp.V, 180, 337, 338, 341; Supp. VII, 115-117 Justice of Gold in the Damnation of Sinners, The (Edwards), I, 559 "Justice to Feminism" (Ozick), Supp. V, 272 Juvenal, II, 8, 169, 552 "K, The" (Olson), Supp. II, Part 2, 558, 563, 569 Kabir, Supp. IV, Part 1, 74 "Kabnis" (Toomer), Supp. Ill, Part 2, 481,484 Kachel, Elsie, see Stevens, Mrs. Wallace (Elsie Kachel) "Kaddish" (Ginsberg), Supp. II, Parti, 319, 327 Kaddish and Other Poems, 19581960 (Ginsberg), Supp. II, Part 1, 309, 319-320 Kafka, Franz, II, 244, 565, 569; 111,51, 253,418, 566, 572; IV, 2, 113,218,437^439,442; Supp. I, Part 1, 197; Supp. Ill, Part 1, 105, Part 2, 413; Supp. IV, Part 1, 379, Part 2, 623 Kahane, Jack, III, 171, 178 Kahn, Otto, I, 385; IV, 123 Kaiser, Georg, I, 479 Kaiser, Henry, Supp. I, Part 2, 644 Kakutani, Michiko, Supp. IV, Part 1, 196, 201, 205, 211, 212; Supp. V, 63 Kalem, T. E., Supp. IV, Part 2, 585 Kalevala (Finnish national poem), II, 503, 504 Kalki: A Novel (Vidal), Supp. IV, Part 2, 677, 682, 685, 691, 692 Kallen, Horace, I, 229; II, 365; Supp. I, Part 2, 643 Kallman, Chester, II, 586; Supp. II, Part 1, 15, 17, 24, 26 "Kallundborg Church" (Whittier), Supp. I, Part 2, 696 Kalstone, David, Supp. I, Part 1, 97, Part 2, 578

Kamera Obskura (Nabokov), III, 255 Kamhi, Michelle Moarder, Supp. IV, Part 2, 529, 530 Kandy-Kolored Tangerine-Flake Streamline Baby, The (Wolfe), Supp. Ill, Part 2, 569, 573576, 580, 581 Kane, Patricia, II, 148-149 Kanin, Garson, Supp. IV, Part 2, 574 Kansas City Star (newspaper), II, 259; Retro. Supp. I, 181 "Kansas Emigrants, The" (Whittier), Supp. I, Part 2, 687 Kant, Immanuel, I, 61, 277, 278; II, 10-11,362,480,580-581, 582, 583; III, 300, 480, 481, 488, 612; IV, 90; Supp. I, Part 2, 640; Supp. IV, Part 2, 527 Kanter, Hal, IV, 383 Kapital, Das (Marx), III, 580 Kaplan, Abraham, I, 277, 287 Kaplan, Charles, III, 455 Kaplan, Justin, I, 247-248; IV, 213; Retro. Supp. I, 392 Kaplan, Steven, Supp. V, 238, 241, 243, 248 Karl, Frederick R., Supp. IV, Part 1,384 Karl Shapiro's America (film), Supp. II, Part 2, 703 Kasabian, Linda, Supp. IV, Part 1,206 "Kate Chopin" (Schuyler), Supp. I, Part 1, 226 Kate Chopin: A Critical Biography (Seyersted), Supp. I, Part 1, 225, 226 Kate Chopin and Edith Wharton: An Annotated Bibliographical Guide to Secondary Sources (Springer), Supp. I, Part 1, 225 Kate Chopin and Her Creole Stories (Rankin), Supp. I, Part 1, 200, 225, 226 "Kate Chopin's Ironic Vision" (Rocks), Supp. I, Part 1, 226 "Kate Chopin's Realism: 'At the Cadian Ball' and The Storm' " (Arner), Supp. I, Part 1, 226

INDEX / 481 "Kate Chopin's The Awakening: A Partial Dissent" (Spangler), Supp. I, Part 1, 226 "Kate Chopin's The Awakening in the Perspective of Her Literary Career" (Arms), Supp. I, Part 1,225 Kate Vaiden (Price), Supp. VI, 264, 265 "Kathe Kollwitz" (Rukeyser), Supp. VI, 283, 284 Katherine and Jean (Rice), Supp. VII, 288 "Kathleen" (Whittier), Supp. I, Part 2, 693 Katz, Joseph, I, 424, 425, 426 Katz, Steve, Supp. V, 44 Kauffmann, Stanley, III, 452; IV, 119; Supp. I, Part 2, 391 Kaufman, George S., II, 427, 435, 437; III, 62, 71-72, 394; Supp. IV, Part 2, 574 Kaufmann, Donald L., Ill, 48 Kaufmann, R. J., IV, 448^49 Kauvar, Elaine M., Supp. V, 273 Kavanagh (Longfellow), I, 458; II, 489, 491; Supp. I, Part 2, 420 Kazan, Elia, III, 153, 163; IV, 383; Supp. I, Part 1, 66, 295 Kazin, Alfred, I, 47, 166, 248, 333,417,419,426,496,517, 520; II, 53, 100, 177, 195, 390, 459, 584; III, 48, 72, 336, 384; IV, 23, 71, 236, 259, 330; Supp. I, Part 1, 195, 196, 198, 294, 295, 296, 297, Part 2, 453, 536, 631, 647, 650, 678, 679, 719, 730; Supp. II, Part 1, 143; Supp. IV, Part 1, 200, 382; Supp. V, 122 Keane, Sarah, Supp. I, Part 1, 100 Kearns, Cleo McNelly, Retro. Supp. I, 57 Kearns, Francis, Supp. I, Part 1, 348 Kearns, George, Retro. Supp. I, 292 Keating, AnnLouise, Supp. IV, Part 1, 330 Keaton, Buster, I, 31; Supp. I, Part 2, 607; Supp. IV, Part 2, 574

Keats, John, I, 34, 103, 284, 314, • 317-318, 385, 401, 448; II, 82, 88, 97, 214, 368, 512, 516, 530531, 540, 593; III, 4, 10,45, 122, 133-134, 179, 214, 237, 272, 275, 469, 485, 523; IV, 360, 405, 416; Retro. Supp. I, 91,301,313,360,395,412; Supp. I, Part 1, 82, 183, 266, 267, 312, 349, 362, 363, 365, Part 2, 410, 422, 424, 539, 552, 675, 719, 720; Supp. Ill, Part 1, 73; Supp. IV, Part 1, 123, 168, 325, Part 2, 455 "Keela, the Outcast Indian Maiden" (Welty), IV, 263 "Keep A-Inchin' Along " (Van Vechten), Supp. Ill, Part 2, 744 "Keeping Informed in D.C." (Nemerov), III, 287 Keeping Slug Woman Alive: A Holistic Approach to American Indian Texts (Sarris), Supp. IV, Part 1, 329 " 'Keeping Their World Large' " (Moore), III, 201-202 "Keeping Things Whole" (Strand), Supp. IV, Part 2, 624 Kees, Weldon, Supp. I, Part 1, 199 Kegley, Charles W., Ill, 313 Keith, Brian, Supp. IV, Part 2, 474 Keith, Minor C, I, 483 Keller, A. G., Ill, 108 Keller, Dean H., Supp. I, Part 1, 147 Keller, Helen, I, 254, 258 Keller, Karl, Supp. I, Part 2, 705 Keller, Lynn, Supp. IV, Part 2, 423; Supp. V, 78, 80 Kelley, David, Supp. IV, Part 2, 528, 529 Kelley, Florence, Supp. I, Part 1, 5,7 Kellogg, Paul U., Supp. I, Part 1, 5, 7, 12 Kellogg, Reverend Edwin H., Ill, 200 Kelly, II, 464 Kemble, Fanny, Retro. Supp. I, 228

Kemble, Gouverneur, II, 298 Kemble, Peter, II, 298 Kemler, Edgar, III, 121 Kempton-Wace Letters, The (London and Strunsky), II, 465 Kendle, Burton, Supp. I, Part 1, 199 Kennard, Jean E., I, 143 Kennedy, Albert J., Supp. I, Part 1, 19, 27 Kennedy, Arthur, III, 153 Kennedy, Burt, Supp. IV, Part 1, 236 Kennedy, John F., I, 136, 170; II, 49, 152-153; III, 38, 41, 42, 234, 411,415, 581; IV, 229; Supp. I, Part 1, 291, Part 2, 496 Kennedy, John Pendleton, II, 313 Kennedy, Mrs. John F., I, 136 Kennedy, Raymond A., IV, 425 Kennedy, Richard S., IV, 472, 473 Kennedy, Robert, Supp. V, 291 Kennedy, Robert F., I, 294; Supp. I, Part 1, 52 Kennedy, William, Supp. VII, 131-133 Kennedy, William Sloane, Supp. I, Part 2, 705 Kennedy, X. J., Supp. V, 178, 182 Kenner, Hugh, I, 590; III, 217, 475, 478; IV, 412, 424, 425; Supp. I, Part 1, 255, 275; Supp. IV, Part 2, 474 Kenneth Millar/Ross Macdonald: A Checklist (Bruccoli), Supp. IV, Part 2, 464, 469, 471 Kenny, Maurice, Supp. IV, Part 2,502 Kent, Charles W., Supp. I, Part 1, 373 Kent, George, Supp. IV, Part 1, 11 Kent, Rockwell, III, 96 Kenton, Edna, I, 263; II, 340 Kenyon, Jane, Supp. VII, 159-162 Kenyan Review, Supp. V, 187, 324 Kenyon Review (publication), I, 170, 174; II, 536-537; III, 497, 498; IV, 141; Supp. IV, Part 2, 550

482 / INDEX Keokuk Evening Post (newspaper), IV, 194 Kepler, Johannes, III, 484; IV, 18 Keppel, Frederick P., I, 214 "Keramos" (Longfellow), II, 494 Keramos and Other Poems (Longfellow), II, 490 Kermode, Frank, IV, 95, 133, 143, 449; Retro. Supp. I, 301 Kern, Jerome, II, 427 Kerner, David, I, 143 Kerouac, Jack, III, 174; Retro. Supp. I, 102; Supp. II, Part 1, 31, 307, 309, 318, 328; Supp. Ill, Part 1, 91-94, 96, 100, 217-234; Supp. IV, Part 1, 90, 146; Supp. V, 336 Kerr, Orpheus C. (pseudonym), see Newell, Henry Kerr, Walter, III, 407; Supp. IV, Part 2, 575, 579 Kesey, Ken, III, 558; Supp. Ill, Part 1, 217; Supp. V, 220, 295 Kessler, Jascha, I, 189 "Key, The" (Welty), IV, 262 Key to Uncle Tom's Cabin, A (Stowe), Supp. I, Part 2, 580 "Key West" (Crane), I, 400 Key West: An Island Sheaf (Crane), I, 385, 399^02 Khrushchev, Nikita, I, 136 Kid, The (Aiken), I, 61 Kid, The (Chaplin), I, 386 Kidder, Tracy, Supp. Ill, Part 1, 302 Kidwell, Clara Sue, Supp. IV, Part 1, 333 Kielsky, Vera Emuma, Supp. V, 273 Kiely, Benedict, I, 143 Kieran, John, II, 417 Kierkegaard, Soren Aabye, II, 229; III, 292, 305, 309, 572; IV, 438, 491; Retro. Supp. I, 326; Supp. V,9 Kiernan, Robert F., Supp. IV, Part 2, 684 Kieseritsky, L., Ill, 252 "Killed at Resaca" (Bierce), I, 202 Killens, John Oliver, Supp. IV, Part 1, 8, 369

"Killer in the Rain" (Chandler), Supp. IV, Part 1, 122 "Killers, The" (Hemingway), Retro. Supp. I, 188, 189 "Killers, The" (Hemingway), II, 249 Killing Mister Watson (Matthiessen), Supp. V, 212, 214 "Killing of a State Cop, The" (Ortiz), Supp. IV, Part 2, 499 Killing of Sister George, The (Marcus), Supp. I, Part 1, 277 "Killing the Plants" (Kenyon), Supp. VII, 167, 168 "Killings" (Dubus), Supp. VII, 85-86 Kilmer, Joyce, Supp. I, Part 2, 387 Kim, Kichung, Supp. I, Part 1, 70 Kimball, Arthur, Supp. I, Part 1, 148 Kimball, J. Golden, Supp. IV, Part 2, 602 Kimbrough, Mary Craig, see Sinclair, Mary Craig (Mary Craig Kimbrough) "Kin" (Welty), Retro. Supp. I, 353 "Kin" (Welty), IV, 277 Kincaid, Jamaica, Supp. VII, 179182 Kind of Order, A Kind of Folly, A: Essays and Conversations (Kunitz), Supp. Ill, Part 1, 262, 268 "Kind Sir: These Woods" (Sexton), Supp. II, Part 2, 673 Kindred Spirits: Knickerbocker Writers and American Artists, 1807-1855 (Callow), Supp. I, Part 1, 173 Kindt, Kathleen A., Supp. I, Part 1,70 Kinfolk (Buck), Supp. II, Part 1, 126 King, Alexander, IV, 287 King, Clarence, I, 1 King, Ernest, Supp. I, Part 2, 491 King, Fisher, II, 425 King, Lawrence T., II, 222

King, Martin Luther, Supp. I, Part 1, 52, 60, 65; Supp. IV, Part 1, 5 King, Martin Luther, Jr., Supp. V, 291 King, Starr, Supp. II, Part 1, 341, 342 King, Stephen, Supp. IV, Part 1, 102, 104, Part 2, 467; Supp. V, 137-155 King, Tabitha (Mrs. Stephen King), Supp. V, 137 King Coal (Sinclair), 286-288; Supp. V, 276, 282 King Coffin (Aiken), I, 53-54, 57 King Jasper (Robinson), III, 523 King Kong (film), Supp. IV, Part I, 104 King Lear (Shakespeare), I, 538; II, 540, 551; Supp. IV, Part 1, 31,36 "King Lear" (Shakespeare), Retro. Supp. I, 248 King Leopold's Soliloquy (Twain), IV, 208 King of Babylon Shall Not Come Against You, The (Garrett), Supp. VII, 110-111 "King of Folly Island" (Jewett), II, 394 King of Kings (film), Supp. IV, Part 2, 520 "King of the Bingo Game" (Ellison), Supp. II, Part 1, 235, 238, 240-241 "King of the Clock Tower" (Yeats), III, 473 "King of the Desert, The" (O'Hara), III, 369 King of the Mountain (Garrett), Supp. VII, 96, 97 "King of the River" (Kunitz), Supp. Ill, Part 1, 263, 267268 "King of the Sea" (Marquand), III, 60 "King over the Water" (Blackmur), Supp. II, Part 1, 107 "King Pandar" (Blackmur), Supp. II, Part 1, 92, 102 King, Queen, Knave (Nabokov), III, 251; Retro. Supp. I, 270

INDEX / 483 King, The (Barthelme), Supp. IV, Part 1, 47, 52 "King Volmer and Elsie" (Whittier), Supp. I, Part 2, 696 Kingdom of Earth (Williams), IV, 382, 386, 387, 388, 391, 393, 398 "Kingdom of Earth, The" (Williams), IV, 384 "Kingfishers, The" (Olson), Supp. II, Part 2, 557, 558-563, 582 King's Henchman, The (Millay), III, 138-139 "King's Missive, The" (Whittier), Supp. I, Part 2, 694 Kingsblood Royal (Lewis), II, 456 Kingsbury, John, Supp. I, Part 1, 8 Kingsley, Sidney, Supp. I, Part 1, 277, 281 Kingsolver, Barbara, Supp. VII, 197-199 Kingsport Times-News, Supp. V, 335, 342 Kingston, Earll, Supp. V, 160 Kingston, Maxine Hong, Supp. IV, Part 1, 1, 12; Supp. V, 157-175, 250 Kinmont, Alexander, Supp. I, Part 2, 588-589 Kinnaird, John, Retro. Supp. I, 399 Kinnamon, Kenneth, Supp. I, Part 1,69 Kinnell, Galway, Supp. Ill, Part 1, 235-256, Part 2, 541; Supp. IV, Part 2, 623; Supp. V, 332 Kinsey, Alfred, IV, 230 Kipling, Rudyard, I, 421, 587-588; 11,271,338, 404, 439; III, 55, 328,508,511,521,524,579; IV, 429; Supp. IV, Part 2, 603 "Kipling" (Trilling), Supp. Ill, Part 2, 495 Kirk, Clara M., II, 292, 293, 294 Kirk, Rudolf, II, 292, 293, 294 Kirk, Russell, I, 590 Kirkham, Edwin Bruce, Supp. I, Part 2, 601 Kirkland, Jack, I, 297 Kirkus Reviews, Supp. V, 62

Kirstein, Lincoln, Supp. II, Part 1, 90, 97; Supp. IV, Part 1, 82, 83 "Kiss, The" (Sexton), Supp. II, Part 2, 687 Kissel, Howard, Supp. IV, Part 2, 580 Kissinger, Henry, Supp. IV, Part 1,388 Kisslinger, Margaret V., II, 390 Kit Brandon: A Portrait (Anderson), I, 111 Kit O'Brien (Masters), Supp. I, Part 2, 471 Kitchen, Judith, Supp. IV, Part 1, 242, 245, 252 "Kitchenette" (Brooks), Retro. Supp. I, 208 Kittredge, Charmian, see London, Mrs. Jack (Charmian Kittredge) "Kitty Hawk" (Frost), II, 164; Retro. Supp. I, 124, 141 Kizer, Carolyn, III, 289 Klausner, S. Z., I, 286 Klein, Marcus, I, 166; III, 243; Supp. I, Part 1, 70, Part 2, 432, 453 Klein, Roger, IV, 22 Kleinerman-Goldstein, Channah, IV, 22 Kleist, Heinrich von, Supp. IV, Part 1, 224 Klinkowitz, Jerome, Supp. IV, Part 1, 40 Klotman, Phillis, Supp. I, Part 1, 348 Klotz, Marvin, IV, 119 Knapp, Edgar H., I, 143 Knapp, Friedrich, III, 100 Knapp, Samuel, I, 336 Kneel to the Rising Sun (Caldwell), I, 304, 309 Knepler, Henry, I, 95 Knickerbocker Magazine (publication), II, 314 "Knight in Disguise, The" (Lindsay), Supp. I, Part 2, 390 Knight, Karl F., Ill, 502 Knightly Quest, The (Williams), IV, 383 Knight's Gambit (Faulkner), II, 72

"Knights in Disguise: Lindsay and Maiakovski as Poets of the People" (Chenetier), Supp. I, Part 2, 402 "Knock" (Dickey), Supp. IV, Part 1, 182 Knock, Stanley, F. Jr., Ill, 289 "Knocking Around" (Ashbery), Supp. Ill, Part 1, 22 Knoll, Robert E., I, 590 Knopf, Retro. Supp. I, 13-14, 18, 20, 59, 199, 201, 202, 317, 320 Knopf, Alfred A., Ill, 99, 105, 106, 107; Retro. Supp. I, 13, 19, 317; Supp. I, Part 1, 324, 325, 327; Supp. IV, Part 1, 125, 354 Knopf, Blanche, Supp. I, Part 1, 324, 325, 327, 328, 332, 341; Supp. IV, Part 1, 128, 346, 348 "Knot, The" (Rich), Supp. I, Part 2,555 Knowles, John, Supp. IV, Part 2, 679 Knox, Frank, Supp. I, Part 2, 488, 489 Knox, George, I, 287 Knox, Vicesimus, II, 8 Knoxville: Summer of 1915 (Agee), I, 42^6 Knudson, R. Rozanne, Supp. IV, Part 2, 648 Kober, Arthur, Supp. I, Part 1, 292 Koch, Frederick, IV, 453 Koch, Vivienne, II, 222; III, 194, 217; IV, 136, 140, 143, 424; Retro. Supp. I, 428, 430 "Kochinnenako in Academe: Three Approaches to Interpreting a Keres Indian Tale" (Gunn Allen), Supp. IV, Part 1, 329 "Kodachromes of the Island" (Hayden), Supp. II, Part 1, 367, 380 Koestler, Arthur, I, 258; Supp. I, Part 2, 671 Kohler, David, IV, 377 Kohler, Dayton, I, 263; II, 608; Supp. I, Part 2, 730 Kolbenheyer, Dr. Frederick, Supp. I, Part 1, 207

484 / INDEX Kon-Tiki (Heyerdahl), II, 477 Konvitz, Milton, II, 23 Koopman, Harry Lyman, Retro. Supp. I, 40 Kara and Ka (Doolittle), Supp. I, Part 1, 270 Kora in Hell (Williams), Retro. Supp. I, 416, 417-418, 419, 430,431 Koretz, Gene, I, 404 Korges, James, I, 311 Kosinski, Jerzy, Supp. VII, 215219 Kosofsky, Rita Nathalie, Supp. I, Part 2, 452 "Kostas Tympakianakis" (Merrill), Supp. Ill, Part 1, 326 Kostelanetz, Richard, I, 95, 189; III, 47 Kozlenko, William, III, 167; IV, 378, 381, 400 Kramer, Dale, Supp. I, Part 2, 402, 478, 626, 669, 681 Kramer, Hilton, III, 537, 550; Supp. I, Part 1, 295, 296, 298 Kramer, Lawrence, Supp. IV, Part 1, 61, 65, 66 Kramer, Stanley, II, 421, 587 Krapp's Last Tape (Beckett), I, 71; III, 387; Retro. Supp. I, 206 Krassner, Paul, Supp. IV, Part 1, 385 Krause, Sydney J., II, 53; IV, 213; Supp. I, Part 1, 148 Kreitman, Esther, IV, 2 Kreitman, Morris, IV, 22 Kreymborg, Alfred, II, 530; III, 465; IV, 76, 95; Retro. Supp. I, 417; Supp. I, Part 2, 402 Kriegel, Leonard, IV, 449 Kroll, Jack, Supp. IV, Part 2, 590 Kroll, Judith, Supp. I, Part 2, 541-543, 544, 546, 548 Kroner, Richard, III, 313 Kropotkin, Peter, I, 493; Supp. I, Part 1, 5; Supp. IV, Part 2, 521 Kruif, Paul de, II, 446 Krupat, Arnold, Supp. IV, Part 2, 500

Krutch, Joseph Wood, I, 120; II, 459; III, 407, 425, 432; IV, 70, 175, 189; Supp. I, Part 2, 627, 681 "Ku Klux" (Hughes), Retro. Supp. 1,205 Kublai Khan, III, 395 Kubrick, Stanley, Supp. IV, Part 1,392 Kuehl, John, II, 100; III, 242; Supp. IV, Part 1, 279, 284, 285, 287 Kuehl, Linda, Supp. IV, Part 1, 199 Kukachin, Princess, III, 395 Kumin, Maxine, Supp. IV, Part 2, 439-457 Kunitz, Stanley, I, 70, 179, 180, 181, 182, 189, 521; II, 390, 545, 557; III, 242, 289, 550; Supp. Ill, Part 1, 257-270; Supp. V, 79 Kuntz, Paul Grimley, III, 621 Kuropatkin, General Aleksei Nikolaevich, III, 247-248 Kurzy of the Sea (Barnes), Supp. Ill, Part 1, 34 Kussy, Bella, IV, 468 Kuttner, Henry, Supp. IV, Part 1, 102 La Bruyere, Jean de, I, 58 La Bufera e Altro (Montale), Supp. V, 337 La Casa en Mango Street (Cisneros), Supp. VII, 58-59; see also House on Mango Street, The La Farge, John, I, 1, 2, 20; II, 322, 338; Retro. Supp. I, 217 La Farge, Oliver, Supp. IV, Part 2,503 "La Figlia che Piange" (Eliot), Retro. Supp. I, 63 La Follette, Robert, I, 483, 485, 492; III, 580 La Fontaine, Jean de, II, 154; III, 194; IV, 80 La France, Marston, I, 426 La France en Liberte (publication), Supp. Ill, Part 2, 618, 621

"La Gringuita: On Losing a Native Language" (Alvarez), Supp. VII, 18 La Hood, Marvin J., II, 100 La kabbale pratique (Ambelain), Supp. I, Part 1, 273, 275 La Motte-Fouque, Friedrich Heinrich Karl, III, 77, 78 La Rochefoucauld, Frangois de, I, 279; II, 111 "La Rose des Vents" (Wilbur), Supp. Ill, Part 2, 550 La Salle and the Discovery of the Great West (Parkman), Supp. II, Part 2, 595, 598, 605-607 La Terre (Zola), III, 316, 322 "La Tigresse" (Van Vechten), Supp. II, Part 2, 735, 738 La Traviata (Verdi), III, 139 La Turista (Shepard), Supp. Ill, Part 2, 440 Labaree, Leonard, II, 123 "Labours of Hercules, The" (Moore), III, 201 Lacan, Jacques, Supp. IV, Part 1, 45 Lachaise, Gaston, I, 434 "Lackawanna" (Merwin), Supp. III, Part 1, 350 Lackawanna Elegy (Goll, trans. Kinnell), Supp. Ill, Part 1, 235, 243-244 Laclede, Pierre, Supp. I, Part 1, 205 "Lacquer Prints" (Lowell), II, 524-525 Ladder of Years (Tyler), Supp. IV, Part 2, 657, 671-672 Ladder, The (publication), Supp. IV, Part 1, 365 Ladies Almanack (Barnes), Supp. Ill, Part 1, 37-39, 42 Ladies' Home Journal (magazine), III, 54, 491; Supp. I, Part 2, 530 "Ladies in Spring" (Welty), Retro. Supp. I, 353 <( Ladies in Spring" (Welty), IV, 276-277 Lady Audley's Secret (Braddon), Supp. I, Part 1, 35, 36 "Lady Barberina" (James), Retro. Supp. I, 227

INDEX / 485 "Lady Bates" (Jarrell), II, 380-381 Lady Chatterley 's Lover (Lawrence), III, 170; IV, 434 "Lady from Redhorse, A" (Bierce), 1,203 Lady in Kicking Horse Reservoir, The (Hugo), Supp. VI, 134, 138-139 "Lady in the Lake, The" (Chandler), Supp. IV, Part 1, 129 Lady in the Lake, The (Chandler), Supp. IV, Part 1, 127, 129-130 Lady in the Lake, The (film), Supp. IV, Part 1, 130 "Lady in the Pink Mustang, The" (Erdrich), Supp. IV, Part 1, 270 "Lady Is Civilized, The" (Taylor), Supp. V, 315 Lady Is Cold, The (White), Supp. I, Part 2, 653 "Lady Lazarus" (Plath), Supp. I, Part 2, 529, 535, 542, 545 Lady of Aroostook, The (Howells), II, 280 "Lady of the Lake, The" (Malamud), Supp. I, Part 2, 437 Lady Sings the Blues (film), Supp. I, Part 1, 67 "Lady Wentworth" (Longfellow), II, 505 "Lady with the Heron, The" (Merwin), Supp. Ill, Part 1, 343 "Lady's Maid's Bell, The" (Wharton), IV, 316 Lafayette, Marquis de, I, 344, 345; II, 405^06; Supp. I, Part 2, 510,511,683 Laforgue, Jules, I, 386, 569, 570, 572-573, 575, 576; II, 528; III, 8, 11, 466; IV, 37, 79, 80, 122; Retro. Supp. I, 55, 56 "Lager Beer" (Dunbar), Supp. II, Part 1, 193 Laguna Woman (Silko), Supp. IV, Part 2, 557, 560-561 Laing, R. D., Supp. I, Part 2, 527 Laird, C. G., II, 318 Lake Effect Country (Ammons), Supp. VII, 34, 35

"Lake Isle of Innisfree" (Yeats), Retro. Supp. I, 413 "Lake, The" (Bradbury), Supp. IV, Part 1, 101 L'Alouette (Anouilh), Supp. I, Part 1, 286-288 Lamb, Charles, III, 111, 207 Lamb, Wendy, Supp. IV, Part 2, 658 Lambert, Mary, see Paine, Mrs. Thomas (Mary Lambert) "Lame Shall Enter First, The" (O'Connor), III, 348, 351, 352, 355, 356-357, 358 "Lament" (Wilbur), Supp. Ill, Part 2, 550 "Lament for Dark Peoples" (Hughes), Retro. Supp. I, 199 "Lament for Saul and Jonathan" (Bradstreet), Supp. I, Part 1, 111 "Lament of a New England Mother, The" (Eberhart), I, 539 "Lamentations" (Gliick), Supp. V, 83,84 Lamia (Keats), II, 512; III, 523 Lamm, Martin, III, 407 Lamont, Corliss, II, 52 Lamp for Nightfall, A (Caldwell), 1,297 Lampoon (magazine), Retro. Supp. I, 319 Lampoon (publication), III, 52, 600; IV, 218 Lampton, Jane, see Clemens, Mrs. John Marshall (Jane Lampton) "Lance" (Nabokov), Retro. Supp. 1,266 Lancelot (Percy), Supp. Ill, Part 1, 384, 395-396 Lancelot (Robinson), III, 513, 522 Lanchester, John, Retro. Supp. I, 278 "Land" (Emerson), II, 6 "Land beyond the Blow, The" (Bierce), I, 209 Land of Little Rain, The (Dillard), Supp. VI, 27-28 Land of the Free U.S.A. (MacLeish), I, 293; III, 16-17 Land of Unlikeness (Lowell), II, 537-538, 539, 547

Landess, Thomas H., II, 222 "Landing in Luck" (Faulkner), Retro. Supp. I, 85 "Landing on the Moon" (Swenson), Supp. IV, Part 2, 643 Landlord at Lion's Head, The (Howells), II, 276, 287-288 Landmarks of Healing: A Study of House Made of Dawn (Scarberry-Garcia), Supp. IV, Part 2, 486 Landon, Harold R., Ill, 313 Landor, Walter Savage, III, 15, 469; Supp. I, Part 2, 422 "Landscape as a Nude" (MacLeish), III, 14 "Landscape Chamber, The" (Jewett), II, 408^09 "Landscape Painter, A" (James), Retro. Supp. I, 219 "Landscape Painter, A" (James), II, 322 "Landscape Symbolism in Kate Chopin's 'At Fault' " (Arner), Supp. I, Part 1, 226 "Landscape: The Eastern Shore" (Barth), I, 122 "Landscape with Boat" (Stevens), Retro. Supp. I, 306 "Landscape with the Fall of Icarus" (Brueghel), Retro. Supp. I, 430 Lane, Cornelia, see Anderson, Mrs. Sherwood Lane, Homer, Supp. II, Part 1, 6 Lane, R. W., II, 484 Lane, Rose Wilder, Supp. IV, Part 2, 524 Lang, Andrew, Retro. Supp. I, 127 Langdon, Olivia, see Clemens, Mrs. Samuel Langhorne (Olivia Langdon) Lange, Carl Georg, II, 350 Lange, Dorothy, I, 293 Langland, Joseph, III, 542 Langner, Lawrence, III, 407 Langs ton Hughes (Emanuel), Supp. I, Part 1, 348 Langston Hughes, a Biography (Meltzer), Supp. I, Part 1, 348

486 / INDEX Langston Hughes, American Poet (Walker), Supp. Ill, Part 2, 530-531 Langston Hughes, an Introduction to His Poetry (Jemie), Supp. I, Part 1, 348 Langston Hughes and the "Chicago Defender": Essays on Race, Politics, and Culture (De Santis, ed.), Retro. Supp. I, 194 "Langston Hughes as Playwright" (Turner), Supp. I, Part 1, 348 Langston Hughes, Black Genius (O'Daniel), Supp. I, Part 1, 348 "Langston Hughes, Cool Poet" (Hughes), Supp. I, Part 1, 348 "Langston Hughes, His Style and His Optimism" (Spencer), Supp. I, Part 1, 348 Langston Hughes: Modern Critical Views (Bloom, ed.), Retro. Supp. I, 193 Langston Hughes Reader, The (Hughes), Retro. Supp. I, 202; Supp. I, Part 1, 345 Langston Hughes: The Poet and His Critics (Barksdale), Retro. Supp. I, 202 "Langston Hughes's Jesse B. Semple and the Blues" (Klotman), Supp. I, Part 1, 348 Language As Gesture (Blackmur), Supp. II, Part 1, 108 Language as Symbolic Action (Burke), I, 275, 282, 285 Language Book, The (Andrews and Bernstein), Supp. IV, Part 2, 426 Language in Thought and Action (Hayakawa), I, 448 "L = A = N = G = U = A = G = E Lines" (publication), Supp. IV, Part 2, 420 "Language of Being and Dying, The" (Gass), Supp. VI, 91 "Language, Visualization and the Inner Library" (Shepard), Supp. Ill, Part 2, 436, 438, 449 "Language We Know, The" (Ortiz), Supp. IV, Part 2, 500 "Lanier as Poet" (Parks), Supp. I, Part 1, 373

Lanier, Clifford, Supp. I, Part 1, 349, 350, 353, 355, 356, 371 Lanier, James F. D., Supp. I, Part 1,350 Lanier, Mrs. Robert Sampson (Mary Jane Anderson), Supp. I, Part 1, 349 Lanier, Mrs. Sidney (Mary Day), Supp. I, Part 1,351, 355, 357, 361, 362, 364, 370, 371 Lanier, Robert Sampson, Supp. I, Part 1, 349, 351, 355, 356, 361 Lanier, Sidney, IV, 444; Supp. I, Part 1, 349-373, Part 2, 416; Supp. IV, Part 1, 165 "Lanier's Reading" (Graham), Supp. I, Part 1, 373 "Lanier's Use of Science for Poetic Imagery" (Beaver), Supp. I, Part 1, 373 Lannegan, Helen, see Caldwell, Mrs. Erskine Lannin, Paul, II, 427 Lanny Budd novels (Sinclair), Supp. V, 290 Lansner, Kermit, I, 287 Lant, Kathleen Margaret, Supp. V, 141 Lanthenas, Fran£ois, Supp. I, Part 2,515 Lao-tse, III, 173, 189, 567 "Lapis Lazuli" (Yeats), I, 532; III, 40 Laplace, Pierre Simon de, III, 428 Lapouge, M. G., Supp. I, Part 2, 633 Lapsley, Gaillard, IV, 329 Larbaud, Valery, IV, 404 Lardner, John, II, 437 Lardner, Ring, I, 487; II, 44, 91, 259, 263, 415-438; III, 566, 572; IV, 433; Retro. Supp. I, 105; Supp. I, Part 2, 609 "Lardner, Shakespeare and Chekhov" (Matthews), II, 430 "Large Bad Picture" (Bishop), Supp. I, Part 1, 73, 80-82, 85, 86, 89, 90 "Large Coffee" (Lardner), II, 437 Large Glass, or The Bride Stripped Bare by Her Bachelors, Even

(Duchamp), Supp. IV, Part 2, 423, 424 Largo (Handel), IV, 369 Lark, The (Hellman), Supp. I, Part 1, 286-288, 297 Larkin, Philip, Supp. I, Part 2, 536 Larry's Party (Shields), Supp. VII, 324, 326-327 Larsen, Erling, I, 47 Larsen, Nella, Supp. I, Part 1, 325, 326; Supp. IV, Part 1, 164 Larson, Charles, Supp. IV, Part 1, 331 "Larval Stage of a Bookworm" (Mencken), III, 101 "Las Vegas (What?) Las Vegas (Can't Hear You! Too Noisy) Las Vegas! ! ! !" (Wolfe), Supp. Ill, Part 2, 572 Lasch, Christopher, I, 237, 259; Supp. I, Part 1, 27 Laser, Marvin, III, 574 Lasher (Rice), Supp. VII, 299300 Lask, Thomas, III, 576 Laski, Harold, Supp. I, Part 2, 632, 643 Laskowsky, Henry J., I, 565 Lassalle, Ferdinand, IV, 429 Last Adam, The (Cozzens), I, 362363, 364, 368, 375, 377, 378, 379 Last Analysis, The (Bellow), I, 152, 160, 161 Last and Lost Poems ofDelmore Schwartz (ed. Phillips), Supp. II, Part 2, 661,665 "Last Day in the Field, The" (Gordon), II, 200 "Last Day of the Last Furlough" (Salinger), III, 552-553 "Last Days of Alice" (Tate), IV, 129 "Last Days of John Brown, The" (Thoreau), IV, 185 Last Decade, The (Trilling), Supp. III, Part 2, 493, 499 "Last Demon, The" (Singer), IV, 15,21 Last Exit to Brooklyn (Selby), Supp. Ill, Part 1, 125

INDEX / 487 Last Flower, The (Thurber), Supp. I, Part 2, 610 Last Gentleman, The (Percy), Supp. Ill, Part 1, 383-388, 392-393 "Last Good Country, The" (Hemingway), II, 258-259 Last Good Time, The (Bausch), Supp. VII, 45-46 "Last Hiding Places of Snow, The" (Kinnell), Supp. Ill, Part 1, 252 Last Laugh, Mr. Moto (Marquand), III, 57 "Last Leaf, The" (Holmes), Supp. I, Part 1, 302, 309 "Last Leaf, The" (Porter), III, 444 "Last Look at the Lilacs" (Stevens), IV, 74 "Last Mohican, The" (Malamud), Supp. I, Part 2, 437-438, 450, 451 "Last Night at Tia's" (Alvarez), Supp. VII, 5 Last Night of Summer, The (Caldwell), I, 292-293 Last of the Mohicans, The (Cooper), I, 341, 342, 349 Last of the Red Hot Lovers (Simon), Supp. IV, Part 2, 575, 583, 589 "Last of the Valerii, The" (James), II, 327; Retro. Supp. I, 218 "Last One, The" (Merwin), Supp. III, Part 1, 355 Last Picture Show, The (film), Supp. V, 223, 226 Last Picture Show, The (McMurtry), Supp. V, 220, 222-223, 233 Last Puritan, The (Santayana), III, 64, 600, 604, 607, 612, 615-617 "Last Ride Together, The" (Browning), I, 468 "Last River, The" (Kinnell), Supp. Ill, Part 1, 236 Last Tycoon, The (Fitzgerald), II, 84, 98; Supp. IV, Part 1, 203 Last Tycoon, The: An Unfinished Novel (Fitzgerald), Retro. Supp. I, 109, 114,114-115

Last Word, The: Letters between Marcia Nardi and William Carlos Williams (O'Neil, ed.), Retro. Supp. I, 427 "Last Words" (Levine), Supp. V, 190 Last Worthless Evening, The (Dubus), Supp. VII, 87-88 "Lastness" (Kinnell), Supp. Ill, Part 1, 248-249 "Late" (Bogan), Supp. Ill, Part 1, 53 "Late Air" (Bishop), Supp. I, Part 1,89 Late Child, The (McMurtry), Supp. V, 231 "Late Encounter with the Enemy, A" (O'Connor), III, 345 Late George Apley, The (Marquand), II, 482^83; III, 50, 51, 52, 56-57, 58, 62-64, 65,66 Late George Apley, The (Marquand and Kaufman), III, 62 Late Hour, The (Strand), Supp. IV, Part 2, 620, 629-630 "Late Moon" (Levine), Supp. V, 186 Late Settings (Merrill), Supp. Ill, Part 1, 336 "Late Sidney Lanier, The" (Stedman), Supp. I, Part 1, 373 "Late Subterfuge" (Warren), IV, 257 "Late Walk, A" (Frost), II, 153; Retro. Supp. I, 127 "Lately, at Night" (Kumin), Supp. IV, Part 2, 442 Later (Creeley), Supp. IV, Part 1, 153, 156, 157 Later Life (Gurney), Supp. V, 103, 105 Later the Same Day (Paley), Supp. VI, 218 "Latest Freed Man, The" (Stevens), Retro. Supp. I, 306 Latest Literary Essays and Addresses (Lowell), Supp. I, Part 2, 407 Latham, Aaron, II, 100 Latham, Edyth, I, 289

Lathrop, G. P., II, 245 Lathrop, George Parsons, Supp. I, Part 1, 365 Lathrop, H. B., Supp. Ill, Part 2, 612 Lathrop, Julia, Supp. I, Part 1, 5 Lathrop, Rose, II, 245 Latiere de Trianon, La (Wekerlin), 11,515 Latimer, Hugh, II, 15 "Latter-Day Warnings" (Holmes), Supp. I, Part 1, 307 Laud, Archbishop, II, 158 "Lauds" (Auden), Supp. II, Part 1,23 "Laughing Man, The" (Salinger), III, 559 Laughing to Keep From Crying (Hughes), Supp. I, Part 1, 329330 Laughlin, J. Laurence, Supp. I, Part 2, 641 Laughlin, James, III, 171, 242; Retro. Supp. I, 423, 424, 428, 430,431 Laughlin, Jay, Supp. II, Part 1, 94 Laughter in the Dark (Nabokov), III, 255-258; Retro. Supp. I, 270 Laughter on the 23rd Floor (Simon), Supp. IV, Part 2, 575, 576, 588, 591-592 "Launcelot" (Lewis), II, 439^40 "Laura Dailey's Story" (Bogan), Supp. Ill, Part 1, 52 Laurel, Stan, Supp. I, Part 2, 607; Supp. IV, Part 2, 574 Laurence, Dan H., II, 338-339 Laurens, John, Supp. I, Part 2, 509 Lauter, Paul, I, 449 Lautreamont, Comte de, III, 174 Law for the Lion, A (Auchincloss), Supp. IV, Part 1, 25 "Law Lane" (Jewett), II, 407 "Law of Nature and the Dream of Man, The: Ruminations of the Art of Fiction" (Stegner), Supp. IV, Part 2, 604 Lawd Today (Wright), IV, 478, 492

488 / INDEX Lawrence, D. H., I, 291, 336, 357, 377, 522, 523; II, 78, 84, 98, 102, 264, 517, 523, 532, 594, 595; III, 27, 33, 40, 44, 46, 172, 173, 174, 178, 184, 229, 261, 423, 429, 432, 458, 546-547; IV, 138, 339, 342, 351, 380; Retro. Supp. I, 7, 18, 203, 204, 421; Supp. I, Part 1, 227, 230, 243, 252, 255, 257, 258, 263, 275, 329, Part 2, 546, 613, 728; Supp. II, Part 1, 1, 9, 20, 89; Supp. IV, Part 1,81 Lawrence, Rhoda, Supp. I, Part 1, 45 Lawrence, Seymour, I, 70 Lawrence family, II, 513 Lawrence of Arabia (Aldington), Supp. I, Part 1, 259 Lawrence of Arabia (film), Supp. I, Part 1, 67 Lawry, Jon S., I, 120 Laws (Plato), Supp. IV, Part 1, 391 Laws of Ice, The (Price), Supp. VI, 264 Lawson, John Howard, I, 479, 482 Lawton Girl, The (Frederic), II, 132-133, 144 "Lay Preacher" (Dennie), Supp. I, Part 1, 125 Layachi, Larbi (Driss ben Hamed Charhadi), Supp. IV, Part 1, 92,93 "Layers, The" (Kunitz), Supp. Ill, Part 1, 260, 266-267 "Layers, The: Some Notes on The Abduction' " (Kunitz), Supp. Ill, Part 1, 266 "Lay-mans Lamentation, The" (Taylor), IV, 162-163 "Layover" (Hass), Supp. VI, 109 Lazarillo de Tormes (Mendoza), III, 182 Lazarus Laughed (O'Neill), III, 391, 395-396 Le Bien Informe (newspaper), Supp. I, Part 2, 518 Le Clair, Robert C, II, 365 Le Conte, Joseph, II, 479; III, 227-228

Le courant abolitioniste dans la litterature americaine de 1800 a 1861 (Riviere), Supp. I, Part 2, 426 Le cultivateur americain: Etude sur I'oeuvre de Saint John de Crevecoeur (Rice), Supp. I, Part 1, 252 Le Guin, Ursula K., Supp. IV, Part 1, 333 "Le marais du cygne" (Whittier), Supp. I, Part 2, 687 Le Morte D 'Arthur Notes (Gardner), Supp. VI, 65, 66 Le Style Apollinaire (Zukofsky), Supp. Ill, Part 2, 616 Le Violde Lucrece (Obey), IV, 356 Lea, Luke, IV, 248 Leacock, Stephen, Supp. IV, Part 2,464 "LEADBELLY GIVES AN AUTOGRAPH" (Baraka), Supp. II, Part 1, 49 Leaflets (Rich), Supp. I, Part 2, 551, 556-557 "League of American Writers, The: Communist Organizational Activity among American Writers 1929-1942" (Wolfe), Supp. Ill, Part 2, 568 League of Brightened Philistines and Other Papers, The (Farrell), 11,49 Leaks, Sylvester, Supp. I, Part 1, 70 Leaning Forward (Paley), Supp. VI, 221 Leaning Tower and Other Stories, The (Porter), III, 433, 442, 443447 "Leaning Tower, The" (Porter), III, 442, 443, 446-447 "Leap, The" (Dickey), Supp. IV, Part 1, 182 "Leaping Up into Political Poetry" (Bly), Supp. IV, Part 1, 61, 63 Lear, Edward, III, 428, 536 Learned Ladies, The (Moliere, trans. Wilbur), Supp. Ill, Part 2,560 "Learning a Dead Language" (Merwin), Supp. Ill, Part 1, 345

Learning a Trade: A Craftsman's Notebooks, 1955-1997 (Price), Supp. VI, 254, 255, 267 "Learning to Read" (Harper), Supp. II, Part 1, 201-202 Leary, Lewis, I, 263; III, 478; IV, 212, 213; Supp. I, Part 1, 226, 319, 373, Part 2, 706 Leary, Paris, Supp. IV, Part 1, 176 Least Heat Moon, William, Supp. V, 169 Leather-Stocking Tales, The (Cooper), I, 335 Leatherwood God, The (Howells), II, 276, 277, 288 "Leaves" (Updike), Retro. Supp. I, 323, 329, 335 Leaves from the Notebook of a Tamed Cynic (Niebuhr), III, 293 Leaves of Grass (1856) (Whitman), Retro. Supp. I, 399-402 Leaves of Grass (1860) (Whitman), Retro. Supp. I, 402-405 Leaves of Grass (Whitman), II, 8; IV, 331, 332, 333, 334, 335, 336, 340, 341-342, 348, 350, 405, 464; Retro. Supp. I, 387, 388, 389, 390, 392-395, 406, 407, 408; Supp. I, Part 1, 365, Part 2, 416, 579; Supp. Ill, Part 1, 156; Supp. V, 170 "Leaves of Grass" (Whitman), IV, 463 Leaves of the Tree, The (Masters), Supp. I, Part 2, 460 "Leaving" (Hogan), Supp. IV, Part 1, 400 "Leaving" (Wilbur), Supp. HI, Part 2, 563 Leaving Cheyenne (McMurtry), Supp. V, 220, 221-222, 224, 229 "Leaving Town" (Kenyon), Supp. VII, 163 Leavis, F. R., I, 263, 522; III, 462-463, 475, 478; Retro. Supp. I, 67; Supp. I, Part 2, 536 "Leavis-Snow Controversy, The" (Trilling), Supp. Ill, Part 2, 512

INDEX / 489 Leavitt, Jonathan, I, 564 Lechlitner, Ruth, IV, 424 LeClair, Thomas, Supp. IV, Part 1,286 LeClair, Tom, Supp. V, 53 "Lecture, The" (Singer), IV, 21 "LECTURE PAST DEAD CATS" (Baraka), Supp. II, Part 1, 52 Lectures in America (Stein), IV, 27, 32, 33, 35, 36, 41, 42 "Lectures on Poetry" (Bryant), Supp. I, Part 1, 159, 161 Lectures on Rhetoric (Blair), II, 8 "Leda and the Swan" (Yeats), III, 347 Ledger (Fitzgerald), Retro. Supp. I, 109, 110 Lee (Masters), Supp. I, Part 2, 471 Lee, Brian, Supp. I, Part 1, 70 Lee, C. P., Supp. I, Part 2, 402 Lee, Charlotte I, III, 550 Lee, Don L, see Madhubuti, Haki R. Lee, Gypsy Rose, II, 586; III, 161; Supp. IV, Part 1, 84 Lee, James W., Ill, 574 Lee, Robert E., II, 150, 206; IV, 126; Supp. I, Part 2, 471, 486 Lee, Samuel, IV, 158 Leeds, Barry, H., Ill, 48 Leeds, Daniel, II, 110 Leeds, Titan, II, 110, 111 "Lees of Happiness, The" (Fitzgerald), II, 88 LeFevre, Louis, II, 318 Left Front Anvil (publication), IV, 476 Legacy of Fear, A (Farrell), II, 39 Legacy of the Civil War, The: Meditations on the Centennial (Warren), IV, 236 "Legal Tender Act, The" (Adams), 1,5 "Legend of Duluoz, The" (Kerouac), Supp. Ill, Part 1, 218, 226, 227, 229 "Legend of Lillian Hellman, The" (Kazin), Supp. I, Part 1, 297 "Legend of Monte del Diablo, The" (Harte), Supp. II, Part 1, 339

"Legend of Sammtstadt, A" (Harte), Supp. II, Part 1, 355 "Legend of Sleepy Hollow, The" (Irving), II, 306-308 "Legendary Mr. Thurber, The" (Walker), Supp. I, Part 2, 627 Legends (Lowell), II, 525-526 Legends of New England (Whittier), Supp. I, Part 2, 684, 692 Legends of the West (Hall), II, 313 Leger, Fernand, Retro. Supp. I, 292 Legge, James, III, 472 Leggett, William, Supp. I, Part 1, 157 Legs (Kennedy), Supp. VII, 133, 134, 138-142, 143, 151 Lehan, Richard, I, 520; II, 100 Lehmann, Paul, III, 311, 313 Lehmann-Haupt, Christopher, Supp. IV, Part 1, 205, 209, 306 Leibniz, Gottfried Wilhelm von, II, 103; III, 428 Leibowitz, Herbert A., I, 386, 404; IV, 23 Leisy, E. E., II, 318 Leithauser, Brad, Retro. Supp. I, 133 Leivick, H., IV, 6 Lekachman, Robert, Supp. I, Part 2,648 Leland, Charles, Supp. II, Part 1, 193 Leland, Charles Godfrey, I, 257 Lem, Stanislaw, Supp. IV, Part 1, 103 Lemay, J. A. Leo, II, 125 Lemercier, Eugene, Retro. Supp. 1,299 Lenin, V. L, I, 366, 439, 440; III, 14-15, 262, 475; IV, 429, 436, 443-444; Supp. I, Part 2, 647 "Lenore" (Poe), 111,411 "Lenox Avenue: Midnight" (Hughes), Retro. Supp. I, 198 Leonard, Elmore, Supp. IV, Part 1,356 Leonard, John, Supp. IV, Part 1, 24, Part 2, 474; Supp. V, 164, 223-224

Leonidas, King, II, 121 "Leopard Man's Story, The" (London), II, 475 Leopardi, Giacomo, II, 543 Leopold, Aldo, Supp. V, 202 Lerner, Arthur, I, 70 Lerner, Max, I, 237; III, 60; Supp. I, Part 2, 629, 630, 631, 647, 650, 654 Les Miserables (Hugo), II, 179; Supp. I, Part 1, 280 Leskov, Nikolai, IV, 299 Lesser, Wendy, Supp. IV, Part 2, 453 Lessing, Gotthold, Supp. I, Part 2, 422 "Lesson of the Master, The" (James), Retro. Supp. I, 227 Lesson of the Masters: An Anthology of the Novel from Cervantes to Hemingway (ed. Cowley-Hugo), Supp. II, Part 1, 140 "Lesson on Concealment, A" (Brown), Supp. I, Part 1, 133 " 'Lesson on Concealment, A': Brockden Brown's Method in Fiction" (Berthoff), Supp. I, Part 1, 148 "Lesson, The" (Dunbar), Supp. II, Part 1, 199 Lester, Jerry, Supp. IV, Part 2, 574 LeSueur, Meridel, Supp. V, 113, 130 "Let America Be America Again" (Hughes), Retro. Supp. I, 202; Supp. I, Part 1,331 Let Evening Come (Kenyon), Supp. VII, 160, 169-171 Let It Come Down (Bowles), Supp. IV, Part 1, 87 "Let Me Be" (Levine), Supp. V, 181, 189 "Let Me Begin Again" (Levine), Supp. V, 181, 189 "Let No Charitable Hope" (Wylie), Supp. I, Part 2, 713-714, 729 "Let one Eye his watches keep/ While the Other Eye doth sleep" (Fletcher), Supp. IV, Part 2, 621

490 / INDEX Let Us Now Praise Famous Men (Agee and Evans), I, 25, 27, 35, 36-39, 42, 45, 293 Let Your Mind Alone! (Thurber), Supp. I, Part 2, 608 Letargeez, J., IV, 259 Letter (publication), I, 206 "Letter . . ." (Whittier), Supp. I, Part 2, 687 "Letter, A" (Bogan), Supp. Ill, Part 1, 54 Letter, A, Addressed to the People of Piedmont, on the Advantages of the French Revolution, and the Necessity of Adopting Its Principles in Italy (Barlow), Supp. II, Part 1,80, 81 "Letter, The" (Malamud), Supp. I, Part 2, 435^36 "Letter about Money, Love, or Other Comfort, If Any, The" (Warren), IV, 245 "Letter from a Region in My Mind" (Baldwin), see "Down at the Cross" "Letter from Aldermaston" (Merwin), Supp. Ill, Part 1, 347 Letter from Li Po, A (Aiken), I, 68 "Letter from 'Manhattan' " (Didion), Supp. IV, Part 1, 205 "Letter from Vachel Lindsay, A" (Aiken), Supp. I, Part 2, 402 "Letter, May 2, 1959" (Olson), Supp. II, Part 2, 579, 580 "Letter, Much Too Late" (Stegner), Supp. IV, Part 2, 613 "Letter on Celine" (Kerouac), Supp. Ill, Part 1, 232 Letter to a Man in the Fire: Does God Exist or Does He Care? (Price), Supp. VI, 267-268 "Letter to a Young Contributor" (Higginson), Retro. Supp. I, 31 "Letter to a Young Writer" (Price), Supp. VI, 267 "Letter to Abbe Raynal" (Paine), Supp. I, Part 2, 510 "Letter to American Teachers of History, A" (Adams), I, 19 "Letter to Bell from Missoula" (Hugo), Supp. VI, 142-143

"Letter to E. Franklin Frazier" (Baraka), Supp. II, Part 1, 49 "Letter to Elaine Feinstein" (Olson), Supp. II, Part 2, 561 "Letter to Freddy" (music) (Bowles), Supp. IV, Part 1, 82 "Letter to Garber from Skye" (Hugo), Supp. VI, 146 "Letter to George Washington" (Paine), Supp. I, Part 2, 517 "Letter to His Brother" (Berryman), I, 172, 173 Letter to His Countrymen, A (Cooper), I, 346, 347, 349 "Letter to Kizer from Seattle" (Hugo), Supp. VI, 142 Letter to Lord Byron (Auden), Supp. II, Part 1, 11 "Letter to Lord Byron" (Mumford), Supp. II, Part 2, 494 "Letter to Matthews from Barton Street Flats" (Hugo), Supp. VI, 133 "Letter to Mr. " (Poe), III, 411 "Letter to Sister Madeline from Iowa City" (Hugo), Supp. VI, 142-143 "Letter to the Lady of the House" (Bausch), Supp. VII, 48 "Letter to the Rising Generation, A" (Comer), I, 214 "Letter to Wendell Berry, A" (Stegner), Supp. IV, Part 2, 600 "Letter Writer, The" (Singer), IV, 20-21 Letters (Cato), II, 114 Letters (Landor), Supp. I, Part 2, 422 Letters (Pound), Supp. I, Part 1, 275 Letters (White), Supp. I, Part 2, 651, 653, 675, 680 Letters (Wolfe), IV, 462 Letters and Leadership (Brooks), I, 228, 240, 245, 246 "Letters for the Dead" (Levine), Supp. V, 186 Letters from an American Farmer (Crevecoeur), Supp. I, Part 1, 227-251

Letters from the Earth (Twain), IV, 209 Letters from the East (Bryant), Supp. I, Part 1, 158 Letters of a Traveller (Bryant), Supp. I, Part 1, 158 Letters of a Traveller, Second Series (Bryant), Supp. I, Part 1, 158 Letters of Emily Dickinson, The (eds. Johnson and Ward), I, 470; Retro. Supp. I, 28 Letters of Nicholas Vachel Lindsay to A. Joseph Armstrong (ed. Armstrong), Supp. I, Part 2, 402 Letters of William James (ed. Henry James), II, 362 Letters on Various Interesting and Important Subjects . . . (Freneau), Supp. II, Part 1, 272 Letters to a Niece (Adams), I, 22 "Letters to Dead Imagists" (Sandburg), I, 421 "Letters Written on a Ferry While Crossing Long Island Sound" (Sexton), Supp. II, Part 2, 683 "Letting Down of the Hair, The" (Sexton), Supp. II, Part 2, 692 Letting Go (Roth), Supp. Ill, Part 2, 403, 404, 409-412 "Lettres d'un Soldat" (Stevens), Retro. Supp. I, 299 Levels of the Game (McPhee), Supp. Ill, Part 1, 292, 294, 301 Levenson, J. C., I, 24 Levertov, Denise, Retro. Supp. I, 411; Supp. Ill, Part 1, 271287; Part 2, 541; Supp. IV, Part 1, 325 "Leviathan" (Lowell), II, 537, 538 "Leviathan" (Merwin), Supp. Ill, Part 1, 345 Levin, David, I, 565; Supp. I, Part 1, 70 Levin, Harry, II, 246; Supp. I, Part 2, 647 Levine, Daniel, Supp. I, Part 1, 27 Levine, Ellen, Supp. V, 4 Levine, Paul, Supp. IV, Part 1, 221, 224

INDEX / 491 Levine, Philip, Supp. Ill, Part 2, 541; Supp.V, 177-197, 337 Levis, Larry, Supp. V, 180 Levi-Strauss, Claude, Supp. I, Part 2, 636; Supp. IV, Part 1, 45, Part 2, 490 Levitation: Five Fictions (Ozick), Supp. V, 268-270 Leviten, David, IV, 425 Levitt, Helen, I, 47 Levy, Alan, Supp. IV, Part 2, 574, 589 Levy, G. Rachel, Supp. I, Part 2, 567 Levy Mayer and the New Industrial Era (Masters), Supp. I, Part 2, 473 Levy-Bruhl, Lucien, Retro. Supp. 1,57 Lewes, George Henry, II, 569 Lewis, Allan, I, 95 Lewis, C. Day, II, 171; III, 527 Lewis, Dr. Claude, II, 442 Lewis, Edith, I, 313, 333; Retro. Supp. I, 19, 21, 22 Lewis, Edwin, J., II, 439, 442 Lewis, Grace Hegger, II, 460 Lewis, Jerry, Supp. IV, Part 2, 575 Lewis, John L., I, 493 Lewis, Lilburn, IV, 243 Lewis, Lorene, Supp. IV, Part 2, 596, 597 Lewis, Lucy, IV, 243 Lewis, Maggie, Supp. V, 23 Lewis, Meriwether, II, 217; III, 14; IV, 179, 243, 283 Lewis, Merrill, Supp. IV, Part 2, 596, 597 Lewis, Michael, II, 451, 452 Lewis, Mrs. Sinclair (Dorothy Thompson), II, 449^50, 451, 453, 461 Lewis, Mrs. Sinclair (Grace Livingston Hegger), II, 441 Lewis, R. W. B., I, 386, 404, 561, 566; II, 246, 457-458; IV, 72, 354; Retro. Supp. I, 362, 367; Supp. I, Part 1, 233 Lewis, Robert Q., Supp. IV, Part 2,574

Lewis, Sinclair, I, 116, 212, 348, 355, 362, 374, 378, 487, 495; II, 27, 34, 74, 79, 271, 277, 306, 439-461, 474; III, 28, 40, 51, 60, 61, 63-64, 66, 70, 71, 106, 394, 462, 572, 606; IV, 53, 326, 366, 455, 468, 475, 482; Retro. Supp. I, 332; Supp. I, Part 2, 378, 613, 709; Supp. IV, Part 2, 678; Supp. V, 278 Lewis, Wyndham, III, 458, 462, 465, 470; Retro. Supp. I, 59, 170, 292; Supp. Ill, Part 2, 617 Lexicon Tetraglotton (Howell), II, 111 Leyda, Jay, I, 473; III, 97 Leyte (Morison), Supp. I, Part 2, 491 Li T'ai-po, II, 526 "Liar, The" (Baraka), Supp. II, Part 1, 36 "Liars, The" (Sandburg), III, 586 Libation Bearers, The (Aeschylus), III, 398 Liber Brunenesis (yearbook), IV, 286 Libera, Padre, II, 278 Liberal Imagination, The (Trilling), III, 308; Retro. Supp. I, 97, 216; Supp. II, Part 1, 146; Supp. Ill, Part 2, 495, 498, 501-504 "Liberation" (Winters), Supp. II, Part 2, 791 Liberator (publication), IV, 427; Supp. I, Part 1, 321% Part 2, 588, 688 Liberties, The (Howe), Supp. IV, Part 2, 426-428, 430, 432 Liberty (publication), Supp. IV, Part 1, 383 Liberty Jones (play), Supp. IV, Part 1, 83 "Liberty Tree" (Paine), Supp. I, Part 2, 505 Libra (DeLillo), Supp. VI, 2, 4, 5, 6, 7, 9, 10, 12, 13, 14, 16 Library Journal, Supp. V, 14 Library of America, Retro. Supp. 1,2 "Library of Law, A" (MacLeish), 111,4

Library of Poetry and Song, The, Supp. I, Part 1, 158 Lice, The (Merwin), Supp. Ill, Part 1, 339, 341-342, 346, 348, 349, 355 Lichtenstein, Roy, Supp. I, Part 2, 665 Lie Down in Darkness (Styron), IV, 98, 99, 100-104, 105, 111 Lie of the Mind, A (Shepard), Supp. Ill, Part 2, 433, 435, 441, 447^49 Liebestod (Wagner), I, 284, 395 Liebling, A. J., IV, 290, 307 Lies Like Truth (Clurman), IV, 385 Lieutenant, The (Dubus), Supp. VII, 78 Life (magazine), I, 296; Retro. Supp. I, 185; Supp. I, Part 2, 676; Supp. IV, Part 1, 205, Part 2, 583 "Life" (Wharton), Retro. Supp. I, 372 Life along the Passaic River (Williams), Retro. Supp. I, 423 Life and Gabriella (Glasgow), II, 175, 176, 182-183, 184, 189 "Life and I" (Wharton), Retro. Supp. I, 360, 361, 362 Life and Letters of Harrison Gray Otis, Federalist, 1765-1848, The (Morison), Supp. I, Part 2, 480-481 Life and Letters of John Greenleaf Whittier (Pickard), Supp. I, Part 2,706 Life and Letters of Oliver Wendell Holmes (Morse), Supp. I, Part 1,319 Life and the Dream (Colum), Supp. I, Part 2, 730 Life and Times of Frederick Douglass, Written by Himself, The (Douglass), Supp. Ill, Part 1, 155, 159-163 "Life as a Visionary Spirit" (Eberhart), I, 540, 541 Life at Happy Knoll (Marquand), III, 50, 61 "Life Cycle of Common Man" (Nemerov), III, 278

492 / INDEX Life for Life's Sake (Aldington), Supp. I, Part 1, 256, 275 Life Full of Holes, A (Layachi), Supp. IV, Part 1, 92 Life in the Clearings (Shields), Supp. VII, 313 "Life in the Country: A City Friend Asks, 'Is It Boring?' " (Paley), Supp. VI, 231 Life in the Forest (Levertov), Supp. Ill, Part 1, 282-283 "Life Is Fine" (Hughes), Supp. I, Part 1, 334, 338 "Life Is Motion" (Stevens), IV, 74 Life Is My Song (Fletcher), Supp. I, Part 1, 275 Life of Albert Gallatin, The (Adams), I, 6, 14 "Life of Charles Brockden Brown" (Prescott), Supp. I, Part 1, 148 Life of Charles Brockden Brown, The (Dunlap), Supp. I, Part 1, 148 Life of Emily Dickinson, The (Sewall), Retro. Supp. I, 25 Life of Forms, The (Focillon), IV, 90 Life of Franklin Pierce (Hawthorne), Retro. Supp. I, 163 Life of George Cabot Lodge, The (Adams), I, 21 Life of George Washington (Irving), II, 314, 315-316 Life of Henry James (Edel), Retro. Supp. I, 224 "Life of Irony, The" (Bourne), I, 219 "Life of John Greenleaf Whittier, The" (Woodwell), Supp. I, Part 2,706 "Life of Lincoln West, The" (Brooks), Supp. Ill, Part 1, 86 Life of Michelangelo (Grimm), II, 17 Life of Oliver Goldsmith, The, with Selections from His Writings (Irving), II, 315 Life of Poetry, The (Rukeyser), Supp. VI, 271, 273, 275-276, 282, 283, 286

Life ofPhips (Mather), Supp. II, Part 2, 451,452, 459 Life of Samuel Johnson (Boswell), Supp. I, Part 2, 656 Life of Savage (Johnson), Supp. I, Part 2, 523 Life of the Drama, The (Bentley), IV, 396 Life of the Right Reverend Joseph P. Machebeuf, The (Howlett), Retro. Supp. I, 17 Life of Thomas Paine, author of Rights of Men, With a Defence of his Writings (Chalmers), Supp. I, Part 2, 514 Life of Thomas Paine, The (Cobbett), Supp. I, Part 2, 517 Life on the Mississippi (Twain), I, 209; IV, 198, 199; Supp. I, Part 2, 440 "Life on the Rocks: The Galapagos" (Dillard), Supp. VI, 32 Life Story (Baker), II, 259 Life Studies (Lowell), I, 400; II, 384, 386, 543, 546-550, 551, 555; Supp. I, Part 2, 543 "Life Styles in the Golden Land" (Didion), Supp. IV, Part 1, 200 "Life That Is, The" (Bryant), Supp. I, Part 1, 169 "Life You Save May Be Your Own, The" (O'Connor), III, 344, 350, 354 "Lifeguard" (Updike), IV, 226; Retro. Supp. I, 325 "Lifeguard, The" (Dickey), Supp. IV, Part 1, 179-180 "Ligeia" (Poe), III, 412, 414 Light around the Body, The (Bly), Supp. IV, Part 1, 61-62, 62 "Light Comes Brighter, The" (Roethke), III, 529-530 "Light from Above" (Eberhart), I, 541 Light in August (Faulkner), II, 6364, 65, 74; IV, 207; Retro. Supp. I, 82, 84, 85, 86, 89, 92 Light, James F., IV, 290, 306, 307

"Light Man, A" (James), II, 322; Retro. Supp. I, 219 "Light of the World, The" (Hemingway), II, 249 "Lightning" (Barthelme), Supp. IV, Part 1, 53 "Lightning" (Oliver), Supp. VII, 235 "Lightning Rod Man, The" (Melville), III, 90 "Lightning, The" (Swenson), Supp. IV, Part 2, 645 Lijegren, S. R., IV, 213 "Like All the Other Nations" (Paley), Supp. VI, 220 "Like Decorations in a Nigger Cemetery" (Stevens), IV, 74, 79; Retro. Supp. I, 305 "Like the New Moon I Will Live My Life" (Bly), Supp. IV, Part 1,71 "LIKE, THIS IS WHAT I MEANT!" (Baraka), Supp. II, Part 1, 59 Li7A*/i*r(Capp),IV, 198 "Lilacs" (Lowell), II, 527 "Lilacs, The" (Wilbur), Supp. Ill, Part 2, 557-558 Lillabulero (magazine), Supp. V, 5 Lillabulero Press, Supp. V, 4, 5 Lillian Hellman (Adler), Supp. I, Part 1, 297 Lillian Hellman (Falk), Supp. I, Part 1, 297 "Lillian Hellman on her Plays" (Stern), Supp. I, Part 1, 298 Lillian Hellman: Playwright (Moody), Supp. I, Part 1, 280, 298 Lillo, George, II, 111, 112 "Lily Daw and the Three Ladies" (Welty), IV, 262 Lima, Agnes de, I, 231, 232 "Lime Orchard Woman, The" (Rios), Supp. IV, Part 2, 548 Lime Orchard Woman, The (Rios), Supp. IV, Part 2, 538, 547550, 553 "Limits" (Emerson), II, 19 Lincoln: A Novel (Vidal), Supp. IV, Part 2, 677, 684, 685, 688, 689-690, 691, 692

INDEX / 493 Lincoln, Abraham, I, 1, 4, 30; II, 8, 13, 135, 273, 555, 576; III, 576, 577, 580, 584, 587-590, 591; IV, 192, 195, 298, 347, 350, 444; Supp. I, Part 1, 2, 8, 26, 309, 321, Part 2, 379, 380, 382, 385, 390, 397, 399, 418, 424, 454, 456, 471, 472, 473, 474, 483, 579, 687 Lincoln, Kenneth, Supp. IV, Part 1, 329, Part 2, 507 Lincoln, Mrs. Thomas (Nancy Hanks), III, 587 "Lincoln Relics, The" (Kunitz), Supp. Ill, Part 1, 269 Lincoln: The Man (Masters), Supp. I, Part 2, 471, 473-474 Lincoln, Thomas, III, 587 "Lincoln's Man of Letters" (O'Daniel), Supp. I, Part 1, 348 Lind, Use, II, 341 Lindbergh, Charles A., I, 482 "Linden Branch, The" (MacLeish), III, 19, 20 Linden, Stanton J., Ill, 242 Linderman, Lawrence, Supp. IV, Part 2, 579, 583, 585, 589 Lindner, Carl M., Supp. I, Part 2, 627 Lindsay, Howard, III, 284 Lindsay, John, Supp. I, Part 2, 374 Lindsay, Mrs. Vachel (Elizabeth Connors), Supp. I, Part 2, 398, 399, 473 Lindsay, Mrs. Vachel Thomas (Esther Catherine Frazee), Supp. I, Part 2, 374, 375, 384-385, 398 Lindsay, Olive, Supp. I, Part 2, 374, 375, 392 Lindsay, Vachel, I, 384; II, 263, 276, 530; III, 5, 505; Part 2, 374^03, 454, 473, 474; Retro. Supp. I, 133; Supp. I, Part 1, 324; Supp. Ill, Part 1, 63, 71 Lindsay, Vachel Thomas, Supp. I, Part 2, 374, 375 "Lindsay and the Blood of the Lamb" (Orel), Supp. I, Part 2, 402

"Lindsay/ Masters/ Sandburg: Criticism from 1950-75" (White), Supp. I, Part 2, 401 "Lindsay's General William Booth: A Bibliographical and Textual Note" (Tanselle), Supp. I, Part 2,402 "Line of Least Resistance, The" (Wharton), Retro. Supp. I, 366 "Liner Notes for the Poetically Unhep" (Hughes), Retro. Supp. 1,210 "Lines After Rereading T. S. Eliot" (Wright), Supp. V, 343 "Lines Composed a Few Miles Above Tintern Abbey" (Wordsworth), Supp. Ill, Part 1,12 "Lines for an Interment" (MacLeish), III, 15 "Lines for My Father" (Cullen), Supp. IV, Part 1, 167 "Lines from Israel" (Lowell), II, 554 "Lines on Revisiting the Country" (Bryant), Supp. I, Part 1, 164 "Lines Suggested by a Tennessee Song" (Agee), I, 28 "Lines Written at Port Royal" (Freneau), Supp. II, Part 1, 264 "Line-Storm Song, A" (Frost), Retro. Supp. I, 127 L'influence du symbolisme frangais sur la poesie americaine (Taupin), Supp. I, Part 1, 275 Linn, Elizabeth, see Brown, Mrs. Charles Brockden (Elizabeth Linn) Linn, James Weber, Supp. I, Part 1,27 Linn, John Blair, Supp. I, Part 1, 145 Linnaeus, Carolus, II, 6; Supp. I, Part 1, 245 "Linoleum Roses" (Cisneros), Supp. VII, 63, 66 Linschoten, Hans, II, 362, 363, 364, 365 "Lion and Honeycomb" (Nemerov), III, 275, 278, 280

Lion and the Archer, The (Hayden), Supp. II, Part 1, 366, 367 Lion and the Honeycomb, The (Blackmur), Supp. II, Part 1, 91 "Lion for Real, The" (Ginsberg), Supp. II, Part 1, 320 Lion in the Garden (Meriweather and Millgate), Retro. Supp. I, 91 Lionel Lincoln (Cooper), I, 339, 342 "Lionizing" (Poe), III, 411, 425 "Lions and Lemmings, Toads and Tigers" (Cowley), Supp. I, Part 2,627 "Lions, Harts, and Leaping Does" (Powers), III, 356 "Lions in Sweden" (Stevens), IV, 79-80 Lippincott, Lillian, III, 525 Lippincott's Magazine (publication), I, 409; Supp. I, Part 1, 357, 361, 362, 364, 365 Lippmann, Walter, I, 48, 222-223, 225; III, 291, 598, 600; IV, 429; Supp. I, Part 2, 609, 643 Lipton, James, Supp. IV, Part 2, 576, 577, 579, 583, 586, 588 Lisca, Peter, IV, 72 Liss, Joseph, III, 167 Listener, The (publication), Supp. IV, Part 1, 208 "Listeners and Readers: The Unforgetting of Vachel Lindsay" (Trombly), Supp. I, Part 2, 403 "Listening" (Paley), Supp. VI, 218, 231, 232 Liston, Sonny, III, 38, 42 "Litany" (Ashbery), Supp. Ill, Part 1, 21-22, 25, 26 "Litany" (Sandburg), III, 593 "Litany of the Dark People, The" (Cullen), Supp. IV, Part 1, 170, 171 "Litany of the Heroes" (Lindsay), Supp. I, Part 2, 397 "Litany of Washington Street, The" (Lindsay), Supp. I, Part 2, 376, 398-399

494 / INDEX Literary and Scientific Repository, The (publication), I, 341 Literary Anthropology (Trumpener and Nyce), Retro. Supp. I, 380 "Literary Blacks and Jews" (Ozick), Supp. V, 272 "Literary Criticism of Georg Lukacs, The" (Sontag), Supp. Ill, Part 2, 453 Literary Friends and Acquaintance (Howells), Supp. I, Part 1, 318 Literary History of the United States (ed. Spiller et al.), Supp. I, Part 1, 104, 148, Part 2, 601 Literary History of the United States (Spiller), Supp. II, Part 1,95 "Literary Horizons: Cheever and Others" (Hicks), Supp. I, Part 1,198 "Literary Importation" (Freneau), Supp. II, Part 1, 264 "Literary Life of America, The" (Brooks), I, 245 Literary Magazine and American Register, The, Supp. I, Part 1, 132, 146 "Literary Opinions of Charles Brockden Brown, The" (Marchand), Supp. I, Part 1, 148 Literary Picture Gallery (periodical), II, 298 Literary Situation, The (Cowley), Supp. I, Part 2, 626; Supp. II, Part 1, 135, 140, 144, 146, 147, 148 Literary Women: The Great Writers (Moers), Supp. I, Part 1,46 "Literary Worker's Polonius, The" (Wilson), IV, 431,432 Literary World (publication), III, 77, 82; Retro. Supp. I, 248 "Literature" (Emerson), II, 6 Literature and American Life (Boynton), Supp. I, Part 2, 415 Literature and Morality (Farrell), 11,49 "Literature as a Symptom" (Warren), IV, 237

"Literature of Exhaustion, The" (Barm), Supp. IV, Part 1, 48 Littauer, Kenneth, Retro. Supp. I, 114 "Little Brown Baby" (Dunbar), Supp. II, Part 1, 206 "Little Brown Jug" (Baraka), Supp. II, Part 1,51 "Little Clown, My Heart" (Cisneros), Supp. VII, 71 Little Disturbances of Man, The (Paley), Supp. VI, 218 "Little Dog" (Hughes), Supp. I, Part 1, 329 Little Dorrit (Dickens), Supp. I, Part 1, 35 "Little Edward" (Stowe), Supp. I, Part 2, 587 Little Foxes, The (Hellman), Supp. I, Part 1, 276, 278-279, 281, 283, 297 "Little Fred, the Canal Boy" (Stowe), Supp. I, Part 2, 587 "Little French Mary" (Jewett), II, 400 Little Friend, Little Friend (Jarrell), II, 367, 372, 375376 Little, George T., II, 509 "Little Gidding" (Eliot), Retro. Supp. I, 66 Little Gidding (Eliot), I, 582, 588; II, 539 "Little Girl, The" (Paley), Supp. VI, 222, 228-229 "Little Girl, My Stringbean, My Lovely Woman" (Sexton), Supp. II, Part 2, 686 "Little Girl Tells a Story to a Lady, A" (Barnes), Supp. Ill, Part 1, 36 "Little Goose Girl, The" (Grimm), IV, 266 Little Ham (Hughes), Retro. Supp. I, 203; Supp. I, Part 1, 328, 339 Little Lady of the Big House, The (London), II, 481-182 "Little Lion Face" (Swenson), Supp. IV, Part 2, 651 "Little Lobelia's Song" (Bogan), Supp. Ill, Part 1, 66

"Little Local Color, A" (Henry), Supp. II, Part 1, 399 Little Lord Fauntleroy (Burnett), Retro. Supp. I, 188 "Little Lyric" (Hughes), Supp. I, Part 1, 334 Little Man, Little Man (Baldwin), Supp. I, Part 1, 67 Little Me (musical), Supp. IV, Part 2, 575 Little Men (Alcott), Supp. I, Part 1, 32, 39, 40 "Little Morning Music, A" (Schwartz), Supp. II, Part 2, 662-663 Little Ocean (Shepard), Supp. Ill, Part 2, 447 "Little Old Spy" (Hughes), Supp. I, Part 1, 329 "Little Owl Who Lives in the Orchard" (Oliver), Supp. VII, 239 "Little Peasant, The" (Sexton), Supp. II, Part 2, 690 "Little Rapids, The" (Swenson), Supp. IV, Part 2, 645 Little Regiment and Other Episodes of the American Civil War, The (Crane), I, 408 Little Review (journal), Retro. Supp. I, 359 Little Review, The (publication), I, 103, 106, 384; II, 68; III, 194, 471; Supp. I, Part 1, 256, 257 "Little Road not made of Man , A" (Dickinson), Retro. Supp. I, 44 Little Sister, The (Chandler), Supp. IV, Parti, 122, 130, 131-132 "Little Sleep's-Head Sprouting Hair in the Moonlight" (Kinnell), Supp. Ill, Part 1, 247 "Little Snow White" (Grimm), IV, 266 "Little Testament of Bernard Martin, Aet. 30" (Mumford), Supp. II, Part 2, 472, 473, 474 Little Tour in France (James), II, 337 Little Women (Alcott), Supp. I, Part 1, 28, 29, 32, 35, 37, 38, 39-40, 41, 43, 44

INDEX / 495 Littlebird, Harold, Supp. IV, Part 2,499 Littlebird, Larry, Supp. IV, Part 2, 499, 505 Litz, A. Walton, Retro. Supp. I, 306 "Liu Ch'e" (Pound), III, 466 "Live" (Sexton), Supp. II, Part 2, 684, 686 Live from Golgotha (Vidal), Supp. IV, Part 2, 677, 682, 691, 692 Live Now and Pay Later (Garrett), Supp. VII, 111 Live or Die (Sexton), Supp. II, Part 2, 670, 683-687 "Live-Oak with Moss" (Whitman), Retro. Supp. I, 403 Liveright, Horace, Retro. Supp. I, 80, 81, 83; Supp. I, Part 2, 464 Lives (Plutarch), II, 5, 104 "Lives in a Cell" (McPherson), Supp. I, Part 1, 199 Lives of a Cell, The (Thomas), Retro. Supp. I, 322, 323 Lives of Distinguished American Naval Officers (Cooper), I, 347 "Lives of Gulls and Children, The" (Nemerov), III, 271, 272 Lives of the Artists (Vasari), Supp. I, Part 2, 450 Lives of the Poets (Doctorow), Supp. IV, Part 1, 234 "Lives of the Poets" (Doctorow), Supp. IV, Part 1, 234 Living, The (Dillard), Supp. VI, 23 "Living at Home" (Gordon), Supp. IV, Part 1,311 Living by Fiction (Dillard), Supp. VI, 23, 31, 32, 33 Living by the Word (Walker), Supp. Ill, Part 2, 521, 522, 526, 527, 535 Living End, The (Elkin), Supp. VI, 54,58 "Living in the Present: American Fiction Since 1945" (Rupp), Supp. I, Part 1, 199 "Living Like Weasels" (Dillard), Supp. VI, 26, 33 Living Novel, The (Hicks), III, 342 Living Reed, The (Buck), Supp. II, Part 1, 129-130

Living the Spirit: A Gay American Indian Anthology (ed. Roscoe), Supp. IV, Part 1, 330 Living Theater, Retro. Supp. I, 424 "Living There" (Dickey), Supp. IV, Parti, 182-183 "Living with a Peacock" (O'Connor), III, 350 Livingston, Luther S., II, 509; Supp. I, Part 2, 425 Livingston family, IV, 311 "Livvie" (Welty), IV, 265; Retro. Supp. I, 348-349 "Livvie Is Back" (Welty), Retro. Supp. I, 351 Livy, II, 8 "L'Lapse" (Barthelme), Supp. IV, Part 1, 45^7, 48 Lloyd, F. V., II, 318 Lloyd George, Harold, I, 490 Lloyd, Henry Demarest, Supp. I, Part 1, 5 "Loam" (Sandburg), III, 584-585 "Loan, The" (Malamud), Supp. I, Part 2, 427, 428, 431,437 Local Color (Capote), Supp. Ill, Part 1, 120 "Local Color" (London), II, 475 "Local Color in The Awakening " (May), Supp. I, Part 1, 226 "Locating Langston Hughes" (Patterson), Supp. I, Part 1, 348 Lock, Robert H., IV, 319; Retro. Supp. I, 375 Locke, Alain, Supp. I, Part 1, 323, 325, 341; Supp. II, Part 1, 53, 176, 182, 228, 247; Supp. IV, Part 1, 170 Locke, John, I, 554-555, 557, 566; II, 15-16, 113-114,348-349, 480; III, 294-295; IV, 149; Supp. I, Part 1, 130, 229, 230, Part 2, 523 Locke, Sondra, II, 588 "Locked House, A" (Snodgrass), Supp. VI, 323 Locket, The (Masters), Supp. I, Part 2, 460 Lockwood Concern, The (O'Hara), III, 362, 364, 377-382 "Locus" (Ammons), Supp. VII, 28

"Locus" (Hayden), Supp. II, Part 1, 361-362, 381 Loden, Barbara, III, 163 Lodge, David, III, 48 Lodge, Henry Cabot, I, 11-12, 21 Lodge, Mrs. Henry Cabot, I, 1112, 19 Lodge, Thomas, IV, 370 Loeb, Gerald, Supp. IV, Part 2, 523 Loeb, Jacques, I, 513; Supp. I, Part 2, 641 "Log" (Merrill), Supp. Ill, Part 1, 328 Logan Herald Journal (newspaper), Supp. IV, Part 2, 638 Logan, Rayford W., Supp. II, Part 1, 171, 194 Loggins, Vernon, II, 245 Lohengrin (Wagner), I, 216 Lohf, Kenneth A., I, 119; III, 216, 336 Lohrfinck, Rosalind, III, 107, 117 Lolita (Nabokov), III, 246, 247, 255, 258-261; Retro. Supp. I, 263, 264, 265, 266, 269, 270, 272-274, 275; Supp. V, 127, 252 London, Eliza, II, 465 London Fields (Amis), Retro. Supp. I, 278 London, Jack, I, 209; II, 264, 440, 444, 451,462-485; III, 314, 580; Supp. IV, Part 1, 236; Supp. V, 281 London, Joan, II, 484 London, John, II, 464, 465 London Magazine (Plath), Supp. I, Part 2, 541 London, Mrs. Jack (Bessie Maddern), II, 465, 466, 473, 478 London, Mrs. Jack (Charmian Kittredge), II, 466, 468, 473, 476, 478, 481, 484 London Suite (Simon), Supp. IV, Part 2, 576, 581, 582, 588 "Lone Striker, A" (Frost), Retro. Supp. I, 136, 137 "Lonely Coast, A" (Proulx), Supp. VII, 264

496 / INDEX Lonely for the Future (Farrell), II, 46,47 "Lonely Street, The" (Williams), IV, 413 Lonergan, Wayne, Supp. I, Part 1, 51 Lonesome Dove (McMurtry), Supp. V, 226-228, 231, 232, 233 Lonesome Traveler (Kerouac), Supp. HI, Part 1, 219, 225 Long, Ada, Supp. V, 178 Long, E. H., IV, 212 Long, Huey, I, 489; II, 454; IV, 249; Supp. IV, Part 2, 679 Long, Ray, II, 430; III, 54 Long after Midnight (Bradbury), Supp. IV, Part 1, 102 Long and Happy Life, A (Price), Supp. VI, 258, 259-260, 262, 264, 265 Long Approach, The (Kumin), Supp. IV, Part 2, 452-453, 453 Long Christmas Dinner and Other Plays (Wilder), IV, 365-366 "Long Christmas Dinner, The" (Wilder), IV, 357, 365 Long Christmas Dinner, The (Wilder), Supp. V, 105 Long Day's Journey into Night (O'Neill), III, 385, 401, 403404; Supp. IV, Part 1, 359 "Long-Distance Runner, The" (Paley), Supp. VI, 221-222, 228, 230 Long Dream, The (Wright), IV, 478, 488, 494 "Long Embrace, The" (Levine), Supp. V, 187 "Long Enough" (Rukeyser), Supp. VI, 274 "Long Fourth, A" (Taylor), Supp. V, 313 Long Fourth and Other Stories, A (Taylor), Supp. V, 318-319 Long Gay Book, A (Stein), IV, 42 Long Goodbye, The (Chandler), Supp. IV, Part 1, 120, 122, 132-134, 135 Long Goodbye, The (Williams), IV, 381

Long Love, The (Sedges), Supp. II, Part 1, 125 Long March, The (Styron), IV, 97, 99, 104-107, 111, 113, 117 "Long Novel, A" (Ashbery), Supp. III, Part 1, 6 Long Patrol, The (Mailer), III, 46 Long Road of Woman's Memory, The (Addams), Supp. I, Part 1, 17-18 "Long Run, The" (Wharton), IV, 314 Long Season, The (Brosnan), II, 424, 425 "Long Shadow of Lincoln, The: A Litany" (Sandburg), III, 591, 593 "Long Summer" (Lowell), II, 553554 Long Valley, The (Steinbeck), IV, 51 Long Voyage Home, The (O'Neill), III, 388 "Long Walk, The" (Bogan), Supp. Ill, Part 1, 61 Long Walks and Intimate Talks (Paley), Supp. VI, 221 Longfellow, Henry Wadsworth, I, 458, 471; II, 274, 277, 295-296, 310, 313, 402, 486-510; III, 269, 412, 421, 422, 577; IV, 309, 371; Retro. Supp. I, 54, 123, 150, 155, 362; Supp. I, Part 1, 158, 299, 306, 317, 362, 368, Part 2, 405, 406, 408, 409, 414, 416, 420, 586, 587, 602, 699, 704; Supp. II, Part 1, 291, 353; Supp. Ill, Part 2, 609; Supp. IV, Part 1, 165, Part 2, 503 Longfellow, Mrs. Henry Wadsworth (Frances Appleton), II, 488, 489, 491 Longfellow, Mrs. Henry Wadsworth (Mary Storer Potter), II, 488 Longfellow, Mrs. Stephen, II, 486 Longfellow, Samuel, II, 509 Longfellow, Stephen, II, 486 Longfellow family, II, 486 Longinus, Dionysius Cassius, I, 279

Longman's Magazine, Retro. Supp. I, 226 Longstreet, Augustus B., II, 70, 313; Supp. I, Parti, 352 Longstreet, Augustus Baldwin, Supp. V, 44 Look (magazine), Supp. IV, Part I, 383, Part 2, 599, 608 Look at the Harlequins (Nabokov), Retro. Supp. I, 266, 270 "Look at the Movies by Baldwin, A" (Bogle), Supp. I, Part 1, 69 "Look for My White Self (Ammons), Supp. VII, 25 Look Homeward, Angel (Wolfe), II, 457; IV, 450, 452, 453, 454, 455^56, 461, 462, 463, 464, 468, 471 Look, Stranger! (Auden), Supp. II, Parti, 11 "Looking at Each Other" (Rukeyser), Supp. VI, 280, 285-286 "Looking at Kafka" (Roth), Supp. III, Part 2, 402 "Looking Back" (Merwin), Supp. III, Part 1, 352 Looking Backward (Bellamy), II, 276; Supp. I, Part 2, 641 "Looking for a Ship" (McPhee), Supp. Ill, Part 1,312-313 "Looking for Dragon Smoke" (Bly), Supp. IV, Part 1, 60 Looking for Luck (Kumin), Supp. IV, Part 2, 453, 454-455 "Looking for the Buckhead Boys" (Dickey), Supp. IV, Part 1, 182, 183 "Looking from Inside My Body" (Bly), Supp. IV, Part 1, 71 "Looking Glass, The" (Wharton), Retro. Supp. I, 382 Loon Lake (Doctorow), Supp. IV, Part 1, 219, 222, 224-227, 230, 231, 232, 233 "Loon Point" (O'Brien), Supp. V, 237 Loose Woman: Poems (Cisneros), Supp. VII, 58, 71-72 Lopez, Barry, Supp. IV, Part 1, 416; Supp. V, 211

INDEX / 497 Lopez, Rafael, Supp. IV, Part 2, 602 Lorca, Federico Garcia, IV, 380; Supp. I, Part 1, 345; Supp. IV, Part 1, 83 Lord, Judge Otis P., I, 454, 457, 458, 470 Lord Jim (Conrad), I, 422; II, 26; Supp. I, Part 2, 623; Supp. IV, Part 2, 680; Supp. V, 251 "Lord of Hosts" (Pinsky), Supp. VI, 244 Lord of the Rings (Tolkien), Supp. V, 140 Lord Timothy Dexter of Newburyport, Mass. (Marquand), III, 55 Lord Weary's Castle (Lowell), II, 538, 542-551 Lorde, Audre, Supp. I, Part 2, 550, 571; Supp. IV, Parti, 325 Lords of the Housetops (Van Vechten), Supp. II, Part 2, 736 Lord's Prayer, I, 579 "Lorelei" (Plath), Supp. I, Part 2, 538 Lorimer, George Horace, II, 430; Retro. Supp. I, 101, 113 Lorre, Peter, Supp. IV, Part 1, 356 "Los Alamos" (Momaday), Supp. IV, Part 2, 482 "Los Angeles, 1980" (Gunn Allen), Supp. IV, Part 1, 325 "Los Angeles Days" (Didion), Supp. IV, Part 1,211 Los Angeles Times, Supp. IV, Part 2, 474 Los Angeles Times Book Review (publication), Supp. IV, Part 1, 208, 294 Losey, Joseph, IV, 383 "Losing a Language" (Merwin), Supp. Ill, Part 1, 356 Losing Battles (Welty), IV, 261, 281-282; Retro. Supp. I, 341, 352, 353-354 "Losing the Marbles" (Merrill), Supp. Ill, Part 1, 337 "Loss of Breath" (Poe), III, 425426

"Loss of the Creature, The" (Percy), Supp. Ill, Part 1, 387 "Loss of My Arms and Legs, The" (Kingsolver), Supp. VII, 208 Losses (Jarrell), II, 367, 372, 373375, 376, 377, 380-381 "Losses" (Jarrell), II, 375-376 Lossky, N. O., Supp. IV, Part 2, 519 "Lost, The/Los Perdidos" (Kingsolver), Supp. VII, 208 "Lost and Found" (Levine), Supp. V, 188 "Lost Bodies" (Wright), Supp. V, 342 "Lost Boy, The" (Wolfe), IV, 451, 460, 466-467 "Lost Decade, The" (Fitzgerald), 11,98 Lost Galleon and Other Tales, The (Harte), Supp. II, Part 1, 344 "Lost Girls, The" (Hogan), Supp. IV, Part 1, 406-407 Lost Illusions (Balzac), I, 500 Lost in the Cosmos: The Last SelfHelp Book (Percy), Supp. Ill, Part 1, 397 Lost in the Funhouse (Barth), I, 122, 135, 139 "Lost in the Whichy Thicket" (Wolfe), Supp. Ill, Part 2, 573, 574 "Lost in Translation" (Merrill), Supp. Ill, Part 1, 324, 329330 Lost in Yonkers (film), Supp. IV, Part 2, 588 Lost in Yonkers (Simon), Supp. IV, Part 2, 576, 577, 584, 587588, 590-591 Lost Lady, A (Gather), I, 323-325, 327; Retro. Supp. 1,15-16, 20, 21, 382 "Lost Lover, A" (Jewett), II, 400401, 402 "Lost Loves" (Kinnell), Supp. Ill, Part 1, 237, 245 Lost Man's River (Matthiessen), Supp. V, 212, 213, 214, 215 "Lost on September Trail, 1967" (Rios), Supp. IV, Part 2, 540

"Lost Sailor, The" (Freneau), Supp. II, Part 1, 264 "Lost Son, The" (Roethke), III, 536, 537-539, 542 Lost Son, The (Roethke), III, 529, 530-532, 533 "Lost World, A" (Ashbery), Supp. III, Part 1, 9 Lost World, The (Jarrell), II, 367, 368, 371, 379-380, 386, 387 "Lost Young Intellectual, The" (Howe), Supp. VI, 113, 115116 Lost Zoo, The: (A Rhyme for the Young, But Not Too Young) (Cullen), Supp. IV, Part 1, 173 "Lot of People Bathing in a Stream, A" (Stevens), IV, 93 Loti, Pierre, II, 311, 325; Supp. IV, Part 1,81 "Lot's Wife" (Nemerov), III, 270 Lotze, Hermann, III, 600 "Louie, His Cousin & His Other Cousin" (Cisneros), Supp. VII, 60 Louis, Joe, II, 589; Supp. IV, Part 1,360 Louis Lambert (Balzac), I, 499 Louis, Pierre Charles Alexandre, Supp. I, Part 1, 302, 303 Louis XIV, King, I, 345 Louis XVI, King, Supp. I, Part 2, 511,512,514,521 Louis XVIII, King, I, 345 "Louis Zukofsky: All: The Collected Short Poems, 19231958- (Creeley), Supp. IV, Part 1,154 Louisa May Alcott (Anthony), Supp. I, Part 1, 46 Louisa May Alcott (Saxton), Supp. I, Part 1, 46 Louisa May Alcott (Stern), Supp. I, Part 1, 46 Louisa May Alcott and the Woman Problem (Elbert), Supp. I, Part 1,46 Louisa May Alcott: Her Life, Letters, and Journals (Cheney), Supp. I, Part 1, 46 Lounsbury, Thomas R., I, 335, 357 Love, Deborah, Supp. V, 208, 210

498 / INDEX "Love" (Olson), Supp. II, Part 2, 571 "Love" (Paley), Supp. VI, 219, 222, 230 Love Always (Beattie), Supp. V, 29, 30, 35 Love among the Cannibals (Morris), III, 228, 230-231 Love and Death in the American Novel (Fiedler), Supp. I, Part 2, 601 Love and Fame (Berryman), I, 170 "Love and How to Cure It" (Wilder), IV, 365 "Love and the Hate, The" (Jeffers), Supp. II, Part 2, 434-435 Love and Work (Price), Supp. VI, 261 "Love Calls Us to the Things of This World" (Wilbur), Supp. III, Part 2, 544, 552-553 Love Course, The (Gurney), Supp. V, 98 Love in Buffalo (Gurney), Supp. V,96 "Love in the Morning" (Dubus), Supp. VII, 91 Love in the Ruins: The Adventures of a Bad Catholic at a Time near the End of the World (Percy), Supp. Ill, Part 1, 385, 387, 393-394, 397-398 Love in the Western World (de Rougemont), Retro. Supp. I, 328 "Love Is a Deep and a Dark and a Lonely" (Sandburg), III, 595 Love Letters (film), Supp. IV, Part 2, 524 Love Letters (Gurney), Supp. V, 105, 108-109 Love Letters and Two Other Plays: The Golden Age and What I Did Last Summer (Gurney), Supp. V, 100 Love Letters, The (Massie), Supp. IV, Part 2, 524 Love Medicine (Erdrich), Supp. IV, Part 1, 259, 260, 261, 263, 265, 266, 267-268, 270, 271, 274-275

Love Medicine (expanded version) (Erdrich), Supp. IV, Part 1, 263, 273, 274, 275 "Love Nest, The" (Lardner), II, 427, 429 Love Nest, The, and Other Stories (Lardner), II, 430-431, 436 "Love of Elsie Barton: A Chronicle, The" (Warren), IV, 253 Love ofLandry, The (Dunbar), Supp. II, Part 1, 212 "Love of Morning, The" (Levertov), Supp. Ill, Part 1, 284 Love of the Last Tycoon, The: A Western, see Last Tycoon, The "Love on the Bon Dieu" (Chopin), Supp. I, Part 1, 213 Love Poems (Sexton), Supp. II, Part 2, 687-689 Love Poems of May Swenson, The (Swenson), Supp. IV, Part 2, 652, 653 "Love Poet" (Agee), I, 28 "Love Song of J. Alfred Prufrock, The" (Eliot), I, 52, 66, 569-570; III, 460; Retro. Supp. I, 55, 56, 57, 60; Supp. II, Part 1, 5 "Love Song of St. Sebastian" (Eliot), Retro. Supp. I, 57 "Love versus Law" (Stowe), Supp. I, Part 2, 585-586 Love with a Few Hairs (Mrabet), Supp. IV, Part 1, 92 Lovejoy, A. O., II, 365 Lovejoy, Elijah P., Supp. I, Part 2,588 Lovejoy, Owen R., Supp. I, Part 1,8 Lovelace, Richard, II, 590 "Lovely Lady, The" (Lawrence), Supp. I, Part 1, 329 Lovely Lady, The (Lawrence), Retro. Supp. I, 203 Loveroot (Jong), Supp. V, 115, 130 "Lover's Garden, A" (Ginsberg), Supp. II, Parti, 311 "Lovers of the Poor, The" (Brooks), Supp. Ill, Part 1, 81, 85

Lovers Should Marry (Martin), Supp. IV, Part 1,351 "Lover's Song" (Yeats), Supp. I, Part 1, 80 "Lovers, The" (Berryman), I, 174 "Lovers, The" (Buck), Supp. II, Part 1, 128 Love's Labour's Lost (Shakespeare), III, 263 Love's Old Sweet Song (Saroyan), Supp. IV, Part 1, 83 Love's Pilgrimage (Sinclair), Supp. V, 286 Lovett, Robert Morss, II, 43, 53, 149 "Love-Unknown" (Herbert), Supp. I, Part 1, 80 Lovin' Molly (film), Supp. V, 223, 226 Loving a Woman in Two Worlds (Bly), Supp. IV, Part 1, 66, 67, 68-69, 71, 72 "Loving Shepherdess, The" (Jeffers), Supp. II, Part 2, 432 "Loving the Killer" (Sexton), Supp. II, Part 2, 688 Lowance, Mason, I, 565 Lowell, Abbott Lawrence, I, 487; II, 513; Supp. I, Part 2, 483 Lowell, Amy, I, 231, 384, 405, 475, 487; II, 174, 511-533, 534; III, 465, 581, 586; Retro. Supp. I, 131, 133, 288; Supp. I, Part I, 257-259, 261-263, 265, 266, 275, Part 2, 465, 466, 478, 707, 714, 729 Lowell, Blanche, Supp. I, Part 2, 409 Lowell, Harriet, II, 553, 554 Lowell, James Russell, I, 216, 458; II, 273, 274, 289, 302, 320, 402, 529, 530, 532, 534, 551; III, 409, 431; IV, 129, 171, 175, 180, 182-183, 186; Retro. Supp. I, 228; Supp. I, Part 1, 168,299,300,303,306,311, 312, 317, 318, 362, Part 2, 404-426; Supp. II, Part 1, 197, 291, 352 Lowell, Mrs. James Russell (Maria White), Supp. I, Part 2, 405, 406, 414, 424

INDEX / 499 Lowell, Mrs. Robert (Elizabeth Hardwick), II, 365, 543, 554, 566, 584; IV, 425 Lowell, Mrs. Robert (Jean Stafford), II, 537 Lowell, Percival, II, 513, 525, 534 Lowell, Robert, I, 172, 381, 382, 400, 442, 521, 544-545, 550; II, 371, 376, 377, 384, 386-387, 390, 532, 534-557; III, 39, 44, 142, 508, 527, 528-529, 606; IV, 120, 138, 143, 259, 402, 424, 430; Retro. Supp. I, 67, 140, 411; Supp. I, Part 1,89, 97, Part 2, 538, 543, 554; Supp. Ill, Part 1, 6, 64, 84, 138, 147, 193, 194, 197-202, 205-208, Part 2, 541, 543, 555, 561, 599; Supp. IV, Part 2, 439, 620, 637; Supp. V, 81, 179, 180, 315-316, 337, 344 Lowell, Rose, Supp. I, Part 2, 409 "Lowell" (Brownell), Supp. I, Part 2, 426 Lowell and France (Stewart), Supp. I, Part 2, 426 "Lowell and Longinus" (Pritchard), Supp. I, Part 2, 426 "Lowell as Critic" (Robertson), Supp. I, Part 2, 426 Lowell family, II, 403 "Lowell on Thoreau" (Warren), Supp. I, Part 2, 426 Lower Depths, The (Gorki), III, 402 "Lower the Standard" (Shapiro), Supp. II, Part 2, 715 Lowes, John Livingston, II, 512, 516, 532, 533; IV, 453, 455 Lowin, Joseph, Supp. V, 273 "Low-Lands" (Pynchon), Supp. II, Part 2, 620, 624 Lowle, Percival, Supp. I, Part 2, 404 Lownsbrough, John, Supp. IV, Parti, 209, 211 Lowth, Richard, II, 8 Loy, Mina, III, 194 Loy, Myrna, Supp. IV, Part 1, 355 Loyola, Ignatius, IV, 151

"Luani of the Jungle" (Hughes), Supp. I, Part 1, 328 Lubbock, Percy, I, 504; II, 337, 340, 341; IV, 308, 314, 319, 322, 330; Retro. Supp. I, 366, 367, 373 Lubin, Isidor, Supp. I, Part 2, 632 Lucas, Victoria (pseudonym), see Plath, Sylvia "Lucid Eye in Silver Town, The" (Updike), IV, 218 Lucid, Robert F., Ill, 48 "Lucinda Matlock" (Masters), Supp. I, Part 2, 461,465 Luck of Barry Lyndon, The (Thackeray), II, 290 "Luck of Roaring Camp, The" (Harte), Supp. II, Part 1, 335, 344, 345-347 Lucretius, I, 59; II, 162, 163; III, 600, 610-611,612; Supp. I, Part 1, 363 Lucy (Kincaid), Supp. VII, 180, 185, 186, 187-188, 194 Lucy Gayheart (Gather), I, 331; Retro. Supp. I, 19 Lucy, Saint, II, 211 Ludvigson, Susan, Supp. IV, Part 2,442,446,447,448,451 Ludwig, Jack, I, 166; III, 48 Ludwig, Richard M., II, 125, 533 Luhan, Mabel Dodge, Retro. Supp. I, 7 Luke (biblical book), III, 606 "Luke Havergal" (Robinson), III, 524 Luks, George, IV, 411 "Lullaby" (Auden), Supp. II, Part 1,9 "Lullaby" (Bishop), Supp. I, Part 1,85 "Lullaby" (Silko), Supp. IV, Part 2, 560, 568-569 Lullaby: The Comforting of Cock Robin (Snodgrass), Supp. VI, 324 "Lulls" (Walker), Supp. Ill, Part 2,525 Lulu's Library (Alcott), Supp. I, Part 1, 43 Lume Spento, A (Pound), III, 470

Lumet, Sidney, Supp. IV, Part 1, 236 "Lumumba's Grave" (Hughes), Supp. I, Part 1, 344 Lupercal (Hughes), Supp. I, Part 2,540 Lupton, Mary Jane, Supp. IV, Part 1, 7 Luria, Isaac, IV, 7 Lust and Other Stories (Minot), Supp. VI, 205, 210 Lustgarten, Edith, III, 107 Lustra (Pound), Retro. Supp. I, 289, 290 Luther, Martin, II, 11-12, 506; III, 306, 607; IV, 490 Lyceumite (magazine), III, 579 "Lycidas" (Milton), II, 540; IV, 347; Supp. I, Part 1, 370 Lycidas (Milton), Retro. Supp. I, 60 Lydenberg, John, I, 380 Lyford, Harry, Supp. I, Part 2, 679 "Lying" (Wilbur), Supp. Ill, Part 2, 547, 562 "Lying and Looking" (Swenson), Supp. IV, Part 2, 652 "Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota" (Wright), Supp. Ill, Part 2, 589, 599, 600 Lyly, John, III, 536; Supp. I, Part 1,369 Lynch, William James, II, 53 "Lynching of Jube Benson, The" (Dunbar), Supp. II, Part 1, 214 "Lynching Song" (Hughes), Supp. I, Part 1,331 "Lynching, The" (McKay), Supp. I, Part 1, 63 Lynd, Staughton, Supp. I, Part 1, 27, Part 2, 525 Lynen, John, II, 125 Lynn, Kenneth S., II, 294; III, 336; IV, 213 Lyon, Kate, I, 409; II, 138, 143, 144 "Lyonnesse" (Plath), Supp. I, Part 2,541 Lyons, Bonnie, Supp. V, 58 Lyons, Charles R., I, 95

500 / INDEX Lyotard, Jean-Francois, Supp. IV, Part 1, 54 Lyric Theatre, Retro. Supp. I, 65 Lyric Year, The (journal), Retro. Supp. I, 414 Lyrical Ballads (Wordsworth), III, 583; IV, 120 Lyrics of Love and Laughter (Dunbar), Supp. II, Part 1, 207 Lyrics of Lowly Life (Dunbar), Supp. II, Part 1, 197, 199, 200, 207 Lyrics of the Hearthside (Dunbar), Supp. II, Part 1, 206 Lytle, Andrew, I, 426; II, 222; IV, 125, 143; Supp. II, Part 1, 139 Lytton of Knebworth, see BulwerLytton, Edward George "M. Degas Teaches Art & Science at Durfee Intermediate School, Detroit, 1942" (Levine), Supp. V, 181, 193 Mabbott, Thomas O., Ill, 431 Macaulay, Catherine, Supp. I, Part 2, 522 Macaulay, Thomas, II, 15-16; III, 113,591-592 Macbeth (Shakespeare), I, 271; IV, 227; Retro. Supp. I, 131; Supp. I, Part 1, 67, Part 2, 457; Supp. IV, Part 1, 87 MacDonald, Dwight, Supp. V, 265 Macdonald, Dwight, I, 47, 233, 372, 379, 380; III, 39, 48 MacDonald, Jeanette, II, 589 Macdonald, Ross, Supp. IV, Part 1, 116, 136, Part 2, 459-477 MacDougall, Allan Ross, III, 144 MacDowell, Edward, I, 228; III, 504, 508, 524 Macebuh, Stanley, Supp. I, Part 1,69 MacGowan, Christopher, Retro. Supp. I, 430 MacGowan, Kenneth, III, 387, 391 MacGufftn, The (Elkin), Supp. VI, 55-56 Machan, Tibor, Supp. IV, Part 2, 528 Machen, Arthur, IV, 286 Machiavelli, Niccolo, I, 485

Machine in the Garden, The (Marx), Supp. I, Part 1, 252 "Machine Song" (Anderson), I, 114 "Machine-Gun, The" (Jarrell), II, 371 "Machines in Cheever's Garden, The" (Donaldson), Supp. I, Part 1, 198 Maclnnes, Colin, Supp. I, Part 1, 70 Mackail, John William, Supp. I, Part 1, 268, Part 2, 461 MacKenzie, Agnes, I, 199 Mackenzie, Captain Alexander, III, 94 Mackenzie, Compton, II, 82; Retro. Supp. I, 100, 102 MacKenzie, Margaret, I, 199 MacLachlan, John, I, 311 MacLaurin, Lois Margaret, II, 125 Maclean, Alasdair, Supp. V, 244 Maclean, Hugh, I, 427 MacLean, Kenneth, Supp. I, Part 2,627 MacLeish, Archibald, I, 283, 293, 429; II, 165, 228; III, 1-25, 427; IV, 377; Supp. I, Part 1, 27, 261, Part 2, 654; Supp. IV, Part 1, 359, Part 2, 586 MacLeish, Kenneth, III, 1 MacLeish, Mrs. Archibald (Ada Hitchcock), III, 1 Macmahon, Arthur, I, 226 Macmillan, Retro. Supp. I, 220 Macmillan Company, Supp. V, 281, 286 Macmillan's (magazine), II, 329 MacNair, Harley Farnsworth, II, 533 MacNeice, Louis, II, 586; III, 527; Supp. II, Part 1, 17, 24; Supp. IV, Part 2, 440 MacPherson, Aimee Semple, Supp. V, 278 MacPherson, Kenneth, Supp. I, Part 1, 259 Macrae, John, I, 252-253 MacShane, Frank, Supp. IV, Part 2,557 "MacSwiggen" (Freneau), Supp. II, Part 1, 259

Mad Dog Blues (Shepard), Supp. III, Part 2, 437, 438, 441 "Madam and the Minister" (Hughes), Supp. I, Part 1, 335 "Madam and the Wrong Visitor" (Hughes), Supp. I, Part 1, 335 Madama Butterfly (Puccini), III, 139 "Madame and Ahmad" (Bowles), Supp. IV, Part 1, 93 Madame Bovary (Flaubert), II, 185; Retro. Supp. I, 225 "Madame Celestin's Divorce" (Chopin), Supp. I, Part 1, 213 Madame Curie (film), Retro. Supp. I, 113 "Madame de Mauves" (James), II, 327; Retro. Supp. I, 218, 220 Madame de Trey mes (Wharton), IV, 314, 323; Retro. Supp. I, 376 "Madam's Calling Cards" (Hughes), Retro. Supp. I, 206 Madden, David, III, 242, 243; Supp. IV, Part 1, 285 Maddern, Bessie, see London, Mrs. Jack (Bessie Maddern) Maddox, Lucy, Supp. IV, Part 1, 323, 325 Mademoiselle (magazine), II, 586; III, 337-388; Supp. I, Part 2, 530, 531; Supp. IV, Part 1, 197 Mademoiselle Coeur-Brise (trans. Sibon), IV, 288 Mademoiselle de Maupin (Gautier), Supp. I, Part 1, 277 Madheart (Baraka), Supp. II, Part 1,47 Madhouse, The (Farrell), II, 41 Madhubuti, Haki R. (Don L. Lee), Supp. II, Part 1, 34, 247; Supp. IV, Part 1, 244 Madison, Charles, I, 237 Madison, Charles A., IV, 23 Madison, Dolley, II, 303 Madison, James, I, 1, 2, 6-9; II, 301; Supp. I, Part 2, 509, 524 "Madman, A" (Updike), Retro. Supp. I, 320 "Madman's Song" (Wylie), Supp. I, Part 2, 711, 729 "Madonna" (Lowell), II, 535-536

INDEX / 501 "Madonna of the Evening Flowers" (Lowell), II, 524 "Madonna of the Future, The" (James), Retro. Supp. I, 219 Madwoman in the Attic, The (Gilbert and Gubar), Retro. Supp. I, 42 "Maelzel's Chess-Player" (Poe), III, 419, 420 "Maestria" (Nemerov), III, 275, 278-279 Maeterlinck, Maurice, I, 91, 220 "Magazine-Writing Peter Snook" (Poe), III, 421 Magdeburg Centuries (Flacius), IV, 163 Magellan, Ferdinand, Supp. I, Part 2, 497 Maggie: A Girl of the Streets (Crane), I, 407, 408, 410-411, 416; IV, 208 Maggie Cassidy (Kerouac), Supp. III, Part 1, 220-221, 225, 227, 229, 232 "Magi, The" (Garrett), Supp. VII, 97 "Magi" (Plath), Supp. I, Part 2, 544-545 "Magic" (Porter), III, 434, 435 "Magic Barrel, The" (Malamud), Supp. I, Part 2, 427, 428, 431, 432-433 Magic Barrel, The (Malamud), Supp. I, Part 2, 427, 428, 430434 Magic Flute, The (Mozart), III, 164 Magic Kingdom, The (Elkin), Supp. VI, 42, 54-55, 56, 58 "Magic Mirror, The: A Study of the Double in Two of Doestoevsky's Novels" (Plath), Supp. I, Part 2, 536 Magic Mountain, The (Mann), III, 281-282; Supp. IV, Part 2, 522 Magic Tower, The (Willams), IV, 380 Magician of Lublin, The (Singer), IV, 6, 9-10 "Magician's Wife, The" (Gordon), Supp. IV, Part 1, 306

Magnolia Christi Americana (Mather), II, 302; Supp. I, Part 1, 102, Part 2, 584; Supp. II, Part 2, 441, 442, 452-455, 460, 467, 468; Supp. IV, Part 2, 434 Magowan, Robin, II, 413 Magpie, The (ed. Baldwin), Supp. I, Part 1, 49 Magpie, The (magazine), Supp. IV, Part 1, 167, 168 Magpie's Shadow, The (Winters), Supp. II, Part 2, 786, 788 Magritte, Rene, Supp. IV, Part 2, 623 Mahan, Albert Thayer, Supp. I, Part 2, 491 Mahomet and His Successors (Irving), II, 314 Mahoney, Jeremiah, IV, 285 "Maiden in a Tower" (Stegner), Supp. IV, Part 2, 613 "Maiden Without Hands" (Sexton), Supp. II, Part 2, 691 "Maid's Shoes, The" (Malamud), Supp. I, Part 2, 437 Mailer, Fanny, III, 28 Mailer, Isaac, III, 28 Mailer, Norman, I, 261, 292, 477; II, 584; III, 26-49, 174, 192; IV, 98, 216; Supp. I, Part 1, 291,294; Supp. Ill, Parti, 302; Supp. IV, Part 1, 90, 198, 207, 236, 284, 381, Part 2, 689 "Maimed Man, The" (Tate), IV, 136 Main Currents in American Thought (Parrington), I, 517 Main Currents in American Thought: The Colonial Mind, 1625-1800 (Parrington), Supp. I, Part 2, 484 Main Street (Lewis), I, 362; II, 271, 440, 441-442, 447, 449, 453; III, 394 "Maine Roustabout, A" (Eberhart), 1,539 "Maine Speech" (White), Supp. I, Part 2, 669-670 Maine Woods, The (Thoreau), IV, 188 Majdiak, Daniel, I, 143

Major Barbara (Shaw), III, 69 "Major Chord, The" (Bourne), I, 221 "Majorat, Das" (Hoffman), III, 415 Majors and Minors (Dunbar), Supp. II, Part 1, 197, 198 "Major's Tale, The" (Bierce), I, 205 Make It New (Pound), III, 470 Makers and Finders (Brooks), I, 253, 254, 255, 257, 258 "Making a Living" (Sexton), Supp. II, Part 2, 695 "Making Do" (Hogan), Supp. IV, Part 1, 406 Making Face, Making Soul: Haciendo Caras, Creative and Critical Perspectives by Feminists of Color (ed. Anzaldua), Supp. IV, Part 1, 330 Making of Americans, The (Stein), IV, 35, 37, 40^2, 45, 46; Supp. Ill, Part 1, 37 "Making of Ashenden, The" (Elkin), Supp. VI, 49, 50 "Making of Paths, The" (Stegner), Supp. IV, Part 2, 614 Making of the English Working Class, The (Thompson), Supp. I, Part 2, 525 Making of the Modern Mind (Randall), III, 605 "Making Up Stories" (Didion), Supp. IV, Part 1, 196, 203, 205 "Mai Paso Bridge" (Jeffers), Supp. II, Part 2, 415, 420 Malady of the Ideal, The: Oberman, Maurice de Guerin, andAmiel (Brooks), I, 240, 241, 242 "Malamud as Jewish Writer" (Alter), Supp. I, Part 2, 452 Malamud, Bernard, I, 144, 375; II, 424, 425; III, 40, 272; IV, 216; Supp. I, Part 2, 427^153; Supp. IV, Part 1, 297, 382; Supp. V, 257, 266 Malamud, Mrs. Bernard (Ann de Chiara), Supp. I, Part 2, 451

502 / INDEX "Malamud: The Commonplace as Absurd" (Fiedler), Supp. I, Part 2,453 "Malamud: The Uses and Abuses of Commitment" (Dupee), Supp. I, Part 2, 453 Malanga, Gerard, Supp. Ill, Part 2,629 Malatesta, Sigismondo de, III, 472, 473 Malcolm (Purdy), Supp. VII, 270273, 277 "Malcolm Cowley and the American Writer" (Simpson), Supp. II, Part 1, 147 Malcolm, Donald, Supp. I, Part 1, 199 "MALCOLM REMEMBERED (FEB. 77)" (Baraka), Supp. II, Part 1, 60 Malcolm X, Supp. I, Part 1, 52, 63, 65, 66; Supp. IV, Part 1, 2, 10 "Maldrove" (Jeffers), Supp. II, Part 2, 418 Male Animal, The (Thurber), Supp. I, Part 2, 605, 606, 610611 Male, Roy, II, 239, 245 "Malediction upon Myself (Wylie), Supp. I, Part 2, 722 Malefactors, The (Gordon), II, 186, 199, 213-216; IV, 139 "Malest Cornifici Tuo Catullo" (Ginsberg), Supp. II, Part 1, 315 Malin, Irving, I, 147, 166; III, 360; IV, 23 Malkoff, Karl, III, 550 Mallarme, Stephane, I, 66, 569; II, 529, 543; III, 8, 409, 428; IV, 80, 86; Part 2, 630; Retro. Supp. I, 56; Supp. I, Part 1, 261; Supp. II, Part 1, 1; Supp. III, Part 1,319-320 Mallon, Thomas, Supp. IV, Part 1, 200, 209 Maloney, Russell, Supp. I, Part 2, 681 Malory, Thomas, II, 302; HI, 486; IV, 50, 61; Supp. IV, Part 1, 47

Malraux, Andre, I, 33-34, 127, 509; II, 57, 376; III, 35, 310; IV, 236, 247, 434; Retro. Supp. I, 73; Supp. II, Part 1, 221, 232 Maltese Falcon, The (film), Supp. IV, Part 1, 342, 353, 355 Maltese Falcon, The (Hammett), IV, 286; Supp. IV, Part 1, 345, 348-351 "Mama and Daughter" (Hughes), Supp. I, Part 1, 334 "Mamie" (Sandburg), III, 582 Mammedaty, Novarro Scott, see Momaday, N. Scott "Mammon and the Archer" (O. Henry), Supp. II, Part 1, 394, 408 Mammonart (Sinclair), Supp. V, 276-277 "Man" (Herbert), II, 12 "Man Against the Sky, The" (Robinson), III, 509, 523 "Man and a Woman Sit Near Each Other, A" (Bly), Supp. IV, Part 1,71 Man and Boy (Morris), III, 223, 224, 225 "Man and the Snake, The" (Bierce), I, 203 "Man and Wife" (Lowell), III, 550 "Man and Woman" (Caldwell), I, 310 "Man Bring This Up Road" (Williams), IV, 383-384 "Man Carrying Thing" (Stevens), IV, 90 "Man Child, The" (Baldwin), Supp. I, Part 1, 63 Man Could Stand Up, A (Ford), I, 423 "Man Eating" (Kenyon), Supp. VII, 173 "Man in Black" (Plath), Supp. I, Part 2, 538 Man in the Black Coat Turns, The (Bly), Supp. IV, Part 1, 66-68, 71,73 "Man in the Brooks Brothers Shirt, The" (McCarthy), II, 563-564 "Man in the Drawer, The" (Malamud), Supp. I, Part 2, 437

Man in the Gray Flannel Suit, The (Wilson), Supp. IV, Part 1, 387 Man in the Mirror, The: William Marion Reedy and His Magazine (Putzel), Supp. I, Part 2, 402, 478 "Man Made of Words, The" (Momaday), Supp. IV, Part 2, 481, 484-485, 486, 487, 488 Man Nobody Knows, The (B. Barton), Retro. Supp. I, 179 Man of Letters in New England and the South, The (Simpson), Supp. I, Part 1, 149 "Man of No Account, The" (Harte), Supp. II, Part 1, 339 "Man of the Crowd, The" (Poe), III, 412, 417; Retro. Supp. I, 154 Man on Spikes (Asinof), II, 424 "Man on the Dump, The" (Stevens), IV, 74; Retro. Supp. 1,306 "Man on the Train, The" (Percy), Supp. Ill, Part 1, 387 "Man Splitting Wood in the Daybreak, The" (Kinnell), Supp. Ill, Part 1, 254 Man That Corrupted Hadleyburg, The (Twain), I, 204; IV, 208 "Man That Was Used Up, The" (Poe), III, 412, 425 Man to Send Rain Clouds, The (ed. Rosen), Supp. IV, Part 2, 499, 505, 513 "Man to Send Rain Clouds, The" (Silko), Supp. IV, Part 2, 559 "Man Who Became a Woman, The" (Anderson), I, 114 Man Who Had All the Luck, The (Miller), III, 148, 149, 164, 166 "Man Who Knew Belle Star, The" (Bausch), Supp. VII, 46 "Man Who Knew Coolidge, The" (Lewis), II, 449 Man Who Knew Coolidge, The: Being the Soul of Lowell Schmaltz, Constructive and Nordic Citizen (Lewis), II, 450 "Man Who Lived Underground, The" (Wright), IV, 479, 485487, 492

INDEX / 503 Man Who Lived Underground, The (Wright), Supp. II, Part 1, 40 "Man Who Loved Yoga, The" (Mailer), III, 35-36 Man Who Was There, The (Morris), III, 220-221 "Man Who Writes Ants, The" (Merwin), Supp. Ill, Part 1, 348 Man with the Blue Guitar and Other Poems, The (Stevens), Retro. Supp. I, 303, 422 "Man with the Blue Guitar, The" (Stevens), I, 266; IV, 85-87; Retro. Supp. I, 303-305, 306, 307, 309 Man with the Blue Guitar, The (Stevens), IV, 76 Man with the Golden Arm, The (Algren), Supp. V, 4 Man without a Country, The (Hale), I, 488 Manassas (Sinclair), Supp. V, 280, 281, 285 Manchester, William, III, 103, 121 "Mandarin's Jade" (Chandler), Supp. IV, Part 1, 125 Mandelbaum, Maurice, I, 61 Mandelstam, Osip, Retro. Supp. I, 278; Supp. Ill, Part 1, 268 "Mandolin" (Dove), Supp. IV, Part 1, 247 "Mandoline" (Verlaine), IV, 79 Mangan, Sherry, I, 450 "Mango Says Goodbye Sometimes" (Cisneros), Supp. VII, 64 Manhattan (film), Supp. IV, Part 1,205 "Manhattan Dawn" (Justice), Supp. VII, 117 Manhattan Transfer (Dos Passos), I, 26, 475, 478, 479, 480, 481, 482-484, 487; II, 286; Supp. I, Part 1, 57 "Mania" (Lowell), II, 554 "Manic in the Moon, The" (Thurber), Supp. I, Part 2, 620 Mankiewicz, Joseph, Retro. Supp. I, 113 Manly, William M., Supp. I, Part 1, 148

"Man-Moth, The" (Bishop), Supp. I, Part 1, 85-87, 88 Mann, Charles W., II, 270 Mann, Erika, Supp. II, Part 1, 11 Mann, Seymour (Samuel Weisman), Supp. V, 113 Mann, Thomas, I, 271, 490; II, 42, 539; III, 231, 281-282, 283; IV, 70, 73, 85; Supp. IV, Part 1, 392, Part 2, 522; Supp. V, 51 Mannerhouse (Wolfe), IV, 460 "Manners" (Bishop), Supp. I, Part 1,73 "Manners" (Emerson), II, 4, 6 "Manners, Morals, and the Novel" (Trilling), Supp. Ill, Part 2, 502, 503 Mannheim, Karl, I, 279; Supp. I, Part 2, 644 Manning, Frederic, III, 459 Mannix, Daniel P., Supp. II, Part 1, 140 Manor, The (Singer), IV, 6, 17-19 Man's Fate (Malraux), I, 127 "Man's Fate A Film Treatment of the Malraux Novel" (Agee), I, 33-34 Man's Hope (Malraux), IV, 247 Man's Nature and His Communities (Niebuhr), III, 308 "Man's Pride" (Jeffers), Supp. II, Part 2, 417 "Man's Story, The" (Anderson), I, 114 Man's Woman, A (Norris), III, 314, 322, 328, 329, 330, 332, 333 Mansart Builds a School (Du Bois), Supp. II, Part 1, 185186 Mansfield, Katherine, III, 362, 453 Mansfield, L. S., Ill, 95 Mansfield, Stephanie, Supp. IV, Part 1, 227 Mansion, The (Faulkner), II, 73; Retro. Supp. I, 74, 82 Manso, Peter, III, 48 Manson, Alexander, II, 460 Manson, Charles, Supp. IV, Part 1,205 "Mantis" (Zukofsky), Supp. Ill, Part 2, 617

" 'Mantis': An Interpretation" (Zukofsky), Supp. Ill, Part 2, 617-618 Mantrap (Lewis), II, 447 Manuductio Ad Ministerium (Mather), Supp. II, Part 2, 465467 Manuscript (publication), IV, 261; Retro. Supp. I, 344 Manuscript Books of Emily Dickinson, The (Franklin, ed.), Retro. Supp. I, 29, 41 "Many Handles" (Sandburg), III, 594 "Many Happy Returns" (Auden), Supp. II, Part 1, 15 Many Loves (Williams), Retro. Supp. I, 424 Many Marriages (Anderson), I, 104, 111, 113 "Many of Our Waters: Variations on a Poem by a Black Child" (Wright), Supp. Ill, Part 2, 602 "Many Swans" (Lowell), II, 526 "Many Thousands Gone" (Baldwin), Supp. I, Part 1, 51 "Many Wagons Ago" (Ashbery), Supp. Ill, Part 1, 22 Manyan Letters (Olson), Supp. II, Part 2, 571 "Many-Windowed House, A" (Cowley), Supp. II, Part 1, 137 Many-Windowed House, A (Cowley), Supp. II, Part 1, 141, 143 Mao II (DeLillo), Supp. VI, 2, 4, 5, 6, 7, 8, 9, 14, 16 "Map, The" (Bishop), Supp. I, Part 1, 72, 82, 85-88, 93 "Map, The" (Strand), Supp. IV, Part 2, 623-624 "Map of Montana in Italy, A" (Hugo), Supp. VI, 139 "Maple Leaf, The" (Joplin), Supp. IV, Part 1, 223 "Maps" (Hass), Supp. VI, 103104 Mapson, Jo-Ann, Supp. IV, Part 2, 440, 454 "Mara" (Jeffers), Supp. II, Part 2, 434

504 / INDEX Marat, Jean Paul, IV, 117; Supp. I, Part 2, 514, 515,521 "Marathon" (Gltick), Supp. V, 85 Marble Faun, The (Faulkner), II, 55, 56; Retro. Supp. I, 79 Marble Faun, The (Hawthorne), II, 225, 239, 242-243, 290, 324; IV, 167; Supp. I, Part 1, 38, Part 2, 421, 596 Marble Faun, The; or, The Romance of Monte Beni (Hawthorne), Retro. Supp. I, 63, 149, 163, 164-165 "March" (Williams), Retro. Supp. 1,418 March, Frederic, III, 154, 403; IV, 357 March Hares (Frederic), II, 143144 Marchand, Ernest, III, 336; Supp. I, Part 1, 148 "Marche aux Oiseaux" (Wilbur), Supp. Ill, Part 2, 550 "Marchen, The" (Jarrell), II, 378379 Marching Men (Anderson), I, 99, 101, 103-105, 111 Marco Millions (O'Neill), III, 391, 395 Marcosson, Isaac, III, 322 Marcus Aurelius, II, 1; III, 566 Marcus, Steven, III, 48; Supp. I, Part 1, 70 Marcuse, Herbert, Supp. I, Part 2, 645 Mardi and a Voyage Thither (Melville), I, 384; II, 281; III, 77-79, 84, 87, 89; Retro. Supp. I, 247, 254, 256 Margaret (Judd), II, 290 Margin of Hope, A: An Intellectual Autobiography (Howe), Supp. VI, 113-114, 117, 125, 128 "Marginalia" (Wilbur), Supp. Ill, Part 2, 544 Margolies, Edward, IV, 496, 497; Supp. I, Part 1, 70 "Margrave" (Jeffers), Supp. II, Part 2, 426 "Maria Conception" (Porter), III, 434-435, 451

Mariani, Paul L., Retro. Supp. I, 412, 419 Marianne Moore Reader, (Moore), III, 199 Marie Antoinette (film), Retro. Supp. I, 113 Marie of Romania, Queen, II, 183, 191 Mariella Gable, Sister, III, 339, 355, 360 "Marijuana Notation" (Ginsberg), Supp. II, Part 1,313 "Marin" (Cisneros), Supp. VII, 60, 61 "Marina" (Eliot), I, 584, 585; Retro. Supp. I, 64 Marinetti, Tommaso, Retro. Supp. 1,59 Marionettes, The (Faulkner), Retro. Supp. I, 79 Maritain, Jacques, I, 402; IV, 143 Maritain, Raissa, IV, 143 Maritime Compact (Paine), Supp. I, Part 2, 519 Maritime History of Massachusetts, 1783-1860, The (Morison), Supp. I, Part 2, 481-483 Marjolin, Jean-Nicolas, Supp. I, Part 1, 302 "Mark, The" (Bogan), Supp. Ill, Part 1, 52 Mark Twain in Eruption (Twain), IV, 209 Mark Twain's America (De Voto), 1,248 Mark Twain's Autobiography (Twain), IV, 209 Marker, Chris, Supp. IV, Part 2, 434, 436 "Market" (Hayden), Supp. II, Part I, 368, 369 Marketplace, The (Frederic), II, 145-146 Markham, Edwin, I, 199, 207 Markings (Hammarskjold), Supp. II, Part 1, 26 Marks, Alison, Supp. I, Part 2, 660 Marks, Barry A., I, 435, 438, 442, 446, 450

Markus, Thomas B., I, 96 Marlowe, Christopher, I, 68, 368, 384; II, 590; III, 259, 491; Retro. Supp. I, 127; Supp. I, Part 2, 422 "Marlowe Takes on the Syndicate" (Chandler), Supp. IV, Part 1, 135 Marmee: the Mother of Little Women (Salyer), Supp. I, Part 1,46 Marne, The (Wharton), IV, 319, 320; Retro. Supp. I, 378 Marquand, J. P., I, 362, 375; II, 459, 482-483; III, 50-73, 383; Supp. I, Part 1, 196; Supp. IV, Parti, 31; Supp. V, 95 Marquand, Mrs. John P. (Adelaide Hooker), III, 57, 61 Marquand, Mrs. John P. (Christina Sedgwick), III, 54, 57 Marquand, Philip, III, 52 Marquis, Don, Supp. I, Part 2, 668 Marriage (Moore), III, 194 "Marriage" (Moore), III, 198-199, 213 "Marriage in the 'Sixties, A" (Rich), Supp. I, Part 2, 554 "Marriage of Heaven and Hell, The" (Blake), III, 544-545 "Marriage of Phaedra, The" (Gather), Retro. Supp. I, 5 Marry Me: A Romance (Updike), Retro. Supp. I, 329, 330, 332 Marryat, Captain Frederick, III, 423 "Marrying Absurd" (Didion), Supp. IV, Part 1, 200 "Marrying Iseult?" (Updike), Retro. Supp. I, 329 Marrying Man (Simon), Supp. IV, Part 2, 588 "Mars and Hymen" (Freneau), Supp. II, Part 1, 258 "Mars Is Heaven!" (Bradbury), Supp. IV, Part 1, 103, 106 Marsden, Dora, III, 471; Retro. Supp. I, 416 Marsden, Malcolm M., Ill, 574 Marsena (Frederic), II, 135, 136137

INDEX / 505 Marsh, Edward, Supp. I, Part 1, 257, 263 Marsh Island, A (Jewett), II, 405 Marsh, Mae, Supp. I, Part 2, 391 "Marshall Carpenter" (Masters), Supp. I, Part 2, 463 Marshall, George, III, 3 Marshall, John, Supp. I, Part 2, 455 Marshall, Margaret, III, 455 Marshall, Paule, Supp. IV, Part 1, 8, 14, 369 "Marshes of Glynn, The" (Lanier), Supp. I, Part 1, 364, 365-368, 370, 373 " 'Marshes of Glynn, The': A Study in Symbolic Obscurity" (Ross), Supp. I, Part 1, 373 Marsman, Henrik, Supp. IV, Part 1,183 Marston, Ed, Supp. IV, Part 2, 492 Marta y Maria (Valdes), II, 290 Marthe, Saint, II, 213 Martial, II, 1, 169 Martian Chronicles, The (Bradbury), Supp. IV, Part 1, 102, 103, 106-107 Martien, Norman, III, 48 Martin, Benjamin, Supp. I, Part 2, 503 Martin, Carter W., Ill, 360 Martin du Gard, Roger, Supp. I, Part 1,51 Martin Eden (London), II, 466, 477-481 Martin, Ernest, II, 509 Martin, Jay, I, 55, 58, 60, 61, 67, 70, 426, 590; III, 307 Martin, John Stephen, Supp. I, Part 1, 319 Martin, Judith, Supp. V, 128 Martin, Nell, Supp. IV, Part 1, 351, 353 Martin, R. A., Ill, 169 Martin, Stephen-Paul, Supp. IV, Part 2, 430 Martin, Terrence, II, 318; Supp. I, Part 1, 148 Martineau, Harriet, Supp. II, Part 1, 282, 288, 294

Martinelli, Sheri, Supp. IV, Part 1,280 Mart'nez, Rafael, Retro. Supp. I, 423 Martone, John, Supp. V, 179 Martson, Frederic C, II, 293 "Martyr, The" (Porter), III, 454 Martz, Louis L., IV, 151, 156, 165, 166; Supp. I, Part 1, 107 Martz, William J., I, 189; II, 557; III, 550 Marvell, Andrew, IV, 135, 151, 156, 161, 253; Retro. Supp. I, 62, 127; Supp. I, Part 1, 80 Marvell family, IV, 318 "Marvella, for Borrowing" (Rios), Supp. IV, Part 2, 551 Marx, Arthur "Harpo", Supp. IV, Part 1, 384 Marx, Herbert "Zeppo", Supp. IV, Part 1, 384 Marx, Julius Henry "Groucho", Supp. IV, Part 1, 384 Marx, Karl, I, 60, 267, 279, 283, 588; II, 376, 462, 463, 483, 577; IV, 429, 436, 443-444, 469; Retro. Supp. I, 254; Supp. I, Part 2, 518, 628, 632, 633, 634, 635, 639, 643, 645, 646; Supp. III, Part 2, 619; Supp. IV, Part 1,355 Marx, Leo, Supp. I, Part 1, 233, 252 Marx, Leonard "Chico", Supp. IV, Part 1, 384 Marxism, I, 371, 488, 518; II, 26, 34, 39, 567; III, 3, 17, 27, 30, 262, 297-298, 304, 580, 602; IV, 5, 7, 288, 302, 349, 363, 428, 429, 441; Supp. I, Part 2, 493, 518, 600, 628, 633, 635, 643, 645 Marxist Quarterly (publication), Supp. I, Part 2, 645 Mary (Jesus' mother), IV, 152; Supp. I, Part 2, 581 Mary (Nabokov), Retro. Supp. I, 267-268, 270, 277 Mary, Queen, IV, 145, 163 Mary Magdalene, I, 303 "Mary O'Reilly" (Anderson), II, 44

"Mary's Song" (Plath), Supp. I, Part 2, 541 Masefield, John, II, 552; III, 523 Mask for Janus, A (Merwin), Supp. Ill, Part 1, 339, 341, 342 Maslow, Abraham, Supp. I, Part 2,540 Mason, David, Supp. V, 344 Mason, Lowell, I, 458 Mason, Marsha, Supp. IV, Part 2, 575, 586 Mason, Otis Tufton, Supp. I, Part 1, 18 Mason, Ronald, III, 97 "Mason Jars by the Window" (Rios), Supp. IV, Part 2, 548 Masque of Mercy, A (Frost), II, 155, 165, 167-168; Retro. Supp. I, 131, 140 "Masque of Mummers, The" (MacLeish), III, 18 Masque of Pandora, The (Longfellow), II, 490, 494, 506 Masque of Poets, A (anthology), Retro. Supp. I, 31 Masque of Poets, A (ed. Lathrop), Supp. I, Part 1, 365, 368 Masque of Reason, A (Frost), II, 155, 162, 165-167; Retro. Supp. I, 131, 140 "Masque of the Red Death, The" (Poe), III, 412, 419, 424 "Masquerade" (Banks), Supp. V, 7 "Mass for the Day of St. Thomas Didymus" (Levertov), Supp. Ill, Part 1, 283 Massa, Ann, Supp. I, Part 2, 402 "Massachusetts 1932" (Bowles), Supp. IV, Part 1, 94 Massachusetts, Its Historians and Its History (Adams), Supp. I, Part 2, 484 Massachusetts Quarterly Review (publication), Supp. I, Part 2, 420 Massachusetts Review (publication), Supp. IV, Part 1, 208 "Massachusetts to Virginia" (Whittier), Supp. I, Part 2, 688-689

506 / INDEX "Massacre and the Mastermind, The" (Bausch), Supp. VII, 49 "Massacre at Scio, The" (Bryant), Supp. I, Part 1, 168 Masses (publication), I, 105 Masses and Man (Toller), I, 479 Massey, Raymond, Supp. IV, Part 2,524 Massie, Chris, Supp. IV, Part 2, 524 Massing, Michael, Supp. IV, Part 1,208 Massinger, Philip, Supp. I, Part 2, 422 Master Builder, The (Ibsen), Supp. IV, Part 2, 522 "Master Misery" (Capote), Supp. Ill, Part 1,117 "Master of Secret Revenges, The" (Gass), Supp. VI, 93 "Master Player, The" (Dunbar), Supp. II, Part 1, 200 Masters, Edgar Lee, I, 106, 384, 475,480, 518; II, 276, 529; III, 505, 576, 579; IV, 352; Retro. Supp. I, 131; Supp. I, Part 2, 378, 386, 387, 402, 454-478; Supp. Ill, Part 1,63, 71, 73, 75; Supp. IV, Part 2, 502 Masters, Ellen Coyne, Supp. I, Part 2, 478 Masters, Hardin W., Supp. I, Part 2, 468, 478 "Masters and Whitman: A Second Look" (Burgess), Supp. I, Part 2,477 Masters of Sociological Thought (Coser), Supp. I, Part 2, 650 Masters of the Dew (Roumain), Supp. IV, Part 1, 367 Matchmaker, The (Wilder), IV, 357, 369, 370, 374 Mate of the Daylight, The, and Friends Ashore (Jewett), II, 404 Materialism, I, 383; II, 202, 282; 111,394,396-397,610,611 Mather, Cotton, II, 10, 104, 302,

506, 536; III, 442, 455; IV, 144, 152-153, 157; Supp. I, Part 1, 102, 117, 174, 271, Part 2, 584, 599, 698; Supp. II, Part 2,

441-470; Supp. IV, Part 2, 430, 434 Mather, Increase, II, 10; IV, 147, 157; Supp. I, Part 1, 100 Matheson, John Wiliam, III, 550 Mathews, Cornelius, III, 81; Supp. I, Part 1,317 Mathews, Shailer, III, 293 "Matinees" (Merrill), Supp. Ill, Part 1, 319, 327 "Matins" (Gliick), Supp. V, 88 Matisse, Henri, III, 180; IV, 24, 90, 407; Supp. I, Part 2, 619 "Matisse: The Red Studio" (Snodgrass), Supp. VI, 316-317 Matlock, Lucinda, Supp. I, Part 2, 462 Matson, Peter, Supp. IV, Part 1, 299 Matters of Fact and Fiction: Essays 1973-1976 (Vidal), Supp. IV, Part 2, 687 Matthew (biblical book), IV, 164 Matthew Arnold (Trilling), Supp. Ill, Part 2, 500-501 Matthews, T. S., II, 430 Matthews, William, Supp. V, 4, 5 Matthiessen, F. O., I, 254, 259260, 404, 517, 520, 590; II, 23, 41, 246, 340, 341, 365, 413, 554; III, 310, 453; IV, 181, 189, 259; Retro. Supp. I, 40, 217; Supp. IV, Part 2, 422 Matthiessen, Peter, IV, 119; Supp. V, 199-217, 332 Mattingly, Garrett, Supp. IV, Part 2,601 "Maud Island" (Caldwell), I, 310 Maud Martha (Brooks), Supp. Ill, Part 1, 74, 78-79, 87 "Maud Muller" (Whittier), Supp. I, Part 2, 698 Maude, John Edward, II, 364 Maugham, W. Somerset, III, 57, 64; Supp. IV, Part 1, 209 Maule, Harry E., II, 460 Maule's Curse: Seven Studies in the History of American Obscurantism (Winters), Supp. II, Part 2, 807-808, 812 "Mau-mauing the Flak Catchers" (Wolfe), Supp. Ill, Part 2, 577

Maupassant, Guy de, I, 309, 421; II, 191-192, 291, 325, 591; IV, 17; Supp. I, Part 1, 207, 217, 223, 320 "Maurice Barres and the Youth of France" (Bourne), I, 228 Maurier, George du, II, 338 Maurras, Charles, Retro. Supp. I, 55 Mauve Gloves & Madmen, Clutter & Vine (Wolfe), Supp. Ill, Part 2,581 Maverick in Mauve (Auchincloss), Supp. IV, Part 1, 26 "Mavericks, The" (play) (Auchincloss), Supp. IV, Part 1,34 "Mavericks, The" (story) (Auchincloss), Supp. IV, Part 1,32 "Max" (Miller), III, 183 Max and the White Phagocytes (Miller), III, 178, 183-184 Maximilian (emperor of Mexico), Supp. I, Part 2, 457-458 Maximilian: A Play in Five Acts (Masters), Supp. I, Part 2, 456, 457-458 Maximus Poems 1-10, The (Olson), Supp. II, Part 2, 571 Maximus Poems IV, V, VI (Olson), Supp. II, Part 2, 555, 580, 582-584 Maximus Poems, The (Olson), Retro. Supp. I, 209; Supp. II, Part 2, 555, 556, 563, 564-580, 584 Maximus Poems Volume Three, The (Olson), Supp. II, Part 2, 555, 582, 584-585 "Maximus, to Gloucester" (Olson), Supp. II, Part 2, 574 "Maximus to Gloucester, Letter 19 (A Pastoral Letter)" (Olson), Supp. II, Part 2, 567 "Maximus to Gloucester, Sunday July 19" (Olson), Supp. II, Part 2,580 "Maximus, to himself (Olson), Supp. II, Part 2, 565, 566, 567, 569, 570, 572

INDEX / 507 "Maximus to himself June 1964" (Olson), Supp. II, Part 2, 584 Maxwell, D. E. S., I, 590 Maxwell, Gilbert, IV, 401 Maxwell, William, Supp. I, Part 1, 175; Supp. Ill, Part 1, 62 May, Abigail (Abba), see Alcott, Mrs. Amos Bronson (Abigail May) May, John R., Supp. I, Part 1, 226 May Alcott: A Memoir (Ticknor), Supp. I, Part 1, 46 "May Day" (Fitzgerald), Retro. Supp. I, 103 "May Day" (Fitzgerald), II, 88-89 "May Day Dancing, The" (Nemerov), III, 275 "May Day Sermon to the Women of Gilmer County, Georgia, by a Woman Preacher Leaving the Baptist Church" (Dickey), Supp. IV, Part 1, 182 "May Sun Sheds an Amber Light, The" (Bryant), Supp. I, Part 1, 170 "May Swenson: The Art of Perceiving" (Stanford), Supp. IV, Part 2, 637 Maybe (Hellman), Supp. IV, Part 1,12 "Maybe" (Oliver), Supp. VII, 239 "Mayday" (Faulkner), Retro. Supp. I, 80 Mayer, Elizabeth, Supp. II, Part 1, 16; Supp. Ill, Part 1, 63 Mayer, John, Retro. Supp. I, 58 Mayfield, Julian, Supp. I, Part 1, 70 Mayflower, The (Stowe), Supp. I, Part 2, 585, 586 Maynard, Joyce, Supp. V, 23 Maynard, Theodore, I, 263 Maynard, Tony, Supp. I, Part 1, 65 Mayo, Robert, III, 478 Mayorga, Margaret, III, 167; IV, 381 "Maypole of Merrymount, The" (Hawthorne), II, 229 "Maze" (Eberhart), I, 523, 525526, 527

Mazzaro, Jerome, II, 390, 557 Mazzini, Giuseppe, Supp. I, Part 1, 2, 8; Supp. II, Part 1, 299 Me Alexander, Hubert H., Supp. V, 314, 319, 320, 323 McAlmon, Mrs. Robert (Winifred Ellerman), III, 194; see also Ellerman, Winifred McAlmon, Robert, IV, 404; Retro. Supp. I, 418, 419, 420; Supp. I, Part 1, 259; Supp. Ill, Part 2, 614 McCaffery, Larry, Supp. IV, Part 1, 217, 227, 234; Supp. V, 53, 238 McCall, Dan, IV, 497 McCall's (magazine), III, 58; Supp. IV, Part 1, 102, 383 McCarthy, Harold T., Supp. I, Part 1, 70 McCarthy, Joseph, Supp. I, Part 1,294, 295, Part 2, 444, 611, 612, 620 McCarthy, Mary, II, 558-584; III, 169, 407; Supp. I, Part 1, 84; Supp. IV, Part 1, 209, 297, 310 McCarthy, Senator Joseph, I, 31, 492; II, 562, 568 McClatchy, J. D., Supp. I, Part 1, 97 McClellan, John L., I, 493 McClung, Isabelle, Retro. Supp. I, 5 McClure, John, Retro. Supp. I, 80 McClure, Michael, Supp. II, Part 1,32 McClure, S. S., I, 313; II, 465; III, 327; Retro. Supp. I, 5, 6, 9 McClure's (magazine), Retro. Supp. I, 5, 6, 7, 9 McClure's Magazine (magazine), I, 313, 322 McCluskey, John, Supp. I, Part 1, 70 McConnell, Fanny, see Ellison, Fanny McConnell McCormack, T., Ill, 242 McCullers, Carson, I, 113, 190, 211; II, 585-608; IV, 282, 384, 385, 386, 400; Supp. II, Part 1,

17; Supp. IV, Part 1,31,84, Part 2, 502 McCullers, Reeves, III, 585, 586, 587 McDavid, Raven I., Ill, 120, 121 McDermott, John Francis, II, 317 McDermott, John J., II, 364, 365 McDevitt, William, II, 485 McDonald, Daniel, I, 96 McDonald, E. J., Supp. I, Part 2, 670 McDowell, Frederick P. W., II, 194, 195 McDowell, Mary, Supp. I, Part 1, 5 McDowell, Tremaine, Supp. I, Part 1, 173 McElderry, B. R., Jr., IV, 473 McElroy, Joseph, Supp. IV, Part 1, 279, 285 McEuen, Kathryn, II, 20, 23 McEwen, Arthur, I, 206 McGann, Jerome, Retro. Supp. I, 47 McGiffert, Arthur Cushman, I, 564; II, 22 McGlinchee, Claire, Supp. I, Part 2,426 McGovern, Edythe M., Supp. IV, Part 2, 573, 582, 585 McGovern, George, III, 46 McGuane, Thomas, Supp. V, 53, 220 McHugh, Robert, III, 121 Mcllwaine, Shields, I, 311 Mclntire, Holly, Supp. V, 338 Mclntosh, Maria, Retro. Supp. I, 246 McKay, Claude, Supp. I, Part 1, 63; Supp. Ill, Part 1, 75, 76; Supp. IV, Part 1, 3, 79, 164 McKay, Donald, Supp. I, Part 2, 482 McKenney, Eileen, see West, Mrs. Nathanael (Eileen McKenney) McKenney, Ruth, IV, 288, 307 McKenzie, Barbara, II, 584 McKinley, William, I, 474; III, 506; Supp. I, Part 2, 395-396, 707 McLean, Albert F., Jr., Supp. I, Part 1, 173

508 / INDEX McLeod, A. W., Supp. I, Part 1, 257 McLeod, James R., Ill, 550 McLuhan, Marshall, Supp. IV, Part 2, 474 McMahon, Helen, Supp. IV, Part 2,579 McMaster, John Bach, II, 125 McMichael, Morton, Supp. I, Part 2,707 McMurray, William, II, 294 McMurtry, Josephine, Supp. V, 220 McMurtry, Larry, Supp. V, 219235 McNamara, Robert, IV, 377 McNeese, Gretchen, Supp. V, 123 McNeil, Claudia, Supp. IV, Part 1, 360, 362 McPhee, John, Supp. Ill, Part 1, 289-316 McPherson, Dolly, Supp. IV, Part 1,2,3,4,6,8, 11, 12 McPherson, William, Supp. I, Part 1, 199 McQuillan family, II, 79, 80 McRobbie, Angela, Supp. IV, Part 2, 691 McShane, Frank, II, 222 McTaggart, John, I, 59 McTeague (Norris), III, 314, 315, 316-320, 322, 325, 327-328, 330, 331, 333, 335 McWilliams, Carey, I, 213; II, 149 "Me and the Mule" (Hughes), Supp. I, Part 1, 334 "Me, Boy Scout" (Lardner), II, 433 "Me Decade and the Third Great Awakening, The" (Wolfe), Supp. Ill, Part 2, 581 Me, Vashya! (Williams), IV, 381 Mead, Elinor, see Ho wells, Mrs. William Dean (Elinor Mead) Mead, George Herbert, II, 27, 34; Supp. I, Part 1, 5, Part 2, 641 Mead, Margaret, Supp. I, Part 1, 49, 52, 66 Meaders, Margaret Inman, III, 360 Meadowlands (Gluck), Supp. V, 88-90

"Mean, Mrs." (Gass), Supp. VI, 83 Mean Spirit (Hogan), Supp. IV, Part 1, 397, 404, 407-410, 415, 416^17 "Meaning of a Literary Idea, The" (Trilling), Supp. Ill, Part 2, 498 "Meaning of Death, The, An After Dinner Speech" (Tate), IV, 128, 129 "Meaning of Life, The" (Tate), IV, 137 "Meaningless Institution, A" (Ginsberg), Supp. II, Part 1, 313 Mearns, Hughes, III, 220 "Measure" (Hass), Supp. VI, 99100, 101 "Measuring My Blood" (Vizenor), Supp. IV, Part 1, 262 "Mechanism" (Ammons), Supp. VII, 28 "Mechanism in Thought and Morals" (Holmes), Supp. I,

Parti, 314

Mecom, Mrs. Jane, II, 122 "Meddlesome Jack" (Caldwell), I, 309 Medea (Jeffers), Supp. II, Part 2, 435 Medea and Some Poems, The (Cullen), Supp. IV, Part 1, 169, 173 "Medecin Malgre Lui, Le" (Williams), IV, 407-408 "Medfield" (Bryant), Supp. I, Part 1, 157 Medical History of Contraception, A (Himes), Supp. V, 128 "Medicine Song" (Gunn Allen), Supp. IV, Part 1, 326 Medicis, Marie de, II, 548 Medina (McCarthy), II, 579 "Meditation 1.6" (Taylor), IV, 165 "Meditation 1.20" (Taylor), IV, 165 "Meditation 2.102" (Taylor), IV, 150 "Meditation 2.112" (Taylor), IV, 165

"Meditation 20" (Taylor), IV, 154155 "Meditation 40" (Second Series) (Taylor), IV, 147 "Meditation 2.68A" (Taylor), IV, 165 "Meditation, A" (Eberhart), I, 533535 "Meditation at Lagunitas" (Hass), Supp. VI, 104-105 "Meditation at Oyster River" (Roethke), III, 537, 549 Meditations (Descartes), III, 618 "Meditations for a Savage Child" (Rich), Supp. I, Part 2, 564565 Meditations from a Movable Chair (Dubus), Supp. VII, 91 "Meditations of an Old Woman" (Roethke), III, 529, 540, 542, 543, 545-547, 548 Meditations on the Insatiable Soul (Bly), Supp. IV, Part 1, 72-73 Meditative Poems, The (Martz), IV, 151 "Mediterranean, The" (Tate), IV, 129 "Medium of Fiction, The" (Gass), Supp. VI, 85-86 "Medusa" (Bogan), Supp. Ill, Part 1,50, 51 Meehan, Thomas, Supp. IV, Part 2, 577-578, 586, 590 Meek, Martha, Supp. IV, Part 2, 439, 440, 441, 442, 445, 447, 448 Meeker, Richard K., II, 190, 195 Meet Me at the Morgue (Macdonald), Supp. IV, Part 2, 472 "Meeting South, A" (Anderson), I, 115 "Meeting-House Hill" (Lowell), II, 522, 527 Meiners, R. K., IV, 136, 137, 138, 140, 143 Meister, Charles W., II, 112, 125 "Melancholia" (Dunbar), Supp. II, Part 1, 194 "Melanctha" (Stein), IV, 30, 34, 35, 37, 38-40, 45

INDEX / 509 "Melancthon" (Moore), III, 212, 215 Melander, Ingrid, Supp. I, Part 2, 548 Melcher, Frederic G., Supp. I, Part 2, 402 Meliboeus-Hipponax (Lowell), see Bigelow Papers, The Mellaart, James, Supp. I, Part 2, 567 Mellard, James, Supp. IV, Part 1, 387 Mellon, Andrew, III, 14 Melnyczuk, Askold, Supp. IV, Part 1, 70 Melodrama Play (Shepard), Supp. Ill, Part 2, 44(M41, 443, 445 Melodramatists, The (Nemerov), III, 268, 281-283, 284 Melting-Pot, The (Zangwill), I, 229 Meltzer, Milton, IV, 189; Supp. I, Part 1, 348 Melville, Allan, III, 74, 77 Melville, Gansevoort, III, 76 Melville, Herman, I, 104, 106, 211,288,340,343,348,354, 355, 561-562; II, 27, 74, 224225, 228, 230, 232, 236, 255, 259, 271, 272, 277, 281, 295, 307,311,319,320,321,418, 477, 497, 539-540, 545; III, 29, 45, 70, 74-98, 359, 438, 453, 454, 507, 562-563, 572, 576; IV, 57, 105, 194, 199, 202, 250, 309, 333, 345, 350, 380, 444, 453; Retro. Supp. I, 54, 91, 160, 215, 220, 243-262; Supp. I, Part 1, 147, 238, 242, 249, 309, 317, 372, Part 2, 383, 495, 579, 580, 582, 602; Supp. IV, Part 2, 463, 613; Supp. V, 279, 281, 298, 308 Melville, Maria Gansevoort, III, 74, 77, 85 Melville, Mrs. Herman (Elizabeth Shaw), III, 77, 91, 92 Melville, Thomas, III, 77, 79, 92; Supp. I, Part 1, 309 Melville, Whyte, IV, 309 Melville family, III, 75 Melville Goodwin, USA (Marquand), III, 60, 65-66

Melville's Marginalia (Cowen), Supp. IV, Part 2, 435 "Melville's Marginalia" (Howe), Supp. IV, Part 2, 435 Member of the Wedding, The (McCullers), II, 587, 592, 600604, 605, 606 "Meme Ortiz" (Cisneros), Supp. VII, 60 Memmon (song cycle) (Bowles), Supp. IV, Part 1, 82 Memnoch the Devil (Rice), Supp. VII, 289, 290, 294, 296-299 "Memo to Non-White Peoples" (Hughes), Retro. Supp. I, 209 "Memoir" (Untermeyer), II, 516517 Memoir of Mary Ann, A, (O'Connor), III, 357 Memoirs of Arii Taimai (Adams), 1,2-3 "Memoirs of Carwin, the Biloquist" (Brown), Supp. I, Part 1, 132 Memoirs of Hecate County (Wilson), IV, 429 Memoirs of Margaret Fuller Ossoli (Fuller), Supp. II, Part 1, 280, 283, 285 "Memoirs of Stephen Calvert" (Brown), Supp. I, Part 1, 133, 144 Memorabilia (Xenophon), II, 105 Memorabilia of John Greenleaf Whittier (ed. Pickard), Supp. I, Part 2, 706 Memorable Providences (Mather), Supp. II, Part 2, 458 "Memorial for the City" (Auden), Supp. II, Part 1, 20 "Memorial Rain" (MacLeish), III, 15 "Memorial to Ed Bland" (Brooks), Supp. Ill, Part 1, 77 "Memorial Tribute" (Wilbur), Supp. IV, Part 2, 642 "Memories" (Whittier), Supp. I, Part 2, 699 Memories of a Catholic Girlhood (McCarthy), II, 560-561, 566

"Memories of Uncle Neddy" (Bishop), Supp. I, Part 1, 73, 93 "Memories of West Street and Lepke" (Lowell), II, 550 "Memory, A" (Welty), IV, 261262; Retro. Supp. I, 344-345 Memory Gardens (Creeley), Supp. IV, Parti, 141, 157 Memory of Murder, A (Bradbury), Supp. IV, Part 1, 103 Memory of Two Mondays, A (Miller), III, 153, 156, 158-159, 160, 166 Memphis Commercial Appeal (newspaper), IV, 378 Men and Angels (Gordon), Supp. IV, Part 1, 304-305, 306, 308 Men and Brethen (Cozzens), I, 363-365, 368, 375, 378, 379 "Men and Women" (Bly), Supp. IV, Part 1, 72 "Men at Forty" (Justice), Supp. VII, 126-127 "Men in the Storm, The" (Crane), 1,411 "Men Loved Wholly Beyond Wisdom" (Bogan), Supp. Ill, Part 1, 50 "Men Made Out of Words" (Stevens), IV, 88 Men Must Act (Mumford), Supp, II, Part 2, 479 "Men of Color, to Arms!" (Douglass), Supp. Ill, Part 1, 171 Men of Good Hope: A Story of American Progressives (Aaron), Supp. I, Part 2, 650 Men Who Made the Nation, The (Dos Passos), I, 485 Men Without Women (Hemingway), II, 249; Retro. Supp. I, 170, 176 Men, Women and Ghosts (Lowell), II, 523-524 "Men, Women, and Thurber", Supp. I, Part 2, 627 Mencius (Meng-tzu), IV, 183 Mencken, August, III, 100, 108 Mencken, August, Jr., Ill, 99, 109, 118-119

510 / INDEX Mencken, Burkhardt, III, 100, 108 Mencken, Charles, III, 99 Mencken, Gertrude, III, 99 Mencken, H. L., I, 199, 210, 212, 213,235,245,261,405,514, 515, 517; II, 25, 27, 42, 89, 90, 91, 271, 289, 430, 443, 449, 485; III, 99-121, 394, 482; IV, 76, 432, 440, 475, 482; Retro. Supp. I, 1, 101; Supp. I, Part 2, 484, 629-630, 631, 647, 651, 653, 659, 673; Supp. II, Part 1, 136; Supp. IV, Part 1, 201, 314, 343, Part 2, 521, 692, 693 Mencken, Mrs. August (Anna Abhau), III, 100, 109 Mencken, Mrs. H. L. (Sara Haardt), III, 109, 111 Mendelbaum, Paul, Supp. V, 159 Mendele, IV, 3, 10 Mendelief, Dmitri Ivanovich, IV, 421 "Mending Wall" (Frost), II, 153154; Retro. Supp. I, 128, 130 Mendocino Review (journal), Supp. IV, Part 2, 542 Menikoff, Barry, Supp. I, Part 1, 319 Mennes, John, II, 111 Mennoti, Gian Carlo, Supp. IV, Part 1, 84 "Menstruation at Forty" (Sexton), Supp. II, Part 2, 686 "Mental Hospital Garden, The" (Williams), Retro. Supp. I, 428 Mental Radio (Sinclair), Supp. V, 289 "Merced" (Rich), Supp. I, Part 2, 563 "Mercenary, A" (Ozick), Supp. V, 267 Merchant of Venice, The (Shakespeare), IV, 227 Mercury Theatre, Retro. Supp. I, 65 Mercy, The (Levine), Supp. V, 194-195 Mercy Philbrick's Choice (Jackson), Retro. Supp. I, 26, 27,33 Mercy, Pity, Peace, and Love (Ozick), Supp. V, 257, 258

Mercy Street (Sexton), Supp. II, Part 2, 683, 689 "Mere Pochette" (Jewett), II, 400 Meredith, George, II, 175, 186; Supp. IV, Part 1, 300 Meredith, Mary, see Webb, Mary Meredith, William, I, 189; II, 390, 545 "Merely to Know" (Rich), Supp. I, Part 2, 554 "Merger II, The" (Auchincloss), Supp. IV, Part 1, 34 "Mericans" (Cisneros), Supp. VII, 69 Merideth, Robert, Supp. I, Part 2, 601 Meridian (Walker), Supp. Ill, Part 2, 520, 524, 527, 528, 531-537 Merimee, Prosper, II, 322 Meriweather, James B., Retro. Supp. I, 77, 91 Meriweather family, II, 197 Meriwether, James B., I, 380; II, 76; Retro Supp. I, 77, 91 "Meriwether Connection, The" (Cowley), Supp. II, Part 1, 142 "Merlin" (Emerson), II, 19, 20 Merlin (Robinson), III, 522 "Merlin Enthralled" (Wilbur), Supp. Ill, Part 2, 544, 554 Merrill, Bob, III, 406 Merrill, James, Retro. Supp. I, 296; Supp. Ill, Part 1, 317338, Part 2, 541, 561 Merrill, Ronald, Supp. IV, Part 2, 521 Merry Widow, The (Lehar), III, 183 "Merry-Go-Round" (Hughes), Retro. Supp. I, 194, 205; Supp. I, Part 1, 333 Merry-Go-Round, The (Van Vechten), Supp. II, Part 2, 734, 735 Merry's Museum (magazine), II, 397 Mertins, Louis, II, 172 Merton, Father, III, 357 Merwin, W. S., Supp. Ill, Part 1, 339-360, Part 2, 541; Supp.

IV, Part 2, 620, 623, 626; Supp. V, 332 Meryman, Richard, Supp. IV, Part 2, 579, 583 Meserve, Frederick H., Ill, 598 Meserve, Walter, Supp. I, Part 1, 70 Meserve, Walter J., II, 292, 293 Mesic, Michael, Supp. IV, Part 1, 175 "Message in the Bottle, The" (Percy), Supp. Ill, Part 1, 388 Message in the Bottle, The (Percy), Supp. Ill, Part 1, 387-388, 393, 397 "Message of Flowers and Fire and Flowers, The" (Brooks), Supp. Ill, Part 1, 69 Messenger (publication), Retro. Supp. I, 198; Supp. I, Part 1, 328 Messiah (Vidal), Supp. IV, Part 2, 677, 680, 681-682, 685, 691, 692 Messiah of Stockholm, The (Ozick), Supp. V, 270-271 Metamorphic Tradition in Modern Poetry (Quinn), IV, 421 Metamorphoses (Ovid), II, 542543; III, 467, 468 Metamorphoses (trans. Pound), III, 468-469 "Metamorphosis" (Kafka), IV, 438 Metaphor & Memory: Essays (Ozick), Supp. V, 272 "Metaphor as Mistake" (Percy), Supp. Ill, Part 1, 387-388 "Metaphors of a Magnifico" (Stevens), IV, 92 "Metaphysical Poets, The" (Eliot), I, 527, 586 Metaphysicism, I, 384, 396, 447; 11,40, 211, 542; III, 4, 13, 18, 32,37,38, 115, 173,204,245, 252-253, 255, 263, 348, 392, 393, 394, 405, 481, 493, 541, 611; IV, 28, 100, 115, 137, 144, 151, 152, 154, 165, 283, 333, 349, 433, 482, 485, 487, 488, 493, 495, 496; Supp. I, Part 1, 261, 366, Part 2, 421, 634, 635, 661, 679, 704

INDEX / 511 "Metaphysics" (Ginsberg), Supp. II, Part 1,313 Metcalf, Allan A., I, 450 Metcalf, Eleanor M., Ill, 96, 97 "Meteor, The" (Bradbury), Supp. IV, Part 1, 102 Metress, Christopher P., Supp. V, 314 Metrical History of Christianity, The (Taylor), IV, 163 Metro-Goldwyn-Mayer, Retro. Supp. I, 109, 110, 113, 114 Metropolis, The (Sinclair), Supp. V,285 Metropolitan Magazine (publication), II, 90; Retro. Supp. I, 103 "Metzengerstein" (Poe), III, 411, 417 Metzger, Arnold, II, 365 Mewshaw, Michael, Supp. V, 57 "Mexico" (Lowell), II, 553, 554 Mexico City Blues (Kerouac), Supp. Ill, Part 1, 225, 229 "Mexico Is a Foreign Country: Five Studies in Naturalism" (Warren), IV, 241, 252 Meyer, Donald B., Ill, 298, 313 Meyer, Ellen Hope, Supp. V, 123 Meyers, Jeffrey, Retro. Supp. I, 124, 138 Meyers, Sister Bertrande, III, 360 Meynell, Alice, Supp. I, Part 1, 220 Mezey, Robert, Supp. IV, Part 1, 60; Supp. V, 180 "Mezzo Cammin" (Longfellow), II, 490 "Mi Abuelo" (Rios), Supp. IV, Part 2, 541 Miami (Didion), Supp. IV, Part 1, 199, 210 "Michael" (Wordsworth), III, 523 Michael Angelo (Longfellow), II, 490, 494, 495, 506 "Michael Egerton" (Price), Supp. VI, 257-258, 260 Michael Kohlhaas (Kleist), Supp. IV, Part 1, 224 Michael Scarlett (Cozens), I, 358359, 378

Michaels, Walter Benn, Retro. Supp. I, 115,369,379 Michelangelo, I, 18; II, 11-12; III, 124; Supp. I, Part 1, 363 Michelson, Albert, IV, 27 Michigan Daily (newspaper), III, 146 Mickelsson's Ghosts (Gardner), Supp. VI, 63, 73-74 Mickiewicz, Adam, Supp. II, Part 1,299 Mid-American Chants (Anderson), I, 109, 114 "Midas" (Winters), Supp. II, Part 2,801 Midcentury (Dos Passos), I, 474, 475, 478, 490, 492-494; Supp. I, Part 2, 646 Mid-Century American Poets, III, 532 "Mid-Day" (Doolittle), Supp. I, Part 1, 266-267 "Middle Age" (Lowell), II, 550 Middle Ages, The (Gurney), Supp. V, 96, 105, 108 "Middle Daughter, The" (Kingsolver), Supp. VII, 209 Middle of the Journey, The (Trilling), Supp. Ill, Part 2, 495, 504-506 "Middle of the Way" (Kinnell), Supp. Ill, Part 1, 242 "Middle Passage" (Hayden), Supp. II, Part 1, 363, 375-376 Middle Passage (Johnson), Supp. VI, 194-196, 198, 199 "Middle Toe of the Right Foot, The" (Bierce), I, 203 "Middle Years, The" (James), Retro. Supp. I, 228, 272 Middle Years, The (James), II, 337-338; Retro. Supp. I, 235 Middlebrook, Diane Wood, Supp. IV, Part 2, 444, 451 Middlebury College, Breadloaf Writer's Conference, Supp. V, 239 Middlemarch (Eliot), I, 457, 459; II, 290, 291; Retro. Supp. I, 225; Supp. I, Part 1, 174 Middlesex Standard (publication), Supp. I, Part 2, 687

Middleton, Thomas, Retro. Supp. 1,62 "Midnight Consultations, The" (Freneau), Supp. II, Part 1, 257 Midnight Cry, A (Mather), Supp. II, Part 2, 460 "Midnight Gladness" (Levertov), Supp. Ill, Part 1, 284-285 Midnight Mass (Bowles), Supp. IV, Part 1, 93 "Midnight Show" (Shapiro), Supp. II, Part 2, 705 "Midpoint" (Updike), Retro. Supp. I, 321, 323, 327, 330, 335 Midpoint and Other Poems (Updike), IV, 214 "Midrash on Happiness" (Paley), Supp. VI, 217 Midsummer Night's Dream, A (Shakespeare), Supp. I, Part 1, 369-370 Mies van der Rohe, Ludwig, Supp. IV, Part 1, 40 "Migration, The" (Tate), IV, 130 Miklitsch, Robert, Supp. IV, Part 2, 628, 629 Mila 18 (Uris), Supp. IV, Part 1, 379 Miles, Julie, I, 199 Miles, Kitty, I, 199 Miles, Richard D., II, 125 Miles Wallingford (Cooper), see Afloat and Ashore (Cooper) Milestone, Lewis, Supp. I, Part 1, 281 Milford, Nancy, II, 83, 100 Milhaud, Darius, Supp. IV, Part 1,81 Miligate, Michael, II, 76; III, 48, 72-73, 336; IV, 123, 130, 132, 143 "Militant Nudes" (Hardwick), Supp. Ill, Part 1, 210-211 "Milk Bottles" (Anderson), I, 114 Milk Train Doesn 't Stop Here Anymore, The (Williams), IV, 382, 383, 384, 386, 390, 391, 392, 393, 394, 395, 398 Mill, James, II, 357 Mill, John Stuart, III, 294-295

572 / INDEX Millar, Kenneth, see Macdonald, Ross Millar, Margaret (Margaret Sturm), Supp. IV, Part 2, 464, 465 Millay, Cora, III, 123, 133-134, 135-136 Millay, Edna St. Vincent, I, 482; II, 530; III, 122-144; IV, 433, 436; Supp. I, Part 2, 707, 714, 726; Supp. IV, Part 1, 168, Part 2, 607; Supp. V, 113 Miller, Arthur, I, 81, 94; III, 145169; Supp. IV, Part 1, 359, Part 2, 574 Miller, Brown, Supp. IV, Part 1, 67 Miller, C. William, II, 125 Miller, Carol, Supp. IV, Part 1, 400,405,409,410,411 Miller, Edwin H., IV, 354 Miller, Henry, I, 97, 119, 157; III, 40, 170-192; IV, 138; Supp. I, Part 2, 546; Supp. V, 119, 131 Miller, Herman, Supp. I, Part 2, 614, 617 Miller, J. Hillis, IV, 424; Supp. IV, Part 1, 387 Miller, James E., Jr., I, 404; II, 100; III, 241; IV, 352, 354 Miller, Jeffrey, Supp. IV, Part 1, 95 Miller, Joaquin, I, 193, 195, 459; Supp. II, Part 1,351 Miller, John Duncan, Supp. I, Part 2, 604 Miller, Jordan Y., I, 96; III, 406, 407 Miller, Mrs. Arthur (Ingeborg Morath), III, 162-163 Miller, Mrs. Arthur (Marilyn Monroe), III, 161, 162-163 Miller, Mrs. Arthur (Mary Grace Slattery), III, 146, 161 Miller, Orilla, Supp. I, Part 1, 48 Miller, Perry, I, 546, 547, 549, 550, 560, 564, 566; II, 23, 460; III, 407; IV, 166, 186, 188; Supp. I, Part 1, 31, 46, 104, Part 2, 484; Supp. IV, Part 2, 422 Miller, R. B., Supp. I, Part 1, 348

Miller, R. Baxter, Retro. Supp. I, 195, 207 Miller, Robert Ellis, II, 588 Miller, Rosamond, IV, 47 Miller, Russell H., I, 143 Miller of Old Church, The (Glasgow), II, 175, 181 "Miller's Tale" (Chaucer), III, 283 Millet, Kate, III, 48, 192 Millgate, Michael, Retro. Supp. I, 91 "Million Young Workmen, 1915, A" (Sandburg), III, 585 Mills, Benjamin Fay, III, 176 Mills, C. Wright, Supp. I, Part 2, 648, 650 Mills, Florence, Supp. I, Part 1, 322 Mills, Ralph J., Jr., I, 542; II, 557; III, 549, 530; Supp. IV, Part 1, 64 Mills family, IV, 311 "Mills of the Kavanaughs, The" (Lowell), II, 542-543 Mills of the Kavanaughs, The (Lowell), II, 542-543, 546, 550; III, 508 Milne, A. J. M., I, 278 Milosz, Czeslaw, Supp. Ill, Part 2,630 Milton, John, I, 6, 138, 273, 587588; II, 11, 15, 113, 130,411, 540, 542; III, 40, 124, 201, 225, 274, 468, 471, 486, 487, 503, 511, 525; IV, 50, 82, 126, 137, 155, 157, 241, 279, 347, 422, 461, 494; Retro. Supp. I, 60, 67, 127, 360; Supp. I, Part 1, 124, 150, 370, Part 2, 412, 422, 491, 501, 522, 622, 722, 724; Supp. IV, Part 2, 430, 634 Milton, John R., Supp. IV, Part 2, 503 "Milton by Firelight" (Snyder), Supp. II, Part 1,314 "Miltonic Sonnet, A" (Wilbur), Supp. Ill, Part 2, 558 Milwaukee Journal (newspaper), III, 580 Milwaukee Leader (newspaper), III, 580

Milwaukee News (newspaper), III, 580 Milwaukee Sentinel (newspaper), III, 580 Mimesis (Auerbach), III, 453 Mims, Edwin, Supp. I, Part 1, 362, 364, 365, 371, 373 "Mind" (Wilbur), Supp. Ill, Part 2,554 Mind Breaths: Poems 1972-1977 (Ginsberg), Supp. II, Part 1, 326 "Mind in the Modern World" (Trilling), Supp. Ill, Part 2, 512 "Mind Is Shapely, Art Is Shapely" (Ginsberg), Supp. II, Part 1, 327 "Mind, The" (Kinnell), Supp. Ill, Part 1, 245 Mindlin, Henrique, Supp. I, Part 1,92 "Mind-Reader, The" (Wilbur), Supp. Ill, Part 2, 561-562 Mind-Reader, The (Wilbur), Supp. HI, Part 2, 560-562 Mindwheel (Pinsky), Supp. VI, 235 "Mine Own John Berryman" (Levine), Supp. V, 179-180 "Mined Country" (Wilbur), Supp. Ill, Part 2, 546-548 Miner, Bob, Supp. V, 23 Miner, Earl, III, 466, 479 Miner, Ward L., II, 76 "Minerva Writes Poems" (Cisneros), Supp. VII, 63-64, 66 Ming Yellow (Marquand), III, 56 "Minimal, The" (Roethke), III, 531-532 Minimalism, Supp. V, Supp. V, 23 "Minions of Midas, The" (London), II, 474-475 Minister's Charge, The, or The Apprenticeship of Lemuel Barber (Howells), II, 285-286, 287 "Minister's Wooing, The" (Stowe), Supp. I, Part 2, 592-595

INDEX / 513 Minister's Wooing, The (Stowe), II, 541 "Ministration of Our Departed Friends, The" (Stowe), Supp. I, Part 2, 586-587 "Minneapolis Poem, The" (Wright), Supp. Ill, Part 2, 601-602 Minneapolis Star and Tribune, Supp. V, 250 "Minnesota Transcendentalist" (Peseroff), Supp. IV, Part 1, 71 Minnie, Temple, II, 344 Minor American Novelists (Hoyt), Supp. I, Part 1, 148 "Minor Poems" (Eliot), I, 579 "Minor Topics" (Howells), II, 274 Minority Report: H. L Mencken's Notebooks (Mencken), III, 112 Minot, Susan, Supp. VI, 203-206, 207-215 "Minstrel Man" (Hughes), Supp. I, Part 1, 325 Mirabell: Books of Number (Merrill), Supp. Ill, Part 1, 332-334 "Miracle" (Carver), Supp. Ill, Part 1, 139-140 "Miracle of Lava Canyon, The" (Henry), Supp. II, Part 1, 389, 390 Miracle of Mindfulness, The: A Manual on Meditation (Thich Nhat Hanh), Supp. V, 199-200 Mirage (Masters), Supp. I, Part 2, 459, 470, 471 "Mirages, The" (Hayden), Supp. II, Part 1, 373 Miranda, Francisco de, Supp. I, Part 2, 522 "Miranda Over the Valley" (Dubus), Supp. VII, 81-83 "Miranda" (Buck), Supp. II, Part 1, 128 "Miriam" (Capote), Supp. Ill, Parti, 117, 120, 122 "Miriam" (Whittier), Supp. I, Part 2, 691, 703 "Mirror" (Merrill), Supp. Ill, Part 1,322 "Mirror, The" (Gluck), Supp. V, 83

Mirrors (Creeley), Supp. IV, Part I, 156 Mirrors and Windows (Nemerov), III, 269, 275-277 "Mirrors of Chartres Street" (Faulkner), II, 56 Misanthrope, The (Moliere, trans. Wilbur), Supp. Ill, Part 2, 552, 560 Miscellaneous Works of Mr. Philip Freneau, Containing His Essays and Additional Poems (Freneau), Supp. II, Part 1, 263, 264, 266 Misery (King), Supp. V, 140, 141, 142, 147-148, 151, 152 Mises, Ludwig von, Supp. IV, Part 2, 524 Misfits, The (Miller), III, 147, 149, 156, 161-162, 163 "Misogamist, The" (Dubus), Supp. VII, 86-87 Misrepresentations Corrected, and Truth Vindicated, in a Reply to the Rev. Mr. Solomon Williams's Book (Edwards), I, 549 "Miss Emily and the Bibliographer" (Tate), Supp. II, Part 1, 103 "Miss Furr and Miss Skeene" (Stein), IV, 29-30 "Miss Kate in H-l" (Twain), IV, 193 Miss Leonora When Last Seen (Taylor), Supp. V, 323 Miss Lonelyhearts (West), I, 107; II, 436; III, 357; IV, 287, 288, 290-297, 300, 301, 305, 306 Miss Mamma Aimee (Caldwell), I, 308, 309, 310 "Miss Mary Pask" (Wharton), IV, 316; Retro. Supp. I, 382 Miss RaveneVs Conversion from Secession to Loyalty (De Forest), IV, 350 "Miss Tempy's Watchers" (Jewett), II, 401 "Miss Terriberry to Wed in Suburbs" (Updike), Retro. Supp. I, 335 "Mission of Jane, The" (Wharton), Retro. Supp. I, 367 Mission to Moscow (film), Supp. I, Part 1, 281

"Mississippi" (Faulkner), Retro. Supp. I, 77 "Missoula Softball Tournament" (Hugo), Supp. VI, 132 Missouri Review (publication), Supp. IV, Part 1, 402, 407, 410, 412, 414 "Mist, The" (King), Supp. V, 144 "Mister Toussan" (Ellison), Supp. II, Part 1, 238 Mitch Miller (Masters), Supp. I, Part 2, 456, 466, 469-471, 474, 475, 476 Mitchell, Dr. S. Weir, IV, 310 Mitchell, Julia P., Supp. I, Part 1, 252 Mitchell, Margaret, II, 177 Mitchell, Richard, II, 53 Mitchell, Roger, Supp. IV, Part 1, 70 Mitchell, Tennessee, see Anderson, Mrs. Sherwood (Tennessee Mitchell) Mitchell, Wesley C, Supp. I, Part 2, 632, 643 Mitgang, Herbert, III, 598; Supp. IV, Part 1, 220, 226, 307 "Mixed Sequence" (Roethke), III, 547 Mizener, Arthur, II, 77, 81, 84, 94, 99, 100, 222; III, 25, 241, 289; IV, 132, 143, 235, 259; Supp. I, Part 1, 97 "M'liss: An Idyl of Red Mountain" (Harte), Supp. II, Part 1, 339 "Mobile in Back of the Smithsonian, The" (Swenson), Supp. IV, Part 2, 646 Moby Dick (film), Supp. IV, Part 1, 102, 116 Moby Dick; or, The Whale (Melville), I, 106, 354; II, 33, 224-225, 236, 539-540; III, 2829, 74, 75, 77, 81, 82, 83-86, 87, 89, 90, 91, 93, 94, 95, 359, 453, 556; IV, 57, 199, 201, 202; Retro. Supp. I, 160, 220, 243, 244, 248, 249-253, 254, 256, 257, 335; Supp. I, Part 1, 249, Part 2, 579; Supp. IV, Part 2, 613; Supp. V, 281

514 / INDEX "Mock Orange" (Gliick), Supp. V, 84-85 "Mocking-Bird, The" (Bierce), I, 202 Modarressi, Mitra, Supp. IV, Part 2,657 Models of Misrepresentation: On the Fiction of E. L. Doctorow (Morris), Supp. IV, Part 1, 231 Modern Brazilian Architecture (trans. Bishop), Supp. I, Part 1, 92 Modern Fiction Studies, Supp. V, 238 Modern Instance, A, a Novel (Howells), II, 275, 279, 282283, 285 Modern Library, The, Retro. Supp. I, 112, 113 Modern Mephistopheles, A (Alcott), Supp. I, Part 1, 37-38 Modern Poetic Sequence, The (Rosenthal), Supp. V, 333 "Modern Poetry" (Crane), I, 390 Modern School, The (publication), 1,384 "Modern Times" (Zukofsky), Supp. Ill, Part 2, 624 Modern Writer, The (Anderson), I, 117 Modernist, The (publication), I, 384 Modersohn, Mrs. Otto (Paula Becker), Supp. I, Part 2, 573574 Modersohn, Otto, Supp. I, Part 2, 573 "Modes of Being" (Levertov), Supp. Ill, Part 1, 282 Modest Enquiry into the Nature and Necessity of a PaperCurrency, A (Franklin), II, 108109 "Modest Expert, A" (Moore), Supp. I, Part 1, 97 "Modest Proposal, A" (Swift), I, 295 "Modest Self-Tribute, A" (Wilson), IV, 431,432 Moeller, Philip, III, 398, 399 "Moench von Berchtesgaden, Der" (Voss), I, 199-200

Moers, Ellen, I, 520; Supp. I, Part 1,46 Moe's Villa and Other Stories (Purdy), Supp. VII, 270, 280 Mogen, David, Supp. IV, Part 1, 106 Mohammed, I, 480; II, 1 Mohrt, Michel, IV, 259 Moir, William Wilmerding, Supp. V, 279 "Moles" (Oliver), Supp. VII, 235 Molesworth, Charles, Supp. IV, Part 1, 39 Moliere, III, 113; Supp. I, Part 2, 406; Supp. Ill, Part 2, 552, 560; Supp. IV, Part 2, 585 Moliere, Jean-Baptiste, Supp. V, 101 "Molino Rojo, El" (Rios), Supp. IV, Part 2, 544 Moll Flanders (Defoe), Supp. V, 127 "Moll Pitcher" (Whittier), Supp. I, Part 2, 684 Moller, Karin, Supp. I, Part 1, 69 "Molloch in State Street" (Whittier), Supp. I, Part 2, 687 "Molly Brant, Iroquois Matron" (Gunn Allen), Supp. IV, Part 1, 331 "Moloch" (Miller), III, 177 Momaday, N. Scott, Supp. IV, Part 1, 274, 323, 324, 404, Part 2, 479-496, 504, 557, 562 Moments of the Italian Summer (Wright), Supp. Ill, Part 2, 602 "Momus" (Robinson), III, 508 "Mon Ami" (Bourne), I, 227 Monaghan, Charles, IV, 119 Monet, Claude, Retro. Supp. I, 378 "Monet's 'Waterlilies' " (Hayden), Supp. II, Part 1, 361-362 Money (Amis), Retro. Supp. I, 278 "Money" (Nemerov), III, 287 Money Writes! (Sinclair), Supp. V, 277 Moneychangers, The (Sinclair), Supp. V, 285 Monica, Saint, IV, 140

Monikins, The (Cooper), I, 348, 354 Monk and the Hangman's Daughter, The (Bierce), I, 199200, 209 "Monk of Casal-Maggiore, The" (Longfellow), II, 505 Monk, Thelonious, Supp. IV, Part 1, 144 "Monkey Garden, The" (Cisneros), Supp. VII, 63 "Monkey Puzzle, The" (Moore), III, 194,207,211 Monkeys (Minot), Supp. VI, 203205, 206-210 "Monkeys, The" (Moore), III, 201, 202 "Monocle de Mon Oncle, Le" (Stevens), IV, 78, 84; Retro. Supp. I, 301; Supp. Ill, Part 1, 20 Monro, Harold, III, 465; Retro. Supp. I, 127 Monroe, Harriet, I, 235, 384, 390, 393; II, 533; III, 458, 581, 586; IV, 74, 96; Retro. Supp. I, 58, 131; Supp. I, Part 1, 256, 257, 258, 262, 263, 267, Part 2, 374, 387,388,464,610,611,613, 614, 615, 616 Monroe, James, Supp. I, Part 2, 515,517 Monroe, Marilyn, III, 161, 162163 Monroe, N. Elizabeth, II, 195 Monroe's Embassy; or, the Conduct of the Government in Relation to Our Claims to the Navigation of the Mississippi (Brown), Supp. I, Part 1, 146 "Monster, The" (Crane), I, 418 Monster, The, and Other Stories (Crane), I, 409 Montage of a Dream Deferred (Hughes), Retro. Supp. I, 194, 208-209; Supp. I, Part 1, 333, 339-341 Montagu, Ashley, Supp. I, Part 1, 314 Montaigne, Michel de, II, 1, 5, 6, 8, 14-15, 16, 535; III, 600; Retro. Supp. I, 247

INDEX / 515 "Montaigne" (Emerson), II, 6 Montale, Eugenio, Supp. Ill, Part 1, 320; Supp. V, 337-338 "Montana Ranch Abandoned" (Hugo), Supp. VI, 139 Montcalm and Wolfe (Parkman), Supp. II, Part 2, 596, 609, 610, 611-613 Montcalm, Louis Joseph de, Supp. I, Part 2, 498 Monterey, Carlotta, see O'Neill, Mrs. Eugene (Carlotta Monterey) Montevallo Review (publication), Supp. Ill,, Part 2, 624 Montgomery, Constance Cappel, II, 270 Montgomery, Marion, I, 590 Montgomery, Robert, Supp. I, Part 2, 611; Supp. IV, Part 1, 130 Month of Sundays, A (Updike), Retro. Supp. I, 325, 327, 329, 330, 331, 333, 335 Monthly (publication), I, 26 Monthly Anthology (publication), II, 302; Supp. I, Part 1, 152, 300 Monthly Magazine and American Review, The, Supp. I, Part 1, 133, 140, 144 Monti, Luigi, II, 504 Montoya, Jose, Supp. IV, Part 2, 545 "Montrachet-le-Jardin" (Stevens), IV, 82 Mont-Saint-Michel and Chartres (Adams), I, 1, 9, 12-14, 18, 19, 21; Supp. I, Part 2, 417 Montserrat (Hellman), Supp. I, Part 1, 283-285 Montserrat (Robles), Supp. I, Part 1, 283-285 "Monument Mountain" (Bryant), Supp. I, Part 1, 156, 162 "Monument, The" (Bishop), Supp. I, Part 1, 89 Monument, The (Strand), Supp. IV, Part 2, 629, 630 "Monument to After-Thought Unveiled, A" (Frost), Retro. Supp. I, 124

Moo (Smiley), Supp. VI, 292, 303-305 Moods (Alcott), Supp. I, Part 1, 33, 34-35, 43 Moody, Anne, Supp. IV, Part 1, 11 Moody, Mrs. William Vaughn, I, 384; Supp. I, Part 2, 394 Moody, Richard, Supp. I, Part 1, 280, 298 Moody, William Vaughn, III, 507; IV, 26 Moon (periodical), Supp. II, Part 1, 172 "Moon and the Night and the Men, The" (Berryman), I, 172 "Moon Flock" (Dickey), Supp. IV, Part 1, 186 Moon for the Misbegotten, A (O'Neill), III, 385, 401, 403, 404 Moon Is a Gong, The (Dos Passos), see Garbage Man, The (Dos Passos) Moon Is Down, The (Steinbeck), IV, 51 Moon of the Caribbees, The (O'Neill), III, 388 "Moon upon her fluent Route, The" (Dickinson), I, 471 Mooney, Harry John, Jr., Ill, 455 Mooney, Tom, I, 505 "Moon-Face" (London), II, 475 Moon-Face and Other Stories (London), II, 483 "Moonlight Alert" (Winters), Supp. II, Part 2, 801, 811, 815 Moony's Kid Don't Cry (Williams), IV, 381 Moore, Arthur, Supp. I, Part 1, 49 Moore, Dr. Merrill, III, 506 Moore, George, I, 103 Moore, Harry, II, 608; III, 49, 241 Moore, John Milton, III, 193 Moore, John Rees, Supp. I, Part 1,70 Moore, Marianne, I, 58, 70, 285, 401, 428, 450; II, 390; III, 193217, 514, 592-593; IV, 48, 74, 75, 76, 91, 96, 402, 424; Retro. Supp. I, 416, 417; Supp. I,

Part 1, 84, 89, 97, 255, 257, Part 2, 707; Supp. II, Part 1, 21; Supp. Ill, Part 1, 58, 60, 63, Part 2, 612, 626, 627; Supp. IV, Part 1, 242, 246, 257, Part 2, 454, 640, 641 Moore, Mary Tyler, Supp. V, 107 Moore, Mary Warner, III, 193 Moore, Steven, Supp. IV, Part 1, 279, 283, 284, 285, 287 Moore, Sturge, III, 459 Moore, Thomas, II, 296, 299, 303; III, 191, 192 Moore, Virginia, Supp. I, Part 2, 730 Moos, Malcolm, III, 116, 119 "Moose, The" (Bishop), Supp. I, Part 1, 73, 93, 94, 95 "Moose Wallow, The" (Hayden), Supp. II, Part 1, 367 "Moral Bully, The" (Holmes), Supp. I, Part 1, 302 "Moral Equivalent for Military Service, A" (Bourne), I, 230 "Moral Equivalent of War, The" (James), II, 361; Supp. I, Part 1,20 Moral Man and Immoral Society (Niebuhr), III, 292, 295-297 "Moral Substitute for War, A" (Addams), Supp. I, Part 1, 20 "Moral Thought, A" (Freneau), Supp. II, Part 1, 262 Moralism, I, 148, 415; III, 298 Moralites Legendaires (Laforgue), 1,573 "Morality and Mercy in Vienna" (Pynchon), Supp. II, Part 2, 620, 624 "Morality of Indian Hating, The" (Momaday), Supp. IV, Part 2, 484 "Morality of Poetry, The" (Wright), Supp. Ill, Part 2, 596-597, 599 "Morals Is Her Middle Name" (Hughes), Supp. I, Part 1, 338 "Morals of Chess, The" (Franklin), II, 121 Moron of the Lady Letty (Norris), II, 264; III, 314, 322, 327, 328, 329, 330, 331, 332, 333

516 / INDEX Moran, Thomas, Supp. IV, Part 2, 603-604 Morath, Ingeborg, see Miller, Mrs. Arthur (Ingeborg Morath) Moravia, Alberto, I, 301 Mordell, Albert, II, 340; Supp. I, Part 2, 706 More, Henry, I, 132 More, Paul Elmer, I, 223-224, 247; II, 509; Supp. I, Part 2, 423 More Conversations with Eudora Welty (Prenshaw, ed.), Retro. Supp. I, 340, 341, 342, 343, 344, 352, 353, 354 "More Love in the Western World" (Updike), Retro. Supp. I, 327-328, 329 "More of a Corpse Than a Woman" (Rukeyser), Supp. VI, 280 "More Pleasant Adventures" (Ashbery), Supp. HI, Part 1,1 More Poems to Solve (Swenson), Supp. IV, Part 2, 640, 642, 648 More Stately Mansions (O'Neill), III, 385, 401, 404^05 Moreau, Gustave, I, 66 Moreau, John Adam, I, 237 Morehouse, Marion, see Cummings, Mrs. E. E. (Marion Morehouse) "Morella" (Poe), III, 412 Morgan, Edmund S., I, 566; IV, 149; Supp. I, Part 1, 101, 102, Part 2, 484 Morgan, Edwin, Supp. IV, Part 2, 688 Morgan, Frederick, IV, 424 Morgan, Henry, II, 432; IV, 63 Morgan, J. P., I, 494; III, 14, 15 Morgan, Robert, Supp. V, 5 Morgan, Robin, Supp. I, Part 2, 569, 578 Morgan's Passing (Tyler), Supp. IV, Part 2, 666-667, 668, 669 Morgenthau, Hans, III, 291, 309, 313 Moricand, Conrad, III, 190 Morin, Paul, II, 509

Morison, Mrs. Samuel Eliot (Elizabeth Shaw Greene), Supp. 1, Part 2, 483 Morison, Mrs. Samuel Eliot (Priscilla Barton), Supp. I, Part 2, 493, 496, 497 Morison, Samuel Eliot, Supp. I, Parti, 123, Part 2, 479-500 Morituri Salutamus (Longfellow), Supp. I, Part 2, 416 "Morituri Salutamus" (Longfellow), II, 499, 500 "Moriturus" (Milky), III, 126, 131-132 Morley, Christopher, III, 481, 483, 484; Supp. I, Part 2, 653 Morley, Edward, IV, 27 Morley, Lord John, I, 7 Morley, Sheridan, III, 169 Mormon Country (Stegner), Supp. IV, Part 2, 598, 601-602 "Morning, The" (Updike), Retro. Supp. I, 329 "Morning Glory" (Merrill), Supp. III, Part 1, 337 Morning Glory, The (Ely), Supp. IV, Part 1, 63-65, 66, 71 "Morning Imagination of Russia, A" (Williams), Retro. Supp. I, 428 Morning Is Near Us, The (Glaspell), Supp. Ill, Part 1, 184-185 Morning Journal (newspaper), Retro. Supp. I, 257 Morning Noon and Night (Cozzens), I, 374, 375, 376, 377, 379, 380 "Morning of the Day They Did It, The" (White), Supp. I, Part 2, 663 "Morning Roll Call" (Anderson), I, 116 Morning Watch, The (Agee), I, 25, 39^2 "Morning with Broken Window" (Hogan), Supp. IV, Part 1, 405 "Mornings in a New House" (Merrill), Supp. Ill, Part 1, 327 Mornings Like This (Dillard), Supp. VI, 23, 34

Morrell, Ottoline, Retro. Supp. I, 60 Morris, Christopher D., Supp. IV, Part 1,231,236 Morris, George Sylvester, Supp. I, Part 2, 640 Morris, Gouverneur, Supp. I, Part 2,512,517,518 Morris, Harry C, IV, 284 Morris, Lloyd, III, 458 Morris, Robert, Supp. I, Part 2, 510 Morris, Timothy, Retro. Supp. I, 40 Morris, William, II, 323, 338, 523; IV, 349; Supp. I, Part 1, 260, 356 Morris, Wright, I, 305; II, 100; III, 218-243, 558, 572; IV, 211 Morrison, Charles Clayton, III, 297 Morrison, Claudia C., I, 263 Morrison, Jim, Supp. IV, Part 1, 206 Morrison, Toni, Supp. Ill, Part 1, 361-381; Supp. IV, Part 1, 2, 13, 14, 250, 253, 257; Supp. V, 169, 259 "Morro Bay" (Jeffers), Supp. II, Part 2, 422 Morrow, W. C., I, 199 Morsberger, Robert E., Supp. I, Part 2, 626 Morse, John T., Supp. I, Part 1, 319 Morse, Samuel F. B., IV, 95, 96; Supp. I, Part 1, 156 Mortal Acts, Mortal Words (Kinnell), Supp. Ill, Part 1, 235, 236, 237, 249-254 Mortal Antipathy, A (Holmes), Supp. I, Part 1,315-316 Mortal No, The (Hoffman), IV, 113 Morte D'Arthur, Le (Malory), Supp. IV, Part 1, 47 "Mosaic of the Nativity: Serbia, Winter 1993" (Kenyon), Supp. VII, 173 Moscow under Fire (Caldwell), I, 296

INDEX / 517 Moses (biblical person), I, 480; II, 1, 15, 60, 166; III, 347; IV, 371; Supp. I, Part 2, 515, 516 Moses, Man of the Mountain (Hurston), Supp. VI, 149, 158, 160 Moses, Montrose J., Ill, 407 Mosquitos (Faulkner), II, 56; Retro. Supp. I, 79, 81 Moss, Howard, III, 169; III, 452; Supp. IV, Part 2, 642 "Moss of His Skin" (Sexton), Supp. II, Part 2, 676 Mosses from an Old Manse (Hawthorne), I, 562; II, 224; III, 82, 83; Retro. Supp. I, 157, 248 "Most Extraordinary Case, A" (James), II, 322; Retro. Supp. I, 218 Most Likely to Succeed (Dos Passos), I, 491 "Most of It, The" (Frost), Retro. Supp. I, 121, 125, 129, 139 Motel Chronicles (Shepard), Supp. III, Part 2, 445 "Mother" (Paley), Supp. VI, 222223 Mother (Whistler), IV, 369 "Mother and Jack and the Rain" (Sexton), Supp. II, Part 2, 686 "Mother and Son" (Tate), IV, 128, 137-138 Mother Courage (Brecht), III, 160 Mother Love (Dove), Supp. IV, Part 1, 250-251, 254 Mother Night (Vonnegut), Supp. II, Part 2, 757, 758, 767, 770, 771 "Mother Rosaline" (Kumin), Supp. IV, Part 2, 442 Mother, The (Buck), Supp. II, Parti, 118-119 "Mother to Son" (Hughes), Retro. Supp. I, 199, 203; Supp. I, Part 1, 321-322, 323 "Motherhood" (Swenson), Supp. IV, Part 2, 645 Mother's Recompense, The (Wharton), IV, 321, 324; Retro. Supp. I, 382

"Mother's Tale, A" (Agee), I, 2930 "Mother's Things" (Creeley), Supp. IV, Part 1, 141 "Mother's Voice" (Creeley), Supp. IV, Part 1, 156 Motion of History, The (Baraka), Supp. II, Part 1, 55, 56 "Motion, The" (Olson), Supp. II, Part 2, 571 "Motive for Metaphor, The" (Stevens), IV, 89; Retro. Supp. 1,310 Motiveless Malignity (Auchincloss), Supp. IV, Part 1,31 Motley, John Lothrop, Supp. I, Part 1, 299, Part 2, 479 "Motor Car, The" (White), Supp. I, Part 2, 661 Motor-Flight Through France (Wharton), I, 12; Retro. Supp. 1,372 Mountain Interval (Frost), II, 154; Retro. Supp. I, 131, 132, 133 "Mountain Lion" (Hogan), Supp. IV, Part 1, 412 "Mountain, The" (Frost), Retro. Supp. I, 121 Mountains, The (Wolfe), IV, 461 "Mountains grow unnoticed, The" (Dickinson), Retro. Supp. I, 46 "Mount-Joy: or Some Passages Out of the Life of a CastleBuilder" (Irving), II, 314 "Mourners, The" (Malamud), Supp. I, Part 2, 431, 435, 436437 Mourners Below (Purdy), Supp. VII, 274, 280 "Mourning and Melancholia" (Freud), Supp. IV, Part 2, 450 Mourning Becomes Electra (O'Neill), III, 391, 394, 398400 "Mourning Poem for the Queen of Sunday" (Hayden), Supp. II, Part 1, 379-380 Moveable Feast, A (Hemingway), II, 257; Retro. Supp. I, 108, 171, 186-187

Movement, The: Documentary of a Struggle for Equality (Student Nonviolent Coordinating Committee), Supp. IV, Part 1, 369 "Movie" (Shapiro), Supp. II, Part 2,707 "Movie Magazine, The: A Low 'Slick' " (Percy), Supp. Ill, Part 1, 385 Moviegoer, The (Percy), Supp. Ill, Part 1, 383-385, 387, 389-392, 394, 397 "Moving Finger, The" (Wharton), Retro. Supp. I, 365 Moving On (McMurtry), Supp. V, 223-224 Moving Target, The (Macdonald), Supp. IV, Part 2, 462, 463, 467, 470, 471, 473, 474 Moving Target, The (Merwin), Supp. Ill, Part 1, 346, 347348, 352, 357 "Mowbray Family, The" (Farrell and Alden), II, 45 "Mowing" (Frost), II, 169-170; Retro. Supp. I, 127, 128 "Moxan's Master" (Bierce), I, 206 Moyers, Bill, Supp. IV, Part 1, 267 Moynihan, Julian, Supp. I, Part 2, 627 "Mozart and the Gray Steward" (Wilder), IV, 358 Mozart, Wolfgang Amadeus, I, 479, 588, 592; IV, 74, 358; Supp. IV, Part 1, 284 Mr. and Mrs. Baby and Other Stories (Strand), Supp. IV, Part 2,631 "Mr. and Mrs. Fix-It" (Lardner), 11,431 Mr. Arcularis (Aiken), I, 54, 56 "Mr. Bruce" (Jewett), II, 397 "Mr. Burnshaw and the Statue" (Stevens), Retro. Supp. I, 298, 303 Mr. Clemens and Mark Twain (Kaplan), I, 247-248 "Mr. Coffee and Mr. Fixit" (Carver), Supp. Ill, Part 1, 145

518 / INDEX "Mr. Cornelius Johnson, OfficeSeeker" (Dunbar), Supp. II, Parti, 211, 213 "Mr. Costyve Duditch" (Toomer), Supp. Ill, Part 2, 486 "Mr. Edwards and the Spider" (Lowell), I, 544; II, 550 Mr. Field's Daughter (Bausch), Supp. VII, 47-48, 51-52 "Mr. Flood's Party" (Robinson), 111,512 "Mr. Frost's Chickens" (Oliver), Supp. VII, 232-233 Mr. Hodge and Mr. Hazard (Wylie), Supp. I, Part 2, 708, 709, 714, 721-724 "Mr. Hueffer and the Prose Tradition" (Pound), III, 465 "Mr. Longfellow and His Boy" (Sandburg), III, 591 "Mr. Luna and History" (Rios), Supp. IV, Part 2, 551 Mr. Moto Is So Sorry (Marquand), III, 57, 58 "Mr. Preble Gets Rid of His Wife" (Thurber), Supp. I, Part 2, 615 "Mr. Rolfe" (Wilson), IV, 436 Mr. Sammler's Planet (Bellow), I, 144, 147, 150, 151, 152, 158 "Mr. Shelley Speaking" (Wylie), Supp. I, Part 2, 719 "Mr. Thompson's Prodigal" (Harte), Supp. II, Part 1, 354 "Mr. Whittier" (Scott), Supp. I, Part 2, 705 Mr. Wilson's War (Dos Passos), I, 485 Mrabet, Mohammed, Supp. IV, Part 1, 92, 93 Mrs. Albert Grundy: Observations in Philistia (Frederic), II, 138139 "Mrs. Bilingsby's Wine" (Taylor), Supp. V, 323 "Mrs. Cassidy's Last Year" (Gordon), Supp. IV, Part 1, 306 Mrs. Dalloway (Woolf), Supp. IV, Part 1, 299 "Mrs. Kate Chopin" (Deyo), Supp. I, Part 1, 226

"Mrs. Maecenas" (Burke), I, 271 "Mrs. Mandrill" (Nemerov), III, 278 "Mrs. Manstey's View" (Wharton), Retro. Supp. I, 362, 363 Mrs. Reynolds (Stein), IV, 43 Mrs. Ted Bliss (Elkin), Supp. VI, 56,58 "Mrs. Turner Cutting the Grass" (Shields), Supp. VII, 319-320 "Mrs. Walpurga" (Rukeyser), Supp. VI, 273 "MS. Found in a Bottle" (Poe), III, 411,416 "Ms. Lot" (Rukeyser), Supp. VI, 281 Ms. Magazine, Supp. V, 259 Mttron-Hirsch, Sidney, III, 484485 "Much Madness is divinest Sense" (Dickinson), Retro. Supp. I, 37-38 "Muck-A-Muck" (Harte), Supp. II, Part 1, 342 Mucke, Edith, IV, 23 "Mud Below, The" (Proulx), Supp. VII, 262 "Mud Season" (Kenyon), Supp. VII, 167-168 Mueller, Lisel, Supp. I, Part 1, 83,88 Muggli, Mark, Supp. IV, Part 1, 207 Muhammad Ali, II, 417; III, 46 Muhammad, Elijah, Supp. I, Part 1,60 Muir, Edwin, I, 527; II, 171, 368; III, 20 Mulatto (Hughes), Retro. Supp. I, 197, 203; Supp. I, Part 1, 328, 339 Muldoon, William, I, 500-501 Mule Bone (Hughes and Hurston), Retro. Supp. I, 194, 203; Supp. VI, 154 Mules and Men (Hurston), Supp. VI, 149, 153, 154, 160 Mulford, Prentice, I, 193 Muller, Herbert J., IV, 473 Mullins, Eustace, III, 479 Mullins, Priscilla, II, 502-503

Mumford, Lewis, I, 245, 250, 251, 252, 259, 261; II, 271, 473-474, 485; III, 97; Supp. I, Part 2, 632, 638; Supp. II, Part 2, 471-501 Mumford, Sophia Wittenberg (Mrs. Lewis Mumford), Supp. II, Part 2, 474, 475 Mummy, The (film), Supp. IV, Part 1, 104 "Mundus et Infans" (Auden), Supp. II, Part 1, 15 "Munich, 1938" (Lowell), II, 554 "Municipal Report, A" (Henry), Supp. II, Part 1, 406^07 Munsey, Frank, I, 501 Munson, Gorham B., I, 252, 263, 388, 432, 450; Supp. I, Part 2, 454, 478 Murasaki, Lady, II, 577 Muray, Nicholas, Supp. I, Part 2, 708 Murder in the Cathedral (Eliot), I, 571, 573, 580, 581; II, 20; Retro. Supp. I, 65 Murder, My Sweet (film), Supp. IV, Part 1, 130 Murder of Lidice, The (Millay), III, 140 "Murderer Guest, The" (Gordon), Supp. IV, Part 1, 306 "Murders in the Rue Morgue, The" (Poe), III, 412, 416, 419-420 Murdock, Kenneth B., II, 340 Murphy, Francis, IV, 165 Murphy, Gardner, II, 365 Murray, Edward, I, 229; III, 169 Murray, Gilbert, III, 468^69 Murray, H. A., Ill, 95 Murray, Jan, Supp. IV, Part 2, 574 Murray, John, II, 304; III, 76, 79; Retro. Supp. I, 246 Murray, Margaret A., Supp. V, 128 Murrell, John A., IV, 265 Murrell, William, Supp. I, Part 2, 626 Mursell, James L., Supp. I, Part 2,608 "Muse" (Ammons), Supp. VII, 29

INDEX / 519 "Muse, Postmodern and Homeless, The" (Ozick), Supp. V, 272 "Musee des Beaux Arts" (Auden), Retro. Supp. I, 430; Supp. II, Part 1, 14 Muses Are Heard, The (Capote), Supp. Ill, Part 1, 126 "Muse's Tragedy, The" (Wharton), Retro. Supp. I, 364 Museum (Dove), Supp. IV, Part 1, 245-247, 248 "Museum" (Hass), Supp. VI, 107 Museums and Women (Updike), Retro. Supp. I, 321 "Mushrooms" (Plath), Supp. I, Part 2, 539 "Music" (Oliver), Supp. VII, 236 Music After the Great War (Van Vechten), Supp. II, Part 2, 732 Music and Bad Manners (Van Vechten), Supp. II, Part 2, 733 "Music for a Farce" (Bowles), Supp. IV, Part 1, 83 Music for Chameleons (Capote), Supp. Ill, Part 1, 120, 125127, 131, 132 "Music for Museums?" (Van Vechten), Supp. II, Part 2, 732 "Music for the Movies" (Van Vechten), Supp. II, Part 2, 733 "Music from Spain" (Welty), IV, 272 "Music of Prose, The" (Gass), Supp. VI, 92 Music of Spain, The (Van Vechten), Supp. II, Part 2, 734, 735 "Music School, The" (Updike), Retro. Supp. I, 326, 329, 335 Music School The (Updike), IV, 214, 215, 219, 226, 227; Retro. Supp. I, 320, 328, 329, 330 "Music Swims Back to Me" (Sexton), Supp. II, Part 2, 673 Muske, Carol, Supp. IV, Part 2, 453^54 "Mussel Hunter at Rock Harbor" (Plath), Supp. I, Part 2, 529, 537 Musset, Alfred de, I, 474; II, 543 Mussolini, Benito, III, 115, 473, 608; IV, 372, 373; Supp. I,

Parti, 281,282, Part 2, 618; Supp. V, 290 "Must the Novelist Crusade?" (Welty), IV, 280 "Mutability of Literature, The" (Irving), II, 308 Mute, The (McCullers), II, 586 Mutilated, The (Williams), IV, 382, 386, 393 Mutiny of the Elsinore, The (London), II, 467 "My Adventures as a Social Poet" (Hughes), Retro. Supp. I, 194, 207 "My Alba" (Ginsberg), Supp. II, Part 1, 320, 321 My Antonia (Gather), I, 321-322; Retro. Supp. I, 1, 3, 4, 11-13, 14, 17, 18, 22; Supp. IV, Part 2,608 "My Arkansas" (Angelou), Supp. IV, Part 1, 15 "My Aunt" (Holmes), Supp. I, Part 1,302, 310 My Bondage and My Freedom (Douglass), Supp. Ill, Part 1, 155, 173 My Brother (Kincaid), Supp. VII, 191-193 "My Brothers the Silent" (Merwin), Supp. Ill, Part 1, 349-350 "My Butterfly" (Frost), II, 151; Retro. Supp. I, 124 "My Children, and a Prayer for Us" (Ortiz), Supp. IV, Part 2, 507 "My Confession" (McCarthy), II, 562 "My Country 'Tis of Thee" (Reznikoff), Supp. Ill, Part 2, 616 My Days of Anger (Farrell), II, 34, 35-36, 43 My Emily Dickinson (Howe), Retro. Supp. I, 33, 43; Supp. IV, Part 2, 430-431 "My English" (Alvarez), Supp. VII, 2 "My Father" (Sterne), IV, 466 "My Father at Eighty-Five" (Bly), Supp. IV, Part 1, 73

"My Father with Cigarette Twelve Years Before the Nazis Could Break His Heart" (Levine), Supp. V, 194 "My Fathers Came From Kentucky" (Lindsay), Supp. I, Part 2, 395 "My Father's Telescope" (Dove), Supp. IV, Part 1, 246, 248 "My Favorite Murder" (Bierce), I, 205 My Favorite Plant: Writers and Gardeners on the Plants They Love (Kincaid), Supp. VII, 193-194 "My First Book" (Harte), Supp. II, Part 1, 343 My Friend, Henry Miller (Perles), III, 189 My Friend, Julia Lathrop (Addams), Supp. I, Part 1, 25 "My Friend, Walt Whitman" (Oliver), Supp. VII, 245 "My Garden Acquaintance" (Lowell), Supp. I, Part 2, 420 My Garden [Book]: (Kincaid), Supp. VII, 193-194 "My Grandfather" (Lowell), II, 554 "My Grandson, Home at Last" (Angelou), Supp. IV, Part 1, 13 My Heart's in the Highlands (Saroyan), Supp. IV, Part 1, 83 "My High School Reunion" (Kingston), Supp. V, 169 "My Kinsman, Major Molineux" (Hawthorne), II, 228, 229, 237239, 243; Retro. Supp. I, 153154, 158, 160, 161 My Kinsman, Major Molineux (Lowell), II, 545-546 "My Last Afternoon with Uncle Devereux Winslow" (Lowell), II, 547-548 "My Life" (Strand), Supp. IV, Part 2, 627 My Life a Loaded Gun: Dickinson, Plath, Rich, and Female Creativity (Bennett), Retro. Supp. I, 29

520 / INDEX My Life and Hard Times (Thurber), Supp. I, Part 2, 607, 609 My Life as a Man (Roth), Supp. Ill, Part 2, 401, 404, 405, 417418 "My life closed twice before its close" (Dickinson), Retro. Supp. I, 38 "My Life had stood a Loaded Gun" (Dickinson), Retro. Supp. I, 42, 43, 45, 46; Supp. IV, Part 2, 430 My Life, Starring Dara Falcon (Beattie), Supp. V, 31, 34-35 My Lives and How I Lost Them (Cullen), Supp. IV, Part 1, 173 "My Lost City" (Fitzgerald), Retro. Supp. I, 102 "My Lost Youth" (Longfellow), II, 487, 499 "My Lover Has Dirty Fingernails" (Updike), Retro. Supp. I, 332, 333 "My Lucy Friend Who Smells Like Corn" (Cisneros), Supp. VII, 68-69 My Mark Twain (Howells), II, 276 "My Metamorphosis" (Harte), Supp. II, Part 1, 339 My Mortal Enemy (Gather), I, 327-328; Retro. Supp. I, 1617; Supp. I, Part 2, 719 "My Mother and My Sisters" (Ortiz), Supp. IV, Part 2, 499 "My Mother Is Speaking from the Desert" (Gordon), Supp. IV, Part 1, 309, 314 My Mother, My Father and Me (Hellman), Supp. I, Part 1, 290-291 "My Mother with Purse the Summer They Murdered the Spanish Poet" (Levine), Supp. V, 194 "My Mother's Memoirs, My Father's Lie, and Other True Stories" (Banks), Supp. V, 15 "My Mother's Nipples" (Hass), Supp. VI, 109 "My Mother's Story" (Kunitz), Supp. Ill, Part 1, 259

My Movie Business: A Memoir (Irving), Supp. VI, 164 "My Name" (Cisneros), Supp. VII, 60 "My Old Man" (Hemingway), II, 263 "My Passion for Ferries" (Whitman), IV, 350 "My People" (Hughes), Retro. Supp. I, 197; Supp. I, Part 1, 321-322, 323 "My Playmate" (Whittier), Supp. I, Part 2, 699-700 "My Roomy" (Lardner), II, 420, 421, 428, 430 "My Sad Self (Ginsberg), Supp. II, Part 1, 320 "My Side of the Matter" (Capote), Supp. Ill, Part 1, 114, 115 My Silk Purse and Yours: The Publishing Scene and American Literary Art (Garrett), Supp. VII, 111 My Sister Eileen (McKenney), IV, 288 My Sister's Hand in Mine: The Collected Works of Jane Bowles, Supp. IV, Part 1, 82-83 "My Son" (Strand), Supp. IV, Part 2, 629 My Son, John (film), Supp. I, Part 1,67 "My Son, the Murderer" (Malamud), Supp. I, Part 2, 437 My Study Windows (Lowell), Supp. I, Part 2, 407 "My Tocaya" (Cisneros), Supp. VII, 69 My Uncle Dudley (Morris), I, 305; III, 219-220 My Weekly Reader (magazine), Supp. IV, Part 2, 501 "My Wicked Wicked Ways" (Cisneros), Supp. VII, 58, 6466 My Wicked Wicked Ways (Cisneros), Supp. VII, 58, 6468,71 My Works and Days (Mumford), Supp. II, Part 2, 475, 477, 481

My World and Welcome to It (Thurber), Supp. I, Part 2, 610 Myers, Andrew B., II, 317 Myers, Linda A., Supp. IV, Part 1,10 Myra Breckinridge (Vidal), Supp. IV, Part 2, 677, 685-686, 689, 691 Myron (Vidal), Supp. IV, Part 2, 677, 685, 686, 691 "Mysteries of Eleusis, The" (Hardwick), Supp. Ill, Part 1, 195 Mysterious Stranger, The (Twain), IV, 190-191, 210 Mystery, A (Shields), see Swann (Shields) " 'Mystery Boy' Looks for Kin in Nashville" (Hayden), Supp. II, Part 1, 366, 372 "Mystery of Heroism, A" (Crane), 1,414 "Mystery of Marie Roget, The" (Poe), III, 413, 419 "Mystery, The" (Dunbar), Supp. II, Part 1, 199, 210 "Mystery, The" (Gliick), Supp. V, 91 "Mystic" (Plath), Supp. I, Part 2, 539, 541 "Mystic Vision in 'The Marshes of Glynn' " (Warfel), Supp. I, Part I, 366, 373 "Mystical Poet, A" (Bogan), Retro. Supp. I, 36 Mysticism, I, 159, 382, 383, 402; II, 21; III, 561, 562, 567, 568, 602; IV, 4, 7, 60, 333, 335, 339, 347, 351, 352, 383 "Mystification" (Poe), III, 425 "Myth" (Rukeyser), Supp. VI, 281-282 Myth of Sisyphus, The (Camus), I, 294 "Myth of the Isolated Artist, The" (Gates), Supp. II, Part 2, 520 Myth of the Machine, The (Mumford), Supp. II, Part 2, 476, 478, 482, 483, 493, 497 Mythology and the Romantic Tradition in English Poetry (Bush), Supp. I, Part 1, 268, 275

INDEX / 521 Nabokov, Dmitri, III, 246, 249, 250 Nabokov, Mrs. Vladimir, III, 246, 249, 250 Nabokov, Peter, Supp. IV, Part 2, 490 Nabokov, Vera, Retro. Supp. I, 266, 270 Nabokov, Vladimir, I, 135; III, 244-266, 283, 286; Retro. Supp. I, 263-281, 317, 335; Supp. I, Part 1, 196; Supp. II, Part 1, 2; Supp. IV, Part 1, 135; Supp. V, 127,237,251, 252, 253 Nabokov family, III, 245 Nabokov's Dozen (Nabokov), Retro. Supp. I, 266 Nadel, Alan, Supp. IV, Part 1, 209 Naipaul, V. S., Supp. IV, Part 1, 297 Naked and the Dead, The (Mailer), I, 477; III, 26, 27, 28-30, 31, 33, 35, 36, 44; Supp. IV, Part 1,381 Naked Lunch (Burroughs), Supp. III, Part 1, 92-95, 97-105; Supp. IV, Part 1, 90 "Naked Nude" (Malamud), Supp. I, Part 2, 450 Naked Poetry (eds. Berg and Mezey), Supp. IV, Part 1, 60 Naked Poetry (Levine), Supp. V, 180 "Name in the Papers" (Hughes), Supp. I, Part 1, 330 Name Is Archer, The (Macdonald, under Millar), Supp. IV, Part 2, 466 "Name Is Burroughs, The" (Burroughs), Supp. Ill, Part 1, 93 Name Is Fogarty, The: Private Papers on Public Matters (Farrell), II, 49 Namedropping: Mostly Literary Memoirs (Coover), Supp. V, 40 Names, The (DeLillo), Supp. VI, 3, 10, 13, 14 Names, The (Momaday), Supp. IV, Part 2, 479, 480, 483, 486, 487, 488, 489

Names and Faces of Heroes, The (Price), Supp. VI, 258, 260 Names of the Lost, The (Levine), Supp. V, 177-178,179, 187-188 "Naming Myself (Kingsolver), Supp. VII, 208 Nana (Zola), III, 321 "Nancy Knapp" (Masters), Supp. I, Part 2, 461 "Nap, The" (Banks), Supp. V, 7 "Napoleon" (Emerson), II, 6 Napoleon I, I, 6, 7, 8, 474; II, 5, 309, 315, 321, 523; Supp. I, Parti, 153, Part 2, 518, 519 Narcissa and Other Fables (Auchincloss), Supp. IV, Part 1, 21, 34 "Narcissus as Narcissus" (Tate), IV, 124 Nardi, Marcia, Retro. Supp. I, 426, 427 Narration (Stein), IV, 27, 30, 32, 33,36 Narrative (publication), Supp. I, Part 2, 588 Narrative of a Four Months' Residence among the Natives of a Valley of the Marquesas Islands (Melville), III, 76 "Narrative of Arthur Gordon Pym, The" (Poe), III, 416 Narrative of Arthur Gordon Pym, The (Poe), III, 412 Narrative of the Life of Frederick Douglass, an American Slave, Written by Himself (Douglass), Supp. Ill, Part 1, 154-159, 162, 165; Supp. IV, Part 1, 13 "Narrative Stance in Kate Chopin's The Awakening " (Sullivan and Smith), Supp. I, Part 1, 226 Narrenschijf, Das (Brant), III, 447 "Narrow Fellow in the Grass, A" (Dickinson), Retro. Supp. I, 30, 37 Narrow Heart, A: Portrait of a Woman (Gordon), II, 197, 217 Narrow Rooms (Purdy), Supp. VII, 274 Nash, Ralph, IV, 425 Nash, Thomas, Supp. Ill, Part 1, 387-388

Nashe, Thomas, I, 358 Nashville Agrarians, Supp. II, Part 1, 139, 142 Nassau Lit (publication), IV, 427 Nassau Literary Magazine, Retro. Supp. I, 100 Nasser, Gamal Abdel, IV, 490 Natalie Mann (Toomer), Supp. Ill, Part 2, 484-486 Nathan, George Jean, II, 91; III, 103, 104, 106, 107, 408; IV, 432; Supp. IV, Part 1, 343 Nation (publication), I, 31, 170, 360; II, 274, 322, 328, 345, 367, 431, 561; III, 292, 443; IV, 125; Retro. Supp. I, 103, 219, 361, 362; Supp. I, Part 1, 50, 209, Part 2, 647; Supp. IV, Part 1, 66, 169, 235 "Nation Is Like Ourselves, The" (Baraka), Supp. II, Part 1, 53 National Association for the Advancement of Colored People, Retro. Supp. I, 198, 200 National Era (publication), Supp. I, Part 2, 590, 687 National Gazette (periodical), Supp. II, Part 1, 266-267, 269 National Geographic (magazine), Supp. I, Part 1, 94 National Institute of Arts and Letters, Retro. Supp. I, 1, 320, 428 National Observer (publication), Supp. IV, Part 2, 657 National Poetry Association Anthology, The, Supp. I, Part 2, 530 National Portrait Gallery, Retro. Supp. I, 354 National Review (publication), Supp. IV, Part 1, 197, 198, 201, Part 2, 526 "Nationalist, The" (Anderson), I, 115 "Native American Attitudes to the Environment" (Momaday), Supp. IV, Part 2, 481,491 Native American Renaissance (Lincoln), Supp. IV, Part 2, 507

522 / INDEX Native American Testimony (ed. Nabokov), Supp. IV, Part 2, 490 Native of Winby, A, and Other Tales (Jewett), II, 396 Native Son (Wright), IV, 476, 477, 478, 479, 481, 482^84, 485, 487, 488, 491, 495; Supp. I, Part 1,51, 64, 67, 337; Supp. 11, Part 1, 170, 235-236 "Native Trees" (Merwin), Supp. Ill, Part 1, 355 Natural The (Malamud), II, 424, 425; Supp. I, Part 2, 438-441, 443 "Natural, The: Malamud's World Ceres" (Wasserman), Supp. I, Part 2, 439, 453 "Natural History of the Dead" (Hemingway), II, 206; Retro. Supp. I, 176 "Natural Method of Mental Philosophy" (Emerson), II, 14 "Natural Resources" (Rich), Supp. I, Part 2, 575 "Nature" (Emerson), Retro. Supp. I, 250; Supp. I, Part 2, 383; Supp. Ill, Part 1, 387 Nature (Emerson), I, 463; II, 1, 8, 12, 16; IV, 171, 172-173 Nature and Destiny of Man, The (Niebuhr), III, 292, 303-306, 310 "Nature and Life" (Emerson), II, 19 "Nature and Nurture: When It Comes to Twins, Sometimes It's Hard to Tell the Two Apart" (Bausch), Supp. VII, 40 "Nature, Inc." (Lewis), II, 441 Nature of Evil, The (James), II, 343 Nature of Peace, The (Veblen), Supp. I, Part 2, 642 Nature of True Virtue, The (Edwards), I, 549, 557-558, 559 Nature: Poems Old and New (Swenson), Supp. IV, Part 2, 652 "Nature-Metaphors" (Lanier), Supp. I, Part 1, 352

"Navajo Blanket, A" (Swenson), Supp. IV, Part 2, 649 Navarette, Don Martin de, II, 310 Navarro, Ramon, Supp. IV, Part 1,206 Navigator, The (film), I, 31 Naylor, Paul Kenneth, Supp. IV, Part 2, 420 Nazimova, III, 399 Nazism, I, 492, 515; II, 63 Neal, Lawrence P., Supp. I, Part 1, 70; Supp. II, Part 1, 53 Neal, Patricia, Supp. I, Part 1, 286; Supp. IV, Part 2, 524; Supp. V, 223 Neale, Walter, I, 192, 208 Near Klamath (Carver), Supp. Ill, Part 1, 137 "Near Perigord" (Pound), Retro. Supp. I, 289, 290 Near the Ocean (Lowell), II, 543, 550, 551-553, 554, 555 Near-Johannesburg Boy and Other Poems, The (Brooks), Supp. Ill, Part 1, 86 Nebuchadnezzar, King, I, 366 Necessary Angel, The (Stevens), IV, 76, 79, 89, 90 Necessities of Life (Poems 196265) (Rich), Supp. I, Part 2, 553, 555 "Necessity and Freedom: The Poetry of Robert Lowell, Sylvia Plath and Anne Sexton" (Jones), Supp. I, Part 2, 548 "Necrological" (Ransom), III, 486^89, 490, 492 Ned Christie's War (Conley), Supp. V, 232 "Need for a Cultural Base to Civil Rites & Bpower Mooments, The" (Baraka), Supp. II, Part 1, 48 "Need of Being Versed in Country Things, The" (Frost), II, 154; Retro. Supp. I, 133, 135 Needful Things (King), Supp. V, 139, 146 Neff, Emery, III, 526 Negligible Tales (Bierce), I, 209 "Negro" (Hughes), Supp. I, Part 1, 321-322

Negro, The (Du Bois), Supp. II, Part 1, 178, 179, 185 Negro, The: The Southerner's Problem (Page), Supp. II, Part 1, 168 "Negro Artisan, The" (Du Bois), Supp. II, Part 1, 166 "Negro Artist and the Racial Mountain, The" (Hughes), Retro. Supp. I, 200, 207; Supp. I, Part 1, 323, 325; Supp. IV, Part 1, 169 "Negro Assays the Negro Mood, A" (Baldwin), Supp. I, Part 1, 52 "Negro Church, The: James Baldwin and the Christian Vision" (Margolies), Supp. I, Part 1, 70 "Negro Citizen, The" (Du Bois), Supp. II, Part 1, 179 "Negro Dancers" (Hughes), Retro. Supp. I, 199; Supp. I, Part 1, 324 "Negro Farmer, The" (Du Bois), Supp. II, Part 1, 167 "Negro Ghetto" (Hughes), Supp. I, Part 1,331 Negro in American Civilization, The (Du Bois), Supp. II, Part 1, 179 "Negro in Large Cities, The" (Du Bois), Supp. II, Part 1, 169 "Negro in Literature and Art, The" (Du Bois), Supp. II, Part 1, 174 Negro in New York, The (Ellison), Supp. II, Part 1, 230 "Negro in the Black Belt, The: Some Social Sketches" (Du Bois), Supp. II, Part 1, 166 "Negro in the Well, The" (Caldwell), I, 309 "Negro Love Song, A" (Dunbar), Supp. II, Part 1, 204 Negro Mother, The (Hughes), Supp. I, Part 1, 328 Negro Mother and Other Dramatic Recitations, The (Hughes), Retro. Supp. I, 203 Negro Publication Society of America, Retro. Supp. I, 205

INDEX / 523 Negro Quarterly (periodical), Supp. II, Part 1, 237 "Negro Schoolmaster in the New South, A" (Du Bois), Supp. II, Part 1, 168 "Negro Sermon, A: Simon Legree" (Lindsay), Supp. I, Part 2, 393 "Negro Sings of Rivers, The" (Hughes), Supp. IV, Part 1, 16 "Negro Speaks of Rivers, The" (Hughes), Retro. Supp. I, 199; Supp. I, Part 1, 321 "Negro Takes Stock, The" (Du Bois), Supp. II, Part 1, 180 "Negro Theatre, The" (Van Vechten), Supp. II, Part 2, 735 "Negro Voter Sizes Up Taft, A" (Hurston), Supp. VI, 160 "Negro Writer and His Roots, The: Toward a New Romanticism" (Hansberry), Supp. IV, Part 1, 364 "Negroes of Farmville, Virginia, The: A Social Study" (Du Bois), Supp. II, Part 1, 166 "Nehemias Americanus" (Mather), Supp. II, Part 2, 453 Nehru, Jawaharlal, IV, 490 Neider, Charles, IV, 212 "Neighbor" (Hugo), Supp. VI, 135-136 "Neighbors" (Carver), Supp. Ill, Part 1, 135, 139, 141 "Neighbors" (Hogan), Supp. IV, Part 1, 405 "Neighbour Rosicky" (Gather), I, 331-332 Neil Simon (Johnson), Supp. IV, Part 2, 573 "Neil Simon: Toward Act III?" (Walden), Supp. IV, Part 2, 591 "Neil Simon's Jewish-Style Comedies" (Walden), Supp. IV, Part 2, 584, 591 Neilson, Heather, Supp. IV, Part 2,681 "Neither Out Far Nor In Deep" (Frost), I, 303; Retro. Supp. I, 121, 138 "Nellie Clark" (Masters), Supp. I, Part 2, 461

Nelson, Benjamin, III, 169; IV, 401 Nelson, Ernest, I, 388 Nelson, Gerald, I, 96 Nelson, Harland S., I, 427 Nelson, Howard, Supp. IV, Part 1, 66, 68 Nelson, Jane A., Ill, 192 Nelson, Lord Horatio, II, 524 Nemerov, Alexander, III, 268, 286 Nemerov, David, II, 268 Nemerov, Howard, I, 542; III, 267-289; IV, 137, 140, 143; Supp. Ill, Part 2, 541; Supp. IV, Part 2, 455, 650 Nemerov, Jeremy, III, 268 Nemerov, Mrs. Howard, III, 268 Nemiroff, Robert Barron, Supp. IV, Part 1, 360, 361, 365, 369, 370, 374 Neoclassicism, II, 558, 571, 579; III, 40; IV, 145 Nephew, The (Purdy), Supp. VII, 271, 273, 282 Neruda, Pablo, Supp. I, Part 1, 89; Supp. IV, Part 2, 537; Supp. V, 332 Nest of Ninnies, A (Ashbery and Schuyler), Supp. Ill, Part 1, 3 "Net to Snare the Moonlight, A" (Lindsay), Supp. I, Part 2, 387 Nets to Catch the Wind (Wylie), Supp. I, Part 2, 709, 710-712, 714 Nettleton, Asahel, I, 458 Neubauer, Carol E., Supp. IV, Part 1, 9 Neumann, Erich, Supp. I, Part 2, 567; Supp. IV, Part 1, 68, 69 "Never Bet the Devil Your Head" (Poe), III, 425 "Never Marry a Mexican" (Cisneros), Supp. VII, 70 "Never Room with a Couple" (Hughes), Supp. I, Part 1, 330 "Nevertheless" (Moore), III, 214 Nevins, Allan, I, 253; Supp. I, Part 1, 173, Part 2, 486, 493 Nevius, Blake, IV, 330 New Age (journal), Retro. Supp. I, 287

"New Age of the Rhetoricians, The" (Cowley), Supp. II, Part I, 135 New American Literature, The (Pattee), II, 456 New American Review, Supp. V, 44 New and Collected Poems (Wilbur), Supp. Ill, Part 2, 562-564 New and Selected Poems (Nemerov), III, 269, 275, 277279 New and Selected Poems (Oliver), Supp. VII, 240-241, 245 New and Selected Things Taking Place (Swenson), Supp. IV, Part 2, 648-650, 651 "New Art Gallery Society, The" (Wolfe), Supp. Ill, Part 2, 580 New Challenge (periodical), Supp. II, Part 1, 228-229, 232 New Conscience and an Ancient Evil, A (Addams), Supp. I, Part 1, 14-15, 16 New Criterion, The (publication), Supp. Ill, Part 2, 611, 613; Retro. Supp. I, 108 New Criticism, I, 267, 273, 276, 280, 281, 282, 283, 517; III, 591; IV, 236, 237, 331,433 New Criticism, The (Ransom), III, 497-498, 499, 501 New Critics, Supp. II, Part 1, 8788, 90, 103, 106-107, 135, 136, 137, 318, Part 2, 416, 639, 698, 703, 713 "New Day, A" (Levine), Supp. V, 182 New Dictionary of Quotations, A (Mencken), III, 111 New Directions, Retro. Supp. I, 423, 424, 426, 428, 430 New Directions (publication), Supp. Ill, Part 2, 624 New Directions in Poetry and Prose (publication), Supp. IV, Part 2, 639 New Directions Number Seven (journal), Retro. Supp. I, 426 New Eclectic (magazine), see Southern Magazine

524 / INDEX "New England" (Lowell), II, 536 "New England" (Robinson), III, 510, 524 "New England Bachelor, A" (Eberhart), I, 539 New England Courant (newspaper), II, 106 New England: Indian Summer (Brooks), I, 253, 256 New England Primer (children's educational publication), Supp. I, Part 1, 310 "New England Sabbath-Day Chace, The" (Freneau), Supp. II, Part 1, 273 New England Saints (Warren), Supp. I, Part 1, 123 New England Tragedies, The (Longfellow), II, 490, 505, 506 New England Weekly Review (publication), Supp. I, Part 2, 684 "New Englander, The" (Anderson), 1,114 New Era in American Poetry, The (Untermeyer), Supp. I, Part 2, 402 New Found Land: Fourteen Poems (MacLeish), III, 12-13 New Freeman (publication), II, 26 New Hampshire: A Poem with Notes and Grace Notes (Frost), II, 154-155; Retro. Supp. I, 132, 133, 135 "New Hampshire, February" (Eberhart), I, 536 New Industrial State, The (Galbraith), Supp. I, Part 2, 648 New Journalism, The (ed. Wolfe and Johnson), Supp. Ill, Part 2, 570, 579-581, 583, 586 "New Journalism, The" (Wolfe), Supp. Ill, Part 2, 571 New Leader (publication), III, 292; Supp. I, Part 1, 50 New Left, The: The Anti-Industrial Revolution (Rand), Supp. IV, Part 2, 527 "New Life" (Gluck), Supp. V, 90 New Life, A (Malamud), Supp. I, Part 2, 429-466

"New Life at Kyerefaso" (Sutherland), Supp. IV, Part 1, 9 "New Light on Veblen" (Dorfman), Supp. I, Part 2, 650 New London Telegraph (newspaper), III, 387 New Masses (publication), II, 450; III, 434, 582; IV, 476; Retro. Supp. I, 137, 202, 203, 303, 423; Supp. I, Part 1,331; Supp. Ill, Part 2, 618 "New Medea, The" (Howells), II, 282 "New Mothers, The" (Shields), Supp. VII, 310 New Music (journal), Supp. IV, Part 1, 82 New Music (Price), Supp. VI, 264, 265 "New Name for Some Old Ways of Thinking, A" (James), II, 353 New Native American Novel, The: Works in Progress (Bartlett), Supp. IV, Part 1, 335 "New Natural History, A" (Thurber), Supp. I, Part 2, 619 New Negro, The (anthology), Retro. Supp. I, 199 New Negro, The (Locke), Supp. II, Part 1, 176 New Negro, The: An Interpretation (Locke), Supp. IV, Part 1, 170 New Negro movement, Supp. II, Part 1, 233 New Numbers (magazine), III, 471 New Orleans Crescent (newspaper), IV, 194, 334 New Orleans Sketches (Faulkner), Retro. Supp. I, 80 New Orleans Times-Picayune (newspaper), II, 56; Retro. Supp. I, 80 New Path to the Waterfall, A (Carver), Supp. Ill, Part 1, 138-140, 147, 149 "New Poem, The" (Wright), Supp. V, 339, 340 "New Poems" (MacLeish), III, 19 "New Poems" (Oliver), Supp. VII, 240

"New Poetry Handbook, The" (Strand), Supp. IV, Part 2, 626 New Poetry, The (eds. Monroe and Henderson), Supp. I, Part 2, 387 New Poetry of Mexico (trans. Strand), Supp. IV, Part 2, 630 New Poets, The: American and British Poetry Since World War Two (Rosenthal), Supp. I, Part 2, 548-549 New Poets of England and America (eds. Hall, Pack, and Simpson), Supp. IV, Part 2, 621 New Radicalism in America, The (1889-1963): The Intellectual as a Social Type (Lasch), Supp. I, Part 1, 27 New Republic (magazine), I, 170, 230, 231, 232, 233, 294; II, 430, 562; III, 171, 292, 452; IV, 427; Retro. Supp. I, 15, 19, 79, 131; Supp. I, Part 1, 174, 332, Part 2, 609, 647, 709; Supp. II, Part 1, 139, 140, 142; Supp. Ill, Part 2, 612; Supp. IV, Part 1, 22, 208, 286, 351, Part 2, 527, 653, 657; Supp. V, 319 ''New Republic Moves Uptown, The" (Cowley), Supp. II, Part 1, 142 New Review (publication), II, 26; Supp. Ill, Part 2, 613 "New Season" (Levine), Supp. V, 188 New Song, A (Hughes), Retro. Supp. I, 202; Supp. I, Part 1, 328, 331-332 "New South, The" (Lanier), Supp. I, Part 1, 352, 354, 370 "New Spirit, The" (Ashbery), Supp. Ill, Part 1, 14, 15 New Spoon River, The (Masters), Supp. I, Part 2, 461-465, 473 "New Spoon River, The: Fifteen Facsimile Pages" (Robinson), Supp. I, Part 2, 478 New Star Chamber and Other Essays, The (Masters), Supp. I, Part 2, 455-456, 459

INDEX / 525 New Statesman (publication), I, 253; II, 445; Supp. IV, Part 2, 691 New Tales of the Vampires (Rice), Supp. VII, 290 New Testament, I, 303, 457, 458; II, 167; III, 305; IV, 114, 134, 152; Retro. Supp. I, 58, 140, 360; Supp. I, Part 1, 104, 106, Part 2, 516; see also names of New Testament books New Testament, A (Anderson), I, 101, 114 "New Theory of Thorstein Veblen, A" (Galbraith), Supp. I, Part 2, 650 New Times (journal), Supp. IV, Part 2, 542 "New Verse" (Mizener), Supp. I, Part 1, 97 "New Woman Revisited, The" (Forrey), Supp. I, Part 1, 226 New Woman's Survival Sourcebook, The (eds. Rennie and Grimstead), Supp. I, Part 2, 569, 578 New World, The: Tales (Banks), Supp. V, 8, 9, 10 New World Naked, A (Mariani), Retro. Supp. I, 419 New World Writing (publication), Supp. IV, Part 1, 280 New World Writing (Updike), IV, 217 New Worlds of Literature (eds. Beaty and Hunter), Supp. IV, Part 1, 331 New Year Letter (Auden), Supp. II, Part 1, 14, 16 "New Year's Day" (Wharton), Retro. Supp. I, 381 "New Year's Eve" (Schwartz), Supp. II, Part 2, 640, 656657 "New Year's Eve 1968" (Lowell), II, 554 New Year's Eve/1929 (Farrell), II, 43 "New Year's Gift, The" (Stowe),

Supp. I, Part 2, 587 "New York" (Capote), Supp. Ill, Part 1, 122

"New York" (Moore), III, 196, 198, 202, 206 "New York 1965" (Bowles), Supp. IV, Part 1, 94 New York American (newspaper), I, 346; Supp. I, Part 1, 155 New York Amsterdam News (newspaper), Supp. I, Part 1, 327 New York City Arts Project, Supp. Ill, Part 2, 618 New York Courier and Enquirer (newspaper), I, 346 New York Daily News (newspaper), I, 501; II, 591, IV, 3; Supp. IV, Part 1, 383; Supp. V, 295 New York Edition, Retro. Supp. I, 235 "New York Edition" (James), II, 336, 337 New York Evening Mirror (newspaper), III, 413 New York Evening Post (newspaper), Supp. I, Part 1, 156, 158, Part 2, 606 New York Evening Post Literary Review (publication), I, 110 New York Evening Sun (newspaper), IV, 427 New York Express (publication), III, 413 "New York Gold Conspiracy, The" (Adams), I, 4 New York Herald Tribune (newspaper), II, 424; III, 392; Supp. Ill, Part 2, 624; Supp. IV, Part 1, 84, 131, Part 2, 525 New York Herald Tribune Book Review (publication), Supp. IV, Part 1, 22 New York Herald Tribune Books (publication), III, 473 New York Independent (magazine), II, 151 "New York Intellectuals, The" (Howe), Supp. VI, 120 New York Journal (newspaper), I, 207,208,408,409,411,425 New York Morning Chronicle (publication), II, 297 New York Post (newspaper), I, 54; III, 395; IV, 123, 196

New York Press (publication), I, 407, 416 New York Quarterly (publication), Supp. IV, Part 2, 642, 649 New York Review of Books (publication), Retro. Supp. I, 133; Supp. I, Part 2, 550; Supp. IV, Part 1, 22, 30, 35, 198, 199,205,207,210,211, 294, 309, Part 2, 685, 689 New York Sun (newspaper), I, 407; 111,113,413,420 New York Times (newspaper), I, 25; II, 91, 126, 127, 129, 130, 137, 139, 430-431, 591; III, 146, 364, 576; IV, 3, 109, 115, 116,229,301,358,380,384; Supp. I, Part 1, 65, 83, 200, 295, Part 2, 431; Supp. Ill, Part 2, 624; Supp. IV, Part 1, 30, 68, 196, 205, 209, 220, 300, 354, Part 2, 444, 447, 586, 680, 683; Supp. V, 237, 240, 285, 319 New York Times Bestseller List, Supp. V, 141, 226, 227 New York Times Book Review, The (publication), II, 51; III, 575, 581; Retro. Supp. I, 212, 330; Supp. I, Part 1, 372; Supp. IV, Part 1,4, 11, 12, 15,27,30,31, 69, 235, 286, 294, 300, 309, 310, 333, Part 2, 444, 448, 473, 474, 522, 526, 557, 570, 657, 689, 690; Supp. V, 259 New York Times Magazine (publication), IV, 392; Supp. IV, Part 1, 200, 309, 314, Part 2, 583; Supp. V, 169, 219, 241 New York Tribune (newspaper), I, 407; II, 90-91; III, 53; IV, 197; Retro. Supp. I, 9, 73, 75, 140, 257, 276, 295, 351; Supp. I, Part 1, 362 New York World (newspaper), I, 409, 500; IV, 432 New York World-Telegram (newspaper), II, 587 New Yorker (magazine), II, 437; III, 111,246,337,361,452, 552, 559, 564; IV, 214, 215, 218, 261, 274, 280, 429, 430,

526 / INDEX New Yorker (magazine) (continued) 437-439', Retro. Supp. I, 266, 317, 318, 319, 320, 334; Supp. I, Part 1, 60, 174, 175, 195196, 372, Part 2, 530, 607, 609, 619, 620, 651, 653, 654, 655, 659, 660, 669, 673, 679; Supp. IV, Part 1, 39, 40, 45, 53, 54, 199, 200, 210, 280, 309, 353, 356, Part 2, 552, 639, 642; Supp. V, 22-23, 199, 269, 271, 272, 316, 319, 320, 321, 326, 327 Newburyport Free Press (newspaper), Supp. I, Part 2, 683 Newcomb, Robert, II, 111, 125 Newdick, Robert Spangler, Retro. Supp. I, 138 Newdick's Season of Frost (Newdick), Retro. Supp. I, 138 Newell, Henry, IV, 193 New-England Tale, A (Sedgwick), 1,341 Newer Ideals of Peace (Addams), Supp. I, Part 1, 11-12, 15, 1617, 19, 20-21 Newman, Charles, III, 266; Supp. I, Part 2, 527, 546-548 Newman, Edwin, Supp. IV, Part 2,526 Newman, Judie, Supp. IV, Part 1, 304, 305 Newman, Paul, Supp. IV, Part 2, 473, 474 Newman, Paul B., Ill, 48 "Newport of Anchuria" (Henry), Supp. II, Part 1, 409 Newspaper Days, 1899-1906 (Mencken), III, 100, 102; III, 120 Newsweek (magazine), IV, 380; Supp. IV, Part 1, 135, 207, 208, 370, Part 2, 474, 583, 684 News-Week (magazine), Retro. Supp. I, 137 Newton, Benjamin Franklin, I, 454 Newton, Huey P., Supp. I, Part 1, 66; Supp. IV, Part 1, 206

Newton, Isaac, I, 132, 557; II, 6, 103, 348-349; III, 428; IV, 18, 149 New-York Review and Atheneum Magazine (eds. Bryant and Anderson), Supp. I, Part 1, 156 "Next in Line, The" (Bradbury), Supp. IV, Part 1, 102 Next Room of the Dream, The (Nemerov), III 269, 275, 278, 279-280, 284 " 'Next to Reading Matter' " (Henry), Supp. II, Part 1, 399 Next-to-Last Things: New Poems and Essays (Kunitz), Supp. Ill, Part 1, 257-259, 261, 262, 265, 266, 268 Nexus (Miller), III, 170, 187, 188, 189 Niagara movement, Supp. II, Part 1, 168, 172, 176, 177, 180 Niatum, Duane, Supp. IV, Part 1, 331, Part 2, 505 Nice Jewish Boy, The (Roth), Supp. Ill, Part 2, 412 Nicholas II, Tsar, Supp. I, Part 2, 447 Nichols, Charles, Retro. Supp. I, 194 Nichols, Lewis, Supp. I, Part 1, 199 Nichols, Mike, Supp. IV, Part 1, 234, Part 2, 577 Nicholson, Jack, Supp. V, 26 Nick Adams Stories, The (Hemingway), II, 258; Retro. Supp. I, 174 "Nick and the Candlestick" (Plath), Supp. I, Part 2, 544 Nickel Mountain: A Pastoral Novel (Gardner), Supp. VI, 63, 64, 68, 69 Nicoll, Allardyce, III, 400, 408 Nicoloff, Philip, II, 7, 23 Niebuhr, Elisabeth, II, 584 Niebuhr, Gustav, III, 292 Niebuhr, H. Richard, I, 494, 566 Niebuhr, Lydia, III, 292 Niebuhr, Reinhold, III, 290-313; Supp. I, Part 2, 654 Niedecker, Lorine, Supp. Ill, Part 2, 616, 623

Nielson, Dorothy, Supp. I, Part 2, 659 Nietzsche, Friedrich Wilhelm, I, 227, 283, 383, 389, 396, 397, 402, 509; II, 7, 20, 27, 42, 90, 145, 262, 462, 463, 577, 583, 585; III, 102-103, 113, 156, 176; IV, 286, 491; Supp. I, Part 1, 254, 299, 320, Part 2, 646; Supp. IV, Part 1, 104, 105-106, 107, 110, 284, Part 2, 519; Supp. V, 277, 280 Nietzscheanism, I, 54, 104, 383, 388, 506-507, 532; II, 47, 478, 480-481; III, 602 Niflis, N. Michael, Supp. IV, Part 1, 175 Nigger Heaven (Van Vechten), Supp. II, Part 2, 739, 744-746 Nigger of the "Narcissus," The (Conrad), II, 91; Retro. Supp. I, 106 "NIGGY THE HO" (Baraka), Supp. II, Part 1, 54 "Night above the Avenue" (Merwin), Supp. Ill, Part 1, 355 "Night among the Horses, A" (Barnes), Supp. Ill, Part 1, 3334, 39, 44 Night at the Movies, A, or, You Must Remember This: Fictions (Coover), Supp. V, 50-51 Night Dance (Price), Supp. VI, 264 "Night Dances, The" (Plath), Supp. I, Part 2, 544 "Night, Death, Mississippi" (Hayden), Supp. II, Part 1, 369 "Night Dream, The" (MacLeish), III, 15 Night in Acadie, A (Chopin), Supp. I, Part 1, 200, 219, 220, 224 "Night in June, A" (Williams), Retro. Supp. I, 424 "Night in New Arabia, A" (Henry), Supp. II, Part 1, 402 Night In Question, The: Stories (Wolff), Supp. VII, 342-344 "Night Journey" (Roethke), Supp. Ill, Part 1, 260

INDEX / 527 Night Light (Justice), Supp. VII, 126-127 Night Music (Odets), Supp. II, Part 2, 541, 543, 544 "Night of First Snow" (Ely), Supp. IV, Part 1, 71 Night of January 16th (Rand), Supp. IV, Part 2, 527 "Night of the Iguana, The" (Williams), IV, 384 Night of the Iguana, The (Williams), IV, 382, 383, 384, 385, 386, 387, 388, 391, 392, 393, 394, 395, 397, 398 Night Rider (Warren), IV, 243, 246-247 "Night Shift" (Plath), Supp. I, Part 2, 538 "Night Sketches: Beneath an Umbrella" (Hawthorne), II, 235-237, 238, 239, 242 Night Thoughts (Young), III, 415 Night Traveler, The (Oliver), Supp. VII, 233 "Night Watch, The" (Wright), Supp. V, 339 "Night-Blooming Cereus, The" (Hayden), Supp. II, Part 1, 367 Night-Blooming Cereus, The (Hayden), Supp. II, Part 1, 367, 373 Night-Born, The (London), II, 467 "Nightbreak" (Rich), Supp. I, Part 2,556 "Nightmare" (Kumin), Supp. IV, Part 2, 442 "Nightmare Factory, The" (Kumin), Supp. IV, Part 2, 445, 453 Nightmare Factory, The (Kumin), Supp. IV, Part 2, 444^47, 451 Nights (Doolittle), Supp. I, Part 1, 270, 271 Nights and Days (Merrill), Supp. Ill, Part 1, 319, 320, 322-325 "Nights and Days" (Rich), Supp. I, Part 2, 574 "Night-Side" (Gates), Supp. II, Part 2, 523 Night-Side (Gates), Supp. II, Part 2,522 "Night-Sweat" (Lowell), II, 554

"Night-Talk" (Ellison), Supp. II, Part 1, 248 Nightwood (Barnes), Supp. Ill, Part 1, 31, 32, 35-37, 39-43 Nigro, August, IV, 119 Nihilism, I, 104, 124, 126, 128, 130, 163; III, 277, 613; IV, 4, 484, 485, 491, 492, 494 "Nihilist as Hero, The" (Lowell), II, 554 Nikolai Gogol (Nabokov), Retro. Supp. I, 266 Niles, Thomas, Retro. Supp. I, 35 Niles, Thomas, Jr., Supp. I, Part 1,39 Nilsson, Christine, Supp. I, Part 1,355 Nimitz, Chester, Supp. I, Part 2, 491 "Nimram" (Gardner), Supp. VI, 73 Nims, John Frederick, III, 527 Nin, Anais, III, 182, 184, 190, 192; Supp. Ill, Part 1, 43; Supp. IV, Part 2, 680 "9" (Oliver), Supp. VII, 244 "Nine from Eight" (Lanier), Supp. I, Part 1, 352-354 Nine Headed Dragon River: Zen Journals 1969-1982 (Matthiessen), Supp. V, 199 "Nine Nectarines" (Moore), III, 203, 209, 215 "Nine Poems for the Unborn Child" (Rukeyser), Supp. VI, 280-281, 284 Nine Stories (Nabokov), Retro. Supp. I, 266 Nine Stories (Salinger), III, 552, 558-564 "1945-1985: Poem for the Anniversary" (Oliver), Supp. VII, 237 7979 (Dos Passos), I, 482, 485486, 487, 489, 490, 492 "1975" (Wright), Supp. V, 341 "Nineteenth New York, The" (Doctorow), Supp. IV, Part 1, 232 "1939" (Taylor), Supp. V, 316 "1933" (Levine), Supp. V, 188

1933 (Levine), Supp. V, 185-187

"1929" (Auden), Supp. II, Part 1, 6 "90 North" (Jarrell), II, 370, 371 90 Trees (Zukofsky), Supp. Ill, Part 2, 631 95 Poems (Cummings), I, 430, 433, 435, 439, 446, 447 "91 Revere Street" (Lowell), II, 547 "Nirvana" (Lanier), Supp. I, Part 1,352 Nishikigi (play), III, 466 Nitchie, George W., II, 172; III, 217 Niven, Isabella Thornton, see Wilder, Mrs. Amos Parker (Isabella Thornton Niven) Nixon, Richard M., I, 376; III, 38, 46; Supp. I, Part 1, 294, 295; Supp. V, 45, 46, 51 Nketia, J. H., Supp. IV, Part 1, 10 Nketsia, Nana, Supp. IV, Part 1, 2, 10 Nkize, Julius, Supp. IV, Part 1, 361 Nkrumah, Kwame, I, 490, 494; Supp. IV, Part 1, 361 "No Better Than a 'Withered Daffodil' " (Moore), III, 216 "No Bobolink reverse His Singing" (Dickinson), Retro. Supp. I, 45 "No Change of Place" (Auden), Supp. II, Part 1, 5 "No Coward Soul Is Mine" (Bronte), I, 458 "No Crime in the Mountains" (Chandler), Supp. IV, Part 1, 129 "No Door" (Wolfe), IV, 456 No Door (Wolfe), IV, 451^52, 456 No Exit (Sartre), I, 82, 130 No Exit (Sartre, trans. Bowles), Supp. IV, Part 1, 84 No Gifts from Chance (Benstock), Retro. Supp. I, 361 No Hero (Marquand), III, 57 "No Lamp Has Ever Shown Us Where to Look" (MacLeish), 111,9

528 / INDEX No Laughing Matter (Heller and Vogel), Supp. IV, Part 1, 384, 389 No Love Lost, a Romance of Travel (Howells), H, 277 No Name in the Street (Baldwin), Supp. I, Part 1, 47, 48, 52, 6566,67 "No Nonsense" (Moynihan), Supp. I, Part 2, 627 "No One Remembers" (Levine), Supp. V, 187 "No Place for You, My Love" (Welty), IV, 278, 279; Retro. Supp. I, 353 No Plays of Japan, The (Waley), III, 466 No Safe Harbour (Porter), III, 447 "No Speak English" (Cisneros), Supp. VII, 63 No Star Is Lost (Farrell), II, 34, 35,44 No Thanks (Cummings), I, 430, 431, 432, 436, 437, 441, 443, 446 No Third Path (Kosinski), Supp. VII, 215 "No Voyage" (Oliver), Supp. VII, 231 No Voyage and Other Poems (Oliver), Supp. VII, 230-231, 232 "No Word" (Kunitz), Supp. Ill, Part 1, 263 Noa Noa (Gauguin), I, 34 Noah (biblical person), IV, 137, 152; Supp. I, Part 2, 506, 690 Noailles, Anna de, IV, 328 Noble, David W., Supp. I, Part 1, 70, Part 2, 650 "Noble Rider and the Sound of Words, The" (Stevens), Retro. Supp. I, 299 Noble Savage, The (Coover), Supp. V, 40 Nobodaddy (MacLeish), III, 5-6, 8, 10, 11, 18, 19,20 "Nobody in Hollywood" (Bausch), Supp. VII, 54 Nobody Knows My Name (Baldwin), Supp. I, Part 1, 47, 52,55

"Nobody Knows My Name: A Letter from the South" (Baldwin), Supp. I, Part 1, 52 "Nobody knows this little Rose" (Dickinson), Retro. Supp. I, 30 "Nobody Said Anything" (Carver), Supp. Ill, Part 1, 141 "Noche Triste, La" (Frost), Retro. Supp. I, 123 Nock, Albert Jay, I, 245; Supp. IV, Part 2, 521,524 "Nocturne" (MacLeish), III, 8 "Nocturne in a Deserted Brickyard" (Sandburg), III, 586 Nocturne of Remembered Spring (Aiken), I, 50 Noel, Joseph, II, 485 Not vivi, see We the Living (film) "Noiseless Patient Spider" (Whitman), III, 555; IV, 348; Supp. IV, Part 1, 325 Noises Ojff (Frayn), Supp. IV, Part 2,582 Noland, Richard W., I, 143 Nonconformist's Memorial, The (Howe), Supp. IV, Part 2, 434, 435^36 None but the Lonely Heart (film), Supp. II, Part 2, 546 None Shall Look Back (Gordon), II, 205-207, 208 Nones (Auden), Supp. II, Part 1, 21 "Nones" (Auden), Supp. II, Part 1, 22-23 "Noon" (Bryant), Supp. I, Part 1, 157 "Noon Walk on the Asylum Lawn" (Sexton), Supp. II, Part 2, 673 "Noon Wine" (Porter), III, 436, 437-438, 442, 446 Norcross, Frances, I, 456, 462 Norcross, Louise, I, 456, 462 Nordloli, David J., II, 292 Norma (Bellini), IV, 309 Norma Ashe (Glaspell), Supp. Ill, Part 1, 175, 186-187 "Normal Motor Adjustments" (Stein and Solomons), IV, 26 Norman, Charles, I, 450; III, 479 Norna; or, The Witch's Curse (Alcott), Supp. I, Part 1, 33

Norris, Benjamin, III, 314 Norris, Charles, III, 320; Retro. Supp. I, 100 Norris, Frank, I, 211, 355, 500, 506, 517, 518, 519; H, 89, 264, 276, 289, 307; III, 227, 314336, 596; IV, 29; Retro. Supp. I, 100, 325; Supp. Ill, Part 2, 412 Norris, Gertrude, III, 314, 326 Norris, Mrs. Frank (Jeanette Black), III, 326, 327, 328-329 North, Milou (pseud, for Louise Erdrich and Michael Dorris), Supp. IV, Part 1, 260 North, Sir Thomas, IV, 370 "North" (Hugo), Supp. VI, 135 North American Review (journal), Retro. Supp. I, 155, 362 North American Review (publication), I, 1,4, 5, 6; II, 322-323, 345; IV, 209; Part 2, 406, 413, 418, 420; Supp. I, Part 1, 154, 155, 300; Supp. IV, Part 2, 540 "North American Sequence" (Roethke), I, 171-172, 183; III, 529, 545, 547, 548 North & South (Bishop), Supp. I, Part 1, 72, 84, 85, 89 "North Labrador" (Crane), I, 386 North of Boston (Frost), II, 152, 153-154, 527; Retro. Supp. I, 121, 125, 127, 128-130, 131; Supp. I, Part 1, 263 North of Jamaica (Simpson), Supp. IV, Part 2, 448 North of the Danube (Caldwell), I, 288, 290, 293, 294, 309, 310 "North Sea Undertaker's Complaint, The" (Lowell), II, 550 North Star, The (Hellman), Supp. I, Part 1, 281 "Northeast Playground" (Paley), Supp. VI, 226-227, 229 Northern Indianan (newspaper), I, 191 Northern Lights (O'Brien), Supp. V, 237, 239, 241-244, 250 "Northern Motive" (Levine), Supp. V, 195

INDEX / 529 Northfield Poems (Ammons), Supp. VII, 29 "Northhanger Ridge" (Wright), Supp. V, 335, 340 Northrup, Cyrus, Supp. I, Part 1, 350 Norton, Charles Eliot, I, 223, 568; II, 279, 322-323, 338; Retro. Supp. I, 371; Supp. I, Part 1, 103, Part 2, 406, 479 Norton, John, Supp. I, Part 1, 99, 110, 112, 114 Norton, Robert, IV, 329 Norton Lectures, Retro. Supp. I, 65 Norwood, Hayden, IV, 473 "Nostalgia of the Lakefronts" (Justice), Supp. VII, 118, 119, 120 "Nostalgic Mood" (Farrell), II, 45 Nostromo (Conrad), II, 600; IV, 245 "Nosty Fright, A" (Swenson), Supp. IV, Part 2, 651 Not about Nightingales (Williams), IV, 381 "Not Everyone Liked Thurber" (Geddes), Supp. I, Part 2, 627 "Not Horror but 'Sadness' " (Wershba), Supp. I, Part 2, 453 "Not Ideas About the Thing but the Thing Itself (Stevens), IV, 87 " 'Not Marble nor the Gilded Monument' " (MacLeish), III, 12 "Not Quite Social" (Frost), II, 156 "Not Sappho, Sacco" (Rukeyser), Supp. VI, 277 "Not Sixteen" (Anderson), I, 114 "Not Slightly" (Stein), IV, 44 Not So Simple: The (< Simple " Stories by Langston Hughes (Harper), Retro. Supp. I, 194, 209 "Not Somewhere Else, but Here" (Rich), Supp. I, Part 2, 552, 573 "Not They Who Soar" (Dunbar), Supp. II, Part 1, 199 Not This Pig (Levine), Supp. V, 178, 181, 182-183

Not to Eat; Not for Love (Weller), III, 322 Not Without Laughter (Hughes), Retro. Supp. I, 197, 198, 201; Supp. I, Part 1, 328, 332 "Note about Iconographs, A" (Swenson), Supp. IV, Part 2, 646 "Note on Abraham Lincoln" (Vidal), Supp. IV, Part 2, 688 "Note on Commercial Theatre" (Hughes), Retro. Supp. I, 207 "Note on Ezra Pound, A" (Eliot), Retro. Supp. I, 290 "Note on Lanier's Music, A" (Graham), Supp. I, Part 1, 373 Note on Literary Criticism, A (Farrell), II, 26, 49 "Note on Poetry, A" (Doolittle), Supp. I, Part 1, 254, 267-268 "Note on Realism, A" (Anderson), I, 110 Notebook (Lowell), Supp. V, 343 Notebook ofMalte Laurids Brigge, The (Rilke), III, 571 Notebook 1967-68 (Lowell), II, 553-555 Notebooks (Fitzgerald), Retro. Supp. I, 110 "Notes" (Dove), Supp. IV, Part 1, 246 "Notes for a Moving Picture: The House" (Agee), I, 33, 34 "Notes for a Novel About the End of the World" (Percy), Supp. Ill, Part 1, 393 "Notes for a Preface" (Sandburg), III, 591, 596-597 "NOTES FOR A SPEECH" (Baraka), Supp. II, Part 1, 33 "Notes for an Autobiography" (Van Vechten), Supp. II, Part 2,749 Notes for the Green Box (Duchamp), Supp. IV, Part 2, 423 "Notes from the Childhood and Girlhood" (Brooks), Supp. Ill, Part 1, 77 Notes from the Underground (Dostoevski), III, 571; IV, 485

"Notes of a Native Daughter" (Didion), Supp. IV, Part 1, 196, 197, 200, 201 "Notes of a Native Son" (Baldwin), Supp. I, Part 1, 50, 54 Notes of a Native Son (Baldwin), Supp. I, Part 1, 50, 52, 54; Supp. IV, Part 1, 163 Notes of a Son and Brother (James), II, 337; Retro. Supp. 1,235 "Notes on a Departure" (Trilling), Supp. Ill, Part 2, 498 "Notes on Babbitt and More" (Wilson), IV, 435 "Notes on 'Camp' " (Sontag), Supp. Ill, Part 2, 455-456 Notes on Democracy (Mencken), III, 104, 107-108, 109, 116, 119 "Notes on James Thurber the Man or Men" (Nugent), Supp. I, Part 2, 627 "Notes on 'Layover' " (Hass), Supp. VI, 109 Notes on Novelists (James), II, 336, 337; Retro. Supp. I, 235 "Notes on Poetry" (Eberhart)^ I, 524, 527-528, 529 "Notes on the Craft of Poetry" (Strand), Supp. IV, Part 2, 626 "Notes on the Decline of Outrage" (Dickey), Supp. IV, Part 1, 181 Notes toward a Supreme Fiction (Stevens), Supp. I, Part 1, 80 "Notes toward a Supreme Fiction" (Stevens), IV, 87-89; Retro. Supp. I, 300, 306, 306-309, 311 "Nothing Gold Can Stay" (Frost), Retro. Supp. I, 133 "Nothing Missing" (O'Hara), III, 369 Nothing Personal (Baldwin), Supp. I, Part 1, 58, 60 "Nothing Song, The" (Snodgrass), Supp. VI, 326 "Nothing Will Yield" (Nemerov), III, 279 Notions of the Americans: Picked up by a Travelling Bachelor (Cooper), I, 343-345, 346

530 / INDEX "Not-Knowing" (Barthelme), Supp. IV, Part 1, 48 Not-So-Simple Neil Simon (McGovern), Supp. IV, Part 2, 573 Nouveau roman, Supp. V, 47, 48 Nouvelle revue franlaise, La (journal), Retro. Supp. I, 56, 63 Nova Express (Burroughs), Supp. Ill, Part 1, 93, 103, 104 "Novel Demeuble, The" (Gather), Retro. Supp. I, 15 "Novel of the Thirties, A" (Trilling), Supp. Ill, Part 2, 499 "Novelist of Suburbia: Mr. Saturday, Mr. Monday and Mr. Cheever" (Sheed), Supp. I, Part 1, 199 Novella (Goethe, trans. Bogan and Mayer), Supp. Ill, Part 1, 63 Novellas and Other Writings (Wharton), Retro. Supp. I, 360 Novels and Tales of Henry James, The (James), Retro. Supp. I, 232 "Novels of Edgar Lee Masters, The" (Flanagan), Supp. I, Part 2,478 Novels of Harriet Beecher Stowe, The (Crozier), Supp. I, Part 2, 601 "Novels of Oliver Wendell Holmes, The: A ReInterpretation" (Holmes), Supp. I, Part 1,319 Novels of Theodore Dreiser (Pizer), Supp. I, Part 2, 478 "Novel-Writing and NovelReading" (Howells), II, 276, 290 "Novices" (Moore), III, 200-201, 202, 213 "Novotny's Pain" (Roth), Supp. Ill, Part 2, 403 "Now I Am Married" (Gordon), Supp. IV, Part 1, 299 "Now I Lay Me" (Hemingway), II, 249; Retro. Supp. I, 175 "Now Is the Air Made of Chiming Balls" (Eberhart), I, 523

Now Sheba Sings the Song (Angelou), Supp. IV, Part 1, 16 "Now That We Live" (Kenyon), Supp. VII, 165 "Now the Servant's Name Was Malchus" (Wilder), IV, 358 "Now We Know" (O'Hara), III, 368-369 Nowell, Elizabeth, IV, 472, 473 Nowell-Smith, Simon, II, 341 Noyes, Alfred, IV, 434 Nuamah, Grace, Supp. IV, Part 1, 10 "Nuances of a Theme by Williams" (Stevens), Retro. Supp. I, 422 Nuclear Age, The (O'Brien), Supp. V, 238, 243, 244, 246-248, 249, 251 "Nude Descending a Staircase" (Duchamp), IV, 408; Retro. Supp. I, 416 Nugent, Bruce, Retro. Supp. I, 200 Nugent, Elliot, Supp. I, Part 2, 606,611,613,626,627 Nuggets and Dust (Bierce), I, 195 Number One (Dos Passos), I, 489 "Numbers, Letters" (Baraka), Supp. II, Part 1, 50 "Nun's Priest's Tale" (Chaucer), III, 492 Nunzio, Nanzia, IV, 89 Nuptial Flight, The (Masters), Supp. I, Part 2, 460, 471 "Nuptials" (Tate), IV, 122 Nurture (Kumin), Supp. IV, Part 2, 453-454, 455 Nutcracker, The (Tchaikovsky), Retro. Supp. I, 196 "Nux Postcoenatica" (Holmes), Supp. I, Part 1, 303 Nyce, James M., Retro. Supp. I, 380 Nye, Russel B., Supp. I, Part 1, 149, Part 2, 478 "Nympholepsy" (Faulkner), Retro. Supp. I, 81 "6" (Dove), Supp. IV, Part 1, 245

O Canada: An American's Notes on Canadian Culture (Wilson), IV, 429^30 "O Carib Isle!" (Crane), I, 400-401 "O Daedalus, Fly Away Home" (Hayden), Supp. II, Part 1, 377-378 O. Henry Biography (Smith), Supp II, Part 1, 395 O. Henry Memorial Award Prize Stories (publication), I, 290; II, 197; III, 56; Supp. IV, Part 1, 102 "O Lull Me, Lull Me" (Roethke), III, 536-537 O Pioneers! (Gather), I, 314, 317319, 320; Retro. Supp. I, 1, 5, 6, 7-9, 10, 13, 20 O Taste and See (Levertov), Supp. Ill, Part 1,278-279, 281 O to Be a Dragon (Moore), III, 215 "O Youth and Beauty!" (Cheever), Retro. Supp. I, 335 Oak and Ivy (Dunbar), Supp. II, Part 1, 98 Oak Openings, The (Cooper), I, 354, 355 Oandasan, Bill, Supp. IV, Part 2, 499 Oasis, The (McCarthy), II, 566568 Gates, Joyce Carol, Part 2, 447, 689; Supp. I, Part 1, 199, Part 2, 548; Supp. II, Part 2, 503527; Supp. IV, Part 1, 205; Supp. V, 323 "Oath, The" (Tate), IV, 127 Ober, Harold, Retro. Supp. I, 101, 103, 105, 110, 113 Oberg, Arthur K., I, 96 Oberlin Literary Magazine (publication), IV, 356 Oberndorf, Clarence P., Supp. I, Parti, 315, 319 Obey, Andre, IV, 356, 375 "Obit" (Lowell), II, 554 "Objective Value of a Social Settlement, The" (Addams), Supp. I, Part 1, 4 "Objective Woman, The" (Jong), Supp. V, 119

INDEX / 531 Objectivism The (publication), Supp. IV, Part 2, 527 "Objectivist Ethics, The" (Rand), Supp. IV, Part 2, 530-532 Objectivist Newsletter, The, Supp. IV, Part 2, 527 "Objectivists" Anthology, An (Zukofsky), Supp. Ill, Part 2, 613,615 "Objects" (Wilbur), Supp. Ill, Part 2, 545-547 Oblique Prayers (Levertov), Supp. III, Part 1, 283 "Oblivion" (Justice), Supp. VII, 121 Oblivion Seekers, The (Eberhardt), Supp. IV, Part 1, 92 "Oblong Box, The" (Poe), III, 416 Obregon, Maurice, Supp. I, Part 2,488 O'Brien, Conor Cruise, Supp. I, Part 1, 70 O'Brien, Edward J., I, 289; III, 56; IV, 142 O'Brien, Fitzjames, I, 211 O'Brien, Geoffrey, Supp. IV, Part 2, 471, 473 O'Brien, John, Supp. V, 48, 49 O'Brien, Tim, Supp. V, 237-255 "Obscene Poem, An" (Creeley), Supp. IV, Part 1, 150 Obscure Destinies (Cather), I, 331-332; Retro. Supp. I, 19 "Observation Relative to the Intentions of the Original Founders of the Academy in Philadelphia" (Franklin), II, 114 "Observations" (Dillard), Supp. VI, 34 Observations (Moore), III, 194, 195-196, 197, 199, 203, 205, 215 Observations: Photographs by Richard Avedon; Comments by Truman Capote, Supp. Ill, Part 1, 125-126 Observer (publication), IV, 388, 390 O'Casey, Sean, III, 145; Supp. IV, Part 1, 359, 361, 364 "Occidentals" (Ford), Supp. V, 71-72

"Occurrence at Owl Creek Bridge, An" (Bierce), I, 200-201; II, 264 "Ocean 1212-W" (Plath), Supp. I, Part 2, 528 O'Connell, Shaun, IV, 119 O'Connor, Edward F., Jr., Ill, 337 O'Connor, Flannery, I, 113, 190, 211, 298; II, 221, 606; III, 337360; IV, 4, 217, 282; Supp. I, Part 1, 290; Supp. Ill, Part 1, 146; Supp. V, 59, 337 O'Connor, Frank, III, 158; Supp. I, Part 2, 531 O'Connor, Mary, II, 222 O'Connor, Mrs. Edward F., Jr. (Regina L. Cline), III, 337, 338339 O'Connor, Richard, I, 213; II, 467, 485 O'Connor, T. P., II, 129 O'Connor, William, IV, 346; Retro. Supp. I, 392, 407 O'Connor, William Van, II, 76, 222; III, 479; IV, 96, 259, 425; Supp. I, Part 1, 195 "Octascope" (Beattie), Supp. V, 27,28 "Octaves" (Robinson), Supp. Ill, Part 2, 593 "October" (Oliver), Supp. VII, 241 "October" (Swenson), Supp. IV, Part 2, 649 "October and November" (Lowell), II, 554 October Light (Gardner), Supp. VI, 63, 69-71, 72 "October, 1866" (Bryant), Supp. I, Part 1, 169 "October in the Railroad Earth" (Kerouac), Supp. Ill, Part 1, 225, 227, 229 "October Maples, Portland" (Wilbur), Supp. Ill, Part 2, 556 "Octopus, An" (Moore), III, 202, 207-208, 214 "Octopus, The" (Merrill), Supp. III, Part 1, 321 Octopus, The (Norris), I, 518; III, 314, 316, 322-326, 327, 331333, 334, 335

O'Daniel, Therman B., Supp. I, Part 1, 69, 348 Odd Couple, The (film), Supp. IV, Part 2, 589 Odd Couple, The (1985 version, Simon), Supp. IV, Part 2, 580 Odd Couple, The (Simon), Supp. IV, Part 2, 575, 579-580, 585, 586 Odd Jobs (Updike), Retro. Supp. 1,334 "Ode" (Emerson), II, 13 "Ode for Memorial Day" (Dunbar), Supp. II, Part 1, 199 "Ode: Intimations of Immortality" (Wordsworth), Supp. I, Part 2, 729; Supp. Ill, Part 1, 12 "Ode: My 24th Year" (Ginsberg), Supp. II, Part 1,312 "Ode on a Grecian Urn" (Keats), I, 284; III, 472 "Ode on Human Destinies" (Jeffers), Supp. II, Part 2, 419 "Ode on Melancholy" (Keats), Retro. Supp. I, 301 "Ode Recited at the Harvard Commemoration" (Lowell), II, 551 Ode Recited at the Harvard Commemoration (Lowell), Supp. I, Part 2, 416-418, 424 "Ode Secrete" (Valery), III, 609 "Ode to a Nightingale," (Keats), II, 368 "Ode to Autumn" (Masters), Supp. I, Part 2, 458 "Ode to Ethiopia" (Dunbar), Supp. II, Part 1, 199, 207, 208, 209 "Ode to Fear" (Tate), IV, 128 "Ode to Meaning" (Pinsky), Supp. VI, 249-250, 251 "Ode to Night" (Masters), Supp. I, Part 2, 458 "Ode to Our Young Pro-Consuls of the Air" (Tate), IV, 135 "Ode to the Confederate Dead" (Tate), II, 551; IV, 124, 133, 137 "Ode to the Johns Hopkins University" (Lanier), Supp. I, Part 1, 370

532 / INDEX "Ode to the Virginian Voyage" (Drayton), IV, 135 "Ode to the West Wind" (Shelley), Retro. Supp. I, 308; Supp. I, Part 2, 728 "Odes to Natural Processes" (Updike), Retro. Supp. I, 323 Odets, Clifford, Supp. I, Part 1, 277, 295, Part 2, 679; Supp. II, Part 2, 529-554; Supp. IV, Part 2, 587; Supp. V, 109 Odier, Daniel, Supp. Ill, Part 1, 97 O'Donnell, George Marion, II, 67 O'Donnell, Thomas F., II, 131, 149 "Odor of Verbena" (Faulkner), II, 66 O'Doul, Lefty, II, 425 Odyssey (Homer), III, 14, 470; Retro. Supp. I, 286, 290; Supp. I, Part 1, 185; Supp. IV, Part 2,631 Odyssey (trans. Bryant), Supp. I, Part 1, 158 Oedipus Rex (Sophocles), I, 137; III, 145, 151, 152, 332; Supp. I, Part 2, 428 Oedipus Tyrannus (Sophocles), II, 203 Of a World That Is No More (Singer), IV, 16 "Of Alexander Crummell" (Du Bois), Supp. II, Part 1, 170 "Of Booker T. Washington and Others" (Du Bois), Supp. II, Part 1, 168 "Of Bright & Blue Birds & the Gala Sun" (Stevens), IV, 93 "Of Christian Heroism" (Ozick), Supp. V, 272 "Of Dying Beauty" (Zukofsky), Supp. Ill, Part 2, 610 "Of 'Father and Son' " (Kunitz), Supp. Ill, Part 1, 262 "Of Maids and Other Muses" (Alvarez), Supp. VII, 11 "Of Margaret" (Ransom), III, 491 Of Mice and Men (Steinbeck), IV, 51, 57-58 "Of Modern Poetry" (Stevens), IV, 92

Of Plymouth Plantation (ed. Morison), Supp. I, Part 2, 494 "Of the Coming of John" (Du Bois), Supp. II, Part 1, 170 "Of the Culture of White Folk" (Du Bois), Supp. II, Part 1, 175 Of the Farm (Updike), IV, 214, 217, 223-225, 233; Retro. Supp. I, 318, 329, 332 "Of the Passing of the First-Born" (Du Bois), Supp. II, Part 1, 170 "Of the Sorrow Songs" (Du Bois), Supp. II, Part 1, 170 "Of the Wings of Atlanta" (Du Bois), Supp. II, Part 1, 170 Of This Time, Of This Place (Trilling), Supp. Ill, Part 2, 498, 504 Of Time and the River (Wolfe), IV, 450, 451, 452, 455, 456, 457, 458, 459, 462, 464-465, 467, 468, 469 Of Woman Born: Motherhood as Experience and Institution (Rich), Supp. I, Part 2, 554, 567-569 O'Faolain, Sean, Supp. II, Part 1, 101 Off the Beaten Path (Proulx), Supp. VII, 261 Off the Map (Levine), Supp. V, 178 Offenbach, Jacques, II, 427 "Offering for Mr. Bluehart, An" (Wright), Supp. Ill, Part 2, 596, 601 "Official Piety" (Whittier), Supp. I, Part 2, 687 "Off-Shore Pirates, The" (Fitzgerald), II, 88 O'Flaherty, George, Supp. I, Part 1, 202, 205-206 O'Flaherty, Kate, see Chopin, Kate (Kate O'Flaherty) O'Flaherty, Mrs. Thomas (Eliza Paris), Supp. I, Part 1, 202, 204, 205, 207 O'Flaherty, Thomas, Supp. I, Part 1, 202, 203-204, 205 O'Flaherty, Thomas, Jr., Supp. I, Part 1, 202 "Often" (Kenyon), Supp. VII, 171

Ogden, Henry, II, 298 Ogden, Uzal, Supp. I, Part 2, 516 "Oh, Fairest of the Rural Maids" (Bryant), Supp. I, Part 1, 169 O'Hara, J. D., Supp. IV, Part 1, 43; Supp. V, 22 O'Hara, John, I, 375, 495; II, 444, 459; III, 66, 361-384; IV, 59; Retro. Supp. I, 99, 112; Supp. I, Part 1, 196; Supp. II, Part 1, 109; Supp. IV, Part 1,31, 383, Part 2, 678; Supp. V, 95 O'Hara, Mrs. John (Belle Wylie), III, 361, 362 O'Hara, Mrs. John (Helen Pettit), 111, 361 O'Hara, Mrs. John (Katharine Bryan), III, 362 "Ohio Pagan, An" (Anderson), I, 112, 113 Ohio State Journal (newspaper), II, 273 Ohlin, Peter H., I, 47 Oil! (Sinclair), Supp. V, 276, 277279, 282, 288, 289 "Oil Painting of the Artist as the Artist" (MacLeish), III, 14 "Ol' Doc Hyar" (Campbell), Supp. II, Part 1, 202 "OF Tunes, The" (Dunbar), Supp. II, Part 1, 197 "Old Amusement Park, An" (Moore), III, 216 "Old Angel Midnight" (Kerouac), Supp. Ill, Part 1, 229-230 "Old Apple Dealer, The" (Hawthorne), II, 227, 233-235, 237, 238 "Old Apple-Tree, The" (Dunbar), Supp. II, Part 1, 198 "Old Army Game, The" (Garrett), Supp. VII, 100-101 "Old Barn at the Bottom of the Fogs, The" (Frost), Retro. Supp. I, 138 Old Beauty and Others, The (Gather),!, 331 Old Bruin: Commodore Matthew C. Perry, 1794-1858 (Morison), Supp. I, Part 2, 494-495 "Old Cracked Tune, An" (Kunitz), Supp. in, Part 1, 264

INDEX / 533 Old Curiosity Shop, The (Dickens), I, 458; Supp. I, Part 2, 409 "Old Farmer, The" (Jeffers), Supp. II, Part 2, 418 "Old Father Morris" (Stowe), Supp. I, Part 2, 586 "Old Flame, The" (Lowell), II, 550 "Old Florist" (Roethke), III, 531 "Old Forest, The" (Taylor), 321; 323, 326; Supp. V, 313 Old Forest, The (Taylor), Supp. V, 320, 321, 326, 327 Old Forest and Other Stories (Taylor), Supp. V, 326 Old Friends and New (Jewett), II, 402 Old Glory, The (Lowell), II, 543, 545-546, 555 "Old Homestead, The" (Dunbar), Supp. II, Part 1, 198 "Old Ironsides" (Holmes), Supp. I, Part 1, 302 "Old Lady We Saw, An" (Shields), Supp. VII, 310-311 "Old Maid, The" (Wharton), Retro. Supp. I, 381, 382 "Old Man" (Faulkner), II, 68, 69 Old Man and the Sea, The (Hemingway), II, 250, 256-257, 258, 265; III, 40; Retro. Supp. I, 180, 185, 186 "Old Man Drunk" (Wright), Supp. III, Part 2, 595 "Old Man on the Hospital Porch" (Rios), Supp. IV, Part 2, 546547 Old Man Rubbing His Eyes (Ely), Supp. IV, Part 1, 65 "Old Man's Winter Night, An" (Frost), Retro. Supp. I, 126, 131 "Old Manse, The" (Hawthorne), II, 224 "Old Meeting House, The" (Stowe), Supp. I, Part 2, 586 "Old Memory, An" (Dunbar), Supp. II, Part 1, 198 "Old Men, The" (McCarthy), II, 566 "Old Mortality" (Porter), III, 436, 438^41, 442, 445, 446

"Old Mrs. Harris" (Gather), I, 332; Retro. Supp. I, 19 Old New York (Wharton), IV, 322; Retro. Supp. I, 381 "Old, Old, Old, Old Andrew Jackson" (Lindsay), Supp. I, Part 2, 398 Old One-Two, The (Gurney), Supp. V, 98 "Old Order, The" (Porter), III, 443,444-445,451 "Old Osawatomie" (Sandburg), III, 584 "Old People, The" (Faulkner), II, 7172 "Old Poet Moves to a New Apartment 14 Times, The" (Zukofsky), Supp. Ill, Part 2, 628 "Old Red" (Gordon), II, 199, 200, 203 Old Red and Other Stories (Gordon), II, 157 Old Regime in Canada, The (Parkman), Supp. II, Part 2, 600, 607, 608-609, 612 "Old Saws" (Garrett), Supp. VII, 96-97 Old Testament, I, 109, 181, 300, 328, 401, 410, 419, 431, 457, 458; II, 166, 167, 219; III, 270, 272, 348, 390, 396; IV, 41, 114, 152, 309; Retro. Supp. I, 122, 140, 249, 311, 360; Supp. I, Part 1, 60, 104, 106, 151, Part 2, 427, 515, 516; see also names of Old Testament books "Old Things, The" (James), Retro. Supp. I, 229 "Old Times on the Mississippi" (Twain), IV, 199 "Old Trails" (Robinson), III, 513, 517 "Old Tyrannies" (Bourne), I, 233 Old Vic, Retro. Supp. I, 65 "Old West" (Bausch), Supp. VII, 48 "Old Whorehouse, An" (Oliver), 235 "Old Woman" (Pinsky), Supp. VI, 238, 239 Olderman, Raymond M., I, 143

Old-Fashioned Girl, An (Alcott), Supp. I, Part 1, 29, 41, 42 Oldham, Estelle, see Faulkner, Mrs. William (Estelle Oldham) Oldtown Folks (Stowe), Supp. I, Part 2, 587, 596-598 Oldys, Francis, see Chalmers, George Olendorf, Donna, Supp. IV, Part 1,196 "Olga Poems, The" (Levertov), Supp. Ill, Part 1,279-281 Oliver, E. S., Ill, 95 Oliver, Mary, Supp. VII, 229231 Oliver, Sydney, I, 409 Oliver Goldsmith: A Biography (Irving), II, 315 Oliver Twist (Dickens), I, 354; Supp. IV, Part 2, 464 "Oliver Wendell Holmes" (Leary), Supp. I, Part 1,319 "Oliver Wendell Holmes" (Menikoff), Supp. I, Part 1, 319 Oliver Wendell Holmes (Small), Supp. I, Part 1,319 Olivieri, David (pseu. of Wharton, Edith), Retro. Supp. I, 361 Ollive, Elizabeth, see Paine, Mrs. Thomas (Elizabeth Ollive) Ollive, Samuel, Supp. I, Part 2, 503 Olmsted, Frederick Law, Supp. I, Part 1, 355 Olsen, Lance, Supp. IV, Part 1, 54, Part 2, 623 Olsen, Tillie, Supp. V, 114, 220 Olson, Charles, III, 97; Retro. Supp. I, 209; Supp. II, Part 1, 30, 328, Part 2, 555-587; Supp. Ill, Part 1, 9, 271, Part 2, 542, 624; Supp. IV, Part 1, 139, 144, 146, 153, 154, 322, Part 2, 420, 421, 423, 426 O'Malley, Frank, II, 53 Omar Khayyam, Supp. I, Part 1, 363 Omensetter's Luck (Gass), Supp. VI, 80-82, 87 "Ominous Baby, An" (Crane), I, 411

534 / INDEX Ommateum, with Doxology (Ammons), Supp. VII, 24-26, 27, 28, 36 "Omnibus Jaunts and Drivers" (Whitman), IV, 350 Omoo (Melville), III, 76-77, 79, 84 Omoo: A Narrative of Adventures in the South Seas (Melville), Retro. Supp. I, 247 "On a Certain Condescension in Foreigners" (Lowell), Supp. I, Part 2, 419 On a Darkling Plain (Stegner), Supp. IV, Part 2, 598, 607 "On a Hill Far Away" (Dillard), Supp. VI, 28 "On a Honey Bee, Drinking from a Glass and Drowned Therein" (Freneau), Supp. II, Part 1, 273 "On a Proposed Trip South" (Williams), Retro. Supp. I, 413 "On a Tree Fallen across the Road" (Frost), Retro. Supp. I, 134 "On a View of Pasadena from the Hills" (Winters), Supp. II, Part 2, 795, 796-799, 814 "On Acquiring Riches" (Banks), Supp. V, 5 "On an Old Photograph of My Son" (Carver), Supp. Ill, Part I, 140 On Becoming a Novelist (Gardner), Supp. VI, 64 "On Being an American" (Toomer), Supp. Ill, Part 2, 479 On Being Blue (Gass), Supp. VI, 77, 78, 86, 94 "On Burroughs' Work" (Ginsberg), Supp. II, Part 1, 320 "On Certain Political Measures Proposed to Their Consideration" (Barlow), Supp. II, Part 1, 82 "On First Looking Out through Juan de la Cosa's Eyes" (Olson), Supp. II, Part 2, 565, 566, 570, 579 "On First Opening The Lyric Year" (Williams), Retro. Supp. I, 414

"On Freedom's Ground" (Wilbur), Supp. Ill, Part 2, 562 On Glory's Course (Purdy), Supp. VII, 275-276, 279, 280 "On Hearing a Symphony of Beethoven" (Millay), III, 132133 On Human Finery (Bell), Supp. I, Part 2, 636 On Judging Books in General and Particular (Hackett), Supp. I, Part 2, 626 "On Looking at a Copy of Alice Meynell's Poems, Given Me, Years Ago, by a Friend" (Lowell), II, 527-528 "On Lookout Mountain" (Hayden), Supp. II, Part 1, 380 "On Miracle Row" (Gardner), Supp. I, Part 1, 198 On Moral Fiction (Gardner), Supp. VI, 61, 71, 72, 73 "On Morality" (Didion), Supp. IV, Part 1, 196 "On My Own" (Levine), Supp. V, 181, 189-190 "On My Own Work" (Wilbur), Supp. Ill, Part 2, 541-542 On Native Grounds: An Interpretation of Modern American Prose Literature (Kazin), I, 517; Supp. I, Part 2, 650 "On Not Being a Dove" (Updike), Retro. Supp. I, 323 "On Open Form" (Merwin), Supp. Ill, Part 1, 347-348, 353 On Photography (Sontag), Supp. III, Part 2, 451, 458, 462-465 "On Political Poetry" (Bly), Supp. IV, Part 1, 61 On Politics: A Carnival of Buncombe (ed. Moos), III, 116 "On Reading Eckerman's Conversations with Goethe" (Masters), Supp. I, Part 2, 458 "On Reading to Oneself (Gass), Supp. VI, 88, 89 On Revolution (Arendt), Retro. Supp. I, 87 "On Seeing Red" (Walker), Supp. Ill, Part 2, 527

"On Social Plays" (Miller), III, 147, 148, 159 "On Steinbeck's Story 'Flight' " (Stegner), Supp. IV, Part 2, 596 "On Style" (Sontag), Supp. Ill, Part 2, 456-459, 465-466 "On the Antler" (Proulx), Supp. VII, 252-253 "On the Beach, at Night" (Whitman), IV, 348 On the Boundary (Tillich), Retro. Supp. I, 326 "On the Building of Springfield" (Lindsay), Supp. I, Part 2, 381 "On the Coast of Maine" (Hayden), Supp. II, Part 1, 381 On the Contrary: Articles of Belief (McCarthy), II, 559, 562 "On the Death of a Friend's Child" (Lowell), Supp. I, Part 2, 409 "On the Death of Senator Thomas J. Walsh" (Winters), Supp. II, Part 2, 802, 806 "On the Death of Yeats" (Bogan), Supp. Ill, Part 1, 59 "On the Edge" (Levine), Supp. V, 181-182 On the Edge and Over (Levine), Supp. V, 178, 180-182, 186 "On the Eve of the Immaculate Conception, 1942" (Lowell), II, 538 "On the Eyes of an SS Officer" (Wilbur), Supp. Ill, Part 2, 548 "On the Fall of General Earl Cornwallis" (Freneau), Supp. II, Part 1, 261 "On the Folly of Writing Poetry" (Freneau), Supp. II, Part 1, 263 On the Frontier (Auden and Isherwood), Supp. II, Part 1, 13 "On the Late Eclipse" (Bryant), Supp. I, Part 1, 152 "On the Marginal Way" (Wilbur), Supp. Ill, Part 2, 558, 559 "On the Moon and Matriarchal Consciousness" (Neumann), Supp. IV, Part 1, 68

INDEX / 535 "On the Morning after the Sixties" (Didion), Supp. IV, Part 1, 205, 206 On the Motion and Immobility of Douve (Bonnefoy, trans. Kinnell), Supp. Ill, Part 1, 235 "On the Murder of Lieutenant Jose del Castillo by the Falangist Bravo Martinez, July 12, 1936" (Levine), Supp. V, 187 "On the Night of a Friend's Wedding" (Robinson), III, 524 "On the Occasion of a Poem: Richard Hugo" (Wright), Supp. Ill, Part 2, 596 "On the Platform" (Nemerov), III, 287 "On the Powers of the Human Understanding" (Freneau), Supp. II, Part 1, 274 "On the Pulse of Morning" (Angelou), Supp. IV, Part 1, 15-17 "On the Railway Platform" (Jarrell), II, 370 "On the Rainy River" (O'Brien), Supp. V, 250 On the Rebound: A Story and Nine Poems (Purdy), Supp. VII, 276277 "On the Religion of Nature" (Freneau), Supp. II, Part 1, 275 "On the River" (Dunbar), Supp. II, Part 1, 193 "On the River" (Levine), Supp. V, 193 On the River Styx and Other Stories (Matthiessen), Supp. V, 212 On the Road (Kerouac), Retro. Supp. I, 102; Supp. Ill, Part 1, 92, 218, 222-224, 226, 230231; Supp. V, 336 "On the Road Home" (Stevens), Retro. Supp. I, 306 "On the Skeleton of a Hound" (Wright), Supp. Ill, Part 2, 593 "On the Street: Monument" (Gunn Allen), Supp. IV, Part 1, 326 "On the System of Policy Hitherto Pursued by Their Government" (Barlow), Supp. II, Part 1, 82

"On the Teaching of Modern Literature" (Trilling), Supp. Ill, Part 2, 509-510 "On the Uniformity and Perfection of Nature" (Freneau), Supp. II, Part 1, 275 "On the Universality and Other Attributes of the God of Nature" (Freneau), Supp. II, Part 1, 275 "On the Use of Trisyllabic Feet in Iambic Verse" (Bryant), Supp. I, Part 1, 156 On the Way toward a Phenomenological Psychology: The Psychology of William James (Linschoten), II, 362 "On the Wide Heath" (Millay), III, 130 "On the Writing of Novels" (Buck), Supp. II, Part 1, 121 On These I Stand: An Anthology of the Best Poems of Countee Cullen (Cullen), Supp. IV, Part 1, 173 On This Island (Auden), Supp. II, Parti, 11 "On Time" (O'Hara), III, 369370 "On Translating Akhmatova" (Kunitz), Supp. Ill, Part 1, 268 "On Writing" (Carver), Supp. Ill, Part 1, 142-143 Once (Walker), Supp. Ill, Part 2, 519, 522, 530 Once at Antietam (Gaddis), Supp. IV, Part 1, 285 "Once by the Pacific" (Frost), II, 155; Retro. Supp. I, 122, 137 "Once More, the Round" (Roethke), III, 529 "Once More to the Lake" (White), Supp. I, Part 2, 658, 668, 673675 "Once There Was Light" (Kenyon), Supp. VII, 171-172 Ondaatje, Michael, Supp. IV, Part 1,252 One (magazine), III, 36; Supp. IV, Part 1, 365 "One Arm" (Williams), IV, 383 One Arm, and Other Stories (Williams), IV, 383

"One Art" (Bishop), Supp. I, Part 1, 72, 73, 82, 93, 94-95, 96 "One Art: The Poetry of Elizabeth Bishop, 1971-1976" (Schwartz), Supp. I, Parti, 81, 97 "One Blessing had I than the rest" (Dickinson), Retro. Supp. I, 45 "One Body" (Hass), Supp. VI, 106 One Boy's Boston, 1887-1901 (Morison), Supp. I, Part 2, 494 "One Coat of Paint" (Ashbery), Supp. Ill, Part 1, 26 "One Dash-Horses" (Crane), I, 416 One Day (Morris), III, 233-236 One Day, When I Was Lost (Baldwin), Supp. I, Part 1, 48, 66,67 "One Dead Friend" (Kumin), Supp. IV, Part 2, 441 One Flew Over the Cuckoo's Nest (Kesey), III, 558 "One for the Rose" (Levine), Supp. V, 181, 190 One for the Rose (Levine), Supp. V, 178, 179, 181, 187, 189-191 "One Friday Morning" (Hughes), Supp. I, Part 1, 330 "One Holy Night" (Cisneros), Supp. VII, 69-70 One Hundred Days in Europe (Holmes), Supp. I, Part 1, 317 158-Pound Marriage, The (Irving), Supp. VI, 163, 164, 167-170 "$106,000 Blood Money" (Hammett), Supp. IV, Part 1, 345, 346 $106,000 Blood Money (Hammett), Supp. IV, Part 1, 345 "One Is a Wanderer" (Thurber), Supp. I, Part 2, 616 "One Last Look at the Adige: Verona in the Rain" (Wright), Supp. Ill, Part 2, 603 One Life (Rukeyser), Supp. VI, 273, 281, 283 One Man in His Time (Glasgow), II, 178, 184 "One Man to Stand for Six Million" (Hicks), Supp. I, Part 2, 453 "One Man's Fortunes" (Dunbar), Supp. II, Part 1, 211, 212-213

536 / INDEX One Man's Initiation (Dos Passes), I, 476-477, 479, 488 "One Man's Meat" (White), Supp. I, Part 2, 655 One Man's Meat (White), Supp. I, Part 2, 654, 669, 676 "One More Song" (Lindsay), Supp. I, Part 2, 400-401 "One More Thing" (Carver), Supp. HI, Part 1, 138, 144 "One More Time" (Gordon), II, 200 One Nation (Stegner), Supp. IV, Part 2, 599, 608 "ONE NIGHT STAND" (Baraka), Supp. II, Part 1, 32 "One of Our Conquerors" (Bourne), I, 223 One of Ours (Gather), I, 322-323; Retro. Supp. I, 1, 3, 13-15, 20 "One of the Missing" (Bierce), I, 201-202 "One Person" (Wylie), Supp. I, Part 2, 709, 724-727 "One Sister have I in our house" (Dickinson), Retro. Supp. I, 34 "One Song, The" (Strand), Supp. IV, Part 2, 619 "One Summer in Spain" (Coover), Supp. V, 40 One Time, One Place: Mississippi in the Depression, a Snapshot Album (Welty), Retro. Supp. I, 339, 343, 344 1x1 (One Times One) (Cummings), I, 430, 436, 438439, 441, 446, 447, 448 "One Touch of Nature" (McCarthy), II, 580 "One Trip Abroad" (Fitzgerald), 11,95 "One Way" (Creeley), Supp. IV, Part 1, 150-151 One Way to Heaven (Cullen), Supp. IV, Part 1, 170, 172 "One Way to Spell Man" (Stegner), Supp. IV, Part 2, 601 One Way to Spell Man (Stegner), Supp. IV, Part 2, 595, 598, 601, 609

"One Who Skins Cats, The" (Gunn Allen), Supp. IV, Part 1, 331 "One Winter I Devise a Plan of My Own" (Rios), Supp. IV, Part 2, 549 One Writer's Beginnings (Welty), Retro. Supp. I, 339, 340, 341, 343, 344, 355-356 O'Neale, Sondra, Supp. IV, Part 1,2 O'Neil, Elizabeth Murrie, Retro. Supp. I, 427 O'Neil, Joseph E., II, 509 O'Neill, Eugene, I, 66, 71, 81, 94, 393, 445; II, 278, 391, 427, 585; III, 151, 165, 385-408; IV, 61, 383; Supp. Ill, Part 1, 177180, 189; Supp. IV, Part 1, 359, Part 2, 587, 607; Supp. V, 277 O'Neill, Eugene, Jr., Ill, 403 O'Neill, James, III, 386 O'Neill, James, Jr., Ill, 386 O'Neill, Mrs. Eugene (Carlotta Monterey), III, 403 O'Neill, Oona, III, 403 O'Neill, Shane, III, 403 One-Way Ticket (Hughes), Retro. Supp. I, 206, 207, 208; Supp. I, Part 1, 333-334 Only a Few of Us Left (Marquand), HI, 55 "Only Bar in Dixon, The" (Hugo), Supp. VI, 140, 141 Only Dark Spot in the Sky, The (Dove), Supp. IV, Part 1, 244 "Only in the Dream" (Eberhart), I, 523 "Only Path to Tomorrow, The" (Rand), Supp. IV, Part 2, 524 "Only Rose, The" (Jewett), II, 408 "Only Son of the Doctor, The" (Gordon), Supp. IV, Part 1, 305, 306 "Only the Dead Know Brooklyn" (Wolfe), IV, 451 Only When I Laugh (Simon), Supp. IV, Part 2, 575 Only Yesterday (Allen), Supp. I, Part 2, 681 "Ontology of the Sentence, The" (Gass), Supp. VI, 77

Opatoshu, Joseph, IV, 9 Opdahl, Keith Michael, I, 166 Open Boat and Other Stories (Crane), I, 408 "Open Boat, The" (Crane), I, 408, 415, 416-417, 423; Retro. Supp. I, 325 "Open House" (Roethke), III, 529 Open House (Roethke), III, 529530, 540 "Open Letter" (Roethke), HI, 532, 534 "Open Letter to Surrealists Everywhere, An" (Miller), III, 184 Open Meeting, The (Gurney), Supp. V, 98 "Open Road, The" (Dreiser), H, 44 Open Sea, The (Masters), Supp. I, Part 2, 471 "Open the Gates" (Kunitz), Supp. III, Part 1, 264-265, 267 "Opening, An" (Swenson), Supp. IV, Part 2, 639 Opening of the Field, The (Duncan), Supp. IH, Part 2, 625 Opening the Hand (Merwin), Supp. Ill, Part 1, 341, 353, 355 "Opera Company, The" (Merrill), Supp. Ill, Part 1, 326 Operation Sidewinder (Shepard), Supp. Ill, Part 2, 434-435, 439, 446-447 "Operation, The" (Sexton), Supp. II, Part 2, 675, 679 Operations in North African Waters (Morison), Supp. I, Part 2,490 Opie, John, I, 565 "Opinion" (Du Bois), Supp. II, Part 1, 173 Opinionator, The (Bierce), I, 209 Opinions of Oliver Allston (Brooks), I, 254, 255, 256 Oppen, George, IV, 415; Supp. III, Part 2, 614, 615, 616, 626, 628 Oppenheim, James, I, 106, 109, 239, 245 Oppenheimer, J. Robert, I, 137, 492

INDEX / 537 Opportunity (magazine), Retro. Supp. I, 198, 199, 203; Supp. I, Part 1, 324, 325, 326; Supp. IV, Part 1, 166, 168, 170 "Opportunity for American Fiction, An" (Howells), Supp. I, Part 2, 645-646 Opposing Self, The (Trilling), Supp. Ill, Part 2, 506-507 "Opposition" (Lanier), Supp. I, Part 1, 368, 373 "Optimist's Daughter, The" (Welty), IV, 280-281 Optimist's Daughter, The (Welty), IV, 261, 280; Retro. Supp. I, 339, 355 Options (O. Henry), Supp. II, Part 1,410 Opus Posthumous (Stevens), IV, 76,78 Oracle at Stoneleigh Court, The (Taylor), Supp. V, 328 "Oracle of Subocracy" (Scully), Supp. I, Part 1, 199 Orage, Alfred, III, 473 Orange Fish, The (Shields), Supp. VII, 318, 320, 323, 328 Orange Judd Farmer (publication), II, 465 Orange, Max (pseudonym), see Heller, Joseph Oranges (McPhee), Supp. Ill, Part 1, 298-299, 301, 309 Oration Delivered at Washington, July Fourth, 1809 (Barlow), Supp. II, Part 1, 80, 83 Orations and Addresses (Bryant), Supp. I, Part 1, 158 Orators, The (Auden), Supp. II, Parti, 6, 7, 11, 18-19 "Orchard" (Doolittle), Supp. I, Part 1, 263-264, 265, 266 "Orchard" (Eberhart), I, 539 Orchestra (Davies), III, 541 "Orchids" (Roethke), III, 530-531 Ordeal ofMansart, The (Du Bois), Supp. II, Part 1, 185-186 Ordeal of Mark Twain, The (Brooks), I, 240, 247, 248; II, 482 "Order of Insects" (Gass), Supp. VI, 83

Order Out of Chaos (McPherson), Supp. IV, Part 1, 2, 12 "Ordinary Afternoon in Charlottesville, An" (Wright), Supp. V, 344 "Ordinary Evening in New Haven, An" (Stevens), IV, 91-92; Retro. Supp. I, 297, 300, 311, 312 Ordinary Love (Smiley), Supp. VI, 292, 299-300 Ordinary Love; and Good Will: Two Novellas (Smiley), Supp. VI, 292, 299-300 Ordinary Miracles (Jong), Supp. V, 115,130-131 "Ordinary Women, The" (Stevens), IV, 81 "Oread" (Doolittle), II, 520-521; Supp. I, Part 1, 265-266 Oregon Trail, The (Parkman), II, 312; Supp. II, Part 2, 592, 595-596, 598, 606 Orel, Harold, Supp. I, Part 2, 402 "Orestes at Tauris" (Jarrell), II, 376, 377 Orfeo ed Euridice (Gluck), II, 210, 211 "Orgy" (Rukeyser), Supp. VI, 280 Orgy, The (Rukeyser), Supp. VI, 274, 283 Orient Express (Dos Passos), I, 480 "Orient Express, The" (Jarrell), II, 382, 383-384 Origen, Adamantius, IV, 153 Origin (publication), Supp. Ill, Part 2, 627, 628; Supp. IV, Part 1, 144 "Origin of Extermination in the Imagination, The" (Gass), Supp. VI, 89 Origin of Species, The (Darwin), II, 173, 462 Origin of the Brunists, The (Coover), Supp. V, 39, 41, 52 Original Essays on the Poetry of Anne Sexton (George), Supp. IV, Part 2, 450 Original of Laura, The (Nabokov), Retro. Supp. I, 266

"Original Sin" (Jeffers), Supp. II, Part 2, 426 "Original Sin" (Warren), IV, 245 "Origins and History of Consciousness" (Rich), Supp. I, Part 2, 570 "Other Mothers" (Paley), Supp. VI, 225 "Origins of a Poem" (Levertov), Supp. Ill, Part 1, 273 "Origins of the Beat Generation, The" (Kerouac), Supp. Ill, Part 1,231 Origo, Iris, IV, 328, 330 "Orion" (Rich)^upp^, Part 2, 557 O'Riordan, Conal Holmes O'Connell, III, 465 Orlando (Woolf), Supp. I, Part 2, 718 Ormond; or, The Secret Witness (Brown), Supp. I, Part 1, 133137 Ormonde, Czenzi, Supp. IV, Part 1, 132 Orne, Sarah, see Jewett, Mrs. Theodore Furber (Sarah Orne) Orphan Angel, The (Wylie), Supp. I, Part 2, 707, 709, 714, 717, 719-721, 722, 724 Orpheus (Rukeyser), Supp. VI, 273 "Orpheus" (Winters), Supp. II, Part 2, 801 "Orpheus Alone" (Strand), Supp. IV, Part 2, 632 Orpheus Descending (Williams), IV, 380, 381, 382, 385, 386, 387, 389, 391-392, 395, 396, 398 Orr, Peter, Supp. I, Part 2, 538, 540, 543, 549 Ortega y Gasset, Jose, I, 218, 222; Supp. IV, Part 2, 521 Ortiz, Simon J., Supp. IV, Part 1, 319, 404, Part 2, 497-515, 557 O'Ruddy, The (Crane), I, 409, 424 Orwell, George, I, 489; II, 454, 580; Supp. I, Part 2, 523, 620; Supp. II, Part 1, 143; Supp. IV, Part 1, 236; Supp. V, 250 Osborn, Dwight, III, 218-219, 223

538 / INDEX "Osborn Look, The" (Morris), III, 221 Osgood, J. R., II, 283 O'Shea, Kitty, II, 137 "Oshkikwe's Baby" (traditional Chippewa story), Supp. IV, Part 1, 333 Oshogay, Delia, Supp. IV, Part 1, 333 Ossana, Diana, Supp. V, 230-231, 232 Ossian, Supp. I, Part 2, 491 Ostriker, Alicia, Supp. I, Part 2, 540, 548; Supp. IV, Part 2, 439, 447, 449 Ostroff, Anthony, I, 542-543; III, 550 Ostrom, Hans, Retro. Supp. I, 195 Ostrom, John W., 111,431 O'Sullivan, Vincent, III, 121 Oswald, Lee Harvey, III, 234, 235 Oswald II (DeLillo), Supp. VI, 16 Othello (Shakespeare), I, 284-285 "Other, The" (Sexton), Supp. II, Part 2, 692 Other America, The (Harrington), 1,306 "Other Bishop, The" (McClatchy), Supp. I, Part 1, 97 Other Destinies: Understanding the American Indian Novel (Owens), Supp. IV, Part 1, 404 "Other Frost, The" (Jarrell), Retro. Supp. I, 121 Other Gods: An American Legend (Buck), Supp. II, Part 1, 123, 130-131 Other House, The (James), Retro. Supp. I, 229 "Other League of Nations, The" (Rios), Supp. IV, Part 2, 552 "Other Margaret, The" (Trilling), Supp. Ill, Part 2, 504-505 "Other Miller, The" (Wolff), Supp. VII, 343-344 "Other Mothers" (Paley), Supp. VI, 225 "Other Robert Frost, The" (Jarrell), Retro. Supp. I, 135 Other Side, The (Gordon), Supp. IV, Part 1, 299, 306, 307-309, 310-311

Other Side, The/El Otro Lado (Alvarez), Supp. VII, 9-12 "Other Side of the River, The" (Wright), Supp. V, 335 Other Side of the River, The (Wright), Supp. V, 332-333, 342 "Other Tradition, The" (Ashbery), Supp. Ill, Part 1, 15, 18 "Other Two, The" (Wharton), Retro. Supp. I, 367 Other Voices, Other Rooms (Capote), Supp. Ill, Part 1, 113-118, 121, 123-124 "Other War, The" (Cowley), Supp. II, Part 1, 144 "Other Woman, The" (Anderson), I, 114 Others (journal), Retro. Supp. I, 416, 418, 422, 424 Others (publication), III, 194, 199; IV, 76 Others (Shields), Supp. VII, 310 Otherwise: New and Selected Poems (Kenyon), Supp. VII, 167, 172-174 "Otherwise" (Kenyon), Supp. VII, 172, 174 Otis, Harrison Gray, Supp. I, Part 2,479-481,483,486,488 Otis, James, III, 577; Supp. I, Part 2, 486 Otto, Max, II, 365 Our America (Frank), I, 229 Our America (Michaels), Retro. Supp. I, 379 "Our Assistant's Column" (Twain), IV, 193 "Our Bourgeois Literature" (Sinclair), Supp. V, 281 Our Century (Wilder), IV, 374 "Our Countrymen in Chains!" (Whittier), Supp. I, Part 2, 688 "Our Cultural Humility" (Bourne), 1, 223, 228 "Our Father Who Drowns the Birds" (Kingsolver), Supp. VII, 208-209 "Our First House" (Kingston), Supp. V, 169 Our Gang (Roth), Supp. Ill, Part 2, 414; Supp. IV, Part 1, 388

"Our Good Day" (Cisneros), Supp. VII, 60 Our Ground Time Here Will Be Brief (Kumin), Supp. IV, Part 2, 450-452 "Our Lady of Troy" (MacLeish), III, 3, 20 "Our Limitations" (Holmes), Supp. I, Part 1,314 "Our Martyred Soldiers" (Dunbar), Supp. II, Part 1, 193 "Our Master" (Whittier), Supp. I, Part 2, 704 "Our Mother Pochahontas" (Lindsay), Supp. I, Part 2, 393 Our Mr. Wrenn: The Romantic Adventures of a Gentle Man (Lewis), II, 441 "Our Old Aunt Who Is Now in a Retirement Home" (Shields), Supp. VII, 310 Our Old Home (Hawthorne), II, 225 Our Old Home: A Series of English Sketches (Hawthorne), Retro. Supp. I, 163 "Our Story Begins" (Wolff), Supp. VII, 345 Our Town (Wilder), IV, 357, 364, 365, 366, 368-369 "Our Unplanned Cities" (Bourne), I, 229, 230 Our Wonder World, Retro. Supp. 1,341 Our Young Folks (magazine), II, 397 Ourselves to Know (O'Hara), III, 362, 365 Ouspensky, P. D., I, 383 Out Cry (Williams), IV, 383, 393 "Out Like a Lamb" (Dubus), Supp. VII, 91 "Out of an Abundant Love of Created Things" (Esty), Supp. I, Part 1, 198 "Out of Nowhere into Nothing" (Anderson), I, 113 "Out of Season" (Hemingway), II, 263 "Out of the Cradle Endlessly Rocking" (Whitman), IV, 342, 343-345, 346, 351; Retro. Supp. I, 404, 406

INDEX / 539 "Out of the Hospital and Under the Bar" (Ellison), Supp. II, Part 1, 246 "Out of the Rainbow End" (Sandburg), III, 594-595 "Out of the Sea, Early" (Swenson), Supp. IV, Part 2, 645 "Out of the Snow" (Dubus), Supp. VII, 91 Out of the Stars (Purdy), Supp. VII, 281-282 " 'Out, Out' " (Frost), Retro. Supp. I, 131 "Outcasts of Poker Flats, The" (Harte), Supp. II, Part 1, 345, 347-348 Outcroppings (Harte), Supp. II, Part 1, 343 Outcry, The (James), Retro. Supp. 1,235 Outerbridge Reach (Stone), Supp. V, 306-308 "Outing, The" (Baldwin), Supp. I, Part 1, 63 "Outline of an Autobiography" (Toomer), Supp. Ill, Part 2, 478 Outlook (publication), Supp. I, Part 1, 200, Part 2, 380, 709 Outre-Mer: A Pilgrimage beyond the Sea (Longfellow), II, 313, 491 Outside, The (Glaspell), Supp. Ill, Part 1, 179, 187 Outsider, The (Wright), IV, 478, 481, 488, 491-494, 495 "Outstanding Novels" (Schorer), Supp. I, Part 1, 199 "Ouzo for Robin" (Merrill), Supp. Ill, Part 1, 326 "Oval Portrait, The" (Poe), III, 412,415 "Oven Bird, The" (Frost), Retro. Supp. I, 131 "Over Kansas" (Ginsberg), Supp. II, Part 1, 320 "Over the Hill" (Dubus), Supp. VII, 76, 79-80 "Over 2000 Illustrations and a Complete Concordance" (Bishop), Supp. I, Part 1, 9091

"Overgrown Pasture, The" (Lowell), II, 523 Overland Monthly (publication), I, 194, 200; II, 465, 466, 468; Supp. II, Part 1, 344, 345, 350, 351-352 Overland to the Islands (Levertov), Supp. Ill, Part 1, 275, 276 "Over-Soul, The" (Emerson), II, 7 Overtime (Gurney), Supp. V, 104 "Overwhelming Question, An" (Taylor), Supp. V, 323 Ovid, I, 62; II, 542-543; III, 457, 467, 468, 470; Retro. Supp. I, 63; Supp. IV, Part 2, 634 Owen, David, II, 34, 53 Owen, Maureen, Supp. IV, Part 2, 423 Owen, Wilfred, II, 367, 372; III, 524 Owens, Hamilton, III, 99, 109 Owens, Louis, Supp. IV, Part 1, 404 Owl, The (publication), II, 465 Owl in the Attic, The (Thurber), Supp. I, Part 2, 614 "Owl in the Sarcophagus, The" (Stevens), Retro. Supp. I, 300 "Owl Who Was God, The" (Thurber), Supp. I, Part 2, 610 "Owl's Clover" (Stevens), IV, 75 Owl's Clover (Stevens), Retro. Supp. I, 298, 303-304 Owl's Insomnia, Poems by Rafael Alberti, The (trans. Strand), Supp. IV, Part 2, 630 Oxford Anthology of American Literature, The, III, 197; Supp. I, Part 1, 254 Oxford Book of American Verse (Matthiessen, ed.), Retro. Supp. 1,40 Oxford History of the American People, The (Morison), Supp. I, Part 2, 495-496 Oxford History of the United States, 1783-1917, The (Morison), Supp. I, Part 2, 483-484 Oxherding Tale (Johnson), Supp. VI, 190-192, 193, 194, 196

"Oysters" (Sexton), Supp. II, Part 2,692 Ozick, Cynthia, Supp. I, Part 1, 199; Supp. V, 257-274 "Pacific Distances" (Didion), Supp. IV, Parti, 211 Pack, Robert, IV, 96; Supp. IV, Part 2, 621 "Packed Dirt, Churchgoing, a Dying Cat, a Traded Cat" (Updike), IV, 219 Pafko at the Wall (DeLillo), Supp. VI, 4 Pagan, The (publication), I, 384 "Pagan Prayer" (Cullen), Supp. IV, Part 1, 170 "Pagan Rabbi, The" (Ozick), Supp. V, 262, 264, 265 Pagan Rabbi and Other Stories, The (Ozick), Supp. V, 261, 260, 263-265 Pagan Spain (Wright), IV, 478, 488, 495 Pagany (publication), Supp. Ill, Part 2, 613 Page, Kirby, III, 297 Page, Thomas Nelson, II, 174, 176, 194 Page, Walter Hines, II, 174, 175; Supp. I, Part 1, 370 "Pages from Cold Point" (Bowles), Supp. IV, Part 1, 85, 86, 87 Paid on Both Sides: A Charade (Auden), Supp. II, Part 1, 6, 18-19 Paige, Satchel, Supp. I, Part 1, 234 Paige, T. D. D., Ill, 475 Pain, Joseph, Supp. I, Part 2, 502 Pain, Mrs. Joseph (Frances Cocke), Supp. I, Part 2, 502 Paine, Albert Bigelow, I, 249; IV, 213 Paine, Mrs. Thomas (Elizabeth Ollive), Supp. I, Part 2, 503 Paine, Mrs. Thomas (Mary Lambert), Supp. I, Part 2, 503 Paine, Thomas, I, 490; II, 117, 302; III, 17, 148, 219; Retro. Supp. I, 390; Supp. I, Part 1, 231, Part 2, 501-525

540 / INDEX "Pain has an Element of Blank" (Dickinson), Retro. Supp. I, 44 Painted Bird, The (Kosinski), Supp. VII, 215-217, 219-221, 222, 227 "Painted Head" (Ransom), III, 491, 494; Supp. II, Part 1, 103, 314 Painted Word, The (Wolfe), Supp. IE, Part 2, 580-581,584 "Painter, The" (Ashbery), Supp. Ill, Part 1, 5-6, 13 Painter Dreaming in the Scholar's House, The (Nemerov), III, 269 "Painters" (Rukeyser), Supp. VI, 281 "Painting a Mountain Stream" (Nemerov), III, 275 "Pair a Spurs" (Proulx), Supp. VII, 263-264 "Pair of Bright Blue Eyes, A" (Taylor), Supp. V, 321 Pal Joey (O'Hara), III, 361, 367368 "Pal Joey" stories (O'Hara), III, 361 "Palantine, The" (Whittier), Supp. I, Part 2, 694, 696 Pale Fire (Nabokov), III, 244, 246, 252, 263-265; Retro. Supp. I, 264, 265, 266, 270, 271, 272, 276, 278, 335; Supp. V, 251, 253; Retro. Supp. I, 335 "Pale Horse, Pale Rider" (Porter), ffl, 436, 437, 441-442, 445, 446, 449 Pale Horse, Pale Rider: Three Short Novels (Porter), III, 433, 436-442 "Pale Pink Roast, The" (Paley), Supp. VI, 217 Paley, Grace, Supp. VI, 217-218, 219-222, 223-233 Paley, William, II, 9 Palgrave, Francis Turner, Retro. Supp. I, 124 Palgrave's Golden Treasury (Palgrave), IV, 405 Palimpsest (Doolittle), Supp. I, Part 1, 259, 268, 269, 270-271

"Palingenesis" (Longfellow), II, 498 "Palm, The" (Merwin), Supp. HI, Part 1, 355 Palmer, Charles, II, 111 Palmer, Elihu, Supp. I, Part 2, 520 Palmer, Michael, Supp. IV, Part 2,421 Palmerston, Lord, I, 15 Palms (publication), Supp. IV, Part 1, 166 "Palo Alto: The Marshes" (Hass), Supp. VI, 100 Palpable God, A: Thirty Stories Translated from the Bible with an Essay on the Origins and Life of Narrative (Price), Supp. VI, 262, 267 Paltsits, V. H., Ill, 96 Pamela (Richardson), Supp. V, 127 "Pan versus Moses" (Ozick), Supp. V, 262 Pan-African movement, Supp. II, Part 1, 172, 175 "Pandora" (Adams), I, 5 Pandora: New Tales of Vampires (Rice), Supp. VII, 295 "Pangolin, The" (Moore), III, 210 Panic: A Play in Verse (MacLeish), III, 2, 20 Panic in Needle Park (film), Supp. IV, Part 1, 198 Pantagruel (Rabelais), II, 112 "Pantaloon in Black" (Faulkner), 11,71 Pantheism, Supp. I, Part 1, 163 Panther and the Lash, The (Hughes), Retro. Supp. I, 204, 211; Supp. I, Part 1, 342-344, 345-346 "Papa and Mama Dance, The" (Sexton), Supp. II, Part 2, 688 "Papa Who Wakes Up Tired in the Dark" (Cisneros), Supp. VII, 62 Pape, Greg, Supp. V, 180 Paper Boats (Butler), Supp. I, Part 1, 275 "Paper House, The" (Mailer), III, 42^3

Papers on Literature and Art (Fuller), Supp. II, Part 1, 292, 299 Papp, Joseph, Supp. IV, Part 1, 234 "Paprika Johnson" (Barnes), Supp. Ill, Part 1, 33 "Par" (Bausch), Supp. VII, 54 Par le Detroit (cantata) (Bowles), Supp. IV, Part 1, 82 "Parable in the Later Novels of Henry James" (Ozick), Supp. V, 257 "Parable of the Gift" (Gliick), Supp. V, 89 "Parable of the Hostages" (Gluck), Supp. V, 89 "Parable of the King" (Gluck), Supp. V, 89 "Parable of the Trellis" (Gliick), Supp. V, 89 Parachutes & Kisses (Jong), Supp. V, 115, 123, 125-126, 129 "Parade of Painters" (Swenson), Supp. IV, Part 2, 645 "Paradigm, The" (Tate), IV, 128 Paradise (Barthelme), Supp. IV, Part 1, 52 Paradise Lost (Milton), I, 137; II, 168, 549; IV, 126 Paradise Lost (Odets), Supp. II, Part 2, 530, 531, 538-539, 550 "Paradise of Bachelors and the Tartarus of Maids, The" (Melville), III, 91 Paradox of Progressive Thought, The (Noble), Supp. I, Part 2, 650 "Paradoxes and Oxymorons" (Ashbery), Supp. Ill, Part 1, 23-24 "Paraphrase" (Crane), I, 391-392, 393 "Pardon, The" (Wilbur), Supp. HI, Part 2, 544, 550 "Parents' Weekend: Camp Kenwood" (Kenyon), Supp. VII, 169 Pareto, Vilfredo, II, 577 Paretsky, Sarah, Supp. IV, Part 2, 462

INDEX / 541 "Paris, 7 A.M." (Bishop), Supp. I, Part 1, 85, 89 Paris France (Stein), IV, 45 Paris Review (publication), I, 97, 381, 567, 587; II, 563, 574, 579; III, 194; IV, 102, 217, 218, 221, 246, 250; Supp. I, Part 2, 618; Supp. IV, Part 1, 199, 201, 202, 203, 289, Part 2, 576; Supp. V, 11, 14,58,59,201 "Park Bench" (Hughes), Supp. I, Part 1, 331-332 "Park City" (Beattie), Supp. V, 35 Park City (Beattie), Supp. V, 24, 35-36 Park, Robert, IV, 475 "Park Street Cemetery, The" (Lowell), II, 537, 538 Parker, Charlie, Supp. I, Part 1, 59 Parker, Dorothy, Supp. IV, Part 1, 353 Parker, Hershel, III, 95, 97 Parker, Robert B., Supp. IV, Part 1, 135, 136 Parker, Theodore, Supp. I, Part 1, 38, Part 2, 518 Parker, Thomas, Supp. I, Part 1, 102 "Parker's Back" (O'Connor), III, 348, 352, 358 Parkes, Henry Bamford, I, 287, 564; II, 23; Supp. I, Part 2, 617 Parkinson, Thomas, II, 557 Parkman, Francis, II, 278, 310, 312; IV, 179, 309; Supp. I, Part 2, 420, 479, 481^82, 486, 487, 493, 498; Supp. II, Part 2, 589-616 Parkman Reader, The (ed. Morison), Supp. I, Part 2, 494 Parks, Edd Winfield, Supp. I, Part 1,373 Parks, Edw., Ill, 432 Parks, Larry, Supp. I, Part 1, 295 Parks, Rosa, Supp. I, Part 1, 342 Parliament of Fowls, The (Chaucer), III, 492 Parmenides (Plato), II, 10 Parmenter, Ross, IV, 377 Parnassus (Emerson), II, 8, 18

Parnassus (publication), Supp. IV, Part 1, 68 Parnell, Charles Stewart, II, 129, 137 Parrington, Vernon Louis, I, 254, 357, 517, 561, 565; III, 335, 606; IV, 173; Supp. I, Part 2, 484, 640 "Parrot, The" (Merrill), Supp. Ill, Part 1, 320 "Parsley" (Dove), Supp. IV, Part 1, 245, 246 Parson, Annie, Supp. I, Part 2, 655 Parsons, Edward, I, 564 Parsons, Elsie Clews, I, 231, 235 Parsons, Talcott, Supp. I, Part 2, 648 Parsons, Theophilus, II, 396, 504; Supp. I, Part 1, 155 "Part of a Letter" (Wilbur), Supp. Ill, Part 2, 551 "Parthian Shot, The" (Hammett), Supp. IV, Part 1, 343 Partial Portraits (James), II, 336 Parties (Van Vechten), Supp. II, Part 2, 739, 747-749 "Parting" (Kunitz), Supp. Ill, Part 1,263 "Parting Gift" (Wylie), Supp. I, Part 2, 714 "Parting Glass, The" (Freneau), Supp. II, Part 1, 273 "Partings" (Hogan), Supp. IV, Part 1, 413 Partington, Blanche, I, 199 Partisan Review (publication), I, 168, 170, 256; II, 562; III, 35, 292, 337-338; IV, 128; Retro. Supp. I, 137, 303, 309; Supp. I, Part 1, 58, 89; Supp. IV, Part 1,70, 84, 286; Supp. V, 319 Partisans (Matthiessen), Supp. V, 201 "Partner, The" (Roethke), III, 541542 Partners, The (Auchincloss), Supp. IV, Part 1,31, 34 Parton, Sara, Retro. Supp. I, 246 Partridge, John, II, 110, 111 "Parts of a Journal" (Gordon), Supp. IV, Part 1,310

Parts of a World (Stevens), Retro. Supp. I, 305-306, 307, 309, 313 Party at Jack's, The (Wolfe), IV, 451-452,469 "Party, The" (Dunbar), Supp. II, Part 1, 198, 205-206 "Party, The" (Taylor), Supp. V, 315 Pascal, Blaise, II, 8, 159; III, 292, 301, 304, 428; Retro. Supp. I, 326, 330 "Passage" (Crane), I, 391 "Passage in the Life of Mr. John Oakhurst, A" (Harte), Supp. II, Part 1, 353-354 "Passage to India" (Whitman), IV, 348 Passage to India, A (Forster), II, 600 "Passages from a Relinquished Work" (Hawthorne), Retro. Supp. I, 150 "Passenger Pigeons" (Jeffers), Supp. II, Part 2, 437 "Passing Show, The" (Bierce), I, 208 "Passing Through" (Kunitz), Supp III, Part 1, 265 "Passion, The" (Barnes), Supp. Ill, Part 1, 36 "Passion, The" (Merwin), Supp. Ill, Part 1, 343 Passion Play (Kosinski), Supp. VII, 215, 225-226 "Passionate Pilgrim, A" (James), II, 322, 323-324; Retro. Supp. 1,218 Passionate Pilgrim, A (James), Retro. Supp. I, 219 Passionate Pilgrim, The, and Other Tales (James), II, 324 Passionate Prodigality, A (Aldington), Supp. I, Part 1, 275 Passions of Uxport, The (Kumin), Supp. IV, Part 2, 444 Passport to the War (Kunitz), Supp. Ill, Part 1, 261-264 Past and Present (Carlyle), Supp. I, Part 2, 410 "Past Is the Present, The" (Moore), III, 199-200

542 / INDEX "Past, The" (Bryant), Supp. I, Part 1, 157, 170 "Past, The" (Kinnell), Supp. Ill, Part 1, 254 Past, The (Kinnell), Supp. Ill, Part 1, 235, 253-254 Pasternak, Boris, II, 544 "Pastiches et Pistaches" (Van Vechten), Supp. II, Part 2, 732 "Pastor Dowe at Tacate" (Bowles), Supp. IV, Part 1, 87 "Pastoral" (Carver), Supp. Ill, Part 1, 137, 146 "Pastoral" (Dove), Supp. IV, Part 1,249 "Pastoral Hat, A" (Stevens), IV, 91 Pastorela (ballet) (Kirstein), Supp. IV, Part 1, 83 Pastorius, Francis Daniel, Supp. I, Part 2, 700 "Pasture Poems" (Kumin), Supp. IV, Part 2, 446 Pastures of Heaven, The (Steinbeck), IV, 51 Pat Hobby Stories, The (Fitzgerald), Retro. Supp. I, 114 Patchen, Kenneth, Supp. Ill, Part 2,625 Pater, Walter, I, 51, 272, 476; II, 27, 338; III, 604; IV, 74; Retro. Supp. I, 56, 79; Supp. I, Part 2,552 Paterna (Mather), Supp. II, Part 2,451 "Paterson" (Ginsberg), Supp. II, Parti, 314-315, 321, 329 Paterson, Isabel, Supp. IV, Part 2, 524 Paterson (Williams), I, 62, 446; IV, 418-^23; Retro. Supp. I, 209, 284, 413, 419, 421, 424428, 428, 429, 430; Supp. II, Part 2, 557, 564, 625 Paterson, Book Five (Williams), IV, 422-423 Paterson, Book One (Williams), IV, 421-422 Paterson, Part Three (Williams), IV, 420-421 "Path, The" (Bryant), Supp. I, Part 1, 169

Pathfinder, The (Cooper), I, 349, 350, 355 Patinkin, Mandy, Supp. IV, Part 1,236 Patria Mia (Pound), III, 460-461; Retro. Supp. I, 284 "Patria Mia" (Pound), Retro. Supp. I, 284 "Patriarch, The" (Alvares), Supp. V,ll Patrick, W. R., Ill, 455 Patrimony (Roth), Supp. Ill, Part 2,427 Patriot, The (Buck), Supp. II, Part 1, 122-123 Patriotic Gore: Studies in the Literature of the American Civil War (Wilson), III, 588; IV, 430, 438, 443, 445-445, 446 "Patriots, The/Los Patriotas" (Kingsolver), Supp. VII, 209 Pattee, Fred L., II, 456, 485 Patten, Gilbert, II, 423 Patten, Simon, Supp. I, Part 2, 640 "Pattern of the Atmosphere, The" (Zabel), Supp. I, Part 2, 730 "Patterns" (Lowell), II, 524 Patterson, Floyd, III, 38 Patterson, Lindsay, Supp. I, Part 1,348 Patterson, William M., Supp. I, Part 1, 265 Patton, General George, III, 575; Supp. I, Part 2, 664 Paul Bowles: Romantic Savage (Caponi), Supp. IV, Part 1, 95 Paul, Saint, I, 365; II, 15, 494; IV, 122, 154, 164, 335; Retro. Supp. I, 247; Supp. I, Part 1, 188 Paul, Sherman, I, 238, 244; II, 23; IV, 179, 189, 424, 449 "Paul Revere" (Longfellow), II, 489, 501 "Paula Becker to Clara Westhoff' (Rich), Supp. I, Part 2, 573574 "Paula Gunn Allen" (Ruppert), Supp. IV, Part 1, 321 Paulding, James Kirke, I, 344; II, 298, 299, 303; Supp. I, Part 1, 157

Paulding family, II, 297 "Paul's Case" (Gather), I, 314315; Retro. Supp. I, 3, 5 Paulsen, Friedrich, III, 600 "Pause by the Water, A" (Merwin), Supp. Ill, Part 1, 354 "Pavement, The" (Olson), Supp. II, Part 2, 571 Pavese, Cesare, Supp. I, Part 2, 478 Pavilion of Women (Buck), Supp. II, Part 1, 125-126 "Pawnbroker, The" (Kumin), Supp. IV, Part 2, 442, 443444, 451 Payne, Daniel, Supp. V, 202 Payne, Edward B., II, 485 Payne, John Howard, II, 309 Payne, Ladell, IV, 473 Paz, Octavio, Supp. I, Part 1, 97; Supp. Ill, Part 2, 630 Peabody, Elizabeth, Retro. Supp. 1, 155-156, 225 Peabody, Elizabeth P., Supp. I, Part 1, 46 Peabody, Francis G., Ill, 293; Supp. I, Part 1, 5 Peabody, Josephine Preston, III, 507 Peabody, Sophia, see Hawthorne, Mrs. Nathaniel (Sophia Peabody) Peace and Bread in Time of War (Addams), Supp. I, Part 1, 21, 22-23 "Peace of Cities, The" (Wilbur), Supp. Ill, Part 2, 545 "Peaches—Six in a Tin Box, Sarajevo" (Cisneros), Supp. VII, 67 Peacock, Gibson, Supp. I, Part 1, 360 Peacock, Thomas Love, Supp. I, Part 1, 307 "Peacock, The" (Merrill), Supp. III, Part 1, 320 "Peacock Room, The" (Hayden), Supp. II, Part 1, 374-375 Pearce, Roy Harvey, I, 357, 473; II, 244, 245; IV, 354; Supp. I, Part 1, 111, 114, 173, 373, Part 2, 475, 478, 706

INDEX / 543 Pearl ofOrr's Island, The (Stowe), Supp. I, Part 2, 592-593, 595 Pearl, The (Steinbeck), IV, 51, 6263 Pearlman, Daniel, III, 479 Pears, Peter, II, 586; Supp. IV, Part 1, 84 Pearson, Norman Holmes, I, 120; Supp. I, Part 1, 259, 260, 273 Pease, Donald E., Supp. IV, Part 2,687 "Peck of Gold, A" (Frost), II, 155 Peden, William, Supp. I, Part 1, 199 "Pedersen Kid, The" (Gass), Supp. VI, 83 "Pedigree, The" (Creeley), Supp. IV, Part 1, 150 Pedlar's Progress: The Life of Bronson Alcott (Shepard), Supp. 1, Part 1, 46 Peikoff, Leonard, Supp. IV, Part 2, 520, 526, 529 Peirce, Charles Sanders, II, 20, 352-353; III, 599; Supp. I, Part 2, 640; Supp. Ill, Part 2, 626 Pelagius, III, 295 "Pelican, The" (Merrill), Supp. Ill, Part 1, 320 "Pelican, The" (Wharton), IV, 310; Retro. Supp. I, 364 Peltier, Leonard, Supp. V, 212 "Pen and Paper and a Breath of Air" (Oliver), Supp. VII, 245 "Pencil, The" (Chandler), Supp. IV, Part 1, 135 Pencillings by the Way (Willis), II, 313 "Pencils" (Sandburg), III, 592 "Pendulum" (Bradbury and Hasse), Supp. IV, Part 1, 102 "Penelope's Song" (Gluck), Supp. V, 89 Penhally (Gordon), II, 197, 199, 201-203, 204 Penn, Robert, I, 489 Penn, Thomas, II, 118 Penn, William, Supp. I, Part 2, 683 Penn family, II, 109, 119

Penn Magazine, The (literary journal), III, 412 Penney, Clara Louisa, II, 317 Pennsylvania Evening Post (newspaper), Supp. I, Part 2, 505 Pennsylvania Freeman (newspaper), Supp. I, Part 2, 405, 686 Pennsylvania Gazette (newspaper), II, 108, 113, 119 Pennsylvania Magazine (magazine), Supp. I, Part 2, 504, 505 "Pennsylvania Pilgrim, The" (Whittier), Supp. I, Part 2, 700 "Pennsylvania Planter, The" (Freneau), Supp. II, Part 1, 268 Penrod (Tarkington), III, 223 Pentagon of Power, The (Mumford), Supp. II, Part 2, 498 Pentimento (Hellman), Supp. I, Part 1, 280, 292-294, 296; Supp. IV, Part 1, 12 "Peonies at Dusk" (Kenyon), Supp. VII, 171 People, The (Glaspell), Supp. Ill, Part 1, 179 "PEOPLE BURNING, THE" (Baraka), Supp. II, Part 1, 49 "People in Hell Just Want a Drink of Water" (Proulx), Supp. VII, 263 People of the Abyss, The (London), II, 465-466 "People on the Roller Coaster, The" (Hardwick), Supp. Ill, Part 1, 196 People Shall Continue, The (Ortiz), Supp. IV, Part 2, 510 "People v. Abe Lathan, Colored, The" (Caldwell), I, 309 People, Yes, The (Sandburg), III, 575, 589, 590, 591 "People's Surroundings" (Moore), III, 201, 202, 203 People's World (publication), Retro. Supp. I, 202 Pepper, William, II, 124

"Peppermint Lounge Revisited, The" (Wolfe), Supp. Ill, Part 2, 571 Pepys, Samuel, Supp. I, Part 2, 653 "Perch'io non spero di tornar giammai" (Cavalcanti), Supp. III, Part 2, 623 Percy, Walker, Supp. Ill, Part 1, 383-400; Supp. IV, Part 1, 297; Supp. V, 334 Percy, William, Supp. V, 334 Percy, William Alexander, Retro. Supp. I, 341 "Peregrine" (Wylie), Supp. I, Part 2, 712-713, 714 Perelman, Mrs. S. J. (Lorraine "Laura" Weinstein), IV, 285, 286; Supp. IV, Part 1, 353 Perelman, S. J., IV, 286; Retro. Supp. I, 342; Supp. IV, Part 1, 353 Perenyi, Eleanor, IV, 449 Peretz, Isaac Loeb, IV, 1, 3 Perez Galdos, Benito, II, 275 Perfect Analysis Given by a Parrot, A (Williams), IV, 395 "Perfect Day for Bananafish, A" (Salinger), III, 563-564, 571 "Perfect Knight, The" (Chandler), Supp. IV, Part 1, 120 Perfect Party, The (Gurney), Supp. V, 100, 105, 106-107 "Performance, The" (Dickey), Supp. IV, Part 1, 178-179, 181 Perhaps Women (Anderson), I, 114 Pericles (Shakespeare), I, 585; Supp. Ill, Part 2, 624, 627, 629 Period of Adjustment (Williams), IV, 382, 386, 387, 388, 389, 390, 392, 393, 394, 397 "Period Pieces from the MidThirties" (Agee), I, 28 "Periphery" (Ammons), Supp. VII, 28 Perkins, David, Supp. I, Part 2, 459, 475, 478 Perkins, M. Helen, Supp. I, Part 1,26

544 / INDEX Perkins, Maxwell, I, 252, 289, 290; II, 87, 93, 95, 252; IV, 452, 455, 457, 458, 461, 462, 463, 469; Retro. Supp. I, 101, 105, 108, 109, 110, 113, 114, 178 Perles, Alfred, III, 177, 183, 187, 189, 192 Perloff, Marjorie, II, 557; Supp. I, Part 2, 539, 542, 548; Supp. IV, Part 1, 68, Part 2, 420, 424, 432 Perlov, Yitzchok, IV, 22 Permanence and Change (Burke), 1,274 Permanent Errors (Price), Supp. VI, 261 "Permanent Traits of the English National Genius" (Emerson), II, 18 Permit Me Voyage (Agee), I, 25, 27 Perosa, Sergio, II, 100 Perrault, Charles, III, 216; IV, 266; Supp. I, Part 2, 622 Perry, Anne, Supp. V, 335 Perry, Bliss, I, 243; II, 23; IV, 354; Supp. I, Part 2, 706 Perry, Donna, Supp. IV, Part 1, 322, 327, 335 Perry, Dr. William, II, 395, 396 Perry, Edgar A., Ill, 410 Perry, Lincoln, Supp. V, 24, 33 Perry, Matthew C, Supp. I, Part 2, 494-495 Perry, Patsy Brewington, Supp. I, Part 1, 66 Perry, Ralph Barton, I, 224; II, 356, 362, 364, 365, 366 Perse, St.-John, III, 12, 13, 14, 17; Supp. Ill, Part 1, 14; Supp. IV, Part 1, 82 "Persephone in Hell" (Dove), Supp. IV, Part 1,250, 251 "Persistence of Desire, The" (Updike), IV, 222-223, 228 Person, Place, and Thing (Shapiro), Supp. II, Part 2, 702, 705 Person Sitting in Darkness, A (Twain), IV, 208 Personae (Pound), Supp. I, Part 1,255

Personae of Ezra Pound (Pound), III, 458 Personae: The Collected Poems (Pound), Retro. Supp. I, 285, 286 "Personal and Occasional Pieces" (Welty), Retro. Supp. I, 355 Personal Narrative (Edwards), I, 545, 552, 553, 561, 562; Supp. 1, Part 2, 700 Personal Recollection of Joan of Arc (Twain), IV, 208 "Personal Reminiscences of James Thurber" (Budd), Supp. I, Part 2,626 "Personals" (Didion), Supp. IV, Part 1, 200 Persons and Places (Santayana), III, 615 Perspectives by Incongruity (Burke), I, 284-285 Peseroff, Joyce, Supp. IV, Part 1, 71 " Tet Negro' System, The" (Hurston), Supp. VI, 159 Pet Sematary (King), Supp. V, 138, 143, 152 Peter, John, III, 48 Peter, Saint, III, 341, 346; IV, 86, 294 "Peter" (Gather), Retro. Supp. I, 4 "Peter" (Moore), III, 210, 212 "Peter Klaus" (German tale), II, 306 "Peter Parley" works (Goodrich), Supp. I, Part 1, 38 "Peter Pendulum" (Poe), III, 425 "Peter Quince at the Clavier" (Stevens), IV, 81, 82 Peter Rabbit tales, Retro. Supp. I, 335 Peter Whiffle: His Life and Works (Van Vechten), Supp. II, Part 2, 728-729, 731, 735, 738-741, 749 Peterkin, Julia, Supp. I, Part 1, 328 Peters, Cora, Supp. I, Part 2, 468 Peters, S. H. (pseudonym), see Henry, O. Petersen, Donald, Supp. V, 180 Peterson, Gosta, IV, 425

Peterson, Houston, I, 60, 70 Peterson, Roger Tory, Supp. V, 202 Peterson, Virgilia, Supp. IV, Part 1,30 Peterson, Walter S., IV, 424 "Petition, A" (Winters), Supp. II, Part 2, 785 "Petra and Its Surroundings" (Frost), Retro. Supp. I, 124 Petrarch, I, 176; II, 590; III, 4 "Petrified Man" (Welty), IV, 262; Retro. Supp. I, 345, 351 "Petrified Man, The" (Twain), IV, 195 "Petrified Woman, The" (Gordon), II, 199 Petronius, III, 174, 179 Pettit, Helen, see O'Hara, Mrs. John (Helen Pettit) Pfaff, Timothy, Supp. V, 166 Pfeiffer, Pauline, see Hemingway, Mrs. Ernest (Pauline Pfeiffer) Pfister, Karin, IV, 467, 475 Phaedo (Plato), II, 10 Phaedra (trans. Lowell and Barzun), II, 543-544 Phair, Judith T., Supp. I, Part 1, 173 "Phantasia for Elvira Shatayev" (Rich), Supp. I, Part 2, 570 Phantasms of War (Lowell), II, 512 "Phantom of the Movie Palace, The" (Coover), Supp. V, 50-51 "Pharaoh, The" (Kenyon), Supp. VII, 172 Pharos (publication), IV, 383 Pharr, Mary, Supp. V, 147 "Phases" (Stevens), Retro. Supp. 1,299 Phases of an Inferior Planet (Glasgow), II, 174-175 "Pheasant, The" (Carver), Supp. III, Part 1, 146 Phelps, Robert, I, 47; II, 390 "Phenomenology of Anger, The" (Rich), Supp. I, Part 2, 562563, 571 Phenomenology of Moral Experience, The (Mandelbaum), 1,61

INDEX / 545 "Phenomenology of On Moral Fiction" (Johnson), Supp. VI, 188 Phidias, Supp. I, Part 2, 482 Phil Silvers Show (television show), Supp. IV, Part 2, 575 Philadelphia Evening Bulletin (newspaper), Supp. I, Part 1, 360 Philadelphia Literary Magazine (publication), II, 298 Philadelphia Negro, The (Du Bois), Supp. II, Part 1, 158, 163-164, 166 Philadelphia Press (newspaper), I, 406 Philadelphia Saturday Courier (newspaper), III, 411 Philanthropist (newspaper), Supp. I, Part 2, 587 Philbrick, Thomas, I, 343, 357 "Philip of Pokanoket" (Irving), II, 303 Philippians (biblical book), IV, 154 "Philippine Conquest, The" (Masters), Supp. I, Part 2, 456 "Philistinism and the Negro Writer" (Baraka), Supp. II, Part 1, 39, 44 Phillips, David Graham, II, 444 Phillips, Elizabeth C, I, 96; Supp. I, Part 1, 298 Phillips, J. O. C., Supp. I, Part 1, 19,27 Phillips, Le Roy, II, 340 Phillips, Robert, Supp. I, Part 2, 548 Phillips, Robert S., II, 607, 608 Phillips, Wendell, Supp. I, Part 1, 103, Part 2, 524 Phillips, Willard, Supp. I, Part 1, 154, 155 Phillips Exeter Review (publication), Supp. IV, Part 2, 679 Phillips, William L., I, 106, 119, 120 Philosopher of the Forest (pseudonym), see Freneau, Philip

"Philosopher, The" (Farrell), II, 45 Philosophes classiques, Les (Taine), III, 323 "Philosophical Concepts and Practical Results" (James), II, 352 "Philosophical Investigation of Metaphor, A" (Gass), Supp. VI, 79 Philosophical Transactions (Watson), II, 114 "Philosophy and Its Critics" (James), II, 360 "Philosophy and the Form of Fiction" (Gass), Supp. VI, 85 "Philosophy for People" (Emerson), II, 14 "Philosophy in Warm Weather" (Kenyon), Supp. VII, 168 "Philosophy Lesson" (Levine), Supp. V, 195 "Philosophy of Composition, The" (Poe), III, 416, 421 Philosophy ofFriedrich Nietzsche, The (Mencken), III, 102-103 "Philosophy of Handicap, A" (Bourne), I, 216, 218 "Philosophy of History" (Emerson), II, 11-12 Philosophy of Literary Form, The (Burke), I, 275, 281, 283, 291 Philosophy of the Human Mind, The (Stewart), II, 8 Philosophy of Thorstein Veblen, The (Daugert), Supp. I, Part 2, 649 "Philosophy, Or Something Like That" (Roth), Supp. Ill, Part 2, 403 Philosophy: Who Needs It (Rand), Supp. IV, Part 2, 517, 518, 527, 533 "Phocion" (Lowell), II, 536 Phoenix and the Turtle, The (Shakespeare), I, 284 "Phoenix Lyrics" (Schwartz), Supp. II, Part 2, 665 "Photograph of a Child on a Vermont Hillside" (Kenyon), Supp. VII, 168 "Photograph of the Unmade Bed" (Rich), Supp. I, Part 2, 558

Photographs (Welty), Retro. Supp. I, 343 "Photographs, The" (Barthelme), Supp. IV, Part 1, 53 "Photography" (Levine), Supp. V, 194 Phylon (periodical), Supp. II, Part 1, 158, 182 Phyrrho, Retro. Supp. I, 247 "Physicist We Know, A" (Shields), Supp. VII, 310 "Physiology of Versification, The: Harmonies of Organic and Animal Life" (Holmes), Supp. I, Parti, 311 Physique de I'Amour (Gourmont), III, 467-468 Piaf, Edith, Supp. IV, Part 2, 549 Piatt, James, Supp. I, Part 2, 420 Piatt, John J., II, 273, 293 "Piazza de Spagna, Early Morning" (Wilbur), Supp. Ill, Part 2, 553 Piazza Tales (Melville), III, 91 Picabia, Francis, Retro. Supp. I, 416 Picaresque literature, IV, 479-480, 482, 484, 488, 491, 495 Picasso, Pablo, I, 429, 432, 440, 442, 445; II, 602; III, 197, 201, 470; IV, 24, 26, 31, 32, 46, 87, 407, 436; Retro. Supp. I, 55, 63; Supp. IV, Part 1, 81 Picasso (Stein), IV, 28, 32, 45 "Piccola Comedia" (Wilbur), Supp. Ill, Part 2, 561 Pickard, John B., Supp. I, Part 2, 706 Pickard, Samuel T., Supp. I, Part 2, 682, 706 Picked-Up Pieces (Updike), Retro. Supp. I, 320, 322, 323, 335; Supp. I, Part 2, 626 Pickford, Mary, Retro. Supp. I, 325; Supp. I, Part 2, 391 "Picking and Choosing" (Moore), III, 205 Picnic Cantata (music) (Bowles), Supp. IV, Part 1, 89 "Picnic Remembered" (Warren), IV, 240

546 / INDEX Pictorial History of the Negro in America, A (Hughes), Supp. I, Part 1, 345 Pictorial Mode, The: Space and Time in the Art of Bryant, Irving, and Cooper (Ringe), Supp. I, Part 1, 173 Pictorial Review (magazine), IV, 322 "Picture, The" (Olson), Supp. II, Part 2, 574 "Picture of Little J. A. in a Prospect of Flowers, A" (Ashbery), Supp. Ill, Part 1, 3 Picture This (Heller), Supp. IV, Part 1, 386, 388, 390-391 "Pictures from an Expedition" (Duffy), Supp. IV, Part 1, 207 Pictures from an Institution (Jarrell), II, 367, 385 "Pictures from Brueghel" (Williams), Retro. Supp. I, 419 Pictures from Brueghel (Williams), Retro. Supp. 1,429-431 "Pictures of Columbus, the Genoese, The" (Freneau), Supp. II, Part 1, 258 Pictures of Fidelman: An Exhibition (Malamud), Supp. I, Part 2, 450-451 "Pictures of the Artist" (Malamud), Supp. I, Part 2, 450 Pictures of the Floating World (Lowell), II, 521, 524-525 Pictures of Travel (Heine), II, 281 Picturesque America; or, the Land We Live In (ed. Bryant), Supp. I, Part 1, 158 Picturing Will (Beattie), Supp. V, 29, 31-32, 34 "Piece, A" (Creeley), Supp. IV, Part 1, 155, 156 "Piece of Moon, A" (Hogan), Supp. IV, Part 1, 407 Piece of My Heart, A (Ford), Supp. V, 57, 58-61, 62 Piece of My Mind, A: Reflections at Sixty (Wilson), IV, 426, 430, 438, 441 "Piece of News, A" (Welty), IV, 263; Retro. Supp. I, 345, 346

Pieces (Creeley), Supp. IV, Part 1, 155 Pieces of the Frame (McPhee), Supp. Ill, Part 1, 293 Pierce, David C, I, 565 Pierce, Franklin, II, 225, 226, 227; III, 88; Retro. Supp. I, 150, 163, 164, 165 Pierce, Frederick, Retro. Supp. I, 136 Piercy, Josephine K., Supp. I, Part 1, 103, 123 Pierre et Jean (de Maupassant), I, 421 Pierre: or The Ambiguities (Melville), III, 86-88, 89, 96; IV, 194; Retro. Supp. I, 249, 253-254, 256; Supp. I, Part 2, 579 Pierrepont, Sarah, see Edwards, Sarah Pierrot Qui Pleure et Pierrot Qui /to (Rostand), II, 515 Pig Cookies (Rios), Supp. IV, Part 2, 537, 550, 552-554 Pigeon Feathers (Updike), IV, 214, 218, 219, 221-223, 226 "Pigeon Feathers" (Updike), Retro. Supp. I, 318, 322, 323 "Pigeon Woman" (Swenson), Supp. IV, Part 2, 644 "Pigeons" (Rilke), II, 544 Pigs in Heaven (Kingsolver), Supp. VII, 197, 199, 209210 Pike County Ballads, The (Hay), Supp. I, Part 1, 352 Piket, Vincent, Supp. IV, Part 1, 24 Pilar San-Mallafre, Maria del, Supp. V, 40 "Pilgrim" (Freneau), Supp. I, Part 1, 125 Pilgrim at Tinker Creek (Dillard), Supp. VI, 22, 23-26, 28, 29, 30-31, 34 "Pilgrim Makers" (Lowell), II, 541 "Pilgrimage" (Sontag), Supp. Ill, Part 2, 454-455 Pilgrimage ofFestus, The (Aiken), I, 50, 55, 57

Pilgrimage of Henry James, The (Brooks), I, 240, 248, 250; IV, 433 Pilgrim's Progress (Bunyan), I, 92; II, 15, 168, 572; Supp. I, Part 1, 32, 38, Part 2, 599 Pili's Wall (Levine), Supp. V, 178, 183-184 "Pillar of Fire" (Bradbury), Supp. IV, Parti, 113-114 "Pilot from the Carrier, A" (Jarrell), II, 374 Pilot, The (Cooper), I, 335, 337, 339, 342-343, 350 "Pilots, Man Your Planes" (Jarrell), II, 374-375 "Pilots, The" (Levertov), Supp. Ill, Part 1, 282 "Pimp's Revenge, A" (Malamud), Supp. I, Part 2, 435, 450, 451 Pinball (Kosinski), Supp. VII, 215, 226 Pindar, I, 381; II, 543; III, 610 "Pine" (Dickey), Supp. IV, Part 1, 183 Pine Barrens, The (McPhee), Supp. Ill, Part 1, 298-301, 309 Pinget, Robert, Supp. V, 39 "Pink Moon—The Pond" (Oliver), Supp. VII, 234 Pinker, James B., I, 409; Retro. Supp. I, 231 Pinkerton, Jan, Supp. V, 323-324 Pinocchio in Venice (Coover), Supp. V, 40, 51 Pinsker, Sanford, Supp. V, 272 Pinsky, Robert, Supp. VI, 235236, 237-251 Pinter, Harold, I, 71 Pioneer, The: A Literary and Critical Magazine, Supp. I, Part 2, 405 Pioneers, The (Cooper), I, 336, 337, 339, 340-341, 342, 348; II, 313 "Pioneers! O Pioneers!" (Whitman), Retro. Supp. I, 8 Pioneers of France in the New World (Parkman), Supp. Ill, Part 2, 599, 602 Pious and Secular America (Niebuhr), III, 308

INDEX / 547 Pipe Night (O'Hara), III, 361, 368 Piper, Henry Dan, II, 100 "Piper's Rocks" (Olson), Supp. IV, Part 1, 153 Pippa Passes (Browning), IV, 128 Piquion, Rene, Supp. I, Part 1, 346 Pirandello, Luigi, Supp. IV, Part 2, 576, 588 Pirate, The (Scott), I, 339 Pirates ofPenzance, The (Gilbert and Sullivan), IV, 386 Pisan Cantos, The (Pound), III, 476; Retro. Supp. I, 140, 283, 285, 293; Supp. Ill, Part 1, 63; Supp. V, 331; 337 Piscator, Erwin, IV, 394 Pissarro, Camille, I, 478 Pit, The (Norris), III, 314, 322, 326-327, 333, 334 "Pit, The" (Roethke), III, 538 "Pit and the Pendulum, The" (Poe), III, 413, 416 "Pitcher, The" (Dubus), Supp. VII, 87 Pitkin, Walter, II, 366 Pitt, William, Supp. I, Part 2, 510,518 Pittsburgh Courier (newspaper), Supp. I, Part 1, 327 Pittsburgh Daily Leader (newspaper), I, 313 Pittsburgh Dispatch (newspaper), 1,499 "Pity Me" (Wylie), Supp. I, Part 2,729 Pius II, Pope, III, 472 Pius IX, Pope, II, 79 Pixley, Frank, I, 196 Pizer, Donald, I, 424; III, 240242, 321, 335, 336; Supp. I, Part 2, 478 Place Called Estherville, A (Caldwell), I, 297, 307 "Place in Fiction" (Welty), IV, 260, 279 Place of Dead Roads, The (Burroughs), Supp. Ill, Part 1, 196 Place of Love, The (Shapiro), Supp. II, Part 2, 702, 706

"Place of Poetry, The" (Stevens), Retro. Supp. I, 304 Place of Science in Modern Civilization and Other Essays, The (Veblen), Supp. I, Part 2, 629, 642 "Place to Live, A" (Levertov), Supp. Ill, Part 1,281 "Place to Stand, A" (Price), Supp. VI, 258 "Place (Any Place) to Transcend All Places, A" (Williams), Retro. Supp. I, 422 Placi, Carlo, IV, 328 "Plagiarist, The" (Singer), IV, 19 "Plain Language from Truthful James" (Harte), see "Heathen Chinee, The" "Plain Sense of Things, The" (Stevens), Retro. Supp. I, 298, 299, 307, 312 "Plain Song for Comadre, A" (Wilbur), Supp. Ill, Part 2, 554 "Plain Talk", see Common Sense (Paine) Plain Talk (publication), II, 26 Plain Truth: Or, Serious Considerations on the Present State of the City of Philadelphia, and Province of Pennsylvania (Franklin), II, 117-119 Plaint of a Rose, The (Sandburg), III, 579 "Planchette" (London), II, 475476 Planet News: 1961-1967 (Ginsberg), Supp. II, Part 1, 321 Planet Stories (magazine), Supp. IV, Part 1, 103 "Planetarium" (Rich), Supp. I, Part 2, 557 "Plantation a beginning, a" (Olson), Supp. II, Part 2, 573 Plante, David, Supp. IV, Part 1, 310 Plarr, Victor, III, 459, 477 Plath, Aurelia, Supp. I, Part 2, 527-528, 529, 530, 531, 535, 536, 541 Plath, James, Retro. Supp. I, 334

Plath, Otto, Supp. I, Part 2, 527529, 531, 533 Plath, Sylvia, Supp. I, Part 2, 526-549, 554, 571; Supp. Ill, Part 2, 543, 561; Supp. IV, Part 2, 439; Supp. V, 79, 81, 113, 117, 118, 119,344 Plath, Warren, Supp. I, Part 2, 528 Plato, I, 224, 279, 383, 389, 485, 523; II, 5, 8, 10, 15, 233, 346, 391-392, 591; III, 115, 480, 600, 606, 609, 619-620; IV, 74, 140, 333, 363, 364; Retro. Supp. I, 247; Supp. I, Part 2, 595, 631; Supp. IV, Parti, 391, Part 2, 526 "Plato" (Emerson), II, 6 "Platonic Relationship, A" (Beattie), Supp. V, 22 Platonic Scripts (Justice), Supp. VII, 115 Platt, Anthony M., Supp. I, Part 1, 13-14, 27 Plautus, Titus Maccius, IV, 155; Supp. Ill, Part 2, 630 Play Days: A Book of Stones for Children (Jewett), II, 401-402 Play It as It Lays (Didion), Supp. IV, Part 1, 198, 201-203, 203, 211 Play It as It Lays (film), Supp. IV, Part 1, 198 Playback (Chandler), Supp. IV, Part 1, 134-135 Playback (script) (Chandler), Supp. IV, Part 1, 131 Playboy (magazine), III, 40; Supp. IV, Part 1,235, Part 2, 517 Playboy of the Western World, The (Synge), Supp. Ill, Part 1, 34 Player Piano (Vonnegut), Supp. Ill, Part 2, 756, 757, 760-765 Players (DeLillo), Supp. VI, 3, 6, 8, 14 "Playground, The" (Bradbury), Supp. IV, Part 1, 104 "Plays and Operas Too" (Whitman), IV, 350 Plays: Winesburg and Others (Anderson), I, 113 Plaza Suite (Simon), Supp. IV, Part 2, 575, 581-582, 583, 589

548 / INDEX "Plea for Captain Brown, A" (Thoreau), IV, 185 "Please Don't Kill Anything" (Miller), III, 161 Pleasure Dome (Frankenberg), I, 436 Pleasure of Hope, The (Emerson), 11,8 "Pleasures of Formal Poetry, The" (Bogan), Supp. Ill, Part 1, 51 Plimpton, George, IV, 119; Supp. IV, Part 1, 386; Supp. V, 201 Pliny the Younger, II, 113 "Plot against the Giant, The" (Stevens), IV, 81 Plotinsky, Melvin L., I, 96 Plotz, Joan, Supp. I, Part 2, 578 Plough and the Stars, The (O'Casey), III, 159 "Ploughing on Sunday" (Stevens), IV, 74 Ploughshares (magazine), Supp. IV, Part 2, 552 "Plumet Basilisk, The" (Moore), III, 203, 208, 215 Plumly, Stanley, Supp. I, Part 2, 578; Supp. IV, Part 2, 625 Plummer, Amanda, Supp. IV, Part 1, 236 Plunder (serial movie), Supp. IV, Part 2, 464 "Plunkville Patriot" (O'Henry), Supp. II, Part 1, 389 Pluralistic Universe, A (James), II, 342, 348, 357-358 Plutarch, II, 5, 8, 16, 555; Retro. Supp. I, 360 PM (newspaper), I, 296; IV, 477 Pnin (Nabokov), III, 246; Retro. Supp. I, 263, 265, 266, 275, 335 "Po' Boy Blues" (Hughes), Supp. I, Part 1, 327 Po Li, Supp. I, Part 1, 262 Pocahontas, I, 4; II, 296; III, 584 "Pocahontas to Her English Husband, John Rolfe" (Gunn Allen), Supp. IV, Part 1, 331 Pochmann, Henry A., II, 318 "Pod of the Milkweed" (Frost), Retro. Supp. I, 141

Podhoretz, Norman, I, 166; III, 48, 384; IV, 235, 307, 441, 449; Supp. I, Part 2, 453; Supp. IV, Part 1, 382 Poe, David, III, 409 Poe, Edgar Allan, I, 48, 53, 103, 190, 194,200,210,211,261, 340, 459; II, 74, 77, 194, 255, 273,295,308,311,313,421, 475, 482, 530, 595; III, 259, 409-432, 485, 507, 593; IV, 123, 129, 133, 141, 187, 261, 345, 350, 432, 438, 439, 453; Retro. Supp. I, 41, 273, 365, 421; Supp. I, Part 1,36, 147, 309, Part 2, 376, 384, 385, 388, 393, 405, 413, 421, 474, 682; Supp. II, Part 1, 385, 410; Supp. Ill, Part 2, 544, 549550; Supp. IV, Part 1, 80, 81, 101, 128, 341, 349, Part 2, 464, 469 Poe, Elizabeth Arnold, III, 409, 413, 429 Poe, Mrs. Edgar Allan (Virginia Clemm), III, 412, 413, 418, 421-422, 428, 429 "Poem" (Bishop), Supp. I, Part 1, 73, 76-79, 82, 95 "Poem" (Justice), Supp. VII, 125 "Poem" (Kunitz), Supp. Ill, Part 1,263 "Poem" (Wright), Supp. Ill, Part 2,590 Poem, A, Spoken at the Public Commencement at Yale College, in New Haven; September 1, 1781 (Barlow), Supp. II, Part 1, 67-68, 74, 75 "Poem About George Doty in the Death House, A" (Wright), Supp. Ill, Part 2, 594-595, 597-598 "Poem about People" (Pinsky), Supp. VI, 240-241, 244, 248 "Poem as Mask, The" (Rukeyser), Supp. VI, 281, 285 "Poem Beginning The' " (Zukofsky), Supp. Ill, Part 2, 610,611,614 "Poem for a Birthday" (Plath), Supp. I, Part 2, 539

"POEM FOR ANNA RUSS AND FANNY JONES, A" (Baraka), Supp. II, Part 1, 58 "Poem for Black Hearts, A" (Baraka), Supp. II, Part 1, 50 "Poem for D. H. Lawrence" (Creeley), Supp. IV, Part 1, 141 "POEM FOR DEEP THINKERS, A" (Baraka), Supp. II, Part 1, 55 "Poem for Dorothy, A" (Merwin), Supp. Ill, Part 1, 342 "Poem for Hemingway and W. C. Williams" (Carver), Supp. Ill, Part 1, 147 "Poem for my Son" (Kumin), Supp. IV, Part 2, 442 "Poem for Someone Killed in Spain, A" (Jarrell), II, 371 "Poem for the Blue Heron, A" (Oliver), Supp. VII, 235-236 "Poem For Willie Best, A" (Baraka), Supp. II, Part 1, 36 "Poem in Prose" (Bogan), Supp. III, Part 1, 58 "Poem in Which I Refuse Contemplation" (Dove), Supp. IV, Part 1,249, "Poem Is a Walk, A" (Ammons), Supp. VII, 36 "Poem of Flight, The" (Levine), Supp. V, 189 Poem of the Cid (trans. Merwin), Supp. Ill, Part 1, 347 "Poem on the Memorable Victory Obtained by the Gallant Captain Paul Jones" (Freneau), Supp. II, Part 1, 261 "Poem out of Childhood" (Rukeyser), Supp. VI, 272, 277 "Poem Read at the Dinner Given to the Author by the Medical Profession" (Holmes), Supp. I, Parti, 310-311 "POEM SOME PEOPLE WILL HAVE TO UNDERSTAND, A" (Baraka), Supp. II, Part I, 49 "Poem That Took the Place of a Mountain" (Olson), Supp. II, Part 2, 582

INDEX / 549 "Poem with No Ending, A" (Levine), Supp. V, 186, 190 Poems (Auden), Supp. II, Part 1, 6 Poems (Berryman), I, 170 Poems (Bryant), II, 311; Supp. I, Part 1, 155, 157 Poems (Cummings), I, 430, 447 Poems (Eliot), I, 580, 588; IV, 122; Retro. Supp. I, 59, 291 Poems (Emerson), II, 7, 8, 12-13, 17 Poems (Holmes), Supp. I, Part 1, 303 Poems (Lowell), Supp. I, Part 2, 405 Poems (Moore), III, 194, 205, 215 Poems (Poe\ 111,411 Poems (Tate), IV, 121 Poems (Williams), Retro. Supp. I, 412-413, 416, 424 Poems (Winters), Supp. II, Part 2, 809, 810 Poems (Wordsworth), I, 468 Poems, 1909-1925 (Eliot), Retro. Supp. I, 64 Poems, 1924-1933 (MacLeish), III, 7, 15 Poems 1940-1953 (Shapiro), Supp. II, Part 2, 703, 711 Poems, 1943-1956 (Wilbur), Supp. Ill, Part 2, 554 Poems 1957-1967 (Dickey), Supp.

IV, Part 1, 178, 181

Poems about God (Ransom), III, 484, 486, 491; IV, 121 "Poems about Painting" (Snodgrass), Supp. VI, 316 Poems and Essays (Ransom), III, 486, 490, 492 Poems and New Poems (Bogan), Supp. Ill, Part 1, 60-62 Poems by Emily Dickinson (Todd and Higginson, ed.), Retro. Supp. I, 35, 39 Poems by Emily Dickinson, The (Bianchi and Hampson, ed.), Retro. Supp. I, 35 Poems by Emily Dickinson, Second Series (eds. Todd and Higginson), I, 454

Poems by Emily Dickinson, Third Series (Todd, ed.), Retro. Supp. 1,35 Poems by James Russell Lowell, Second Series (Lowell), Supp. I, Part 2, 406, 409 Poems by Sidney Lanier, (Lanier), Supp. I, Part 1, 364 Poems from Black Africa (ed. Hughes), Supp. I, Part 1, 344 "Poems I Have Lost, The" (Ortiz), Supp. IV, Part 2, 507 Poems: North & SouthMA Cold Spring, (Bishop), Supp. I, Part I, 83, 89 Poems of a Jew (Shapiro), Supp. II, Part 2, 703, 712-713 Poems of Anna Akhmatova, The (trans. Kunitz and Hayward), Supp. Ill, Part 1, 269 Poems of Emily Dickinson (eds. Todd and Higginson), I, 469, 470 Poems of Emily Dickinson, Second Series (Todd and Higginson, ed.), Retro. Supp. I, 35 Poems of Emily Dickinson, The (Bianchi and Hampson, ed.), Retro. Supp. I, 35 Poems of Emily Dickinson, The (ed. Johnson), I, 470 Poems of Francois Villon (trans. Kinnell), Supp. Ill, Part 1, 235, 243, 249 "Poems of Our Climate, The" (Stevens), Retro. Supp. I, 313 Poems of Philip Freneau, Written Chiefly during the Late War (Freneau), Supp. II, Part 1, 261 Poems of Places (ed. Longfellow), II, 490; Supp. I, Part 1, 368 Poems of Stanley Kunitz, The (Kunitz), Supp. Ill, Part 1, 258, 263, 264, 266, 268 "Poems of These States" (Ginsberg), Supp. II, Part 1, 323, 325 Poems of Two Friends (Howells and Piatt), II, 273, 277 Poems on Slavery (Longfellow), II, 489; Supp. I, Part 2, 406

Poems, The (Freneau), Supp. II, Part 1, 263 Poems to Solve (Swenson), Supp. IV, Part 2, 642 Poems Written and Published during the American Revolutionary War (Freneau), Supp. II, Part 1, 273, 274 Poems Written between the Years 1768 and 1794 (Freneau), Supp. II, Part 1, 269 Poesies 1917-1920 (Cocteau), Retro. Supp. I, 82 "Poet and His Book, The" (Millay), III, 126, 138 "Poet and His Public, The" (Jarrell), Supp. I, Part 1, 96 "Poet and His Song, The" (Dunbar), Supp. II, Part 1, 199 "Poet and the World, The" (Cowley), Supp. II, Part 1, 145 "Poet as Anti-Specialist, The" (Swenson), Supp. IV, Part 2, 638, 643 "Poet as Hero, The: Keats in His Letters" (Trilling), Supp. Ill, Part 2, 506-507 "Poet at Seven, The" (Rimbaud), II, 545 Poet at the Breakfast-Table, The (Holmes), Supp. I, Part 1, 313314 Poet in the World, The (Levertov), Supp. Ill, Part 1,271,273, 278, 282 Poet Speaks, The (Orr), Supp. I, Part 2, 549 "Poet, The" (Dunbar), Supp. II, Part 1, 207, 209-210 "Poet, The" (Emerson), II, 13, 19, 20, 170 "Poet, The" (Ortiz), Supp. IV, Part 2, 505 "Poet Turns on Himself, The" (Dickey), Supp. IV, Part 1, 177, 181, 185 "Poete contumace, Le" (Corbiere), II, 384-385 Poetes negres des Etats-Unis, Les (Wagner), Supp. I, Part 1, 348

550 / INDEX Poetic Achievement of Ezra Pound, The (Alexander), Retro. Supp. 1,293 Poetic Diction: A Study in Meaning (Barfield), III, 274, 279 "Poetic Principle, The" (Poe), III, 421, 426 "Poetics" (Ammons), Supp. VII, 29-30 Poetics (Aristotle), III, 422 "Poetics of the Physical World, The" (Kinnell), Supp. Ill, Part 1,239 "Poet or the Growth of a Lit'ry Figure" (White), Supp. I, Part 2,676 Poetry (Barber), Supp. IV, Part 2, 550 "Poetry" (Moore), III, 204-205, 215 Poetry (publication), I, 51, 103, 109, 235, 384, 393, 475; II, 517; III, 194, 458, 460, 465^66, 469, 581, 586, 592; IV, 76, 370; Retro. Supp. I, 58, 131, 133, 288, 299, 413; Supp. I, Part 1, 83, 256, 257, 258, 261, 263, 264, 265, 268, 334, Part 2, 374, 387, 389, 392, 394, 461, 553, 709; Supp. II, Part 1, 139; Supp. Ill, Part 2, 610-616, 621, 623, 624, 627-630; Supp. IV, Part 1, 166, Part 2, 644; Supp. V, 182 Poetry: A Magazine of Verse, Supp. IV, Part 1, 176 "Poetry: A Metrical Essay" (Holmes), Supp. I, Part 1, 310 "Poetry and Belief in Thomas Hardy" (Schwartz), Supp. II, Part 2, 666 Poetry and Criticism (ed. Nemerov), III, 269 "Poetry and Drama" (Eliot), I, 588 Poetry and Fiction: Essays (Nemerov), III, 269, 281 Poetry and Poets (Lowell), II, 512 Poetry and the Age (Jarrell), IV, 352; Retro. Supp. I, 121; Supp. II, Part 1, 135

"Poetry and the Public World" (MacLeish), III, 11 Poetry and the World (Pinsky), Supp. VI, 236, 239, 244, 247 Poetry and Truth (Olson), Supp. II, Part 2, 583 "Poetry for the Advanced" (Baraka), Supp. II, Part 1, 58 Poetry Handbook, A (Oliver), Supp. VII, 229, 245 "Poetry in American: A New Consideration of Whittier's Verse" (Scott), Supp. I, Part 2, 706 Poetry of American Women from 1632-1945, The (Watts), Supp. 1, Part 1, 123 "Poetry of Barbarism, The" (Santayana), IV, 353 Poetry of Chaucer, The (Gardner), Supp. VI, 63 Poetry of Meditation, The (Martz), IV, 151; Supp. I, Parti, 107 Poetry of Mourning: The Modern Elegy from Hardy to Heaney (Ramazani), Supp. IV, Part 2, 450 Poetry of Stephen Crane, The (Hoffman), I, 405 Poetry of Sylvia Plath, The: A Study of Themes (Melander), Supp. I, Part 2, 548 "Poetry of Sylvia Plath, The: Enlargement and Derangement" (Hardy), Supp. I, Part 2, 548 Poetry of the Negro 1746-1949, The (ed. Hughes), Supp. I, Part 1,345 Poetry Reading against the Vietnam War, A (eds. Bly and Ray), Supp. IV, Part 1, 61, 63 Poetry Review (journal), Retro. Supp. I, 413 "Poetry Wreck, The" (Shapiro), Supp. II, Part 2, 717 Poetry Wreck, The: Selected Essays (Shapiro), Supp. II, Part 2, 703, 704, 717 Poet's Alphabet, A: Reflections on the Literary Art and Vocation (Bogan), Supp. Ill, Part 1, 55, 64

Poet's Choice (eds. Engle and Langland), III, 277, 542 Poets of the Old Testament, The (Gordon), III, 199 Poets of Today (ed. Wheelock), Supp. IV, Part 2, 639 Poets of Today VII (publication), Supp. IV, Part 1, 176 Poets on Poetry (ed. Nemerov), III, 269 "Poet's View, A" (Levertov), Supp. Ill, Part 1, 284 "Poet's Voice, The" (Oliver), Supp. VII, 245 Poganuc People (Stowe), Supp. I, Part 2, 581,596, 599-600 Poggioli, Renato, IV, 95 Poincare, Raymond, IV, 320 'Point at Issue! A" (Chopin), Supp. I, Part 1, 208 "Point of Age, A" (Berryman), I, 173 Point of No Return (Marquand), III, 56, 59-60, 65, 67, 69 Point Reyes Poems (Bly), Supp. IV, Part 1, 71 "Point Shirley" (Plath), Supp. I, Part 2, 529, 538 "Point, The" (Hayden), Supp. II, Part 1, 373 Points in Time (Bowles), Supp. IV, Part 1, 93 "Points West" (column), Supp. IV, Part 1, 198 Poirier, Richard, I, 136, 143, 166, 239; III, 34, 48; Retro. Supp. I, 134; Supp. I, Part 2, 660, 665, 681; Supp. IV, Part 2, 690 Poison Pen (Garrett), Supp. VII, 111 Poisonwood Bible, The (Kingsolver), Supp. VII, 197198, 202, 210-213 Poitier, Sidney, Supp. IV, Part 1, 360, 362 "Polar Bear" (Heller), Supp. IV, Part 1, 383 "Pole Star" (MacLeish), III, 16 Police (Baraka), Supp. II, Part 1, 47 "Police Dreams" (Bausch), Supp. VII, 47

INDEX / 551 Politian (Poe), III, 412 Political Essays (Lowell), Supp. I, Part 2, 407 Political Fable, A (Coover), Supp. V,44, 46, 47, 49, 51 "Political Fables" (Mather), Supp. II, Part 2, 450 "Political Interests" (Stevens), Retro. Supp. I, 295 "Political Litany, A" (Freneau), Supp. II, Part 1, 257 "Political Pastoral" (Frost), Retro. Supp. I, 139 "Political Poem" (Baraka), Supp. II, Part 1, 36 Politics (Macdonald), I, 233-234 "Politics" (Paley), Supp. VI, 217 Politics and a Belly-Full (Johnson), Supp. I, Part 1, 173 "Politics and the English Language" (Orwell), Supp. I, Part 2, 620 Politics and the Novel (Howe), Supp. VI, 113 Politics of the Universe, The: Edward Beecher, Abolition, and Orthodoxy (Merideth), Supp. I, Part 2, 601 Polk, James K., I, 17; II, 433-434 Pollard, James E., Supp. I, Part 2, 626 Pollard, John A., Supp. I, Part 2, 706 Pollin, Burton R., Ill, 432 Pollock, Jackson, IV, 411, 420 Pollock, Thomas Clark, IV, 472, 473 Polo, Marco, III, 395 Polybius, Supp. I, Part 2, 491 "Pomegranate" (Gliick), Supp. V, 82 "Pomegranate Seed" (Wharton), IV, 316; Retro. Supp. I, 382 Pommer, H. E., Ill, 97 Ponce de Leon, Luis, III, 391 "Pond, The" (Nemerov), III, 272 "Pond at Dusk, The" (Kenyon), Supp. VII, 168 Ponder Heart, The (Welty), IV, 261, 274-275, 281; Retro. Supp. I, 351-352 Pondrom, Cyrena N., IV, 23

Poodle Springs (Parker and Chandler), Supp. IV, Part 1, 135 Poodle Springs Story, The (Chandler), Supp. IV, Part 1, 135 "Pool, The" (Doolittle), Supp. I, Part 1, 264-265 "Pool Room in the Lions Club" (Merwin), Supp. Ill, Part 1, 346 Poole, Ernest, II, 444 "Poor Black Fellow" (Hughes), Retro. Supp. I, 204 Poor Fool (Caldwell), I, 291, 292, 308 "Poor Joanna" (Jewett), II, 394 "Poor Man's Pudding and Rich Man's Crumbs" (Melville), III, 89-90 "Poor Richard" (James), II, 322 Poor Richard's Almanac (undated) (Franklin), II, 112 Poor Richard's Almanac for 1733 (Franklin), II, 108, 110 Poor Richard's Almanac for 1739 (Franklin), II, 112 Poor Richard's Almanac for 1758 (Franklin), II, 101 Poor White (Anderson), I, 110111 Poore, Charles, III, 364 Poorhouse Fair, The (Updike), IV, 214, 228-229, 232; Retro. Supp. I, 317, 320 Pope, Alexander, I, 198, 204; II, 17, 114; III, 263, 267, 288, 517; IV, 145; Retro. Supp. I, 335; Supp. I, Part 1, 150, 152, 310, Part 2, 407, 422, 516, 714; Supp. II, Part 1,70, 71 Popkin, Henry, III, 169 Poplar, Ellen, see Wright, Mrs. Richard (Ellen Poplar) "Poplar, Sycamore" (Wilbur), Supp. Ill, Part 2, 549 Popo and Fifina (Hughes and Bontemps), Retro. Supp. I, 203 "Poppies" (Oliver), Supp. VII, 240 "Poppies in July" (Plath), Supp. I, Part 2, 544

"Poppies in October" (Plath), Supp. I, Part 2, 544 "Poppy Seed" (Lowell), II, 523 Pops, Martin Leonard, III, 97 Popular History of the United States (Gay), Supp. I, Part 1, 158 Popular Mechanics (magazine), II, 589 "Popular Songs" (Ashbery), Supp. Ill, Part 1, 6 "Porcelain Bowl" (Gliick), Supp. V, 83 "Porcupine, The" (Kinnell), Supp. Ill, Part 1, 244 Porgy and Bess (film), Supp. I, Part 1, 66 Porgy and Bess (play), Supp. IV, Part 1, 6 "Porphyria's Lover" (Browning), II, 522 Port Folio (publication), II, 298, 302 Port of Saints (Burroughs), Supp. III, Part 1, 106 "Port Town" (Hughes), Retro. Supp. I, 199 Portable Faulkner (Cowley), II, 57,59 Portable Faulkner, The (Cowley, ed.), Retro. Supp. I, 73 Portable Paul and Jane Bowles, The (Dillon), Supp. IV, Part 1, 95 Portable Veblen, The (Veblen), Supp. I, Part 2, 630, 650 "Porte-Cochere" (Taylor), Supp. V, 320 "Porter" (Hughes), Supp. I, Part 1,327 Porter, Bern, III, 171 Porter, Bernard H., Ill, 121 Porter, Eliot, Supp. IV, Part 2, 599 Porter, Herman W., Supp. I, Part 1,49 Porter, Jacob, Supp. I, Part 1, 153 Porter, Katherine Anne, I, 97, 385; II, 194, 606; III, 433-455, 482; IV, 26, 48, 143, 138, 246, 261, 279, 280, 282; Retro. Supp. I, 354; Supp. IV, Part 1, 31, 310; Supp. V, 225

552 / INDEX Porter, Noah, Supp. I, Part 2, 640 Porter, William Sydney (O. Henry), I, 201; III, 5; Supp. 1, Part 2, 390, 462; Supp. II, Part 1, 385-412 Porteus, Beilby, Supp. I, Part 1, 150 Portland Gazette (newspaper), II, 493 "Portland Going Out, The" (Merwin), Supp. Ill, Part 1, 345 Portnoy's Complaint (Roth), Supp. Ill, Part 2, 401, 404, 405, 407, 412-414, 426; Supp. V, 119, 122 "Portrait d'une Femme" (Pound), Retro. Supp. I, 288 Portrait in Brownstone (Auchincloss), Supp. IV, Part 1,21,23,27,31 "Portrait in Greys, A" (Williams), Retro. Supp. I, 416 "Portrait of a Girl in Glass" (Williams), IV, 383 "Portrait of a Lady" (Eliot), I, 569, 570, 571, 584; III, 4; Retro. Supp. I, 55, 56, 62 Portrait of a Lady, The (James), I, 10, 258, 461-462, 464; II, 323, 325, 327, 328-329, 334; Retro. Supp. I, 215, 216, 217, 219, 220, 223, 224-225, 232, 233, 381 "Portrait of an Artist" (Roth), Supp. Ill, Part 2, 412 Portrait ofBascom Hawkes, A (Wolfe), IV, 451-452, 456 Portrait of Edith Wharton (Lubbock), Retro. Supp. I, 366 Portrait of the Artist as a Young Man, A (Joyce), I, 475-476; III, 471, 561; Retro. Supp. I, 127 "Portrait of the Artist with Hart Crane" (Wright), Supp. V, 342 "Portrait of the Intellectual as a Yale Man" (McCarthy), II, 563, 564-565 "Portrait, The" (Kunitz), Supp. Ill, Part 1, 263 "Portrait, The" (Wharton), Retro. Supp. I, 364

Portraits and Self-Portraits (ed. Schreiber), Supp. I, Part 2, 478 Portuguese Voyages to America in the Fifteenth Century (Morison), Supp. I, Part 2, 488 Portz, John, III, 384 "Poseidon and Company" (Carver), Supp. Ill, Part 1, 137 "Possessions" (Crane), I, 392-393 Postcards (Proulx), Supp. VII, 249, 256-258, 262 "Posthumous Letter to Gilbert White" (Auden), Supp. II, Part 1,26 "Posthumous Poems of Edgar Lee Masters" (Robinson), Supp. I, Part 2, 478 Postimpressionism, Supp. I, Part 1,257 "Postlude" (Williams), Retro. Supp. I, 415 "Postscript" (Du Bois), Supp. II, Part 1, 173 Pot of Earth, The (MacLeish), III, 5, 6-8, 10, 12, 18 "Pot Roast" (Strand), Supp. IV, Part 2, 629 "Potato" (Wilbur), Supp. Ill, Part 2,545 "Potatoes' Dance, The" (Lindsay), Supp. I, Part 2, 394 "Potpourri, A" (Miller), III, 190 Potter, Beatrix, Supp. I, Part 2, 656 Potter, Jack, I, 496 Potter, Mary Storer, see Longfellow, Mrs. Henry Wadsworth (Mary Storer Potter) Potter, Stephen, IV, 430 Potter's House, The (Stegner), Supp. IV, Part 2, 598, 606 Poulenc, Francis, Supp. IV, Part 1,81 Poulet, Georges, I, 473 Pound, Ezra, 336; I, 49, 58, 60, 66, 68, 69, 105, 236, 243, 256, 384, 403, 428, 429, 475, 476, 482, 487, 521, 578; II, 26, 55, 168, 263, 316, 371, 376, 513, 517, 520, 526, 528, 529, 530; III, 2, 5, 8, 9, 13-14, 17, 174, 194,

196, 217, 278, 430, 453, 456479,492,504,511,523,524, 527, 575-576, 586, 590; IV, 27, 28, 407, 415, 416, 424, 433, 446; Retro. Supp. I, 51, 52, 55, 58, 59, 63, 82, 89, 127, 140, 171, 177, 178, 198, 216, 283294,298,299,359,411,412, 413, 414, 417, 418, 419, 420, 423, 426, 427, 430, 431; Supp. I, Part 1, 253, 255-258, 261268, 272, 274, 275, Part 2, 387, 721; Supp. II, Part 1, 1, 8, 20, 30, 91, 136; Supp. Ill, Part 1, 48, 63, 64, 73, 105, 146, 225, 271, Part 2, 542, 609-617, 619, 620, 622, 625, 626, 628, 631; Supp. IV, Part 1, 153,314; Supp. V, 331, 338, 340, 343, 345 Pound, Homer, Supp. Ill, Part 2, 617 Pound, Isabel, Supp. Ill, Part 2, 617 Pound, Louise, Retro. Supp. I, 4 Pound, Mrs. Ezra (Dorothy Shakespear), III, 457, 458, 472; Supp. I, Part 1, 257; Supp. Ill, Part 2, 617, 622 Pound, T. S., I, 428 Pound Era, The (Kenner), Supp. I, Part 1, 275 "Pound Re weighed" (Cowley), Supp. II, Part 1, 143 Pound/Joyce: The Letters of Ezra Pound to James Joyce (ed. Read), Supp. I, Part 1, 275 Powell, Dawn, Supp. IV, Part 2, 678, 682 Powell, Desmond, Supp. I, Part 2, 706 Powell, John Wesley, Supp. IV, Part 2, 598, 604, 611 Powell, Lawrence Clark, III, 189, 191 Powell, William, Supp. IV, Part 1,355 "Power" (Emerson), II, 2, 3 "Power" (Rich), Supp. I, Part 2, 569 "Power and Light" (Dickey), Supp. IV, Part 1, 182

INDEX / 553 Power and the Glory, The (Greene), III, 556 "Power Never Dominion" (Rukeyser), Supp. VI, 281 "Power of Fancy, The" (Freneau), Supp. II, Part 1, 255 "Power of Prayer, The" (Lanier), Supp. I, Part 1, 357 "Power of Suggestion" (Auchincloss), Supp. IV, Part 1,33 Power of Sympathy, The (Brown), Supp. II, Part 1, 74 "Powerhouse" (Welty), Retro. Supp. I, 343, 346 Powers, J. F., Ill, 360; Supp. V, 319 Powers of Attorney (Auchincloss), Supp. IV, Part 1,31, 32, 33 "Powers of Darkness" (Wharton), Retro. Supp. I, 379 Powys, John Cowper, Supp. I, Part 2, 454, 476, 478 "Practical Methods of Meditation, The" (Dawson), IV, 151 Practical Navigator, The (Bowditch), Supp. I, Part 2, 482 Practice of Perspective, The (Dubreuil), Supp. IV, Part 2, 425 Pragmatism, I, 128, 224, 225, 233, 234; II, 21, 267, 322; III, 309, 310; IV, 408 Pragmatism: A New Name for Some Old Ways of Thinking (James), II, 352 "Prairie" (Sandburg), III, 583, 584 Prairie, The (Cooper), I, 339, 342 Prairie Schooner (magazine), Supp. IV, Part 2, 540 "Prairies, The" (Bryant), Supp. I, Part 1, 157, 162, 163, 166 Praise (Mass), Supp. VI, 104-105, 106 "Praise for an Urn" (Crane), I, 388 "Praise in Summer" (Wilbur), Supp. Ill, Part 2, 546-548, 560, 562 "Praise of a Palmtree" (Levertov), Supp. Ill, Part 1, 284

"Praise of the Committee" (Rukeyser), Supp. VI, 278 "Praise to the End!" (Roethke), III, 529, 532, 539 "Praises, The" (Olson), Supp. II, Part 2, 558, 560, 563, 564 Praisesong to the Widow (Marshall), Supp. IV, Part 1, 14 Prajadhipok, King of Siam, I, 522 Pratt, Anna (Anna Alcott), Supp. I, Part 1, 33 Pratt, Louis H., Supp. I, Part 1, 70 Pratt, Parley, Supp. IV, Part 2, 603 "Prattler" (newspaper column), I, 207 "Prattler, The" (Bierce), I, 196 Pravda (newspaper), IV, 75 "Pray without Ceasing" (Emerson), II, 9-10 "Prayer for Columbus" (Whitman), IV, 348 "Prayer for My Daughter" (Yeats), II, 598 "Prayer for My Grandfather to Our Lady, A" (Lowell), II, 541-542 Prayer for Owen Meany, A (Irving), Supp. VI, 164, 165, 166, 175-176 "PRAYER FOR SAVING" (Baraka), Supp. II, Part 1, 5253 "Prayer in Spring, A" (Frost), II, 153, 164 "Prayer on All Saint's Day" (Cowley), Supp. II, Part 1, 138, 153 "Prayer to Hermes" (Creeley), Supp. IV, Part 1, 156, 157 "Prayer to Masks" (Senghor), Supp. IV, Part 1, 16 "Prayer to the Good Poet" (Wright), Supp. Ill, Part 2, 603 "Prayer to the Pacific" (Silko), Supp. IV, Part 2, 560 Prayers for Dark People (Du Bois), Supp. II, Part 1, 186 Praz, Mario, IV, 430 Preacher and the Slave, The (Stegner), Supp. IV, Part 2, 599, 608, 609

"Preacher, The" (Whittier), Supp. I, Part 2, 698-699 Precaution (Cooper), I, 337, 339 "Preconceptions of Economic Science, The" (Veblen), Supp. I, Part 2, 634 Predilections (Moore), III, 194 Preface to a Twenty Volume Suicide Note. . . . (Baraka), Supp. II, Part 1, 31, 33-34, 51, 61 Prefaces and Prejudices (Mencken), III, 99, 104, 106, 119 "Preference" (Wylie), Supp. I, Part 2, 713 "Prejudice against the Past, The" (Moore), IV, 91 Prejudices (Mencken), Supp. I, Part 2, 630 Prejudices: A Selection (ed. Farrell), III, 116 Prejudices: First Series (Mencken), III, 105 Preliminary Check list for a Bibliography of Jane Addams (Perkins), Supp. I, Part 1, 26 Prelude, A: Landscapes, Characters and Conversations from the Earlier Years of My Life (Wilson), IV, 426, 427, 430, 434, 445 Prelude, The (Wordsworth), III, 528; IV, 331, 343; Supp. I, Part 2, 416, 676 "Prelude to an Evening" (Ransom), 111,491,492^93 "Prelude to the Present" (Mumford), Supp. II, Part 2, 471 "Preludes" (Eliot), I, 573, 576, 577; Retro. Supp. I, 55; Supp. IV, Part 2, 436 Preludes for Memnon (Aiken), I, 59,65 "Premature Burial, The" (Poe), III, 415,416,418 "Preparations" (Silko), Supp. IV, Part 2, 560 Preparatory Meditations (Taylor), IV, 145, 148, 149, 150, 152, 153, 154-155, 164, 165

554 / INDEX Prepositions: The Collected Critical Essays of Louis Zukofsky (Zukofsky), Supp. Ill, Part 2, 630 "PRES SPOKE IN A LANGUAGE" (Baraka), Supp. II, Part 1, 60 Prescott, Anne, Supp. IV, Part 1, 299 Prescott, Orville, III, 384; Supp. IV, Part 2, 680 Prescott, William, Retro. Supp. I, 123 Prescott, William Hickling, II, 9, 310, 313-314; IV, 309; Supp. I, Part 1, 148, Part 2, 414, 479, 493, 494 "Prescription of Painful Ends" (Jeffers), Supp. H, Part 2, 424 "Presence, The" (Gordon), II, 199, 200 "Presence, The" (Kumin), Supp. IV, Part 2, 445, 455 "Presence of Others, The" (Kenyon), Supp. VII, 164 Presences (Taylor), Supp. V, 325 "Present Age, The" (Emerson), II, 11-12 "Present Hour" (Sandburg), III, 593-594 Present Philosophical Tendencies (Perry), I, 224 "Present State of Ethical Philosophy, The" (Emerson), II, 9 "Present State of Poetry, The" (Schwartz), Supp. II, Part 2, 666 "Preservation of Innocence" (Baldwin), Supp. I, Part 1, 51 Presidential Papers, The (Mailer), III, 35, 37-38, 42, 45 "Presidents" (Merwin), Supp. Ill,

Parti, 351

Preston, George R., Jr., IV, 472 Preston, Raymond, I, 590 "Pretext, The" (Wharton), Retro. Supp. I, 371 Pretty Boy Floyd (McMurtry), Supp. V, 231 "Pretty Girl, The" (Dubus), Supp. VII, 87-88

"Pretty Mouth and Green My Eyes" (Salinger), III, 560 "Previous Condition" (Baldwin), Supp. I, Part 1,51,55, 63 Price, Alan, Retro. Supp. I, 377 Price, Reynolds, Supp. VI, 253258, 259-262, 263-268, 269270 Price, Richard, II, 9; Supp. I, Part 2,522 Price, The (Miller), III, 165-166 "Price of the Harness, The" (Crane), I, 414 "Priceless Gift of Laughter" (on Thurber), Supp. I, Part 2, 627 Pricksongs & Descants; Fictions (Coover), Supp. V, 39, 42, 43, 49,50 "Pride" (Hughes), Supp. I, Part 1, 331 Pride and Prejudice (Austen), II, 290 Prideaux, Tom, Supp. IV, Part 2, 574, 590 "Priesthood, The" (Winters), Supp. II, Part 2, 786 Priestly, Joseph, Supp. I, Part 2, 522 "Primary Ground, A" (Rich), Supp. I, Part 2, 563 "Prime" (Auden), Supp. II, Part 1,22 Primer for Blacks (Brooks), Supp. III, Part 1, 85 "Primer for the Nuclear Age" (Dove), Supp. IV, Part 1, 246 Primer of Ignorance, A (Blackmur), Supp. II, Part 1, 91 "Primitive Black Man, The" (Du Bois), Supp. II, Part 1, 176 "Primitive Like an Orb, A" (Stevens), IV, 89; Retro. Supp. 1,309 "Primitive Singing" (Lindsay), Supp. I, Part 2, 389-390 Primitivism and Decadence (Winters), Supp. II, Part 2, 786, 803-807, 812 Prince, Morton, II, 365 "Prince, The" (Jarrell), II, 379

"Prince, The" (Winters), Supp. II, Part 2, 802 Prince and the Pauper, The (Twain), IV, 200-201, 206 Prince Hagen (Sinclair), Supp. V, 280 Princess Casamassima, The (James), II, 276, 291; IV, 202; Retro. Supp. I, 216, 221, 222, 225, 226-227 "Princess Casamassima, The" (Trilling), Supp. Ill, Part 2, 502, 503 Princess, The (Tennyson), Supp. I, Part 2, 410 "Principles" (Du Bois), Supp. II, Part 1, 172 Principles of Literary Criticism (Richards), I, 274; Supp. I, Part 1, 264, 275 Principles of Psychology, The (James), II, 321, 350-352, 353, 354, 357, 362, 363-364; IV, 28, 29, 32, 37 Principles of Zoology (Agassiz), Supp. I, Parti, 312 Prior, Matthew, II, 111; III, 521 Prior, Sir James, II, 315 "Prison, The" (Malamud), Supp. I, Part 2, 431,437 Prisoner of Second Avenue, The (Simon), Supp. IV, Part 2, 583, 584 Prisoner of Sex, The (Mailer), III, 46 Prisoner ofZenda, The (film), Supp. I, Part 2, 615 Pritchard, John P., Supp. I, Part 1, 173, Part 2, 426 Pritchard, William H., Retro. Supp. I, 131, 141; Supp. IV, Part 1, 285, Part 2, 642 Pritchett, V. S., II, 587, 608; Supp. II, Part 1, 143 "Privatation and Publication" (Cowley), Supp. II, Part 1, 149 Private Contentment (Price), Supp. VI, 263 "Private History of a Campaign That Failed" (Twain), IV, 195 "Private Theatricals" (Howells), II, 280

INDEX / 555 Privilege, The (Kumin), Supp. IV, Part 2, 442-444, 451 "Problem from Milton, A" (Wilbur), Supp. Ill, Part 2, 550 "Problem of Being, The" (James), II, 360 "Problem of Housing the Negro, The" (Du Bois), Supp. II, Part 1, 168 Problems and Other Stories (Updike), Retro. Supp. I, 322, 329 Probst, Leonard, IV, 401 Processional (Lawson), I, 479 Proclus, Retro. Supp. I, 247 "Prodigal" (Ammons), Supp. VII, 29 Prodigal Parents, The (Lewis), II, 454^55 "Prodigal, The" (Bishop), Supp I, Part 1, 90, 92 "Proem" (Crane), I, 397 "Proem, The: By the Carpenter" (O. Henry), Supp. II, Part 1, 409 "Profession of a New Yorker" (Krutch), Supp. I, Part 2, 681 Profession of Authorship in America, 1800-1870, The (Charvat), Supp. I, Part 1, 148 "Professor" (Hughes), Supp. I, Part 1, 330 "Professor, The" (Bourne), I, 223 Professor at the Breakfast Table, The (Holmes), Supp. I, Part 1, 313,316 "Professor Clark's Economics" (Veblen), Supp. I, Part 2, 634 Professor of Desire, The (Roth), Supp. Ill, Part 2, 403, 418-420 "Professor Veblen" (Mencken), Supp. I, Part 2, 630 Professor's House, The (Gather), I, 325-336; Retro. Supp. I, 16 Proffer, Karl, III, 266 Profile of Vachel Lindsay (ed. Flanagan), Supp. I, Part 2, 402 Profits of Religion, The (Sinclair), Supp. V, 276 "Prognosis" (Warren), IV, 245 Progressive (publication), Supp. I, Part 1, 60

"Project for a Trip to China" (Sontag), Supp. II, Part 2, 454, 469 "Project for The Ambassadors" (James), Retro. Supp. I, 229 "Projection" (Nemerov), III, 275 "Projective Verse" (Olson), Supp. Ill, Part 1, 30; Supp. Ill, Part 2, 555, 556, 557, 624; Supp. IV, Part 1, 139, 153 Prokofiev, Sergey Sergeyevich, Supp. IV, Part 1,81 "Prolegomena, Section 1" (Pound), Supp. Ill, Part 2, 615-616 "Prolegomena, Section 2" (Pound), Supp. Ill, Part 2, 616 Proletarian Literature in the United States (Hicks), Supp. I, Part 2, 609-610 "Prologue" (MacLeish), III, 8, 14 "Prologue to OurTime" (Mumford), Supp. Ill, Part 2, 473 "Prometheus" (Longfellow), II, 494 Prometheus Bound (Lowell), II, 543, 544, 545, 555 Promise, The (Buck), Supp. II, Part 1, 124 Promise of American Life, The (Croly), I, 229 Promise of Rest, The (Price), Supp. VI, 262, 266 "Promise This When You Be Dying" (Dickinson), Retro. Supp. I, 44, 46 Promised Land, The (Porter), III, 447 Promised Lands (Sontag), Supp. Ill, Part 2, 452 Promises: Poems 1954-1956 (Warren), IV, 244-245, 249, 252 Promises, Promises (musical), Supp. IV, Part 2, 575 Proof, The (Winters), Supp. II, Part 2, 786, 791,792-794 Proofs and Theories: Essays on Poetry (Gluck), Supp. V, 77, 79,92 "Propaganda of History, The" (Du Bois), Supp. II, Part 1, 182

Propertius, Sextus, III, 467 "Prophecy of Samuel Sewall, The" (Whittier), Supp. I, Part 2, 699 "Prophetic Pictures, The" (Hawthorne), II, 227 "Proportion" (Lowell), II, 525 "Proposal" (Carver), Supp. Ill, Part 1, 149 Proposals Relating to the Education of Youth in Pensilvania (Franklin), II, 113 "Proposed New Version of the Bible" (Franklin), II, 110 Prose and Poetry of Elinor Wylie, The (Benet), Supp. I, Part 2, 730 "Prose for Departure" (Merrill), Supp. Ill, Part 1, 336 "Prose Poem as an Evolving Form, The" (Bly), Supp. IV, Part 1, 64 "Prose Style in the Essays of E. B. White" (Fuller), Supp. I, Part 2, 681 "Proserpina and the Devil" (Wilder), IV, 358 "Prosody" (Shapiro), Supp. II, Part 2, 710 Prospect, The (journal), Supp. I, Part 2, 520 Prospect before Us, The (Dos Passos), I, 491 Prospect of Peace, The (Barlow), Supp. II, Part 1, 67, 68, 75 "Prospective Immigrants Please Note" (Rich), Supp. I, Part 2, 555 Prospects on the Rubicon (Paine), Supp. I, Part 2, 510-511 Prospectus of a National Institution, to Be Established in the United States (Barlow), Supp. II, Part 1, 80, 82 Prospice (Browning), IV, 366 "Protestant Easter" (Sexton), Supp. II, Part 2, 684 "Prothalamion" (Schwartz), Supp. II, Part 2, 649, 652 "Prothalamion" (Spenser), Retro. Supp. I, 62 Proud, Robert, Supp. I, Part 1, 125

556 / INDEX "Proud Farmer, The" (Lindsay), Supp. I, Part 2, 381 "Proud Flesh" (Warren), IV, 243 "Proud Lady" (Wylie), Supp. I, Part 2, 711-712 Proulx, Annie, Supp. VII, 249251 Proust, Marcel, I, 89, 319, 327, 377, 461; II, 377, 514, 606; III, 174, 181, 184, 244-245, 259, 471; IV, 32, 201,237, 301, 312, 328, 359, 428, 431, 434, 439, 443, 466, 467; Retro. Supp. I, 75, 89, 169, 335; Supp. Ill, Part 1, 10, 12, 14, 15; Supp. IV, Part 2, 600 "Provincia deserta" (Pound), Retro. Supp. I, 289 Pruette, Lorine, Supp. IV, Part 2, 522 Prufrock and Other Observations (Eliot), I, 569-570, 571, 573, 574, 576-577, 583, 584, 585; Retro. Supp. I, 59, 62 "Prufrock's Perivigilium" (Eliot), Retro. Supp. I, 57 "Psalm" (Ginsberg), Supp. II, Part 1, 312 "Psalm and Lament" (Justice), Supp. VII, 116, 117-118, 120122, 124 "Psalm of Life, A" (Longfellow), II, 489, 496 "Psalm of Life, A: What the Heart of the Young Man Said to the Psalmist" (Longfellow), Supp. I, Part 2, 409 "Psalm of the West" (Lanier), Supp. I, Part 1, 362, 364 "Psalm: Our Fathers" (Merwin), Supp. Ill, Part 1, 350 Psalms (biblical book), I, 83; II, 168, 232; Retro. Supp. I, 62; Supp. I, Part 1, 125 Psalms, Hymns, and Spiritual Songs of the Rev. Isaac Watts, The (ed. Worcester), I, 458 Psychiatric Novels of Oliver Wendell Holmes, The (Oberndorf), Supp. I, Part 1, 315,319

Psychological Review (publication), IV, 26 "Psychology and Form" (Burke), I, 270 Psychology: Briefer Course (James), II, 351-352 Psychology of Art (Malraux), IV, 434 Psychology of Insanity, The (Hart), I, 241-242, 248-250 Psychophysiks (Fechner), II, 358 Public Burning, The (Coover), Supp. IV, Part 1, 388; Supp. V,44, 45, 46^7, 48, 51, 52 "Public Burning of Julius and Ethel Rosenberg, The: An Historical Romance" (Coover), Supp. V, 44 "Public Garden, The" (Lowell), II, 550 Public Good (Paine), Supp. I, Part 2, 509-510 Public Ledger (newspaper), Retro. Supp. I, 104 Public Speech: Poems (MacLeish), III, 15-16 Public Spirit (Savage), II, 111 "Publication is the Auction" (Dickinson), Retro. Supp. I, 31 Pudd'nhead Wilson (Twain), I, 197 "Pudd'nhead Wilson's Calendar" (Twain), I, 197 "Pueblo Revolt, The" (Sando), Supp. IV, Part 2, 510 Puella (Dickey), Supp. IV, Part 1, 178, 185 Pulitzer, Alfred, Retro. Supp. I, 257 Pullman, George, Supp. I, Part 1, 9 "Pullman Car Hiawatha" (Wilder), IV, 365-366 "Pulpit and the Pew, The" (Holmes), Supp. I, Part 1, 302 "Pulse-Beats and Pen-Strokes" (Sandburg), III, 579 Pump House Gang, The (Wolfe), Supp. Ill, Part 2, 575, 578, 580, 581 Punch (periodical), Supp. I, Part 2,602

Punch, Brothers, Punch and Other Sketches (Twain), IV, 200 Punch: The Immortal Liar, Documents in His History (Aiken), I, 57, 61 Punishment Without Vengeance (Vega, trans. Merwin), Supp. Ill, Part 1, 341, 347 "Pupil, The" (James), II, 331; Retro. Supp. I, 217, 219, 228 "Purchase" (Banks), Supp. V, 6 "Purchase of Some Golf Clubs, A" (O'Hara), III, 369 "Purdah" (Plath), Supp. I, Part 2, 602 Purdy, James, Supp. VII, 269-270 Purdy, Rob Roy, IV, 143 "Pure Good of Theory, The" (Stevens), Retro. Supp. I, 310 Purgatorio (Dante), III, 182 Puritan Family (Morgan), Supp. I, Part 1, 101 Puritan Origins of the American Self, The (Bercovitch), Supp. I, Part 1, 99 "Puritan Poetry of Anne Bradstreet, The" (Richardson), Supp. I, Part 1, 123 Puritan Pronaos, The: Studies in the Intellectual Life of New England in the Seventeenth Century (Morison), Supp. I, Part 2, 485 "Puritanical Pleasures" (Hardwick), Supp. Ill, Part 1,213-214 Puritanism, Supp. I, Part 1, 98101, 103-117, 122, 123, 197, 253, 271, Part 2, 375, 400, 421, 479, 484, 485, 496, 505, 521, 522, 593, 600, 672, 698, 699 "Puritan's Ballad, The" (Wylie), Supp. I, Part 2, 723 Purple Decades, The (Wolfe), Supp. Ill, Part 2, 584 "Purple Hat, The" (Welty), IV, 264 "Pursuit of Happiness, The" (Ashbery), Supp. Ill, Part 1, 23 Pursuit of the Prodigal, The (Auchincloss), Supp. IV, Part 1,25

INDEX / 557 Pushcart at the Curb, A (Dos Passes), I, 478, 479 "Pushcart Man" (Hughes), Supp. I, Part 1, 330 Pushcart Prize, XIII, The (Ford), Supp. V, 58 Pushkin, Aleksander, III, 246, 261, 262; Retro. Supp. I, 266, 269 "Pussycat and the Expert Plumber Who Was a Man, The" (Miller), III, 146-147 "Put Off the Wedding Five Times and Nobody Comes to It" (Sandburg), III, 586-587 "Put Yourself in My Shoes" (Carver), Supp. Ill, Part 1, 139, 141 Put Yourself in My Shoes (Carver), Supp. Ill, Part 1, 139 Putnam, George P., II, 314 Putnam, James Jackson, II, 365 Putnam, Phelps, I, 288 Putnam, Samuel, II, 26; III, 479; Supp. Ill, Part 2, 615 Putnam's Monthly (periodical), Retro. Supp. I, 255 Putnam's Monthly Magazine, III, 88, 89, 90, 91 Puttenham, George, Supp. I, Part 1, 113 Puttermesser Papers, The (Ozick), Supp. V, 269 "Putting on Visit to a Small Planef (Vidal), Supp. IV, Part 2,683 Putzel, Max, Supp. I, Part 2, 402, 478 Puzo, Mario, Supp. IV, Part 1, 390 Puzzled America (publication), I, 115 Pyle, Ernie, III, 148; Supp. V, 240 Pylon (Faulkner), II, 64-65, 73; Retro. Supp. I, 84, 85 Pynchon, Thomas, III, 258; Retro. Supp. I, 278; Supp. II, Part 2, 557, 617-638; Supp. Ill, Part 1, 217; Supp. IV, Part 1, 53, 279, Part 2, 570; Supp. V, 40, 44,52 Pyrah, Gill, Supp. V, 126

"Pyramid Club, The" (Doctorow), Supp. IV, Part 1, 234 "Pyrography" (Ashbery), Supp. III, Parti, 18 Pythagoras, I, 332 Pythagorean Silence (Howe), Supp. IV, Part 2, 426, 428-429 "Quai d'Orleans" (Bishop), Supp. I, Part 1, 89 "Quaker Graveyard in Nantucket, The" (Lowell), II, 54, 550 Quaker Militant: John Greenleaf Whittier (Mordell), Supp. I, Part 2, 706 Qualey, Carlton C., Supp. I, Part 2,650 "Quality Time" (Kingsolver), Supp. VII, 203 Quang-Ngau-che, III, 473 Quarles, Francis, I, 178, 179 "Quarry, The" (Nemerov), III, 272 Quarry, The: New Poems (Eberhart), I, 532, 539 Quarterly Journal of Economics (publication), Supp. I, Part 2, 641 Quartermain, Peter, Supp. IV, Part 2, 423, 434 "Quaternions, The" (Bradstreet), Supp. I, Part 1, 104-106, 114, 122 "Queen of the Blues" (Brooks), Supp. Ill, Part 1, 75 Queen of the Damned, The (Rice), Supp. VII, 290, 292-293, 297, 299 Queen Victoria (Strachey), Supp. I, Part 2, 485, 494 "Queens of France" (Wilder), IV, 365 Queer (Burroughs), Supp. Ill, Part 1, 93-102 "Queer Beer" (Hansberry), Supp. IV, Part 1, 374 "Quelques considerations sur la methode subjective" (James), II, 345-346 "Quest of the Purple-Fringed, The" (Frost), Retro. Supp. I, 139 Quest of the Silver Fleece, The (Du Bois), Supp. II, Part 1, 176-178

"Question" (Swenson), Supp. IV, Part 2, 640 "Question and Answer" (Hughes), Retro. Supp. I, 211 "Question Mark in the Circle, The" (Stegner), Supp. IV, Part 2, 597 "Question of Our Speech, The" (Ozick), Supp. V, 272 "Questioning Faces" (Frost), Retro. Supp. I, 141 "Questionnaire, The" (Snodgrass), Supp. VI, 318 "Questions of Geography" (Hollander), Supp. I, Part 1, 96 Questions of Travel (Bishop), Supp. I, Part 1, 72, 83, 92, 94 "Questions to Tourists Stopped by a Pineapple Field" (Merwin), Supp. Ill, Part 1, 355 "Questions without Answers" (Williams), IV, 384 Quevedo y Villegas, Francisco Gmez, Retro. Supp. I, 423 "Quies," (Pound), Retro. Supp. I, 413 Quiet Days in Clichy (Miller), III, 170, 178, 183-184, 187 Quill, Quire (publication), Supp. IV, Part 1, 68 Quinn, Arthur Hobson, III, 431, 432 Quinn, John, III, 471 Quinn, Kerker, I, 542 Quinn, Patrick F., Ill, 432 Quinn, Paul, Supp. V, 71 Quinn, Sister M. Bernetta, II, 390; III, 479; IV, 421, 424 Quinn, Vincent, I, 386, 401, 402, 404; Supp. I, Part 1, 270, 275 "Quinnapoxet" (Kunitz), Supp. Ill, Part 1, 263 Quinn's Book (Kennedy), Supp. VII, 133, 148-150, 153 Quintero, Jose, III, 403 Quintet: Essays on Five American Women Poets (Saul), Supp. I, Part 2, 730 "Quintet Honors Thurber Fables" (Hawley), Supp. I, Part 2, 627 Quintilian, IV, 123

558 / INDEX Quinzainefor This Yule, A (Pound), Retro. Supp. I, 285 Quo Vadis? (Sienkiewicz), Supp. IV, Part 2, 518 Quod Erat Demonstrandum (Stein), IV, 34 "Rabbi, The" (Hayden), Supp. II, Part 1, 363, 369 Rabbi ofLud, The (Elkin), Supp. VI, 55 "Rabbit, The" (Barnes), Supp. Ill, Part 1, 34 Rabbit at Rest (Updike), Retro. Supp. I, 334 Rabbit Is Rich (Updike), Retro. Supp. I, 334 Rabbit novels (Updike), Supp. V, 269 Rabbit Redux (Updike), IV, 214; Retro. Supp. I, 332, 333 Rabbit, Run (Updike), IV, 214, 223, 230-234; Retro. Supp. I, 320, 325, 326, 327, 331, 333, 335 "Rabbits Who Caused All the Trouble, The" (Thurber), Supp. I, Part 2, 610 Rabelais, Francois, I, 130; II, 111, 112, 302, 535; III, 77, 78, 174, 182; IV, 68; Supp. I, Part 2, 461 Rabinowitz, Paula, Supp. V, 161 "Race" (Emerson), II, 6 " 'RACE LINE' IS A PRODUCT OF CAPITALISM, THE" (Baraka), Supp. II, Part 1, 61 "Race of Life, The" (Thurber), Supp. I, Part 2, 614 "Race Problems and Modern Society" (Toomer), Supp. Ill, Part 2, 486 Race Rock (Matthiessen), Supp. V, 201 "Races, The" (Lowell), II, 554 Racine, Jean Baptiste, II, 543, 573; III, 145, 151, 152, 160; IV, 317, 368, 370; Supp. I, Part 2, 716 "Radical" (Moore), III, 211 "Radical Chic" (Wolfe), Supp. Ill, Part 2, 577-578, 584, 585

Radical Chic & Mau-mauing the Flak Catchers (Wolfe), Supp. Ill, Part 2, 577-578 Radical Empiricism of William James, The (Wild), II, 362, 363364 Radical Innocence: Studies in the Contemporary American Novel (Hassan), Supp. I, Part 2, 198 "Radical Jewish Humanism: The Vision of E. L. Doctorow" (Clayton), Supp. IV, Part 1, 238 Radical Tradition, The: From Tom Paine to Lloyd George (Deny), Supp. I, Part 2, 525 Radicalism in America, The (Lasch), I, 259 "Radio" (O'Hara), III, 369 Raditzer (Matthiessen), Supp. V, 201 Radkin, Paul, Supp. I, Part 2, 539 "Rafaela Who Drinks Coconut & Papaya Juice on Tuesdays" (Cisneros), Supp. VII, 63 "Raft, The" (Lindsay), Supp. I, Part 1, 393 Rag and Bone Shop of the Heart, The: Poems for Men (eds. Bly, Hillman, and Meade), Supp. IV, Part 1, 67 Rage to Live, A (O'Hara), III, 361 Raglan, Lord, I, 135 Rago, Henry, IV, 48; Supp. Ill, Part 2, 624, 628, 629 "Ragtime" (Doctorow), Supp. IV, Part 1, 234 Ragtime (Doctorow), Supp. IV, Part 1, 217, 222-224, 231, 232, 233, 234, 237, 238; Supp. V, 45 Ragtime (film), Supp. IV, Part 1, 236 Rahv, Philip, Retro. Supp. I, 112; Supp. II, Part 1, 136 "Raid" (Hughes), Retro. Supp. I, 208 "Rain in the Heart" (Taylor), Supp.V, 317, 319 Rain in the Trees, The (Merwin), Supp. Ill, Part 1, 340, 342, 345, 349, 354-356 Rainbow, The (Lawrence), III, 27

"Rainbows" (Marquand), III, 56 "Rain-Dream, A" (Bryant), Supp. I, Part 1, 164 Raine, Kathleen, I, 522, 527 Rainer, Luise (Mrs. Clifford Odets), Supp. II, Part 2, 544 Rainwater, Catherine, Supp. V, 272 "Rainy Day" (Longfellow), II, 498 "Rainy Day, The" (Buck), Supp. II, Part 1, 127 "Rainy Mountain Cemetery" (Momaday), Supp. IV, Part 2, 486 Rainy Mountain Christmas Doll (painting) (Momaday), Supp. IV, Part 2, 493 "Rainy Season: Sub-Tropics" (Bishop), Supp. I, Part 1, 93 "Raise High the Roof Beam, Carpenters" (Salinger), III, 567569, 571 Raise High the Roof Beam, Carpenters; and Seymour: An Introduction (Salinger), III, 552, 567-571, 572 Raise Race Rays Raze: Essays Since 1965 (Baraka), Supp. II, Part 1, 47, 52, 55 Raisin (musical), Supp. IV, Part 1,374 Raisin in the Sun, A (film: Columbia Pictures), Supp. IV, Part 1, 360, 367 Raisin in the Sun, A (Hansberry) Supp. IV, Part 1, 359, 360, 361, 362-364 Raisin in the Sun, A (television film: American Playhouse), Supp. IV, Part 1, 367, 374 Raisin in the Sun, A (unproduced screenplay) (Hansberry), Supp. IV, Part 1, 360 Rajan, R., I, 390 Rake's Progress, The (opera), Supp. II, Part 1, 24 Rakosi, Carl, Supp. Ill, Part 2, 614, 615, 616, 617, 618, 621, 629 Ralegh, Sir Walter, Supp. I, Part 1,98

INDEX / 559 Raleigh, John Henry, II, 149; III, 408; IV, 366 Ramakrishna, Sri, III, 567 Ramazani, Jahan, Supp. IV, Part 2,450 "Ramble of Aphasia, A" (O. Henry), Supp. II, Part 1, 410 Ramey, Phillip, Supp. IV, Part 1, 94 Rampersad, Arnold, Retro. Supp. 1, 196, 200, 201, 204; Supp. IV, Part 1, 244, 250 Rampling, Anne, Supp. VII, 201; see also Rice, Anne Ramsay, Richard David, IV, 448 Ramsey, Paul, I, 564; III, 313 Ramsey, Priscilla R., Supp. IV, Part 1, 15 Ramus, Petrus, Supp. I, Part 1, 104 Rand, Ayn, Supp. I, Part 1, 294; Supp. IV, Part 2, 517-535 Randall, John H., I, 333; III, 605 Randall Jarrell, 1914-1965 (eds. Lowell, Taylor, and Warren), II, 368, 385 Randolph, John, I, 5-6 Randolph family, II, 173 Random House, Retro. Supp. I, 73, 428; Supp. V, 4 "Range-Finding" (Frost), Retro. Supp. I, 131 Rank, Otto, I, 135 Ranke, Leopold von, Supp. I, Part 2,492 Rankin, Daniel S., Supp. I, Part 1, 200, 203, 225, 226 Rans, Geoffrey, III, 432 Ransom, John Crowe, I, 265, 287, 301, 473; II, 34, 367, 385, 389, 390, 536-537, 542; III, 144, 217, 454, 480-502, 549; IV, 121, 122, 123, 124, 125, 127, 134, 140, 141, 143, 236, 237, 284, 433; Retro. Supp. I, 90; Supp. I, Part 1, 80, 361, 373, Part 2, 423; Supp. II, Part 1, 90,91, 136, 137, 139, 318, Part 2, 639; Supp. Ill, Part 1, 318, Part 2, 542, 591; Supp. IV,

Part 1, 217; Supp. V, 315, 331; 337 Rap on Race, A (Baldwin and Mead), Supp. I, Part 1, 66 "Rape, The" (Baraka), Supp. II, Part 1, 40 Rape of Bunny Stuntz, The (Gurney), Supp. V, 109 "Rape of Philomel, The" (Shapiro), Supp. II, Part 2, 720 Raphael, I, 15; III, 505, 521, 524; Supp. I, Part 1, 363 "Rappaccini's Daughter" (Hawthorne), II, 229 Rapping, Elayne A., Supp. I, Part 1,252 "Rapunzel" (Sexton), Supp. II, Part 2, 691 Rare & Endangered Species: A Novella & Short Stories (Bausch), Supp. VII, 51, 54 "Raree Show" (MacLeish), III, 9 Rascoe, Burton, III, 106, 115, 121 Rasmussen, Douglas, Supp. IV, Part 2, 528, 530 "Rat of Faith, The" (Levine), Supp. V, 192 "Ration" (Baraka), Supp. II, Part 1,50 Rational Fictions: A Study of Charles Brockden Brown (Kimball), Supp. I, Part 1, 148 "Rationale of Verse, The" (Poe), III, 427-428 Ratner's Star (DeLillo), Supp. VI, 1, 2, 3, 4, 10, 12, 14 Rattigan, Terence, III, 152 Raugh, Joseph, Supp. I, Part 1, 286 Rauschenbusch, Walter, III, 293; Supp. I, Part 1, 7 "Raven, The" (Poe), III, 413, 421422, 426 "Raven Days, The" (Lanier), Supp. I, Parti, 351 Raven, The, and Other Poems (Poe), III, 413 Ravenal, Shannon, Supp. IV, Part 1,93 Ravenna, Michael, see Welty, Eudora

Raven's Road (Gunn Allen), Supp. IV, Part 1, 330, 335 Ravitz, Abe C, II, 149 Ray, David, Supp. I, Part 1, 199; Supp. IV, Part 1, 61 Ray, Gordon M., II, 340 Ray, John, II, 111, 112 Ray, Man, IV, 404; Retro. Supp. 1,416 Ray Bradbury Theatre, The (television show), Supp. IV, Part 1, 103 Raymond, Thomas L., I, 426 Raynolds, Robert, IV, 473 Reactionary Essays on Poetry and Ideas (Tate), Supp. II, Part 1, 106, 146 Read, Deborah, II, 122 Read, Forrest, III, 478; Supp. I, Part 1, 275 Read, Herbert, I, 523; II, 372-373, 377-378; IV, 143; Retro. Supp. I, 54; Supp. Ill, Part 1, 273, Part 2, 624, 626 Reade, Charles, Supp. I, Part 2, 580 Reader, Dennis J., Supp. I, Part 2, 402, 454, 478 Reader's Digest (magazine), III, 164; Supp. I, Part 2, 534; Supp. IV, Part 2, 501, 524 Reader's Guide to William Gaddis 's The Recognitions, A (Moore), Supp. IV, Part 1, 283 "Reading Lao Tzu Again in the New Year" (Wright), Supp. V, 343 "Reading Late of the Death of Keats" (Kenyon), Supp. VII, 169 "Reading Myself (Lowell), II, 555 Reading Myself and Others (Roth), Supp. V, 45 "Reading of Wieland, A" (Ziff), Supp. I, Part 1, 148 Reading Rilke: Reflections on the Problems of Translation (Gass), Supp. VI, 92, 93-94 "Reading Rorty and Paul Celan One Morning in Early June" (Wright), Supp. V, 343

560 / INDEX Reading the Spirit (Eberhart), I, 525, 527, 530 "Readings of History" (Rich), Supp. I, Part 2, 554 "Ready Or Not" (Baraka), Supp. II, Part 1, 50 Reagan, Ronald, Supp. IV, Part 1, 224-225 "Real Class" (Vidal), Supp. IV, Part 1, 35 Real Dope, The (Lardner), II, 422423 "Real Horatio Alger Story, The" (Cowley), Supp. II, Part 1, 143 Real Life of Sebastian Knight, The (Nabokov), III, 246; Retro. Supp. I, 266, 269, 270, 274 Real Presence: A Novel (Bausch), Supp. VII, 42-43, 50 "Real Source of Vachel Lindsay's Poetic Technique, The" (Edwards), Supp. I, Part 2, 402 "Real Thing, The" (James), Retro. Supp. I, 228 "Real Two-Party System" (Vidal), Supp. IV, Part 2, 679 Real West Marginal Way, The (Hugo), Supp. VI, 132, 134 "Realities" (MacLeish), III, 4 "Reality! Reality! What Is It?" (Eberhart), I, 536 Reality Sandwiches, 1953-60 (Ginsberg), Supp. II, Part 1, 315, 320 "Reality in America" (Trilling), Supp. Ill, Part 2, 495, 502 "Reapers" (Toomer), Supp. Ill, Part 2, 481 "Reason for Moving, A" (Strand), Supp. IV, Part 2, 624 "Reason for Stories, The: Toward a Moral Fiction" (Stone), Supp. V, 298, 300 Reasons for Moving (Strand), Supp. IV, Part 2, 624-626, 626 "Reasons for Music" (MacLeish), III, 19 Reaver, Joseph Russell, III, 406 Rebel Powers (Bausch), Supp. VII, 41, 45-46, 49-51 Recapitulation (Stegner), Supp. IV, Part 2, 598, 600, 612-613

"Recapitulation, The" (Eberhart), I, 522 "Recapitulations" (Shapiro), Supp. II, Part 2, 701, 702, 708, 710711 "Recencies in Poetry" (Zukofsky), Supp. Ill, Part 2, 615 Recent Killing, A (Baraka), Supp. II, Part 1, 55 "Recent Negro Fiction" (Ellison), Supp. II, Part 1, 233, 235 "Recital, The" (Ashbery), Supp. III, Part 1, 14 "Recitative" (Crane), I, 390 Recognitions, The (Gaddis), Supp. IV, Part 1, 279, 280-285, 286, 287, 288, 289, 291, 292, 294 "Reconciliation" (Whitman), IV, 347 "Reconstructed but Unregenerate" (Ransom), III, 496 "Reconstruction and Its Benefits" (Du Bois), Supp. II, Part 1, 171 Record of Mr. Alcott's School (Peabody), Supp. I, Part 1, 46 "Recovery" (Dove), Supp. IV, Part 1, 248 Rector of Justin, The (Auchincloss), Supp. IV, Part I, 21, 23, 27-30, 36 "RED AUTUMN" (Baraka), Supp. II, Part 1, 55 Red Badge of Courage, The (Crane), I, 201, 207, 212, 405, 406, 407, 408, 412-416, 419, 421, 422, 423, 477, 506; II, 264; III, 317; IV, 350; Supp. IV, Part 1, 380 "Red Carpet for Shelley, A" (Wylie), Supp. I, Part 2, 724 "Red Clowns" (Cisneros), Supp. VII, 63 "Red Cross" (Hughes), Retro. Supp. I, 205 Red Cross (Shepard), Supp. Ill, Part 2, 440, 446 Red Dust (Levine), Supp. V, 178, 183-184, 188 "Red Dust" (Levine), Supp. V, 184 Red Harvest (Hammett), Supp. IV, Part 1, 346-348, 348, Part 2, 468

"Red Leaves" (Faulkner), II, 72 "Red Pawn" (Rand), Supp. IV, Part 2, 520 Red Pony, The (Steinbeck), IV, 50, 51, 58, 70 Red Roses for Bronze (Doolittle), Supp. I, Part 1, 253, 268, 271 Red Rover, The (Cooper), I, 342343, 355 "Red Silk Stockings" (Hughes), Retro. Supp. I, 200 "Red Wheelbarrow, The" (Williams), IV, 411-412; Retro. Supp. I, 419, 430 "Red Wind" (Chandler), Supp. IV, Part 1, 122 Redbook (magazine), III, 522-523; Supp. IV, Part 1, 354 "Redbreast in Tampa" (Lanier), Supp. I, Part 1, 364 Redburn: His First Voyage (Melville), III, 79-80, 84; Retro. Supp. I, 245, 247-248, 249 Redding, Saunders, IV, 497; Supp. I, Part 1, 332, 333 Reddings, J. Saunders, Supp. IV, Part 1, 164 "Redemption" (Gardner), Supp. VI, 72 "Redeployment" (Nemerov), III, 267, 272 Redfield, Robert, IV, 475 Redgrave, Lynn, Supp. V, 107 Red-headed Woman (film), Retro. Supp. I, 110 Redrawing the Boundaries (Fisher), Retro. Supp. I, 39 Redskins, The (Cooper), I, 351, 353 "Redwings" (Wright), Supp. Ill, Part 2, 603 Reed, Ishmael, Supp. II, Part 1, 34 Reed, John, I, 48, 476, 483 Reed, Rex, IV, 401 "Reed of Pan, A" (McCullers), II, 585 Reedy, William Marion, Supp. I, Part 2, 456, 461, 465 Reef, The (Wharton), IV, 317-318, 322; Retro. Supp. I, 372, 373374

INDEX / 561 Rees, Robert A., II, 125; Supp. I, Part 2, 425 Reeves, George M., Jr., IV, 473 Reeves, John K., II, 292 Reeves, Paschal, IV, 472, 473 Reeve's Tale (Chaucer), I, 131 Reflections at Fifty and Other Essays (Farrell), II, 49 Reflections in a Golden Eye (McCullers), II, 586, 588, 593596, 604; IV, 384, 396 Reflections of a Jacobite (Auchincloss), Supp. IV, Part 1,31 Reflections on Poetry and Poetics (Nemerov), III, 269 "Reflections on the Constitution of Nature" (Freneau), Supp. II, Part 1, 274 "Reflections on the Death of the Reader" (Morris), III, 237 Reflections on the End of an Era (Niebuhr), III, 297-298 "Reflections on the Life and Death of Lord Clive" (Paine), Supp. I, Part 2, 505 Reflections: Thinking Part I (Arendt), Supp. I, Part 2, 570 Reflections on the Revolution in France (Burke), Supp. I, Part 2,511,512 "Reflex Action and Theism" (James), II, 345, 363 "Refuge" (Kingsolver), Supp. VII, 208 "Refugees, The" (Jarrell), II, 371 Regan, Robert, III, 432 Regnier, Henri de, II, 528-529 Regulators, The (King), Supp. V, 141 Rehder, Robert, Supp. IV, Part 1, 69 Reichart, Walter A., II, 317 Reichel, Hans, III, 183 Reid, B. L., II, 41, 47 Reid, Randall, IV, 307 Reid, Thomas, II, 9; Supp. I, Part 1, 151 Reign of Wonder, The (Tanner), I, 260 "Reincarnation" (Dickey), Supp. IV, Parti, 181-182

Reiner, Carl, Supp. IV, Part 2, 591 Reinfeld, Linda, Supp. IV, Part 2, 421 Reisman, Jerry, Supp. Ill, Part 2, 618 Reiter, Irene Morris, II, 53 Reivers, The (Faulkner), I, 305; II, 57,73 Reivers, The: A Reminiscence (Faulkner), Retro. Supp. I, 74, 82,91 Relation (Banks' genre), Supp. V, 13 Relation of My Imprisonment, The (Banks), Supp. V, 8, 12-13 "Relations between Poetry and Painting, The" (Stevens), Retro. Supp. I, 312 Relearning the Alphabet (Levertov), Supp. Ill, Part 1, 280, 281 "Release, The" (MacLeish), III, 16 Reles, Abe ("Kid Twist"), Supp. IV, Part 1, 382 "Relevance of an Impossible Ethical Ideal, The" (Niebuhr), III, 298 "Religion" (Dunbar), Supp. II, Part 1, 199 "Religion" (Emerson), II, 6 Religion of Nature Delineated, The (Wollaston), II, 108 "Religious Symbolism and Psychic Reality in Baldwin's Go Tell It on the Mountain " (Allen), Supp. I, Part 1, 69 "Reluctance" (Frost), II, 153 Remains (Snodgrass), Supp. VI, 311,313-314 "Remains, The" (Strand), Supp. IV, Part 2, 627 "Remarks on Spencer's Definition of Mind as Correspondence" (James), II, 345 Remarque, Erich Maria, Retro. Supp. I, 113; Supp. IV, Part 1, 380 Rembar, Charles, III, 192 Rembrandt, II, 536; IV, 310; Supp. IV, Part 1, 390, 391

"Rembrandt, The" (Wharton), IV, 310 Rembrandt Takes a Walk (Strand), Supp. IV, Part 2, 631 "Rembrandt to Rembrandt" (Robinson), III, 521-522 "Rembrandt's Hat" (Malamud), Supp. I, Part 2, 435, 437 Remember Me to Tom (Williams), IV, 379-380 "Remember the Moon Survives" (Kingsolver), Supp. VII, 209 Remember to Remember (Miller), III, 186 Remembered Earth, The: An Anthology of Contemporary Native American Literature (ed. Hobson), Supp. IV, Part 1, 321 "Remembering" (Angelou), Supp. IV, Part 1, 15 "Remembering Allen Tate" (Cowley), Supp. II, Part 1, 153 "Remembering Barthes" (Sontag), Supp. Ill, Part 2, 451,471 "Remembering Guston" (Kunitz), Supp. Ill, Part 1, 257 Remembering Laughter (Stegner), Supp. IV, Part 2, 598, 606, 607,608,611,614 "Remembering the Lost World" (Jarrell), II, 388 Remembrance of Things Past (Proust), Supp. IV, Part 2, 600 Remembrance Rock (Sandburg), III, 590 Reminiscence, A (Ashbery), Supp. Ill, Part 1, 2 "Remora" (Merrill), Supp. Ill, Part 1, 326 "Removal" (White), Supp. I, Part 2, 664-665 "Removal, The" (Merwin), Supp. Ill, Parti, 350, 351 Remsen, Ira, Supp. I, Part 1, 369 "Remy de Gourmont, A Distinction" (Pound), III, 467 Renaissance in the South (Bradbury), I, 288-289 "Renaming the Kings" (Levine), Supp. V, 184 Renan, Joseph Ernest, II, 86; IV, 440, 444

562 / INDEX Renard, Jules, IV, 79 "Renascence" (Millay), III, 123, 125-126, 128 Renault, Mary, Supp. IV, Part 2, 685 "Rendezvous, The" (Kumin), Supp. IV, Part 2, 455 Renewal of Life series (Mumford), Supp. II, Part 2, 476, 479, 481, 482, 485, 495, 497 Renken, Maxine, III, 192 Renouvrier, Charles, II, 344-345, 346 "Renunciation" (Banks), Supp. V, 10 Repent in Haste (Marquand), III, 59 "Repetitive Heart, The: Eleven Poems in Imitation of the Fugue Form" (Schwartz), Supp. II, Part 2, 645-646 "Reply to Mr. Wordsworth" (MacLeish), III, 19 "Report from North Vietnam" (Paley), Supp. VI, 227 Report from Part One (Brooks), Supp. Ill, Part 1, 70, 72, 80, 82-85 Report from Part Two (Brooks), Supp. Ill, Part 1, 87 Report of the Industrial Commission, Supp. I, Part 2, 644 "Report on the Barnhouse Effect" (Vonnegut), Supp. II, Part 2, 756 Reporter (publication), III, 292 "Repose of Rivers" (Crane), I, 393 "Representation and the War for Reality" (Gass), Supp. VI, 88 Representative Men (Emerson), II, I, 5-6, 8 "REPRISE OF ONE OF A. G.'S BEST POEMS" (Baraka), Supp. II, Part 1, 59 Republic (Plato), I, 485 Republic of Love, The (Shields), Supp. VII, 323-324, 326, 327 "Republican Manifesto, A" (Paine), Supp. I, Part 2, 511 Requa, Kenneth A., Supp. I, Part 1, 107, 123

"Request for Offering" (Eberhart), 1,526 Requiem for a Nun (Faulkner), II, 57, 72-73 "Rescue, The" (Updike), IV, 214 "Rescue with Yul Brynner" (Moore), III, 215 Resek, Carol, I, 238 "Resemblance" (Bishop), Supp, I, Part 1, 86 "Resemblance between a Violin Case and a Coffin, A" (Williams), IV, 378-379 "Reservations" (Taylor), Supp. V, 323 "Reserved Memorials" (Mather), Supp. II, Part 2, 446, 449 "Respectable Place, A" (O'Hara), III, 369 "Response to a Rumor that the Oldest Whorehouse in Wheeling, West Virginia, Has Been Condemned" (Wright), Supp. Ill, Part 2, 602 Responses (Wilbur), Supp. Ill, Part 2, 541 "Rest of Life, The" (Gordon), Supp. IV, Part 1,311 Rest of Life, The: Three Novellas (Gordon), Supp. IV, Part 1, 310-312 Restif de La Bretonne, Nicolas, III, 175 Restoration comedy, Supp. I, Part 2,617 "Result" (Emerson), II, 6 Resurrection, The (Gardner), Supp. VI, 61, 63, 64-65, 68, 69, 73,74 Retrieval System, The (Kumin), Supp. IV, Part 2, 449, 451, 452 "Retroduction to American History" (Tate), IV, 129 "Retrospects and Prospects" (Lanier), Supp. I, Part 1, 352 "Return" (Creeley), Supp. IV, Part 1, 141, 145 "Return" (MacLeish), III, 12 "Return: An Elegy, The" (Warren), IV, 239 "Return: Buffalo" (Hogan), Supp. IV, Part 1,411

Return of Ansel Gibbs, The (Buechner), III, 310 "Return of Spring" (Winters), Supp. II, Part 2, 791 Return of the Native, The (Hardy), II, 184-185, 186 "Return, The" (Pound), Retro. Supp. I, 288 "Return, The" (Roethke), III, 533 "Return, The: Orihuela, 1965" (Levine), Supp. V, 194 "Return to Lavinia" (Caldwell), I, 310 Return to the Fountains: Some Classical Sources of American Criticism (Pritchard), Supp. I, Part 1, 173, Part 2, 426 "Returning a Lost Child" (Gluck), Supp. V, 81 "Reunion in Brooklyn" (Miller), III, 175, 184 Reuther brothers, I, 493 "Rev. Freemont Deadman" (Masters), Supp. I, Part 2, 463 "Reveille, The" (Harte), Supp. II, Part 1, 342-343 "Reveille" (Kingsolver), Supp. VII, 208 Revelation (biblical book), II, 541; IV, 104, 153, 154; Supp. I, Part 1, 105, 273 "Revelation" (O'Connor), III, 349, 353-354 "Revelation" (Warren), III, 490 "Revenge of Hamish, The" (Lanier), Supp. I, Part 1, 365 "Revenge of Hannah Kemhuff, The" (Walker), Supp. Ill, Part 2,521 Reverberator, The (James), Retro. Supp. I, 227 "Reverend Father Gilhooley" (Farrell), II, 45 Review of Contemporary Fiction (publication), Supp. IV, Part 1, 289 Reviewer's ABC, A (Aiken), I, 58 Revista Chicana-Riquena (journal), Supp. IV, Part 2, 542 "Revolt, against the Crepuscular Spirit in Modern Poetry" (Pound), Retro. Supp. I, 286

INDEX / 563 Revolutionary Petunias (Walker), Supp. Ill, Part 2, 520, 522, 530 "Revolutionary Symbolism in America" (Burke), I, 272 "Revolutionary Theatre, The" (Baraka), Supp. II, Part 1, 42 Revon, Marcel, II, 525 Revue des Deux Mondes (publication), II, 405 "Rewaking, The" (Williams), Retro. Supp. I, 430 Rexroth, Kenneth, II, 526; III, 191; IV, 23; Supp. II, Parti, 307, Part 2, 436; Supp. Ill, Part 2, 625, 626; Supp. IV, Part 1, 145-146 Reynolds, Quentin, IV, 286 Reynolds, Sir Joshua, Supp. I, Part 2, 716 Reznikoff, Charles, IV, 415; Retro. Supp. I, 422; Supp. Ill, Part 2, 615, 616, 617, 628 "Rhapsodist, The" (Brown), Supp. I, Part 1, 125-126 "Rhapsody on a Windy Night" (Eliot), Retro. Supp. I, 55 Rhetoric of Motives, A (Burke), I, 272, 275, 278, 279 Rhetoric of Religion, The (Burke), I, 275, 279 Rhinelander family, IV, 311 "Rhyme of Sir Christopher, The" (Longfellow), II, 501 Rhymes to Be Traded for Bread (Lindsay), Supp. I, Part 2, 380, 381-382 Rhys, Ernest, III, 458 Rhys, Jean, Supp. Ill, Part 1, 42, 43 "Rhythm & Blues" (Baraka), Supp. II, Part 1, 37-38 Ribbentrop, Joachim von, IV, 249 Ricardo, David, Supp. I, Part 2, 628, 634 Rice, Allen Thorndike, Retro. Supp. I, 362 Rice, Anne, Supp. VII, 287-290 Rice, Elmer, I, 479; III, 145, 160161 Rice, Howard C, Supp. I, Part 1, 252 Rice, Mrs. Grantland, II, 435

Rice, Philip Blair, IV, 141 Rich, Adrienne, II, 390; Retro. Supp. I, 8, 36, 42, 47, 404; Supp. I, Part 2, 546-547, 550578; Supp. Ill, Part 1, 84, 354, Part 2, 541, 599; Supp. IV, Part 1, 257, 325; Supp. V, 82 Rich, Arnold, Supp. I, Part 2, 552 Rich, Frank, Supp. IV, Part 2, 585, 586; Supp. V, 106 "Rich Boy, The" (Fitzgerald), II, 94; Retro. Supp. I, 98, 108 Richard Cory (Gurney), Supp. V, 99-100, 105 "Richard Hunt's 'Arachne' " (Hayden), Supp. II, Part 1, 374 Richard I, King, I, 22 Richard HI (Shakespeare), Supp. I, Part 2, 422 Richards, David, Supp. IV, Part 2,576 Richards, Grant, I, 515 Richards, I. A., I, 26, 273-274, 279, 522; III, 498; IV, 92; Supp. I, Part 1, 264, 265, 275, Part 2, 647 Richards, Laura E., II, 396; III, 505-506, 507 Richards, Lloyd, Supp. IV, Part 1, 362 Richards, Rosalind, III, 506 Richardson, Alan, III, 295, 313 Richardson, Dorothy, I, 53; II, 320; Supp. Ill, Part 1, 65 Richardson, Hadley, see Hemingway, Mrs. Ernest (Hadley Richardson) Richardson, Henry Hobson, I, 3, 10 Richardson, Jeanne, II, 221 Richardson, Robert D., Jr., Supp. I, Part 1, 123 Richardson, Samuel, I, 134; II, 104, 111, 322; Supp. V, 127 Richelieu, Due de, IV, 319 "Riches" (Bausch), Supp. VII, 54 Richman, Sidney, Supp. I, Part 2, 453 Richmond (Masters), Supp. I, Part 2,471 Richter, Jean Paul, II, 489, 492

Rickman, Clio, Supp. I, Part 2, 519 Ricks, Christopher, II, 557; Retro. Supp. I, 56 Riddel, Joseph N., IV, 95, 96 Rideout, Walter B., I, 119, 120; II, 390 "Riders to the Blood-Red Wrath" (Brooks), Supp. Ill, Part 1, 8283 Riders to the Sea (Synge), III, 157 Riding, Laura, I, 437, 450; IV, 48 Riesenberg, Felix, I, 360, 361 Riesman, David, Supp. I, Part 2, 649, 650 "Rif, to Music, The" (Bowles), Supp. IV, Part 1, 89 Right Madness on Skye, The (Hugo), Supp. VI, 145-147 Right Stuff, The (Wolfe), Supp. Ill, Part 2, 581-584 Right Thoughts in Sad Hours (Mather), IV, 144 Rights of Man (Paine), Supp. I, Part 2, 508, 511, 512-514, 516, 519, 523 "Rights of Women, The" (Brown), see Alcuin: A Dialogue "Rigorists" (Moore), III, 198 Riis, Jacob A., I, 293; Supp. I, Part 1, 13 Riley, Esta Lou, III, 192 Riley, James Whitcomb, I, 205; Supp. II, Part 1, 192, 193, 196, 197 Rilke, Mrs. Rainer Maria (Clara Westhoff), Supp. I, Part 2, 573-574 Rilke, Rainer Maria, I, 445, 523; II, 367, 381, 382-383, 389, 543, 544; III, 552, 558, 563, 571, 572; IV, 380, 443; Supp. I, Part 1, 264, Part 2, 573; Supp. III, Part 1, 239, 242, 246, 283, 319-320; Supp. IV, Parti, 284; Supp. V, 208, 343 Rimbaud, Arthur, I, 381, 383, 389, 391, 526; II, 528, 543, 545; III, 23, 174, 189; IV, 286, 380, 443; Retro. Supp. I, 56; Supp. Ill, Part 1, 14, 195; Supp. IV, Part 2,624

564 / INDEX "Rimbaud" (Kerouac), Supp. Ill, Part 1, 232 Rinehart, Stanley, III, 36 Ring and the Book, The (Browning), Supp. I, Part 2, 416, 468 Ring cycle (Wagner), Supp. IV, Part 1, 392 Ringe, Donald A., I, 339, 343, 357; Supp. I, Part 1, 148, 173, 226, Part 2, 706 "Ringing the Bells" (Sexton), Supp. II, Part 2, 672, 687 Rios, Alberto Alvaro, Supp. IV, Part 2, 537-556 "Riot" (Brooks), Supp. Ill, Part 1, 71, 84-85 "Rip Van Winkle" (Irving), II, 304-306; Supp. I, Part 1, 185 Ripley, Ezra, II, 8; IV, 172 Ripley, Mrs. Ezra, IV, 172 Ripostes (Pound), Retro. Supp. I, 287-288, 413 Ripostes of Ezra Pound, The, Whereunto Are Appended the Complete Poetical Works of T. E. Hulme, with Prefatory Note (Pound), III, 458, 464, 465 Rise of Silas Lapham, The (Howells), II, 275, 279, 283285; IV, 202 "Rise of the Middle Class" (Banks), Supp. V, 10 Rising from the Plains (McPhee), Supp. Ill, Part 1,309-310 Rising Glory of America, The (Brackenridge and Freneau), Supp. I, Part 1, 124 Rising Glory of America, The (Freneau), Supp. II, Part 1, 67, 253, 256, 263 "Rising of the Storm, The" (Dunbar), Supp. II, Part 1, 199 Rising Sun in the Pacific, The (Morison), Supp. I, Part 2, 490 "Rita Dove: Identity Markers" (Vendler), Supp. IV, Part 1, 247, 257 "Rites of Spring, The" (Morris), III, 223 Ritschl, Albrecht, III, 309, 604

Rittenhouse, David, Supp. I, Part 2,507 Rittenhouse, Jessie B., Supp. I, Part 2, 402 "Ritual and Renewal: Keres Traditions in the Short Fiction of Leslie Silko" (Ruoff), Supp. IV, Part 2, 559 "Ritual for Being Born Twice, A: Sylvia Flam's The Bell Jar" (Perloff), Supp. I, Part 2, 548 "River" (Ammons), Supp. VII, 28 River (magazine), Supp. V, 315 "River, The" (O'Connor), III, 344, 352, 353, 354, 356 "River Jordan, The" (DeLillo), Supp. VI, 3, 4 "River Merchant's Wife: A Letter, The" (Pound), III, 463 "River Now, The" (Hugo), Supp. VI, 144 "River of Rivers in Connecticut, The" (Stevens), Retro. Supp. I, 313 "River Profile" (Auden), Supp. II, Part 1, 26 "River Road" (Kunitz), Supp. Ill, Part 1, 260 River Styx, Ohio, and Other Poems, The (Oliver), Supp. VII, 231, 232 "River That Is East, The" (Kinnell), Supp. Ill, Part 1, 241-242 "River Towns" (Masters), Supp. I, Part 2, 473 Rivers, Larry, Supp. Ill, Part 1, 3 Rivers and Mountains (Ashbery), Supp. Ill, Part 1, 10, 26 Riverside Magazine for Young People (magazine), II, 397, 400 Rives, Amelie, II, 194 Riviere, Jacques, Retro. Supp. I, 63 Riviere, Jean, Supp. I, Part 2, 426 "Rivington's Last Will and Testament" (Freneau), Supp. II, Part 1, 261 "Rivulet, The" (Bryant), Supp. I, Part 1, 155,162 Rix, Alice, I, 199 Roache, Joel, I, 542

"Road Between Here and There, The" (Kinnell), Supp. Ill, Part 1,254 Road Between, The (Farrell), II, 29, 38, 39^0 "Road Home, The" (Hammett), Supp. IV, Part 1, 343 "Road Not Taken, The" (Frost), II, 154; Retro. Supp. I, 131 "Road to Avignon, The" (Lowell), 11,516 Road to the Temple, The (Glaspell), Supp. Ill, Part 1, 175, 182, 186 Road to Xanadu, The (Lowes), IV, 453 Roads of Destiny (O. Henry), Supp. II, Part 1, 410 "Roan Stallion" (Jeffers), Supp. II, Part 2, 428-^29 "Roast Possum" (Dove), Supp. IV, Part 1, 247, 248 "Roast-beef (Stein), IV, 43 Roback, A. A., IV, 23 Robards, Jason, Jr., Ill, 163, 403 Robbe-Grillet, Alain, I, 123; IV, 95; Supp. IV, Part 1, 42; Supp. V, 47, 48 Robber Bridegroom, The (Welty), IV, 261, 266-268, 271, 274; Retro. Supp. I, 347 Robbins, Henry, Supp. IV, Part 1, 198,201,210,211 Robbins, J. Albert, II, 245; III, 431 Robbins, R. H., I, 590 Robbins, Tom, Supp. IV, Part 1, 227 "Robe, The" (Douglas), IV, 434 "Robert Bly" (Davis), Supp. IV, Part 1, 70 Robert Bly (Sugg), Supp. IV, Part 1,68 Robert Bly: An Introduction to the Poetry (Nelson), Supp. IV, Part 1,66 "Robert Bly and the Trouble with America" (Mitchell), Supp. IV, Part 1, 70 Robert Bly: The Poet and His Critics (Davis), Supp. IV, Part 1,63

INDEX / 565 Robert Coover: The Universal Fictionmaking Process (Gordon), Supp. V, 46 Robert Creeley (Ford), Supp. IV, Part 1, 140 Robert Creeley and the Genius of the American Common Place (Clark), Supp. IV, Part 1, 140 Robert Creeley's Poetry: A Critical Introduction (Edelberg), Supp. IV, Part 1, 155 Robert Frost (Meyers), Retro. Supp. I, 138 Robert the Devil (trans. Merwin), Supp. Ill, Part 1,341,346 Roberts, J. M., IV, 454 Roberts, Kenneth, III, 73 Roberts, Leo, II, 449 Roberts, Margaret, II, 449; IV 453, 454 Roberts, Meade, IV, 383 Roberts, Michael, I, 527, 536 Roberts, Richard, III, 297 Roberts Brothers, Retro. Supp. I, 31,35 Robertson, D. B., Ill, 311, 312 Robertson, J. M., Supp. I, Part 2, 426 Robertson, John W., Ill, 431 Robertson, Nan, Supp. IV, Part 1, 300 Robertson, William, II, 8 Robeson, Paul, III, 392; Supp. IV, Part 1, 360, 361 Robespierre, Maximilien, Supp. I, Part 2, 514, 515, 517 Robins, Elizabeth, II, 340 Robinson, Dean, III, 506 Robinson, Edward, III, 505 Robinson, Edwin Arlington, I, 480; II, 388, 391, 529, 542; III, 5, 503-526, 576; Supp. I, Part 2, 699; Supp. II, Part 1, 191; Supp. Ill, Part 1, 63, 75, Part 2, 592, 593 Robinson, Forrest G., Supp. IV, Part 2, 597, 601, 604 Robinson, Frank Kee, Supp. I, Part 2, 478 Robinson, H. M., IV, 369, 370, 376 Robinson, Herman, III, 506-507

Robinson, Jackie, Supp. I, Part 1, 338 Robinson, James Harvey, I, 214; Supp. I, Part 2, 492 Robinson, Margaret G., Supp. IV, Part 2, 597, 601,604 Robinson, Mrs. Edward, III, 505 Robinson, Sugar Ray, Supp. IV, Part 1, 167 Robinson, Sylvia (Mrs. Amiri Baraka), Supp. II, Part 1, 45 Robinson Crusoe (Defoe), II, 159; III, 113, 423; IV, 369; Supp. I, Part 2, 714; Supp. IV, Part 2, 502 Robinson, W. R., Ill, 526 Robinson family, III, 504, 508 Robison, Mary, Supp. V, 22 Robles, Emmanuel, Supp. I, Part 1,283 Roblyer, Pamela, Supp. I, Part 1, 275 Rochefoucauld, Louis Alexandre, Supp. I, Part 2, 510 Rock Garden, The (Shepard), Supp. Ill, Part 2, 432, 447 Rock Springs (Ford), Supp. V, 57, 58-59, 68-69 "Rock Springs" (Ford), Supp. V, 69 Rock, The (Eliot), Retro. Supp. I, 65 "Rock, The" (Stevens), Retro. Supp. I, 312 Rock, The (Stevens), Retro. Supp. 1,309,312 Rock-Drill (Pound), Retro. Supp. 1,293 Rockefeller, John D., I, 273; III, 580; Supp. I, Part 2, 486; Supp. V, 286 Rockefeller, Nelson, III, 14, 15 Rockefeller family, I, 37; III, 57 Rocket to the Moon (Odets), Supp. II, Part 2, 541-543, 544 "Rocking Horse Winner, The" (Lawrence), Supp. I, Part 1, 329 Rocking the Boat (Vidal), Supp. IV, Part 2, 683 "Rockpile, The" (Baldwin), Supp. I, Part 1, 63

Rocks, James E., II, 222; Supp. I, Part 1, 173, 226 Rocky Mountain News (newspaper), III, 437 Rocky Mountains, The: or, Scenes, Incidents, and Adventures in the Far West; Digested from the Journal of Captain E. L. E Bonneville, of the Army of the United States, and Illustrated from Various Other Sources (Irving), II, 312 Roderick Hudson (James), II, 284, 290, 324, 326, 328; Retro. Supp. I, 219, 220-221, 221, 226 Rodgers, Cleveland, IV, 353 Rodgers, Richard, III, 361 Rodgers, Ronald, Supp. IV, Part 2,503 Rodker, John, III, 432, 470 Rodman, Selden, I, 542, 543; IV, 425; Supp. I, Part 1, 83 "Rodrigo Returns to the Land and Linen Celebrates" (Cisneros), Supp. VII, 68 Roethke, Charles, III, 531 Roethke, Theodore, I, 167, 171172, 183, 189, 254, 285, 521, 542; III, 273, 527-550; IV, 138, 402; Supp. I, Part 2, 539; Supp. Ill, Part 1, 47, 54, 56, 239, 253, 260-261, 350; Supp. IV, Part 2, 626 "Roger Malvin's Burial" (Hawthorne), II, 243; Retro. Supp. I, 153 Rogers, Samuel, II, 303; Supp. I, Part 1, 157 Rogers, W. G., IV, 47 Rogers, Will, I, 261; IV, 388 Roger's Version (Updike), Retro. Supp. I, 325, 327, 330 Roget, Peter Mark, Supp. I, Part 1,312 "Rogue River Jet-Board Trip, Gold Beach, Oregon, July 4, 1977" (Carver), Supp. Ill, Part 1, 140 "Rogue's Gallery" (McCarthy), II, 563 Roland de La Platiere, Jean Marie, II, 554

566 / INDEX "Role of Society in the Artist, Part 1, 217; Supp. V, 315, 331; Rolfe, Alfred, IV, 427 Rolfe, Ellen, see Veblen, Mrs. Thorstein (Ellen Rolfe) "Roll, Jordan, Roll" (spiritual), Supp. IV, Part 1, 16 Rolle, Esther, Supp. IV, Part 1, 367 Rollin, Charles, II, 113 Rolling Stone (periodical), Supp. II, Part 1, 388, 389 Rolling Stones (O. Henry), Supp. II, Part 1, 410 Rolling Thunder Logbook (Shepard), Supp. Ill, Part 2, 433 Rollins, Charlemae, Supp. I, Part 1,348 Rollins, Howard E., Jr., Supp. IV, Part 1, 236 Rollins, Hyder E., Supp. IV, Part 1, 168 Rollins, Sonny, Supp. V, 195 "Rollo" tales (Abbott), Supp. I, Part 1, 38 "Roma I" (Wright), Supp. V, 338 "Roma II" (Wright), Supp. V, 338 Remains, Jules, I, 227 "Roman Fever" (Wharton), Retro. Supp. I, 382 "Roman Fountain" (Bogan), Supp. III, Part 1, 56 "Roman Sarcophagus, A" (Lowell), II, 544 Roman Spring of Mrs. Stone, The (Williams), IV, 383, 385 "Romance and a Reading List" (Fitzgerald), Retro. Supp. I, 101 Romance of a Plain Man, The (Glasgow), II, 175, 180-181 "Romance of Certain Old Clothes, The" (James), II, 322; Retro. Supp. I, 218 "Romanitas of Gore Vidal, The" (Tatum), Supp. IV, Part 2, 684 Romanov family, III, 245 "Romantic, The" (Bogan), Supp. Ill, Part 1, 50 "Romantic Coherence and Romantic Incoherence in

American Poetry" (Duffey), Supp. I, Part 1, 173 Romantic Comedians, The (Glasgow), II, 175, 186, 190, 194 Romantic Egoists, The (Auchincloss), Supp. IV, Part 1,25 "Romantic Egotist, The" (Fitzgerald), Retro. Supp. I, 100 Romantic Egotist, The (Fitzgerald), 11,82 "Romantic Imagery in Kate Chopin's The Awakening" (Ringe), Supp. I, Part 1, 226 Romantic Manifesto, The: A Philosophy of Literature (Rand), Supp. IV, Part 2, 521, 523, 527, 529-530 "Romanticism and Classicism" (Hulme), III, 196 "Romanticism Comes Home" (Shapiro), Supp. II, Part 2, 713 "Rome" (Williams), Retro. Supp. 1,420 Rome Brothers, Retro. Supp. I, 393 Romeo and Juliet (Shakespeare), Supp. V, 252 Romola (Eliot), II, 291; IV, 311 Romulus: A New Comedy (Vidal), Supp. IV, Part 2, 683 Romulus der Grosse (Dtirrenmatt), Supp. IV, Part 2, 683 "Rondel for a September Day" (White), Supp. I, Part 2, 676 Rood, John, IV, 261 "Roof, the Steeple, and the People, The" (Ellison), Supp. II, Part 1, 248 "Room" (Levertov), Supp. Ill, Part 1, 282 "Room at the Heart of Things, A" (Merrill), Supp. Ill, Part 1, 337 Room of One's Own, A (Woolf), Supp. V, 127 "Roomful of Hovings, A" (McPhee), Supp. Ill, Part 1, 291, 294 Roosevelt, Eleanor, IV, 371; Supp. IV, Part 2, 679

Roosevelt, Franklin, Supp. V, 290 Roosevelt, Franklin Delano, I, 482, 485, 490; II, 553, 575; III, 2, 18,69, 110,297,321,376,476, 580, 581; Supp. I, Part 2, 488, 489, 490, 491, 645, 654, 655 Roosevelt, Kermit, III, 508 Roosevelt, Theodore, I, 14, 62; II, 130; III, 508; IV, 321; Retro. Supp. I, 377; Supp. I, Part 1, 1,21, Part 2, 455, 456, 502, 707; Supp. V, 280, 282 Roosevelt After Inauguration And Other Atrocities (Burroughs), Supp. Ill, Part 1, 98 Roosevelt family, III, 376 "Roosters" (Bishop), Supp. I, Part 1,89 Root, Abiah, I, 456 Root, Elihu, Supp. IV, Part 1, 33 Root, Simeon, I, 548 Root, Timothy, I, 548 Rootabaga Stories (Sandburg), III, 583, 587 "Rootedness: The Ancestor as Foundation" (Morrison), Supp. Ill, Part 1, 361 Roots in the Soil (film), Supp. IV, Part 1, 83 "Rope" (Porter), 111,451 Rope, The (O'Neill), III, 388 Ropemakers of Plymouth, The (Morison), Supp. I, Part 2, 494 "Rope's End, The" (Nemerov), III, 282 Roquelaure, A. N., Supp. VII, 301; see also Rice, Anne Rorem, Ned, Supp. IV, Part 1, 79, 84 Rosa, Rodrigo Rey, Supp. IV, Part 1, 92 "Rosa" (Ozick), Supp. V, 271 Rosaldo, Renato, Supp. IV, Part 2,544 Roscoe, Will, Supp. IV, Part 1, 330 Rose, Alice, Sister, III, 348, 360 "Rose" (Dubus), Supp. VII, 88 Rose, Philip, Supp. IV, Part 1, 362

INDEX / 567 Rose, Pierre la, II, 340 "Rose for Emily, A" (Faulkner), 11,72 Rose in Bloom (Alcott), Supp. I, Part 1, 42 Rose Madder (King), Supp. V, 141, 148, 150, 152 "Rose Pogonias" (Frost), Retro. Supp. I, 127 Rose Tattoo, The (Williams), IV, 382, 383, 387, 388, 389, 392393, 394, 397, 398 "Rose, The" (Roethke), III, 537 "Rose, The" (Williams), Retro. Supp. I, 419 "Rose-Johnny" (Kingsolver), Supp. VII, 203 "Rose-Morals" (Lanier), Supp. I, Part 1, 364 Rosen, Kenneth, Supp. IV, Part 2, 499, 505, 513 Rosenbaum, Alissa Zinovievna, see Rand, Ayn Rosenbaum, S. P., I, 473 Rosenberg, Bernard, Supp. I, Part 2,650 Rosenberg, Julius and Ethel, Supp. I, Part 1, 295, Part 2, 532; Supp. V, 45 Rosenberry, E. H., Ill, 97 Rosenbloom, Joel, Supp. IV, Part 2,527 Rosenfeld, Alvin H., Supp. I, Part I, 120, 123 Rosenfeld, Paul, I, 116, 117, 118, 119, 231, 238, 245, 263; IV, 96, 425 Rosenfield, Isaac, I, 287; IV, 3, 22, 307 Rosenthal, M. L., I, 189, 404, 543; II, 390, 550, 557; III, 276, 289, 479, 550; IV, 425; Supp. I, Part 2, 548; Supp. V, 333 "Roses" (Dove), Supp. IV, Part 1, 246 "Roses Only" (Moore), III, 195, 198, 200, 202, 215 Rosinante to the Road Again (Dos Passos), I, 478 Rosmersholm (Ibsen), III, 152 Rosmond, Babette, II, 432, 438 Ross, Alan, IV, 307

Ross, Danforth, II, 222 Ross, Don, IV, 401 Ross, Eleanor, see Taylor, Eleanor Ross (Eleanor Ross) Ross, Harold, Supp. I, Part 1, 174, Part 2, 607, 617, 653, 654, 655, 660 Ross, John F., II, 110, 125, 366 Ross, Lillian, I, 427; II, 270 Ross, Mitchell S., Supp. IV, Part 2,692 Ross, Robert H., Supp. I, Part 1, 373 Ross, Sue Fields, IV, 472 Ross and the New Yorker (Kramer), Supp. I, Part 2, 626, 681 Ross Macdonald (Bruccoli), Supp. IV, Part 2, 468, 470 Rosset, Barney, III, 171 Rossetti, Dante Gabriel, I, 433; II, 323; Retro. Supp. I, 128, 286; Supp. I, Part 2, 552 Rossetti, William Michael, Retro. Supp. I, 407 Rosskam, Edwin, IV, 477 Rostand, Edmond, II, 515; Supp. IV, Part 2, 518 Rosy Crucifixion, The (Miller), III, 170, 187, 188-189, 190 Roth, Henry, Supp. IV, Part 1, 314 Roth, John K., II, 365 Roth, Philip, I, 144, 161; II, 591; IV, 119; Supp. I, Part 1, 70, 186, 192, Part 2, 431, 441, 443, 453; Supp. II, Part 1, 99; Supp. Ill, Part 2, 401-429; Supp. IV, Part 1, 236, 379, 388; Supp. V, 45, 119, 122, 119,257,258 Roth, Russell, IV, 425 Rothermere, Lady Mary, Retro. Supp. I, 63 Rothwell, Fred, II, 366 "Rouge High" (Hughes), Supp. I, Part 1, 330 Rougemont, Denis de, II, 586; IV, 216; Retro. Supp. I, 328, 329, 330, 331 Roughing It (Twain), II, 312; IV, 195, 197, 198

Roughing It in the Bush (Shields), Supp. VII, 313 Rougon-Macquart, Les (Zola), II, 175-176 Roumain, Jacques, Retro. Supp. I, 202; Supp. IV, Part 1, 360, 367 "Round, The" (Kunitz), Supp. Ill, Part 1, 268 Round Table (magazine), Supp. I, Part 1, 350 Round Up (Lardner), II, 426, 430, 431 Rourke, Constance, I, 258; IV, 339, 352 Rouse, Blair, II, 195 Rousseau, Jean-Jacques, I, 226; II, 8, 343; III, 170, 178, 259; IV, 80, 173, 440; Supp. I, Part 1, 126, Part 2, 637, 659; Supp. IV, Part 1, 171 Roussel, Raymond, Supp. Ill, Part 1, 6, 7, 10, 15, 16, 21 "Route Six" (Kunitz), Supp. Ill, Part 1, 258 Route Two (Erdrich and Dorris), Supp. IV, Part 1, 260 Rover Boys (Winfield), III, 146 Rovit, Earl, I, 143; II, 270; IV, 102; Supp. I, Part 2, 453 Rowe, H. D., I, 403 Rowe, John Carlos, Retro. Supp. 1,216 "Rowing" (Sexton), Supp. II, Part 2,696 "Rowing Endeth, The" (Sexton), Supp. II, Part 2, 696 Rowlandson, Mary, Supp. IV, Part 2, 430, 431 "Rows of Cold Trees, The" (Winters), Supp. II, Part 2, 790-791, 800 Rowson, Susanna, Supp. I, Part 1, 128 Roxanna Slade (Price), Supp. VI, 267 Roy, Emil, I, 96 "Royal Palm" (Crane), I, 401 Royce, Josiah, I, 443; III, 303, 600; IV, 26; Retro. Supp. I, 57 Royster, Sarah Elmira, III, 410, 429

568 / INDEX Ruas, Charles, Supp. IV, Part 1, 383 Rubdiydt (Khayyam), I, 568 Rubaiyat of Omar Khayyam (Fitzgerald), Supp. I, Part 2, 416; Supp. Ill, Part 2, 610 Rubin, John D., II, 222 Rubin, Larry, II, 222 Rubin, Louis, Supp. I, Part 2, 672, 673, 679, 681 Rubin, Louis D., Jr., I, 311; II, 195, 221, 222; III, 360; IV, 116, 119,259,284,462-463,472, 473 Rubin, Stan Sanvel, Supp. IV, Part 1, 242, 245, 252 "Ruby Brown" (Hughes), Supp. I, Part 1, 327 "Ruby Daggett" (Eberhart), I, 539 Rudens (Plautus), Supp. Ill, Part 2,630 Ruderman, Judith, Supp. IV, Part 1,380 Rudge, Olga, Supp. V, 338 Rueckert, William, I, 264, 287 Rugby Chapel (Arnold), Supp. I, Part 2, 416 "Rugby Road" (Garrett), Supp. VII, 100 Ruggles, Eleanor, Supp. I, Part 2, 402 Ruihley, G. R., II, 533 "Ruins of Italica, The" (trans. Bryant), Supp. I, Part 1, 166 Rukeyser, Muriel, Supp. VI, 271274, 275-289 Ruland, Richard, I, 263 Rule, Margaret W., I, 96 "Rule of Phase Applied to History, The" (Adams), I, 19 Rule of the Bone (Banks), Supp. V, 16 "Rules by Which a Great Empire May Be Reduced to a Small One" (Franklin), II, 120 Rules For the Dance: A Handbook for Reading and Writing Metrical Verse (Oliver), Supp. VII, 229, 247 Rulfo, Juan, Supp. IV, Part 2, 549 "Rumor and a Ladder" (Bowles), Supp. IV, Part 1, 93

Rumors (Simon), Supp. IV, Part 2, 582-583, 591 Rumpelstiltskin (Gardner), Supp. VI, 72 "Rumpelstiltskin" (Grimm), IV, 266 "Rumpelstiltskin" (Sexton), Supp. II, Part 2, 690 "Run of Bad Luck, A" (Proulx), Supp. VII, 253-254 Run of Jacks, A (Hugo), Supp. VI, 131, 133, 134, 135, 136 Run River (Didion), Supp. IV, Part 1, 197, 199-200, 201 "Runagate Runagate" (Hayden), Supp. II, Part 1, 377 "Runes" (Nemerov), III, 267, 277278 Rungless Ladder, The (Foster), Supp. I, Part 2, 601 "Running" (Wilbur), Supp. Ill, Part 2, 558-559 Running Dog (DeLillo), Supp. VI, 3, 6, 8, 14 Runyan, Harry, II, 76 Ruoff, A. LaVonne Brown, Supp. IV, Part 1, 324, 327, Part 2, 559 Rupp, Richard H., Supp. I, Part 1, 199 Ruppert, James, Supp. IV, Part 1, 321 "Rural Route" (Wright), Supp. V, 340 "Rural South, The" (Du Bois), Supp. II, Part 1, 174 Rush, Benjamin, Supp. I, Part 2, 505, 507 Rushdie, Salman, Supp. IV, Part 1, 234, 297 Rusk, Dean, II, 579 Rusk, Ralph L., II, 22, 23; IV, 189 Ruskin, John, II, 323, 338; IV, 349; Retro. Supp. I, 56, 360; Supp. I, Part 1, 2, 10, 87, 349, Part 2, 410 Russell, Ada Dwyer, II, 513, 527 Russell, Bertrand, II, 27; III, 605, 606; Retro. Supp. I, 57, 58, 59, 60; Supp. I, Part 2, 522; Supp. V,290

Russell, Diarmuid, Retro. Supp. I, 342, 345, 346-347, 349-350 Russell, George, Retro. Supp. I, 342 Russell, Herb, Supp. I, Part 2, 465-466 Russell, Peter, III, 479 Russell, Phillips, II, 124 Russell, Sue, Supp. IV, Part 2, 653 Russia at War (Caldwell), I, 296 Russian Journal, A (Steinbeck), IV, 52, 63 "Rusty Autumn" (Swenson), Supp. IV, Part 2, 640 Ruth (biblical book), Supp. I, Part 2,516 Ruth (biblical person), IV, 13 Ruth, George Herman ("Babe"), II, 423; Supp. I, Part 2, 438, 440 Ruth Hall (Fern), Supp. V, 122 Rutledge, Ann, III, 588; Supp. I, Part 2, 471 Ryan, Pat M., IV, 472 Ryder (Barnes), Supp. Ill, Part 1, 31, 36-38, 42, 43 "Ryder" (Rukeyser), Supp. VI, 273, 283 Rymer, Thomas, IV, 122 S. (Updike), Retro. Supp. I, 330, 331, 332, 333 S-l (Baraka), Supp. II, Part 1, 55, 57 "S O S" (Baraka), Supp. II, Part 1,50 Saadi, II, 19 "Sabbath, The" (Stowe), Supp. I, Part 2, 587 "Sabbath Mom" (White), Supp. I, Part 2, 671-672 Sabines, Jaime, Supp. V, 178 "Sabotage" (Baraka), Supp. II, Part 1, 49, 53 Sacco, Nicola, I, 482, 486, 490, 494; II, 38-39, 426; III, 139140; Supp. I, Part 2, 446; Supp. V, 288-289 Sachs, Hanns, Supp. I, Part 1, 259 Sacks, Peter, Supp. IV, Part 2, 450

INDEX / 569 "Sacks" (Carver), Supp. Ill, Part 1, 143-144 Sacramento Union (newspaper), IV, 196 "Sacraments" (Dubus), Supp. VII, 91 Sacred and Profane Memories (Van Vechten), Supp. II, Part 2, 735, 749 "Sacred Chant for the Return of Black Spirit and Power" (Baraka), Supp. II, Part 1, 51 Sacred Fount, The (James), II, 332-333; Retro. Supp. I, 219, 228, 232 "Sacred Hoop, The: A Contemporary Perspective" (Gunn Allen), Supp. IV, Part 1, 324 Sacred Hoop, The: Recovering the Feminine in American Indian Traditions (Gunn Allen), Supp. IV, Part 1, 319, 320, 322, 324, 325, 328-330, 331, 333, 334 Sacred Wood, The (Eliot), IV, 431; Retro. Supp. I, 59, 60; Supp. I, Part 1, 268, 275; Supp. II, Part 1, 136, 146 "Sacrifice, The" (Gates), Supp. II, Part 2, 523 Sacrilege of Alan Kent, The (Caldwell), I, 291-292 "Sad Brazil" (Hardwick), Supp. Ill, Part 1, 210 "Sad Dust Glories" (Ginsberg), Supp. II, Part 1, 376 Sad Dust Glories: Poems Written Work Summer in Sierra Woods (Ginsberg), Supp. II, Part 1, 326 Sad Heart at the Supermarket, A (Jarrell), II, 386 "Sad Strains of a Gay Waltz" (Stevens), Retro. Supp. I, 302 Sade, Marquis de, III, 259; IV, 437, 442 "Sadie" (Matthiessen), Supp. V, 201 Sadness and Happiness (Pinsky), Supp. VI, 235, 237-241 "Sadness of Brothers, The" (Kinnell), Supp. Ill, Part 1, 237, 251

"Sadness of Lemons, The" (Levine), Supp. V, 184 "Safe" (Gordon), Supp. IV, Part 1, 299, 306 "Safe in their Alabaster Chambers" (Dickinson), Retro. Supp. I, 30 Saffin, John, Supp. I, Part 1, 115 "Saga of King Olaf, The" (Longfellow), II, 489, 505 Sage, Howard, II, 149 Sagetrieb (publication), Supp. IV, Part 2, 420 Sahl, Mort, II, 435-436 "Sailing after Lunch" (Stevens), IV, 73 "Sailing to Byzantium" (Yeats), III, 263 "Sailors Lost at Sea" (Shields), Supp. VII, 318 "Saint John and the Back-Ache" (Stevens), Retro. Supp. I, 310 Saint John de Crevecoeur: Sa vie et ses ouvrages (Crevecoeur, R.), Supp. I, Part 1, 252 "Saint Judas" (Wright), Supp. Ill, Part 2, 598-599 Saint Judas (Wright), Supp. Ill, Part 2, 595-599 Saint Maybe (Tyler), Supp. IV, Part 2, 670-671 "Saint Nicholas" (Moore), III, 215 "Saint Robert" (Dacey), Supp. IV, Part 1, 70 Sainte-Beuve, Charles Augustin, IV, 432 Saint-Gaudens, Augustus, I, 18, 228; II, 551 Saints' Everlasting Rest, The (Baxter), III, 199; IV, 151, 153 Saints, Sinners, and Beechers (Stowe), Supp. I, Part 2, 601 Saintsbury, George, IV, 440 Saint-Simon, Claude Henri, Supp. I, Part 2, 648 Saks, Gene, Supp. IV, Part 2, 577, 588 Salazar, Dixie, Supp. V, 180 Saldfvar, Jose David, Supp. IV, Part 2, 544, 545 "Sale of the Hessians, The" (Franklin), II, 120

Sale, Richard, Supp. IV, Part 1, 379 Sale, Roger, Supp. V, 244 Saleh, Dennis, Supp. V, 182, 186 "Salem" (Lowell), II, 550 Salemi, Joseph, Supp. IV, Part 1, 284 Salem's Lot (King), Supp. V, 139, 144, 146, 151 Salinas, Luis Omar, Supp. V, 180 Salinas, Omar, Supp. IV, Part 2, 545 Salinger, Doris, III, 551 Salinger, J. D., II, 255; III, 551574; IV, 190, 216, 217; Retro. Supp. I, 102, 116, 335; Supp. IV, Part 2, 502; Supp. V, 23, 119 Salisbury, Harrison, Supp. I, Part 2,664 "Sally" (Cisneros), Supp. VII, 63 Salmagundi; or, The Whim-Whams and Opinions ofLauncelot Langstaff Esq., and Others (Irving), II, 299, 300, 304 Salome (Strauss), IV, 316 Salt Cedar (journal), Supp. IV, Part 2, 542 "Salt Garden, The" (Nemerov), III, 267-268 Salt Garden, The (Nemerov), III, 269, 272-275, 277 Salt, Henry S., IV, 188, 189 Salter, Mary Jo, Supp. IV, Part 2, 653 Saltpeter, Harry, IV, 377 "Salts and Oils" (Levine), Supp. V, 190 "Salut au Monde!" (Whitman), Retro. Supp. I, 387, 396, 400 "Salute" (MacLeish), III, 13 Salvador (Didion), Supp. IV, Part 1, 198, 207-208, 210 "Salvation in the Suburbs" (Nicol), Supp. I, Part 1, 199 Salyer, Sandford, Supp. I, Part 1, 46 Sam Lawson's Oldtown Fireside Stories (Stowe), Supp. I, Part 2, 587, 596, 598-599 Samachson, Dorothy, III, 169 Samachson, Joseph, III, 169

570 / INDEX Samain, Albert, II, 528 Same Door, The (Updike), IV, 214, 219, 226; Retro. Supp. I, 320 "Same in Blues" (Hughes), Retro. Supp. I, 208 "Sampler, A" (MacLeish), III, 4 Sampoli, Maria, Supp. V, 338 Sampson, Edward, Supp. I, Part 2, 664, 673, 681 Sampson, Martin, Supp. I, Part 2, 652 Samson (biblical person), IV, 137 Samson Agonistes (Milton), III, 274 "Samson and Delilah" (Masters), Supp. I, Part 2, 459 Samuel de Champlain: Father of New France (Morison), Supp. I, Part 2, 496-497 "Samuel Eliot Morison and the Ocean Sea" (Herold), Supp. I, Part 2, 500 Samuels, Charles Thomas, I, 96, 143; IV, 235; Retro. Supp. I, 334 Samuels, Ernest, I, 24 "San Francisco Blues" (Kerouac), Supp. Ill, Part 1, 225 San Francisco Call (newspaper), IV, 196 San Francisco Chronicle (newspaper), I, 194 San Francisco Examiner (newspaper), I, 198, 199, 200, 206, 207, 208 San Francisco News-Letter (newspaper), I, 193 San Francisco Wave (publication), 111,315,327 Sanborn, Franklin B., II, 23; IV, 171, 172, 178, 188, 189; Supp. I, Part 1, 46 Sanborn, Ralph, III, 406-407 Sanchez, Carol Anne, Supp. IV, Part 1, 335 Sanchez, Carol Lee, Supp. IV, Part 2, 499, 557 Sanchez, Sonia, Supp. II, Part 1, 34 Sanctified Church, The (Hurston), Supp. VI, 150

"Sanction of the Victims, The" (Rand), Supp. IV, Part 2, 528 Sanctuary (Faulkner), II, 57, 6163, 72, 73, 74, 174; Retro. Supp. I, 73, 84, 86-87, 87; Supp. I, Part 2, 614 Sanctuary (Wharton), IV, 311 "Sanctuary" (Wylie), Supp. I, Part 2,711 "Sanctuary, The" (Nemerov), III, 272, 274 "Sand Dabs" (Oliver), Supp. VII, 245 "Sand Dunes" (Frost), Retro. Supp. I, 137 Sand, George, II, 322; Retro. Supp. I, 235, 372 "Sand-Quarry and Moving Figures" (Rukeyser), Supp. VI, 271, 278 Sand Rivers (Matthiessen), Supp. V,203 "Sand Roses, The" (Hogan), Supp. IV, Part 1, 401 "Sandalphon" (Longfellow), II, 498 Sandbox, The (Albee), I, 74-75, 89 Sandburg, August, III, 577 Sandburg, Carl, I, 103, 109, 384, 421; II, 529; III, 3, 20, 575598; Retro. Supp. I, 133, 194; Supp. I, Part 1, 257, 320, Part 2, 387, 389, 454, 461, 653; Supp. Ill, Part 1,63, 71, 73, 75; Supp. IV, Part 1, 169, Part 2,502 Sandburg, Helga, III, 583 Sandburg, Janet, III, 583, 584 Sandburg, Margaret, III, 583, 584 Sandburg, Mrs. August (Clara Anderson), III, 577 Sandburg, Mrs. Carl (Lillian Steichen), III, 580 "Sandman, The" (Barthelme), Supp. IV, Part 1, 47 Sando, Joe S., Supp. IV, Part 2, 510 Sandoe, James, Supp. IV, Part 1, 131, Part 2, 470 Sands, Diana, Supp. IV, Part 1, 362

Sands, Robert, Supp. I, Part 1, 156, 157 "Sands at Seventy" (Whitman), IV, 348 "Sandstone Farmhouse, A" (Updike), Retro. Supp. I, 318 Sanford, John, IV, 286, 287, 307 Sanford, Marcelline Hemingway, II, 270 Sangamon County Peace Advocate, The (Lindsay), Supp. I, Part 2, 379 Sanger, Margaret, Supp. I, Part 1, 19 Sans Soleil (film), Supp. IV, Part 2,436 Sansom, William, IV, 279, 284 "Santa" (Sexton), Supp. II, Part 2, 693 Santa Claus: A Morality (Cummings), I, 430, 441 "Santa Fe Trail, The" (Lindsay), Supp. I, Part 2, 389 "Santa Lucia" (Hass), Supp. VI, 105-106 "Santa Lucia II" (Hass), Supp. VI, 105-106 Santayana, Colonel Augustin Ruiz, III, 600 Santayana, George, I, 222, 224, 236, 243, 253, 460; II, 20, 23, 366, 542; III, 64, 599-622; IV, 26, 339, 351, 353, 441; Retro. Supp. I, 55, 57, 67, 295; Supp. 1, Part 2, 428; Supp. II, Part 1, 107 Santayana, Senora Josefina, III, 600 "Santorini: Stopping the Leak" (Merrill), Supp. Ill, Part 1, 336 Sapphira and the Slave Girl (Cather), I, 331; Retro. Supp. I, 2, 19-20 Sappho, II, 544; III, 142; Supp. I, Part 1, 261, 269, Part 2, 458 "Sappho" (Wright), Supp. Ill, Part 2, 595, 604 "Sarah" (Schwartz), Supp. II, Part 2,663 Sargeant, Winthrop, III, 217 Sargent, John Singer, II, 337, 338

INDEX / 571 Sargent's New Monthly Magazine (publication), II, 232, 233 Saroyan, William, I, 119; III, 146147, 191; IV, 393;Supp. I, Part 2, 679; Supp. IV, Part 1, 83, Part 2, 502 Sarris, Greg, Supp. IV, Part 1, 329, 330 Sarton, May, Supp. Ill, Part 1, 62,63 Sartor Resartus (Carlyle), II, 26; III, 82 Sartoris (Faulkner), II, 55, 56-57, 58, 62; Retro. Supp. I, 77, 81, 82, 83, 88 Sartre, Jean-Paul, I, 82, 494, 496; 11,57, 244; III, 51,204, 292, 453, 619; IV, 6, 223, 236, 477, 487, 493; Retro. Supp. I, 73; Supp. I, Part 1, 51; Supp. IV, Part 1, 42, 84 Sassoon, Siegfried, II, 367 Satan in Coray (Singer), IV, 1, 67, 12 Satanstoe (Cooper), I, 351-352, 355 "Sather Gate Illumination" (Ginsberg), Supp. II, Part 1, 329 "Satire as a Way of Seeing" (Dos Passos), III, 172 Satires ofPersius, The (trans. Merwin), Supp. Ill, Part 1, 347 Satori in Paris (Kerouac), Supp. Ill, Part 1,231 Saturday Evening Post (magazine), I, 374; II, 80, 87, 91, 94, 95, 418, 420, 422, 430, 441, 466; III, 50, 54, 55, 56, 57-58, 413, 552, 591; IV, 299, 451; Retro. Supp. I, 12, 101, 105, 109, 110, 113, 114; Supp. IV, Parti, 102, 121, 195, 198, 200, 205, Part 2, 440 Saturday Night (magazine), Retro. Supp. I, 104 Saturday Press (newspaper), II, 273 Saturday Review (magazine), III, 452; IV, 288; Retro. Supp. I, 19; Supp. IV, Part 1, 204, 286, Part 2, 441, 639, 691

Saturday Review of Literature (publication), Supp. I, Part 1, 332, 344, Part 2, 654 "Saturday Route, The" (Wolfe), Supp. Ill, Part 2, 580 Satyagraha (Gandhi), IV, 185 Saul, G. B., Supp. I, Part 2, 730 Saunders, Richard, II, 110 Savage, James, II, 111 . Savage God, The: A Study of Suicide (Alvarez), Supp. I, Part 2,548 Savage Holiday (Wright), IV, 478, 488 Savage Love (Shepard and Chaikin), Supp. Ill, Part 2, 433 Save Me the Waltz (Fitzgerald), II, 95 Save Me the Waltz (Sayre), Retro. Supp. I, 110 Saving Private Ryan (film), Supp. V, 249 Savings (Hogan), Supp. IV, Part 1, 397, 404, 405, 406, 410 Savo, Jimmy, I, 440 Sawyer, Julian, IV, 47 Sawyer-Lau£anno, Christopher, Supp. IV, Part 1, 95 Saxon, Lyle, Retro. Supp. I, 80 Saxton, Martha, Supp. I, Part 1, 46 Say! Is This the U.S.A. ? (Caldwell), I, 293, 294-295, 304, 309, 310 "Say Yes" (Wolff), Supp. VII, 344 Saye and Sele, Lord, Supp. I, Part 1,98 Sayers, Dorothy, Supp. IV, Part 1,341, Part 2, 464 Sayre, Robert R, II, 125; Supp. I, Parti, 71, Part 2, 402 Sayre, Zelda, Retro. Supp. I, 101, 102-103, 104, 105, 108, 109, 110, 113, 114, see also Fitzgerald, Zelda (Zelda Sayre) "Scales of the Eyes, The" (Nemerov), III, 272, 273, 277 "Scandal Detectives, The" (Fitzgerald) "Scandal Detectives, The" (Fitzgerald), II, 80-81; Retro. Supp. I, 99

Scarberry-Garcia, Susan, Supp. IV, Part 2, 486 "Scarecrow, The" (Farrell), II, 45 "Scarf, A" (Shields), Supp. VII, 328 Scarlet Letter, The (Hawthorne), II, 63, 223, 224, 231, 233, 239240, 241, 243, 244, 255, 264, 286, 290, 291, 550; Supp. I, Part 1, 38; Supp. II, Part 1, 386 Scarlet Letter, The, A Romance (Hawthorne), Retro. Supp. I, 63, 145, 147, 152, 157-159, 160, 163, 165, 220, 248, 330, 335 Scarlet Plague, The (London), II, 467 "Scarred Girl, The" (Dickey), Supp. IV, Part 1, 180 "Scenario" (Miller), III, 184 "Scene" (Howells), II, 274 "Scene in Jerusalem, A" (Stowe), Supp. I, Part 2, 587 "Scenes" (Shields), Supp. VII, 318 Scenes d'Anabase (chamber music) (Bowles), Supp. IV, Part 1, 82 Scenes from American Life (Gurney), Supp. V, 95, 96, 105, 108 "Scenes of Childhood" (Merrill), Supp. Ill, Part 1, 322, 323, 327 "Scent of Unbought Flowers, The" (Rios), Supp. IV, Part 2, 547 "Scented Herbage of My Breast" (Whitman), IV, 342-343 Scepticisms (Aiken), I, 58 Sceve, Maurice, Supp. Ill, Part 1, 11 Schad, Christian, Supp. IV, Part 1,247 Schaller, George, Supp. V, 208, 210-211 Schapiro, Meyer, II, 30 Senary, Dore, Supp. IV, Part 1, 365 Schaumbergh, Count de, II, 120 Schechner, Richard, I, 96 Scheffauer, G. H., I, 199 "Scheherazade" (Ashbery), Supp. III, Part 1, 18 Scheick, William, Supp. V, 272

572 / INDEX Scheler, Max, I, 58 Schelling, Friedrich, Supp. I, Part 2,422 Schenk, Margaret, I, 199 Schermerhorn family, IV, 311 Schevill, James, I, 116, 119, 120 Schickel, Richard, I, 143 Schilder, Paul, Supp. I, Part 2, 622 Schiller, Andrew, II, 20, 23 Schiller, Frederick, Supp. V, 290 Schiller, Johann Christoph Friedrich von, I, 224; Supp. IV, Part 2, 519 Schilpp, Paul A., Ill, 622 Schimmel, Harold, Supp. V, 336 Schlamm, William S., Supp. I, Part 2, 627 Schlegel, Augustus Wilhelm, III, 422, 424 Schlegell, David von, Supp. IV, Part 2, 423 Schleiermacher, Friedrich, III, 290-291, 309 Schlesinger, Arthur, Jr., Ill, 291, 297-298, 309, 313 Schlissel, Lillian, I, 237, 238 Schmidt, Jon Zlotnik, Supp. IV, Part 1, 2 Schmidt, Kaspar, see Stirner, Max Schmitt, Carl, I, 386-387 Schneider, Alan, I, 87, 96 Schneider, Herbert W., I, 566 Schneider, Louis, Supp. I, Part 2, 650 Schneider, Robert W., I, 427 Schneider, Romy, Supp. IV, Part 2,549 Schnellock, Emil, III, 177 Schneour, Zalman, IV, 11 "Scholar Gypsy, The" (Arnold), II, 541 "Scholastic and Bedside Teaching" (Holmes), Supp. I, Part 1, 305 Scholer, Bo, Supp. IV, Part 1, 399, 400, 403, 407, 409, Part 2, 499 Scholes, Robert, I, 143; Supp. V, 40,42 Schonemann, Friedrich, IV, 213 "School of Giorgione, The" (Pater), I, 51

School, Peter A., Supp. I, Part 2, 627 "School Play, The" (Merrill), Supp. Ill, Part 1, 336 Schoolcraft, Henry Rowe, II, 503 Schopenhauer, Arthur, III, 600, 604; IV, 7; Retro. Supp. I, 256; Supp. I, Part 1, 320, Part 2, 457 Schorer, Mark, II, 28, 460, 485, 608; III, 71, 455; Retro. Supp. I, 115; Supp. I, Part 1, 68, 199; Supp. IV, Part 1, 197, 203, 211 Schrader, George A., Ill, 48 Schrader, Mary von, see Jarrell, Mrs. Randall (Mary von Schrader) Schreiber, Georges, Supp. I, Part 2,478 Schreiner, Olive, I, 419 Schroeder, Eric James, Supp. V, 238, 244 Schroeter, James, I, 334 Schubert, Franz Peter, Supp. I, Part 1, 363 Schubnell, Matthias, Supp. IV, Part 2, 486 Schuetz, Alfred, II, 366 Schulberg, Budd, II, 98, 100; Retro. Supp. I, 113 Schulz, Bruno, Supp. IV, Part 2, 623 Schulz, Max F., Ill, 48 Schumach, Murray, III, 169 Schumann, Dr. Alanson Tucker, III, 505 Schuyler, George S., Ill, 110 Schuyler, William, Supp. I, Part 1,211,226 Schwartz, Delmore, I, 67, 70, 168, 188, 288; II, 390; III, 384, 502, 550; IV, 128, 129, 143, 437, 449; Supp. II, Part 1, 102, 109, Part 2, 639-668 Schwartz, Edward, III, 455 Schwartz, Joseph, I, 403 Schwartz, Lloyd, Supp. I, Part 1, 81,97 Schweitzer, Albert, Supp. IV, Part 1,373 Schwitters, Kurt, III, 197; Supp. IV, Part 1, 79

Schyberg, Frederik, IV, 354 "Science" (Jeffers), Supp. II, Part 2,426 Science and Health with Key to the Scriptures (Eddy), I, 383 "Science Favorable to Virtue" (Freneau), Supp. II, Part 1, 274 Science of English Verse, The (Lanier), Supp. I, Part 1, 368, 369 "Science of the Night, The" (Kunitz), Supp. Ill, Part 1, 258, 265 Scopes, John T., Ill, 105, 495 "Scorched Face, The" (Hammett), Supp. IV, Part 1, 344 "Scorpion, The" (Bowles), Supp. IV, Part 1, 84, 86 Scorsese, Martin, Supp. IV, Part 1,356 Scott, Anne Firor, Supp. I, Part 1, 19,27 Scott, Arthur L., IV, 213 Scott, Evelyn, Retro. Supp. I, 73 Scott, George C, III, 165-166 Scott, George Lewis, Supp. I, Part 2, 503, 504 Scott, Herbert, Supp. V, 180 Scott, Howard, Supp. I, Part 2, 645 Scott, Lizabeth, Supp. IV, Part 2, 524 Scott, Mark, Retro. Supp. I, 127 Scott, Nathan A., Jr., II, 27; III, 550; IV, 497; Supp. I, Part 1, 71 Scott, Paul, Supp. IV, Part 2, 690 Scott, Sir Walter, I, 204, 339, 341, 343, 354; II, 8, 17, 18, 217, 296, 301, 303, 304, 308; III, 415, 482; IV, 204, 453; Retro. Supp. I, 99; Supp. I, Part 2, 579, 580, 685, 692, Supp. IV, Part 2, 690 Scott, Winfield Townley, II, 512, 533; IV, 377; Supp. I, Part 1, 199, Part 2, 705, 706 Scott's Monthly Magazine (publication), Supp. I, Part 1, 350 Scottsboro boys, I, 505; Supp. I, Part 1, 330

INDEX / 573 Scottsboro Limited (Hughes), Retro. Supp. I, 203; Supp. I, Parti, 328, 330-331, 332 Scoundrel Time (Hellman), Supp. I, Part 1, 294-297; Supp. IV, Part 1, 12 Scratch (MacLeish), III, 22-23 "Scream, The" (Lowell), II, 550 "Screamers, The" (Baraka), Supp. II, Part 1, 38 "Screen Guide for Americans" (Rand), Supp. IV, Part 2, 524 "Screeno" (Schwartz), Supp. II, Part 2, 660 Scribners, Retro. Supp. I, 97, 99, 100, 101, 103, 105, 110, 114, 115, 178,229,365 Scribner's Magazine, Retro. Supp. 1,5, 101, 110, 181,362,363, 370 Scribner's Monthly (publication), I, 289, 408, 458; II, 87, 407; IV, 456; Supp. I, Part 1, 353, 361, 370, Part 2, 408 Scripts for the Pageant (Merrill), Supp. Ill, Part 1, 332, 333, 335 Scrolls from the Dead Sea, The (Wilson), IV, 429 Scruggs, Earl, Supp. V, 335 Scudder, Horace Elisha, II, 400, 401, 509; Supp. I, Part 1, 220, Part 2, 410, 414, 426 Scully, James, Supp. I, Part 1, 199 "Sculpting the Whistle" (Rios), Supp. IV, Part 2, 549 "Sculptor" (Plath), Supp. I, Part 2,538 "Sculptor's Funeral, The" (Gather), I, 315-316; Retro. Supp. I, 5, 6 Scupoli, Lorenzo, IV, 156 "Scythe Song" (Lang), Retro. Supp. I, 128 Sea and the Mirror, The: A Commentary on Shakespeare's (< The Tempest" (Auden), Supp. II, Part 1, 2, 18 "Sea Burial from the Cruiser Reve" (Eberhart), I, 532-533 "Sea Calm" (Hughes), Retro. Supp. I, 199

"Sea Dream, A" (Whitter), Supp. I, Part 2, 699 Sea Garden (Doolittle), Supp. I, Part 1, 257, 259, 266, 269, 272 "Sea Lily" (Doolittle), Supp. I, Part 1, 266 Sea Lions, The (Cooper), I, 354, 355 Sea ofCortez (Steinbeck), IV, 52, 54, 62, 69 "Sea Pieces" (Melville), III, 93 "Sea Surface Full of Clouds" (Stevens), IV, 82 "Sea Unicorns and Land Unicorns" (Moore), III, 202-203 "Sea-Blue and Blood-Red" (Lowell), II, 524 Seabury, David, Supp. I, Part 2, 608 "Seafarer, The" (trans. Pound), Retro. Supp. I, 287 Seager, Allan, III, 169, 550; IV, 305 Sealts, Merton M., Jr., II, 23; III, 96, 97; Retro. Supp. I, 257 "Seance, The" (Singer), IV, 20 Seance and Other Stories, The (Singer), IV, 19-21 "Search for Southern Identity, The" (Woodward), Retro. Supp. 1,75 Search for the King, A: A TwelfthCentury Legend (Vidal), Supp. IV, Part 2, 681 Searches and Seizures (Elkin), Supp. VI, 49 Searching for Caleb (Tyler), Supp. IV, Part 2, 663-665, 671 "Searching for Poetry: Real vs. Fake" (Miller), Supp. IV, Part 1,67 Searching for Survivors (Banks), Supp. V, 7 "Searching for Survivors (I)" (Banks), Supp. V, 8 "Searching for Survivors (II)" (Banks), Supp. V, 7, 8 Searching Wing, The, (Hellman), Supp. I, Part 1, 277, 278, 281282, 283, 292, 297 Searle, Ronald, Supp. I, Part 2, 604, 605

"Sea's Green Sameness, The" (Updike), IV, 217 Seaside and the Fireside, The (Longfellow), II, 489 Season in Hell, A (Rimbaud), III, 189 Seasons, The (Thomson), II, 304; Supp. I, Part 1, 151 "Seasons of the Soul" (Tate), IV, 136-140 Seattle Times (newspaper), Supp. I, Part 2, 652, 653, 669 Seaver, Edwin, III, 167, 240; IV, 496 "Seaweed" (Longfellow), II, 498 Sea-Wolf, The (London), II, 264, 466, 472-473 Secession (periodical), Supp. II, Part 1, 138 Seckler, David, Supp. I, Part 2, 650 "2nd Air Force" (Jarrell), II, 375 Second American Caravan (publication), III, 434 Second American Revolution and Other Essays (1976-1982), The (Vidal), Supp. IV, Part 2, 679, 687, 688 Second Chance (Auchincloss), Supp. IV, Part 1, 33 "Second Chances" (Hugo), Supp. VI, 144, 145 Second Coming, The (Percy), Supp. Ill, Part 1, 383, 384, 387, 388, 396-397 "Second Coming, The" (Yeats), III, 294; Retro. Supp. I, 290, 311 Second Decade, The, see Stephen King, The Second Decade: "Danse Macabre" to ((The Dark Half (Magistrate) Second Flowering, A (Cowley), Supp. II, Part 1, 135, 141, 143, 144, 147, 149 Second Growth (Stegner), Supp. IV, Part 2, 599, 608 Second Sex, The (Beauvoir), Supp. IV, Part 1, 360 "Second Tree from the Corner" (White), Supp. I, Part 2, 651

574 / INDEX Second Tree from the Corner (White), Supp. I, Part 2, 654 Second Twenty Years at HullHouse, The: September 1909 to September 1929, with a Record of a Growing World Consciousness (Addams), Supp. I, Part 1, 24-25 Second Voyage of Columbus, The (Morison), Supp. I, Part 2, 488 Second World, The (Blackmur), Supp. II, Part 1, 91 "Secret, The" (Levine), Supp. V, 195 Secret Agent, The (Conrad), Supp. IV, Part 1, 341 Secret Agent X-9 (Hammett), Supp. IV, Part 1, 355 Secret Garden, The (Burnett), Supp. I, Part 1, 44 Secret Historie (Smith), I, 131 Secret History of the Dividing Line (Howe), Supp. IV, Part 2, 424, 425^26 "Secret Integration, The" (Pynchon), Supp. II, Part 2, 624 "Secret Life of Walter Mitty, The" (Thurber), Supp. I, Part 2, 623 "Secret Lion, The" (Rios), Supp. IV, Part 2, 543, 544 "Secret Lives of James Thurber, The" (Schlamm), Supp. I, Part 2,627 "Secret of the Russian Ballet, The" (Van Vechten), Supp. II, Part 2,732 "Secret Prune" (Rios), Supp. IV, Part 2, 549 "Secret Society, A" (Nemerov), III, 282 Secrets and Surprises (Beattie), Supp. V, 23, 27, 29 Sedges, John (pseudonym), see Buck, Pearl S. Sedgwick, Catherine Maria, I, 341; Supp. I, Part 1, 155, 157 Sedgwick, Christina, see Marquand, Mrs. John P. (Christina Sedgwick) Sedgwick, Ellery, I, 217, 229, 231; III, 54-55

Sedgwick, Henry, Supp. I, Part 1, 156 Sedgwick, Robert, Supp. I, Part 1, 156 Sedgwick, W. E., Ill, 97 Sedgwick family, Supp. I, Part 1, 153 "Seduction and Betrayal" (Hardwick), Supp. Ill, Part 1, 207 Seduction and Betrayal: Women and Literature (Hardwick), Supp. Ill, Part 1, 194, 204, 206-208, 212, 213 "See in the Midst of Fair Leaves" (Moore), III, 215 "See the Moon?" (Barthelme), Supp. IV, Part 1, 42, 49-50, 50 Seed, David, Supp. IV, Part 1, 391 "Seed Leaves" (Wilbur), Supp. Ill, Part 2, 558 "Seeds" (Anderson), I, 106, 114 Seeing through the Sun (Hogan), Supp. IV, Part 1, 397, 400, 401-402, 402, 413 "Seele im Raum" (Jarrell), II, 382383 "Seele im Raum" (Rilke), II, 382383 "Seen from the 'L' " (Barnes), Supp. Ill, Part 1, 33 Segal, David, Supp. I, Part 1, 199 Segregation: The Inner Conflict in the South (Warren), IV, 237, 238, 246, 252 Seidel, Frederick, I, 185, 189; II, 557 Seize the Day (Bellow), I, 144, 147, 148, 150, 151, 152, 153, 155, 158, 162; Supp. I, Part 2, 428 Selby, Hubert, Supp. Ill, Part 1, 125 Seldes, Gilbert, II, 437, 445; Retro. Supp. I, 108 Select Epigrams from the Greek Anthology (Mackail), Supp. I, Part 2, 461 "Selected Classified Bibliography, A" (O'Daniel), Supp. I, Part 1, 348

Selected Criticism: Prose, Poetry (Bogan), Supp. Ill, Part 1, 64 Selected Essays (Eliot), I, 572 Selected Letters (Williams), Retro. Supp. I, 430 Selected Letters of Robert Frost (Thompson, ed.), Retro. Supp. I, 125 Selected Poems (Aiken), I, 69 Selected Poems (Ashbery), Supp. Ill, Part 1, 25-26 Selected Poems (Bly), Supp. IV, Part 1, 60, 62, 65, 66, 68, 6971 Selected Poems (Brooks), Supp. Ill, Part 1, 82-83 Selected Poems (Dove), Supp. IV, Part 1, 241, 243, 250 Selected Poems (Frost), Retro. Supp. I, 133, 136 Selected Poems (Guillevic, trans. Levertov), Supp. Ill, Part 1, 283 Selected Poems (Hayden), Supp. II, Part 1, 363, 364, 367 Selected Poems (Hughes), Retro. Supp. I, 202; Supp. I, Part 1, 341, 345, 346 Selected Poems (Hugo), Supp. VI, 143 Selected Poems (Jarrell), II, 367, 370, 371, 374, 377, 379, 380, 381, 382, 384 Selected Poems (Justice), Supp. VII, 115 Selected Poems (Kinnell), Supp. III, Part 1, 235, 253 Selected Poems (Levine, 1984), Supp. V, 178, 179 Selected Poems (Lowell), II, 512, 516 Selected Poems (Moore), III, 193, 194, 205-206, 208, 215 Selected Poems (Pound), Retro. Supp. I, 289, 291 Selected Poems (Ransom), III, 490, 492 Selected Poems (Rukeyser), Supp. VI, 274 Selected Poems (Sexton), Supp. IV, Part 2, 449

INDEX / 575 Selected Poems (Strand), Supp. IV, Part 2, 630 Selected Poems, 1923-1943 (Warren), IV, 241-242, 243 Selected Poems, 1928-1958 (Kunitz), Supp. Ill, Part 1, 261, 263-265 Selected Poems 1936-1965 (Eberhart), I, 541 Selected Poems: 1957-1987 (Snodgrass), Supp. VI, 314315, 323, 324 Selected Poems of Ezra Pound (Pound), Supp. V, 336 Selected Poems of Gabriela Mistral (trans. Hughes), Supp. I, Part 1, 345 Selected Poetry of Amiri Bar oka/ LeRoi Jones (Baraka), Supp. II, Part 1, 58 Selected Stories (Dubus), Supp. VII, 88-89 Selected Stories of Richard Bausch, The (Bausch), Supp. VII, 42 Selected Translations (Snodgrass), Supp. VI, 318, 324, 325-326 Selected Works ofDjuna Barnes, The (Barnes), Supp. Ill, Part 1, 44 Selected Writings 1950-1990 (Howe), Supp. VI, 116-117, 118, 120 Selections from the American Poets (publication), Supp. I, Part 1, 158 Selections from the Popular Poetry of the Hindus (publication), II, 8 "Selene Afterwards" (MacLeish), 111,8

"Self (James), II, 351 Self and the Dramas of History, The (Niebuhr), III, 308 Self-Consciousness (Updike), Retro. Supp. I, 318, 319, 320, 322, 323, 324 Self-Interviews (Dickey), Supp. IV, Part 1, 179 "Self-Made Man, A" (Crane), I, 420 "Self-Portrait" (Creeley), Supp. IV, Part 1, 156

"Self-Portrait" (Mumford), Supp. II, Part 2, 471 "Self-Portrait" (Wylie), Supp. I, Part 2, 729 Self-Portrait: Ceaselessly into the Past (Millar, ed. Sipper), Supp. IV, Part 2, 464, 469, 472, 475 "Self-Portrait in a Convex Mirror" (Ashbery), Supp. Ill, Part 1, 5, 7, 9, 16-19, 22, 24, 26 "Self-Reliance" (Emerson), II, 7, 15, 17; Retro. Supp. I, 159 Selincourt, Ernest de, Supp. I, Part 2, 676 Sellers, Isaiah, IV, 194-195 Sellers, William, IV, 208 Seltzer, Mark, Retro. Supp. I, 227 Selznick, David O., Retro. Supp. I, 105, 113; Supp. IV, Parti, 353 "Semi-Lunatics of Kilmuir, The" (Hugo), Supp. VI, 145 Semmelweiss, Ignaz, Supp. I, Part 1, 304 Senancour, Etienne Divert de, I, 241 Sencourt, Robert, I, 590 Sendak, Maurice, II, 390 Seneca, II, 14-15; III, 77 Senghor, Leopold, Supp. IV, Part 1, 16 Senier, Siobhan, Supp. IV, Part 1, 330 "Senility" (Anderson), I, 114 "Senior Partner's Ethics, The" (Auchincloss), Supp. IV, Part 1,33 Senlin: A Biography (Aiken), I, 48, 49, 50, 52, 56, 57, 64 Sennett, Mack, III, 442 "Senor Ong and Senor Ha" (Bowles), Supp. IV, Part 1, 87 Sense of Beauty, The (Santayana), III, 600 Sense of Life in the Modern Novel, The (Mizener), IV, 132 "Sense of Shelter, A" (Updike), Retro. Supp. I, 318 Sense of the Past, The (James), II, 337-338

"Sense of the Past, The" (Trilling), Supp. Ill, Part 2, 503 "Sense of the Present, The" (Hardwick), Supp. Ill, Part 1, 210 "Sense of the Sleight-of-Hand Man, The" (Stevens), IV, 93 "Sense of Where You Are, A" (McPhee), Supp. Ill, Part 1, 291, 296-298 "Sensibility! O La!" (Roethke), III, 536 "Sensuality Plunging Barefoot Into Thorns" (Cisneros), Supp. VII, 68 "Sensible Emptiness, A" (Kramer), Supp. IV, Part 1, 61, 66 "Sentence" (Barthelme), Supp. IV, Part 1, 47 "Sentiment of Rationality, The" (James), II, 346-347 "Sentimental Education, A" (Banks), Supp. V, 10 "Sentimental Journey" (Gates), Supp. II, Part 2, 522, 523 "Sentimental Journey, A" (Anderson), I, 114 Sentimental Journey, A (Sterne), Supp. I, Part 2, 714 "Sentimental Journeys" (Didion), Supp. IV, Part 1,211 Sentimental Novel in America, The (Brown), Supp. I, Part 2, 601 "Separate Flights" (Dubus), Supp. VII, 83 Separate Flights (Dubus), Supp. VII, 78-83 Separate Peace, A (Knowles), Supp. IV, Part 2, 679 "Separating" (Updike), Retro. Supp. I, 321 "Separation, The" (Kunitz), Supp. Ill, Part 1, 263 "Sepia High Stepper" (Hayden), Supp. II, Part 1, 379 "Sept Vieillards, Les" (trans. Millay), III, 142 "September 1, 1939" (Auden), Supp. II, Part 1, 13; Supp. IV, Part 1, 225 Sequel to Drum-Taps (Whitman), Retro. Supp. I, 406

576 / INDEX Sequence of Seven Plays with a Drawing by Ron Slaughter, A (Nemerov), III, 269 "Sequence, Sometimes Metaphysical" (Roethke), III, 547, 548 Sequoya, Jana, Supp. IV, Part 1, 334 Seraglio, The (Merrill), Supp. Ill, Parti, 331 Seraph on the Suwanee (Hurston), Supp. VI, 149, 159-160 Seraphita (Balzac), I, 499 Serenissima: A Novel of Venice (Jong), see Shy lock's Daughter: A Novel of Love in Venice (Serenissima) (Jong) Sergeant, Elizabeth Shepley, I, 231, 236, 312, 319, 323, 328, 334; II, 172, 533; Supp. I, Part 2,730 Sergeant Bilko (television show), Supp. IV, Part 2, 575 Sergei, Roger, I, 120 "Serious Talk, A" (Carver), Supp. III, Part 1, 138, 144 Serly, Tibor, Supp. Ill, Part 2, 617, 619 "Sermon by Doctor Pep" (Bellow), I, 151 "Sermon for Our Maturity" (Baraka), Supp. II, Part 1, 53 Sermones (Horace), II, 154 Sermons and Soda Water (O'Hara), III, 362, 364, 371373, 382 "Sermons on the Warpland" (Brooks), Supp. Ill, Part 1, 84 "Serpent in the Wilderness, The" (Masters), Supp. I, Part 2, 458 Servant of the Bones (Rice), Supp. VII, 298, 302 "Servant to Servants, A" (Frost), Retro. Supp. I, 125, 128 Seshachari, Neila, Supp. V, 22 "Session, The" (Adams), I, 5 "Sestina" (Bishop), Supp. I, Part 1, 73, 88 Set This House on Fire (Styron), IV, 98, 99, 105, 107-113, 114, 115, 117 Set-angya, Supp. IV, Part 2, 493

Seth's Brother's Wife (Frederic), II, 131-132, 137, 144 Setting Free the Bears (Irving), Supp. VI, 163, 166-167, 169170 Setting the Tone (Rorem), Supp. IV, Part 1, 79 Settlement Horizon, The: A National Estimate (Woods and Kennedy), Supp. I, Part 1, 19, 27 "Settling the Colonel's Hash" (McCarthy), II, 559, 562 Setzer, Helen, Supp. IV, Part 1, 217 "Seurat's Sunday Afternoon along the Seine" (Schwartz), Supp. II, Part 2, 663-665 Seven Ages of Man, The (Wilder), IV, 357, 374-375 Seven Arts (publication), I, 106, 108, 109, 229, 233, 239, 245, 251, 384; Retro. Supp. I, 133 Seven Deadly Sins, The (Wilder), IV, 357, 374-375 Seven Descents of Myrtle, The (Williams), IV, 382 "Seven Places of the Mind" (Didion), Supp. IV, Part 1, 200, 210 Seven Plays (Shepard), Supp. Ill, Part 2, 434 "Seven Stanzas at Easter" (Updike), IV, 215 "7000 Romaine, Los Angeles 38" (Didion), Supp. IV, Part 1, 200 Seven Types of Ambiguity (Empson),II,536;IV,431 7 Years from Somehwere (Levine), Supp. V, 178, 181, 188-189 Seven-League Crutches, The (Jarrell), II, 367, 372, 381, 382, 383-384, 389 Seventeen (magazine), Supp. I, Part 2, 530 "Seventh of March" (Webster), Supp. I, Part 2, 687 Seventies, The (magazine) (Bly), Supp. IV, Part 1, 60 77 Dream Songs (Berryman), I, 168, 169, 170, 171, 174, 175, 183-188

73 Poems (Cummings), I, 430, 431, 446, 447, 448 Sevier, Jack, IV, 378 Sevigne, Madame de, IV, 361 Sewall, Richard, Retro. Supp. I, 25 Sewall, Samuel, IV, 145, 146, 147, 149, 154, 164; Supp. I, Part 1, 100, 110 Sewanee Review, Supp. V, 317 Sewanee Review (publication), II, 197; III, 206, 292, 337-338; IV, 126 Sex & Character (Weininger), Retro. Supp. I, 416 "Sext" (Auden), Supp. II, Part 1, 22 Sexton, Anne, Supp. I, Part 2, 538, 543, 546; Supp. II, Part 2, 669-700; Supp. Ill, Part 2, 599; Supp. IV, Part 1, 245, Part 2, 439, 440^441, 442, 444, 447, 449, 451,620; Supp. V, 113, 118, 124 Sexus (Miller), III, 170, 171, 184, 187, 188 Seybold, Ethel, IV, 189 Seyersted, Per E., Supp. I, Part 1, 201,204,211,216,225,226; Supp. IV, Part 2, 558 "Seymour: An Introduction" (Salinger), III, 569-571, 572 Shackford, Martha Hale, II, 413 "Shadow" (Creeley), Supp. IV, Part 1, 158 Shadows (Gardner), Supp. VI, 74 "Shadow, The" (Lowell), II, 522 Shadow and Act (Ellison), Supp. II, Part 1, 245-246 "Shadow and Shade" (Tate), IV, 128 "Shadow and the Flesh, The" (London), II, 475 Shadow Country (Gunn Allen), Supp. IV, Part 1, 322, 324, 325-326 Shadow Man, The (Gordon), Supp. IV, Part 1, 297, 298, 299, 312314, 315 Shadow of a Dream, The, a Story (Howells), II, 285, 286, 290

INDEX / 577 Shadow on the Dial, The (Bierce), I, 208, 209 "Shadow Passing" (Merwin), Supp. Ill, Part 1, 355 Shadow Train (Ashbery), Supp. III, Part 1, 23-24, 26 "Shadow A Parable" (Poe), III, 417-418 Shadows by the Hudson (Singer), IV, 1 Shadows of Africa (Matthiessen), Supp. V, 203 Shadows on the Rock (Gather), I, 314, 330-331, 332; Retro. Supp. I, 18 "Shad-Time" (Wilbur), Supp. Ill, Part 2, 563 Shafer, Thomas A., I, 565 Shaftesbury, Earl of, I, 559 Shaker, Why Don't You Sing? (Angelou), Supp. IV, Part 1, 16 Shakespear, Dorothy, see Pound, Mrs., Ezra (Dorothy Shakespear) Shakespear, Mrs. Olivia, III, 457; Supp. I, Part 1, 257 "Shakespeare" (Emerson), II, 6 Shakespeare and His Forerunners (Lanier), Supp. I, Part 1, 369 Shakespeare in Harlem (Hughes), Retro. Supp. I, 194, 202, 205, 206, 207, 208; Supp. I, Part 1, 333, 334, 345 Shakespeare, William, I, 103, 271, 272, 284-285, 358, 378, 433, 441, 458, 461, 573, 585, 586; II, 5,8, 11, 18,72,273,297,302, 309,320,411,494,577,590; 111,3, 11, 12,82,83,91, 124, 130, 134, 145, 153, 159, 183, 210, 263, 286, 468, 473, 492, 503,511,525,567,575-576, 577, 610, 612, 613, 615; IV, 11, 50, 66, 127, 132, 156, 309, 313, 362, 368, 370, 373, 453; Retro. Supp. I, 43, 64, 91, 248; Supp. I, Part 1, 79, 150, 262, 310, 356, 363, 365, 368, 369, 370, Part 2, 397, 421, 422, 470, 494, 622, 716, 720; Supp. II, Part 2, 624, 626; Supp. IV, Part 1, 31, 83, 87, 243, Part 2, 430, 463, 519, 688; Supp. V, 252, 280, 303

Shall We Gather at the River (Wright), Supp. Ill, Part 2, 601-602 "Shame" (Gates), Supp. II, Part 2, 520 "Shame" (Wilbur), Supp. Ill, Part 2,556 Shamela (Fielding), Supp. V, 127 "Shampoo, The" (Bishop), Supp. I, Part 1, 92 Shankaracharya, III, 567 Shanks, Edward, III, 432 Shanley, James Lyndon, IV, 189 Shannon, William V., Ill, 384 "Shape of Flesh and Bone, The" (MacLeish), III, 1819 Shapers of American Fiction, The (Snell), Supp. I, Part 1, 148 Shapes of Clay (Bierce), I, 208, 209 Shapiro, Charles, I, 427, 520; Supp. I, Part 1, 199 Shapiro, Dorothy, IV, 380 Shapiro, Karl, I, 189, 404, 430, 450, 521; II, 350; III, 527; IV, 425; Supp. II, Part 2, 701-724; Supp. Ill, Part 2, 623; Supp. IV, Part 2, 645 Shatayev, Elvira, Supp. I, Part 2, 570 Shattuck, Charles, I, 542 Shaw, Colonel Robert Gould, II, 551 Shaw, Elizabeth, see Melville, Mrs. Herman (Elizabeth Shaw) Shaw, George Bernard, I, 226; II, 82, 271,276, 581; III, 69, 102, 113, 145, 155, 161, 162, 163, 373, 409; IV, 27, 64, 397, 432, 440; Retro. Supp. I, 100, 228; Supp. IV, Part 1, 36, Part 2, 585, 683; Supp. V, 243-244, 290 Shaw, Irwin, IV, 381; Supp. IV, Part 1, 383 Shaw, Joseph Thompson "Cap", Supp. IV, Part 1, 121, 345, 351 Shaw, Judge Lemuel, III, 77, 88, 91 Shaw, Robert, Supp. I, Part 2, 578

Shaw, Sarah Bryant, Supp. I, Part 1, 169 "Shawl, The" (Ozick), Supp. V, 271-272 Shawl The (Ozick), 260; 271; Supp. V, 257 "Shawshank Redemption, The" (King), Supp. V, 148 She (Haggard), III, 189 "She Came and Went" (Lowell), Supp. I, Part 2, 409 She Stoops to Conquer (Goldsmith), II, 514 "She Wept, She Railed" (Kunitz), Supp. Ill, Part 1, 265 Shea, Daniel, I, 565 Sheaffer, Louis, III, 408 Shearer, Flora, I, 199 "Sheaves, The" (Robinson), III, 510, 524 Sheean, Vincent, III, 144 Sheed, Wilfrid, III, 48; IV, 230, 235; Supp. I, Part 1, 199 Sheehy, Eugene P., I, 119; III, 216, 336 Sheeler, Charles, IV, 409, 425; Retro. Supp. I, 430 Sheffer, Jonathan, Supp. IV, Part 1,95 Shelley, Percy Bysshe, I, 18, 68, 381, 476, 522, 577; II, 331, 516, 535, 540; III, 412, 426, 469; IV, 139; Retro. Supp. I, 308, 360; Supp. I, Part 1,79, 311, 349, Part 2, 709, 718, 719, 720, 721, 722, 724, 728; Supp. IV, Part 1, 235; Supp. V, 258, 280 Shellow, Sadie Myers, Supp. I, Part 2, 608 Sheltered Life, The (Glasgow), II, 174, 175, 179, 186, 187-188 Sheltering Sky, The (Bowles), Supp. IV, Part 1, 82, 84, 8586,87 Sheltering Sky, The (film), Supp. IV, Part 1, 94, 95 Shelton, Frank, Supp. IV, Part 2, 658 Shelton, Mrs. Sarah, see Royster, Sarah Elmira Shenandoah (magazine), Supp. I, Part 1, 79

578 / INDEX Shenandoah (Schwartz), Supp. II, Part 2, 640, 651-652 "Shenandoah" (Shapiro), Supp. II, Part 2, 704 Shenker, Israel, Supp. I, Part 2, 453 Shepard, Alice, IV, 287 Shepard, Irving, II, 484 Shepard, Odell, II, 508, 509; Supp. I, Part 1, 46, Part 2, 418 Shepard, Sam, Supp. Ill, Part 2, 431-450 Shepard, Thomas, I, 554; IV, 158 Sheppard Lee (Bird), III, 423 Sheridan, Richard Brinsley, Retro. Supp. I, 127 Sherlock, William, IV, 152 Sherman, Stuart Pratt, I, 222, 246247; II, 460; Supp. I, Part 2, 423 Sherman, Tom, IV, 446 Sherman, William T., IV, 445, 446 Sherwood, Robert, II, 435 Sherwood Anderson & Other Famous Creoles (Faulkner), I, 117; II, 56 Sherwood Anderson Reader, The (Anderson), I, 114, 116 Sherwood Anderson's Memoirs (Anderson), I, 98, 101, 102, 103, 108, 112, 116 Sherwood Anderson's Notebook (Anderson), I, 108, 115, 117 "Shiddah and Kuziba" (Singer), IV, 13, 15 "Shield of Achilles, The" (Auden), Supp. II, Part 1,21, 25 Shield of Achilles, The (Auden), Supp. II, Part 1, 21 Shields, Carol, Supp. VII, SOTBIO Shifts of Being (Eberhart), I, 525 Shigematsu, Soiko, Supp. Ill, Part 1, 353 Shining, The (King), Supp. V, 139, 140, 141, 143-144, 146, 149, 151, 152 "Ship of Death" (Lawrence), Supp. I, Part 2, 728 Ship of Fools (Porter), III, 433, 447, 453, 454; IV, 138 Ship to America, A (Singer), IV, 1

Shipley, Joseph T., Ill, 408 Shipping News, The (Proulx), Supp. VII, 249, 258-259 "Ships" (O. Henry), Supp. II, Part 1,409 "Shipwreck, The" (Merwin), Supp. III, Part 1, 346 "Shirt" (Pinsky), Supp. VI, 236237, 239, 240, 241, 245, 247 "Shiva and Parvati Hiding in the Rain" (Pinsky), Supp. VI, 244 Shively, Charley, Retro. Supp. I, 391 Shock of Recognition, The (Wilson), II, 530 Shoe Bird, The (Welty), IV, 261; Retro. Supp. I, 353 "Shoes" (O. Henry), Supp. II, Part 1, 409 "Shoes of Wandering, The" (Kinnell), Supp. Ill, Part 1, 248 "Shooters, Inc." (Didion), Supp. IV, Part 1,207, 211 "Shooting, The" (Dubus), Supp. VII, 84, 85 "Shooting Niagara; and After?" (Carlyle), Retro. Supp. I, 408 "Shooting Script" (Rich), Supp. I, Part 2, 558; Supp. IV, Part 1, 257 Shooting Star, A (Stegner), Supp. IV, Part 2, 599, 608-609 "Shooting Whales" (Strand), Supp. IV, Part 2, 630 Shoptaw, John, Supp. IV, Part 1, 247 Shore Acres (Herne), Supp. II, Part 1, 198 "Shore House, The" (Jewett), II, 397 Shorebirds of North America, The (Matthiessen), Supp. V, 204 "Shoreline Horses" (Rios), Supp. IV, Part 2, 553 Shores of Light, The: A Literary Chronicle of the Twenties and Thirties (Wilson), IV, 432, 433; Supp. I, Part 2, 730 Shorey, Paul, III, 606 Short, Clarice, II, 413-414 Short Friday and Other Stories (Singer), IV, 14-16

"Short Happy Life of Francis Macomber, The" (Hemingway), II, 250, 263-264; Retro. Supp. I, 182; Supp. IV, Part 1, 48 Short History of American Poetry, A (Stauffer), Supp. I, Part 2, 478 Short Novels of Thomas Wolfe, The (Wolfe), IV, 456 Short Poems (Berryman), I, 170 "SHORT SPEECH TO MY FRIENDS" (Baraka), Supp. II, Part 1, 35 "Short Story, The" (Welty), IV, 279 Short Studies of American Authors (Higginson), I, 455 Shostakovich, Dimitri, IV, 75 "Shots" (Ozick), Supp. V, 268 "Should Wizard Hit Mommy?" (Updike), IV, 221, 222, 224; Retro. Supp. I, 335 "Shovel Man, The" (Sandburg), III, 553 Showalter, Elaine, Retro. Supp. I, 368; Supp. IV, Part 2, 440, 441, 444 "Shower of Gold" (Welty), IV, 271-272 "Shrike and the Chipmunks, The" (Thurber), Supp. I, Part 2, 617 "Shroud of Color, The" (Cullen), Supp. IV, Part 1, 166, 168, 170, 171 "Shrouded Stranger, The" (Ginsberg), Supp. II, Part 1, 312 Shuffle Along (musical), Supp. I, Part 1, 322 Shultz, George, Supp. IV, Part 1, 234 Shurr, William, Retro. Supp. I, 43 Shusterman, Richard, Retro. Supp. 1,53 "Shut a Final Door" (Capote), Supp. Ill, Part 1, 117, 120, 124 Shut Up, He Explained (Lardner), II, 432 Shy lock's Daughter: A Novel of Love in Venice (Serenissima) (Jong), Supp. V, 115, 127, 128129

INDEX / 579 Siberian Village, The (Dove), Supp. IV, Part 1, 255, 256 Sibley, Mulford Q., Supp. I, Part 2,524 "Sibling Mysteries" (Rich), Supp. I, Part 2, 574 Sibon, Marcelle, IV, 288 " 'Sic transit gloria mundi' " (Dickinson), Retro. Supp. I, 30 "Sick Wife, The" (Kenyon), Supp. VII, 173, 174 "Sicilian Emigrant's Song" (Williams), Retro. Supp. I, 413 Sid Caesar Show (television show), Supp. IV, Part 2, 575 Siddons, Sarah, II, 298 Sidis, Boris, II, 364 Sidnee Poet Heroical, The (Baraka), Supp. II, Part 1, 55 Sidney, Algernon, II, 114 Sidney, Mary, Supp. I, Part 1, 98 Sidney, Philip, Supp. V, 250 Sidney, Sir Philip, II, 470; Supp. I, Part 1,98, 111, 117-118, 122, Part 2, 658; Supp. II, Part 1, 104-105 Sidney, Sylvia, Supp. I, Part 1, 67 Sidney Lanier (De Bellis), Supp. I, Part 1, 373 "Sidney Lanier" (Fletcher), Supp. I, Part 1, 373 Sidney Lanier (Mims), Supp. I, Part 1, 373 Sidney Lanier: A Biographical and Critical Study (Starke), Supp. I, Part 1, 371, 373 "Siege of London, The" (James), Retro. Supp. I, 227 Siegel, Ben, IV, 23 Sienkiewicz, Henryk, Supp. IV, Part 2, 518 "Sierra Kid" (Levine), Supp. V, 180-181 Sievers, W. David, III, 408 Sigg, Eric, Retro. Supp. I, 53 "Sight" (Merwin), Supp. Ill, Part 1,356 "Sight in Camp in the Daybreak Gray and Dim, A" (Whitman), II, 373 Sights and Spectacles (McCarthy), II, 562

"Sights from a Steeple" (Hawthorne), Retro. Supp. I, 62 Sigmund, Paul E., Ill, 312 Sign in Sidney Brustein 's Window, The (Hansberry), Supp. IV, Part 1, 359, 365, 369, 370-372 "Signals" (Carver), Supp. Ill, Part I, 143 "Signature for Tempo" (MacLeish), III, 8-9 Signifying Monkey, The (Hughes), Retro. Supp. I, 195 Sigourney, Lydia, Supp. I, Part 2, 684 Silas Marner (Eliot), II, 26 "Silence" (Moore), III, 212 "Silence" (Poe), III, 416 "Silence Before Harvest, The" (Merwin), Supp. Ill, Part 1, 352 Silence Dogood Papers, The (Franklin), II, 106-107 Silence in the Snowy Fields (Bly), Supp. IV, Part 1, 60-61, 62, 63, 65, 66, 72 Silence of History, The (Farrell), II, 46-47 "Silence—A Fable" (Poe), III, 416 "Silent in America" (Levine), Supp. V, 183 Silent Partner, The (Odets), Supp. II, Part 2, 539 "Silent Slain, The" (MacLeish), 111,9 "Silent Snow, Secret Snow" (Aiken), I, 52 Silent Spring (Carson), Supp. V, 202 Silhol, Robert, II, 460-461 "Silken Tent, The" (Frost), Retro. Supp. I, 138-139; Supp. IV, Part 2, 448 Silko, Leslie Marmon, Supp. IV, Part 1, 274, 319, 325, 333-334, 335, 404, Part 2, 499, 505, 557-572; Supp. V, 169 Silliman, Ron, Supp. IV, Part 2, 426 "Silver Crown, The" (Malamud), Supp. I, Part 2, 434-435, 437; Supp. V, 266

"Silver Filigree" (Wylie), Supp. I, Part 2, 707 Silver, Mildred, II, 23 Silverman, Kenneth, Supp. I, Part 1, 149 "Silver To Have and to Hurl" (Didion), Supp. IV, Part 1, 197 Silvers, Phil, Supp. IV, Part 2, 574 Simic, Charles, Supp. V, 5, 332 Simison, Barbara D., II, 317 Simmel, Georg, Supp. I, Part 2, 644 Simmons, Charles, II, 608; III, 48-49; IV, 118 Simmons, Harvey G., Supp. I, Part 1, 71 Simms, William Gilmore, I, 211 "Simon Gerty" (Wylie), Supp. I, Part 2, 713 Simon, Jean, III, 97 Simon, John, I, 95; Supp. IV, Part 2, 691 Simon, Neil, Supp. IV, Part 2, 573-594 "Simon Ortiz" (Gingerich), Supp. IV, Part 2, 510 Simon Ortiz (Wiget), Supp. IV, Part 2, 509 Simone, Salvatore, Supp. I, Part 2,478 Simonson, Harold P., Ill, 574 Simonson, Lee, III, 396 "Simple Art of Murder, The" (Chandler), Supp. IV, Part 1, 121, 341 "Simple Autumnal" (Bogan), Supp. Ill, Part 1, 52-53 Simple Heart (Flaubert), I, 504 Simple Speaks his Mind (Hughes), Retro. Supp. I, 209; Supp. I, Part 1, 337 Simple Stakes a Claim (Hughes), Retro. Supp. I, 209; Supp. I, Part 1, 337 Simple Takes a Wife (Hughes), Retro. Supp. I, 209; Supp. I, Part 1, 337 Simple Truth, The (Hardwick), Supp. Ill, Part 1, 199, 200, 208 Simple Truth, The (Levine), Supp. V, 178, 179, 193-194

580 / INDEX Simple's Uncle Sam (Hughes), Retro. Supp. I, 209; Supp. I, Part 1, 337 Simply Heavenly (Hughes), Retro. Supp. I, 209; Supp. I, Part 1, 338, 339 Simpson, Lewis P., Supp. I, Part 1,149 Simpson, Louis, Supp. Ill, Part 2, 541; Supp. IV, Part 2, 448, 621 Since Yesterday (Allen), Supp. I, Part 2, 681 Sincere Convert, The (Shepard), IV, 158 Sincerely, Willis Wayde (Marquand), III, 61, 63, 66, 6768,69 Sincerity and Authenticity (Trilling), Supp. Ill, Part 2, 510-512 Sinclair, Mary Craig (Mary Craig Kimbrough), Supp. V, 275, 286, 287 Sinclair, Upton, H, 34, 440, 444, 451; ffl, 580; Supp. V, 275-293 Sinclair Lewis: An American Life (Schorer), II, 459 Sing Out (magazine), Supp. IV, Part 1, 362 "Singapore" (Oliver), Supp. VII, 239, 240 Singer, Bennett L., Supp. IV, Part 1,330 Singer, Irving, III, 622 Singer, Isaac Bashevis, I, 144; IV, 1-24 Singer, Israel Joshua, IV, 2, 16, 17,22 Singer, Joseph, IV, 22 Singer, Joshua, IV, 4 Singer, Rabbi Pinchos Menachem, IV, 16 Singin' and Swingin' and Gettin' Merry Like Christmas (Angelou), Supp. IV, Part 1, 2, 5, 6-7, 9, 13, 14 "Singing & Doubling Together" (Ammons), Supp. VII, 34-35 Singing Jailbirds (Sinclair), Supp. V,277 "Singing the Black Mother" (Lupton), Supp. IV, Part 1, 7

Single Hound, The: Poems of a Lifetime (Dickinson; Bianchi, ed.), Retro. Supp. I, 35 "Single Sonnet" (Bogan), Supp. III, Part 1, 56-58 Singley, Carol, Retro. Supp. I, 373 Singular Family, A: Rosacoke and Her Kin (Price), Supp. VI, 258259, 260 Singularities (Howe), Supp. IV, Part 2, 431 "Sinister Adolescents, The" (Dos Passos), I, 493 Sinister Street (Mackenzie), II, 82 Sinners in the Hands of an Angry God (Edwards), I, 546, 552553, 559, 562 "Sins of Kalamazoo, The" (Sandburg), III, 586 Sintram and His Companions (La Motte-Fouque), III, 78 "Siope" (Poe), 111,411 "Sipapu: A Cultural Perspective" (Gunn Allen), Supp. IV, Part 1, 323 Sipper, Ralph B., Supp. IV, Part 2,475 "Sir Galahad" (Tennyson), Supp. I, Part 2, 410 "Sire" (Cisneros), Supp. VII, 6263,64 "Siren and Signal" (Zukofsky), Supp. Ill, Part 2, 611, 612 Sirens of Titan, The (Vonnegut), Supp. II, Part 2, 757, 758, 760, 765-767 Sirin, Retro. Supp. I, 266; see also Nabokov, Vladimir Sirin, V. (pseudonym), see Nabokov, Vladimir Sisley, Alfred, I, 478 "Sister" (Hughes), Retro. Supp. I, 208 Sister Carrie (Dreiser), I, 482, 497, 499, 500, 501-502, 503-504, 505, 506, 515, 519; III, 327; IV, 208; Retro. Supp. I, 376 "Sister of the Minotaur" (Stevens), IV, 89 "Sisters, The" (Whittier), Supp. I, Part 2, 696

Sister's Choice (Showalter), Retro. Supp. I, 368 "Sisyphus" (Kumin), Supp. IV, Part 2, 443, 444, 451 "Sitalkas" (Doolittle), Supp. I, Part 1, 266 Sitting Bull, Supp. IV, Part 2, 492 Situation Normal (Miller), III, 148, 149, 156, 164 Situation of Poetry, The: Contemporary Poetry and Its Traditions (Pinsky), Supp. VI, 237-238, 239, 241, 242 Sitwell, Edith, I, 450; IV, 77; Supp. I, Part 1,271 "Six Brothers" (Cisneros), Supp. VII, 67 Six Characters in Search of an Author (Pirandello), Supp. IV, Part 2, 576 "Six Days: Some Rememberings" (Paley), Supp. VI, 226 Six French Poets (Lowell), II, 528-529 "Six Persons" (Baraka), Supp. II, Part 1, 53 "Six Variations" (Levertov), Supp. III, Part 1, 277-278 "Sixteen Months" (Sandburg), III, 584 1601, or Conversation as It Was by the Fireside in the Time of the Tudors (Twain), IV, 201 Sixties, The (magazine) (Bly), Supp. IV, Part 1, 60 "Sixty Acres" (Carver), Supp. Ill, Part 1, 141 Sixty Stories (Barthelme), Supp. IV, Part 1, 41, 42, 44, 47, 49, 50 63: Dream Palace (Purdy), Supp. VII, 270-271 Skaggs, Merrill Maguire, Supp. I, Part 1, 226 "Skaters, The" (Ashbery), Supp. Ill, Part 1, 10, 12, 13, 18, 25 "Skaters, The" (Jarrell), II, 368369 Skeeters Kirby (Masters), Supp. I, Part 2, 459, 470, 471 Skeleton Crew (King), Supp. V, 144

INDEX / 581 "Skeleton's Cave, The" (Bryant), Supp. I, Part 1, 157 Skelton, John, III, 521 Sketch Book of Geoffrey Crayon, Gent., The (Irving), II, 295, 303, 304-308, 309, 311, 491; Supp. I, Part 1, 155 Sketch of Old England, by a New England Man (Paulding), I, 344 Sketches of Eighteenth Century America (Crevecoeur), Supp. I, Part 1, 233, 240-241, 250, 251 Sketches of Switzerland (Cooper), 1,346 Sketches Old and New (Twain), IV, 198 "Skier and the Mountain, The" (Eberhart), I, 528-529 Skin of Our Teeth, The (Wilder), IV, 357, 358, 369-372; Supp. IV, Part 2, 586 Skinner, B. F., IV, 48 Skinner, Richard Dana, III, 408 Skinny Island (Auchincloss), Supp. IV, Part 1, 33 "Skins" (Wright), Supp. V, 340 Skins and Bones: Poems 19791987 (Gunn Allen), Supp. IV, Parti, 321, 331 "Skipper Ireson's Ride" (Whittier), Supp. I, Part 2, 691, 693-694 "Skirmish at Sartoris" (Faulkner), 11,67 Sklar, Kathryn Kish, Supp. I, Part 2,601 Sklar, Robert, II, 100 Skow, John, Supp. V, 213 "Skunk Cabbage" (Oliver), Supp. VII, 235, 236 "Skunk Hour" (Lowell), II, 548550 "Sky Line, The" (Mumford), Supp. II, Part 2, 475 "Sky Line" (Taylor), Supp. V, 316 "Sky Valley Rider" (Wright), Supp. V, 335, 340 "Skyscraper" (Sandburg), III, 581582 Sky-Walk; or the Man Unknown to Himself (Brown), Supp. I, Part 1, 127-128

"Slang in America" (Whitman), IV, 348 Slapstick (Vonnegut), Supp. II, Part 2, 753, 754, 778 Slapstick Tragedy (Williams), IV, 382, 393 Slattery, Mary Grace, see Miller, Mrs. Arthur (Mary Grace Slattery) "Slaughterer, The" (Singer), IV, 19 Slaughterhouse-Five (Vonnegut), Supp. II, Part 2, 755, 758-759, 760, 770, 772-776; Supp. V, 41, 244 "Slave Coffle" (Angelou), Supp. IV, Part 1, 16 "Slave on the Block" (Hughes), Supp. I, Part 1, 329 "Slave Quarters" (Dickey), Supp. IV, Part 1, 181 Slave Ship: A Historical Pageant (Baraka), Supp. II, Part 1, 4749, 53, 56-57 Slave, The (Baraka), Supp. II, Part 1, 42, 44, 56 Slave, The (Singer), IV, 13 "Slave's Dream, The" (Longfellow), Supp. I, Part 2, 409 "Slave-Ships, The" (Whittier), Supp. I, Part 2, 687-688 Sledge, Eugene, Supp. V, 250 "Sleep, The" (Strand), Supp. IV, Part 2, 627 "Sleeper, The" (Poe), III, 411 "Sleepers, The" (Whitman), IV, 336 "Sleepers in Jaipur" (Kenyon), Supp. VII, 172 Sleepers in Moon-Crowned Valleys (Purdy), Supp. VII, 274, 275 "Sleepers Joining Hands" (Bly), Supp. IV, Part 1, 63, 73 Sleeping Beauty (Macdonald), Supp. IV, Part 2, 474, 475 "Sleeping Fury, The" (Bogan), Supp. Ill, Part 1, 58 Sleeping Fury, The: Poems (Bogan), Supp. Ill, Part 1, 5558 Sleeping Gypsy and Other Poems, The (Garrett), Supp. VII, 96-98

"Sleeping in the Forest" (Oliver), Supp. VII, 233-234 Sleeping in the Forest (Oliver), Supp. VII, 233 Sleeping on Fists (Rios), Supp. IV, Part 2, 540 "Sleeping Standing Up" (Bishop), Supp. I, Part 1, 85, 89, 93 "Sleeping with Animals" (Kumin), Supp. IV, Part 2, 454 Sleeping with One Eye Open (Strand), Supp. IV, Part 2, 621-624, 623, 628 "Sleepless at Crown Point" (Wilbur), Supp. Ill, Part 2, 561 Sleepless Nights (Hardwick), Supp. Ill, Part 1, 193, 208-211 Slick, Sam (pseudonym), see Haliburton, Thomas Chandler "Slick Gonna Learn" (Ellison), Supp. II, Part 1, 237-238 "Slight Rebellion off Madison" (Salinger), III, 553 "Slight Sound at Evening, A" (White), Supp. I, Part 2, 672 "Slim Greer" series (Hayden), Supp. II, Part 1, 369 "Slim in Hell" (Hayden), Supp. II, Part 1, 369 "Slim Man Canyon" (Silko), Supp. IV, Part 2, 560 "Slippery Fingers" (Hammett), Supp. IV, Part 1, 343 Slipping-Down Life, A (Tyler), Supp. IV, Part 2, 660-661 Sloan, Jacob, IV, 3, 6, 22, 23 Sloan John, I, 254; IV, 411 "Slob" (Farrell), II, 25, 28, 31 Slocum, Joshua, Supp. I, Part 2, 497 Sloman, Judith, IV, 24 Slonim, Vera, see Nabokov, Vera Slote, Bernice, I, 404 Slouching towards Bethlehem (Didion), Supp. IV, Part 1, 196, 197, 200-201, 202, 206, 210 "Slow Down for Poetry" (Strand), Supp. IV, Part 2, 620 "Slow Pacific Swell, The" (Winters), Supp. II, Part 2, 790, 793, 795, 796, 799

582 / INDEX "Slumgullions" (Olsen), Supp. IV, Part 1, 54 Small, Albion, Supp. I, Part 1, 5 Small, Miriam Rossiter, Supp. I, Part 1, 3199 Small Boy and Others, A (James), II, 337, 547; Retro. Supp. I, 235 Small Ceremonies (Shields), Supp. VII, 312-315, 320 Small Craft Warnings (Williams), IV, 382, 383, 384, 385, 386, 387, 392, 393, 396, 398 "Small, Good Thing, A" (Carver), Supp. Ill, Part 1, 145, 147 Small Place, A (Kincaid), Supp. VII, 186-187, 188, 191 "Small Rain, The" (Pynchon), Supp. II, Part 2, 620 Small Town in American Drama, The (Herron), Supp. I, Part 2, 478 Small Town in American Literature, The (Herron), Supp. 1, Part 2, 478 "Small Wire" (Sexton), Supp. II, Part 2, 696 Smalls, Bob, II, 128 Smart, Christopher, III, 534; Supp. I, Part 2, 539; Supp. IV, Part 2, 626 "Smart Cookie, A" (Cisneros), Supp. VII, 64 Smart Set (magazine), II, 87; III, 99-100, 103, 104, 105-106, 107, 113; IV, 380, 432; Retro. Supp. I, 101; Supp. IV, Part 1, 343 "Smashup" (Thurber), Supp. I, Part 2, 616 "Smelt Fishing" (Hayden), Supp. II, Part 1, 367 Smidt, Kristian, I, 590 Smiley, Jane, Supp. VI, 291-292, 293-309 Smith, Adam, II, 9; Supp. I, Part 2, 633, 634, 639 Smith, Benjamin, IV, 148 Smith, Bernard, I, 260, 263 Smith, Bessie, Retro. Supp. I, 343 Smith, Carol H., I, 590 Smith, Chard Powers, III, 526

Smith, Dave, Supp. V, 333 Smith, Eleanor M., II, 414 Smith, Elihu Hubbard, Supp. I, Part 1, 126, 127, 130 Smith, George Adam, III, 199 Smith, Grover, I, 590 Smith, Harrison, II, 61, 460; IV, 377 Smith, Henry Nash, I, 357; II, 23, 294; IV, 210, 212, 213; Supp. I, Part 1, 233 Smith, Herbert F., I, 143; Supp. I, Part 2, 423, 426 Smith, James, II, 111 Smith, James Ward, I, 566 Smith, Janet A., II, 340 Smith, Jedediah Strong, Supp. IV, Part 2, 602 Smith, Jerome, Supp. IV, Part 1, 369 Smith, Joe, Supp. IV, Part 2, 584 Smith, John, I, 4, 131; II, 296 Smith, John Allyn, I, 168 Smith, John E., I, 564 Smith, Johnston (pseudonym), see Crane, Stephen Smith, Kellogg, Supp. I, Part 2, 660 Smith, Lamar, II, 585 Smith, Lula Carson, see McCullers, Carson Smith, Martha Nell, Retro. Supp. I, 33, 43, 46, 47 Smith, Mary Rozet, Supp. I, Part 1, 5, 22 Smith, Mrs. Lamar (Marguerite Walters), II, 585, 587 Smith, Oliver, II, 586 Smith, Patricia Clark, Supp. IV, Part 1, 397, 398, 402, 406, 408, 410, Part 2, 509 Smith, Peter Duval, III, 266 Smith, Porter, III, 572 Smith, Red, II, 417, 424 Smith, Seba, Supp. I, Part 2, 411 Smith, Sidonie Ann, Supp. IV, Parti, 11 Smith, Simeon M., II, 608 Smith, Stevie, Supp. V, 84 Smith, Stewart, Supp. I, Part 1, 226 Smith, Sydney, II, 295

Smith, William, II, 114 Smith's Magazine, I, 501 Smoke and Steel (Sandburg), III, 585-587, 592 "Smokers" (Wolff), Supp. VII, 340-341 "Smoking My Prayers" (Ortiz), Supp. IV, Part 2, 503 Smoller, Stanford, Supp. I, Part 1, 275 Smollett, Tobias G., I, 134, 339, 343; II, 304-305; III, 61 Smugglers of Lost Soul's Rock, The (Gardner), Supp. VI, 70 Smuggler's Bible, A (McElroy), Supp. IV, Part 1, 285 Smyth, Albert Henry, II, 123 "Snake, The" (Crane), I, 420 "Snakecharmer" (Plath), Supp. I, Part 2, 538 "Snakes, Mongooses" (Moore), III, 207 "Snakes of September, The" (Kunitz), Supp. Ill, Part 1, 258 Snappy Stories (magazine), IV, 123 "Snapshot of 15th S.W., A" (Hugo), Supp. VI, 141 "Snapshots of a Daughter-in-Law" (Rich), Supp. I, Part 2, 553554 Snapshots of a Daughter-in-Law (Rich), Supp. I, Part 2, 550551, 553-554 "Sneeze, The" (Chekhov), Supp. IV, Part 2, 585 Snell, Ebenezer, Supp. I, Part 1, 151 Snell, George, II, 318; IV, 449; Supp. I, Part 1, 148 Snell, Thomas, Supp. I, Part 1, 153 "Snob, The" (Shapiro), Supp. II, Part 2, 705 Snodgrass, W. D., I, 400; Supp. Ill, Part 2, 541; Supp. V, 337; Supp. VI, 311-328 Snow, C. P., Supp. I, Part 2, 536 Snow, Hank, Supp. V, 335 "Snow" (Frost), Retro. Supp. I, 133

INDEX / 583 "Snow" (Sexton), Supp. II, Part 2,696 Snow Ball, The (Gurney), Supp. V,99 "Snow Bound at Eagle's" (Harte), Supp. II, Part 1, 356 "Snow in New York" (Swenson), Supp. IV, Part 2, 644 Snow Leopard, The (Matthiessen), Supp. V, 199,207-211 "Snow Man, The" (Stevens), IV, 82-83; Retro. Supp. I, 299, 300, 302, 306, 307, 312 Snow: Meditations of a Cautious Man in Winter (Banks), Supp. V,6 Snow Poems, The (Ammons), Supp. VII, 32-34 "Snow Songs" (Snodgrass), Supp. VI, 324 Snow White (Barthelme), Supp. IV, Part 1, 40, 47, 48-49, 50, 52; Supp. V, 39 "Snow-Bound" (Whittier), Supp. I, Part 2, 700-703 "Snowflakes" (Longfellow), II, 498 Snow-Image and Other Twice Told Tales, The (Hawthorne), II, 237; Retro. Supp. I, 160 "Snowing in Greenwich Village" (Updike), IV, 226; Retro. Supp. 1,321 "Snows of Kilimanjaro, The" (Hemingway), II, 78, 257, 263, 264; Retro. Supp. I, 98, 182 "Snowstorm, The" (Gates), Supp. II, Part 2, 523 "Snowstorm as It Affects the American Farmer, A" (Crevecoeur), Supp. I, Part 1, 251 "Snowy Mountain Song, A" (Ortiz), Supp. IV, Part 2, 506 Snyder, Gary, Supp. Ill, Part 1, 350; Supp. IV, Part 2, 502; Supp. V, 168-169 Snyder, William U., IV, 473 So Little Time (Marquand), III, 55, 59, 65, 67, 69 "So Long Ago" (Bausch), Supp. VII, 41-42

"So much Summer" (Dickinson), Retro. Supp. I, 26, 44, 45 "So Much the Worse for Boston" (Lindsay), Supp. I, Part 2, 398 "So Much Water So Close to Home" (Carver), Supp. Ill, Part 1, 143, 146 "So Sassafras" (Olson), Supp. II, Part 2, 574 "So There" (Creeley), Supp. IV, Part 1, 157 "So-and-So Reclining on Her Couch" (Stevens), IV, 90 "Soapland" (Thurber), Supp. I, Part 2, 619 Scares, Lota Costellat de Macedo, Supp. I, Part 1, 89, 94 Sochatoff, Fred, IV, 259 Social Thought in America: The Revolt against Formalism (White), Supp. I, Part 2, 648, 650 Socialism, I, 206, 214, 226, 515; II, 464, 465, 467, 471, 478, 480-481, 483; IV, 237, 429 Socialist Call (publication), Supp. I, Part 1, 321 "Sociological Habit Patterns in Linguistic Transmogrification" (Cowley), Supp. II, Part 1, 143 "Sociological Poet, A" (Bourne), I, 228 Socrates, I, 136, 265; II, 8-9, 105, 106; III, 281, 419, 606; Supp. I, Part 2, 458 Soellner, Rolf, Supp. I, Part 2, 627 Soft Machine, The (Burroughs), Supp. Ill, Part 1, 93, 103, 104 Soft Side, The (James), II, 335; Retro. Supp. I, 229 "Soft Spring Night in Shillington, A" (Updike), Retro. Supp. I, 318,319 "Soft Wood" (Lowell), II, 550551 "Soiree in Hollywood" (Miller), III, 186 "Sojourn in a Whale" (Moore), III, 211,213 "Sojourns" (Didion), Supp. IV, Part 1, 205

Sokoloff, B. A., I, 166; III, 48 Sokolov, Raymond, IV, 119 Solar Storms (Hogan), Supp. IV, Part 1, 397, 410, 414-415 "Soldier, The" (Frost), II, 155 "Soldier's Home" (Hemingway), Retro. Supp. I, 189 Soldiers' Pay (Faulkner), I, 117; II, 56, 68; Retro. Supp. I, 80, 81 "Soldier's Testament, The" (Mumford), Supp. II, Part 2, 473 "Solitary Pond, The" (Updike), Retro. Supp. I, 323 "Solitude" (Maupassant), Supp. I, Part 1, 223 Solomon (biblical person), Supp. 1, Part 2, 516 Solomon, Eric, I, 427 Solomon, Henry, Jr., Supp. I, Part 2,490 Solomons, Leon, IV, 26 Solotaroff, Robert, III, 48 Solotaroff, Theodore, III, 360, 452-453; Supp. I, Part 2, 440, 445, 453 "Solstice" (Jeffers), Supp. II, Part 2, 433, 435 "Solstice, The" (Merwin), Supp. III, Part 1, 356 Solt, Mary Ellen, IV, 425 "Solus Rex" (Nabokov), Retro. Supp. I, 274 "Solutions" (McCarthy), II, 578 Solzhenitsyn, Alexandr, Retro. Supp. I, 278 "Some Afternoon" (Creeley), Supp. IV, Part 1, 150-151 Some American People (Caldwell), I, 292, 294, 295, 296, 304, 309 Some Can Whistle (McMurtry), Supp. V, 229 "Some Dreamers of the Golden Dream" (Didion), Supp. IV, Part 1, 200 "Some Foreign Letters" (Sexton), Supp. II, Part 2, 674 "Some Good News" (Olson), Supp. II, Part 2, 575, 576, 577

584 / INDEX Some Imagist Poets (Lowell), III, 511, 518, 520; Supp. I, Part 1, 257, 261 "Some keep the Sabbath going to Church" (Dickinson), Retro. Supp. I, 30 "Some Like Indians Endure" (Gunn Allen), Supp. IV, Part 1, 330 "Some Like Them Cold" (Lardner), II, 427^28, 430, 431 "Some Lines from Whitman" (Jarrell), IV, 352 "Some Negatives: X. at the Chateau" (Merrill), Supp. Ill, Part 1, 322 "Some Neglected Points in the Theory of Socialism" (Veblen), Supp. I, Part 2, 635 "Some Notes for an Autobiographical Lecture" (Trilling), Supp. Ill, Part 2, 493, 497, 500 "Some Notes on French Poetry" (Ely), Supp. IV, Part 1, 61 "Some Notes on Miss LonelyHearts" (West), IV, 290-291, 295 "Some Notes on Organic Form" (Levertov), Supp. Ill, Part 1, 272, 279 "Some Notes on Teaching: Probably Spoken" (Paley), Supp. VI, 225 "Some Notes on Violence" (West), IV, 304 Some of the Dharma (Kerouac), Supp. Ill, Part 1, 225 Some of Us (Cabell), Supp. I, Part 2,730 Some People, Places, & Things That Will Not Appear in My Next Novel (Cheever), Supp. I, Part 1, 184-185 Some Problems of Philosophy: A Beginning of an Introduction to Philosophy (James), II, 360-361 "Some Questions You Might Ask" (Oliver), Supp. VII, 238-239 "Some Remarks on Humor" (White), Supp. I, Part 2, 672

"Some Remarks on Rhythm" (Roethke), III, 548-549 Some Sort of Epic Grandeur (Bruccoli), Retro. Supp. I, 115, 359 "Some Thoughts on the Line" (Oliver), Supp. VII, 238 "Some Trees" (Ashbery), Supp. III, Part 1, 2 Some Trees (Ashbery), Supp. Ill, Part 1, 3-7, 12 "Some Views on the Reading and Writing of Short Stories" (Welty), Retro. Supp. I, 351 "Some Words with a Mummy" (Poe), III, 425 Somebody's Darling (McMurtry), Supp. V, 225 "Someone Puts a Pineapple Together" (Stevens), IV, 90-91 "Someone Talking to Himself (Wilbur), Supp. Ill, Part 2, 557 Someone to Watch Over Me: Stories (Bausch), Supp. VII, 53 "Someone's Blood" (Dove), Supp. IV, Part 1, 245 Somers, Fred, I, 196 "Something" (Oliver), Supp. VII, 236 Something Happened (Heller), Supp. IV, Part 1, 383, 386388, 389, 392 "Something Happened: The Imaginary, the Symbolic, and the Discourse of the Family" (Mellard), Supp. IV, Part 1, 387 Something in Common (Hughes), Supp. I, Part 1, 329-330 "Something Spurious from the Mindinao Deep" (Stegner), Supp. IV, Part 2, 605 Something to Declare (Alvarez), Supp. VII, 1, 2, 11,17-19 Something Wicked This Way Comes (Bradbury), Supp. IV, Parti, 101, 110-111 "Something Wild . . ." (Williams), IV, 381 "Sometimes I Wonder" (Hughes), Supp. I, Part 1, 337

"Somewhere" (Nemerov), III, 279-280 "Somewhere Else" (Paley), Supp. VI, 227 "Somewhere in Africa" (Sexton), Supp. II, Part 2, 684-685 "Somewhere Is Such a Kingdom" (Ransom), III, 492 Sommers, Michael, Supp. IV, Part 2, 581 Sommers, William, I, 387, 388 "Somnambulisma" (Stevens), Retro. Supp. I, 310 Son at the Front, A (Wharton), II, 183; IV, 320; Retro. Supp. I, 378 Son Excellence Eugene Rougon (Zola), III, 322 Son of Perdition, The (Cozzens), I, 359-360, 377, 378, 379 Son of the Circus, A (Irving), Supp. VI, 19-165, 166, 176179 "Son of the Gods, A" (Bierce), I, 202 Son of the Morning (Gates), Supp. II, Part 2, 518, 519, 520-522 Son of the Wolf, The (London), II, 465, 469 "Son, The" (Dove), Supp. IV, Part 1, 245 Sonata for Two Pianos (Bowles), Supp. IV, Part 1, 83 "Song" (Bogan), Supp. Ill, Part 1,57 "Song" (Bryant), see "Hunter of the Woods, The" "Song" (Dunbar), Supp. II, Part 1, 199 "Song" (Ginsberg), Supp. II, Part 1,317 "Song" (Kenyon), Supp. VII, 169 "Song" (Rich), Supp. I, Part 2, 560 "Song" (Wylie), Supp. I, Part 2, 729 "Song, A" (Creeley), Supp. IV, Part 1, 145 Song and Idea (Eberhart), I, 526, 529, 533, 539 "Song for Occupations, A" (Whitman), Retro. Supp. I, 394

INDEX / 585 "Song for Simeon, A" (Eliot), Retro. Supp. I, 64 "Song for the Last Act" (Bogan), Supp. Ill, Part 1, 64 "Song for the Middle of the Night, A" (Wright), Supp. Ill, Part 2, 594 "Song for the Rainy Season" (Bishop), Supp. I, Part 1, 9394,96 "Song: Love in Whose Rich Honor" (Rukeyser), Supp. VI, 285 "Song of Advent, A" (Winters), Supp. II, Part 2, 789 "Song of Courage, A" (Masters), Supp. I, Part 2, 458 Song of Hiawatha, The (Longfellow), II, 501, 503-504 "Song of Innocence, A" (Ellison), Supp. II, Part 1, 248 "Song of My Fiftieth Birthday, The" (Lindsay), Supp. I, Part 2, 399 "Song of Myself (Whitman), II, 544; III, 572, 584, 595; IV, 333, 334, 337-339, 340, 341, 342, 344, 348, 349, 351, 405; Retro. Supp. I, 388, 389, 395-399, 400; Supp. V, 122 Song of Russia (film), Supp. I, Part 1, 281, 294 Song of Solomon (biblical book), III, 118; IV, 150 Song of Solomon (Morrison), Supp. Ill, Part 1, 364, 368, 369, 372, 379 Song of Songs (biblical book), II, 538; IV, 153-154 "Song of the Answerer" (Whitman), Retro. Supp. I, 393, 399 "Song of the Chattahoochee, The" (Lanier), Supp. I, Part 1, 365, 368 "Song of the Degrees, A" (Pound), III, 466 "Song of the Exposition" (Whitman), IV, 332 "Song of the Greek Amazon" (Bryant), Supp. I, Part 1, 168

Song of the Lark, The (Gather), I, 312, 319-321, 323; Retro. Supp. I, 1, 3, 7, 9-11, 13, 19, 20 "Song of the Open Road" (Whitman), IV, 340-341; Retro. Supp. I, 400 "Song of the Redwood Tree" (Whitman), IV, 348 "Song of the Sky Loom" (traditional Tewa poem), Supp. IV, Part 1, 325 "Song of the Son" (Toomer), Supp. Ill, Part 2, 482-483 "Song of the Sower, The" (Bryant), Supp. I, Part 1, 169 "Song of the Stars" (Bryant), Supp. I, Part 1, 163 "Song of the Swamp-Robin, The" (Frederic), II, 138 "Song of the Vermonters, The" (Whittier), Supp. I, Part 2, 692 "Song of the Wandering Aengus, The" (Yeats), IV, 271 "Song of Three Smiles" (Merwin), Supp. Ill, Part 1, 344 "Song of Wandering Aengus, The" (Yeats), Retro. Supp. I, 342, 350 "Song on Captain Barney's Victory" (Freneau), Supp. II, Part 1, 261 "Song to David" (Smart), III, 534 "Song/Poetry and LanguageExpression and Perception" (Ortiz), Supp. IV, Part 2, 500, 508 Songs and Satires (Masters), Supp. I, Part 2, 465-466 Songs and Sonnets (Masters), Supp. I, Part 2, 455, 459, 461, 466 "Songs for a Colored Singer" (Bishop), Supp. I, Part 1, 80, 85 Songs for a Summer's Day (A Sonnet Cycle) (MacLeish), III, 3 "Songs for Eve" (MacLeish), III, 19 Songs for Eve (MacLeish), III, 3, 19

Songs from This Earth on Turtle's Back: Contemporary American Indian Poetry (ed. Bruchac), Supp. IV, Part 1, 320, 328 "Songs of Billy Bathgate, The" (Doctorow), Supp. IV, Part 1, 230 Songs of Innocence (Blake), Supp. I, Part 2, 708 "Songs of Maximus, The" (Olson), Supp. II, Part 2, 567 "Songs of Parting" (Whitman), IV, 348 Songs of the Sierras (Miller), I, 459 "Sonnet" (Rukeyser), Supp. VI, 284 "Sonnets at Christmas" (Tate), IV, 118, 135 "Sonnet-To Zante" (Poe), III, 421 "Sonny's Blues" (Baldwin), Supp. I, Part 1, 58-59, 63, 67 Sons (Buck), Supp. II, Part 1, 117-118 Sons and Lovers (Lawrence), III, 27 Sontag, Susan, IV, 13, 14; Supp. 1, Part 2, 423; Supp. Ill, Part 2, 451-473 "Soonest Mended" (Ashbery), Supp. Ill, Part 1, 1, 13 "Sootfall and Fallout" (White), Supp. I, Part 2, 671 Sophocles, I, 274; II, 291, 385, 577; III, 145, 151, 152, 153, 159, 398, 476, 478, 525, 609, 613; IV, 291, 363, 368, 370, 376; Supp. I, Part 1, 153, 284, Part 2, 491; Supp. V, 97 "Sophronsiba" (Bourne), I, 221 Sorcerer's Apprentice, The: Tales and Conjurations (Johnson), Supp. VI, 192-193, 194 "Sorcerer's Eye, The" (Nemerov), III, 283 Sordello (Browning), III, 467, 469, 470 Sorokin, Pitirim, Supp. I, Part 2, 679 Sorrentino, Gilbert, Retro. Supp. I, 426; Supp. IV, Part 1, 286

586 / INDEX Sorrow Dance, The (Levertov), Supp. Ill, Part 1, 279-280, 283 Sorrows of Fat City, The: A Selection of Literary Essays and Reviews (Garrett), Supp. VII, 111 Sorrows of Young Werther, The (Goethe, trans. Bogan and Mayer), Supp. Ill, Part 1, 63 "Sorting Facts; or, Nineteen Ways of Looking at Marker" (Howe), Supp. IV, Part 2, 434, 436 Soto, Gary, Supp. IV, Part 2, 545; Supp. V, 180 "Sotto Voce" (Kunitz), Supp. Ill, Part 1, 265 Sot-Weed Factor, The (Earth), I, 122, 123, 125, 129, 130, 131134, 135 Soul, The (Brooks), I, 244 Soul and Body of John Brown, The (Rukeyser), Supp. VI, 273 Soul Gone Home (Hughes), Retro. Supp. I, 203; Supp. I, Part 1, 328 "Soul inside the Sentence, The" (Gass), Supp. VI, 88 Soul Is Here for Its Own Joy, The (ed. Bly), Supp. IV, Part 1, 74 Soul of the Far East, The (Lowell), 11,513 "Soul selects her own Society, The" (Dickinson), Retro. Supp. 1,37 "Souls Belated" (Wharton), Retro. Supp. I, 364 Souls of Black Folk, The (Du Bois), Supp. II, Part 1, 33, 40, 160, 168-170, 176, 183; Supp. IV, Part 1, 164 "Sound and Fury" (O. Henry), Supp. II, Part 1, 402 Sound and the Fury, The (Faulkner), I, 480; II, 55, 57, 58-60, 73; III, 237; IV, 100, 101, 104; Retro. Supp. I, 73, 75, 77, 82, 83-84, 86, 88, 89, 90, 91, 92 "Sound Bites" (Alvarez), Supp. VII, 11

"Sound Mind, Sound Body" (Lowell), II, 554 "Sound of Distant Thunder, A" (Elkin), Supp. VI, 42-43, 44 "Sound of Light, The" (Merwin), Supp. Ill, Part 1, 356 Sound of Mountain Water, The (Stegner), Supp. IV, Part 2, 595, 596, 598, 600, 608 "Sound of Talking" (Purdy), Supp. VII, 270 Sounds of Poetry, The (Pinsky), Supp. VI, 236, 247, 248 Soupault, Philippe, IV, 288, 404 Sour Grapes (Williams), Retro. Supp. I, 418 "Source, The" (Porter), III, 443 Source of Light, The (Price), Supp. VI, 262, 266 "South, The" (Hughes), Supp. I, Part 1, 321 South Bend Times (newspaper), II, 417 South Carolina Review (publication), Supp. IV, Part 1, 176 South Dakota Review (periodical), Supp. IV, Part 2, 503 "South Sangamon" (Cisneros), Supp. VII, 66 Southan, B. C, I, 590 "Southbound on the Freeway" (Swenson), Supp. IV, Part 2, 643 Southern, Terry, Supp. IV, Part 1, 379; Supp. V, 40, 201 "Southern Cross, The" (Wright), Supp. V, 338 Southern Cross, The (Wright), Supp. V, 332, 342 Southern Excursions: Essay on Mark Twain and Others (Leary), Supp. I, Part 1, 226 Southern Exposure (publication), Supp. IV, Part 1, 374 Southern Literary Messenger (publication), III, 411, 412 Southern Magazine (publication), Supp. I, Part 1, 352 "Southern Mode of the Imagination, A" (Tate), IV, 120

Southern Review (publication), I, 170, 294; II, 20; III, 442, 443; IV, 236, 261 Southern Review, The, Supp. V, 316 "Southern Romantic, A" (Tate), Supp. I, Part 1, 373 "Southern Woman in the Fiction of Kate Chopin, The" (Fletcher), Supp. I, Part 1, 226 "Southerner's Problem, The" (Du Bois), Supp. II, Part 1, 168 Southey, Robert, II, 304, 502; Supp. I, Part 1, 154 Southpaw, The (Harris), II, 424425 Southwell, Robert, IV, 151 Southworth, E. D. E. N, Retro. Supp. I, 246 Southworth, James G., Ill, 550 Souvenir of the Ancient World, Selected Poems of Carlos Drummond de Andrade (trans. Strand), Supp. IV, Part 2, 630 "Sow" (Plath), Supp. I, Part 2, 537 "Space Quale, The" (James), II, 349 "Spaces Between, The" (Kingsolver), Supp. VII, 209 Spacks, Patricia Meyer, Supp. I, Part 1, 46 "Spain" (Auden), Supp. II, Part 1, 1213, 14 "Spain in Fifty-Ninth Street" (White), Supp. I, Part 2, 677 Spangler, George, Supp. I, Part 1, 226 Spanish Background of American Literature, The (Williams), Supp. I, Part 1, 173 Spanish Ballads (trans. Merwin), Supp. Ill, Part 1, 347 Spanish Earth, The (film), Retro. Supp. I, 184 Spanish Papers and Other Miscellanies (Irving), II, 314 "Spanish Revolution, The" (Bryant), Supp. I, Part 1, 153, 168 Spanish Student, The (Longfellow), II, 489, 506

INDEX / 587 "Spanish-American War Play" (Crane), I, 422 Spanking the Maid (Coover), Supp. V, 47, 48, 49, 52 Spargo, John, Supp. I, Part 1, 13 "Spark, The" (Wharton), Retro. Supp. I, 381 "Sparkles from the Wheel" (Whitman), IV, 348 Sparks, Jared, Supp. I, Part 1, 156 Sparrow, Henry, III, 587 Sparrow, Mrs. Henry, III, 587 Speak, Memory (Nabokov), III, 247-250, 252; Retro. Supp. I, 264, 265, 266, 267, 268, 277 Speaking and Language (Shapiro), Supp. II, Part 2, 721 "Speaking of Counterweights" (White), Supp. I, Part 2, 669 Speaking of Literature and Society (Trilling), Supp. Ill, Part 2, 494, 496, 499 Spear, Roberta, Supp. V, 180 Spears, Monroe K., I, 404 "Special Kind of Fantasy, A: James Dickey on the Razor's Edge" (Niflis), Supp. IV, Part 1, 175 "Special Pleading" (Lanier), Supp. I, Part 1, 364 "Special Problems in Teaching Leslie Marmon Silko's Ceremony" (Gunn Allen), Supp. IV, Part 1, 333 Special View of History, The (Olson), Supp. II, Part 2, 566, 569, 572 Specimen Days (Whitman), IV, 338, 347, 348, 350; Retro. Supp. I, 408 Specimens of the American Poets, Supp. I, Part 1, 155 "Spectacles, The" (Poe), III, 425 Spectator, The (college newspaper), Retro. Supp. I, 344 Spectator, The (journal), II, 104105, 106 Spectator (London) (publication), 11,314 Spectator (publication), Supp. IV, Part 2, 685

Spectator Bird, The (Stegner), Supp. IV, Part 2, 599, 604, 606,611-612 Spectorsky, A. C, IV, 235 "Spectre Bridegroom, The" (Irving), II, 304 "Spectre Pig, The" (Holmes), Supp. I, Part 1, 302 "Speech to a Crowd" (MacLeish), III, 16 "Speech to the Detractors" (MacLeish), III, 16 "Speech to the Young" (Brooks), Supp. Ill, Part 1, 79, 86 "Speech to Those Who Say Comrade" (MacLeish), III, 16 Speed of Darkness, The (Rukeyser), Supp. VI, 274, 281 Spence, Thomas, Supp. I, Part 2, 518 Spencer, Edward, Supp. I, Part 1, 357, 360, 373 Spencer, Herbert, I, 515; II, 345, 462-463, 480, 483, 536; III, 102, 315; IV, 135; Supp. I, Part 1, 368, Part 2, 635 Spencer, T. J., Supp. I, Part 1, 348 Spencer, Theodore, I, 433, 450; Supp. Ill, Part 1, 2 Spender, Natasha, Supp. IV, Part 1, 119, 127, 134 Spender, Stephen, II, 371; III, 504, 527, 550; Retro. Supp. I, 216; Supp. I, Part 1, 71, Part 2, 536; Supp. II, Part 1, 11; Supp. IV, Part 1, 82, 134, Part 2,440 Spengler, Oswald, I, 255, 270; II, 7, 577; III, 172, 176; Supp. I, Part 2, 647 Spens, Sir Patrick, Supp. I, Part 2, 404 Spenser, Edmund, I, 62; III, 77, 78, 89; IV, 155, 453; Retro. Supp. I, 62; Supp. I, Part 1, 98, 152, 369, Part 2, 422, 719 "Spenser's Ireland" (Moore), III, 211,212 Sperry, Margaret, Supp. IV, Part 1,169

Sphere: The Form of a Motion (Ammons), Supp. VII, 24, 32, 33, 35, 36 "Sphinx" (Hayden), Supp. II, Part 1,373 "Spiced Plums" (Rios), Supp. IV, Part 2, 553 "Spider and the Ghost of the Fly, The" (Lindsay), Supp. I, Part 2, 375 Spider Bay (Van Vechten), Supp. II, Part 2, 746 Spider Woman's Granddaughters: Traditional Tales and Contemporary Writing by Native American Women (ed. Gunn Allen), Supp. IV, Part 1, 320, 326, 332-333, Part 2, 567 "Spiders" (Schwartz), Supp. II, Part 2, 665 Spider's House, The (Bowles), Supp. IV, Part 1, 87-89, 90, 91 Spiegelberg, Herbert, II, 366 Spiegelman, Willard, Supp. I, Part 1, 97 Spillane, Mickey, Supp. IV, Part 2, 469, 472 Spiller, Robert E., I, 241, 357, 520; II, 125, 413, 533; III, 408; IV, 188, 448; Supp. I, Part 1, 104, 148, Part 2, 601 Spillway (Barnes), Supp. Ill, Part 1,44 Spingarn, Amy, Supp. I, Part 1, 325, 326 Spingarn, Joel, I, 266; Supp. I, Part 1, 325 Spinoza, Baruch, I, 493; II, 590, 593; III, 600; IV, 5, 7, 11, 12, 17; Supp. I, Part 1, 274, Part 2,643 Spinoza of Market Street, The (Singer), IV, 12-13 "Spinster" (Plath), Supp. I, Part 2, 536 "Spinster's Tale, A" (Taylor), Supp. V, 314-315, 316-317, 319, 323 "Spire Song" (Bowles), Supp. IV, Part 1, 80

588 / INDEX Spirit and the Flesh, The: Sexual Diversity in American Indian Culture (Williams), Supp. IV, Part 1, 330 "Spirit Birth" (Cullen), Supp. IV, Part 1, 168 Spirit in Man, The (Jung), Supp. IV, Part 1, 68 Spirit of Culver (West), IV, 287 Spirit of Romance, The (Pound), HI, 470; Retro. Supp. I, 286 Spirit of Youth and the City Streets, The (Addams), Supp. I, Part 1, 6-7, 12-13, 16, 17, 19 "Spirits" (Bausch), Supp. VII, 4647 Spirits, and Other Stories (Bausch), Supp. VII, 46-47, 54 Spiritual Conflict, The (Scupoli), IV, 156 Spiritual Exercises (Loyola), IV, 151 "Spiritual Manifestation, A" (Whittier), Supp. I, Part 2, 699 Spiritualism, II, 282, 496; III, 424, 565 "Spirituals and Neo-Spirituals" (Hurston), Supp. VI, 152-153 "Spitzbergen Tales" (Crane), I, 409, 415, 423 Spivey, Ted R., Ill, 360 "Spleen" (Eliot), I, 569, 573-574 Splendid Drunken Twenties, The (Van Vechten), Supp. II, Part 2, 739-744 "Splitting Wood at Six Above" (Kumin), Supp. IV, Part 2, 449 "Splittings" (Rich), Supp. I, Part 2,570-571 Spoils of Poynton, The (James), I, 463; Retro. Supp. I, 229-230 Spokesmen (Whipple), II, 456; Supp. I, Part 2, 402 Spook Sonata, The (Strindberg), III, 387, 392 Spoon River Anthology (Masters), 1, 106; III, 579; Supp. I, Part 2, 454, 455, 456, 460-465, 466, 467, 471, 472, 473, 476 Spoon River Revisited (Hartley), Supp. I, Part 2, 478

Sport of the Gods, The (Dunbar), Supp. II, Part 1, 193, 200, 207, 214-217 Sports Illustrated (magazine), II, 259; III, 50; Retro. Supp. I, 186; Supp. IV, Part 2, 475; Supp. V, 58 Sportsman's Sketches, A (Turgenev), I, 106; IV, 277 Sportswriter, The (Ford), Supp. V, 57, 58, 62-67 "Spotted Horses" (Faulkner), IV, 260 Spratling, William, II, 56; Retro. Supp. I, 80 "Spray Paint King, The" (Dove), Supp. IV, Part 1, 252-253 Sprigge, Elizabeth, IV, 31, 47 "Spring" (Millay), III, 126 "Spring and All" (Williams), Retro. Supp. I, 419 Spring and All (Williams), Retro. Supp. I, 412, 418, 418-420, 427, 430, 431 "Spring Evening" (Farrell), II, 45 "Spring Evening" (Kenyon), Supp. VII, 173 "Spring Pastoral" (Wylie), Supp. I, Part 2, 707 "Spring Pools" (Frost), II, 155; Retro. Supp. I, 137 "SPRING SONG" (Baraka), Supp. II, Part 1, 60 "Spring Strains" (Williams), Retro. Supp. I, 416 Spring Tides (Morison), Supp. I, Part 2, 494 Springer, Marlene, Supp. I, Part 1,225 Springfield Daily Republican (newspaper), I, 453, 454 "Springfield Magical" (Lindsay), Supp. I, Part 2, 379 Springfield Republican (newspaper), Retro. Supp. I, 30 Springtime and Harvest (Sinclair), Supp. V, 280 Spruance, Raymond, Supp. I, Part 2, 479, 491 "Spunk" (Hurston), Supp. VI, 150, 151-152

Spunk: The Selected Stories (Hurston), Supp. VI, 150 Spy, The (Cooper), I, 335, 336, 337, 339, 340; Supp. I, Part 1, 155 Spy, The (Freneau), Supp. II, Part 1,260 Squanto, Supp. I, Part 2, 486 "Square Business" (Baraka), Supp. II, Part 1, 49 Square Root of Wonderful, The (McCullers), II, 587-588 Squaring Off: Mailer vs. Baldwin (Weatherby), Supp. I, Part 1, 69 "Squatter on Company Land, The" (Hugo), Supp. VI, 133 Squires, Radcliffe, II, 222; IV, 127, 142, 143 S.S. Gliencairn (O'Neill), III, 387, 388, 405 S.S. San Pedro (Cozzens), I, 360362, 370, 378, 379 "St. Augustine and the Bullfights" (Porter), III, 454 St. Elmo (Wilson), Retro. Supp. I, 351-352 "St. Francis Einstein of the Daffodils" (Williams), IV, 409411 St. George and the Godfather (Mailer), III, 46 "St. George, the Dragon, and the Virgin" (Bly), Supp. IV, Part 1, 73 St. Jean de Crevecoeur (Mitchell), Supp. I, Part 1, 252 St. John, David, Supp. V, 180 St. John, Edward B., Supp. IV, Part 2, 490 St. John, James Hector, see Crevecoeur, Michel-Guillaume Jean de St. Louis Daily Globe-Democrat (newspaper), Supp. I, Part 1, 200 St. Louis Globe-Democrat (newspaper), I, 499 St. Louis Post-Dispatch (newspaper), IV, 381; Supp. I, Part 1, 200 St. Louis Republic (newspaper), I, 499

INDEX / 589 St. Louis Woman (Bontemps and Cullen), Supp. IV, Part 1, 170 St. Mawr (Lawrence), II, 595 St. Nicholas (magazine), II, 397; Retro. Supp. I, 99, 341 "St. Roach" (Rukeyser), Supp. VI, 286 Stade, George, I, 449; Supp. IV, Part 1, 286 Stael, Madame de, II, 298 "Staff of Life, The" (Miller), III, 187 Stafford, Jean, Supp. V, 316, see Lowell, Mrs. Robert (Jean Stafford) Stafford, William, I, 543; Supp. IV, Part 1, 72, Part 2, 642 "Stage All Blood, The" (MacLeish), III, 18 Stalin, Josef, Supp. V, 290 Stalin, Joseph, I, 261, 490; II, 39, 40, 49, 564; III, 30, 298; IV, 372, 376 "Stalking the Billion-Footed Beast: A Literary Manifesto for the New Social Novel" (Wolfe), Supp. Ill, Part 2, 586 Stallman, R. W., I, 70, 405, 425, 426, 427 Stamberg, Susan, Supp. IV, Part 1,201 Stanard, Mrs. Jane, III, 410, 413 Stand, The (King), Supp. V, 139, 140-141, 144-146, 148, 152 Stand in the Mountains, A (Taylor), Supp. V, 324 Stand Still Like the Hummingbird (Miller), III, 184 Stander, Lionel, Supp. I, Part 1, 289 Standish, Burt L. (pseudonym), see Patten, Gilbert Standish, Miles, I, 471; II, 502503 Stanford, Ann, Retro. Supp. I, 41; Supp. I, Part 1, 99, 100, 102, 103, 106, 108, 109, 113, 117, 123; Supp. IV, Part 2, 637 Stanford, Donald E., II, 217, 222; IV, 165, 166 Stanford, Leland, I, 196, 198 Stang, Joanne, IV, 401

"Stanley Kunitz" (Oliver), Supp. VII, 237 Stanton, Frank L., Supp. II, Part 1, 192 Stanton, Robert J., Supp. IV, Part 2,681 "Stanzas from the Grande Chartreuse" (Arnold), Supp. I, Part 2, 417 Stanzas in Meditation (Stein), Supp. Ill, Part 1, 13 Staples, Hugh B., II, 557; III, 550 Star Child (Gunn Allen), Supp. IV, Part 1, 324 Star Is Born, A (film), Supp. IV, Part 1, 198 Star Rover, The (London), II, 467 Starbuck, George, Supp. I, Part 2, 538; Supp. IV, Part 2, 440 "Stare, The" (Updike), Retro. Supp. I, 329 "Starfish, The" (Bly), Supp. IV, Part 1, 72 "Staring at the Sea on the Day of the Death of Another" (Swenson), Supp. IV, Part 2, 652 "Stark Boughs on the Family Tree" (Oliver), Supp. VII, 232 Starke, Aubrey Harrison, Supp. I, Part 1, 350, 352, 356, 360, 362, 365, 370, 371, 373 "Starlight" (Levine), Supp. V, 188 Starr, Ellen Gates, Supp. I, Part 1, 4,5, 11 Starrett, Vincent, I, 425, 426 "Starry Night, The" (Sexton), Supp. II, Part 2, 681 "Stars" (Frost), II, 153 "Stars of the Summer Night" (Longfellow), II, 493 "Stars over Harlem" (Hughes), Retro. Supp. I, 207 Star-Spangled Girl, The (Simon), Supp. IV, Part 2, 579 "Star-Splitter, The" (Frost), Retro. Supp. I, 123, 133 "Starting from Paumanok" (Whitman), IV, 333 "Starved Lovers" (MacLeish), III, 19

Starved Rock (Masters), Supp. I, Part 2, 465 State Journal (newspaper), I, 313 "State of the Art, The" (Elkin), Supp. VI, 52, 53 State of the Nation (Dos Passos), I, 489 "State of the Union" (Vidal), Supp. IV, Part 2, 678 "State, The" (Bourne), I, 233 "Statement of Principles" (Ransom), III, 496 "Statement: Phillipa Allen" (Rukeyser), Supp. VI, 283284 "Statue, The" (Berryman), I, 173 "Statue and Birds" (Bogan), Supp. Ill, Part 1, 50 "Statues, The" (Schwartz), Supp. II, Part 2, 654, 659 "Status Rerum" (Pound), Supp. I, Part 1, 257 Stauffer, Donald A., Ill, 502 Stauffer, Donald Barlow, Supp. I, Part 2, 478 "Staying Alive" (Levertov), Supp. III, Part 1, 281 "Staying at Ed's Place" (Swenson), Supp. IV, Part 2, 648 Steadman, Goodman, IV, 147 Stealing Beauty (Minot), Supp. VI, 205 "Stealing the Thunder: Future Visions for American Indian Women, Tribes, and Literary Studies" (Gunn Allen), Supp. IV, Part 1,331 "Steam Shovel Cut" (Masters), Supp. I, Part 2, 468 Stearns, Harold, I, 245 Stedman, Edmund Clarence, III, 431; Supp. I, Part 1, 372, 373; Supp. II, Part 1, 192 Steele, Sir Richard, I, 378; II, 105, 107, 300; III, 430 Steen, Mike, IV, 401 Steenburgen, Mary, Supp. IV, Part 1, 236 Steeple Bush (Frost), II, 155; Retro. Supp. I, 140 "Steeple-Jack, The" (Moore), III, 212, 213, 215

590 / INDEX Steffens, Lincoln, II, 577; III, 580; Retro. Supp. I, 202; Supp. I, Part 1, 7 Stegner, Page, III, 266; IV, 114, 116, 118; Supp. IV, Part 2, 599 Stegner, Wallace, Supp. IV, Part 2, 595-618; Supp. V, 220, 224, 296 "Stegner's Short Fiction" (Ahearn), Supp. IV, Part 2, 604 Steichen, Edward, III, 580, 594595 Steichen, Lillian, see Sandburg, Mrs. Carl (Lillian Steichen) Stein, Allen F., II, 149 Stein, Arnold, III, 550 Stein, Gertrude, I, 103, 105, 119, 476; II, 56, 251, 252, 257, 260, 262-263, 264, 289; III, 71, 454, 471-472, 600; IV, 24-48, 368, 375, 404, 415, 443, 477; Retro. Supp. I, 108, 170, 176, 177, 186, 418, 422; Supp. I, Part 1, 292; Supp. Ill, Part 1, 13, 37, 225, 226, Part 2, 626; Supp. IV, Parti, 11, 79, 80, 81, 322, Part 2, 468; Supp. V, 53 Stein, Leo, IV, 24, 26, 47 Steinbeck, John, I, 107, 288, 301, 378, 495, 519; II, 272; III, 382, 453, 454, 589; IV, 49-72; Part 2, 502; Supp. IV, Part 1, 102, 225; Supp. V, 290, 291 Steinbeck, Olive Hamilton, IV, 51 Steinem, Gloria, Supp. IV, Part 1, 203 Steiner, George, Retro. Supp. I, 327; Supp. IV, Part 1, 286 Steiner, Nancy, Supp. I, Part 2, 529, 549 Steiner, Stan, Supp. IV, Part 2, 505 Steinhoff, William R., Supp. I, Part 2, 681 Steinmann, M., Jr., I, 286 Steinmetz, Charles Proteus, I, 483 Stekel, Wilhelm, III, 554 Stella, Joseph, I, 387 Stelligery and Other Essays (Wendell), Supp. I, Part 2, 414 Stelzmann, Rainulf A., Ill, 360

Stendhal, I, 316; III, 465, 467; Supp. I, Part 1, 293, Part 2, 445 Stephen, Leslie, IV, 440 Stephen, Saint, II, 539; IV, 228 Stephen, Sir Leslie, IV, 440; Supp. I, Part 1, 306 Stephen Crane (Berryman), I, 169170, 405 Stephen Crane Newsletter (publication), I, 405-406 Stephen King: The Art of Darkness (Winter), Supp. V, 144 Stephen King, The Second Decade: "Dame Macabre" to "The Dark Half (Magistrate), Supp. V, 138, 146, 151 Stephens, Robert O., II, 270 Steps (Kosinski), Supp. VII, 215, 221-222, 225 Steps to the Temple (Crashaw), IV, 145 "Steps Toward Poverty and Death" (Ely), Supp. IV, Part 1, 60 Sterling, George, I, 199, 207, 208, 209, 213; II, 440; Supp. V, 286 Sterling, John, II, 22 Stern, Madeleine B., Supp. I, Part 1, 35, 46 Stern, Maurice, IV, 285 Stern, Milton R., II, 100; III, 97 Stern, Richard G., Ill, 360; Supp. I, Part 1, 298 Sterne, Laurence, II, 302, 304305, 308; III, 454; IV, 68, 211, 465; Supp. I, Part 2, 714; Supp. IV, Part 1, 299; Supp. V, 127 "Sterne" (Schwartz), Supp. II, Part 2, 663 Sterritt, David, Supp. IV, Part 2, 574 Stetson, Caleb, IV, 178 Stevens, Holly, IV, 95 Stevens, Mrs. Wallace (Elsie Kachel), IV, 75 Stevens, Wallace, I, 60, 61, 266, 273, 462, 521, 528, 540-541; II, 56, 57, 530, 552, 556; III, 19, 23, 194, 216, 217, 270-271, 272, 278, 279, 281, 453, 463, 493, 509, 521, 523, 600, 605,

613, 614; IV, 73-96, 140, 141, 332, 402, 415; Retro. Supp. I, 67, 89, 193, 284, 288, 295-315, 335,403,411,416,417,422; Supp. I, Part 1, 80, 82, 257; Supp. II, Part 1, 9, 18; Supp. III, Part 1, 2, 3, 12, 20, 48, 239, 318, 319, 344, Part 2, 611; Supp. IV, Part 1, 72, 393, Part 2, 619, 620, 621, 634; Supp. V, 337 "Stevens and the Idea of the Hero" (Bromwich), Retro. Supp. I, 305 Stevenson, Adlai, II, 49; III, 581 Stevenson, Anne, Supp. I, Part 1, 97 Stevenson, David L., IV, 119 Stevenson, Elizabeth, I, 24 Stevenson, Robert Louis, I, 2, 53; II, 283, 290, 311, 338, 340; III, 328; IV, 183-184, 186, 187, 189; Retro. Supp. I, 224, 228; Supp. I, Part 1, 49; Supp. II, Part 1, 404-405; Supp. IV, Part 1, 298, 314 Stevenson family, II, 119 Stevick, Robert D., Ill, 509 Stewart, Allegra, IV, 48 Stewart, Charles Oran, Supp. I, Part 2, 426 Stewart, Dugald, II, 8, 9; Supp. I, Parti, 151, 159, Part 2, 422 Stewart, John L., II, 222; III, 502 Stewart, Randall, II, 244, 245, 246 Stewart, Stanley, II, 607 Sticks and Stones (Mumford), Supp. II, Part 2, 475, 483, 487-488 Stieglitz, Alfred, Retro. Supp. I, 416 "Stigmata" (Gates), Supp. II, Part 2,520 Stiles, Ezra, II, 108, 122; IV, 144, 146, 148 Still, William Grant, Retro. Supp. 1,203 "Still Here" (Hughes), Retro. Supp. I, 211 "Still Just Writing" (Tyler), Supp. IV, Part 2, 658

INDEX / 591 "Still Life" (Malamud), Supp. I, Part 2, 450 "Still Life" (Sandburg), III, 584 "Still Life: Moonlight Striking up on a Chess-Board" (Lowell), II, 528 "Still Life Or" (Creeley), Supp. IV, Parti, 141, 150, 158 "Still Moment, A" (Welty), IV, 265; Retro. Supp. I, 347 "Still the Place Where Creation Does Some Work on Itself (Davis), Supp. IV, Part 1, 68 "Stillborn" (Plath), Supp. I, Part 2,544 Stillness (Gardner), Supp. VI, 74 Stimpson, Catharine R., Supp. IV, Part 2, 686 Stimson, Eleanor Kenyon, see Brooks, Mrs. Van Wyck "Stings" (Plath), Supp. I, Part 2, 541 "Stirling Street September" (Baraka), Supp. II, Part 1, 51 Stirner, Max, II, 27 "Stirrup-Cup, The" (Lanier), Supp. I, Part 1, 364 Stitt, Peter, Supp. IV, Part 1, 68, Part 2, 628 Stock, Noel, III, 479 Stockton, Frank R., I, 201 Stoddard, Charles Warren, I, 193, 195, 196; Supp. II, Part 1, 192, 341, 351 Stoddard, Elizabeth, II, 275 Stoddard, Richard, Supp. I, Part 1,372 Stoddard, Richard H., Ill, 431 Stoddard, Solomon, I, 545, 548; IV, 145, 148 Stoic, The (Dreiser), I, 497, 502, 508, 516 "Stolen Calf, The" (Dunbar), Supp. II, Part 1, 196 Stone, Albert E., Jr., Supp. I, Part 1,252 "Stone City" (Proulx), Supp. VII, 251-253 Stone Diaries, The (Shields), Supp. VII, 307, 315, 324-326, 327 "Stone Dreams" (Kingsolver), Supp. VII, 203

Stone, Edward, III, 479; Supp. I, Part 2, 626 Stone, Geoffrey, III, 97 Stone, Irving, II, 463, 466, 467, 485; III, 384 Stone, Phil, II, 55 Stone, Robert, Supp. V, 295312 Stone, Ronald H., Ill, 312, 313 Stone, Wilmer, Supp. I, Part 1, 49 "Stones" (Kumin), Supp. IV, Part 2,447 "Stones, The" (Plath), Supp. I, Part 2, 535, 539 Stones of Florence, The (McCarthy), II, 562 "Stop" (Wilbur), Supp. Ill, Part 2,556 "Stop Me If You've Heard This One" (Lardner), II, 433 "Stop Player. Joke No. 4" (Gaddis), Supp. IV, Part 1, 280 Stopover: Tokyo (Marquand), III, 53, 57, 61, 70 Stoppard, Tom, Retro. Supp. I, 189 "Stopping by Woods" (Frost), II, 154 "Stopping by Woods on a Snowy Evening" (Frost), Retro. Supp. I, 129, 133, 134, 135, 139 Stopping Westward (Richards), II, 396 Storer, Edward, Supp. I, Part 1, 261, 262 Stories, Fables and Other Diversions (Nemerov), III, 268269, 285 Stories of F. Scott Fitzgerald, The (Cowley, ed.), Retro. Supp. I, 115 Stories ofF. Scott Fitzgerald, The (Fitzgerald), II, 94 Stories of the Spanish Civil War (Hemingway), II, 258 Stories Revived (James), II, 322 "Storm, The" (Chopin), Supp. I, Part 1, 218, 224 "Storm Fear" (Frost), II, 153; Retro. Supp. I, 127

"Storm Ship, The" (Irving), II, 309 "Storm Warnings" (Kingsolver), Supp. VII, 207-208 "Stormy Weather" (Ellison), Supp. II, Part 1, 233 "Story, A" (Jarrell), II, 371 Story (magazine), III, 28, 442, 551; Supp. I, Parti, 174 "Story About the Body, A" (Hass), Supp. VI, 107-108 "Story Hearer, The" (Paley), Supp. VI, 230, 231 Story of a Country Town, The (Howe), I, 106 Story of a Novel, The (Wolfe), IV, 456, 458 "Story of a Proverb, The" (Lanier), Supp. I, Part 1, 365 "Story of a Proverb, The: A Fairy Tale for Grown People" (Lanier), Supp. I, Part 1, 365 Story of a Wonder Man, The (Lardner), II, 433^34 "Story of a Year, The" (James), Retro. Supp. I, 218 "Story of an Hour, The" (Chopin), Supp. I, Part 1, 212-213, 216 "Story of Gus, The" (Miller), III, 147-148 "Story of How a Wall Stands, A" (Ortiz), Supp. IV, Part 2, 499, 507 Story of Mount Desert Island, Maine, The (Morison), Supp. I, Part 2, 494 Story of Our Lives, The (Strand), Supp. IV, Part 2, 620, 628629, 629 Story of the Normans, The, Told Chiefly in Relation to Their Conquest of England (Jewett), II, 406 "Story of Toby, The" (Melville), III, 76 Story of Utopias, The (Mumford), Supp. II, Part 2, 475, 483-486, 495 Story on Page One, The (Odets), Supp. II, Part 2, 546 Story, Richard David, Supp. IV, Part 2, 575, 588

592 / INDEX Story Teller's Story, A: The Tale of an American Writer's Journey through His Own Imaginative World and through the World of Facts . . . (Anderson), I, 98, 101, 114, 117 "Storyteller" (Silko), Supp. IV, Part 2, 569 Storyteller (Silko), Supp. IV, Part 2, 558, 559, 560, 561, 566-570, 570 "Storyteller: Grandmother Spider's Web" (Danielson), Supp. IV, Part 2, 569 "Storyteller's Notebook, A" (Carver), Supp. Ill, Part 1, 142-143 "Stout Gentleman, The" (Irving), II, 309 Stovall, Floyd, II, 23; III, 432; IV, 188 Stover at Yale (Johnson), III, 321 Stowe, Calvin, IV, 445; Supp. I, Part 2, 587, 588, 590, 596, 597 Stowe, Charles, Supp. I, Part 2, 581, 582 Stowe, Eliza, Supp. I, Part 2, 587 Stowe, Harriet Beecher, II, 274, 399, 403, 541; Retro. Supp. I, 34, 246; Supp. I, Part 1, 30, 206, 301, Part 2, 579-601; Supp. HI, Part 1, 154, 168, 171 Stowe, Lyman Beecher, Supp. I, Part 2, 601 Stowe, Samuel Charles, Supp. I, Part 2, 587 Stowe, William, Supp. IV, Part 1, 129 Strachey, Lytton, I, 5; IV, 436; Retro. Supp. I, 59; Supp. I, Part 2, 485, 494 Strand, Mark, Supp. IV, Part 2, 619-636; Supp. V, 92, 332, 337, 338, 343 Strandberg, Victor, Supp. V, 273 Strandley, Fred L., Supp. I, Part 1,71 Strange Case of Dr. Jekyll and Mr. Hyde, The (Stevenson), II, 290 Strange Children, The (Gordon), II, 196, 197, 199,211-213

"Strange Fruit" (song), Supp. I, Part 1, 80 Strange Interlude (O'Neill), III, 391, 397-398; IV, 61 "Strange Story, A" (Taylor), Supp. V,323 "Strange Story, A" (Wylie), Supp. I, Part 2, 723 Stranger, The (Camus), I, 53, 292 "Stranger, The" (Rich), Supp. I, Part 2, 555, 560 "Stranger, The" (Salinger), III, 552-553 "Stranger in My Own Life, A: Alienation in American Indian Poetry and Prose" (Gunn Allen), Supp. IV, Part 1, 322 "Stranger in the Village" (Baldwin), Supp. I, Part 1, 54; Supp. IV, Part 1, 10 "Stranger in Town" (Hughes), Supp. I, Part 1, 334 "Strangers" (Howe), Supp. VI, 120 "Strangers from the Horizon" (Merwin), Supp. Ill, Part 1, 356 Strangers on a Train (Highsmith), Supp. IV, Part 1, 132 "Strato in Plaster" (Merrill), Supp. Ill, Part 1, 328 Strauss, Johann, I, 66 Strauss, Richard, IV, 316 Stravinsky, Igor, Retro. Supp. I, 378; Supp. IV, Part 1, 81 Stravinsky (De Schloezer), III, 474 "Stravinsky's Three Pieces 'Grotesques,' for String Quartet" (Lowell), II, 523 Straw, The (O'Neill), III, 390 "Stray Document, A" (Pound), II, 517 Streamline Your Mind (Mursell), Supp. I, Part 2, 608 "Street, Cloud" (Rios), Supp. IV, Part 2, 549 Street in Bronzeville, A (Brooks), Retro. Supp. I, 208; Supp. Ill, Part 1, 74-78 "Street Musicians" (Ashbery), Supp. Ill, Part 1, 18

"Street off Sunset, A" (Jarrell), II, 387 Streetcar Named Desire, A (Williams), IV, 382, 383, 385, 386, 387, 389-390, 395, 398; Supp. IV, Part 1, 359 Streets in the Moon (MacLeish), 111,5,8-11, 15, 19 Streets of Laredo (McMurtry), Supp. V, 230 "Streets of Laredo" (screenplay) (McMurtry and Ossana), Supp. V, 226, 230 Streets of Night (Dos Passos), I, 478, 479-480, 481, 488 "Strength of Fields, The" (Dickey), Supp. IV, Part 1, 176, 184-185 Strength of Fields, The (Dickey), Supp. IV, Part 1, 178 "Strength of Gideon, The" (Dunbar), Supp. II, Part 1, 212 Strength of Gideon and Other Stories, The (Dunbar), Supp. II, Part 1,211,212 Strether, Lambert, II, 313 Strickland, Joe (pseudonym), see Arnold, George W. Strictly Business (O. Henry), Supp. II, Part 1, 410 Strindberg, August, I, 78; III, 145, 165, 387, 390, 391, 392, 393;

rv, n

"String, The" (Dickey), Supp. IV, Part 1, 179 "Strivings of the Negro People" (Du Bois), Supp. II, Part 1, 167 "Stroke of Good Fortune, A" (O'Connor), III, 344 Stroller, Leo, IV, 189 Strong, George Templeton, IV, 321 "Strong Draughts of Their Refreshing Minds" (Dickinson), Retro. Supp. I, 46 Strong Opinions (Nabokov), Retro. Supp. I, 263, 266, 270, 276 Structure of Nations and Empires, The (Niebuhr), III, 292, 308 Strugnell, John R., IV, 259 "Strumpet Song" (Plath), Supp. I, Part 2, 536

INDEX / 593 Strunk, William, Supp. I, Part 2, 652, 662, 670, 671, 672 Strunsky, Anna, II, 465, 484 "Strut for Roethke, A" (Berryman), 1, 188 Stuart, Gilbert, I, 16 Stuart, J. E. B., Ill, 56 Stuart Little (White), Supp. I, Part 2, 655-658 Stubbs, John C, I, 143 "Student of Salmanaca, The" (Irving), II, 309 "Student, The" (Moore), III, 212, 215 "Student's Wife, The" (Carver), Supp. Ill, Part 1, 141 "Studied Ambiguities: Arthur Mervyn and the Problem of the Unreliable Narrator" (Brancaccio), Supp. I, Part 1, 148 Studies in American Indian Literature: Critical Essays and Course Designs (Gunn Allen), Supp. IV, Part 1, 324, 333 Studies in American Jewish Literature (journal), Supp. V, 272 Studies in Classic American Literature (Lawrence), II, 102; III, 33; IV, 333; Retro. Supp. I, 421; Supp. I, Part 1,252 "Studs" (Farrell), II, 25, 28, 31 Studs Lonigan: A Trilogy (Farrell), 11,25,26,27,31-34,37,38, 41-42 "Study of Images" (Stevens), IV, 79 "Study of Lanier's Poems, A" (Kent), Supp. I, Part 1, 373 Study of Milton's Prosody (Bridges), II, 537 "Study of the Negro Problems, The" (Du Bois), Supp. II, Part 1, 165 Stuewe, Paul, Supp. IV, Part 1, 68 Stuhlmann, Gunther, III, 191, 192 Stultifera Navis (Brant), III, 447 Sturges, Henry C., Supp. I, Part 1, 173 Sturgis, George, III, 600

Sturgis, Howard, IV, 319; Retro. Supp. I, 367, 373 Sturgis, Mrs. George, see Santayana, Senora Josefina Sturgis, Susan, III, 600 Sturm, Margaret, see Millar, Margaret Stuyvesant, Peter, II, 301 "Style" (Nemerov), III, 275 "Style of the 70's, The: The Novel" (Gates), Supp. I, Part 1, 199 Styles of Radical Will (Sontag), Supp. Ill, Part 2, 451, 459, 460-463 Styron, Rose, III, 169 Styron, William, III, 40; IV, 4, 97-119, 216; Supp. V, 201 Suares, J. C., Supp. IV, Part 1, 234 Suarez, Ernest, Supp. IV, Part 1, 175; Supp. V, 180 "Subject of Childhood, A" (Paley), Supp. VI, 221 "Subjective Necessity for Social Settlements" (Addams), Supp. I, Part 1, 4 "Submarginalia" (Howe), Supp. IV, Part 2, 422 Substance and Shadow (James), II, 344 Subterraneans, The (Kerouac), Supp. Ill, Part 1, 225, 227-231 Subtreasury of American Humor, A (White and White), Supp. I, Part 2, 668 Suburban Sketches (Howells), II, 274, 277 "Subverted Flower, The" (Frost), Retro. Supp. I, 139 "Subway, The" (Tate), IV, 128 Success (publication), I, 500, 506 "Success is counted sweetest" (Dickinson), Retro. Supp. I, 30, 31-32, 38 Success Stories (Banks), Supp. V, 14-15 "Success Story" (Banks), Supp. V, 15 Successful Love and Other Stories (Schwartz), Supp. II, Part 2, 661, 665

Succession, The: A Novel of Elizabeth and James (Garrett), Supp. VII, 104-107, 108 "Such Counsels You Gave to Me" (Jeffers), Supp. II, Part 2, 433 "Such Things Happen Only in Books" (Wilder), IV, 365 Suddenly, Last Summer (film) (Vidal), Supp. IV, Part 2, 683 Suddenly Last Summer (Williams), I, 73; IV, 382, 383, 385, 386, 387, 389, 390, 391, 392, 395396, 397, 398 Suderman, Elmer F., II, 149 Sudermann, Hermann, I, 66; IV, 329 "Sugary Days in St. Botolphs" (Corke), Supp. I, Part 1, 198 Sugg, Richard P., Supp. IV, Part 1,68 "Suggestion from a Friend" (Kenyon), Supp. VII, 171 "Suicide" (Barnes), Supp. Ill, Part 1, 33 "Suicide off Egg Rock" (Plath), Supp. I, Part 2, 529, 538 "Suicide's Note" (Hughes), Retro. Supp. I, 199 "Suitable Surroundings, The" (Bierce), I, 203 "Suitcase, The" (Ozick), Supp. V, 262, 264 "Suite for Augustus, A" (Dove), Supp. IV, Part 1, 245 "Suite for Lord Timothy Dexter" (Rukeyser), Supp. VI, 283, 285 "Suitor, The" (Kenyon), Supp. VII, 164-165 Sukarno, IV, 490 Sukenick, Ronald, Supp. V, 39, 44,46 Sula (Morrison), Supp. Ill, Part 1, 362, 364, 367, 368, 379 Sulfur (publication), Supp. IV, Part 2, 421, 426, 431,432 Sullivan, Harry Stack, I, 59 Sullivan, Noel, Retro. Supp. I, 202; Supp. I, Part 1, 329, 333 Sullivan, Ruth, Supp. I, Part 1, 226 Sullivan, Walter, II, 222

594 / INDEX "Sullivan County Sketches" (Crane), I, 407, 421 Suma Genji (Play), III, 466 "Sumach and Goldenrod: An American Idyll" (Mumford), Supp. II, Part 2, 475 Sumerian Vistas (Ammons), Supp. VII, 34, 35 "Summer" (Emerson), II, 10 "Summer" (Lowell), II, 554 Summer (Wharton), IV, 317; Retro. Supp. I, 360, 367, 374, 378-379, 382 Summer and Smoke (Williams), IV, 382, 384, 385, 386, 387, 395, 397, 398; Supp. IV, Part 1,84 Summer Anniversaries, The (Justice), Supp. VII, 115, 117 "Summer Commentary, A" (Winters), Supp. II, Part 2, 808 "Summer Day" (O'Hara), III, 369 "Summer Days, The" (Oliver), Supp. VII, 239 "Summer Night, A" (Auden), Supp. II, Part 1, 8 "Summer Night" (Hughes), Supp. I, Part 1, 325 "Summer Noon: 1941" (Winters), Supp. II, Part 2, 811 "Summer of '82" (Merwin), Supp. Ill, Part 1, 355-356 Summer on the Lakes in 1843 (Fuller), Supp. II, Part 1, 279, 295-296 "Summer People" (Hemingway), II, 258-259 "Summer People, The" (Merrill), Supp. Ill, Part 1, 325-326 "Summer Ramble, A" (Bryant), Supp. I, Part 1, 162, 164 "Summer: West Side" (Updike), Retro. Supp. I, 320 Summers, Claude J., Supp. IV, Part 2, 680-681 "Summer's Reading, A" (Malamud), Supp. I, Part 2, 430^31,442 " 'Summertime and the Living . . .' " (Hayden), Supp. II, Part 1, 363, 366

Summertime Island (Caldwell), I, 307-308 "Summit Beach, 1921" (Dove), Supp. IV, Part 1, 249 Summons to Memphis, A (Taylor), Supp. V, 313, 314, 327 Sumner, Charles, I, 3, 15; Supp. I, Part 2, 685, 687 Sumner, John B., I, 511 Sumner, William Graham, III, 102, 108; Supp. I, Part 2, 640 "Sumptuous Destination" (Wilbur), Supp. Ill, Part 2, 553 "Sun" (Moore), III, 215 Sun (newspaper), Retro. Supp. I, 102 "Sun" (Swenson), Supp. IV, Part 2,640 Sun Also Rises, The (Hemingway), 1, 107; II, 68, 90, 249, 251252, 260, 600; III, 36; IV, 35, 297; Retro. Supp. I, 171, 177180, 181, 189; Supp. I, Part 2, 614 "Sun and Moon" (Kenyon), Supp. VII, 168 Sun at Midnight (Soseki, trans. Merwin and Shigematsu), Supp. III, Part 1, 353 "Sun Crosses Heaven from West to East Bringing Samson Back to the Womb, The" (Bly), Supp. IV, Part 1, 73 "Sun Dance Shield" (Momaday), Supp. IV, Part 2, 491 Sun Do Move, The (Hughes), Supp. I, Part 1, 339 "Sun, Sea, and Sand" (Marquand), III, 60 Sun to Sun (Hurston), Supp. VI, 154 Sun Tracks (Ortiz), Supp. IV, Part 2, 499, 500 Sun Under Wood (Hass), Supp. VI, 103, 108-109 Sunday, Billy, II, 449 Sunday after the War (Miller), III, 184 "Sunday at Home" (Hawthorne), 11,231-232

"Sunday Morning" (Stevens), II, 552; III, 278, 463, 509; IV, 9293; Retro. Supp. I, 296, 300, 301, 304, 307, 313 "Sunday Morning Apples" (Crane), 1,387 "Sunday Morning Prophecy" (Hughes), Supp. I, Part 1, 334 Sunday State Journal (newspaper), Retro. Supp. I, 9 Sunday Times (London) (newspaper), Supp. IV, Part 2, 688 "Sundays of Satin-Legs Smith, The" (Brooks), Supp. Ill, Part 1, 74, 75 "Sundays, They Sleep Late" (Rukeyser), Supp. VI, 278 "Sundays Visiting" (Rios), Supp. IV, Part 2, 541 Sundell, Carl, Supp. I, Part 2, 627 Sundermann, K. H., Ill, 97 Sundial (magazine), Supp. I, Part 2,606 "Sunflower Sutra" (Ginsberg), Supp. II, Part 1,317, 321 Sunlight Dialogues, The (Gardner), Supp. VI, 63, 68, 69, 70 "Sunlight Is Imagination" (Wilbur), Supp. Ill, Part 2, 549 "Sunrise" (Lanier), Supp. I, Part 1,370 "Sunrise runs for Both , The" (Dickinson), Retro. Supp. I, 45 "Sunset" (Ransom), III, 484 "Sunset from Omaha Hotel Window" (Sandburg), III, 584 "Sunset Maker, The" (Justice), Supp. VII, 123 Sunset Maker, The: Poems, Stories, a Memoir (Justice), Supp. VII, 116, 118, 119, 123-124 Sunshine Boys, The (film), Supp. IV, Part 2, 589 Sunshine Boys, The (Simon), Supp. IV, Part 2, 575, 584-585 "Sunthin' in the Pastoral Line" (Lowell), Supp. I, Part 2, 415416 Super Science Stories (magazine), Supp. IV, Part 1, 102

INDEX / 595 "Superb Lily, The" (Pinsky), Supp. VI, 250 "Supper After the Last, The" (Kinnell), Supp. Ill, Part 1, 239 Suppressed Desires (Glaspell), Supp. Ill, Part 1, 178 Suppression of the African Slave Trade to the United States of America, 1638-1870 (Du Bois), Supp. II, Part 1, 157, 162 Sure Hand of God, The (Caldwell), I, 297, 302 "Surety and Fidelity Claims" (Stevens), Retro. Supp. I, 296, 309 Surface of Earth, The (Price), Supp. VI, 261-262 "Surfaces" (Ammons), Supp. VII, 36 "Surgeon at 2 A.M." (Plath), Supp. I, Part 2, 545 Surmmer Knowledge (Schwartz), Supp. II, Part 2, 662, 665 "Surprise" (Kenyon), Supp. VII, 173 Surrealism, I, 201; II, 435, 540; IV, 411,486, 493; Supp. I, Part 2, 440, 443, 527 "Surround, The Imagining Herself as the Environment/She Speaks to James Wright at Sundow" (Dickey), Supp. IV, Part 1, 185 Survey Graphic (publication), Retro. Supp. I, 199; Supp. I, Part 1, 323 "Survey of Literature" (Ransom), III, 480 Survival of the Bark Canoe, The (McPhee), Supp. Ill, Part 1, 301, 302, 308, 313 Survival This Way: Interviews with American Indian Poets (Bruchac), Supp. IV, Part 2, 506 "Surviving Love" (Berryman), I, 173 Susanna Moodie: Voice and Vision (Shields), Supp. VII, 313 Suspect in Poetry, The (Dickey), Supp. IV, Part 1, 177 "Susto" (Rios), Supp. IV, Part 2, 553

Sut Lovingood's Yarns (Harris), II, 70 Sutcliffe, Denham, III, 525 Sutherland, Donald, IV, 38, 44, 48 Sutherland, Efua, Supp. IV, Part 1, 9, 16 Sutton, Walter, III, 479 Sutton, William A., I, 120 Swallow Barn (Kennedy), II, 313 Swan, Barbara, Supp. IV, Part 2, 447 Swan, Bradford F., Ill, 121 Swan, Jon, Supp. IV, Part 1, 176 Swanberg, W. A., I, 520 Swann, Brian, Supp. IV, Part 2, 500 Swann (Shields), Supp. VII, 315, 318-323, 326 Swann, Thomas B., Supp. I, Part 1,275 Swanson, Gloria, II, 429 Sweat (Hurston), Supp. VI, 152 Swedenborg, Emanuel, II, 5, 10, 321, 342, 343-344, 396 Swedenborgianism, Supp. I, Part 2,588 Sweeney, John L., II, 340; III, 217 Sweeney Agonistes (Eliot), I, 580; Retro. Supp. I, 64, 65 "Sweeney Among the Nightingales" (Eliot), III, 4 Sweet, Blanche, Supp. I, Part 2, 391 Sweet, Timothy, Supp. IV, Part 1, 330 Sweet and Sour (O'Hara), III, 361 Sweet Bird of Youth (Williams), IV, 382, 383, 385, 386, 387, 388, 389, 390, 391, 392, 395, 396, 398; Supp. IV, Part 1, 84, 89 Sweet Charity (musical), Supp. IV, Part 2, 575 Sweet Flypaper of Life, The (Hughes), Supp. I, Part 1, 335336 Sweet Hereafter, The (Banks), Supp. V, 15-16 Sweet Sue (Gurney), Supp. V, 105, 107-108 Sweet Thursday (Steinbeck), IV, 50, 52, 64-65

"Sweet Will" (Levine), Supp. V, 190 Sweet Will (Levine), Supp. V, 178, 187, 189, 190 "Sweet Words on Race" (Hughes), Retro. Supp. I, 211 "Sweetheart of the Song Tra Bong, The" (O'Brien), Supp. V, 243, 249 "Sweethearts" (Ford), Supp. V, 69 Sweezy, Paul, Supp. I, Part 2, 645 "Swell-Looking Girl, A" (Caldwell),!, 310 Swenson, May, Supp. IV, Part 2, 637-655 Swift, Jonathan, I, 125, 194, 209, 441; II, 110, 302, 304-305, 577; III, 113; IV, 68; Retro. Supp. I, 66; Supp. I, Part 2, 406, 523, 603, 656, 665, 708, 714; Supp. IV, Part 1,51, Part 2, 692 "Swift" (Schwartz), Supp. II, Part 2,663 "Swimmer, The" (Cheever), Supp. 1, Part 1, 185, 187 "Swimmer, The" (Gluck), Supp. V, 82 "Swimmers, The" (Fitzgerald), Retro. Supp. I, 110, 111 "Swimmers, The" (Tate), IV, 136 Swinburne, Algernon C, I, 50, 384, 568; II, 3, 4, 129, 400, 484, 524; IV, 135; Retro. Supp. I, 100; Supp. I, Part 1, 79, Part 2, 422, 552 "Swinburne as Poet" (Eliot), I, 576 Swinger of Birches, A: A Portrait of Robert Frost (Cox), Retro. Supp. I, 132 Sword Blades and Poppy Seed (Lowell), II, 518, 520, 522, 532 Sybil (Auchincloss), Supp. IV, Part 1, 25 "Sycamore, The" (Moore), III, 216 "Sycamores, The" (Whittier), Supp. I, Part 2, 699 Sylvester, Johnny, Supp. I, Part 2, 438 Sylvester, Joshua, I, 178, 179; II, 18; III, 157; Supp. I, Part 1, 98, 104, 114, 116 Sylvester, William A., Ill, 455

596 / INDEX Sylvia (Gurney), Supp. V, 105 Sylvia Plath: Method and Madness (Butscher), Supp. I, Part 2, 526, 548 Sylvia Plath: Poetry and Existence (Holbrook), Supp. I, Part 2, 526-527, 548 "Sylvia's Death" (Sexton), Supp. II, Part 2, 671,684, 685 "Symbol and Image in the Shorter Poems of Herman Melville" (Dickey), Supp. IV, Part 1, 176 Symbolist Movement in Literature, The (Symons), I, 50, 569; Retro. Supp. I, 55 Symonds, John Addington, I, 241, 242, 251, 259; IV, 334 Symons, Arthur, I, 50, 569; Retro. Supp. I, 55 Symons, Julian, Supp. IV, Part 1, 343, 351 "Sympathy" (Dunbar), Supp. IV, Part 1, 15 "Symphony, The" (Lanier), Supp. I, Part 1, 352, 360-361, 364, Part 2, 416 Symposium (Plato), Supp. IV, Part 1,391 Symptoms of Being 35 (Lardner), II, 434 Synge, John Millington, I, 434; III, 591-592; Supp. Ill, Part 1, 34 Synthetic Philosophy (Spencer), II, 462-463 "Syringa" (Ashbery), Supp. Ill, Part 1, 19-21, 25 "Syrinx" (Merrill), Supp. Ill, Part 1,328 System of Dante's Hell The (Baraka), Supp. II, Part 1, 3941,55 "System of Dante's Inferno, The" (Baraka), Supp. II, Part 1, 40 "System of Doctor Tarr and Professor Fether, The" (Poe), III, 419, 425 System of General Geography, A (Brown), Supp. I, Part 1, 146 "System, The" (Ashbery), Supp. Ill, Part 1, 14, 15, 18, 21-22

T. S. Eliot and American Philosophy (Jain), Retro. Supp. 1,58 T. S. Eliot's Silent Voices (Mayer), Retro. Supp. I, 58 Tacitus, Cornelius, I, 485; II, 113 "Tag" (Hughes), Supp. I, Part 1, 341 Taggard, Genevieve, III, 144; IV, 436 Taggart, John, Supp. IV, Part 2, 421 Tagore, Rabindranath, I, 383 "Tailor Shop, The" (Miller), III, 175 Taine, Hippolyte, I, 503; II, 271; III, 323; IV, 440, 444 "Tain't So" (Hughes), Supp. I, Part 1, 330 Takasago (play), III, 466 Take Me Back: A Novel (Bausch), Supp. VII, 41, 43^5, 46, 49 "Take My Saddle from the Wall: A Valediction" (McMurtry), Supp. V, 219 " Take No for an Answer' " (Didion), Supp. IV, Part 1, 203 "Take Pity" (Malamud), Supp. I, Part 2, 427, 428, 435, 436, 437 "Taking Away the Name of a Nephew" (Rios), Supp. IV, Part 2, 545-546 "Taking the Forest" (Howe), Supp. IV, Part 2, 433 "Taking the Lambs to Market" (Kumin), Supp. IV, Part 2, 455 "Tale, A" (Bogan), Supp. Ill, Part 1,50,51 "Tale of Jerusalem, A" (Poe), III, 411 Tale of Possessors SelfDispossessed, A (O'Neill), III, 404 Tale of the Body Thief, The (Rice), Supp. VII, 290, 293-294, 297 Tale of Two Cities, A (film), Supp. I, Part 1, 67 "Tale of Two Liars, A" (Singer), IV, 12 Taleb-Khyar, Mohamed, Supp. IV, Part 1, 242, 243, 244, 247, 257

Tales (Baraka), Supp. II, Part 1, 39,55 Tales (Poe), III, 413 Tales of a Traveller (Irving), II, 309-310 Tales of a Wayside Inn (Longfellow), II, 489, 490, 501, 502, 504-505 Tales of Glauber-Spa (ed. Bryant), Supp. I, Part 1, 157 Tales of Manhattan (Auchincloss), Supp. IV, Part 1, 23 Tales of Men and Ghosts (Wharton), IV, 315; Retro. Supp. I, 372 Tales ofRhoda, The (Rice), Supp. VII, 288 Tales of Soldiers and Civilians (Bierce), I, 200-203, 204, 206, 208, 212 Tales of the Argonauts (Harte), Supp. II, Part 1, 337, 348, 351 Tales of the Fish Patrol (London), II, 465 Tales of the Grotesque and Arabesque (Poe), II, 273; III, 412, 415 Tales of the Jazz Age (Fitzgerald), II, 88; Retro. Supp. I, 105 Talisman, The (King), Supp. V, 140, 144, 152 "Talisman, A" (Moore), III, 195196 Talisman, The (publication), Supp. I, Part 1, 157; Supp. IV, Part 2,431,434 "Talk of the Town" (New Yorker column), IV, 215; Supp. IV, Part 1, 53, 54 "Talk of the Town and the Country, The: E. B. White" (Hasley), Supp. I, Part 2, 681 "Talk with John Cheever" (Hersey), Supp. I, Part 1, 198 "Talk with the Yellow Kid, A" (Bellow),!, 151 "Talking" (Merwin), Supp. Ill, Part 1, 354 Talking All Morning (Bly), Supp. IV, Part 1, 59, 60, 61, 62, 64, 65

INDEX / 597 "Talking Horse" (Malamud), Supp. I, Part 2, 435 "Talking to Sheep" (Sexton), Supp. II, Part 2, 695 "Talking with Adrienne Rich" (Kalstone), Supp. I, Part 2, 578 "Talking with Adrienne Rich" (Plumly, Dodd, and Tevis), Supp. I, Part 2, 578 "Talking with John Cheever" (Firth), Supp. I, Part 1, 198 Tallent, Elizabeth, Supp. IV, Part 2,570 Tallman, Warren, Supp. IV, Part 1, 154 TallMountain, Mary, Supp. IV, Part 1, 324-325 Talma, Louise, IV, 357 Talmey, Allene, Supp. IV, Part 1, 197 Talmud, IV, 8, 17 Taltos: Lives of the May fair Witches (Rice), Supp. VII, 299300 "Tarn O'Shanter" (Burns), II, 306 "Tamar" (Jeffers), Supp. II, Part 2, 427-428, 436 Tamar and Other Poems (Jeffers), Supp. II, Part 2, 416, 419 Tambour (publication), II, 26 Tambourines to Glory (Hughes), Supp. I, Part 1, 338-339 "Tamerlane" (Poe), III, 426 Tamerlane and Other Poems (Poe), III, 410 Tangential Views (Bierce), I, 209 "Tangier 1975" (Bowles), Supp. IV, Part 1, 94 Tanner, James, IV, 354 Tanner, Tony, I, 143, 166, 260, 261; III, 48; Supp. I, Part 2, 453; Supp. IV, Part 1, 285 Tannhauser (Wagner), I, 315 Tanselle, G. Thomas, I, 119; III, 95; Supp. I, Part 2, 402, 426 Tapahonso, Luci, Supp. IV, Part 1, 404, Part 2, 499, 508 Tape for the Turn of the Year (Ammons), Supp. VII, 31-33, 35 "Tapestry" (Ashbery), Supp. Ill, Part 1, 22-23

"Tapiama" (Bowles), Supp. IV, Part 1, 89-90 "Tapiola" (Williams), Retro. Supp. I, 429 Tappan, Arthur, Supp. I, Part 2, 588 Taps at Reveille (Fitzgerald), II, 94, 96; Retro. Supp. I, 113 Tar: A Midwest Childhood (Anderson), I, 98, 115; II, 27 Tar Baby (Morrison), Supp. Ill, Part 1, 364, 369-372, 379; Supp. IV, Part 1, 13 Tarantino, Quentin, Supp. IV, Part 1, 356 Tarbell, Ida M., Ill, 322, 580 "Target Study" (Baraka), Supp. II, Part 1, 49-50, 54 Tarkington, Booth, II, 444; III, 70; Retro. Supp. I, 100 Tartuffe (Moliere, trans. Wilbur), Supp. Ill, Part 2, 560 Tarumba, Selected Poems of Jaime Sabines (tr. Levine and Trejo), Supp. V, 178 Task, The (Cowper), II, 304 Tasso, Torquato, I, 276 Tate, Allen, 317; I, 48, 49, 50, 67, 69, 70, 381, 382, 386, 390, 396, 397, 399, 402, 404, 441, 450, 468, 473, 591; II, 197-198, 221, 367, 390, 536, 537, 542, 551, 554; III, 144, 217, 424, 428, 432, 454, 482, 483, 485, 493, 495, 496, 497, 499, 500, 517, 550; IV, 96, 120-143, 236, 237, 259, 284, 433; Retro. Supp. I, 37, 41, 90; Supp. I, Part 1, 364, 371, 373, Part 2, 423, 730; Supp. II, Part 1, 90-91, 96, 98, 103-104, 136, 139, 144, 150, 151, 318, Part 2, 643; Supp. Ill, Part 2, 542; Supp. V, 315, 331 Tate, Benjamin Lewis Bogan, IV, 127 Tate, James, 338; Supp. V, 92, 338 Tate, John Allen, IV, 127 Tate, Mary Barbara, III, 360 Tate, Michael Paul, IV, 127

Tate, Mrs. Allen (Caroline Gordon), IV, 123, 126-127, 139, 142, 282 Tate, Mrs. Allen (Helen Heinz), IV, 127 Tate, Mrs. Allen (Isabella Gardner), IV, 127 Tate, Nancy, II, 197 Tattooed Countess, The (Van Vechten), I, 295; Supp. II, Part 2, 726-728, 738, 742 "Tattoos" (Wright), Supp. V, 335, 340 Tatum, Anna, I, 516 Tatum, James, Supp. IV, Part 2, 684 Taupin, Rene, II, 528, 529, 533; IV, 96, 425; Supp. I, Part 1, 275; Supp. Ill, Part 2, 614, 615, 617, 621 Tawney, Richard Henry, Supp. I, Part 2, 481 Taylor, Bayard, II, 275; Supp. I, Part 1, 350, 361, 362, 365, 366, 372 Taylor, C. Clarke, IV, 234 Taylor, Cora, see Howarth, Cora Taylor, Deems, III, 138 Taylor, Edward, III, 493; IV, 144166; Supp. I, Part 1, 98, 123, Part 2, 375, 386, 546 Taylor, Eleanor Ross, II, 390; Supp. V, 317, 318 Taylor, Elizabeth, II, 588 Taylor, Frank, III, 81 Taylor, Frederick Winslow, Supp. I, Part 2, 644 Taylor, Graham, Supp. I, Part 1,5 Taylor, Harvey, II, 461 Taylor, Henry, Retro. Supp. I, 212 Taylor, Henry W., IV, 144 Taylor, Jeremy, II, 11; III, 487; Supp. I, Part 1, 349 Taylor, John, IV, 149 Taylor, Kezia, IV, 148 Taylor, Larry E., IV, 235 Taylor, Mrs. Edward (Elizabeth Fitch), IV, 147, 165 Taylor, Mrs. Edward (Ruth Wyllys), IV, 148

598 / INDEX Taylor, Nathaniel W., Supp. I, Part 2, 580 Taylor, Paul, I, 293 Taylor, Peter, II, 390; Supp. V, 313-329 Taylor, Richard, IV, 146 Taylor, Robert, Supp. I, Part 1, 294 Taylor, Thomas, II, 10 Taylor, Walter, F., Ill, 336 Taylor, Welford D., I, 119, 120 Taylor, William, IV, 145-146 Taylor, William Robert, Supp. I, Part 2, 601 Taylor, Zachary, I, 3; II, 433^34 Tchelitchew, Peter, II, 586 Tea and Sympathy (Anderson), Supp. I, Part 1, 277; Supp. V, 108 "Tea at the Palaz of Hoon" (Stevens), Retro. Supp. I, 300, 302, 306 "Tea on the Mountain" (Bowles), Supp. IV, Part 1, 90 "Tea Party, The" (MacLeish), III, 11 "Teacher's Pet" (Thurber), Supp. I, Part 2, 605-606 Teaching a Stone to Talk: Expeditions and Encounters (Dillard), Supp. VI, 23, 26, 28, 32, 33, 34-35 Teachings of Don B., The (Barthelme), Supp. IV, Part 1, 53 Teall, Dorothy, I, 221 Teasdale, Sara, Retro. Supp. I, 133; Supp. I, Part 2, 393, 707 Technics and Civilization (Mumford), Supp. I, Part 2, 638; Supp. II, Part 2, 479, 493, 497 Technics and Human Development (Mumford), Supp. I, Part 2, 638; Supp. II, Part 2, 497 "Teddy" (Salinger), III, 561-563, 571 Tedlock, Dennis, Supp. IV, Part 2,509 Tedlock, E. W., IV, 72 "Teeth Mother Naked at Last, The" (Ely), Supp. IV, Part 1, 63, 68, 73

Teggart, Richard, Supp. I, Part 2, 650 Teilhard de Chardin, Pierre, III, 359; Supp. I, Parti, 314 "Telephone Number of the Muse, The" (Justice), Supp. VII, 124125 Telephone Poles and Other Poems (Updike), IV, 214, 215 "Television" (Beattie), Supp. V, 33 Tell Me How Long the Train's Been Gone (Baldwin), Supp. I, Part 1, 48, 52, 63-65, 67 Tell Me, Tell Me (Moore), III, 215 Tell Me Your Answer True (Sexton), Supp. II, Part 2, 683 Tell My Horse (Hurston), Supp. VI, 149, 156, 158 "Tell the Women We're Going" (Carver), Supp. Ill, Part 1, 138, 144 Teller, Edward, I, 137 Teller, Judd L., IV, 24 "Telling" (Ortiz), Supp. IV, Part 2,509 "Telling Stories" (Didion), Supp. IV, Part 1, 197 Telling Stories (Didion), Supp. IV, Part 1, 197 Telling Tales (magazine), IV, 123 "Telling the Bees" (Whittier), Supp. I, Part 2, 694-695 "Tell-Tale Heart, The" (Poe), III, 413, 414-415, 416 Temblor (Howe), Supp. IV, Part 2,431 Tempers, The (Williams), 413-414, 415, Retro. Supp. I, 416, 424 Tempest, The, Supp. V, 302-303 Tempest, The (Shakespeare), I, 394; II, 12; III, 40, 61,263; Retro. Supp. I, 61, Supp. IV, Part 2, 463 Temple, Minnie, II, 323 Temple, William, III, 303 Temple, The (Herbert), IV, 145, 153 Temple of My Familiar, The (Walker), Supp. Ill, Part 2, 521, 527, 529, 535, 537; Supp. IV, Part 1, 14

" Temple of the Fire Baptized' " (Barksdale), Supp. I, Part 1, 69 "Temple of the Holy Ghost, A" (O'Connor), III, 344, 352 Templin, Charlotte, Supp. V, 116 "Temporary Shelter" (Gordon), Supp. IV, Part 1, 306 Temporary Shelter (Gordon), Supp. IV, Part 1, 299, 305-307 Temptation Game, The (Gardner), Supp. VI, 72 "Temptation of St. Anthony, The" (Barthelme), Supp. IV, Part 1, 47 Ten Days That Shook the World (Reed), II, 577 "Ten Forty-Four" (Kingsolver), Supp. VII, 208 Ten Harmsel, Henrietta, Supp. I, Part 1, 199 "Ten Neglected American Writers Who Deserve to Be Better Known" (Cantor), Supp. IV, Part 1, 285 Ten North Frederick (O'Hara), III, 361 "Ten O'Clock News" (Ortiz), Supp. IV, Part 2, 503-504 Ten Poems (Dove), Supp. IV, Part 1, 244 Ten Poems of Francis Ponge Translated by Robert Ely and Ten Poems of Robert Ely Inspired by the Poems by Francis Ponge (Bly), Supp. IV, Parti, 71 "Tenancy, A" (Merrill), Supp. Ill, Part 1, 322, 323 Tenants, The (Malamud), Supp. I, Part 2, 448-450 Tendencies in Modern American Poetry (Lowell), II, 529; Supp. I, Part 1, 275, Part 2, 478 Tender Buttons (Stein), I, 103, 105; IV, 27, 42-43 Tender Is the Night (Fitzgerald), I, 375; II, 79, 84, 91, 95-96, 97, 98, 420; Retro. Supp. I, 105, 108, 109, 110-112, 114 "Tender Offer, The" (Auchincloss), Supp. IV, Part 1, 34 "Tenderloin" (Crane), I, 408

INDEX / 599 Tennent, Gilbert, I, 546 Tennessee Day in St. Louis (Taylor), Supp. V, 324 Tennessee Poetry Journal (publication), Supp. IV, Part 1, 62 "Tennessee's Partner" (Harte), Supp. II, Part 1, 345, 348-350 "Tennis" (Pinsky), Supp. VI, 241, 242 Tennis Court Oath, The (Ashbery), Supp. Ill, Part 1, 7, 9, 12, 14, 26 Tennyson, Alfred, Lord, I, 587588; II, 18, 82, 273, 338, 404, 439, 604; III, 5, 409, 469, 485, 511, 521, 523; Retro. Supp. I, 100, 325; Supp. I, Part 1, 349, 356, Part 2, 410, 416, 552 "Tension in Poetry" (Tate), IV, 128, 129, 135 "Tent on the Beach, The" (Whittier), Supp. I, Part 2, 703 Tenth Muse, The (Bradstreet), Supp. I, Part 1, 102, 103, 114 "Teodoro Luna Confesses after Years to His Brother, Anselmo the Priest, Who Is Required to Understand, But Who Understands Anyway, More Than People Think" (Rios), Supp. IV, Part 2, 552 Teodoro Luna's Two Kisses (Rios), Supp. IV, Part 2, 550-552, 553 "Tepeyac" (Cisneros), Supp. VII, 69 "Terce" (Auden), Supp. II, Part 1, 22 Terence, IV, 155, 363; Supp. I, Part 2, 405 Terkel, Studs, Supp. IV, Part 1, 364 "Term" (Merwin), Supp. Ill, Part I, 356-357 Terminations (James), Retro. Supp. I, 229 "Terminus" (Emerson), II, 13, 19 "Terminus" (Wharton), Retro. Supp. I, 371 "Terms in Which I Think of Reality, The" (Ginsberg), Supp. II, Part 1,311

Terms of Endearment (film), Supp. V, 226 Terms of Endearment (McMurtry), Supp. V, 224-225 "Terrace, The" (Wilbur), Supp. III, Part 2, 550 "Terrible Peacock, The" (Barnes), Supp. Ill, Part 1, 33 Territorial Enterprise (newspaper), IV, 195 Territory Ahead, The (Morris), III, 228-229, 236 Terry, Edward A., II, 128, 129 Terry, John Skally, IV, 472 Terry, Rose, Supp. I, Part 2, 420 Tertium Organum (Ouspensky), I, 383 Tess of the d'Urbervilles (Hardy),

II, 181

Test of Poetry, A (Zukofsky), Supp. Ill, Part 2, 618, 622 "Testament (Or, Homage to Walt Whitman)" (Jong), Supp. V, 130 "Testament of Flood" (Warren), IV, 253 Testament of Francois Villon, The (Pound, opera), Retro. Supp. I, 287 "Testing-Tree, The" (Kunitz), Supp. Ill, Part 1, 269 Testing-Tree, The (Kunitz), Supp. III, Part 1, 260, 263, 264, 267, 268 Tevis, Walter, Supp. I, Part 2, 578 "Texas Moon, and Elsewhere, The" (McMurtry), Supp. V, 225 Texas Observer, Supp. V, 225 Texas Studies in Literature and Language, Supp. V, 272 Texasville (McMurtry), Supp. V, 228, 233 Thacher, Molly Day, IV, 381 Thackeray, William Makepeace, I, 194, 354; II, 182, 271, 282, 288, 316, 321, 322; III, 64, 70; IV, 326; Retro. Supp. I, 218; Supp. I, Part 1, 307, Part 2, 421, 495, 579; Supp. IV, Part 1, 297 Thaddeus, Janice Farrar, Supp. IV, Part 1, 299

"Thailand" (Barthelme), Supp. IV, Part 1, 41 Thalberg, Irving, Retro. Supp. I, 109, 110, 114 Thales, I, 480-481 Thalia Trilogy (McMurtry), Supp. V, 220-223, 234 "Thanatopsis" (Bryant), Supp. I, Part 1, 150, 154, 155, 170 "Thanatos and Eros: Kate Chopin's The Awakening" (Wolff), Supp. I, Part 1, 226 Thanatos Syndrome, The (Percy), Supp. Ill, Part 1, 385, 397-399 Thank You, Fog (Auden), Supp. II, Part 1, 24 "Thank You, Lord" (Angelou), Supp. IV, Part 1, 15 Thank You, Mr. Moto (Marquand), III, 57, 58 "Thanksgiving" (Gltick), Supp. V, 83 "Thanksgiving, A" (Auden), Supp. II, Part 1, 26 "Thanksgiving for a Habitat" (Auden), Supp. II, Part 1, 24 "Thanksgiving Spirit" (Farrell), II, 45 Thanksgiving Visitor, The (Capote), Supp. Ill, Part 1, 116, 118, 119 "Thar's More in the Man Than Thar Is in the Land" (Lanier), Supp. I, Part 1, 352-353, 359360 "That Evening Sun" (Faulkner), II, 72; Retro. Supp. I, 75, 83 That Horse (Hogan), Supp. IV, Part 1, 397, 404, 405 "That I Had the Wings" (Ellison), Supp. II, Part 1, 238 "That the Soul May Wax Plump" (Swenson), Supp. IV, Part 2, 650 "That Thurber Woman", Supp. I, Part 2, 627 "That Tree" (Porter), III, 434-435, 446,451 "That's the Place Indians Talk About" (Ortiz), Supp. IV, Part 2,511 Thayer, Abbott, I, 231

600 / INDEX Thayer and Eldridge, Retro. Supp. 1,403 Thayer, Scofield, I, 231; Retro. Supp. I, 58 "Theater Chronicle" (McCarthy), 11,562 Theatricals (James), Retro. Supp. 1,228 "Theft" (Porter), III, 434, 435 Their Eyes Were Watching God (Hurston), Supp. VI, 149, 152, 156-157 Their Heads Are Green and Their Hands Are Blue: Scenes from the Non-Christian World (Bowles), Supp. IV, Part 1, 89 "Their Losses" (Taylor), Supp. V, 320 Their Wedding Journey (Howells), H, 277-278; Retro. Supp. I, 334 Thelen, Mary Frances, HI, 313 Thelwell, Mike, IV, 119; Supp. I, Part 1, 71 them (Gates), Supp. II, Part 2, 503,511-514 Theme Is Freedom, The (Dos Passes), I, 488^89, 492, 494 Theme of Identity in the Essays of James Baldwin, The: an Interpretation (Moller), Supp. I, Part 1, 69 "Theme with Variations" (Agee), I, 27 "Then" (Barthelme), Supp. IV, Part 1, 48 "Then It All Came Down" (Capote), Supp. HI, Part 1, 125, 131 Theocritus, II, 169; Retro. Supp. 1,286 "Theodore the Poet" (Masters), Supp. I, Part 2, 461 Theological Postilion, A (Coover), Supp. V, 44 Theophrastus, I, 58 "Theory and Experience in Crevecoeur's America" (Rapping), Supp. I, Part 1, 252 Theory of Business Enterprise, The (Veblen), Supp. I, Part 2, 638, 641, 644

"Theory of Flight" (Rukeyser), Supp. VI, 277-278 Theory of Flight (Rukeyser), Supp. VI, 272, 275, 277-278, 284 Theory of Moral Sentiments, The (Smith), Supp. I, Part 2, 634 Theory of the Leisure Class, The (Veblen), I, 475^76; Supp. I, Part 2, 629, 633, 641, 645; Supp. IV, Part 1, 22 "There" (Taylor), Supp. V, 323 "There Goes (Varoom! Varoom!) That Kandy-Kolored TangerineFlake Streamline Baby" (Wolfe), Supp. Ill, Part 2, 569-571 "There She Is She Is Taking Her Bath" (Anderson), I, 113, 114 "There Was a Child Went Forth" (Whitman), IV, 348 "There Was a Man, There Was a Woman" (Cisneros), Supp. VII, 70 "There Was a Youth Whose Name Was Thomas Granger" (Olson), Supp. II, Part 2, 558, 560, 563 "There Was an Old Woman She Had So Many Children She Didn't Know What to Do" (Cisneros), Supp. VII, 60 "There's a certain Slant of light" (Dickinson), Retro. Supp. I, 38 Theroux, Paul, Supp. V, 122 "These Are My People" (Hayden), Supp. II, Part 1, 365 "These are the days when Birds come back" (Dickinson), Retro. Supp. I, 30 "These Flames and Generosities of the Heart: Emily Dickinson and the Illogic of Sumptuary Values" (Howe), Supp. IV, Part 2,431 These Thirteen (Faulkner), II, 72 These Three (film), Supp. I, Part 1,281 "These saw Visions" (Dickinson), Retro. Supp. I, 46 "Thessalonica: A Roman Story" (Brown), Supp. I, Part 1, 133 "They Ain't the Men They Used To Be" (Farrell), II, 45

"They Can't Turn Back" (Baldwin), Supp. I, Part 1, 52 "They Feed They Lion" (Levine), Supp. V, 188 They Feed They Lion (Levine), Supp. V, 178, 179, 181, 184185, 186 "They Lion Grow" (Levine), Supp. V, 184-185 "They Sing, They Sing" (Roethke), III, 544 They Stooped to Folly (Glasgow), II, 175, 186-187 "They're Not Your Husband" (Carver), Supp. Ill, Part 1, 141, 143 They're Playing Our Song (musical), Supp. IV, Part 2, 589 "Thimble, The" (Kenyon), Supp. VII, 164 Thin Man, The (film), Supp. IV, Part 1, 342, 355 Thin Man, The (Hammett), Supp. IV, Part 1, 354-355 "Thin People, The" (Plath), Supp. I, Part 2, 538, 547 Thin Red Line, The (film), Supp. V,249 "Thin Strips" (Sandburg), III, 587 "Thing and Its Relations, The" (James), II, 357 "Thing That Killed My Father Off, The" (Carver), Supp. Ill, Part 1, 143 "Things" (Kenyon), Supp. VII, 169 "Things, The" (Kinnell), Supp. III, Part 1, 246 "Things Aren't What They Seem" (Janeway), Supp. I, Part 1, 198 Things As They Are (Stein), IV, 34, 37, 40 Things Gone and Things Still Here (Bowles), Supp. IV, Part 1, 91 "Things of August" (Stevens), Retro. Supp. I, 309 Things of This World (Wilbur), Supp. Ill, Part 2, 552-555 Things Themselves: Essays and Scenes (Price), Supp. VI, 261

INDEX / 601 Things They Carried, The (O'Brien), Supp. V, 238, 239, 240, 243, 248-250 Think Back on Us . . . (Cowley), Supp. II, Part 1, 139, 140, 142 Think Fast, Mr. Moto (Marquand), III, 57, 58 "Thinking about Barbara Deming" (Paley), Supp. VI, 227 "Thinking about the Past" (Justice), Supp. VII, 123-124 "Thinking about Western Thinking" (Didion), Supp. IV, Part 1, 204, 206 " Thinking against Oneself: Reflections on Cioran" (Sontag), Supp. Ill, Part 2, 459^60 "Thinking Back Through Our Mothers: Traditions in Canadian Women's Writing" (Shields), Supp. VII, 307-308 "Thinking of the Lost World" (Jarrell), II, 338-389 "Thinnest Shadow, The" (Ashbery), Supp. Ill, Part 1, 5 "Third Body, A" (Bly), Supp. IV, Part 1, 71 Third Circle, The (Norris), III, 327 "Third Expedition, The" (Bradbury), Supp. IV, Part 1, 103, 106 Third Life of Grange Copeland, The (Walker), Supp. Ill, Part 2, 520, 527-536 Third Rose, The (Brinnin), IV, 26 "Third Sermon on the Warpland, The" (Brooks), Supp. Ill, Part 1,85 "Third Thing That Killed My Father Off, The" (Carver), Supp. Ill, Part 1, 144 Third Violet, The (Crane), I, 408, 417^18 Thirlwall, John C, IV, 425; Retro. Supp. I, 430 Thirteen Hands: A Play in Two Acts (Shields), Supp. VII, 322323 Thirteen Other Stories (Purdy), Supp. VII, 278 "Thirteen Ways of Looking at a Blackbird" (Stevens), IV, 94

"Thirty Bob a Week" (Davidson), Retro. Supp. I, 55 "30. Meditation. 2. Cor. 5.17. He Is a New Creature" (Taylor), IV, 144 Thirty Poems (Bryant), Supp. I, Part 1, 157, 158 Thirty Years (Marquand), III, 56, 60-61 Thirty Years of Treason (Bentley), Supp. I, Part 1, 297 30/6 (poetry chapbook), Supp. V, 5,6 31 Letters and 13 Dreams (Hugo), Supp. VI, 141-144 Thirty-Six Poems (Warren), IV, 236, 239, 240 "33" (Alvarez), Supp. VII, 4 This Body Is Made of Camphor and Gopherwood (Bly), Supp. IV, Part 1, 63-65, 66, 71 This Boy's Life: A Memoir (Wolff), Supp. VII, 334-339, 340, 343 "This Configuration" (Ashbery), Supp. Ill, Part 1, 22 "This Corruptible" (Wylie), Supp. I, Part 2, 727, 729 "This Familiar and Lifeless Scene" (Shapiro), Supp. I, Part 1, 199 "This Gentile World" (Miller), III, 177 "This Hand" (Wylie), Supp. I, Part 2, 713 "This House I Cannot Leave" (Kingsolver), Supp. VII, 208 This Journey (Wright), Supp. Ill, Part 2, 605-606 This Man and This Woman (Farrell), II, 42 "This Morning" (Kenyon), Supp. VII, 164 "This Morning Again It Was in the Dusty Pines" (Oliver), Supp. VII, 240 "This Morning, This Evening, So Soon" (Baldwin), Supp. I, Part 1,63 This Music Crept by Me upon the Waters (MacLeish), III, 21 This People Israel: The Meaning of Jewish Existence (Baeck), Supp. V, 260

"This Place in the Ways" (Rukeyser), Supp. VI, 273274 This Property Is Condemned (Williams), IV, 378 This Proud Heart (Buck), Supp. II, Parti, 119-120 This Quarter (publication), II, 26 "This Sandwich Has No Mayonnaise" (Salinger), III, 552-553 This Side of Paradise (Fitzgerald), 1, 358; II, 77, 80, 81, 82-83, 84, 85-87, 88; Retro. Supp. I, 99100, 101-102, 103, 105, 106, 110, 111 "This, That & the Other" (Nemerov), III, 269 This Tree Will Be Here for a Thousand Years (Bly), Supp. IV, Part 1, 65-66, 71, 72 This Tree Will Be Here for a Thousand Years (revised edition) (Bly), Supp. IV, Part 1, 66 This Very Earth (Caldwell), I, 297, 302 Thoens, Karen, Supp. V, 147 Thomas, Brandon, II, 138 Thomas, Dylan, I, 49, 64, 382, 432, 526, 533; III, 21, 521, 528, 532, 534; IV, 89, 93, 136; Part 2, 478; Supp. I, Part 1, 263; Supp. Ill, Part 1, 42, 47; Supp. V,344 Thomas, Edward, II, 154; Retro. Supp. I, 127, 131, 132; Supp. I, Part 1, 263; Supp. II, Part 1, 4 Thomas, J. Parnell, Supp. I, Part 1,286 Thomas, Jonathan, II, 292 Thomas, Lewis, Retro. Supp. I, 323 Thomas, William L, Supp. I, Part 2,641 Thomas Aquinas (Saint), Supp. IV, Part 2, 526 Thomas and Beulah (Dove), Supp. IV, Part 1, 242, 247-248, 249 "Thomas at the Wheel" (Dove), Supp. IV, Part 1, 248 "Thomas, Bishop, and Williams" (Lowell), Supp. I, Part 1, 97

602 / INDEX Thomas-a-Kempis, Retro. Supp. I, 247 Thomas Paine: A Bibliographical Check List of Common Sense, with an Account of Its Publication (Gimbel), Supp. I, Part 2, 525 "Thomas Paine Fights for Freedom in Three Worlds" (Gimbel), Supp. I, Part 2, 525 "Thomas Paine-Introduction" (Clark), Supp. I, Part 2, 525 Thompson, Barbara, Supp. V, 322 Thompson, Charles M., II, 414 Thompson, Cy, I, 538 Thompson, Dorothy, II, 449^50, 451,453,461 Thompson, E. P., Supp. I, Part 2, 525 Thompson, Francis, Retro. Supp. 1,55 Thompson, Frank, II, 20, 23 Thompson, George, Supp. I, Part 2,686 Thompson, James R., Supp. IV, Part 1, 217 Thompson, John, Supp. V, 323 Thompson, Kenneth, III, 313 Thompson, Lawrance, II, 76, 171, 172, 508, 509; III, 97 Thompson, Lawrance Roger, Retro. Supp. I, 138, 141 Thompson, Ralph, I, 47 Thompson, Theresa, Supp. V, 141 Thompson, William T., Supp. I, Part 2, 411 Thomson, James, II, 304; Supp. I, Parti, 150, 151 Thomson, Virgil, IV, 45; Supp. IV, Part 1, 81, 83, 84, 173 Thoreau, Henry David, I, 98, 104, 228, 236, 257, 258, 261, 305, 433; II, 7, 8, 13, 17, 22, 101, 159, 224, 273-274, 295, 312313, 321, 457^58, 540, 546547; III, 171, 174, 186-187, 189, 208, 214-215, 453, 454, 507, 577; IV, 167-189, 191, 341; Retro. Supp. I, 51, 62, 122; Supp. I, Part 1, 29, 34, 116, 188, 299, 358, Part 2, 383, 400, 420, 421, 507, 540, 579,

580, 655, 659, 660, 664, 678; Supp. Ill, Part 1, 340, 353; Supp. IV, Part 1, 236, 392, 416, Part 2, 420, 430, 433, 439, 447; Supp. V, 200, 208 Thoreau, John, IV, 171, 182 Thoreau, Mrs. John, IV, 172 "Thoreau" (Lowell), Supp. I, Part 2, 420, 422 "Thorn, The" (Gordon), Supp. IV,

Parti, 314

Thornton, Lionel, III, 291 "Thorofare" (Minot), Supp. VI, 209-210 "Thorow" (Howe), Supp. IV, Part 2, 419, 420, 421, 431, 433-434 Thorp, Willard, II, 222, 533; III, 97; IV, 142 Thorslev, Peter L., Jr., I, 524, 543 Thorstein Veblen (Dowd), Supp. I, Part 2, 650 Thorstein Veblen (ed. Qualey), Supp. I, Part 2, 650 Thorstein Veblen: A Chapter in American Economic Thought (Teggart), Supp. I, Part 2, 650 Thorstein Veblen: A Critical Interpretation (Riesman), Supp. I, Part 2, 649, 650 Thorstein Veblen: A Critical Reappraisal (ed. Dowd), Supp. I, Part 2, 650 Thorstein Veblen and His America (Dorfman), Supp. I, Part 2, 631, 650 Thorstein Veblen and the Institutionalists: A Study in the Social Philosophy of Economics (Seckler), Supp. I, Part 2, 650 "Those before Us" (Lowell), II, 550 "Those Being Eaten by America" (Ely), Supp. IV, Part 1, 62 Those Extraordinary Twins (Twain), IV, 205-206 "Those People of Spoon River" (Masters), Supp. I, Part 2, 478 "Those Times . . ." (Sexton), Supp. II, Part 2, 670, 684 "Those Various Scalpels" (Moore), III, 202

"Those Were the Days" (Levine), Supp. V, 190 "Those Who Don't" (Cisneros), Supp. VII, 60 "Those Who Thunder" (Hogan), Supp. IV, Part 1, 406 Thought and Character of William James (Perry), II, 362 Thoughtbook of Francis Scott Key Fitzgerald (Fitzgerald), Retro. Supp. I, 99 "Thoughts after Lambeth" (Eliot), I, 587; Retro. Supp. I, 324 Thoughts and Reflections (Lord Halifax), II, 111 "Thoughts on Being Bibliographed" (Wilson), IV, 435 "Thoughts on the Establishment of a Mint in the United States" (Paine), Supp. I, Part 2, 512 "Thoughts on the Gifts of Art" (Kenyon), Supp. VII, 167 Thousand Acres, A (Smiley), Supp. VI, 292, 301-303 "Thousand and Second Night, The" (Merrill), Supp. Ill, Part 1,324 "Thousand Faces of Danny Torrance, The" (Figliola), Supp. V, 143 "Thread, The" (Merwin), Supp. Ill, Part 1,351 "Three Academic Pieces" (Stevens), IV, 90 "Three Agee Wards, The" (Morris), III, 220-221 "Three American Singers," Retro. Supp. I, 10 "Three Around the Old Gentleman" (Berryman), I, 188 "Three Avilas, The" (Jeffers), Supp. II, Part 2, 418 Three Books of Song (Longfellow), II, 490 "Three Bushes" (Yeats), Supp. I, Part 1, 80 Three Cantos (Pound), Retro. Supp. I, 290 Three Centuries of Harvard (Morison), Supp. I, Part 2, 485

INDEX / 603 Three Comrades (Remarque), Retro. Supp. I, 113 Three Essays on America (Brooks), 1,246 Three Gospels (Price), Supp. VI, 267 "Three Kings, The: Hemingway, Faulkner, and Fitzgerald" (Ford), Supp. V, 59 Three Literary Men: A Memoir of Sinclair Lewis, Sherwood Anderson, and Edgar Lee Masters (Derleth), Supp. I, Part 2,477 Three Lives (Auchincloss), Supp. IV, Part 1, 25 Three Lives (Stein), I, 103; IV, 26, 27, 31, 35, 37-41, 42, 45, 46 "THREE MOVEMENTS AND A CODA" (Baraka), Supp. II, Part 1, 50 Three Papers on Fiction (Welty), IV, 261 Three Philosophical Poets (Santayana), III, 610-612 "Three Players of a Summer Game" (Williams), IV, 383 Three Poems (Ashbery), Supp. Ill, Part 1, 2, 3, 14, 15, 18, 24-26 Three Roads, The (Macdonald, under Millar), Supp. IV, Part 2, 466, 467 "Three Sisters, The" (Cisneros), Supp. VII, 64 Three Soldiers (Dos Passos), I, 477-478, 480, 482, 488, 493494 "Three Songs at the End of Summer" (Kenyon), Supp. VII, 169-170 "Three Steps to the Graveyard" (Wright), Supp. Ill, Part 2, 593, 596 Three Stories and Ten Poems (Hemingway), II, 68, 263 "Three Taverns, The" (Robinson), III, 521, 522 Three Taverns, The (Robinson), 111,510 Three Tenant Families (Agee), I, 37-38 3-3-8 (Marquand), III, 58

"Three Types of Poetry" (Tate), IV, 131 "Three Vagabonds of Trinidad" (Harte), Supp. II, Part 1, 338 "Three Waterfalls, The" (Lanier), Supp. I, Part 1, 350 "Three Women" (Plath), Supp. I, Part 2, 539, 541, 544, 545, 546 Three Worlds (Van Doren), Supp. I, Part 2, 730 "Three-Day Blow, The" (Hemingway), II, 248 Three-Penny Opera (Brecht), I, 301 "Three-Way Mirror" (Brooks), Supp. Ill, Part 1, 69-70 "Threnody" (Emerson), II, 7 Threnody (Emerson), Supp. I, Part 2, 416 "Threnody for a Brown Girl" (Cullen), Supp. IV, Part 1, 166 "Threshing-Floor, The" (Baldwin), Supp. I, Part 1, 50 Thrones (Pound), Retro. Supp. I, 293 Through Dooms of Love (Kumin), Supp. IV, Part 2, 444 "Through the Black Curtain" (Kingston), Supp. V, 169 Through the Ivory Gate (Dove), Supp. IV, Part 1, 242, 243, 251, 252, 253-254, 254 Thucydides, II, 418; IV, 50; Supp. I, Part 2, 488, 489, 492; Supp. IV, Part 1, 391 "Thunderhead" (MacLeish), III, 19 Thurber, James, I, 487; II, 432; IV, 396; Supp. I, Part 2, 602627, 653, 654, 668, 672, 673, 679, 681; Supp. II, Part 1, 143; Supp. IV, Part 1, 349 Thurber, Mrs. James (Althea Adams), Supp. I, Part 2, 613, 615,617 Thurber, Mrs. James (Helen Muriel Wismer), Supp. I, Part 2, 613, 617,618 Thurber, Robert, Supp. I, Part 2, 613,617 Thurber, Rosemary, Supp. I, Part 2,616

Thurber, William, Supp. I, Part 2, 602 Thurber Album, The (Thurber), Supp. I, Part 2, 611, 619 Thurber Carnival, A (Thurber), Supp. I, Part 2, 620 Thurman, Judith, Supp. IV, Part 1,309 Thurman, Wallace, Retro. Supp. I, 200; Supp. I, Part 1, 325, 326, 328, 332; Supp. IV, Part 1, 164 "Thursday" (Millay), III, 129 "Thurso's Landing" (Jeffers), Supp. II, Part 2, 433 Thus Spake Zarathustra (Nietzsche), II, 463; Supp. IV, Parti, 110, Part 2, 519 "Ti Demon" (Chopin), Supp. I, Part 1, 225 Ticket for a Seamstitch, A (Harris), II, 424-^25 Ticket That Exploded, The (Burroughs), Supp. Ill, Part 1, 93, 103, 104 Tickets for a Prayer Wheel (Dillard), Supp. VI, 22, 34 Tickless Time (Glaspell), Supp. III, Part 1, 179 Ticknor, Caroline, Supp. I, Part 1, 46 Ticknor, George, II, 488; Supp. I, Parti, 313 Tide of Time, The (Masters), Supp. I, Part 2, 471 "Tide Rises, the Tide Falls, The" (Longfellow), I, 498 Tidyman, Ernest, Supp. V, 226 "Tiger" (Blake), Supp. I, Part 1, 80 Tiger, The (magazine), II, 82 Tiger in the House, The (Van Vechten), Supp. II, Part 2, 736 Tiger Who Wore White Gloves, The: or, What You Are, You Are (Brooks), Supp. Ill, Part 1, 86 Tiger-Lilies (Lanier), Supp. I, Part I, 350-351, 357, 360, 371 Till, Emmett, Supp. I, Part 1, 61 Till the Day I Die (Odets), Supp. II, Part 2, 530, 533-536, 552 "Tilley the Toiler" (Maloney), Supp. I, Part 2, 681

604 / INDEX Tillich, Paul, II, 244; III, 291, 292, 303, 309, 313; IV, 226; Retro. Supp. I, 325, 326, 327, Supp. V, 267 Tillotson, John, II, 114 Tilton, Eleanor, Supp. I, Part 1, 317, 319 Tilton, John, I, 143 Tim O'Brien (Herzog), Supp. V, 239 Timaeus (Plato), II, 10; III, 609 Timber (Jonson), II, 16 Time (magazine), I, 25, 30, 377, 378; II, 430; III, 551; IV, 215, 434; Retro. Supp. I, 112, 115, 169, 321; Supp. I, Part 1, 52, 196; Supp. IV, Part 1, 383, Part 2, 473, 639; Supp. V, 259 "Time" (Merrill), Supp. Ill, Part 1,325 "Time and the Garden" (Winters), Supp. II, Part 2, 801, 809 Time in the Rock (Aiken), I, 65 Time Is Noon, The (Buck), Supp. H, Parti, 129, 130-131 "Time of Friendship, The" (Bowles), Supp. IV, Part 1, 9091 "Time of Her Time, The" (Mailer), III, 37, 45 Time of the Assassins, The: A Study of Rimbaud (Miller), III, 189 "Time Past" (Morris), III, 232 "Time Present" (Morris), III, 232 "Time Shall Not Die" (Chandler), Supp. IV, Part 1, 120 Time to Act, A (MacLeish), III, 3 Time to Kill (film), Supp. IV, Part 1, 130 Time to Speak, A (MacLeish), III, 3 "Times" (Beattie), Supp. V, 31 "Times, The" (Emerson), II, 11-12 Times (London) (newspaper), III, 354; Retro. Supp. I, 371, Supp. IV, Part 2, 684 Time's Arrow (Amis), Retro. Supp. I, 278 Times Are Never So Bad, The (Dubus), Supp. VII, 87-88

Times Literary Supplement, The (publication), I, 68, 260-261; III, 471; Supp. IV, Part 2, 688, 691 Times of Melville and Whitman, The (Brooks), I, 257 "Timesweep" (Sandburg), III, 595-596 "Timing of Sin, The" (Dubus), Supp. VII, 91 Timoleon (Melville), III, 93; Retro. Supp. I, 257 Timothy Dexter Revisited (Marquand), III, 55, 62, 63 Tin Can Tree, The (Tyler), Supp. IV, Part 2, 659-660 Tintern Abbey (Wordsworth), Supp. I, Part 2, 673, 675 Tiny Alice (Albee), I, 81-86, 87, 88,94 "Tiny Mummies! The True Story of the Ruler of 43rd Street's Land of the Walking Dead" (Wolfe), Supp. Ill, Part 2, 573, 574 "Tired" (Hughes), Supp. I, Part 1, 331 "Tired and Unhappy, You Think of Houses" (Schwartz), Supp. II, Part 2, 649 "Tiresias" (Garrett), Supp. VII, 96-97 Tischler, Nancy M., IV, 401 Titan, The (Dreiser), I, 497, 501, 507-508, 509, 510 Titian, Supp. I, Part 2, 397, 714 Tiusanen, Timo, III, 408 "To a Blossoming Pear Tree" (Wright), Supp. Ill, Part 2, 604 To a Blossoming Pear Tree (Wright), Supp. Ill, Part 2, 602-605 "To a Caty-Did, the Precursor of Winter" (Freneau), Supp. II, Part 1, 274-275 "To a Chameleon" (Moore), III, 195, 196, 215 "To a Conscript of 1940" (Read), II, 372-373, 377-378 "To a Contemporary Bunk Shooter" (Sandburg), III, 582

"To a Cough in the Street at Midnight" (Wylie), Supp. I, Part 2, 727, 729-730 "To a Defeated Savior" (Wright), Supp. Ill, Part 2, 593-594, 596 "To a Face in the Crowd" (Warren), IV, 239 "To a Fish Head Found on the Beach near Malaga" (Levine), Supp. V, 185 "To a Friend" (Nemerov), III, 272 "To a Friend Whose Work Has Come to Triumph" (Sexton), Supp. II, Part 2, 683 To a God Unknown (Steinbeck), I, 107; IV, 51, 59-60, 67 "To a Greek Marble" (Aldington), Supp. I, Part 1, 257 "To a Locomotive in Winter" (Whitman), IV, 348 "To a Military Rifle" (Winters), Supp. II, Part 2, 810, 811, 815 "To a Negro Jazz Band in a Parisian Cabaret" (Hughes), Supp. I, Part 1, 325 "To a Poet" (Rich), Supp. I, Part 2,571 "To a Prize Bird" (Moore), III, 215 "To a Republican, with Mr. Paine's Rights of Man" (Freneau), Supp. II, Part 1, 267 "To a Shade" (Yeats), III, 18 "To a Skylark" (Shelley), Supp. I, Part 2, 720 "To a Waterfowl" (Bryant), Supp. I, Parti, 154, 155, 162, 171 "To Abolish Children" (Shapiro), Supp. II, Part 2, 717 To Abolish Children and Other Essays (Shapiro), Supp. II, Part 2,703 "To an Old Philosopher in Rome" (Stevens), III, 605; Retro. Supp. I, 312 "To an Old Poet in Peru" (Ginsberg), Supp. II, Part 1, 322 "To Aunt Rose" (Ginsberg), Supp. II, Part 1, 320 To Be Young, Gifted, and Black: Lorraine Hansberry in Her Own

INDEX / 605 Words (Nemiroff), Supp. IV, Part 1, 372, 374 To Bedlam and Part Way Back (Sexton), Supp. II, Part 2, 672678; Supp. IV, Part 2, 441 "To Beethoven" (Lanier), Supp. I, Part 1, 364 "To Build a Fire" (London), II, 468 "To Change in a Good Way" (Ortiz), Supp. IV, Part 2, 511 "To Charlotte Cushman" (Lanier), Supp. I, Part 1, 364 "To Cole, the Painter, Departing for Europe" (Bryant), Supp. I, Part 1, 157, 161 "To Crispin O'Conner" (Freneau), Supp. II, Part 1, 268 "To Death" (Levertov), Supp. Ill, Part 1, 274 "To Delmore Schwartz" (Lowell), II, 547 "to disembark" (Brooks), Supp. III, Part 1, 86 "To Dr. Thomas Shearer" (Lanier), Supp. I, Part 1, 370 "To Earthward" (Frost), II, 154 "To Edwin V. McKenzie" (Winters), Supp. II, Part 2, 801 "To Eleonora Duse" (Lowell), II, 528 "To Elizabeth Ward Perkins" (Lowell), II, 516 "To Elsie" (Williams), Retro. Supp. I, 419 "To E. T." (Frost), Retro. Supp. I, 132 To Have and Have Not (Hemingway), I, 31; II, 253254, 264; Retro. Supp. I, 182, 183, 187 "To Helen" (Poe), III, 410, 411, 427 "To Hell With Dying" (Walker), Supp. Ill, Part 2, 523 "To His Father" (Jeffers), Supp. II, Part 2, 415 "To James Russell Lowell" (Holmes), Supp. I, Part 1, 311 "To Jesus on His Birthday" (Millay), III, 136-137

"To John Keats" (Lowell), II, 516 "To Justify My Singing" (Wright), Supp. Ill, Part 2, 590 "To Light" (Hogan), Supp. IV, Part 1, 402 "To Lose the Earth" (Sexton), Supp. II, Part 2, 684, 685 "To Lu Chi" (Nemerov), III, 275 "To M, with a Rose" (Lanier), Supp. I, Part 1, 364 To Make a Prairie (Kumin), Supp. IV, Part 2, 440, 441 To Mix with Time (Swenson), Supp. IV, Part 2, 637, 643645, 645 "To My Brother Killed: Haumont Wood: October, 1918" (Bogan), Supp. Ill, Part 1, 58 "To My Class, on Certain Fruits and Flowers Sent Me in Sickness" (Lanier), Supp. I, Part 1, 370 "To My Greek" (Merrill), Supp. Ill, Part 1, 326 "To Name is to Possess" (Kincaid), Supp. VII, 194 "To One Who Said Me Nay" (Cullen), Supp. IV, Part 1, 166 "To P. L., 1916-1937" (Levine), Supp. V, 185 "To Sir Toby" (Freneau), Supp. II, Part 1, 269 "To Sophy, Expectant" (Mumford), Supp. II, Part 2, 475 "To Speak of Woe That Is in Marriage" (Lowell), II, 550 "To Statecraft Embalmed" (Moore), III, 197 To Stay Alive (Levertov), Supp. Ill, Part 1, 280-282 "To the Americans of the United States" (Freneau), Supp. II, Part 1, 271 "To the Apennines" (Bryant), Supp. I, Part 1, 157, 164 "To the Bleeding Hearts Association of American Novelists" (Nemerov), III, 281 "To the Citizens of the United States" (Paine), Supp. I, Part 2, 519-520

"To the Dandelion" (Lowell), Supp. I, Part 2, 424 To the Finland Station: A Study in the Writing and Acting of History (Wilson), IV, 429, 436, 443-444, 446 "To the Governor & Legislature of Massachusetts" (Nemerov), III, 287 To the Holy Spirit (Winters), Supp. II, Part 2, 810 "To the Keeper of the King's Water Works" (Freneau), Supp. II, Part 1, 269 "To the Lacedemonians" (Tate), IV, 134 "To the Laodiceans" (Jarrell), Retro. Supp. I, 121, 140 To the Lighthouse (Woolf), I, 309; II, 600 "To the Man on Trail" (London), II, 466 "To the Memory of the Brave Americans Under General Greene" (Freneau), Supp. II, Part 1, 262, 274 "To the Muse" (Wright), Supp. III, Part 2, 601 "To the New World" (Jarrell), II, 371 "To the One of Fictive Music" (Stevens), IV, 89; Retro. Supp. I, 297, 300 "To the Peoples of the World" (Du Bois), Supp. II, Part 1, 172 "To the Pliocene Skull" (Harte), Supp. II, Part 1, 343-344 "To the Reader" (Baudelaire), II, 544-545 "To the Reader" (Levertov), Supp. Ill, Part 1, 277 "To the River Arve" (Bryant), Supp. I, Part 1, 163 "To the Snake" (Levertov), Supp. III, Part 1, 277 "To the Stone-Cutters" (Jeffers), Supp. II, Part 2, 420 To the White Sea (Dickey), Supp. IV, Part 1, 186, 190-191 "To the Young Who Want to Die" (Brooks), Supp. Ill, Part 1, 8586

606 / INDEX "To Train a Writer" (Bierce), I, 199 "To Whistler, American" (Pound), III, 465-466 "To Wine" (Bogan), Supp. Ill, Part 1, 57, 58 "Toast to Harlem, A" (Hughes), Supp. I, Part 1, 338 Tobacco Road (Caldwell), I, 288, 289, 290, 295-296, 297, 298, 302, 307, 309, 310; IV, 198 Toback, James, III, 48 Tobias, Richard C, Supp. I, Part 2,626 "Tobin's Palm" (O. Henry), Supp. II, Part 1, 408 Tobit (apocryphal book), I, 89 Toby Tyler: or, Ten Weeks with a Circus (Otis), III, 577 Tocqueville, Alexis de, III, 261; IV, 349; Retro. Supp. I, 235; Supp. I, Part 1, 137, Part 2, 659, 660; Supp. II, Part 1, 281, 282, 284 "TODAY" (Baraka), Supp. II, Part 1, 55 "Today" (Ginsberg), Supp. II, Part 1, 328 Todd, Mabel Loomis, I, 454, 470, 472; Retro. Supp. I, 33, 34, 35, 39,47 Toffler, Alvin, Supp. IV, Part 2, 517 Toilet, The (Baraka), Supp. II, Part 1, 37, 40-42 Toklas, Alice B., IV, 27, 48; Supp. IV, Part 1,81,91 Toledo Blade (newspaper), I, 515 Tolkien, J. R. R., Supp. V, 140 Toller, Ernst, I, 479 Tolson, Melvin, Retro. Supp. I, 208, 209, 210 Tolstoy, Leo, I, 6, 7, 58, 103, 312, 376; II, 191-192, 205, 271, 272, 275, 276, 281, 285, 286, 320, 407, 542, 559, 570, 579, 606; III, 37, 45, 61, 323, 467, 572; IV, 17, 21, 170, 285; Retro. Supp. I, 91, 225; Supp. I, Part 1, 2, 3, 6, 20; Supp. IV, Part 1, 392; Supp. V, 277, 323 Tom (Cummings), I, 430

"Tom" (Oliver), Supp. VII, 232 "Tom Brown at Fisk" (Du Bois), Supp. II, Part 1, 160 Tom Brown's School Days (Hughes), Supp. I, Part 2, 406 "Tom Fool at Jamaica" (Moore), III, 215 Tom Jones (Fielding), I, 131; Supp. V, 127 "Tom Outland's Story" (Gather), I, 325-326 Tom Sawyer (musical) (Gurney), Supp. V, 96 Tom Sawyer (Twain), Supp. I, Part 2, 456, 470 Tom Sawyer Abroad (Twain), II, 482; IV, 194, 204 Tom Sawyer Detective (Twain), IV, 204 Tom Swift (Stratemeyer), III, 146 "Tom Wolfe's Guide to Etiquette" (Wolfe), Supp. Ill, Part 2, 578 Tomas, Vincent, I, 565 "Tomb Stone" (Dickey), Supp. IV, Part 1, 185 Tomcat in Love (O'Brien), Supp. V, 238, 240, 243, 252-254 Tomkins, Calvin, II, 100 Tomlinson, Charles, III, 217 Tommy Gallagher's Crusade (Farrell), II, 44 Tommy knockers, The (King), Supp. V, 139, 144 "Tommy's Burglar" (Henry), Supp. II, Part 1, 399, 401 Tomo Cheeki (pseudonym), see Freneau, Philip Tomorrow (magazine), III, 579 "Tomorrow the Moon" (Dos Passos), I, 493 Tompson, Benjamin, Supp. I, Part I, 110, 111 Tone, Aileen, I, 21-22 Tongues (Shepard and Chaikin), Supp. Ill, Part 2, 433 Tongues of Angels, The (Price), Supp. VI, 265 "Tonight" (Lowell), II, 538 "Too Anxious for Rivers" (Frost), II, 162 "Too Blue" (Hughes), Retro. Supp. I, 207

"Too .7ar from Home" (Bowles), Supp. IV, Part 1, 94-95 Too Far from Home: Selected Writings of Paul Bowles (ed. Halpern), Supp. IV, Part 1, 94, 95 Too Far to Go: The Maples Stories (Updike), Retro. Supp. I, 321 Too Much Johnson (film), Supp. IV, Part 1, 83 "Too Young" (O'Hara), III, 369 Toolan, David, Supp. IV, Part 1, 308 "Too-Late Born, The" (Hemingway), III, 9 Toomer, Jean, Supp. I, Part 1, 325, 332; Supp. Ill, Part 2, 475-491; Supp. IV, Part 1, 16, 164, 168 Tooth of Crime, The (Shepard), Supp. Ill, Part 2, 432, 441445, 447 "Top of the Hill" (Jewett), II, 406 Torah, IV, 19 Toronto Globe and Mail (newspaper), Supp. IV, Part 1, 209 Toronto Star (newspaper), II, 260 "Torquemada" (Longfellow), II, 505 Torrence, Ridgely, III, 507, 525 Torrent and the Night Before, The (Robinson), III, 504 Torrents of Spring, The (Hemingway), I, 117; II, 250251 Torres, Louis, Supp. IV, Part 2, 529, 530 Torrey, Bradford, IV, 188, 189 Torsney, Cheryl, Retro. Supp. I, 224 Tortilla Flat (Steinbeck), IV, 50, 51, 61, 64 Tory Lover, The (Jewett), II, 406 "Total Eclipse" (Dillard), Supp. VI, 28 "Touch, The" (Sexton), Supp. II, Part 2, 687 Touch of the Poet, A (O'Neill), III, 385, 401, 404 "Touching the Tree" (Merwin), Supp. Ill, Part 1, 355

INDEX / 607 Touchstone, The (Wharton), Retro. Supp. I, 365 Toulet, Paul Jean, IV, 79 "Tour 5" (Hayden), Supp. II, Part 1,381 Tour of Duty (Dos Passes), I, 489 "Tourist Death" (MacLeish), III, 12 Tour on the Prairies, A (Irving), II, 3.12-313 Toward the Gulf (Masters), Supp. I, Part 2, 465-466 "Toward the Solstice" (Rich), Supp. I, Part 2, 575-576 Towards a Better Life (Burke), I, 270 "Towards a Chicano Poetics: The Making of the Chicano Subject, 1969-1982" (Saldfvar), Supp. IV, Part 2, 544 Towards an Enduring Peace (Bourne), I, 232 "Tower" (Merwin), Supp. Ill, Part 1, 343 "Tower Beyond Tragedy, The" (Jeffers), Supp. II, Part 2, 429430 Tower of Ivory (MacLeish), III, 34 Towers, Tom H., II, 149 Town, The (Faulkner), II, 57, 73; Retro. Supp. I, 74, 82 Town and the City, The (Kerouac), Supp. Ill, Part 1, 222-224 "Town Crier" (Bierce), I, 193, 194, 195, 196 "Town Crier Exclusive, Confessions of a Princess Manque: 'How Royals Found Me "Unsuitable" to Marry Their Larry' " (Elkin), Supp. VI, 56 Town Down the River, The (Robinson), III, 508 "Town Dump, The" (Nemerov), 111,272,275,281 Town Topics (publication), Retro. Supp. I, 362 "Townies" (Dubus), Supp. VII, 86 "Towns in Colour" (Lowell), II, 523-524 Townsend, Ann, Supp. V, 77 Townsend, Harvey G., I, 565

Townsman, The (Sedges), Supp. II, Part 1, 124-125 Toys in the Attic (Hellman), Supp. I, Part 1, 289-290 Traces of Thomas Harlot, The (Rukeyser), Supp. VI, 273, 274, 283 Trachtenberg, Alan, I, 143, 404; III, 243 "Tracing Life with a Finger" (Caldwell), I, 291 "Track Meet, The" (Schwartz), Supp. II, Part 2, 665 Tracks (Erdrich), Supp. IV, Part 1, 259, 262-263, 269, 272, 273274, 274, 275 "Tract" (Williams), Retro. Supp. 1,414 "Tract against Communism, A" (Twelve Southerners), IV, 125, 237 Tracy, Lee, IV, 287, 288 Tracy, Steven, Retro. Supp. I, 195 "Trade, The" (Levine), Supp. V, 193 "Tradition and Industrialization" (Wright), IV, 489-490 "Tradition and the Individual Talent" (Eliot), I, 441, 574, 585; Retro. Supp. I, 59, 286 Tragedies, Life and Letters of James Gates Percival (Swinburne), Supp. I, Part 2, 422 Tragedy of Don Ippolito, The (Howells), II, 279 "Tragedy of Error, A" (James), II, 322; Retro. Supp. I, 218 Tragedy of Pudd'nhead Wilson, The (Twain), IV, 206-207 "Tragic Dialogue" (Wylie), Supp. I, Part 2, 724 Tragic Ground (Caldwell), I, 297, 306 "Tragic Mulatto Theme in Six Works of Langston Hughes, The" (Davis), Supp. I, Part 1, 348 Tragic Muse, The (James), Retro. Supp. I, 227 Traherne, Thomas, IV, 151; Supp. Ill, Part 1, 14; Supp. V, 208

Trailerpark (Banks), Supp. V, 12 "Trailing Arbutus, The" (Whittier), Supp. I, Part 2, 691 "Train Rising Out of the Sea" (Ashbery), Supp. Ill, Part 1, 22 "Train Tune" (Bogan), Supp. Ill, Part 1, 64 "Trains" (Banks), Supp. V, 8 "Traits of Indian Character" (Irving), II, 303 Tramp Abroad, A (Twain), IV, 200 Tramping With a Poet in the Rockies (Graham), Supp. I, Part 2, 397, 402 Tramp's Excuse, The (Lindsay), Supp. I, Part 2, 379, 380, 382 Transactions of the Royal Society (publication), IV, 163 "Transatlantic" (Toomer), Supp. III, Part 2, 486 Transatlantic Review (publication), II, 68, 435; III, 471; IV, 27; Retro. Supp. I, 178 Transatlantic Sketches (James), II, 324; Retro. Supp. I, 219 "Transcendental Etude" (Rich), Supp. I, Part 2, 576 Transcendentalists, Supp. II, Part I, 279, 289, 291 Transcendentalists, The: An Anthology (ed. Miller), Supp. I, Part 1, 46 "Transcontinental Highway" (Cowley), Supp. II, Part 1, 141 "Transducer" (Ammons), Supp. VII, 28 "Transfigured Bird" (Merrill), Supp. Ill, Part 1, 320-321 Transformations (Sexton), Supp. II, Part 2, 689-691; Supp. IV, Part 2, 447 transition (publication), III, 434; IV, 31; Supp. Ill, Part 2, 611; Supp. IV, Part 1, 80 "Translation and Transposition" (Carne-Ross), Supp. I, Part 1, 268-269, 275 "Translation of a Fragment of Simonides" (Bryant), Supp. I, Part 1, 153, 155 "Translations" (Rich), Supp. I, Part 2, 563

608 / INDEX Translations of Ezra Pound, The (ed. Kenner), III, 463 "Trans-National America" (Bourne), I, 299, 230 Transparent Things (Nabokov), Retro. Supp. I, 266, 270, 277 Transport to Summer (Stevens), IV, 76, 93; Retro. Supp. I, 309-312 Transtromer, Thomas, Supp. IV, Part 2, 648 "Traps for the Unwary" (Bourne), 1,235 Trash Trilogy (McMurtry), Supp. V, 225-226, 231 Traubel, Horace, IV, 350, 353 "Travel: After a Death" (Kenyon), Supp. VII, 169 "Traveler, The" (Stegner), Supp. IV, Part 2, 605 Traveler at Forty, A (Dreiser), I, 515 Traveler from Altruria, a Romance A, (Howells), II, 285, 287 "Traveling" (Paley), Supp. VI, 230 "Travels in Georgia" (McPhee), Supp. Ill, Part 1, 293-294 Travels in the Congo (Gide), III, 210 "Travels in the South" (Ortiz), Supp. IV, Part 2, 506 Travels with Charley (Steinbeck), IV, 52 Travis, Merle, Supp. V, 335 Trawick, Leonard M., Supp. I, Part 2, 706 Tre Croce (Tozzi), Supp. Ill, Part 2,616 "Treasure of the Redwoods, A" (Harte), Supp. II, Part 1, 337 Treasury of the Theatre, A (Gassner), Supp. I, Part 1, 292 Treasury of Yiddish Stories, A (eds. Howe and Greenberg), Supp. I, Part 2, 432 Treat 'Em Rough (Lardner), II, 422-423 Treatise Concerning Religious Affections (Edwards), I, 547, 552, 554, 555, 557, 558, 560, 562

Treatise Concerning the Lord's Supper (Doolittle), IV, 150 Treatise on Right and Wrong, A (Mencken), III, 110, 119 "Treatise on Tales of Horror, A" (Wilson), IV, 438 Treatise on the Gods, A (Mencken), III, 108-109, 119 "Tree, The" (Pound), Retro. Supp. I, 286; Supp. I, Part 1, 255 "Tree, a Rock, a Cloud, A" (McCullers), II, 587 "Tree at My Window" (Frost), II, 155 "Tree House at Night, The" (Dickey), Supp. IV, Part 1, 179 "Tree of Laughing Bells, The" (Lindsay), Supp. I, Part 2, 376 "Tree of Night, A" (Capote), Supp. Ill, Part 1, 114, 120 Tree of Night and Other Stories, A (Capote), Supp. Ill, Part 1, 114 "Tree, the Bird, The" (Roethke), III, 548 Tree Where Man Was Born, The (Matthiessen), Supp. V, 199, 203, 204 "Trees, The" (Rich), Supp. I, Part 2,555 "Trees Listening to Bach" (Merrill), Supp. Ill, Part 1, 336 Trejo, Ernesto, Supp. V, 178, 180 Trelawny, Edward John, Supp. I, Part 2, 721 "Trellis for R., A" (Swenson), Supp. IV, Part 2, 647 Trent, William P., II, 317 "Trespass" (Frost), Retro. Supp. I, 139 "Tretitoli, Where the Bomb Group Was" (Hugo), Supp. VI, 138 Trial, TTze(Kafka), IV, 113 "Trial, The" (Rukeyser), Supp. VI, 278 "Trial by Existence, The" (Frost), II, 166 Trial of a Poet, The (Shapiro), Supp. II, Part 2, 710 Trial of the Hawk, The: A Comedy of the Seriousness of Life (Lewis), II, 441

Tribal Secrets: Recovering American Indian Intellectual Traditions (Warrior), Supp. IV, Part 1, 329 Tribune (newspaper), Retro. Supp. 1,104 "Tribute (To My Mother)" (Cullen), Supp. IV, Part 1, 166 "Tribute, A" (Easton), Supp. IV, Part 2, 461 "Tribute, The" (Doolittle), Supp. I, Part 1, 267 Tribute to Freud (Doolittle), Supp. I, Part 1, 253, 254, 258, 259, 260, 268 Tribute to the Angels (Doolittle), Supp. I, Part 1, 272 "Trick on the World, A" (Rios), Supp. IV, Part 2, 553 Triem, Eve, I, 450 Trifler, The (Masters), Supp. I, Part 2, 459-460 Trifles (Glaspell), Supp. Ill, Part 1, 175, 178, 179, 182, 186, 187 Triggering Town, The: Lectures and Essays on Poetry and Writing (Hugo), Supp. VI, 133, 140 Trifonov, lurii V., Retro. Supp. I, 278 Trilling, Diana, II, 587, 600; III, 48-49; Supp. I, Part 1, 297 Trilling, Lionel, I, 48, 120, 334; II, 579; III, 308, 310, 319, 327, 383, 384; IV, 201, 211, 213; Retro. Supp. I, 19, 97, 121, 216, 227; Supp. Ill, Part 2, 493-515; Supp. V, 259 Trilogy (Doolittle), Supp. I, Part 1, 271, 272 "Trilogy of Desire" (Dreiser), I, 497, 508 Trimmed Lamp, The (O. Henry), Supp. II, Part 1, 410 Trio (Baker), Supp. I, Part 1, 277 "Trip to Hanoi" (Sontag), Supp. Ill, Part 2, 460^62 Triple Thinkers, The: Ten Essays on Literature (Wilson), IV, 428, 431; Supp. II, Parti, 146 "Triplex" (Doolittle), Supp. I, Part 1, 271

INDEX / 609 Tripmaster Monkey: His Fake Book (Kingston), Supp. V, 157, 158, 169, 170-173 "Triptych" (Eberhart), I, 522, 539 TriQuarterly (magazine), Supp. IV, Part 1, 374; Supp. V, 44 Tristan and Iseult, Retro. Supp. I, 328, 329, 330, 331 Tristessa (Kerouac), Supp. Ill, Part 1, 225, 227, 229 Tristram (Robinson), III, 521, 522, 523 Tristram Shandy (Sterne), I, 299; IV, 465^66; Supp. V, 127 Tritsch, Walther, IV, 377 "Triumph of a Modern, The, or, Send for the Lawyer" (Anderson), I, 113, 114 Triumph of Achilles, The (Gliick), Supp. V, 79, 84-86, 92 "Triumph of the Egg, The" (Anderson), I, 113 Triumph of the Egg, The: A Book of Impressions from American Life in Tales and Poems (Anderson), I, 112, 114 Triumph of the Spider Monkey, The (Gates), Supp. II, Part 2, 522 "Triumphal March" (Eliot), I, 580; III, 17; Retro. Supp. I, 64 Triumphs of the Reformed Religion in America (Mather), Supp. II, Part 2, 453 Trivial Breath (Wylie), Supp. I, Part 2, 709, 722-724 Troian Horse, The: A Play (MacLeish), III, 21 Troilus and Criseyde (Chaucer), Retro. Supp. I, 426 Trois contes (Flaubert), IV, 31, 37 Troll Garden, The (Gather), I, 313, 314-316, 322; Retro. Supp. I, 5, 6, 8, 14 "Trolling for Blues" (Wilbur), Supp. Ill, Part 2, 563-564 Trollope, Anthony, I, 10, 375; II, 192, 237; III, 51, 70, 281, 382; Retro. Supp. I, 361 Trombly, Albert Edmund, Supp. I, Part 2, 402, 403

"Troop Train" (Shapiro), Supp. II, Part 2, 707 "Tropes of the Text" (Gass), Supp. VI, 88 Tropic of Cancer (Miller), III, 170, 171, 174, 177, 178-180, 181, 182, 183, 187, 190; Supp. V, 119 Tropic of Capricorn (Miller), III, 170, 176-177, 178, 182, 183, 184, 187, 188-189, 190 Trotsky, Leon, I, 366; II, 562, 564; IV, 429 Trotter, W., I, 249 Trouble Follows Me (Macdonald, under Millar), Supp. IV, Part 2, 466 Trouble in July (Caldwell), I, 297, 304-305, 306, 309 Trouble Island (Hughes), Supp. I, Part 1, 328 "Trouble of Marcie Flint, The" (Cheever), Supp. I, Part 1, 186 Troubled Island (opera; Hughes and Still), Retro. Supp. I, 203 "Trout" (Hugo), Supp. VI, 135 Trow, John F., I, 564 Troy, William, I, 450; IV, 48, 307 "Truce of the Bishop, The" (Frederic), II, 139-140 True Confessions (Dunne), Supp. IV, Part 1, 198 True Confessions (film), Supp. IV, Part 1, 198 True History of the Conquest of New Spain, The (Castillo), III, 13 True Intellectual System of the Universe, The (Cuddleworth), II, 10 "True Vine" (Wylie), Supp. I, Part 2, 723 True West (Shepard), Supp. Ill, Part 2, 433, 441, 445, 447, 448 Trueman, Matthew (pseudonym), see Lowell, James Russell "Truest Sport, The: Jousting with Sam and Charlie" (Wolfe), Supp. Ill, Part 2, 581-582 Truman, Harry, III, 3 Trumbo, Dalton, Supp. I, Part 1, 295

Trumbull, John, Supp. II, Part 1, 65, 69, 70, 268 Trump, Donald, Supp. IV, Part 1, 393 Trumpener, Katie, Retro. Supp. I, 380 "Trumpet Player" (Hughes), Supp. I, Part 1, 333 Trumpet Shall Sound, The (Wilder), IV, 356 "Truro Bear, The" (Oliver), Supp. VII, 234 Truscott, Lucian K., Supp. IV, Part 2, 683 Trust (Ozick), 270, 272; Supp. V, 257-258, 259, 260-263 Trust Me (Updike), Retro. Supp. 1,322 "Trust Yourself (Emerson), II, 10 "Truth" (Emerson), II, 6 "Truth, The" (Jarrell), II, 381-382 "Truth Is, The" (Hogan), Supp. IV, Part 1, 401-402 "Truth Is Forced, The" (Swenson), Supp. IV, Part 2, 652 "Truth of the Matter, The" (Nemerov), III, 270 "Truth the Dead Know, The" (Sexton), Supp. II, Part 2, 681 "Truthful James" (Harte), IV, 196 "Try the Girl" (Chandler), Supp. IV, Part 1, 125 Trying to Save Piggy Sneed (Irving), Supp. VI, 19-165-166 "Trying to Talk with a Man" (Rich), Supp. I, Part 2, 559 "Tryst, The" (Wharton), Retro. Supp. I, 378 "Ts'ai Chin" (Pound), III, 466 Tu Fu, II, 526 Tu Fu (Ayscough), II, 527 Tucker, Ellen, see Emerson, Mrs. Ralph Waldo (Ellen Tucker) Tuckerman, Frederick Goddard, IV, 144 Tuckey, John S., IV, 213 "Tuesday April 25th 1966" (Olson), Supp. II, Part 2, 585 "Tuft of Flowers, The" (Frost), II, 153; Retro. Supp. I, 126, 127 Tufts, James Hayden, Supp. I, Part 2, 632

610 / INDEX Tugwell, Rexford Guy, Supp. I, Part 2, 645 "Tulip" (Hammett), Supp. IV, Part 1, 356 "Tulips" (Plath), Supp. I, Part 2, 540, 542, 544 "Tulips" (Snodgrass), Supp. VI, 325 Tulips and Chimneys (Cummings), I, 436, 437, 440, 445, 447 Tully, Jim, III, 103, 109 Tumble Tower (Modarressi and Tyler), Supp. IV, Part 2, 657 Tunnel, The (Gass), Supp. V, 44; Supp. VI, 89-91, 94 "Tunnel, The" (Strand), Supp. IV, Part 2, 622 Tura, Cosimo, III, 474-475 Turandot and Other Poems (Ashbery), Supp. Ill, Part 1, 3 Turgenev, Ivan Sergeevich, I, 106; II, 263, 271, 275, 280, 281, 288, 319, 320, 324-325, 338, 407; III, 461; IV, 17, 277; Retro. Supp. I, 215, 222 Turgot, Anne Robert Jacques, II, 103; Supp. I, Part 1, 250 "Turkey and Bones and Eating and We Liked It" (Stein), IV, 44 Turman, Glynn, Supp. IV, Part 1, 362 "Turn of the Screw, The" (James), II, 331-332; Retro. Supp. I, 228, 229, 231, 232 Turn of the Screw, The (James), Retro. Supp. I, 219, 231; Supp. IV, Part 2, 682 Turnbull, Andrew, II, 100; IV, 473 Turnbull, Dr. George, II, 113 Turnbull, Gail, IV, 425 Turnbull, Lawrence, Supp. I, Part 1,352 Turnbull, Ralph G., I, 565 Turner, Addie, IV, 123 Turner, Arlin, II, 245 Turner, Darwin, Supp. I, Part 1, 339, 348; Supp. IV, Part 1, 165 Turner, Frederick Jackson, Supp. I, Part 2, 480, 481,632, 640; Supp. IV, Part 2, 596

Turner, Nat, IV, 113-114, 115, 116, 117 Turner, Susan J., I, 263 Turner, Victor, Supp. IV, Part 1, 304 "Turning Away Variations on Estrangement" (Dickey), Supp. IV, Part 1, 183 "Turning Thirty, I Contemplate Students Bicycling Home" (Dove), Supp. IV, Part 1, 250 Turning Wind, A (Rukeyser), Supp. VI, 272-273, 279-280 Turns and Movies and Other Tales in Verse (Aiken), I, 65 Turow, Scott, Supp. V, 220 Turrinus, Lucius Mamilius, IV, 373 "Turtle" (Hogan), Supp. IV, Part 1,401 Tuscan Cities (Howells), II, 280 Tuskegee movement, Supp. II, Part 1, 169, 172 Tuthill, Louisa Cavolne, Supp. I, Part 2, 684 "Tutored Child, The" (Kunitz), Supp. Ill, Part 1, 264 Tuttleton, James W., Ill, 73; Supp. IV, Part 1, 166, 168 "T.V.A." (Agee), I, 35 Tvedten, Brother Benet, Supp. IV, Part 2, 505 "Twa Sisters, The" (ballad), Supp. I, Part 2, 696 Twain, Mark, I, 57, 103, 107, 109, 190, 192, 193, 195, 197, 203, 209, 237, 245, 246, 247-250, 255, 256, 257, 260, 261, 292, 342, 418, 469, 485; II, 70, 140, 259, 262, 266-268, 271, 272, 274-275, 276, 277, 280, 285286, 287, 288, 289, 301, 304, 306, 307, 312, 415, 432, 434, 436, 446, 457, 467, 475, 476, 482; III, 65, 101, 102, 112-113, 114,220,241,347,357,409, 453, 454, 504, 507, 554, 558, 572, 575, 576; IV, 190-213, 333, 349, 451; Retro. Supp. I, 169, 194, 195; Supp. I, Part 1, 37, 39, 44, 247, 251, 313, 317, Part 2, 377, 385, 393, 410, 455,

456, 457, 473, 475, 579, 602, 604, 618, 629, 651, 660; Supp. II, Part 1, 193, 344, 354, 385; Supp. IV, Part 1, 386, 388, Part 2, 463, 468, 603, 607, 693; Supp. V, 44, 113, 131 Twelfth Night (Shakespeare), Supp. IV, Part 1, 83 Twelve Moons (Oliver), Supp. VII, 231, 233-236, 238, 240 Twelve Southerners, IV, 125 Twentieth Century Authors, I, 376, 527 Twentieth Century Pleasures (Hass), Supp. VI, 103, 106, 109 Twentieth Century Verse, Retro. Supp. I, 304 Twenty Poems of Anna Akhmatova (Kenyon), Supp. VII, 165-166 Twenty Thousand Leagues Under the Sea (Verne), I, 480 "Twenty Years Ago" (Lindsay), Supp. I, Part 2, 384, 399 Twenty Years at Hull-House (Addams), Supp. I, Part 1, 3, 4, II, 16 "28" (Levine), Supp. V, 187, 191 "Twenty-Four Poems" (Schwartz), Supp. II, Part 2, 646, 649 "2433 Agnes, First Home, Last House in Missoula" (Hugo), Supp. VI, 139-140 "Twenty-One Love Poems" (Rich), Supp. I, Part 2, 572-573 "Twenty-One Poems" (MacLeish), III, 19 27 Wagons Full of Cotton and Other One-Act Plays (Williams), IV, 381, 383 Twice-Told Tales (Hawthorne), I, 354; II, 224; III, 412, 421; Retro. Supp. I, 154-155, 160 Twichell, Chase, Supp. V, 16 Twilight (Frost), II, 151 Twilight Sleep (Wharton), IV, 320-322, 324-325, 327, 328; Retro. Supp. I, 381 "Twilight's Last Gleaming" (Burroughs and Elvins), Supp. Ill, Part 1, 93, 94, 101 "Twin Beds in Rome" (Updike), Retro. Supp. I, 332

INDEX / 611 "Twins of Table Mountain, The" (Harte), Supp. II, Part 1, 355 "Twist, The" (Olson), Supp. II, Part 2, 570 Two Admirals, The (Cooper), I, 350 Two Citizens (Wright), Supp. Ill, Part 2, 602-604 "Two Environments, The" (Trilling), Supp. Ill, Part 2, 510 "Two Friends" (Gather), I, 332 "Two Gardens in Linndale" (Robinson), III, 508 Two Gentlemen in Bonds (Ransom), III, 491-492 Two: Gertrude Stein and Her Brother (Stein), IV, 43 "Two Hangovers" (Wright), Supp. III, Part 2, 596 "Two Ladies in Retirement" (Taylor), Supp. V, 320 Two Letters to the Citizens of the United States, and One to General Washington (Barlow), Supp. II, Part 1, 80 "Two Lives, The" (Hogan), Supp. IV, Part 1, 400, 402, 403, 406, 411 "Two Lovers and a Beachcomber by the Real Sea" (Plath), Supp. I, Part 2, 536 Two Men of Sandy Bar (Harte), Supp. II, Part 1, 354 "Two Moods of Love" (Cullen), Supp. IV, Part 1, 166 "Two Morning Monologues" (Bellow), I, 150 "Two of Hearts" (Hogan), Supp. IV, Part 1, 410 "Two on a Party" (Williams), IV, 388 "Two Pendants: For the Ears" (Williams), Retro. Supp. I, 423 "Two Poems of Going Home" (Dickey), Supp. IV, Part 1, 182-183 "Two Portraits" (Chopin), Supp. I, Part 1, 218 "Two Presences, The" (Bly), Supp. IV, Part 1, 65

"Two Rivers" (Stegner), Supp. IV, Part 2, 605 "Two Scenes" (Ashbery), Supp. III, Part 1, 4 Two Serious Ladies (Jane Bowles), Supp. IV, Part 1, 82 "Two Sisters" (Farrell), II, 45 Two Sisters: A Memoir in the Form of a Novel (Vidal), Supp. IV, Part 2, 679 "Two Songs on the Economy of Abundance" (Agee), I, 28 "Two Temples, The" (Melville), III, 89-90 Two Thousand Seasons (Armah), Supp. IV, Part 1, 373 "Two Tramps in Mudtime" (Frost), II, 164; Retro. Supp. I, 137 "Two Views of a Cadaver Room" (Plath), Supp. I, Part 2, 538 "Two Villages" (Paley), Supp. VI, 227 "Two Voices in a Meadow" (Wilbur), Supp. Ill, Part 2, 555 "Two Witches" (Frost), Retro. Supp. I, 135 Two Years before the Mast (Dana), 1,351 Two-Character Play, The (Williams), IV, 382, 386, 393, 398 Two-Ocean War, The (Morison), Supp. I, Part 2, 491 Tyler, Anne, Supp. IV, Part 2, 657-675; Supp. V, 227, 326 Tyler, Parker, IV, 259 Tyler, Royall, I, 344; Retro. Supp. 1,377 Tynan, Kenneth, III, 169 Tyndale, William, II, 15 Typee: A Peep at Polynesian Life (Melville), III, 75-77, 79, 84; Retro. Supp. I, 245-246, 249, 252, 256 "Typewriter Man," (Thurber), Supp. I, Part 2, 681 "Tyrant of Syracuse" (MacLeish), III, 20 "Tyrian Businesses" (Olson), Supp. II, Part 2, 567, 568, 569 Tzara, Tristan, Supp. Ill, Part 1, 104, 105

Uberdie Seelenfrage (Fechner), II, 358 "Ulalume" (Poe), III, 427 Ullman, Leslie, Supp. IV, Part 2, 550 Ultima Thule (Longfellow), II, 490 "Ultima Thule" (Nabokov), Retro. Supp. I, 274 Ultimate Good Luck, The (Ford), Supp. V, 57, 61-62 Ultramarine (Carver), Supp. Ill, Part 1, 137, 138, 147, 148 Ulysses (Joyce), I, 395, 475-476, 478, 479, 481; II, 42, 264, 542; III, 170, 398; IV, 103, 418, 428, 455; Retro. Supp. I, 59, 63, 290, 291; Supp. I, Part 1, 57; Supp. Ill, Part 2, 618, 619; Supp. IV, Part 1, 285, Part 2, 424; Supp. V, 261 "Ulysses, Order and Myth" (Eliot), Retro. Supp. I, 63 Unaccountable Worth of the World, The (Price), Supp. VI, 267 Unamuno y Jugo, Miguel de, III, 310 "Un-Angry Langston Hughes, The" (Kearns), Supp. I, Part 1, 348 "Unborn Song" (Rukeyser), Supp. VI, 274 Uncalled, The (Dunbar), Supp. II, Parti, 200, 211, 212 "Uncle" (Levine), Supp. V, 186 "Uncle Christmas" (Rios), Supp. IV, Part 2, 552 "Uncle Jim's Baptist Revival Hymn" (Lanier and Lanier), Supp. I, Part 1, 353 "Uncle Lot" (Stowe), Supp. I, Part 2, 585-586 Uncle Remus Tales (Harris), Supp. II, Part 1, 201 Uncle Tom's Cabin (Stowe), II, 291; Supp. I, Part 1, 49, Part 2, 410, 579, 582, 589-592; Supp. II, Part 1, 170; Supp. III, Part 1, 154, 171 Uncle Tom's Children (Wright), IV, 476, 478, 488; Supp. II, Part 1, 228, 235

672 / INDEX "Uncle Wiggily in Connecticut" (Salinger), III, 559-560, 563 "Unclouded Day, The" (Proulx), Supp. VII, 254-255 Uncompromising Fictions of Cynthia Ozick (Pinsker), Supp. V,272 "Unconscious Came a Beauty" (Swenson), Supp. IV, Part 2, 646 "Uncreation, The" (Pinsky), Supp. VI, 245 "Undead, The" (Wilbur), Supp. Ill, Part 2, 556 "Undefeated, The" (Hemingway), II, 250; Retro. Supp. I, 180 "Under Ben Bulben" (Yeats), Supp. V, 220 "Under Cygnus" (Wilbur), Supp. III, Part 2, 558 "Under Forty" (Trilling), Supp. III, Part 2, 494 "Under Libra: Weights and Measures" (Merrill), Supp. Ill, Part 1, 328 Under Milk Wood (Thomas), III, 21 "Under the Cedarcroft Chestnut" (Lanier), Supp. I, Part 1, 364 Under the Lilacs (Alcott), Supp. I, Part 1, 42-43, 44 "Under the Maud Moon" (Kinnell), Supp. Ill, Part 1, 246-247 Under the Mountain Wall: A Chronicle of Two Seasons in the Stone Age (Matthiessen), Supp. V,202 "Under the Rose" (Pynchon), Supp. H, Part 2, 620 "Under the Sign of Saturn" (Sontag), Supp. Ill, Part 2, 470 Under the Sign of Saturn (Sontag), Supp. Ill, Part 2, 451, 452, 458, 470-471 "Under the Sky" (Bowles), Supp. IV, Part 1, 87 "Under the Willows" (Lowell), Supp. I, Part 2, 416 Under the Willows and Other Poems (Lowell), Supp. I, Part 2,424

Undercliff: Poems 1946-1953 (Eberhart), I, 528, 536-537 Underground Man, The (film), Supp. IV, Part 2, 474 Underground Man, The (Macdonald), Supp. IV, Part 2, 474, 475 Understanding Cynthia Ozick (Friedman), Supp. V, 273 Understanding E. L. Doctorow (Fowler), Supp. IV, Part 1, 226 Understanding Fiction (Brooks and Warren), IV, 279 Understanding Poetry (Brooks and Warren), Retro. Supp. I, 40, 41 Understanding Poetry (ed. Brooks and Warren), IV, 236 Understanding Tim O'Brien (Kaplan), Supp. V, 241 Undertaker's Garland, The (Wilson and Bishop), IV, 427 Underworld (DeLillo), Supp. VI, 2,4-5,6-7,8,9, 10, 11,13-15 Undine (La Motte-Fouque), II, 212; III, 78 Undiscovered Country, The (Howells), II, 282 Uneasy Chair, The (Stegner), Supp. IV, Part 2, 599 Unembarrassed Muse, The (Nye), Supp. I, Part 2, 478 "Unexpressed" (Dunbar), Supp. II, Part 1, 199 "Unfinished Bronx, The" (Paley), Supp. VI, 228 "Unfinished Poems" (Eliot), I, 579 Unfinished Woman, An (Hellman), Supp. I, Part 1, 292, 293, 294; Supp. IV, Part 1, 12, 353-354 Unframed Originals (Merwin), Supp. Ill, Part 1, 341 Ungaretti, Giuseppe, Supp. V, 337 Unger, Leonard, I, 591 Unguided Tour (Sontag), Supp. Ill, Part 2, 452 "Unidentified Flying Object" (Hayden), Supp. II, Part 1, 368 "Unifying Principle, The" (Ammons),Supp. VII, 28 " 'Uninhabitable Darkness' of Baldwin's Another Country,

The: Image and Theme" (Gross), Supp. I, Part 1, 70 "Union" (Hughes), Supp. I, Part 1,331 "Union Street: San Francisco, Summer 1975" (Carver), Supp. Ill, Part 1, 138 United States Army in World War II (Morison), Supp. I, Part 2, 490 United States Constitution, I, 6, 283 United States Literary Gazette (magazine), Supp. I, Part 1, 155, 156 United States Magazine and Democratic Review, Retro. Supp. I, 155 United States Review and Literary Gazette (magazine), Supp. I, Part 1, 156 United States Essays, 1951-1991 (Vidal), Supp. IV, Part 2, 678, 687 Universal Baseball Asociation, Inc., J. Henry Waugh, Prop., The (Coover), Supp. V, 39, 4142, 44, 46 Universal Passion (Young), III, 111 "Universe of Death, The" (Miller), III, 184 Universe of Time, A (Anderson), II, 27, 28, 45, 46, 48, 49 "Universities" (Emerson), II, 6 "University" (Shapiro), Supp. II, Part 2, 704-705, 717 "University Days" (Thurber), Supp. I, Part 2, 605 "University Hospital, Boston" (Oliver), Supp. VII, 235 "Unknowable, The" (Levine), Supp. V, 195 "Unknown Girl in the Maternity Ward" (Sexton), Supp. II, Part 2,676 "Unknown Love, The" (Chandler), Supp. IV, Part 1, 120 "Unknown War, The" (Sandburg), III, 594 "Unlighted Lamps" (Anderson), I, 112

INDEX / 613 Unloved Wife, The (Alcott), Supp. I, Part 1, 33 Unmarried Woman, An (film), Supp. IV, Part 1, 303 "Unparalleled Adventure of One Hans Pfaall, The" (Poe), III, 424 Unprecedented Era, The (Goebbels), III, 560 "Unprofitable Servant, The" (O. Henry), Supp. II, Part 1, 403 Unpublished Poems of Emily Dickinson (Bianchi and Hampson, ed.), Retro. Supp. I, 35 "Unseen, The" (Pinsky), Supp. VI, 243-244 Unseen Hand, The (Shepard), Supp. Ill, Part 2, 439, 445-446 Unselected Poems (Levine), Supp. V, 179 Unspeakable Gentleman, The (Marquand), III, 53-54, 60, 63 Unspeakable Practices, Unnatural Acts (Barthelme), Supp. IV, Part 1, 39 "Unspeakable Things Unspoken: The Afro-American Presence in American Literature" (Morrison), Supp. Ill, Part 1, 375, 377-379 "Untelling, The" (Strand), Supp. IV, Part 2, 629 Unterecker, John, I, 386, 404 Untermeyer, Jean, II, 530 Untermeyer, Louis, I, 450; II, 171, 516-517, 530, 532, 533; III, 268; IV, 354; Retro. Supp. I, 124, 133, 136; Supp. I, Part 2, 402, 730; Supp. Ill, Part 1, 2 Untimely Papers (Bourne), I, 218, 233 "Untrustworthy Speaker, The" (Gluck), Supp. V, 86 "Unused" (Anderson), I, 112, 113 Unvanquished, The (Faulkner), II, 55, 67-68, 71; Retro. Supp. I, 84; Supp. I, Part 2, 450 "Unvexed Isles, The" (Warren), IV, 253 "Unwelcome Words" (Bowles), Supp. IV, Part 1, 94, 95

Unwelcome Words (Bowles), Supp. IV, Part 1, 93, 94 "Unwithered Garland, The" (Kunitz), Supp. Ill, Part 1, 265 Unwobbling Pivot, The (trans. Pound), III, 472 "Unwritten Law" (Gluck), Supp. V, 91 "Unwritten, The" (Merwin), Supp. Ill, Part 1, 352 Up (Sukenick), Supp. V, 39 Up Above the World (Bowles), Supp. IV, Part 1, 82, 91, 92 "Up and Down" (Merrill), Supp. Ill, Part 1, 328 Up Country: Poems of New England (Kumin), Supp. IV, Part 2, 446, 447-448, 453 Up from Slavery (Washington), Supp. II, Part 1, 169 "Up in Michigan" (Hemingway), II, 263 Upanishads, IV, 183 Updike, John, 67; 269; 327; I, 47, 54; III, 572; IV, 214-235; Retro. Supp. I, 116, 317-338; Supp. I, Part 1, 186, 196, Part 2, 626, 627; Supp. IV, Part 2, 657; Supp. V, 23, 43, 95, 119 Updike, Mrs. Wesley, IV, 218, 220 "Updike Lauds National Medalist E. B. White," Supp. I, Part 2, 681 Upham, Thomas Goggswell, II, 487 "Upholsterers, The" (Lardner), II, 435 Upjohn, Richard, IV, 312 "Upon a Spider Catching a Fly" (Taylor), IV, 161 "Upon a Wasp Child with Cold" (Taylor), IV, 161 "Upon Meeting Don L. Lee, in a Dream" (Dove), Supp. IV, Part 1,244 "Upon My Dear and Loving Husband His Going into England, Jan. 16, 1661" (Bradstreet), Supp. I, Part 1, 110

"Upon Returning to the Country Road" (Lindsay), Supp. I, Part 2,382 "Upon the Burning of Our House, July 10th, 1666" (Bradstreet), Supp. I, Part 1, 107-108, 122 "Upon the Sweeping Flood" (Taylor), IV, 161 "Upon Wedlock, and Death of Children" (Taylor), IV, 144, 147, 161 "Upset, An" (Merrill), Supp. Ill, Part 1, 336 Upstairs and Downstairs (Vonnegut), Supp. II, Part 2, 757 Upstate (Wilson), IV, 447 "Upturned Face" (Crane), I, 423 Upward, Allen, Supp. I, Part 1, 262 "Upward Moon and the Downward Moon, The" (Bly), Supp. IV, Part 1, 71 Urang, Gunnar, IV, 119 Urania: A Rhymed Lesson (Holmes), Supp. I, Part 1, 300 "Urban Convalescence, An" (Merrill), Supp. Ill, Part 1, 322-324 "Urbanization of Humor, The" (Blair), Supp. I, Part 2, 626 Urich, Robert, Supp. V, 228 "Uriel" (Emerson), II, 19 Uris, Leon, Supp. IV, Part 1, 285, 379 Uroff, Margaret D., Supp. I, Part 2, 542, 549 "Us" (Sexton), Supp. II, Part 2, 687 "U.S. Commercial Orchid, The" (Agee), I, 35 U.S. 1 (Rukeyser), Supp. VI, 272, 278, 283, 285 U.S.A. (Dos Passos), I, 379, 475, 478, 482-488, 489, 490, 491, 492, 493, 494, 495; Supp. I, Part 2, 646; Supp. Ill, Part 1, 104, 105 Use of Fire, The (Price), Supp. VI, 265 "Use of Force, The" (Williams), Retro. Supp. I, 424

614 / INDEX Use of Poetry and the Use of Criticism, The (Eliot), Retro. Supp. I, 65 "Used-Boy Raisers, The" (Paley), Supp. VI, 218, 228 "Used Side of the Sofa, The" (Rios), Supp. IV, Part 2, 551 "Uses of Poetry, The" (Williams), Retro. Supp. I, 412 Ushant: An Essay (Aiken), I, 49, 54, 55, 56, 57 "Usher 11" (Bradbury), Supp. I, Part 2, 622 Usual Star, The (Doolittle), Supp. I, Part 1, 270 "Usurpation (Other People's Stories)" (Ozick), Supp. V, 268, 271 Utica Observer (newspaper), II, 128 Utopia 14 (Vonnegut), Supp. II, Part 2, 757 V. (Pynchon), Supp. II, Part 2, 618, 620-622, 627-630; Supp. IV, Part 1, 279 "V. V." (Alcott), Supp. I, Part 1, 37 "Vachel Lindsay" (Masters), Supp. I, Part 2, 402 "Vachel Lindsay" (Rittenhouse), Supp. I, Part 2, 402 "Vachel Lindsay" (Sayre), Supp. I, Part 2, 402 Vachel Lindsay: A Poet in America (Masters), Supp. I, Part 2, 402, 473, 474 Vachel Lindsay, Adventurer (Trombly), Supp. I, Part 2, 402 "Vachel Lindsay and America" (Masters), Supp. I, Part 2, 402 "Vachel Lindsay and His Heroes" (Bradbury), Supp. I, Part 2, 402 "Vachel Lindsay as I Knew Him" (Armstrong), Supp. I, Part 2, 402 Vachel Lindsay: Fieldworker for the American Dream (Massa), Supp. I, Part 2, 402

"Vachel Lindsay: The Midwest as Utopia" (Whitney), Supp. I, Part 2, 403 Vachel Lindsay: The Poet as Film Theorist (Wolfe), Supp. I, Part 2,402 "Vachel Lindsay Writes to Floyd Dell" (Tanselle), Supp. I, Part 2,403 "Vachel Lindsay-iana: A Bibliographical Note" (White), Supp. I, Part 2, 401 "Vachel Lindsay or, My Heart Is a Kicking Horse'' (Ames), Supp. I, Part 2, 402 "Vag" (Dos Passos), I, 487^88 Valentine, Jean, Supp. V, 92 Valentine, Saint, IV, 396 Valentino, Rudolph, I, 483 Valery, Paul Ambroise, II, 543, 544; III, 279, 409, 428, 609; IV, 79, 91, 92, 428, 443 Valgemae, Mardi, I, 96 Valhouli, James N., Supp. I, Part I, 199 Vallejo, Cesar, Supp. V, 332 Valley of Decision, The (Wharton), IV, 311, 315; Retro. Supp. I, 365-367 Valley of the Moon, The (London), II, 467, 481 "Valley of Unrest, The" (Poe), III, 411 Valli, Alida, Supp. IV, Part 2, 520 "Valor" (Bausch), Supp. VII, 54 Valparaiso (DeLillo), Supp. VI, 4, 12 "Values and Fictions" (Toomer), Supp. Ill, Part 2, 485-486 Values of Veblen, The: A Critical Appraisal (Rosenberg), Supp. I, Part 2, 650 Vampire Armand, The (Rice), Supp. VII, 290, 294-295 Vampire Chronicles, The (Rice), Supp. VII, 290 Vampire Lestat, The (Rice), Supp. VII, 290-292, 298, 299 Van Buren, Martin, II, 134, 312; III, 473

Van Dine, S. S., Supp. IV, Part 1, 341 Van Doren, Carl, I, 252-253, 423; 11,103, 111, 112, 125, 461; III, 144; IV, 143; Supp. I, Part 2, 474, 478, 486, 707, 709, 717, 718, 727, 730; Supp. II, Part 1, 395 Van Doren, Mark, I, 70, 168; II, 245; III, 4, 23, 589, 598; IV, 143; Supp. I, Part 2, 604, 626; Supp. Ill, Part 2, 626 Van Dyke, Annette, Supp. IV, Part 1, 327 Van Dyke, Henry, I, 223; II, 456

Van Gelder, Robert, III, 73 Van Ghent, Dorothy, I, 334 Van Gogh, Vincent, I, 27; IV, 290; Supp. I, Part 2, 451; Supp. IV, Part 1, 284 Van Gogh's Room at Aries (Elkin), Supp. VI, 56 Van Matre, Lynn, Supp. V, 126 Van Nostrand, Albert, III, 384 Van Rensselaer, Stephen, I, 351 Van Rensselaer family, IV, 311 Van Schaick, John, Jr., II, 509510 Van Vechten, Carl, I, 295; IV, 76; Supp. I, Part 1, 324, 327, 332, Part 2, 715; Supp. II, Part 2, 725-751 Vande Kieft, Ruth M., IV, 260, 284 Vanderbilt, Cornelius, III, 14 Vanderbilt family, IV, 311 Vandover and the Brute (Norris), 111,314,315,316,320-322, 328, 333, 334 "Vanisher, The" (Whittier), Supp. I, Part 2, 691 "Vanity" (B. Diop), Supp. IV, Part 1, 16 Vanity Fair (magazine), I, 429; III, 123; IV, 427; Supp. I, Part 2,709 Vanity Fair (Thackeray), I, 354; II, 91; III, 70 "Vanity of All Wordly Things, The" (Bradstreet), Supp. I, Part 1,102, 119

INDEX / 615 Vanity ofDuluoz (Kerouac), Supp. III, Part 1, 221, 222 "Vanity of Existence, The" (Freneau), Supp. II, Part 1, 262 Vanquished, The (Faulkner), I, 205 Vanzetti, Bartolomeo, I, 482, 486, 490, 494; II, 38-39, 426; III, 139-140; Supp. I, Part 2, 446, 610, 611; Supp. V, 288-289 "Vapor Trail Reflected in the Frog Pond" (Kinnell), Supp. Ill, Part I, 242-243 "Variation: Ode to Fear" (Warren), IV, 241 "Variation on a Sentence" (Bogan), Supp. Ill, Part 1, 60 "Variation on Gaining a Son" (Dove), Supp. IV, Part 1, 248 "Variation on Pain" (Dove), Supp. IV, Part 1, 248 "Variations: The air is sweetest that a thistle guards" (Merrill), Supp. Ill, Part 1, 321 "Variations: White Stag, Black Bear" (Merrill), Supp. Ill, Part 1,321 "Varick Street" (Bishop), Supp. I, Part 1, 90, 92 Varieties of Metaphysical Poetry, The (Eliot), Retro. Supp. I, 65 Varieties of Religious Experience, The: A Study in Human Nature (James), II, 344, 353, 354, 359360, 362; IV, 28, 291 Variorum (Whitman), Retro. Supp. I, 406 "Various Miracles" (Shields), Supp. VII, 318-319, 324 Various Miracles (Shields), Supp. VII, 318-320, 323, 324 Vasari, Giorgio, Supp. I, Part 2, 450; Supp. Ill, Part 1, 5 Vasilievskaya, O. B., I, 427 Vasquez, Robert, Supp. V, 180 Vassal! Morton (Parkman), Supp. II, Part 2, 595, 597-598 Vasse, W. W., Ill, 478 Vaudeville for a Princess (Schwartz), Supp. II, Part 2, 661-662 Vaughan, Henry, IV, 151 "Vaunting Oak" (Ransom), III, 490

Veblen, Andrew, Supp. I, Part 2, 640 Veblen, Mrs. Thorstein (Ellen Rolfe), Supp. I, Part 2, 641 Veblen, Oswald, Supp. I, Part 2, 640 Veblen, Thorstein, I, 104, 283, 475-476, 483, 498, 511; II, 27, 272, 276, 287; Supp. I, Part 2, 628-650; Supp. IV, Part 1, 22 Veblen (Hobson), Supp. I, Part 2, 650 Veblenism: A New Critique (Dobriansky), Supp. I, Part 2, 648, 650 "Veblen's Attack on Culture" (Adorno), Supp. I, Part 2, 650 Vechten, Carl Van, Retro. Supp. 1,199 Vedas, IV, 183 Vega, Lope de, Retro. Supp. I, 285; Supp. in, Part 1, 341, 347 Vegetable, The (Fitzgerald), Retro. Supp. I, 105 Vegetable, The, or From President to Postman (Fitzgerald), II, 91 Vein of Iron (Glasgow), II, 175, 186, 188-189, 191, 192, 194 Veinberg, Jon, Supp. V, 180 Velie, Alan R., Supp. IV, Part 2, 486 "Velorio" (Cisneros), Supp. VII, 66 "Velvet Shoes" (Wylie), Supp. I, Part 2, 711,714 Vendler, Helen H., IV, 96; Retro. Supp. I, 297; Supp. I, Part 1, 77, 78, 92, 95, 97, Part 2, 565; Supp. IV, Part 1, 245, 247, 249, 254, 257, Part 2, 448; Supp. V, 78, 82, 189, 343 "Venetian Blind, The" (Jarrell), II, 382-383 Venetian Glass Nephew, The (Wylie), Supp. I, Part 2, 707, 709, 714, 717-719, 721, 724 Venetian Life (Howells), II, 274, 277, 279 Venice Observed (McCarthy), II, 562 Ventadorn, Bernard de, Supp. IV, Part 1, 146

"Ventriloquists' Conversations" (Gentry), Supp. IV, Part 1, 236 Venus and Adonis (film), Supp. IV, Part 1, 82 "Venus, Cupid, Folly and Time" (Taylor), Supp. V, 322-323 Venus in Sparta (Auchincloss), Supp. IV, Part 1, 25 "Veracruz" (Hayden), Supp. II, Part 1, 371, 373 Verga, Giovanni, II, 271, 275 Verhaeren, Emile, I, 476; II, 528, 529 Verlaine, Paul, II, 529, 543; III, 466; IV, 79, 80, 86, 286; Retro. Supp. I, 56, 62 Vermeer, Jan, Retro. Supp. I, 335 "Vermeer" (Nemerov), III, 275, 278, 280 Vermont Notebook, The (Ashbery), Supp. Ill, Part 1, 1 "Vernal Ague, The" (Freneau), Supp. II, Part 1, 258 Verne, Jules, I, 480; Retro. Supp. 1,270 Vernon, John, III, 550 Verplanck, Gulian C, Supp. I, Part 1, 155, 156, 157, 158 Verrazano, Giovanni da, Supp. I, Part 2, 496, 497 "Verse for Urania" (Merrill), Supp. Ill, Part 1, 329, 330 Verses (Wharton), Retro. Supp. I, 362 "Verses for Children" (Lowell), II, 516 "Verses Made at Sea in a Heavy Gale" (Freneau), Supp. II, Part 1,262 Verses, Printed for Her Friends (Jewett), II, 406 "Version of a Fragment of Simonides" (Bryant), Supp. I, Part 1, 153, 155 Verulam, Baron, see Bacon, Francis Very, Jones, III, 507 Very Old Bones (Kennedy), Supp. VII, 133, 148, 150-153 "Very Proper Gander, The" (Thurber), Supp. I, Part 2, 610

616 / INDEX "Very Short Story, A" (Hemingway), II, 252; Retro. Supp. I, 173 "Vesalius in Zante" (Wharton), Retro. Supp. I, 372 Vesey, Denmark, Supp. I, Part 2, 592 "Vespers" (Auden), Supp II, Part 1,23 "Vespers" (Gliick), Supp. V, 88 Vested Interests and the Common Man, The (Veblen), Supp. I, Part 2, 642 "Vesuvius at Home" (Rich), Retro. Supp. I, 42 "Veteran, The" (Crane), I, 413 "Veteran Sirens" (Robinson), III, 512, 524 "Vetiver" (Ashbery), Supp. Ill, Part 1, 26 "Via Dieppe-Newhaven" (Miller), III, 183 Vicar of Wakefeld, The (Goldsmith), I, 216 "Vicissitudes of the Avant-Garde, The" (Gass), Supp. VI, 91 Vickery, John, II, 608 Vickery, Olga W., II, 76 Victim, The (Bellow), I, 144, 145, 147, 149, 150, 151, 152, 153, 155, 156, 158, 159, 164; IV, 19 "Victor" (Mumford), Supp. II, Part 2, 476 Victoria, Queen, II, 191, 490 Victorian Knight-Errant: A Study of the Early Literary Career of James Russell Lowell (Howard), Supp. I, Part 2, 426 Victorian literature, II, 499, 507508, 590; III, 4, 87, 109, 189, 509, 510; IV, 230, 321,435; Supp. I, Part 1, 29, 35-37, Part 2, 552, 656 "Victory at Sea" (television series), Supp. I, Part 2, 490 "Victory comes late" (Dickinson), Retro. Supp. I, 45 Victory in Limbo: Imagism 19081917 (Harmer), Supp. I, Part 1, 275 "Victory of the Moon, The" (Crane), I, 420

Vidal, Gore, II, 587; IV, 383; Supp. IV, Part 1, 22, 35, 92, 95, 198, Part 2, 677-696 Vie unanime, La (Romains), I, 227 Viebahn, Fred, Supp. IV, Part 1, 248 Viereck, Peter, Supp. I, Part 2, 403 Vietnam (McCarthy), II, 578-579 "Vietnam in Me, The" (O'Brien), Supp. V, 241, 252 View (publication), Supp. IV, Part 1,84 "View, The" (Roussel), Supp. Ill, Part 1, 15, 16, 21 View from 80, The (Cowley), Supp. II, Part 1, 141, 144, 153 View from the Bridge, A (Miller), III, 147, 148, 156, 158, 159160 View of My Own, A: Essays in Literature and Society (Hardwick), Supp. Ill, Part 1, 194, 200 View of the Soil and Climate of the United States, A (trans. Brown), Supp. I, Part 1, 146 "View of the Wood, The" (O'Connor), III, 349, 351, 358 "Views of the Mysterious Hill: The Appearance of Parnassus in American Poetry" (Strand), Supp. IV, Part 2, 631 "Vigil, The" (Dante), III, 542 Vignaux, Georgette P., Ill, 313 Vigny, Alfred Victor de, II, 543 Vilas, Martin S., Supp. I, Part 1, 148 Vile Bodies (Waugh), Supp. I, Part 2, 607 Villa, Jose Garcia, III, 217 Villa, Pancho, I, 210; III, 584 "Village Blacksmith, The" (Longfellow), Supp. I, Part 2, 409 Village Hymns, a Supplement to Dr. Watts's Psalms and Hymns (Nettleton), I, 458 "Village Improvement Parade, The" (Lindsay), Supp. I, Part 2, 388, 389

Village Magazine, The (Lindsay), Supp. I, Part 2, 379-380, 382 Village Virus, The (Lewis), II, 440 Village Voice, The (newspaper), III, 36-37; Supp. IV, Part 1, 205, 285, 374; Supp. V, 23 "Villanelle at Sundown" (Justice), Supp. VII, 119, 122-123 "Villanelle of Change" (Robinson), III, 524 Villard, Oswald, Supp. I, Part 1, 332 Villon, Francois, II, 544; III, 9, 174, 592; Retro. Supp. I, 286; Supp. I, Part 1, 261; Supp. Ill, Part 1, 235, 243, 249, 253, Part 2,560 "Villonaud for This Yule" (Pound), Retro. Supp. I, 286 Vincent, H. P., Ill, 95, 97-98 Vindication of the Rights of Women (Wollstonecraft), Supp. I, Part 1, 126 "Vintage Thunderbird, A" (Beattie), Supp. V, 27 Violence (Bausch), Supp. VII, 4849,54 Violent Bear It Away, The (O'Connor), III, 339, 345-348, 351, 350, 354, 355, 356, 357 "Violent Vet, The" (O'Brien), Supp. V, 238 Violin (Rice), Supp. VII, 302 Virgil, I, 312, 322, 587; II, 133, 542; IV, 137, 359; Retro. Supp. I, 135; Supp. I, Part 1, 153, Part 2, 494; Supp. IV, Part 2, 631 "Virgin and the Dynamo" (Adams), III, 396 "Virgin Carrying a Lantern, The" (Stevens), IV, 80 Virgin Mary, I, 111; II, 522 "Virgin Violeta" (Porter), III, 454 Virginia (Glasgow), II, 175, 178, 181-182, 193, 194 "Virginia" (Lindsay), Supp. I, Part 2, 398 "Virginia Britannia" (Moore), III, 198, 208-209 Virginia Quarterly Review (publication), III, 292, 443

INDEX / 617 "Virginians Are Coming Again, The" (Lindsay), Supp. I, Part 2, 399 "Virility" (Ozick), Supp. V, 262, 265 Virtanen, Reino, IV, 259 Virtue of Selfishness, The: A New Concept of Egoism (Rand), Supp. IV, Part 2, 527, 530532 Visconti, Luchino, Supp. V, 51 Visible Saints: The History of a Puritan Idea (Morgan), IV, 149 "Vision, A" (Winters), Supp. II, Part 2, 785, 795 "Vision and Prayer" (Thomas), I, 432 Vision in Spring (Faulkner), Retro. Supp. I, 79 Vision of Columbus (Barlow), Supp. I, Part 1, 124; Supp. II, Part 1, 67, 68, 70-75, 77, 79 Vision of Sir Launfal, The (Lowell), Supp. I, Part 1, 311, Part 2, 406, 409, 410 "Vision of the World, A" (Cheever), Supp. I, Part 1, 182, 192 Vision of This Land, The (eds. Hallwas and Reader), Supp. I, Part 2, 402, 478 "Visionary, The" (Poe), III, 411 Visionary Farms, The (Eberhart), I, 537-539 Visioning, The (Glaspell), Supp. Ill, Part 1, 175-177, 180, 187, 188 Visions of Cody (Kerouac), Supp. Ill, Part 1, 225-227 Visions of Gerard (Kerouac), Supp. Ill, Part 1, 219-222, 225, 227, 229 "Visions of the Daughters of Albion" (Blake), III, 540 "Visit" (Ammons), Supp. VII, 2829 "Visit, The" (Kenyon), Supp. VII, 169 "Visit of Charity, A" (Welty), IV, 262 "Visit to a Small Planet" (teleplay) (Vidal), Supp. IV, Part 2, 682

Visit to a Small Planet: A Comedy Akin to Vaudeville (Vidal), Supp. IV, Part 2, 682-683 "Visit to Avoyelles, A" (Chopin), Supp. I, Part 1, 213 "Visit with John Cheever, A" (Nichols), Supp. I, Part 1, 199 "Visitors, The/Los Visitantes" (Kingsolver), Supp. VII, 208 Vistas of History (Morison), Supp. I, Part 2, 492 Vita Nova (Gluck), Supp. V, 9092 Vital Provisions (Price), Supp. VI, 262-263 "Vitamins" (Carver), Supp. Ill, Part 1, 138 Vittorio, the Vampire (Rice), Supp. VII, 295-296 Vivas, Eliseo, IV, 143 Vizenor, Gerald, Supp. IV, Part 1, 260, 262, 329, 404, Part 2, 502 Vladimir Nabokov: The American Years (Nabokov), Retro. Supp. 1,275 "Vlemk, the Box Painter" (Gardner), Supp. VI, 73 "V-Letter" (Shapiro), Supp. II, Part 2, 707 V-Letter and Other Poems (Shapiro), Supp. II, Part 2, 702, 706 "Vocation and a Voice, A" (Chopin), Supp. I, Part 1, 200, 220, 224, 225 Vogel, Speed, Supp. IV, Part 1, 390 Vogler, Thomas A., I, 404 Vogue (magazine), II, 441; Supp. I, Part 1, 211; Supp. IV, Part 1, 197, 198, 203, 210 "Voice from Under the Table, A" (Wilbur), Supp. Ill, Part 2, 553, 554 Voice of Reason, The: Essays in Objectivist Thought (Rand), Supp. IV, Part 2, 527, 528, 532 "Voice of Rock, The" (Ginsberg), Supp. II, Parti, 313 Voice of the City, The (O. Henry), Supp. II, Part 1, 410

"Voice of the Mountain, The" (Crane), I, 420 Voice of the Negro (Barber), Supp. II, Part 1, 168 Voice of the People, The (Glasgow), II, 175, 176 Voice of the Turtle: American Indian Literature 1900-1970 (ed. Gunn Allen), Supp. IV, Part 1, 332, 334 Voiced Connections of James Dickey, The (Dickey), Supp. IV, Part 1, 177 Voices from the Moon (Dubus), Supp. VII, 88-89 "Voices from the Other World" (Merrill), Supp. Ill, Part 1, 331 Voices in the House (Sedges), Supp. II, Part 1, 125 Voices of the Night (Longfellow), II, 489, 493 "Voices of Village Square, The" (Wolfe), Supp. Ill, Part 2, 571572 Voisin, Laurence, I, 450 Volney, Constantin Fra^ois de Chasseboeuf, Supp. I, Part 1, 146 Volpe, Edmond L., II, 76; III, 49 Voltaire, I, 194; II, 86, 103, 449; III, 420; IV, 18; Supp. I, Part 1, 288-289, Part 2, 669, 717 Von Abele, Rudolph, I, 450 Von Frank, Albert J., Supp. I, Part 2, 705 Vonnegut, Kurt, 244; Retro. Supp. I, 170; Supp. II, Part 2, 557, 689, 753-816; Supp. IV, Part 1, 227, 392; Supp. V, 40, 42, 237, 296 "Voracities and Verities" (Moore), III, 214 Vore, Nellie, I, 199 Vorticism, II, 517; III, 463, 465, 466, 475; Supp. I, Part 1, 257 "Vorticism" (Pound), Retro. Supp. 1,288 Voss, Arthur, Supp. I, Part 2, 426 Voss, Richard, I, 199-200 "Vowels 2" (Baraka), Supp. II, Parti, 51 "Voyage" (MacLeish), III, 15

618 / INDEX "Voyage, The" (Irving), II, 304 Voyage dans la Haute Pennsylvanie et dans I'etat de New-York (Crevecoeur), Supp. I, Part 1,250-251 Voyage to Pagany, A (Williams), IV, 404; Retro. Supp. I, 418419, 420-421, 423 "Voyages" (Crane), I, 393-395 "Voyages" (Levine), Supp. V, 190 Voyages and Discoveries of the Companions of Columbus (Irving), II, 310 Voznesensky, Andrei, II, 553; Supp. Ill, Part 1, 268, Part 2, 560 Vrbovska, Anca, Supp. IV, Part 2,639 "Vulgarity in Literature" (Huxley), III, 429-430 "Vultures" (Oliver), Supp. VII, 235 W (Viva) (Cummings), I, 429, 433, 434, 436, 443, 444, 447 "W. D. Sees Himself Animated" (Snodgrass), Supp. VI, 327 "W. D. Sits in Kafka's Chair and Is Interrogated Concerning the Assumed Death of Cock Robin" (Snodgrass), Supp. VI, 319 "W. D. Tries to Warn Cock Robin" (Snodgrass), Supp. VI, 319 Wade, Allan, II, 340 Wade, Grace, I, 216 Wade, John D., I, 263 Wade, S. J., IV, 188-189 "Wading at Wellfleet" (Bishop), Supp. I, Part 1, 80, 85, 86 Wadsworth, Charles, I, 454, 470; Retro. Supp. I, 32, 33 Wadsworth, M. C, II, 364 Wadsworth family, II, 486 Wagenheim, Allen J., Ill, 49 Wagenknecht, Edward, II, 245, 317, 508, 510; III, 432; IV, 213; Supp. I, Part 2, 408, 426, 584, 706; Supp. IV, Part 2, 681 Waggoner, Hyatt H., I, 404; II, 245, 414, 533, 557; III, 289,

550; Supp. I, Part 1, 173, Part 2, 478, 706 Wagner, Jean, Supp. I, Part 1, 341, 346, 348; Supp. IV, Part 1, 165, 167, 171 Wagner, Linda Welshimer, IV, 425 Wagner, Philip M., Ill, 121 Wagner, Richard, I, 284, 395; II, 425; III, 396, 507; Supp. IV, Part 1, 392 "Wagner Matinee, A" (Gather), I, 315-316; Retro. Supp. I, 5, 8 "Wagnerians, The" (Auchincloss), Supp. IV, Part 1, 23 Wagoner, David, III, 549 Wahl, Jean, II, 366 Waid, Candace, Retro. Supp. I, 360, 372, 373 "Waif of the Plains, A" (Harte), Supp. H, Part 1, 354 Wain, John, IV, 449 "Wait" (Kinnell), Supp. Ill, Part 1,250 "Waiting" (Dubus), Supp. VII, 87 "Waiting" (Williams), Retro. Supp. I, 418 "Waiting by the Gate" (Bryant), Supp. I, Part 1, 171 Waiting for God (Weil), I, 298 Waiting for Godot (Beckett), I, 78, 91, 298; Supp. IV, Part 1, 368369 Waiting for Lefty (Odets), Supp. I, Part 1, 277, Supp. II, Part 2, 529, 530-533, 540; Supp. V, 109 "Waiting to Freeze" (Banks), Supp. V, 5, 6 Waiting to Freeze: Poems (Banks), Supp. V, 6, 8 "Wake, The" (Dove), Supp. IV, Part 1, 250 "Wake Island" (Rukeyser), Supp. VI, 273 Wake Up and Live! (Brande), Supp. I, Part 2, 608 "Wakefield" (Hawthorne), Retro. Supp. I, 154, 159 Waking, The (Roethke), III, 541 "Waking Early Sunday Morning" (Lowell), II, 552

"Waking in the Blue" (Lowell), II, 547 "Waking in the Dark" (Rich), Supp. I, Part 2, 559 "Waking Up the Rake" (Hogan), Supp. IV, Part 1, 415-416, 416 Wakoski, Diane, Supp. V, 79 Walcott, Charles C., I, 120, 427, 520; II, 53,149, 485; III, 336 Walcott, Jersey Joe, Supp. V, 182 Wald, Lillian, Supp. I, Part 1, 12 Walden, Daniel, Supp. IV, Part 2, 584, 591; Supp. V, 272 Walden; or, Life in the Woods (Thoreau), I, 219, 305; II, 8, 142, 159, 312-313, 458; IV, 168, 169, 170, 176, 177-178, 179-182, 183, 187; Retro. Supp. I, 62; Supp. I, Part 2, *579, 655, 664, 672 Waldhorn, Arthur, II, 270 Waldmeir, Joseph, III, 45, 360; IV, 119 Waldmeir, Joseph J., Supp. I, Part 2, 476, 478 Waldron, Edward, Supp. I, Part 1, 348 Waley, Arthur, II, 526; III, 466; Supp. V, 340 "Walk at Sunset, A" (Bryant), Supp. I, Part 1, 155 "Walk before Mass, A" (Agee), I, 28-29 "Walk in the Moonlight, A" (Anderson), I, 114 Walk on the Wild Side, A (Algren), Supp. V, 4 Walk with Tom Jefferson, A (Levine), Supp. V, 179, 187, 190-191 Walker, Alice, Retro. Supp. I, 215; Supp. I, Part 2, 550; Supp. Ill, Part 2, 488, 517540; Supp. IV, Part 1, 14 Walker, C. L., Supp. I, Part 2, 627 Walker, David, Supp. V, 189 Walker, Franklin D., II, 485; III, 321, 335, 336 Walker, Obadiah, II, 113 Walker, Warren S., I, 357

INDEX / 619 Walker, William E., II, 221 Walker, Williston, I, 565, 566 "Walking" (Hogan), Supp. IV, Part 1, 416 "Walking" (Thoreau), Supp. IV, Part 1, 416 "Walking Along in Winter" (Kenyon), Supp. VII, 167 Walking Down the Stairs: Selections from Interviews (Kinnell), Supp. Ill, Part 1, 235, 249 "Walking Home at Night" (Ginsberg), Supp. II, Part 1, 313 "Walking Man of Rodin, The" (Sandburg), III, 583 "Walking Sticks and Paperweights and Water Marks" (Moore), III, 215 "Walking to Sleep" (Wilbur), Supp. Ill, Part 2, 544, 557, 559, 561, 562 Walking to Sleep (Wilbur), Supp. Ill, Part 2, 557-560 "Walks in Rome" (Merrill), Supp. Ill, Part 1, 337 "Wall, The" (Brooks), Supp. Ill, Part 1, 70, 71, 84 Wall The (Hersey), IV, 4 "Wall, The" (Roethke), III, 544 "Wall, The" (Sexton), Supp. II, Part 2, 696 "Wall Songs" (Hogan), Supp. IV, Part 1, 413 Wallace, Emily M., IV, 424 Wallace, Henry, I, 489; III, 111, 475; Supp. I, Part 1, 286, Part 2,645 Wallace, Mike, Supp. IV, Part 1, 364, Part 2, 526 Wallace Stevens (Kermode), Retro. Supp. I, 301 Wallace Stevens: The Poems of our Climate (Bloom), Retro. Supp. 1,299 Wallace Stevens: Words Chosen out of Desire (Stevens), Retro. Supp. I, 297 Wallach, Eli, III, 161 Wallas, Graham, Supp. I, Part 2, 643

"Walled City" (Gates), Supp. II, Part 2, 524 Wallenstein, Anna, see Weinstein, Mrs. Max (Anna Wallenstein) Waller, Edmund, III, 463 Waller, Fats, IV, 263 Walling, William English, Supp. I, Part 2, 645 Walls Do Not Fall The (Doolittle), Supp. I, Part 1, 271, 272 Walpole, Horace, I, 203; Supp. I, Part 2, 410, 714 Walpole, Hugh, Retro. Supp. I, 231 Walpole, Robert, IV, 145 Walser, Richard, IV, 472, 473 Walsh, Ed, II, 424 Walsh, George, Supp. IV, Part 2, 528 Walsh, Richard J., Supp. II, Part 1, 119, 130 Walsh, Thomas F., IV, 96 Walsh, William, Supp. IV, Part 1, 242, 243, 246, 248, 252, 254, 257 "Walt Whitman" (Masters), Supp. I, Part 2, 458 "Walt Whitman and the 'New Poetry' " (Brown), Supp. I, Part 2, 477 Walt Whitman Handbook (Allen), IV, 352 Walt Whitman Reconsidered (Chase), IV, 352 Walter Benjamin at the Dairy Queen: Reflections at Sixty and Beyond (McMurtry), Supp. V, 232 "Walter T. Carriman" (O'Hara), III, 368 Walters, Marguerite, see Smith, Mrs. Lamar (Marguerite Walters) Walton, Izaak, Supp. I, Part 2, 422 "Waltzer in the House, The" (Kunitz), Supp. Ill, Part 1, 258 Wampeters, Foma, & Granfalloons (Vonnegut), Supp. II, Part 2, 758, 759-760, 776, 779 "Wan Lee, the Pagan" (Harte), Supp. II, Part 1,351

"Wanderer, The" (Williams), Retro. Supp. I, 414, 421 "Wanderers, The" (Welty), IV, 273-274 "Wandering Jew, The" (Robinson), 111,505,516-517 Wanderings of Oisin (Yeats), Supp. I, Part 1, 79 Waniek, Marilyn Nelson, Supp. IV, Part 1, 244 Want Bone, The (Pinsky), Supp. VI, 236-237, 244-245, 247 "Wants" (Paley), Supp. VI, 219 "Wanted: An Ontological Critic" (Ransom), III, 498 "Wanting to Die" (Sexton), Supp. II, Part 2, 684, 686 Waples, Dorothy, I, 348, 357 Wapshot Chronicle, The (Cheever), Supp. I, Part 1, 174, 177-180, 181, 196 Wapshot Scandal The (Cheever), Supp. I, Part 1, 180-184, 187, 191, 196 "War" (Kingston), Supp. V, 169 War and Peace (Tolstoi), I, 6, 7; II, 191,205, 291; IV, 446; Supp. V, 277 "War Between Men and Women, The" (Thurber), Supp. I, Part 2, 615 War Bulletins (Lindsay), Supp. I, Part 2, 378-379 "War Diary, A" (Bourne), I, 229 War Dispatches of Stephen Crane, The (Crane), I, 422 War Games (Morris), III, 238 War in Heaven, The (Shepard and Chaikin), Supp. Ill, Part 2, 433 "War Is Kind" (Crane), I, 419 War Is Kind (Crane), I, 409; III, 585 War of the Classes (London), II, 466 "War Poems" (Sandburg), III, 581 "War, Response, and Contradiction" (Burke), I, 283 "War Widow, The" (Frederic), II, 135-136 Ward, Aileen,II, 531 Ward, Artemus (pseudonym), see Browne, Charles Farrar

620 / INDEX Ward, Douglas Turner, Supp. IV, Part 1, 362 Ward, Henry, Supp. I, Part 2, 588 Ward, J. A., IV, 235 Ward, Lester, Supp. I, Part 2, 640 Ward, Lynn, I, 31 Ward, Mrs. Humphry, II, 338 Ward, Nathaniel, Supp. I, Part 1, 99, 102, 111, 116 Ward, Samuel, II, 22 Ward, Theodora, I, 470, 473; Retro. Supp. I, 28 Ward, William Hayes, Supp. I, Part 1, 371 "Ward Line, The" (Morris), III, 220 Warfel, Hairy R., Ill, 243; Supp. I, Part 1, 148, 366, 373 Warner, Charles Dudley, II, 405; IV, 198 Warner, John R., Ill, 193 Warner, Oliver, I, 548 Warner, Susan, Retro. Supp. I, 246 Warner, W. Lloyd, III, 60 "Warning" (Hughes), Supp. I, Part 1, 343 "Warning" (Pound), III, 474 "Warning, The" (Creeley), Supp. IV, Part 1, 150 "Warning, The" (Longfellow), II, 498 Warning Hill (Marquand), III, 5556, 60, 68 Wanike, Frank J., Supp. I, Part 1, 199 Warren, Austin, I, 265, 268, 271, 287, 473; II, 246; IV, 166; Supp. I, Part 1, 123, Part 2, 423, 426 Warren, Earl, III, 581 Warren, Gabriel, IV, 244 Warren, Mrs. Robert Penn (Eleanor Clark), IV, 244 Warren, Robert Penn, I, 120, 190, 211, 517, 520; II, 57, 76, 217, 228, 253, 390; HI, 134, 310, 382-383, 454, 455, 482, 485, 490, 496, 497, 502; IV, 121, 122, 123, 125, 126, 142, 236259, 261, 262, 279, 284, 340341, 458; Retro. Supp. I, 40,

41, 73, 90; Supp. I, Part 1, 359, 371, 373, Part 2, 386, 423, 706; Supp. II, Part 1, 139; Supp. III, Part 2, 542; Supp. V, 261, 316, 318, 319, 333 Warren, Rosanna, IV, 244 Warrington Poems, The (Rios), Supp. IV, Part 2, 540 Warrior, Robert Allen, Supp. IV, Part 1, 329 "Warrior, The" (Gunn Allen), Supp. IV, Part 1, 326 Wars I Have Seen (Stein), IV, 27, 36, 477 Warshawsky, Isaac (pseudonym), see Singer, Isaac Bashevis Warshow, Robert, Supp. I, Part 1, 51 Wartime (Fussell), Supp. V, 241 "Was" (Creeley), Supp. IV, Part 1, 155 "Was" (Faulkner), II, 71 "Was Lowell an Historical Critic?" (Altick), Supp. I, Part 2, 423 "Wash" (Faulkner), II, 72 Washington, Booker T., Supp. I, Part 2, 393; Supp. II, Part 1, 157, 160, 167, 168, 171, 225 Washington, George, I, 453; II, 313-314; Supp. I, Part 2, 399, 485,508,509,511,513,517, 518, 520, 599 Washington, B.C. (Vidal), Supp. IV, Part 2, 677, 684, 686-687, 690 Washington Post (newspaper), Supp. IV, Part 1, 205, 207, 227, Part 2, 657 Washington Post Book World (Lesser), Supp. IV, Part 2, 453 Washington Square (James), II, 327, 328; Retro. Supp. I, 215, 220, 222-223 "Washington Square, 1946" (Ozick), Supp. V, 272 Waskow, Howard J., IV, 354 Wasp (publication), I, 192, 196, 197 Wasserman, Earl R., Supp. I, Part 2, 439, 440, 453 Wasserman, Jakob, Supp. I, Part 2,669

Wasserstein, Wendy, Supp. IV, Part 1, 309 Wasserstrom, William, I, 263 Wasson, Ben, Retro. Supp. I, 79, 83 Waste Land, The (Eliot), I, 107, 266, 298, 395, 396, 482, 570571, 572, 574-575, 577-578, 580, 581, 584, 585, 586, 587; III, 6-8, 12, 196, 277-278, 453, 471, 492, 586; IV, 122, 123, 124, 140, 418, 419, 420; Retro. Supp. I, 51, 60, 60-62, 63, 64, 66,210,290,291,299,311, 420, 427; Supp. I, Part 1, 272, Part 2, 439, 455, 614; Supp. II, Part 1, 4, 5, 11, 96; Supp. Ill, Part 1, 9, 10, 41, 63, 105; Supp. IV, Part 1, 47, 284; Supp. V, 338 "Waste Land, The": A Facsimile and Transcript of the Original Drafts Including the Annotations of Ezra Pound (Eliot, ed.), Retro. Supp. I, 58 Watch and Ward (James), II, 323; Retro. Supp. I, 218, 219, 220 Watch on the Rhine (Hellman), Supp. I, Part 1, 276, 278, 279281, 283-284; Supp. IV, Part 1,83 "Watcher, The" (Bly), Supp. IV, Part 1, 71 "Watcher by the Dead, A" (Bierce), I, 203 Watchfires (Auchincloss), Supp. IV, Part 1, 23 "Water" (Emerson), II, 19 "Water" (Lowell), II, 550 "Water Borders" (Dillard), Supp. VI, 27 Water-Method Man, The (Irving), Supp. VI, 163, 167-179, 180 "Water Picture" (Swenson), Supp. IV, Part 2, 641 "Water Rising" (Hogan), Supp. IV, Part 1, 400 Water Street (Merrill), Supp. Ill, Part 1, 321-323 "Water Walker" (Wilbur), Supp. Ill, Part 2, 548, 560

INDEX / 621 "Water Works, The" (Doctorow), Supp. IV, Part 1, 234 "Waterbird" (Swenson), Supp. IV, Part 2, 651 "Watercolor of Grantchester Meadows" (Plath), Supp. I, Part 2, 537 "Waterlily Fire" (Rukeyser), Supp. VI, 285, 286 Waterlily Fire: Poems 1935-1962 (Rukeyser), Supp. VI, 274, 283, 285 Waterman, Arthur E., Ill, 243 Waters, Ethel, II, 587 "Watershed" (Kingsolver), Supp. VII, 208 "Watershed" (Warren), IV, 239 "Watershed, The" (Auden), Supp. II, Part 1, 5 Water-Witch, The (Cooper), I, 342-343 Waterworks, The (Doctorow), Supp. IV, Part 1, 218, 222, 223, 231-233, 234 Watkins, Floyd C, II, 221; IV, 452, 473 Watkins, James T., I, 193, 194 Watson, J. B., II, 361 Watson, James Sibley, Jr., I, 261 Watson, Richard, Supp. I, Part 2, 516,517 Watson, Robert, II, 390 Watson, William, II, 114 Watt, Frank William, IV, 72 Watteau, Jean Antoine, III, 275; IV, 79 Watts, Emily Stipes, II, 270; Supp. I, Part 1, 115, 123 Waugh, Evelyn, I, 480; III, 281; Supp. I, Part 2, 607; Supp. IV, Part 2, 688 "Wave, A" (Ashbery), Supp. Ill, Part 1, 9, 19, 24-25 Wave, A (Ashbery), Supp. Ill, Part 1, 1, 4, 24-26 "Wave, The" (MacLeish), III, 19 Way, Brian, I, 96 Way, The (eds. Steiner and Witt), Supp. IV, Part 2, 505 "Way Down, The" (Kunitz), Supp. III, Part 1, 263

"Way It Is, The" (Ellison), Supp. II, Part 1, 245 "Way It Is, The" (Strand), Supp. IV, Part 2, 627 "Way of Exchange in James Dickey's Poetry, The" (Weatherby), Supp. IV, Part 1, 175 Way Out, A (Frost), Retro. Supp. 1,133 Way Some People Die, The (Macdonald), Supp. IV, Part 2, 470, 471, 472, 474 Way Some People Live, The (Cheever), Supp. I, Part 1, 175 Way to Rainy Mountain, The (Momaday), Supp. IV, Part 2, 485-486, 487^89, 491, 493 Way to Wealth, The (Franklin), II, 101-102, 110 "Way We Feel Now, The" (DeMott), Supp. I, Part 1, 198 "Way We Live Now, The" (Didion), Supp. I, Part 1, 198 "Way We Live Now, The" (Sontag), Supp. Ill, Part 2, 467-468 "Way You'll Never Be, A" (Hemingway), II, 249 Wayne, John, Supp. IV, Part 1, 200 Ways of the Hour, The (Cooper), I, 354 Ways of White Folks, The (Hughes), Retro. Supp. I, 203, 204; Supp. I, Part 1, 329, 330, 332 Wayside Motor Inn, The (Gurney), Supp. V, 96, 105, 109 Wayward and the Seeking, The: A Collection of Writings by Jean Toomer (Toomer), Supp. Ill, Part 2, 478-481, 484, 487 Wayward Bus, The (Steinbeck), IV, 51,64-65 "We Are Looking at You, Agnes" (Caldwell), I, 309 "We Are the Crazy Lady and Other Feisty Feminist Fables" (Ozick), Supp. V, 259 "We Don't Live Here Anymore" (Dubus), Supp. VII, 78-79, 85

"We Have Our Arts So We Won't Die of Truth" (Bradbury), Supp. IV, Part 1, 105 "We miss Her, not because We see—" (Dickinson), Retro. Supp. I, 46 We Must Dance My Darlings (Trilling), Supp. I, Part 1, 297 "We Real Cool" (Brooks), Supp. III, Part 1, 80 We the Living (film), Supp. IV, Part 2, 520 We the Living (Rand), Supp. IV, Part 2,520-521 "We Wear the Mask" (Dunbar), Supp. II, Part 1, 199, 207, 209-210 Weales, Gerald, II, 602, 608; IV, 401; Supp. I, Part 2, 627 "Wealth," from Conduct of Life, The (Emerson), II, 2, 3-4 "Wealth," from English Traits (Emerson), II, 6 Wealth of Nations, The (Smith), II, 109 "Weary Blues, The" (Hughes), Retro. Supp. I, 198, 199; Supp. I, Part 1, 324, 325 Weary Blues, The (Hughes), Retro. Supp. I, 195, 197, 198, 199, 200, 203, 205; Supp. I, Part 1, 325 "Weary Kingdom" (Irving), Supp. VI, 163 Weatherby, H. L., Supp. IV, Part 1, 175 Weatherby, W. J., IV, 401; Supp. I, Part 1, 69 Weatherhead, Kingsley, III, 217; IV, 425 "Weathering Out" (Dove), Supp. IV, Part 1, 248 Weaver, Harriet, III, 471 Weaver, Mike, IV, 425; Retro. Supp. I, 430 Weaver, R. M., Ill, 97 Weaver, Robert, III, 384 "Web" (Oliver), Supp. VII, 236 Web and the Rock, The (Wolfe), IV, 451,455, 457, 459-460, 462, 464, 467, 468

622 / INDEX Web of Earth, The (Wolfe), IV, 451-452,456,458,464,465 "Web of Life, The" (Nemerov), III, 282 Webb, Beatrice, Supp. I, Part 1, 5 Webb, Constance, IV, 497 Webb, James W., II, 76 Webb, Mary, I, 226 Webb, Sidney, Supp. I, Part 1, 5 Webb, Stephen S., I, 564 Webb, W. P., Supp. V, 225 Weber, Brom, I, 120, 383, 386, 403, 404; III, 49; IV, 143 Weber, Carl J., II, 413^14; III, 525 Weber, Clara Carter, II, 413 Weber, Max, I, 498; Supp. I, Part 2, 637, 648 Weber, Sarah, Supp. I, Part 1, 2 Webster, CM., 11,318 Webster, Daniel, II, 5, 9; Supp. I, Part 2, 659, 687, 689, 690 Webster, John, I, 384; Supp. I, Part 2, 422 Webster, Noah, Supp. I, Part 2, 660; Supp. II, Part 1, 77 Webster's Seventh New Collegiate Dictionary, II, 525 Wector, Dixon, II, 103; IV, 213 "Wedding in Brownsville, A" (Singer), IV, 15 "Wedding of the Rose and Lotus, The" (Lindsay), Supp. I, Part 2, 387 "Wedding Toast, A" (Wilbur), Supp. HI, Part 2, 561 Wedekind, Frank, III, 398 Wedge, George F., Ill, 360 Wedge, The (Williams), Retro. Supp. I, 424 "Wednesday at the Waldorf" (Swenson), Supp. IV, Part 2, 647 "Weed, The" (Bishop), Supp. I, Part 1, 80, 88-89 "Weeding Out Process, The" (Ray), Supp. I, Part 1, 199 "Weeds, The" (McCarthy), II, 566 Week on the Concord and Merrimack Rivers, A (Thoreau), IV, 168, 169, 177, 182-183; Supp. I, Part 2, 420

"Weekend" (Beattie), Supp. V, 27 "Weekend at Ellerslie, A" (Wilson), IV, 431 Weekly Magazine, Supp. I, Part 1, 126 Weekly Spectator (publication), II, 300 Weeks, Edward, III, 64, 73 "Weeping Burgher" (Stevens), IV, 77 "Weeping Women" (Levertov), Supp. Ill, Part 1, 282 Wegelin, Christopher, II, 318 Wegner, Robert E., I, 450 Weigand, Charmion von, III, 408 Weil, Simone, I, 298 Weinberg, Helen, I, 166 Weinberger, Eliot, Supp. IV, Part 1,66 Weininger, Otto, Retro. Supp. I, 416 Weinstein, Hinda, IV, 285 Weinstein, Lorraine "Laura", see Perelman, Mrs. S. J. (Lorraine "Laura" Weinstein) Weinstein, Max, IV, 285 Weinstein, Mrs. Max (Anna Wallenstein), IV, 285, 287 Weinstein, Nathan, see West, Nathanael Weinstein, Norman, IV, 48 Weird Tales (magazine), IV, 380; Supp. IV, Part 1, 102 Weisenberger, Bernard, I, 427 Weisheit, Rabbi, IV, 76 Weiss, Daniel, I, 427 Weiss, Peter, IV, 117 Weiss, Theodore, Supp. IV, Part 2,440 Weissman, Philip, III, 408 Welch, James, Supp. IV, Part 1, 404, Part 2, 503, 513, 557, 562 Welch, Lew, Supp. V, 170 "Welcome from War" (Rukeyser), Supp. VI, 286 "Welcome Morning" (Sexton), Supp. II, Part 2, 696 "Welcome the Wrath" (Kunitz), Supp. Ill, Part 1, 261 Welcome to Hard Times (Doctorow), Supp. IV, Part 1,

218, 219-220, 222, 224, 230, 238 Welcome to Hard Times (film), Supp. IV, Part 1, 236 Welcome to Our City (Wolfe), IV, 461 Welcome to the Monkey House (Vonnegut), Supp. II, Part 2, 758 Weld, Theodore, Supp. I, Part 2, 587, 588 Welded (O'Neill), III, 390 Welker, Robert L., II, 221 "Well, The" (Momaday), Supp. IV, Part 2, 483 "Well Dressed Man with a Beard, The" (Stevens), Retro. Supp. I, 297 Welland, Dennis, III, 169 Wellek, Rene, I, 253, 261, 263, 282, 287; II, 320 Weller, George, III, 322 Welles, Gideon, Supp. I, Part 2, 484 Welles, Orson, IV, 476; Supp. I, Part 1, 67; Supp. IV, Part 1, 82, 83; Supp. V, 251 "Wellfleet Whale, The" (Kunitz), Supp. Ill, Part 1, 263, 269 Wellfleet Whale and Companion Poems, The (Kunitz), Supp. Ill, Part 1, 263 Wellman, Flora, II, 463^64, 465 Wells, H. G., I, 103, 226, 241, 243, 253, 405, 409, 415; II, 82, 144, 276, 337, 338, 340, 458; III, 456; IV, 340, 455; Retro. Supp. I, 100, 228, 231 Wells, Henry W., I, 473; IV, 96 Welsh, Mary, see Hemingway, Mrs. Ernest (Mary Welsh) Welty, Eudora, II, 194, 217, 606; IV, 260-284, Retro. Supp. I, 339-358; Supp. IV, Part 2, 474; Supp. V, 59, 315, 336 Wendell, Barrett, III, 507; Supp. I, Part 2, 414 Wendell, Sarah, see Holmes, Mrs. Abiel (Sarah Wendell) WeptofWish-ton-Wish, The (Cooper), I, 339, 342, 350

INDEX / 623 "Wer-Trout, The" (Proulx), Supp. VII, 255-256 "We're Friends Again" (O'Hara), III, 372-373 "Were the Whole Realm of Nature Mine" (Watts), I, 458 Wershba, Joseph, Supp. I, Part 2, 453 Werthman, Michael, Supp. V, 115 Wescott, Glenway, I, 263, 288; II, 85; III, 448, 454, 455 West, Anthony, Supp. IV, Part 1, 284 West, Benjamin, Supp. I, Part 2, 511 West, James, II, 562 West, Mrs. Nathanael (Eileen McKenney), IV, 288 West, Nathanael, I, 97, 107, 190, 211, 298; II, 436; III, 357, 425; IV, 285-307; Supp. IV, Part 1, 203 West, Ray B., Jr., Ill, 455 West, Rebecca, II, 412, 445; III, 598 "West Authentic, The: Willa Gather" (Stegner), Supp. IV, Part 2, 608 "West Coast, The: Region with a View" (Stegner), Supp. IV, Part 2, 608-609 "West Marginal Way" (Hugo), Supp. VI, 131, 135 "West Real" (Rios), Supp. IV, Part 2, 539, 540 "West Wall" (Merwin), Supp. Ill, Part 1, 355 "West Wind, The" (Bryant), Supp. I, Part 1, 155 "West Wind" (Oliver), Supp. VII, 246 West Wind: Poems and Prose Poems (Oliver), Supp. VII, 243, 246-248 Westall, Julia Elizabeth, see Wolfe, Mrs. William Oliver (Julia Elizabeth Westall) Westbrook, Max, I, 427 Westcott, Edward N., II, 102 "Western Association of Writers" (Chopin), Supp. I, Part 1, 217

"Western Ballad, A" (Ginsberg), Supp. II, Part 1,311 Western Borders, The (Howe), Supp. IV, Part 2, 424-^25 Western Humanities Review (publication), Supp. I, Part 1, 201; Supp. V, 22 Western Lands, The (Burroughs), Supp. Ill, Part 1, 106 Western Monthly Magazine, The (literary periodical), Supp. I, Part 2, 584 West-Going Heart, The: A Life of Vachel Lindsay (Ruggles), Supp. I, Part 2, 402 Westhoff, Clara, see Rilke, Mrs. Rainer Maria (Clara Westhoff) Westminster Gazette (publication), I, 408; Supp. IV, Part 1, 120 Weston, Jessie L., II, 540; III, 12; Supp. I, Part 2, 438 "West-running Brook" (Frost), II, 150, 162-164 West-running Brook (Frost), II, 155; Retro. Supp. I, 136, 137 "Westward Beach, A" (Jeffers), Supp. II, Part 2, 418 "Wet Casements" (Ashbery), Supp. Ill, Part 1, 18-20 Wet Parade (Sinclair), Supp. V, 289 "We've Adjusted Too Well" (O'Brien), Supp. V, 247 Weyden, Rogier van der, Supp. IV, Part 1, 284 Whalen, Marcella, Supp. I, Part 1, 49 Wharton, Edith, I, 12, 375; II, 96, 180, 183, 186, 189-190, 193, 283, 338, 444, 451; III, 69, 175, 576; IV, 8, 53, 58, 302-330; Retro. Supp. I, 108, 232, 359385; Supp. IV, Part 1, 23, 31, 35, 36, 80, 81, 310 Wharton, Edward Robbins, IV, 310, 313-314, 319 What a Kingdom It Was (Kinnell), Supp. Ill, Part 1, 235, 238, 239 What a Way to Go (Morris), III, 230-232 What Are Masterpieces (Stein), IV, 30-31

"What Are Years?" (Moore), III, 211,213 What Are Years (Moore), III, 208209, 210, 215 "What Can I Tell My Bones?" (Roethke), III, 546, 549 "What Color Is God?" (Wills), Supp. I, Part 1, 71 What Do Women Want? Bread Roses Sex Power (Jong), Supp. V, 115, 117, 129, 130 "What Do You Do in San Francisco?" (Carver), Supp. Ill, Part 1, 143 "What Do We See" (Rukeyser), Supp. VI, 282 "What Feels Like the World" (Bausch), Supp. VII, 46 "What God Is Like to Him I Serve" (Bradstreet), Supp. I, Part 1, 106-107 What Have I Ever Lost by Dying? (Bly), Supp. IV, Part 1, 71-72 "What I Believe" (Mumford), Supp. II, Part 2, 479 What I Did Last Summer (Gurney), Supp. V, 96, 100, 107, 108 "What I Mean" (Ortiz), Supp. IV, Part 2, 497 "What I Think" (Hogan), Supp. IV, Part 1, 406 "What Is an Emotion" (James), II, 350 What Is Art? (Tolstoi), I, 58 "What Is Civilization? Africa's Answer" (Du Bois), Supp. II, Part 1, 176 "What Is College For?" (Bourne), 1,216 "What Is Exploitation?" (Bourne), 1,216 "What Is It?" (Carver), Supp. Ill, Part 1, 139 What Is Man? (Twain), II, 434; IV, 209 "What Is Poetry" (Ashbery), Supp. Ill, Part 1, 19 What Maisie Knew (James), II, 332; Retro. Supp. I, 229, 230 "What Must" (MacLeish), III, 18 "What Sally Said" (Cisneros), Supp. VII, 63

624 / INDEX "What the Arts Need Now" (Baraka), Supp. II, Part 1, 47 "What the Brand New Freeway Won't Go By" (Hugo), Supp. VI, 132-133 "What the Prose Poem Carries with It" (Bly), Supp. IV, Part 1,64 What Thou Lovest Well (Hugo), Supp. VI, 140, 141 "What Thou Lovest Well Remains American" (Hugo), Supp. VI, 140, 141 "What Thurber Saw" (Brady), Supp. I, Part 2, 626 What Time Collects (Farrell), II, 46, 47-48 What to Do? (Chernyshevsky), Retro. Supp. I, 269 What Use Are Flowers? (Hansberry), Supp. IV, Part 1, 359, 368-369, 374 What Was Mine (Beattie), Supp. V, 33, 35 What Was the Relationship of the Lone Ranger to the Means of Production? (Baraka), Supp. II, Part 1, 58 What We Talk About When We Talk About Love (Carver), Supp. in, Part 1, 142-146 "What Why When How Who" (Pinsky), Supp. VI, 244 What Work Is (Levine), Supp. V, 181, 187, 192-193 "What You Hear from Em" (Taylor), Supp. V, 314, 320, 324 "What You Want" (O. Henry), Supp. II, Part 1, 402 Whatever Happened to Gloomy Gus of the Chicago Bears? (Coover), Supp. V, 51,52 Whatever Happened to Jacy Farrow? (Cleveland), Supp. V, 222 "What's Happening in America" (Sontag), Supp. Ill, Part 2, 460-461 "What's in Alaska?" (Carver), Supp. Ill, Part 1, 141, 143

"What's New in American and Canadian Poetry" (Bly), Supp. IV, Part 1, 67 What's O'Clock (Lowell), II, 511, 527, 528 Wheaton, Mabel Wolfe, IV, 473 Wheel of Life, The (Glasgow), II, 176, 178, 179, 183 Wheeler, John, II, 433 Wheeler, Otis B., Supp. I, Part 1, 226 Wheelock, John Hall, IV, 143, 461, 472 When Boyhood Dreams Come True (Farrell), II, 45 "When De Co'n Pone's Hot" (Dunbar), Supp. II, Part 1, 202-203 "When Death Came April Twelve 1945" (Sandburg), III, 591, 593 "When Death Comes" (Oliver), Supp. VII, 241 "When Grandma Died—1942" (Shields), Supp. VII, 311 "When I Buy Pictures" (Moore), III, 205 "When I Came from Colchis" (Merwin), Supp. Ill, Part 1, 343 "When I Left Business for Literature" (Anderson), I, 101 "When I Was Seventeen" (Kincaid), Supp. VII, 181 When Knighthood Was in Flower (Major), III, 320 "[When] Let by rain" (Taylor), IV, 160-161 "When Lilacs Last in the Dooryard Bloom'd" (Whitman), IV, 347348, 351; Retro. Supp. I, 406; Supp. IV, Part 1, 16 "When Malindy Sings" (Dunbar), Supp. II, Part 1, 200, 204-205 When She Was Good (Roth), Supp. Ill, Part 2, 403, 405, 410-413 "When Sue Wears Red" (Hughes), Retro. Supp. I, 195, 204 "When the Frost Is on the Punkin" (Riley), Supp. II, Part 1, 202 When the Jack Hollers (Hughes), Retro. Supp. I, 203; Supp. I, Part 1, 328

"When the Light Gets Green" (Warren), IV, 252 When Time Was Born (Farrell), II, 46,47 "When We Dead Awaken: Writing as Re-Vision" (Rich), Supp. I, Part 2, 552-553, 560 "When We Gonna Rise" (Baraka), Supp. II, Part 1, 48 "WHEN WE'LL WORSHIP JESUS" (Baraka), Supp. II, Part 1, 54 "When Women Throw Down Bundles: Strong Women Make Strong Nations" (Gunn Allen), Supp. IV, Part 1, 328 "When You Lie Down, the Sea Stands Up" (Swenson), Supp. IV, Part 2, 643 "Where I Come from Is Like This" (Gunn Allen), Supp. IV, Part 1, 319 "Where I Ought to Be" (Erdrich), Supp. IV, Part 1, 265 "Where I'm Calling From" (Carver), Supp. Ill, Part 1, 145 Where I'm Calling From: New and Selected Stories (Carver), Supp. Ill, Part 1, 138, 148 "Where Is the Voice Coming From?" (Welty), IV, 280; Retro. Supp. I, 355 "Where Knock Is Open Wide" (Roethke), III, 533-535 Where the Bluebird Sings to the Lemonade Springs (Stegner), Supp. IV, Part 2, 596, 597, 598, 600, 604, 606, 613 Where the Cross Is Made (O'Neill), III, 388, 391 Where Water Comes Together With Other Water (Carver), Supp. Ill, Part 1, 147, 148 "Where We Crashed" (Hugo), Supp. VI, 138 Where You'll Find Me, and Other Stories (Beattie), Supp. V, 3031 "Wherever Home Is" (Wright), Supp. Ill, Part 2, 605, 606 Which Ones Are the Enemy? (Garrett), Supp. VII, 98

INDEX / 625 "Which Theatre Is the Absurd One?" (Albee), I, 71 "Which Way to the Future?" (Rehder), Supp. IV, Part 1, 69 Whicher, George F., I, 473; IV, 189 Whicher, Stephen, II, 20, 23, 24 "While Seated in a Plane" (Swenson), Supp. IV, Part 2, 645 Whilomville Stories (Crane), I, 414 "Whip, The" (Robinson), III, 513 Whipple, Thomas K., II, 456, 458; IV, 427; Supp. I, Part 2, 402 "Whip-poor-will, The" (Thurber), Supp. I, Part 2, 616 "Whispering Leaves" (Glasgow), II, 190 Whispering to Fool the Wind (Rios), Supp. IV, Part 2, 540541, 544, 545 "Whispers of Heavenly Death" (Whitman), IV, 348 "Whistle, The" (Franklin), II, 121 "Whistle, The" (Welty), IV, 262 Whistler, James, I, 484; III, 461, 465, 466; IV, 77, 369 "Whistling Dick's Christmas Stocking" (O. Henry), Supp. II, Part 1, 390, 392 Whistling in the Dark (Garrett), Supp. VII, 111 Whistling in the Dark: True Stories and Other Fables (Garrett), Supp. VII, 95 Whitbread, T. B., I, 95 White, Barbara, Retro. Supp. I, 379 White, E. B., Retro. Supp. I, 335; Supp. I, Part 2, 602, 607, 608, 612, 619, 620, 627, 651-681; Supp. II, Part 1, 143 White, Elinor, see Frost, Mrs. Robert (Elinor White) White, Elizabeth Wade, Supp. I, Parti, 100, 103, 111, 123 White, Henry Kirke, Supp. I, Part 1, 150 White, Joel, Supp. I, Part 2, 654, 678 White, Lillian, Supp. I, Part 2, 651

White, Lucia, I, 258 White, Maria, see Lowell, Mrs. James Russell (Maria White) White, Morton, I, 258; Supp. I, Part 2, 647, 648, 650 White, Mrs. E. B. (Katharine Sergeant Angell), Supp. I, Part 2, 610, 653, 655, 656, 669 White, Ray Lewis, I, 119, 120 White, Ruth, Y., Supp. I, Part 2, 627 White, Sara, see Dreiser, Mrs. Theodore White, Stanford, Supp. IV, Part 1, 223 White, Stanley, Supp. I, Part 2, 651, 655 White, T. H., Ill, 522 White, T.W., 111,411,415 White, Walter, Supp. I, Part 1, 345 White, William A., I, 252; II, 270; III, 72; IV, 189, 307, 354, 424; Supp. I, Part 2, 401 "White Album, The" (Didion), Supp. IV, Part 1, 205, 206 White Album, The (Didion), Supp. IV, Part 1, 198, 202, 205-207, 210 White Buildings: Poems by Hart Crane (Crane), I, 385, 386, 390-395, 400 "White Center" (Hugo), Supp. VI, 144, 146 White Center (Hugo), Supp. VI, 144-145 White Deer, The (Thurber), Supp. I, Part 2, 606 White Fang (London), II, 471472, 481 White Goddess, The (Graves), Supp. IV, Part 1, 280 "White Gods and Black Americans" (O'Brien), Supp. I, Part 1, 70 "White Heron, A" (Jewett), II, 409 White Heron, A, and Other Stories (Jewett), II, 396 White House Diary, A (Lady Bird Johnson), Supp. IV, Part 1, 22 White Jacket; or, The World in a Man-of-War (Melville), III, 80,

81, 84, 94; Retro Supp. I, 248, 249, 254 "White Lights, The" (Robinson), III, 524 "White Lilies, The" (Gluck), Supp. V, 88 White Man, Listen! (Wright), IV, 478, 488, 489, 494 "White Mulberry Tree, The" (Cather), I, 319; Retro. Supp. I, 7, 9, 17 White Mule (Williams), Retro. Supp. I, 423 White Negro, The (Mailer), III, 36-37 "White Night" (Oliver), Supp. VII, 236 White Noise (DeLillo), Supp. VI, 1,3-4,5-7, 10, 11-12, 16 White Oxen and Other Stories, The (Burke), I, 269, 271 "White Pine" (Oliver), Supp. VII, 244 White Pine: Poems and Prose Poems (Oliver), Supp. VII, 243-246 "White Silence, The" (London), II, 468 "White Snake, The" (Sexton), Supp. II, Part 2, 691 "White Spot" (Anderson), I, 116 Whitefield, George, I, 546 White-Footed Deer and Other Poems (Bryant), Supp. I, Part 1, 157 White-Haired Lover (Shapiro), Supp. II, Part 2, 703, 717 Whitehead, Alfred North, III, 605, 619, 620; IV, 88; Supp. I, Part 2, 554, 647 Whitehead, Margaret, IV, 114, 115, 116 Whitehead, Mrs. Catherine, IV, 116 "Whiteness of the Whale, The" (Melville), III, 84, 86 "White-Tailed Hornet, The" (Frost), Retro. Supp. I, 138 Whitfield, Raoul, Supp. IV, Part 1,345 Whitlock, Brand, II, 276

626 / INDEX Whitman, George, IV, 346, 350 Whitman, Iris, II, 510 Whitman, Richard, III, 72 Whitman, Walt, I, 61, 68, 98, 103, 104, 109, 219, 220, 227, 228, 237, 242, 246, 250, 251, 260, 261, 285, 286, 381, 384, 386, 396, 397, 398, 402, 419, 430, 459, 460, 483, 485, 486, 577; II, 7, 8, 18, 127, 140, 273-274, 275, 289, 295, 301, 320, 321, 373, 445, 446, 451, 457, 494, 529, 530, 552; III, 171, 175, 177, 181-182, 189, 203, 234, 260, 426, 430, 453, 454, 461, 505,507-508,511,528,548, 552, 555, 559, 567, 572, 576, 577, 579, 584, 585, 595, 597, 606, 609; IV, 74, 169, 191, 192, 202, 331-354, 405, 409, 416, 444, 450^-51, 457, 463, 464, 469, 470, 471; Retro. Supp. I, 8, 52, 194, 254, 283, 284, 333, 387-410, 412, 417, 427; Supp. 1, Part 1, 6, 79, 167,311,314, 325, 365, 368, 372, Part 2, 374, 384, 385, 387, 389, 391, 393, 399, 416, 436, 455, 456, 458, 473, 474, 475, 525, 540, 579, 580, 582, 682, 691, 705; Supp. III, Part 1, 6, 20, 156, 239-241, 253, 340, Part 2, 596; Supp. IV, Part 1, 16, 169, 325, Part 2, 597, 625; Supp. V, 113, 118, 122, 130, 170; 178; 183; 277; 279, 332 Whitman (Masters), Supp. I, Part 2, 473, 475, 476 "Whitman: The Poet and the Mask" (Cowley), Supp. II, Part 1, 143 Whitney, Blair, Supp. I, Part 2, 403 Whittemore, Reed, III, 268, 289; IV, 143 Whittier, Elizabeth, Supp. I, Part 2, 700, 701, 703 Whittier, John Greenleaf, I, 216; II, 275; III, 52; Retro. Supp. I, 54; Supp. I, Part 1, 168, 299, 313, 317, 372, Part 2, 420, 602, 682-707

Whittier, Mary, Supp. I, Part 2, 683 "Whittier" (Hall), Supp. I, Part 2, 706 "Whittier" (Powell), Supp. I, Part 2,706 Whittier: A Comprehensive Annotated Bibliography (von Frank), Supp. I, Part 2, 705 Whittier and Whittierland: Portrait of a Poet and His World (ed. Pickard et al.), Supp. I, Part 2, 706 Whittier: Bard of Freedom (Bennett), Supp. I, Part 2, 705 "Whittier Birthday Speech" (Twain), Supp. I, Part 1, 313 Whittier Newsletter, Supp. I, Part 2,706 "Whittier Reconsidered" (Jones), Supp. I, Part 2, 706 Whittier-Land: A Handbook of North Essex (Pickard), Supp. I, Part 2, 706 "Whittier's Fundamental Religious Faith" (Jones), Supp. I, Part 2, 706 "Whittier's Snow-Bound: A Poem About the Imagination" (Trawick), Supp. I, Part 2, 706 Whitty,J.H., 111,431 "Who" (Kenyon), Supp. VII, 174 "Who Be Kind To" (Ginsberg), Supp. II, Part 1, 323 "Who in One Lifetime" (Rukeyser), Supp. VI, 276, 279 "Who Is Your Mother? Red Roots of White Feminism" (Gunn Allen), Supp. IV, Part 1, 329 Who Owns America? (publication), IV, 237 "Who Puts Together" (Hogan), Supp. IV, Part 1, 403, 405, 412^13 "Whoever Was Using This Bed" (Carver), Supp. Ill, Part 1, 148 "Whoever You Are Holding Me Now in Hand" (Whitman), IV, 342; Retro. Supp. I, 52 "Whole Moisty Night, The" (Bly), Supp. IV, Part 1, 69

Whole New Life, A (Price), Supp. VI, 265, 266, 267 "Whole Soul, The" (Levine), Supp. V, 192 "Whole Story, The" (Strand), Supp. IV, Part 2, 622 "Whole World Knows, The" (Welty), IV, 272; Retro. Supp. 1,343 Who'll Stop the Rain (film), Supp. V, 301 Who's Afraid of Virginia Woolf? (Albee), I, 71, 77-81, 83, 85, 86, 87, 94; IV, 230 "Who's Passing for Who?" (Hughes), Supp. I, Part 1, 330 Who's Who (publication), II, 530; III, 466 "Whosis Kid, The" (Hammett), Supp. IV, Part 1, 344 Why Are We in Vietnam? (Mailer), III, 27, 29, 30, 33, 34-35, 39, 42,44 "Why Did the Balinese Chicken Cross the Road?" (Walker), Supp. Ill, Part 2, 527 "Why Do the Heathens Rage?" (O'Connor), 111,351 "Why I Am a Danger to the Public" (Kingsolver), Supp. VII, 204 Why I Am Not a Christian (Russell), Supp. I, Part 2, 522 "Why I Entered the Gurdjieff Work" (Toomer), Supp. Ill, Part 2, 481 "Why I Live at the P.O." (Welty), IV, 262; Retro. Supp. I, 345 "Why I Write" (Didion), Supp. IV, Part 1, 201, 203 "Why Is Economics Not an Evolutionary Science?" (Veblen), Supp. I, Part 2, 634 "Why Negro Women Leave Home" (Brooks), Supp. Ill, Part 1, 75 "Why the Little Frenchman Wears His Hand in a Sling" (Poe), III, 425 Why We Behave Like Microbe Hunters (Thurber), Supp. I, Part 2, 606

INDEX / 627 "Why Write?" (Updike), Retro. Supp. I, 317 "Wichita Vortex Sutra" (Ginsberg), Supp. II, Part 1,319, 321, 323-325, 327 Wickes, George, III, 191, 192 Wickford Point (Marquand), III, 50, 58, 64-65, 69 "Wide Empty Landscape with a Death in the Foreground" (Momaday), Supp. IV, Part 2, 492 "Wide Net, The" (Welty), IV, 266 Wide Net and Other Stories, The (Welty), IV, 261, 264-266, 271; Retro. Supp. I, 347-349, 352, 355 "Wide Prospect, The" (Jarrell), II, 376-377 Widmer, Kingsley, III, 192 Widow for One Year, A (Irving), Supp. VI, 19-165, 179-181 Widows of Thornton, The (Taylor), Supp. V, 320, 321 Wieland; or, The Transformation. An American Tale (Brown), Supp. I, Part 1, 128-132, 133, 137, 140 Wiene, Robert, Retro. Supp. I, 268 Wiener, John, Supp. IV, Part 1, 153 Wieners, John, Supp. II, Part 1, 32 "Wife, Forty-five, Remembers Love, A" (Shields), Supp. VII, 310 "Wife of Nashville, A" (Taylor), Supp. V, 320 "Wifebeater, The" (Sexton), Supp. II, Part 2, 693 Wife's Story, The (Shields), Supp. VII, 316; see also Happenstance "Wife-Wooing" (Updike), IV, 226 Wiget, Andrew, Supp. IV, Part 2, 509 Wiggles worth, Michael, IV, 147, 156; Supp. I, Part 1, 110, 111 Wilbur, Richard, II, 557; III, 527; Supp. Ill, Part 1, 64; Part 2, 541-565; Supp. IV, Part 2, 626, 634, 642; Supp. V, 337

Wilcocks, Alexander, Supp. I, Part 1, 125 Wilcox, Ella Wheeler, Supp. II, Part 1, 197 Wild, John, II, 362, 363-364, 365, 366 Wild, Peter, Supp. V, 5 Wild, Robert, IV, 155 Wild Boy ofAveyron, The (Itard), see De 1' education d'un homme sauvage Wild Boys, The: A Book of the Dead (Burroughs), Supp. Ill, Part 1, 106-107 Wild Flag, The (White), Supp. I, Part 2, 654 "Wild Flowers" (Caldwell), I, 310 "Wild Geese" (Oliver), Supp. VII, 237 "Wild Honey Suckle, The" (Freneau), Supp. II, Part 1, 253, 264, 266 Wild in the Country (Odets), Supp. II, Part 2, 546 Wild Iris, The (Gliick), Supp. V, 79, 87-89, 91 Wild Old Wicked Man, The (MacLeish), III, 3, 20 "Wild Palms, The" (Faulkner), II, 68 Wild Palms, The (Faulkner), II, 68-69; Retro. Supp. I, 85 "Wild Peaches" (Wylie), Supp. I, Part 2, 707, 712 Wilde, Oscar, I, 50, 66, 381, 384; II, 515; IV, 77, 350; Retro. Supp. I, 56, 102, 227; Supp. IV, Part 2, 578, 679, 683; Supp. V, 106, 283 Wilder, Amos Parker, IV, 356 Wilder, Billy, Supp. IV, Part 1, 130 Wilder, Isabel, IV, 357, 366, 375 Wilder, Mrs. Amos Parker (Isabella Thornton Niven), IV, 356 Wilder, Thornton, I, 70, 360, 482; IV, 355-377, 431; Retro. Supp. I, 109, 359; Supp. I, Part 2, 609; Supp. IV, Part 2, 586; Supp. V, 105

"Wilderness" (Sandburg), III, 584, 595 Wilderness (Warren), IV, 256 "Wilderness, The" (Merwin), Supp. Ill, Part 1, 340, 345 "Wilderness, The" (Robinson), III, 524 "Wildflower, The" (Williams), Retro. Supp. I, 420 "Wildflowers" (Minot), Supp. VI, 208 Wildlife (Ford), Supp. V, 57; Supp. V, 69-71 Wildlife in America (Matthiessen), Supp. V, 199; Supp. V, 201, 204 "Wildwest" (MacLeish), III, 14 Wilhelm, Jane, III, 121 Wilhelm Meister (Goethe), II, 291 Wilkes, John, Supp. I, Part 2, 503, 519, 522 Wilkie, Curtis, Supp. V, 11 Wilkins, Roy, Supp. I, Part 1, 345 "Will to Believe, The" (James), II, 352 Will to Believe, The, and Other Essays in Popular Philosophy (James), II, 356; IV, 28 Will to Change, Poems 1968-70, The (Rich), Supp. I, Part 2, 551, 557-559 "Will You Please Be Quiet, Please?" (Carver), Supp. Ill, Part 1, 137, 141 Will You Please Be Quiet, Please? (Carver), Supp. Ill, Part 1, 138, 140, 144 "Will You Tell Me?" (Barthelme), Supp. IV, Part 1, 42, 47 Willard, Samuel, IV, 150 Willard Gibbs (Rukeyser), Supp. VI, 273, 283, 284 William I, King, IV, 148 William III, King, IV, 145 William the Conqueror, Supp. I, Part 2, 507 William Carlos Williams (Koch), Retro. Supp. I, 428 William Carlos Williams: An American Artist (Breslin), Retro. Supp. I, 430

628 / INDEX William Carlos Williams and Alterity (Ahearn), Retro. Supp. 1,415 William Carlos Williams and the Meanings of Measure (Cushman), Retro. Supp. I, 430 William Carlos Williams: The American Background (Weaver), Retro. Supp. I, 430 William Cullen Bryant (Bigelow), Supp. I, Part 1, 173 "William Cullen Bryant" (Blanck), Supp. I, Part 1, 173 William Cullen Bryant (Bradley), Supp. I, Part 1, 173 William Cullen Bryant (Brown), Supp. I, Part 1, 173 William Cullen Bryant (McLean), Supp. I, Part 1, 173 "William Cullen Bryant" (Rocks), Supp. I, Part 1, 173 William Cullen Bryant: Representative Selections (McDowell), Supp. I, Part 1, 173 William Faulkner: A Critical Study (Howe), Supp. VI, 119-120, 125 William Faulkner: Early Prose and Poetry (Faulkner), Retro. Supp. 1,80 "William Faulkner's Legend of the South" (Cowley), Supp. II, Part 1, 143 "William Ireland's Confession" (Miller), III, 147-148 William James and Phenomenology: A Study of the (< Principles of Psychology" (Wilshire), II, 362 William Styron 's Nat Turner: Ten Black Writers Respond (ed. Clarke), IV, 115 William Wetmore Story and His Friends (James), Retro. Supp. 1,235 William Wilson (Gardner), Supp. VI, 72 "William Wilson" (Poe), II, 475; III, 410, 412 Williams, Ames W., I, 426 Williams, Blanche C, II, 485

Williams, Cecil, II, 508, 510 Williams, Charles, Supp. II, Part 1, 15, 16 Williams, Gratis D., I, 120 Williams, Dakin, IV, 379 Williams, Daniel D., Ill, 313 Williams, David, II, 149 Williams, Edward, I, 564; IV, 404 Williams, Edwina Dakin, IV, 379, 401 Williams, George, Supp. V, 220 Williams, Horace, IV, 453 Williams, John A., IV, 497 Williams, John Sharp, IV, 378 Williams, Michael, Supp. V, 286 Williams, Miller, III, 502 Williams, Mrs. William Carlos (Florence Herman), IV, 404 Williams, Paul, IV, 404 Williams, Raymond, III, 169 Williams, Roger, Supp. I, Part 2, 699 Williams, Rose, IV, 379 Williams, Sherley Anne, Supp. V, 180 Williams, Solomon, I, 549 Williams, Stanley T., II, 301, 316, 317, 318, 510; Supp. I, Part 1, 173, 251 Williams, Stephen, IV, 148 Williams, Ted, IV, 216 Williams, Tennessee, I, 73, 81, 113, 211; II, 190, 194; III, 145, 147; IV, 4, 378-401; Supp. I, Part 1,290, 291; Supp. IV, Part 1, 79, 83, 84, 359, Part 2, 574, 682 Williams, Walter L., Supp. IV, Part 1, 330, 331 Williams, William, IV, 404, 405 Williams, William Carlos, I, 61, 62, 229, 255, 256, 261, 285, 287, 428, 438, 446, 450, 539; II, 133, 536, 542, 543, 544, 545; III, 194, 196, 198, 214, 217, 269, 409, 453, 457, 458, 464, 465, 591, 598; IV, 30, 74, 75, 76, 94, 95, 96, 286, 287, 307, 402-425; Retro. Supp. I, 51, 52, 62, 209, 284, 285, 288, 296, 298, 411-433; Supp. I, Part 1, 254, 255, 259, 266, 275; Supp.

II, Part 1, 9, 30, 308, 318, Part 2, 421, 443; Supp. Ill, Part 1, 9, 147, 239, 271, 275, 276, 278, 350, Part 2, 542, 610, 613, 614, 615, 616, 617, 621, 622, 626, 628; Supp. IV, Part 1, 151, 153, 246, 325; Supp. V, 180, 337 Williams family, I, 547, 549 Williamson, George, I, 591 Williams-Walsh, Mary Ellen, Supp. IV, Part 2, 611 Willie Masters' Lonesome Wife (Gass), Supp. VI, 77, 84-85, 86-87 "Willie" (Angelou), Supp. IV, Part 1, 15 Willingham, Calder, III, 49 Willis, Bruce, Supp. IV, Part 1, 236 Willis, Mary Hard, Supp. V, 290291 Willis, Nathaniel Parker, II, 313; III, 431; Supp. I, Part 2, 405 Williwaw (Vidal), Supp. IV, Part 2, 677, 680, 681 Wills, Garry, Supp. I, Part 1, 71, 294; Supp. IV, Part 1, 355 Wills, Ridley, IV, 122 Wilshire, Bruce, II, 362, 364, 366 Wilshire, Gaylord, Supp. V, 280 Wilson, Angus, IV, 259, 430, 435 Wilson, Augusta Jane Evans, Retro. Supp. I, 351 Wilson, Douglas, III, 622 Wilson, Edmund, I, 67, 185, 213, 236, 247, 260, 263, 434, 450, 482; II, 79, 80, 81, 86, 87, 91, 97, 98, 99, 146, 276, 341, 430, 438, 530, 562, 587; III, 144, 455, 588; IV, 48, 72, 307, 308, 310, 330, 377, 426-449; Retro. Supp. I, 1, 97, 100, 101, 103, 104, 105, 115, 274; Supp. I, Part 1, 372, Part 2, 407, 627, 646, 678, 709, 730; Supp. II, Part 1, 19, 90, 106, 136, 137, 143; Supp. Ill, Part 2, 612; Supp. IV, Part 2, 693 Wilson, Edmund (father), IV, 441 Wilson, Reuel, II, 562

INDEX / 629 Wilson, Sloan, Supp. IV, Part 1, 387 Wilson, T. C, III, 217; IV, 425 Wilson, Thomas, IV, 153 Wilson, Woodrow, I, 245, 246, 490; II, 183, 253; III, 105, 581; Supp. I, Part 1, 21, Part 2, 474, 643; Supp. V, 288 Wilton, David, IV, 147 Wind Remains, The (opera) (Bowles), Supp. IV, Part 1, 83 Windham, Donald, IV, 382, 399 "Windhover" (Hopkins), I, 397; II, 539 "Window" (Pinsky), Supp. VI, 237, 247 Windows (Creeley), Supp. IV, Part 1, 157, 158 "Windows" (Jarrell), II, 388, 389 "Winds, The" (Welty), IV, 265; Retro. Supp. I, 348, 350 "Windy Day at the Reservoir, A" (Beattie), Supp. V, 33 Windy McPherson 's Son (Anderson), I, 101, 102-103, 105, 111 "Wine" (Carver), Supp. Ill, Part 1, 138 "Wine Menagerie, The" (Crane), I, 389, 391 Wine of the Puritans, The: A Study of Present-Day America (Brooks), I, 240 "Wine of Wizardry, A" (Sterling), 1,208 Winer, Linda, Supp. IV, Part 2, 580 Winesburg, Ohio: A Group of Tales of Ohio Small Town Life (Anderson), I, 97, 102, 103, 104, 105-108; III, 112, 113, 114, 116; III, 224, 579; Supp. V, 12 Wing-and-Wing, The (Cooper), I, 350, 355 Winged Words: American Indian Writers Speak (Coltelli), Supp. IV, Part 2, 493, 497 "Wingfield" (Wolff), Supp. VII, 341-342 Wings of the Dove, The (James), I, 436; II, 320, 323, 333, 334-335;

Retro. Supp. I, 215, 216, 217, 232, 233-234; Supp. II, Part 1, 94-95; Supp. IV, Part 1, 349 Wink, John H., Supp. I, Part 1, 199 Winner, Arthur, IV, 119 Winner Take Nothing (Hemingway), II, 249; Retro. Supp. I, 170, 175, 176, 181 "Winnie" (Brooks), Supp. Ill, Part 1, 86 Winokur, Maxine, see Kumin, Maxine Winslow, Devereux, II, 547 Winslow, Harriet, II, 552-553 Winslow, Ola Elizabeth, I, 547, 564 Winslow, Warren, II, 540 Winter, Douglas, Supp. V, 144 Winter, Johnny and Edgar, Supp. V, 334 "Winter Branch, A" (Irving), Supp. VI, 163 Winter Carnival (film), Retro. Supp. I, 113 "Winter Daybreak at Vence, A" (Wright), Supp. Ill, Part 1, 249-250 Winter Diary, A (Van Doren), I, 168 "Winter Dreams" (Fitzgerald), II, 80, 94; Retro. Supp. I, 108 "Winter Eden, A" (Frost), Retro. Supp. I, 137 "Winter Father, The" (Dubus), Supp. VII, 83, 87 Winter Hours: Prose, Prose Poems, and Poems (Oliver), Supp. VII, 230, 247 "Winter in Dunbarton" (Lowell), II, 547 Winter in the Blood (Welch), Supp. IV, Part 2, 562 Winter Insomnia (Carver), Supp. III, Part 1, 138 "Winter Landscape" (Berryman), I, 174; Retro. Supp. I, 430 Winter Lightning (Nemerov), III, 269 Winter of Our Discontent, The (Steinbeck), IV, 52, 65-66, 68

"Winter on Earth" (Toomer), Supp. Ill, Part 2, 486 "Winter Piece, A" (Bryant), Supp. 1, Part 1, 150, 155 "Winter Rains, Cataluna" (Levine), Supp. V, 182 "Winter Remembered" (Ransom), III, 492-493 "Winter Scenes" (Bryant), see "Winter Piece, A" "Winter Sleep" (Wylie), Supp. I, Part 2, 711, 729 "Winter Swan" (Bogan), Supp. Ill, Part 1, 52 Winter Trees (Plath), Supp. I, Part 2, 526, 539, 541 "Winter Weather Advisory" (Ashbery), Supp. Ill, Part 1, 26 "Winter Words" (Levine), Supp. V, 192 Winternitz, Mary, see Cheever, Mrs. John (Mary Winternitz) Winterrowd, Prudence, I, 217, 224 Winters, Yvor, I, 59, 63, 70, 386, 393, 397, 398, 402, 404, 471, 473; II, 246; III, 194, 217, 432, 498, 502, 526, 550; IV, 96, 153, 425; Supp. I, Part 1, 268, 275; Supp. II, Part 2, 416, 666, 785-816; Supp. IV, Part 2, 480; Supp. V, 180, 191-192 Winter set (Anderson), III, 159 Winther, Sophus Keith, III, 408 Winthrop, John, Supp. I, Part 1, 99, 100, 101, 102, 105, Part 2, 484, 485 Winthrop Covenant, The (Auchincloss), Supp. IV, Part 1,23 Wirt, William, I, 232 Wirth, Louis, IV, 475 Wisconsin Library Bulletin (journal), Retro. Supp. I, 141 "Wisdom Cometh with the Years" (Cullen), Supp. IV, Part 1, 166 Wisdom of the Heart, The (Miller), III, 178, 184 Wise Blood (O'Connor), III, 337, 338, 339-343, 344, 345, 346, 350, 354, 356, 357 Wise Men, The (Price), Supp. VI, 254

630 / INDEX "Wiser Than a God" (Chopin), Supp. I, Part 1, 208 "Wish for a Young Wife" (Roethke), III, 548 Wismer, Helen Muriel, see Thurber, Mrs. James (Helen Muriel Wismer) Wisse, Ruth R., I, 166 Wister, Owen, I, 62 "Witch Burning" (Plath), Supp. I, Part 2, 539 "Witch Doctor" (Hayden), Supp. II, Part 1, 368, 380 "Witch of Coos, The" (Frost), II, 154-155; Retro. Supp. I, 135 "Witch of Owl Mountain Springs, The: An Account of Her Remarkable Powers" (Taylor), Supp. V, 328 "Witch of Wenham, The" (Whittier), Supp. I, Part 2, 694, 696 "Witchcraft in Bullet Park" (Gardner), Supp. I, Part 1, 198 Witches ofEastwick, The (Updike), Retro. Supp. I, 330, 331 Witching Hour, The (Rice), Supp. VII, 299-300 "With Che at Kitty Hawk" (Banks), Supp. V, 6 "With Che at the Plaza" (Banks), Supp. V, 7 "With Che in New Hampshire" (Banks), Supp. V, 6 With Eyes at the Back of Our Heads (Levertov), Supp. Ill, Part 1, 276-277 "With Mercy for the Greedy" (Sexton), Supp. II, Part 2, 680 With Shuddering Fall (Oates), Supp. II, Part 2, 504-506 "With the Dog at Sunrise" (Kenyon), Supp. VII, 170 With the Empress Dowager of China (Carl), III, 475 With the Old Breed: At Peleliu and Okinawa (Sledge), Supp. V, 249-250 "Withered Skins of Berries" (Toomer), Supp. Ill, Part 2, 485

Witherington, Paul, I, 96; Supp. I, Part 1, 148 Witherspoon, John, Supp. I, Part 2,504 Without Stopping (Bowles), Supp. IV, Part 1, 79, 81, 85, 90, 91, 92 "Witness" (Dubus), Supp. VII, 89 "Witness, The" (Porter), III, 443444 Witness Tree, A (Frost), II, 155; Retro. Supp. I, 122, 137, 139 Wits Recreations (Mennes and Smith), II, 111 Witt, Grace, III, 49 Witt, Shirley Hill, Supp. IV, Part 2,505 Wittgenstein, Ludwig, Retro. Supp. I, 53; Supp. Ill, Part 2, 626-627 Wittliff, William, Supp. V, 227 "Wives and Mistresses" (Hardwick), Supp. Ill, Part 1, 211-212 Wizard of Oz (Baum), Supp. IV, Parti, 113 Wolf, Christa, Supp. IV, Part 1, 310, 314 Wolf, William John, III, 313 Wolf Willow: A History, a Story, and a Memory of the Last Plains Frontier (Stegner), Supp. IV, Part 2, 595, 596, 597, 598, 599, 600,601,604,606,611,613, 614 Wolfe, Ben, IV, 454 Wolfe, Don M., IV, 117 Wolfe, Glenn Joseph, Supp. I, Part 2, 402 "Wolfe, James, Supp. I, Part 2, 498 Wolfe, Mabel, IV, 454 Wolfe, Mrs. William Oliver (Julia Elizabeth Westall), IV, 454 Wolfe, Peter, I, 96 Wolfe, Thomas, I, 119, 288, 289, 374, 478, 495; II, 457; III, 40, 108, 278, 334, 482; IV, 52, 97, 357, 450-473; Retro. Supp. I, 382; Supp. I, Part 1, 29; Supp. IV, Part 1, 101

Wolfe, Tom, Supp. Ill, Part 2, 567-588; Supp. IV, Part 1, 35, 198; Supp. V, 296 Wolfe, William Oliver, IV, 454 Wolfe Homo Scribens" (Cowley), Supp. II, Part 1, 144 Wolfert, Ira, III, 169 Wolf en's Roost (Irving), II, 314 Wolff, Cynthia Griffin, Retro. Supp. I, 379; Supp. I, Part 1, 226; Supp. IV, Part 1, 203 Wolff, Geoffrey, Supp. II, Part 1, 97 Wolff, Tobias, Retro. Supp. I, 190; Supp. V, 22; Supp. VII, 331-337 Wolkenfeld, J. S., IV, 24 Wollaston, William, II, 108 Wolle, Helen Eugenia, see Doolittle, Mrs. Charles Leander (Helen Eugenia Wolle) Wollstonecraft, Mary, Supp. I, Parti, 126, Part 2, 512, 554 Woman at the Washington Zoo, The (Jarrell), II, 367, 386, 387, 389 "Woman Dead in Her Forties A" (Rich), Supp. I, Part 2, 574575 "Woman Hollering Creek" (Cisneros), Supp. VII, 70 Woman Hollering Creek and Other Stories (Cisneros), Supp. VII, 58, 68-70 Woman in the Dark (Hammett), Supp. IV, Part 1, 343 "Woman in the House, A" (Caldwell), I, 310 Woman in the Nineteenth Century (Fuller), Retro. Supp. I, 156 Woman in White, The (Collins), Supp. I, Part 1, 35, 36 Woman ofAndros, The (Wilder), IV, 356, 363-364, 367, 368, 374 Woman of Means, A (Taylor), Supp. V, 319-320 Woman on the Porch, The (Gordon), II, 199, 209-211 "Woman on the Stair, The" (MacLeish), III, 15-16 "Woman Singing" (Ortiz), Supp. IV, Part 2, 513

INDEX / 631 Woman Warrior (Kingston), Supp. IV, Part 1, 12; Supp. V, 157, 158, 159, 160-164, 166, 169 "Woman Who Fell From the Sky, The" (Iroquois creation story), Supp. IV, Part 1, 327 Woman Who Owned the Shadows, The (Gunn Allen), Supp. IV, Part 1, 320, 322, 326, 327328 "Woman, Why Are You Weeping?" (Kenyon), Supp. VII, 174-175 Woman Within, The (Glasgow), II, 183, 190-191 "Woman, Young and Old, A" (Paley), Supp. VI, 222, 225 "Womanhood" (Brooks), Supp. III, Part 1, 77 "Womanizer, The" (Ford), Supp. V, 71, 72 Woman's Day (magazine), Supp. IV, Part 1, 10 Woman's Home Companion (magazine), III, 591; Supp. IV, Part 1, 383 Woman's Honor (Glaspell), Supp. Ill, Part 1, 179 Woman's Share in Primitive Culture (Mason), Supp. I, Part 1, 18 "Woman's Will, A: Kate Chopin on Selfhood, Wifehood, and Motherhood" (Zlotnick), Supp. I, Part 1, 226 "Woman's Work" (Alvarez), Supp. VII, 4 "Womanwork" (Gunn Allen), Supp. IV, Part 1, 326 "Women" (Didion), Supp. IV, Part 1, 205 "Women" (Swenson), Supp. IV, Part 2, 647 Women, The (film), Retro. Supp. I, 113 Women and Economics (Gilman), Supp. I, Part 2, 637; Supp. V, 284 Women and Thomas Harrow (Marquand), III, 50, 61, 62, 66, 68, 69-70, 71

Women at Point Sur, The (Jeffers), Supp. II, Part 2, 430^31 Women in Love (Lawrence), III, 27,34 Women in the Nineteenth Century (Fuller), Supp. II, Part 1, 279, 292, 294-296 Women ofTrachis (trans. Pound), III, 476 Women on the Wall, The (Stegner), Supp. IV, Part 2, 599, 605, 606 Women Poets in English (Stanford, ed.), Retro. Supp. I, 41 "Women Reformers and American Culture, 1870-1930" (Conway), Supp. I, Part 1, 19, 27 "Women Waiting" (Shields), Supp. VII, 320 "Women We Love Whom We Never See Again" (Ely), Supp. IV, Part 1, 66 "Women We Never See Again" (Ely), Supp. IV, Part 1, 66 Women with Men (Ford), Supp. V, 57, 71-72 "Women's Movement, The" (Didion), Supp. IV, Part 1, 206 Women's Wear Daily (publication), Supp. IV, Part 1, 370 Wonderful O, The (Thurber), Supp. I, Part 2, 612 "Wonderful Pen, The" (Swenson), Supp. IV, Part 2, 650 Wonderland (Gates), Supp. II, Part 2, 511, 512, 514-515 Wonders of the Invisible World, The (Mather), Supp. II, Part 2, 456-459, 460, 467 Wonder-Working Providence (Johnson), IV, 157 Wong, Hertha, Supp. IV, Part 1, 275 Wood, Audrey, IV, 381 Wood, Mabel, I, 199 Wood, Margery, III, 49 Wood, Michael, Supp. IV, Part 2, 691 Wood, Mrs. Henry, Supp. I, Part 1,35 Wood, Richard Clement, III, 191 "Wood Dove at Sandy Spring, The" (MacLeish), III, 19

"Wood Thrush" (Kenyon), Supp. VII, 172 Woodard, Charles L., Supp. IV, Part 2, 484, 493 Woodberry, George Edward, III, 431, 432, 508 Woodbridge, Frederick, I, 217, 224 Woodbridge, John, Supp. I, Part 1, 101, 102, 114 Woodbury, Charles J., II, 23 "Wooden Spring" (Rukeyser), Supp. VI, 285 "Wooden Umbrella, The" (Porter), IV, 26 "Woodnotes" (Emerson), II, 7, 19 "Wood-Pile, The" (Frost), Retro. Supp. I, 128; Supp. IV, Part 2, 445 Woodress, James L., Jr., II, 245, 292, 294; III, 431 Woodrow, James, Supp. I, Part 1, 349, 366 Woods, Robert A., Supp. I, Part 1, 19, 27 Woodson, Thomas, II, 557; III, 432 Woodward, C. Vann, IV, 114, 470-471; Retro. Supp. I, 75, 76 Woodward, Robert H., II, 148, 149 Woodwell, Roland B., Supp. I, Part 2, 706 Wooley, Bryan, Supp. V, 225 Woolf, Virginia, I, 53, 79, 112, 309; II, 320, 415; IV, 59; Retro. Supp. I, 59, 75, 170, 215, 291, 359; Supp. I, Part 2, 553, 714, 718; Supp. IV, Part 1, 299; Supp. V, 127 Woollcott, Alexander, IV, 432; Supp. I, Part 2, 664 Woolson, Constance Fenimore, Retro. Supp. I, 224, 228 Worcester, Samuel, I, 458 "Word about Simple, A" (Jackson), Supp. I, Part 1, 348 Word of God and the Word of Man, The (Barm), Retro. Supp. 1,327 "Word out of the Sea, A" (Whitman), IV, 344 "Wordplay of James Thurber, The" (Eckler), Supp. I, Part 2, 627

632 / INDEX "Words" (Creeley), Supp. IV, Part 1, 152 Words (Creeley), Supp. IV, Part 1, 139, 150-153, 154, 155, 158 "Words" (Merwin), Supp. Ill, Part 1, 352 "Words" (Plath), Supp. I, Part 2, 547 "Words" (Shields), Supp. VII, 323 "Words for a Bike-Racing, OspreyChasing Wine-Drunk Squaw Man" (Gunn Allen), Supp. IV, Part 1, 325 Words for Dr. Y (Sexton), Supp. H, Part 2, 698 "Words for Hart Crane" (Lowell), I, 381; II, 547 "Words for Maria" (Merrill), Supp. Ill, Part 1, 327 "Words for the Unknown Makers" (Kunitz), Supp. Ill, Part 1, 264 "Words for the Wind" (Roethke), III, 542-543 Words for the Wind (Roethke), III, 529, 533, 541, 543, 545 "Words in the Mourning Time" (Hayden), Supp. II, Part 1, 370-371 Words in the Mourning Time (Hayden), Supp. II, Part 1, 361, 366, 367 "Words into Fiction" (Welty), IV, 279 "Words Like Freedom" (Hughes), Retro. Supp. I, 207 "Words of a Young Girl" (Lowell), II, 554 Wordsworth, William, I, 283, 522, 524, 525, 588; II, 7, 11, 17, 18, 97, 169, 273, 303, 304, 532, 549, 552; III, 219, 263, 277, 278,511,521,523,528,583;

Work (Alcott), Supp. I, Part 1, 32-33, 42 "Work" (Oliver), Supp. VII, 243 "Work Notes '66" (Baraka), Supp. II, Part 1, 47 Work of Art (Lewis), II, 453-454 Work of Stephen Crane, The (ed. Follett), I, 405 "Work on Red Mountain, The" (Harte), Supp. II, Part 1, 339 Workers Monthly (magazine), Retro. Supp. I, 201 Works of Love, The (Morris), III, 223-224, 225, 233 World According to Garp, The (Irving), Supp. VI, 163, 164, 170-173, 181 World and Africa, The: An Inquiry into the Part Which Africa Has Played in World History (Du Bois), Supp. II, Part 1, 184185 "World and the Door, The" (O. Henry), Supp. II, Part 1, 402 World Book Encyclopedia, Supp. IV, Part 2, 539 World Elsewhere, A: The Place of Style in American Literature (Poirier), I, 239; Supp. I, Part 2,681 World Enough and Time (Warren), IV, 243, 253-254 "World I Live In, The" (Williams), IV, 388 World I Never Made, A (Farrell), II, 34, 35, 424 World in the Attic, The (Morris), III, 222-223, ,224 "World in Thurber's Fables, The" (Weales), Supp. I, Part 2, 627 "World Is a Wedding, The" (Schwartz), Supp. II, Part 2, IV, 120, 331, 343, 453, 465; 655-656, 657 Retro. Supp. I, 121, 196; Supp. I, Part 1,150, 151, 154, 161, World Is a Wedding, The 163, 312, 313, 349, 365, Part 2, (Schwartz), Supp. II, Part 2, 643, 654-660 375, 409, 416, 422, 607, 621, 622, 673, 674, 675, 676, 677, "World Is Too Much with Us, The" (Wordsworth), Supp. I, 710-711, 729; Supp. II, Part 1, Parti, 312 4; Supp. Ill, Part 1, 12, 15, 73, World of Apples, The (Cheever), 279; Supp. IV, Part 2, 597, Supp. I, Part 1, 191, 193 601; Supp. V, 258

World of Gwendolyn Brooks, The (Brooks), Supp. Ill, Part 1, 83, 84 World ofH. G. Wells, The (Brooks), I, 240, 241, 242 World of Light, A: Portraits and Celebrations (Sarton), Supp. III, Part 1, 62 World of Our Fathers: The Journey of the Eastern European Jews to America and the Life They Found and Made (Howe), Supp. VI, 113, 114, 116, 118, 119,120-125 "World of Pure Experience, A" (James), II, 356-357 World of Raymond Chandler, The (Spender), Supp. IV, Part 1, 119 World of Sex, The (Miller), III, 170, 178, 187 World of the Ten Thousand Things, The: Selected Poems (Wright), Supp. V, 333 "World of Tomorrow, The" (White), Supp. I, Part 2, 663 World of Washington Irving, The (Brooks), I, 256-257 World Over, The (Wharton), Retro. Supp. I, 382 World So Wide (Lewis), II, 456 World within the Word, The (Gass), Supp. VI, 77, 87 "World Without Objects Is a Sensible Place, A" (Wilbur), Supp. Ill, Part 2, 550 "World Without Rodrigo, The" (Cisneros), Supp. VII, 68 Worldly Hopes (Ammons), Supp. VII, 34 Worldly Philosophers, The (Heilbroner), Supp. I, Part 2, 644, 650 World's Body, The (Ransom), III, 497, 499; Supp. II, Part 1, 146 "World's Fair" (Berryman), I, 173 World's Fair (Doctorow), Supp. IV, Part 1, 217, 224, 227-229, 234, 236-237 World's Fair, The (Fitzgerald), II, 93

INDEX / 633 World's Greatest Hit, The: Uncle Tom's Cabin (Birdoff), Supp. I, Part 2, 601 "Worlds of Color" (Du Bois), Supp. II, Part 1, 175 Worlds of Color (Du Bois), Supp. II, Parti, 185-186 World's Work (magazine), Retro. Supp. I, 295 "World-Telegram" (Berryman), I, 173 "Worm Moon" (Oliver), Supp. VII, 234 "Worn Path, A" (Welty), IV, 262; Retro. Supp. I, 345-346 "Worsening Situation" (Ashbery), Supp. Ill, Part 1, 17-18 "Worship" (Emerson), II, 2, 4-5 "Worship and Church Bells" (Paine), Supp. I, Part 2, 521 Wouldn 't Take Nothing for My Journey Now (Angelou), Supp. IV, Part 1, 10, 12, 14, 15, 16 Wound and the Bow, The: Seven Studies in Literature (Wilson), IV, 429 Wounds in the Rain (Crane), I, 409, 414, 423 Woven Stone (Ortiz), Supp. IV, Part 2, 501, 514 Woven Stories (Ortiz), Supp. IV, Part 2, 503 "Wraith, The" (Roethke), III, 542 "Wreath for a Bridal" (Plath), Supp. I, Part 2, 537 Wreath for Garibaldi and Other Stories, A (Garrett), Supp. VII, 99-101 "Wreath of Women" (Rukeyser), Supp. VI, 280 "Wreck of Rivermouth, The" (Whittier), Supp. I, Part 2, 694, 696-697 Wreckage ofAgathon, The (Gardner), Supp. VI, 63, 65-66 Wrenn, John H., I, 496 Wright, Austin McGiffert, I, 120 Wright, Bernie, I, 191, 193 Wright, Celeste T., Supp. I, Part 2,730 Wright, Charles, Supp. V, 92, 331-346

Writers' Workshop (University of Wright, Chauncey, II, 344 Iowa), Supp. V, 42 Wright, Conrad, I, 566 "Writing" (Nemerov), III, 275 Wright, Donald P., Supp. I, Part "Writing American Fiction" 2,706 (Roth), Supp. I, Part 1, 192, Wright, Frank Lloyd, I, 104, 483 Part 2, 431, 453; Supp. Ill, Wright, George, III, 479 Part 2, 414, 420, 421; Supp. V, Wright, Harold Bell, II, 467-468 45 Wright, James, I, 291; III, 289; Part 2, 541, 557, 558, 561, 566, "Writing here last autumn of my hopes of seeing a hoopoe" 571, 589-607, 623; Supp. Ill, (Updike), Retro. Supp. I, 335 Part 1, 249; Supp. IV, Part 1, "Writing Lesson, The" (Gordon), 60, 72; Supp. V, 332 Supp. IV, Part 1, 306 Wright, Mrs. Richard (Ellen Writing Life, The (Dillard), Supp. Poplar), IV, 476 VI, 23, 31,33 Wright, Nathalia, II, 317; III, 98; "Writing of Apollinaire, The" IV, 155, 166 (Zukofsky), Supp. Ill, Part 2, Wright, Philip Green, III, 578, 616, 617 579, 580 Writing on the Wall, The, and Wright, Richard, II, 586; IV, 40, Literary Essays (McCarthy), II, 474^97; Supp. I, Part 1, 51, 52, 64, 332, 337; Supp. II, Part 579 Writings to an Unfinished 1, 17, 40, 221, 228, 235, 250; Accompaniment (Merwin), Supp. IV, Part 1, 1, 11, 84, 374 Supp. Ill, Part 1, 352 Wright, Sarah, Supp. IV, Part 1, 8 "Written History as an Act of Faith" (Beard), Supp. I, Part 2, "Wright, Ellison, Baldwin 492 Exorcising the Demon" (Bryant), Wroth, Lawrence C, II, 124 Supp. I, Part 1, 69 "Wunderkind" (McCullers), II, "Wright, the Protest Novel, and Baldwin's Faith" (Kim), Supp. 585 Wundt, Wilhelm, II, 345 I, Part 1, 70 Wurster, William Wilson, Supp. Writer, The (magazine), Supp. V, 57 IV, Part 1, 197 "Writer, The" (Wilbur), Supp. Ill, WUSA (film), Supp. V, 301 Part 2, 561, 562 Wuthering Heights (Bronte), Supp. Writer in America, The (Brooks), V, 305 I, 253, 254, 257 Wyandotte (Cooper), I, 350, 355 Writer in America, The (Stegner), Wyatt, Bryant N., IV, 235 Supp. IV, Part 2, 597, 599, 607 Wyatt, Robert B., Supp. V, 14 "Writers" (Lowell), II, 554 Wyatt, Thomas, Supp. I, Part 1, Writer's Capital, A (Auchincloss), 369 Supp. IV, Part 1, 21, 23, 24, 31 Wycherly Woman, The Writer's Eye, A: Collected Book (Macdonald), Supp. IV, Part 2, 473 Reviews (Welty), Retro. Supp. I, 339, 354, 356 Wylie, Belle, see O'Hara, Mrs. Writers on the Left (Aaron), IV, John (Belle Wylie) 429; Supp. II, Part 1, 137 Wylie, Elinor, IV, 436; Supp. I, "Writer's Prologue to a Play in Part 2, 707-730; Supp. Ill, Verse" (Williams), Retro. Supp. Parti, 2, 63, 318-319 1,424 Wylie, Horace, Supp. I, Part 2, "Writer's Quest for a Parnassus, 708, 709 A" (Williams), IV, 392 Wylie, Philip, III, 223

634 / INDEX Wyllys, Ruth, see Taylor, Mrs. Edward (Ruth Wyllys) "Wyoming Valley Tales" (Crane), 1,409 Xaipe (Cummings), I, 430, 432433, 447 Xenophon, II, 105 Xingu and Other Stories (Wharton), IV, 314, 320; Retro. Supp. I, 378 Xionia (Wright), Supp. V, 333 XLI Poems (Cummings), I, 429, 432, 440, 443 Y & X (Olson), Supp. II, Part 2, 556 Yacoubi, Ahmed, Supp. IV, Part 1, 88, 92, 93 Yage Letters, The (Burroughs), Supp. Ill, Part 1, 94, 98, 100 Yale Literary Magazine (publication), II, 439, 440; IV, 356; Supp. IV, Part 1, 27 Yale Review (publication), III, 292; Supp. I, Part 1, 174; Retro. Supp. I, 136; Supp. IV, Part 2, 444 Yale Series of Younger Poets, Supp. V, 257 Yamamoto, Isoroku, Supp. I, Part 2,491 Yankee City (Warner), III, 60 Yankee Clipper (ballet) (Kirstein), Supp. IV, Part 1, 82 Yankee Doodle (publication), III, 77 "Yankee Gallimaufry" (Baker), Supp. I, Part 1, 198 Yankee in Canada, A (Thoreau), IV, 188 Yankey in London (Tyler), I, 344 "Yannina" (Merrill), Supp. Ill, Part 1, 329 Yarboro, Chelsea Quinn, Supp. V, 147 "Yard Sale" (Kenyon), Supp. VII, 169 Yardley, Jonathan, Supp. V, 326 Yates, Norris W., IV, 235; Supp. I, Part 2, 626 Yates family, II, 173

Yatron, Michael, Supp. I, Part 2, 402, 478 "Year, The" (Sandburg), III, 584 "Year of Mourning, The" (Jeffers), Supp. II, Part 2, 415 "Year of the Double Spring, The" (Swenson), Supp. IV, Part 2, 647 Year's Life, A (Lowell), Supp. I, Part 2, 405 "Years of Birth" (Cowley), Supp. II, Part 1, 149 Years of My Youth (Howells), II, 276 "Years of Wonder" (White), Supp. I, Part 2, 652, 653 Years With Ross, The (Thurber), Supp. I, Part 2, 619, 681 Yeats, John Butler, III, 458 Yeats, William Butler, I, 69, 172, 384, 389, 403, 434, 478, 494, 532; II, 168-169, 566, 598; III, 4, 5, 8, 18, 19, 20, 23, 29, 40, 205, 249, 269, 270-271, 272, 278, 279, 294, 347, 409, 457, 458-460, 472, 473, 476-477, 521, 523, 524, 527, 528, 533, 540, 541, 542, 543-544, 591592; IV, 89, 93, 121, 126, 136, 140, 271, 394, 404; Retro. Supp. I, 59, 66, 127, 141, 270, 283,285,286,288,290,311, 342, 350, 378, 413; Supp. I, Part 1, 79, 80, 254, 257, 262, Part 2, 388, 389; Supp. II, Part 1, 1, 4, 9, 20, 26, 361; Supp. III, Part 1, 59, 63, 236, 238, 253; Supp. IV, Part 1, 81, Part 2, 634; Supp. V, 220 Yellow Book (publication), I, 421; III, 508 "Yellow Girl" (Caldwell), I, 310 "Yellow Gown, The" (Anderson), I, 114 Yellow House on the Corner, The (Dove), Supp. IV, Part 1, 244, 245, 246, 254 "Yellow River" (Tate), IV, 141 "Yellow Violet, The" (Bryant), Supp. I, Part 1, 154, 155

"Yellow Woman" (Keres stories), Supp. IV, Part 1, 327 "Yellow Woman" (Silko), Supp. IV, Part 2, 567-568 "Yentl the Yeshiva Boy" (Singer), IV, 15, 20 Yerkes, Charles K, I, 507, 512 Yerma (opera) (Bowles), Supp. IV, Part 1, 89 "Yes and It's Hopeless" (Ginsberg), Supp. II, Part 1, 326 Yes, Mrs. Williams (Williams), Retro. Supp. I, 423 "Yes! No!" (Oliver), Supp. VII, 243-244 "Yet Do I Marvel" (Cullen), Supp. IV, Part 1, 165, 169 Yet Other Waters (Farrell), II, 29, 38, 39, 40 Yevtushenko, Yevgeny, Supp. Ill, Part 1, 268 lYo! (Alvarez), Supp. VII, 1, 1517 Yohannan, J. D., II, 20, 24 Yonge, Charlotte, II, 174 "Yore" (Nemerov), III, 283 "York Beach" (Toomer), Supp. III, Part 2, 486 Yorke, Dorothy, Supp. I, Part 1, 258 Yoshe Kalb (Singer), IV, 2 Yost, Karl, III, 144 "You All Know the Story of the Other Woman" (Sexton), Supp. II, Part 2, 688 "You, Andrew Marvell" (MacLeish), III, 12-13 "You Are in Bear Country" (Kumin), Supp. IV, Part 2, 453, 455 "You Are Not I" (Bowles), Supp. IV, Part 1, 87 "You Bring Out the Mexican in Me" (Cisneros), Supp. VII, 71 You Came Along (film), Supp. IV, Part 2, 524 "You Can Go Home Again" (TallMountain), Supp. IV, Part 1, 324-325 "You Can Have It" (Levine), Supp. V, 188-189

INDEX / 635 You Can't Go Home Again (Wolfe), IV, 450, 451, 454, 456, 460, 462, 468, 469, 470 "You Can't Go Home Again: James Baldwin and the South" (Dance), Supp. I, Part 1, 70 You Can't Keep a Good Woman Down (Walker), Supp. Ill, Part 2,520,525,531 "You Can't Tell a Man by the Song He Sings" (Roth), Supp. III, Part 2, 406 "You Don't Know What Love Is" (Carver), Supp. Ill, Part 1, 147 "You, Dr. Martin" (Sexton), Supp. II, Part 2, 673 You, Emperors, and Others: Poems 1957-1960 (Warren), IV, 245 "You, Genoese Mariner" (Merwin), Supp. Ill, Part 1, 343 "You Have Left Your Lotus Pods on the Bus" (Bowles), Supp. IV, Part 1, 91 You Have Seen Their Faces (Caldwell), I, 290, 293-294, 295, 304, 309 You Know Me Al (comic strip), II, 423 You Know Me Al (Lardner), II, 26, 415, 419, 422, 431 "You Know What" (Beattie), Supp. V, 33 You Touched Me! (Williams and Windham), IV, 382, 385, 387, 390, 392-393 "You Wouldn't Believe It" (Broyard), Supp. I, Part 1, 198 Young, Alfred F., Supp. I, Part 2, 525 Young, Art, IV, 436 Young, Brigham, Supp. IV, Part 2,603 Young, Charles L., II, 24 Young, Edward, II, 111; III, 415, 503 Young, Philip, II, 270, 306, 318; Retro. Supp. I, 172 Young, Stark, III, 408 Young, Thomas Daniel, III, 502 "Young" (Sexton), Supp. Ill, Part 2,680

"Young Child and His Pregnant Mother, A" (Schwartz), Supp. II, Part 2, 650 Young Christian, The (Abbott), Supp. I, Part 1, 38 "Young Dr. Gosse" (Chopin), Supp. I, Part 1,211,216 "Young Folks, The" (Salinger), 111,551 Young Folk's Cyclopaedia of Persons and Places (Champlin), III, 577 "Young Goodman Brown" (Hawthorne), II, 229; Retro. Supp. I, 151-152, 153, 154 " 'Young Goodman Brown' " and " The Enormous Radio' " (Ten Harmsel), Supp. I, Part 1, 199 "Young Housewife, The" (Williams), Retro. Supp. I, 415 Young Immigrants, The (Lardner), II, 426 Young Lonigan: A Boyhood in Chicago Streets (Farrell), II, 31, 41 Young Manhood of Studs Lonigan, 77*e (Farrell), II, 31, 34 Young Poet's Primer (Brooks), Supp. Ill, Part 1, 86 "Young Sammy's First Wild Oats" (Santayana), III, 607, 615 "Your Death" (Dove), Supp. IV, Part 1, 250 "Your Face on the Dog's Neck" (Sexton), Supp. II, Part 2, 686 "Your Mother's Eyes" (Kingsolver), Supp. VII, 209 "Youth" (Hughes), Supp. I, Part 1,321 Youth and Life (Bourne), I, 217222, 232 Youth and the Bright Medusa (Gather), I, 322; Retro. Supp. I, 14 Youth's Companion, The (magazine), II, 397; Retro. Supp. I, 123 Yugen (periodical), Supp. II, Part 1,30 Yurka, Blanche, Supp. I, Part 1, 67

Yvernelle: A Legend of Feudal France (Norris), III, 314 Zabel, Morton Dauwen, II, 431; III, 194, 215, 217, 525; Supp. I, Part 2, 721, 730 Zabriskie, George, IV, 425 "Zagrowsky Tells" (Paley), Supp. VI, 229 Zaltzberg, Charlotte, Supp. IV, Part 1, 374 "Zambesi and Ranee" (Swenson), Supp. IV, Part 2, 647 Zamora, Bernice, Supp. IV, Part 2,545 Zangwill, Israel, I, 229 Zarathustra, III, 602 Zaturenska, Gregory, I, 404 Zaturenska, Horace, I, 404 Zaturenska, Marya, I, 404; II, 533; III, 144, 217 "Zaydee" (Levine), Supp. V, 186 Zebra-Striped Hearse, The (Macdonald), Supp. IV, Part 2, 473 Zechariah (biblical book), IV, 152 Zeidner, Lisa, Supp. IV, Part 2, 453 "Zeitl and Rickel" (Singer), IV, 20 Zeke and Ned (McMurtry and Ossana), Supp. V, 232 Zeke Proctor, Cherokee Outlaw (Conley), Supp. V, 232 Zend-Avesta (Fechner), II, 358 Zeno, Retro. Supp. I, 247 "Zeus over Redeye" (Hayden), Supp. II, Part 1, 380 Zevi, Sabbatai, IV, 6 Ziegfeld, Florenz, II, 427-428 Ziff, Larzer, I, 427; II, 149 Zigrosser, Carl, I, 226, 228, 231 Zimbardo, Rose A., I, 96 Zimmer, Dieter E., Ill, 266 Zimmerman, Paul D., Supp. IV, Part 2, 583, 589, 590 Zinn, Howard, Supp. V, 289 Zinsser, Hans, I, 251, 385 Zlotnick, Joan, Supp. I, Part 1, 226 Zodiac, The (Dickey), Supp. IV, Part 1, 178, 183-184, 185

636 / INDEX Zola, Emile, I, 211, 411, 474, 500, 502, 518; II, 174, 175-176, 182, 194, 275, 276, 281, 282, 319, 325, 337, 338; III, 315, 316, 317-318, 319-320, 321, 322, 323, 393, 511, 583; IV, 326; Retro. Supp. I, 226, 235; Supp. I, Part 1, 207; Supp. II, Part 1, 117 Zolotow, Maurice, III, 161 "Zone" (Bogan), Supp. Ill, Part 1, 60-61 Zone Journals (Wright), Supp. V, 332-333, 342-343

"Zoo Revisited" (White), Supp. I, Part 2, 654 Zoo Story, The (Albee), I, 71, 7274, 75, 77, 84, 93, 94; III, 281 "Zooey" (Salinger), III, 564-565, 566, 567, 569, 572 Zorach, William, I, 260 Zuckerman Bound: A Trilogy and Epilogue (Roth), Supp. Ill, Part 2, 423 Zuckerman Unbound (Roth), Supp. Ill, Part 2, 421-422 Zueblin, Charles, Supp. I, Part 1, 5

Zukofsky, Celia (Mrs. Louis), Supp. Ill, Part 2, 619-621, 623,625,626-629,631 Zukofsky, Louis, IV, 415, 425; Retro. Supp. I, 422; Supp. Ill, Part 2, 609-636; Supp. IV, Part 1, 154 Zukofsky, Paul, Supp. Ill, Part 2, 622, 623-626, 627, 628 Zuleika Dobson (Beerbohm), Supp. I, Part 2, 714 Zverev, Aleksei, Retro. Supp. I, 278

A Complete Listing of Authors in American Writers

Adams, Henry Volume 1 Addams, Jane Supplement I Agee, James Volume 1 Aiken, Conrad Volume 1 Albee, Edward Volume 1 Alcott, Louisa May Supplement I Alvarez, Julia Supplement VII Ammons, A. R. Supplement VII Anderson, Sherwood Volume 1 Angelou, Maya Supplement IV Ashbery, John Supplement III Auchincloss, Louis Supplement IV Auden, W. H. Supplement II Baldwin, James Supplement I Banks, Russell Supplement V Baraka, Amiri Supplement II Barlow, Joel Supplement II Barnes, Djuna Supplement III Barth, John Volume 1 Barthelme, Donald Supplement IV Bausch, Richard Supplement VII Beattie, Ann Supplement V Bellow, Saul Volume 1 Berryman, John Volume 1 Bierce, Ambrose Volume 1 Bishop, Elizabeth Supplement I Blackmur, R. P. Supplement II Ely, Robert Supplement IV Bogan, Louise Supplement III Bourne, Randolph Volume 1

Bowles, Paul Supplement IV Bradbury, Ray Supplement IV Bradstreet, Anne Supplement I Brooks, Gwendolyn Supplement III Brooks, Van Wyck Volume 1 Brown, Charles Brockden Supplement I Bryant, William Cullen Supplement I Buck, Pearl S. Supplement II Burke, Kenneth Volume 1 Burroughs, William S. Supplement III Caldwell, Erskine Volume 1 Capote, Truman Supplement III Carver, Raymond Supplement III Gather, Willa Volume 1 Gather, Willa Retrospective Supplement I Chandler, Raymond Supplement IV Cheever, John Supplement I Chopin, Kate Supplement I Cisneros, Sandra Supplement VII Cooper, James Fenimore Volume 1 Coover, Robert Supplement V Cowley, Malcolm Supplement II Cozzens, James Gould Volume 1 Crane, Hart Volume 1 Crane, Stephen Volume 1 Creeley, Robert Supplement IV Crevecoeur, Michel-Guillaume Jean de Supplement I Cullen, Countee Supplement IV Cummings, E. E. Volume 1

DeLillo, Don Supplement VI Dickey, James Supplement IV Dickinson, Emily Volume 1 Dickinson, Emily Retrospective Supplement I Didion, Joan Supplement IV Dillard, Annie Supplement VI Doctorow, E. L. Supplement IV Doolittle, Hilda (H.D.) Supplement I Dos Passos, John Volume 1 Douglass, Frederick Supplement III Dove, Rita Supplement IV Dreiser, Theodore Volume 1 Du Bois, W. E. B. Supplement II Dubus, Andre Supplement VII Dunbar, Paul Laurence Supplement II Eberhart, Richard Volume 1 Edwards, Jonathan Volume 1 Eliot, T. S. Volume 1 Eliot, T. S. Retrospective Supplement I Elkin, Stanley Supplement VI Ellison, Ralph Supplement II Emerson, Ralph Waldo Volume 2 Erdrich, Louise Supplement IV Farrell, James T. Volume 2 Faulkner, William Volume 2 Faulkner, William Retrospective Supplement I Fitzgerald, F. Scott Volume 2 Fitzgerald, F. Scott Retrospective Supplement I Ford, Richard Supplement V Franklin, Benjamin Volume 2 Frederic, Harold Volume 2 Freneau, Philip Supplement II Frost, Robert Volume 2 Frost, Robert Retrospective Supplement I Fuller, Margaret Supplement II Gaddis, William Supplement IV Gardner, John Supplement VI Garrett, George Supplement VII Gass, William Supplement VI Ginsberg, Allen Supplement II Glasgow, Ellen Volume 2 Glaspell, Susan Supplement III

Gliick, Louise Supplement V Gordon, Caroline Volume 2 Gordon, Mary Supplement IV Gunn Allen, Paula Supplement IV Gurney, A. R. Suppplement V Hammett, Dashiell Supplement IV Hansberry, Lorraine Supplement IV Hardwick, Elizabeth Supplement III Harte, Bret Supplement II Hass, Robert Supplement VI Hawthorne, Nathaniel Volume 2 Hawthorne, Nathaniel Retrospective Supplement I Hayden, Robert Supplement II Heller, Joseph Supplement IV Hellman, Lillian Supplement I Hemingway, Ernest Volume 2 Hemingway, Ernest Retrospective Supplement I Henry, O. Supplement II Hogan, Linda Supplement IV Holmes, Oliver Wendell Supplement I Howe, Irving Supplement VI Howe, Susan Supplement IV Howells, William Dean Volume 2 Hughes, Langston Supplement I Hughes, Langston Retrospective Supplement I Hugo, Richard Supplement VI Hurston, Zora Neale Supplement VI Irving, John Supplement VI Irving, Washington Volume 2 James, Henry Volume 2 James, Henry Retrospective Supplement I James, William Volume 2 Jarrell, Randall Volume 2 Jeffers, Robinson Supplement II Jewett, Sarah Orne Volume 2 Johnson, Charles Supplement VI Jong, Erica Supplement V Justice, Donald Supplement VII Kennedy, William Supplement VII Kenyon, Jane Supplement VII Kerouac, Jack Supplement III

Kincaid, Jamaica Supplement VII . King, Stephen Supplement V Kingsolver, Barbara Supplement VII Kingston, Maxine Hong Supplement V Kinnell, Galway Supplement III Kosinski, Jerzy Supplement VII Kumin, Maxine Supplement IV Kunitz, Stanley Supplement III Lanier, Sidney " Supplement I Lardner, Ring Volume 2 Levertov, Denise Supplement III Levine, Philip Supplement V Lewis, Sinclair Volume 2 Lindsay, Vachel Supplement I London, Jack Volume 2 Longfellow, Henry Wadsworth Volume 2 Lowell, Amy Volume 2 Lowell, James Russell Supplement I Lowell, Robert Volume 2 McCarthy, Mary Volume 2 McCullers, Carson Volume 2 Macdonald, Ross Supplement IV MacLeish, Archibald Volume 3 McMurtry, Larry Supplement V McPhee, John Supplement III Mailer, Norman Volume 3 Malamud, Bernard Supplement I Marquand, John P. Volume 3 Masters, Edgar Lee Supplement I Mather, Cotton Supplement II Matthiessen, Peter Supplement V Melville, Herman Volume 3 Melville, Herman Retrospective Supplement I Mencken, H. L. Volume 3 Merrill, James Supplement III Merwin, W. S. Supplement III Millay, Edna St. Vincent Volume 3 Miller, Arthur Volume 3 Miller, Henry Volume 3 Minot, Susan Supplement VI Momaday, N. Scott Supplement IV Moore, Marianne Volume 3 Morison, Samuel Eliot Supplement I

Morris, Wright Volume 3 Morrison, Toni Supplement III Mumford, Lewis Supplement II Nabokov, Vladimir Volume 3 Nabokov, Vladimir Retrospective Supplement I Nemerov, Howard Volume 3 Niebuhr, Reinhold Volume 3 Norris, Frank Volume 3 Gates, Joyce Carol Supplement II O'Brien, Tim Supplement V O'Connor, Flannery Volume 3 Odets, Clifford Supplement II O'Hara, John Volume 3 Oliver, Mary Supplement VII Olson, Charles Supplement II O'Neill, Eugene Volume 3 Ortiz, Simon J. Supplement IV Ozick, Cynthia Supplement V Paine, Thomas Supplement I Paley, Grace Supplement VI Parkman, Francis Supplement II Percy, Walker Supplement III Pinsky, Robert Supplement VI Plath, Sylvia Supplement I Poe, Edgar Allan Volume 3 Porter, Katherine Anne Volume 3 Pound, Ezra Volume 3 Pound, Ezra Retrospective Supplement I Price, Reynolds Supplement VI Proulx, Annie Supplement VII Purdy, James Supplement VII Pynchon, Thomas Supplement II Rand, Ayn Supplement IV Ransom, John Crowe Volume 3 Rice, Anne Supplement VII Rich, Adrienne Supplement I Rios, Alberto Alvaro Supplement IV Robinson, Edwin Arlington Volume 3 Roethke, Theodore Volume 3 Roth, Philip Supplement III Rukeyser, Muriel Supplement VI Salinger, J. D. Volume 3

Sandburg, Carl Volume 3 Santayana, George Volume 3 Schwartz, Delmore Supplement II Sexton, Anne Supplement II Shapiro, Karl Supplement II Shepard, Sam Supplement III Shields, Carol Supplement VII Silko, Leslie Marmon Supplement IV Simon, Neil Supplement IV Sinclair,Upton Supplement V Singer, Isaac Bashevis Volume 4 Smiley, Jane Supplement VI Snodgrass, W. D. Supplement VI Sontag, Susan Supplement III Stegner, Wallace Supplement IV Stein, Gertrude Volume 4 Steinbeck, John Volume 4 Stevens, Wallace Volume 4 Stevens, Wallace Retrospective Supplement I Stone, Robert Supplement V Stowe, Harriet Beecher Supplement I Strand, Mark Supplement IV Styron, William Volume 4 Swenson, May Supplement IV Tate, Allen Volume 4 Taylor, Edward Volume 4 Taylor, Peter Supplement V Thoreau, Henry David Volume 4 Thurber, James Supplement I Toomer, Jean Supplement III Trilling, Lionel Supplement III Twain, Mark Volume 4 Tyler, Anne Supplement IV

Updike, John Volume 4 Updike, John Retrospective Supplement I Van Vechten, Carl Supplement II Veblen, Thorstein Supplement I Vidal, Gore Supplement IV Vonnegut, Kurt Supplement II Walker, Alice Supplement III Warren, Robert Penn Volume 4 Welty, Eudora Volume 4 Welty, Eudora Retrospective Supplement I West, Nathanael Volume 4 Wharton, Edith Volume 4 Wharton, Edith Retrospective Supplement I White, E. B. Supplement I Whitman, Walt Volume 4 Whitman, Walt Retrospective Supplement I Whittier, John Greenleaf Supplement I Wilbur, Richard Supplement III Wilder, Thornton Volume 4 Williams, Tennessee Volume 4 Williams, William Carlos Volume 4 Williams, William Carlos Retrospective Supplement I Wilson, Edmund Volume 4 Winters, Yvor Supplement II Wolfe, Thomas Volume 4 Wolfe, Tom Supplement III Wolff, Tobias Supplement VII Wright, Charles Supplement V Wright, James Supplement III Wright, Richard Volume 4 Wylie, Elinor Supplement I Zukofsky, Louis Supplement III